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IN
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S
ARCH ITECTURE
I

INTERIORS
by Architects

Susan Zevon

Photographs by Judith Watts

In

the renaissance of a great tradition,

many

of the

interiors

America are being designed by

in

architects.

most beautiful and innovative

Inside Architecture documents this

trend and features the

premier architects
of their

work of some of

in the country,

shown

projects

and

personal,

represent

approaches, locations, and

interiors share

give

Watts,

are varied and

multiplicity

styles.

Yet

them

Inside

great

impact.

Beautifully

reveals

of architects

putting edge of design, and illustrates

roasters as Michael Graves, Charles

the

on the

how

such

Gwathmey,

Jacobsen, and Robert Venturi and

Denise Scott Brown

With 211

these

photographs by Judith

Architecture

avant-garde residences

Hugh Newell

all

of

an intelligence and an integrity

illustrated with original

many

own homes.

The twenty-two

that

including

the

live today.

illustrations,

189

in color.

INSIDE ARCHITECTURE

240?

DED rCATION
To the beloved memory of my

adorable father, Louis Zevon,

and

to

my amazing

who have

inspiration for all

the

good fortune

mother, an

meet

to

her,

Rhea Alter Zevon, with great

love

and

this

book.

to

gratitude,

My

dedicate

eternal thanks

them for making me

that against all odds,

achieve what

I set

and then praying

believe

could

my mind to,

it

would be

for something worthwhile.

N
ARCHITECTURE
Interiors by Architects

Susan Zevon

Photography by Judith Watts

THAMES AND HUDSON

Copyright

1996 by Susan Zevon and Judith Watts

All rights reserved.

No

part of this

book may be reproduced

in

any form without written permission of the copyright owners.

All

images

in this

book have been reproduced with the knowledge

and prior consent of the

artists

concerned and no responsibility

is

accepted by producer, publisher, or printer for any infringement

of copyright or otherwise, arising from the contents of this

made

publication. Every effort has been

to ensure that credits

accurately comply with information supplied.

First

published

in

the United States of America by:

Rockport Publishers,

Inc.

146 Granite Street

Rockport, Massachusetts 01966-1299
Telephone: (508) 546-9590
Fax: (508) 546-7141

ISBN 1-56496-278-4

10

987654321

Design: Sawyer Design Associates, Inc.

Designers: Diane Sawyer, Rebecca Sagen

Front Cover Photograph: see page 43

Back Cover Photographs: (top

see

to

bottom) see page 178,

page 33, see page 105

House designed by Debora

reprinted by permission of

Reiser:

House

Photographs on pages 148-157

Beautiful, copyright

April

1996. The Hearst Corporation. All rights reserved. Judith Watts,

photographer

Loft designed by Michael Rubin: Photographs on pages 120-129

reprinted by permission of

House

Beautiful, copyright

September 1992. The Hearst Corporation.

All rights reserved.

Judith Watts, photographer

Printed in

Hong Kong

by Regent Publishing Services Limited

ACKNOWLEDGMENTS
has, for many
my head, a pursuit and

book

This

been an idea

withstood

in

many

a reality. First of

enhance

this

book's pages, and

whose work was an

who welcomed

insight into

how

whose photographs

thank

We

guided

it

the architects

are indebted to their

homes and gave

us into their

through

Barbara Hogenson,

initial

who

who

enthusiasti-

phases, and to our agent,

continued to believe

book through many setbacks.

We

book

life,

especially

Rosalie Grattaroti,
astic

to

the

who remained

our

editor,

this

who

gave

acquistions editor,

unceasingly enthusi-

about the project right from our

tion, to

in

are very appreciative

of the support of Rockport Publishers, Inc.,

this

us

Our

the projects reached fruition.

thanks to Jennie McGregor Bernard,

cally

all

and who generously

inspiration

contributed to the project.

clients,

would never have become

it

Judith Watts,

all,

a goal that

Without the help of many

reversals.

and patient people

talented

years,

initial

Shawna Mullen, and

conversa-

art director,

Lynne Havighurst.

and talented friends

all

by name, but

Parker Gray, the best

gave

many

in particular

stylist

thank Kaaren

know, who generously

much encour-

innovative suggestions and

agement; Robert Lautman, a photographer and veteran

who

of similar projects

who

lent his guidance;

patiently listened to

many

late night

was

who were

blessed with

many

always there with

advice and encouragement. They are too numerous to

Ann

Morris,

conversations

and always offered good counsel; Carol Moskowitz,

true,

long-term friend; and Elizabeth Winchester, an

accomplished interior designer and the best neighbor

anyone could ask

for.

My

thanks to the dedicated and

supportive staff at House Beautiful,

interest in this project

much during my
in architectural

Most of

and from

who

whom

years on staff; and to

all

thank

my

have learned so

my

first

mentor

loving family:

my

my

brother-in-law,

sister,

Donald

generously gave their support and profes-

sional skills to this book; to

my

kind and wise nephews,

Geoffrey Berlin and Eric Berlin,

parents,

took a great

journalism, Elizabeth Sverbeyeff Byron.

Barbara Zevon Berlin, and

Berlin,

who

who

have been a great

source of advice and laughter; and above

During the years of work

loyal

mention

Rhea and Louis Zevon,

dedicated with very great love.

to

whom

all

this

my

dear

book

is

CONTENTS

FOREWORD

Gisue Hariri and Mojgan Hariri

by Louis Oliver Gropp

Pushing the Edge

102

Buzz Yudell

INTRODUCTION

Inhabiting a Landscape

by Hugh Newell Jacobsen

no

10

Michael Rubin

Designing for Change

120

ARCHITECTS
Stanley Tigerman and Margaret

Robert Venturi and Denise Scott Brown

Liberating Architecture

McCurry

Accomplishing the Unexpected

130

14

Franklin Salasky

James Hong

Embellishing a Box

Stepping up to the Future

142

10

Debora Reiser
Michael Graves

Experimenting with Modernism

Pioneering Postmodernism

148

28
Walter Chatham

Joseph Valerio
Creating a Cultural Marker

40

Abstracting the Vernacular

48

Uniting Architecture with Decoration 1 166

Crafting a Collage

60

Adding Innovation
74

Moore and Arthur Andersson

Collaborating with Joy

176

Peter Pennoyer

Gwathmey
Mellowing Modernism

Charles

158

David Baker

Darcy Bonner and Scott Himmel

Charles

Lee Mindel

Hugh Newell Jacobsen

Restoring Elegance

Reinventing Regionalism

DIRECTORY

82

Frederic Schwartz

Fusing Color and Pattern

94

192

to Tradition

184

FOREWORD
HAVING been the editor
zines that report
tion,

am

of several maga-

on architecture, design, and decora-

way

particularly interested in the

works, inside as well as out.

"read" the interior from the exterior forms of a house,

but

love to study the floor plans

and

work of rooms and passages come

how

see

the net-

alive as beautiful,

book on

that

form

in a

as a

would look

first

met Susan Zevon

Garden where she was

Later

became

in

staff of

editor. Ultimately

House

became

do, not only as a

may

book
that

Still

objects,

style.

And

and

arti-

the author

the 1970s at

House

&

& Garden, and

House

passion for houses and, as this

will reveal, her years in the field

it.

of residential architecture. Examples

work of younger

others are

and

his

own

But then, as

book reminds
ing

all

designers like James

more

traditional: the

Hong,

home

Peter

house Lee Mindel

Jacobsen's

work

have taught her

There are many design

for

family.

Hugh

Jacobsen's introduction to this

us, the tradition

of architects orchestrat-

aspects of a house goes

dition of the

all

the

way back

tra-

Greene brothers, to the work of Frank

der Rohe.

Whatever the design point of view, we can

learn

from the way architects handle the

houses and apartments they design.

tire

Zevon
she

architects create

for

themselves, as

And

I,

for one,

of the variety, creativity, and originality Susan

finds in her coverage of architecture,

and that

and her photographer and collaborator Judith

Watts have documented for Inside Architecture.

Louis Oliver

Gropp

well as those they design for other people, include an

Editor-in-Chief

amazing variety of

House Beautiful

visual

and aesthetic experiences. For

designers like Buzz Yudell and Tina Beebe, a house

is

clearly a place for comfortable living in close proximity

to nature; for their

mentor Charles Moore, houses and

their interior spaces

vivre; for Charles

tunity to

were exuberant exercises

Gwathmey,

work with

architecture

the beauty of classic

is

in joie

all

interiors of the

points of view to Inside Architecture.

The rooms

to

Lloyd Wright, and his polar opposite, Ludwig Mies van

Beautiful as architecture

with Susan continues to

no one vision dominates

and

lofts

Robert Adam, continues through the arts and crafts

very well.

House

clients

never

my

urban

stylis-

Frederic Schwartz, and the Hariri sisters, Gisue and

be, but also

this day.

She shares

in

Hugh Newell

the editor-in-chief of

my work

where

include the

them found

designed for himself,

assistant editor for architecture.

editor-in-chief of

Susan joined the

Beautiful,

know

new forms

other

of

Here would be a

personal taste and

I

many

envelope,

his parents, the

complex composition of spaces,

an architectural editor

of the examples in this book push the

Pennoyer created for

houses as

at

both design and decoration.

Inside Architecture, a

landscape, important as that

facts, as well as
is

was working on

interior design by architects.

book

tic

delighted to discover that a col-

league of mine

Some

in

Brown embrace

Mojgan.

personal, individual environments.

No wonder was

broad choices

architecture

not only to be able to

like

while Robert Venturi and Denise Scott

de

an oppor-

modernism;

Foreword

INTRODUCTION
H O V DO YOU DESIGN AN EMPTY
Everything an architect does,

making of

the

spaces

spaces.

the

is

size

(or dictated)

The placement of

is

furniture

OOM

concerned with

and relationship of these

two hundred and

day,

is,

believe,

The work

worth noting

Adam

of Robert

in

eighteenth-

late

the results were judged "flawless" by contemporaries.

one knows,

classicism were

a worthless effort that

produces a space

the

efforts

his

made more

rigors

of

linear

and

neo-

Palladian
taut.

Within the

spaces he encouraged and experimented with the play

without purpose.
illustrated in this

book addresses

interior

of natural

He

light.

interior spaces

spaces are appointed with furniture, rugs, objects, and

ships to one another.

colors specified or designed by

them

as well. These

are at peace with themselves because there

is

the

ter walls

new meaning

boldly brought a

and

spaces designed as architecture by architects. These

rooms

in this introduction.

selection of colors

Through

The work

years and continue to the present

century England was so thorough and so complete that

and fabrics are part of the design process, and, as everyit is

fifty

site.

by the client and the

and the

contributions and influence have carried over the past

programmatic

of predetermined

result

themes suggested

The

really,

to

innate progressive relation-

their

From beaded and polychromed

plas-

and ceilings through the white and crisp sim-

plifications of

Roman

Greek and

prototypical moldings,

and surprisingly large windows, to

pervasive evidence of order. Without order there can be

fireplaces

no

sideboards, beds, rugs and even chandeliers, Robert

architecture.

The work

herein

and innately

work shown

varied and personal.

and some

interiors are sparse

livable

is

but

filled,

The

beautiful.

are active practitioners,

all

are strong,

Some

of this

architects are always

lem

and the projects

was not

It

tects

work continues

in

the

to evolve, as

moving and restudying

the prob-

hand.

at

were seen

until the early

Renaissance that archi-

to turn over the interior shell of their

building to decorative artists.

Still,

the majority of the

great interiors in architecture's past were designed

The work

architects

that

influenced

the

was accomplished by
times

most serious
ors.

brief

is

of

little

the

comparison of

this

and the unity created by

same tune possible with

France under Louis XVI.

was

Ir

is

of

seventeenth-century

France that "Interior Architects"

first

of course, were trained architects

who were

in

Adam

architecture

the

in

interior

what the Renaissance had brought

appeared. They,
specialists

into existence: the

Decorative Arts.

The

architect,

who

traditionally

only for the exterior form and

its

is

responsible not

proportion and scale

but also for the complete science of building, which earlier

it is

surprise that

imperative

much

environment related to the building as

it

became one.

exterior relationship
at

and

time, the architecture both within

and often buildings

order to create a sense of place,

Therefore,

without

first

itself.

and the arrangement of the hierarchy of spaces within,

for the architect to be responsible for as

visual

For the

and strong environment that

total

these

designed by others that followed them.

In

created a

never contradicted

and

accomplished by the same architect that designed the

building.

Adam

architects of the

included have been completed, for the most part,

past decade.

Some

chairs,

is

of the

possible.

historically

architects have designed their

own

interi-

overview of those architects, whose special

ably

concerned

warm and

itself

with structure and being comfort-

water-tight, later took

on the regimens

was not

until the early

Renaissance that the concept of the

placement of

of the industrial revolution.

objects

and furniture began

It

to be incorporated into the

architect's realm of responsibility. Prior to this time, the

design of the structure and

its

resultant spaces

Introduction

was

the

Overwhelmed,

chief responsibility of the architect.

encouraged and supported the arrival of a true

architect

and responsible

colleague, educated

Thomas

who was

Jefferson,

Renaissance man,

is

for the interiors.

perhaps the

example of the

a rich

last true

architect's

pursuit of total control. At Monticello, the ingenious

doors, writing tables, beds,

one to the other,

ture.

The

first

alone the relationship of

are, of course,

one with the architec-

and quality of

interior spaces

the promise

fill

let

made by

light

seen from the approaching road. Monticello

within and without

the

It

is

in the spirit

refer to the influential

American

architects

The contemporary
and the

amateur

of this

work

efforts of

disciplines of the

one

is

tals

selves.

light

this

The

and

new

in the early

column

capi-

order and into the furnishings them-

clarity

included

and purpose of

interior spaces, with

scale of furnishings clearly reinforcing the

the

creative

Not

architect Stanford

White are perhaps the

clearest

prolific

example

of the efforts architects have extended in their pursuit of

their art.

One can

sense in nearly every Stanford White

building the presence of his eye.

The

work has been cherished beyond

its

of

Beaux Arts

rich legacy of his

execution

brilliant

disciplines to include spaces that are at

once grand and simple, whose interiors are

filled

utility.

In

Charles

of

classicist, Sir

Rennie

Edwin

with

American genius,

great

a design

air.

philosophy that he

underlying and essential unity of program,

elevation, structure, ornament, furniture

This, not unlike

Adam

site,

plan,

and materials.

and the others above,

led

Wright

to conceive buildings in their totality and, accordingly,

he designed interiors, furniture, metal work, ceramics,

stained glass, textiles, lighting,
possible.

and murals wherever

The English Arts and Crafts Movement

anti-urban,

Utopian guild

Stickley

whose work Wright

denied, as he did

in

spirit

Syracuse,

of the

New

York,

privately espoused but publicly

all

possible influence

from Japan,

through Mayan, up to and including the Arts and Crafts.

The Viennese
furniture

is

more

architect Joseph

well

known than

Hoffman, whose
his

few works of

architecture, exercised control over his projects with the

same purpose and

been stressing

intent that strong architects have

in order to establish a

complete visual

From

pic-

order and, therefore, a sense of place and innate beauty.

and juxtaposition of

dis-

His furniture and interior spaces continue their

objects that play off one another like a fugue.

ture frames, fabrics, furniture

encour-

"Organic Architecture." This was based on an

American Gustav

this time.

the

Wright created

this,

house near Philadelphia, must be recalled at

and

It

in

mass

Frank Lloyd Wright, breathed deeply of this creative

inspired the

the highly creative

efforts

surprisingly,

order of solid and void inherent in Andalusia, the great

The endeavors of

had wrought.

Mackintosh, C. R. Ashbee and the

called

interior

a century of

hand-crafted objects of lasting beauty and

Benjamin Henry Latrobe

from

it

the

aged a revival of the concept of medieval guilds and

From

of corn and tobacco leaves through the scale and

echo of

production and the havoc

upon

it,

evolved in Britain

It

and was a reaction against

the 1880s

and

decades of the nineteenth century express his concern

for the continuity of purpose,

genius of Frank Lloyd Wright.

apparent herein.

Greek Revival

though he denied

Landseer Lutyens.

to recognize

is

influence,

in the late nineteenth-

through William Morris and almost immediately

of the nineteenth-century

whose legacy

had an

was

when

architect.

book

century,

Europe and America

truly

it

England the leadership of Ruskin moved naturally

brilliant effort of a brilliant

architectural scholar turned

that in both

Movement, and

Crafts

ful-

within

the view of the building

The Arts and

the

influ-

parate forms, Stanford White's genius remains dominant

ence nearly a century later and clearly echo the popular

and, a fact that

movements

is

hardly surprising,

still

continues to

carry the day.

iz

Inside Architecture

in

design on both sides of the Atlantic

before the Great War.

Between the World Wars, architects Ludwig Mies

Architecture and design

of man's endeavors.

is

a vast subject involving

important to understand

van der Rohe, Marcel Breuer, Peter Berens, Walter

all

Gropius, Le Corbusier, and Alvar Aalto contributed

that architects have always been designing not only the

and

architecture
iar to the

both recognizable and famil-

interiors

theme of

book. Eero Saarinen, Charles

this

Eames and George Nelson,

post- World

War

II

to

architects,

name only

have not only contributed

and culture through

to our society

a few of the

their buildings, but

through their design of furniture and interiors as well.

The impact of mass production

these architects to
architecture.

wed

the

for a

mass market drove

new technology with

their

Widely acclaimed and received by a broad

populace eager for change, the efforts of these architects

are

now

The

referred to as "classic" in the face of fashion.

fact

that

these

same

efforts

"good" seems of

Today,

the

furniture

less

is

forms and resulting interior spaces but the color,

fur-

nishings and other objects vital to the concept and pur-

pose of each building.

That the human

object in a

work

figure

of architecture

mentioned here only as

a philosophy,

of interiors.

if

Ir

is

you

the most
is

important

self-evident

a point of beginning in

will, in the

and

is

forming

approach to the design

therefore follows that the architecture

and the inherent spaces within should be designed as

backgrounds to man

backgrounds

look not only good, but

that

make man

better.

were immediately

accepted by the general populace and professional colleagues as

It

Hugh Newell

Jacobsen

importance.

and objects designed by

Robert Venturi and Denise Scott Brown, Gisue Hariri

and Mojgan Hariri, Charles Gwathmey and Robert

Siegel, are

broadly marketed to reach out beyond

building and to bring that order and

sands of other interiors. There

contributions

made by

is

its

a single

beauty to thou-

no question

that the

these architects will continue to

maintain the ever important contribution to our culture

and

society.

While most,

if

not

interiors are specifically

all,

the other architects

whose

addressed herein design furni-

ture, the chairs, sofas, tables, interiors,

and furniture

designed by Stanley Tigerman and Margaret McCurry,

Michael Graves, Charles

have

made

Moore and Arthur Andersson

a strong contribution that continues

and

renews again the complete role of the architect. The

study of the design of interiors and furniture by architects
tects.

is

the close-up study of the

The

fine detailing of this

works of these

work

is

archi-

getting close to

the core of their thoughts.

Introduction

13

ROBERT VENTURI
& DENISE SCOTT BROWN
Liberating Architecture

Through their writing,

teaching, and

design work, Robert Venturi and Denise Scott

Brown

Venturi and Scott Brown, but also furniture, rugs, and

tableware.

have forged upon the landscape their vision of what

Venturi describes their

own house

as a

combina-

of Jugendstil, English arts and crafts, and the

Venturi proclaims to be the truth of an architecture of

tion

complexity and contradiction: a "unity of inclusion

Continental art nouveau, a suitable choice for architects

rather than the easy unity of exclusion."

more apparent than

this vision

own home

in their

suburban Philadelphia, where they have

Nowhere

is

who

"like elements that are hybrid rather than pure."

in

Scott

Brown and

lived since 1971.

In the early years of their marriage, the

couple

fre-

quently passed by an "almost art nouveau" mansion on

their

way

who

to visit Venturis mother,

house he had designed for her

lived in the

now considered an icon

apartment

in

Towers, but

I.

Venturi had been living in a one-bedroom

M.

Pei's

concrete-and-glass Society Hill

1971, the arrival of their son, Jimmie,

in

and the acquisition of four truckloads of furniture from

Atlantic City's old

Traymore Hotel (which was about

made

be demolished)

They

larger quarters a necessity.

of twentieth-century architecture. Completed in 1964,

heard that the "almost art nouveau" house was for

the small house signaled the revival of historical refer-

and

ences, ornament,

and color

when pure mod-

at a time

held a strong attraction for

it

Brown

to the vista of a 300-foot rolling

"correct" architectural style. With

reminded her of the broad

window, the design looks hauntingly

picture

large

familiar.

chimney and

The

little

house posed big questions:

in

them both.

sale,

Scott

liked being able to see right through the house

ernism was almost universally accepted as the only

its tall

to

lawn

vistas she

in the

back.

It

had grown up with

her parents' international-style house in South Africa.

Why

Puzzled by the mansion's ambiguous

they

style,

shouldn't a house look like a house? Could the popular

discovered that the house had been built in 1910 to the

also be art?

designs of Milton B.

Two

years after his mother's house

book Complexity and Contradiction

Venturi's

Architecture

was published.

It

became

eration from the corporate glass

in

was completed,

American architecture

since

box

in

a doctrine of lib-

that had prevailed

World War

II.

In the first

Gentle

messy

vitality

chapter, "Nonstraightforward Architecture:

Manifesto," Venturi wrote, "I

am

over obvious unity.

non sequitur and pro-

include the

claim the duality." Like the pop

Scott

Brown put

us to view

it

temporaries

the familiar in a

jects

Today not only

such as the Seattle

National Gallery of Art

14

new

Venturi and

many

of their con-

had characterized

earlier

for a

German

family,

who

probably had requested something reminiscent of the

houses they had

Brown were
that

known

in

Germany. Venturi and Scott

at first intimidated

by

its size

but reasoned

could serve as both townhouse and country

it

home.

It

would provide abundant room

for the extended

family they wanted to establish: a changing guard of

architecture students to serve as

"handy people," other

helpers, friends, family,

and an Airedale. "The house

allows us to lead the

we

context, enabling

disdained decoration, they revived the

interest in interior design that

architects.

artists,

with fresh eyes. Unlike

who

for

Medary

It

from

its

life

do," Scott

Brown

says.

took them ten years to bring the house back

dreary condition wrought by someone the pre-

vious owner had described as a "famous decorator."

They removed

the "violent" wallpapers

and sold

all

the

city plans

and eminent pro-

"vulgar" chandeliers. The handsome architectural bones

Museum and

an addition to the

once again were revealed, providing a sympathetic

in

London bear

the signature of

Inside Architecture

ting for the sizable collection of hotel furniture,

set-

which

Many

Venturi describes as "beyond art nouveau and pre-

furniture

deco." Like the furniture he inherited from his mother,

themselves and by friends. They have continued to add

the hotel furniture also bore a childhood connection.

a teenager, Venturi

As

had been friendly with the hotel

owner's children and had learned about the furniture.

Once

the offensive wallpapers had been removed,

Venturi and Scott

bland.

Over

Brown found

the years, they

tants stenciled the walls,

and

the painted walls a bit

a retinue of

young

assis-

and

objects.

paintings, sculpture,

pieces

were designed by

and layer upon layer of books,

magazines, and catalogs so that the house visually

resounds with Venturis reply to Ludwig Mies van der

Rohe's famous statement, "Less
bore,"

have

is

more." "Less

Venturi wrote, and so he and Scott

With time they acquired some

niture,

which they juxtaposed with contemporary

art

nouveau

lived.

fur-

Robert Ventur

and Denise Scott Brown

Brown

adding layer upon layer of dec-

oration.

is

Venturi

and

Scott

Brown have

restored the original mission-style

woodwork

in the large entry hall.

Wood-framed

glass doors that

face the front

door open

living

room. Geometric

on the walls pick up

colors

original to the house.

In a corner

of the living room, a

chair designed by Frederic

Schwartz for Venturi and Scott

Brown's son stands between a red

chair designed by Venturi

and an

orange plastic stacking chair

designed by Joe Colombo.

floor

lamp by Louis

C. Tiffany

stands next to the art nouveau

cabinet.

Inside Architecture

stencils

the

from the Mercer

to the

mix of

tile floor,

,'

Mf

vll

^k
1

H
HharH

r- *

mi
VIKTVRI SCOTT

ar. ->

UOXN

//

*'

Tfte rich })iix

their living

and

<>/

mom

for "the difficult unity

exalts Venturi

Scott Brown's preference for

"messy

vitality

over obvious

Robert Venturi and

unity" and exemplifies then- talent

furnishings in

<>/

inclusion rather than the easy

unity of exclusion.

Scott Brown

17

Dining-room walls not occupied

by the house's arts-and-crafts

style cabinets arc stenciled.

Country dishes arc displayed on

wooden

shelves.

9
1

Hmmi

'

1
r

>

K
T*

3.

J'

:"

hi the dining

iNINI

AALTO WRIGHT

"LO

room, chairs from

the

oak

Traymore Hotel surround the

table.

The names of the

couple's idols

architects and a

few musicians

form a

the dining-room trails

frieze

above

alphabet prints by William

Nicholson.

detail

of the library shows

exuberant stenciling

exotic

flowering trees set against an

intricately patterned

topped by

stars.

photograph

is

background,

The trained

from Learning

from Las Vegas.

Comfortable upholstered seating

from

Venture's mother's

house

surrounds the centerpiece of the

library:

an

art

nouvean repousse

copper chmmeypiece. A breach

art

nouveau clock stands

to the

right of the fireplace.

Robert Venturi and Denise Scott Brown

on

HONG

JAMES

Stepping up to the Future

On

narrow, densely

New

on

York

Lower East

City's

Side, a small, three-

HOUSE OF

building bears a sign that reads

story

CANDLES. The
mer purpose:

sign

is

remnant of the building's

for-

the manufacture of ritual candles for the

Orthodox Jewish population

this

populated street

now predominantly

that decades ago inhabited

Hispanic

Behind a grimy door, a steep

neighborhood.

and

a light-flooded loft. Colorful furnishings

are of such originality that

up

flight of stairs leads

to

finishes

you might wonder

James Hong,

gallery for

who

is

home/office/laboratory and

a gentle, energetic architect

design since completing his architecture studies at the

University of California at Berkeley in 1972.

in

it

When

he

a boring period for architecture

the United States; the corporate glass boxes being

produced

more

at the time did

and product design

being done by Italian architects, so he

where

his

clarified

experience working

what he wanted

be the sort of architect

He was

not appeal to him.

interested in the furniture

in

Gae

for Europe,

left

Aulenti's office

to do. "I realized

who would

spend

me

could never

his career as a

draftsman on large commercial projects.

design things on a scale that gives

"When

it

York

need to

total control, to

was too cold

become

now

he

New

away from showing

Italian

was

shifting

design

its

concept

exclusively

toward developing the work of American

Hong

artists.

started designing furniture for the gallery,

and

and

after a

year and a half he decided to leave his job to devote

himself totally to designing and producing his

own

work.

ment

Hong was

eral of the gallery's artists,

sharing a studio with sev-

but he needed more space in

which to design, produce, and display

20

his

work.

Inside Architecture

When

repair.

neither heat nor hot

windows were boarded

to sleep

and

over,

to

he slept in the storefront area, which

leases to a theater

company. He uses the base-

workshop.

as a

in a

frames, installing
ceiling.

it

month

on the upper floor that was

Slowly, doing most of the

He

work

Hong

himself,

heating system, fixing the

new windows, and

set

window

restoring the tin

organized the space so that the kitchen and

bath are toward the back, where there was already a

rudimentary bathroom.
the gas

and plumbing

He

built a

lines,

platform to enclose

and he placed the kitchen

and bedroom next to each other so that one window

would provide
the

bedroom

light for both.

ing

window

Because the

faces an exhaust vent

and would therefore have

to

in the ceiling to

to the platform

get

up

window

in

from a meat market

remain shut, he put a

provide ventilation.

slid-

Hong

up from the kitchen

also installed a stairway that leads

above the bedroom. From there he can

to the roof.

On

wall, facing the living

the side of the

room, he

new bedroom

built cabinets that pro-

vide ample storage without being obtrusive.

dows

left

the front of the

facing the street, open to

to create a covering for

the center

and

with

loft,

windows

face the street was, at

from parachute nylon

screens

filter

the white walls

sanded the
a

his ever-

first,

how

of

open from

that pivot

puzzling. His

V: feet

windows, suspended from curved

are created

wall of win-

The question

solution: screens that stand about

the

its

accommodate

increasing collection of furniture.

The

At the time

need of

in dire

was

there

in,

his loft, so

He

he returned to the United States, the

gallery Art + Industrie

front

and was

had been

it

a very cold winter," he recalls. For the first

create things that have personality."

When

moved

The

water.

was

for years

about putting

has purposefully pursued his singular vision of

graduated, he found

abandoned

the

if

stairway has taken you up to the future.

This cheerful space

he found the House of Candles building,

away from

steel tubes.

They

tinted in pastel hues.

the bright north light that bounces off

and the colorful

floors, painted

rainbow of paint

tints

floor.

Hong

filled

and

them white, and then applied

with rags, starting at one end

and working toward the other.

protects the painted finish.

The

coat of polynrethane

last part

of the loft to be

completed was the kitchen. "Because the

space

was kept

furniture,

fairly neutral as a

wanted the kitchen

rest of the

background

for the

to be a brightly colored

thing in itself," he says.

unit,

sofa,

bar,

and

The

may appear

loft

an extraordinarily straightforward manner.

encounter changes
this place

is

complete, but visitors constantly

new

pieces,

table,

French and play the piano,"

work

in

new arrangements.

Hong

muses. Yet

home

will

it is

clear

always be a

progress.

James Hong

"If

ever finished, I'm going to learn to speak

that, like a mini-universe, his

dining
entertainment
workstation look unusual but

His furniture designs

function

21

From

i i

a perch atop the platform

wood, and cushions upholstered

over the bedroom, you can see

in

across the length of the loft to the

arranged near the

wall of

windows

On

the

left,

by

Hong

facing the street.

two chairs designed

one of bright purple

a synthetic fabric

of his

first

his three cats.

TV cabinet,

designs.

Hong

the piano bright purple.

one

painted

He

designed the sofa in front of the

anodized aluminum, the other of

windows

gray galvanized metal, painted

Industrie.

Inside Architecture

are

for an exhibit at Art +

On

the right

is

playhouse created by

bike,

Hong

for

The English racing

one of several that he uses

for zipping across town,

street find that

is

he fixed up and

painted turquoise.

In a corner of the living

mom

is

one of a pair of swing-open bars

designed by Hong. The steel

frame for a Barcelona

chair,

another street find, standi

front

in

of a cabinet whose drawers

Open to reveal collections of

articles

and

catalogs.

The

stealth

airplane that has landed in front

Axonometric
of the sofa was designed by

for a sculpture

Propensity

show

Hong

entitled

"A

Toward War."

Floor Plan

e s

Hong

Hong's workstation integrates

his office

all

equipment: computers,

fax machines, copiers, and even a

built-in light box.

station

wood,

steel,

is

The work-

made of lacquered

Hong

table,

designed by

for a contemporary

furniture

made of

fair, is

aluminum,

granite,

and

steel,

vinyl upholstery, stainless

mixed-media cement, and

tinted plaster.

Hong found

the

Charles Eames-designed swivel

chair

The dining

and upholstered

it

in

a faux

leopardskin fabric. The tribal

with a hand-painted surface.

corner was accidentally broken

off,

is

but everyone agreed that the

of the design.

two

Hong

screens,

African.

also designed

one of lacquered

wood, the other of steel, that

stand behind the dining table and

chairs.

on

24

Inside Architecture

missing corner seemed to be part

the

sculpture

On

glass

is

the

left,

the painting

by Carmen Spera.

>

The back of the

leads

staircase that

from the kitchen

to the

roof-access platform forms a

sculpture on the

bedroom

wall.

The painting above the bed

is

by

Chuck Glickman.

refrigerator

oven are

and microwave

built into

one corner of

the kitchen, alongside a

countertop. The Piet

print

Mondrian

above the counter

from a grateful

little

is

gift

client.

Hong

light

applied coats of dark and

cement, finished with a

waterproof sealer, to the wall

surrounding the tub

bathroom.

He

in his

placed a tempered-

glass partition with a

hammered

texture between the tub

The

stainless steel

sink, also his

own

into a marble top.

Inside Architecture

and

sink.

and copper

creation,

is

set

A work

island in the center of

is

ceramic

tile,

the countertops are

Hong's Technicolor kitchen

black

contains a stove, a swing-out

the sink

wok, and a metal shelf that holds

burnished and sprayed with a

hot plates

and a

kettle.

The floor

slate,

is

and the wall above

steel that

has been

cabinets

is

made jrom medium-

density fiberboard lacquered in

bright turquoise.

gold lacquer. The outside of the

James Hong

27

MICHAEL GRAVES
Pioneering Postmodernism

Of all the American architects

his generation,

it is

perhaps Michael Graves

who

epito-

mizes the revival of American architects' attention to

interior design.

No

other contemporary architect has

produced such an extensive collection of home furnishings

and

objects. His

own house

in

Princeton,

Jersey, has evolved into a reflection of his

vision

and

show house

for his designs.

up around furniture the way buildings are

around landscape," he

28

says.

Inside Architecture

New

domestic

"A room

is

set

His interest

of

set

school days

in interior design dates

in the

women.

his

Midwest, where he saw decorating

being taught "next door" in the

for

back to

home economics

classes

Later, after receiving his master's degree in

architecture

from Harvard, he worked

in

George

Nelson's office, which, at the time, was producing furniture

for

Herman

Miller.

"I

always saw furniture

design as an extension of architecture," Graves says.

up

Graves entered the architectural limelight

late

1960s as one of the

"New York

in the

Five." His work,

along with

that

Richard Meier, and Charles Gwathmey, was

its

Hedjuk,

Eisenman, John

Peter

of

known

adherence to the influence of the international

and,

style

the architecture of Le Corhusier.

particular,

in

for

However, Graves's Portland Public Office building,

completed

1982,

in

postmodernism

is

often cited as the harbinger of

name has

then his

in architecture. Since

courtyard that was originally

become almost synonymous with the postmodern

began to have second thoughts about

variety.

did not

refrigerators.

want

My clients

my

all

recently,

Graves has renovated the west

wing of the building, expanding the kitchen and

creat-

like-

room with doors

ing a breakfast

They missed

that

open to

a garden,

an exercise room, and laundry and storage space.

the

new

staircase leads to a suite of guest

ond

floor.

rooms on

the sec-

door."
in

Rome (I960

American Academy was seminal. There he

were not being taught

architecture schools at the time.

most American

at

The

The rooms

in

both wings have been articu-

to 1962) as a

studied the history and theory of architecture, disciplines that

master bedroom and study are on the second

did not find the free modernist

The time he spent

fellow of the

wanted

buildings to look

plan suitable to the domestic setting.

ability to close a

More

floor.

that architecture in this setting," he explains, 'i

and garden

library,

in the

terrace.

south of France,

room,

floor comprising a living

first

"Although Le Corbusier's buildings look great

loading dock leads to a

style.

fact that

Graves

by

lated

changes

in

alcoves, niches, moldings,

house,

a plan for a

says. "Just as

see

in

in

like to see

plot unfolds in literature,

develop

and columns. "When

it

has never thought of buildings as distinct from then-

barrel-vaulted

heights,

ceiling

design

three dimensions," Graves

how

am

characters change and

how rooms

interested in

sequence."

interiors he attributes to this influence.

After
In

1962, Graves started teaching at Princeton

University,

and two years

later he

opened

He was

tectural studio in Princeton.

his

own

two decades of work,

into a live-in

showcase

of Graves's

own

designs and an

archi-

enormous range
still

the house has evolved

of domestic artifacts: chairs, tables,

a struggling
light fixtures, clocks, picture frames, vases,

young professor when,

doned warehouse.

in

Italian

and bowls

1970, he discovered an aban-

stonemasons

who had come

are

all

displayed along with the classically inspired fur-

nishings and objects he has collected over the years.

The

to Princeton to build the university's gothic-style build-

ings

had constructed the storage

classically

potential,
in

it

in a

Tuscan vernacular using hollow clay

tile,

and stucco. Attracted by

brick,

its

designed for Alessi, has

low price and romantic

Graves bought the warehouse and has lived

ever since.

lution

small icon of the postmodern

>2(S,

facility in

from

Over the years he has worked on

a derelict rabbit

warren of 44

its

movement,

place in the newly renovated,

expanded kitchen. Like so many

tinues to regard his

home

as a

architects,

work

Graves con-

in progress.

plans include transforming the living

its

the teapot he

Future

room and bed-

evo-

room

into a

more expansive

library

and creating a new

interior cells
living

into an elegant villa that increasingly reflects his passion

room. The house has already matured into

stunning example of his vision for architecture and intetor classicism.

He
hist

rior design.

renovated the L-shaped building

in stages,

and

completed the north wing, where an entrance

Michael Graves

19

Above Right:

Be low Right:

At one end of the dining room, a

In the dining room, Biedermeier

Biedermeier table and chairs

chairs surround an ebonized

stand below a nineteenth-century

federal period

copy of Guido Reni's Aurora.

Graves designed the carpet and

American

table.

lighting as well as the glass fruit

bowl with bronze armature, one

of his designs for Steuben. The

nineteenth-century candelabra are

copies of first-century

Roman

Site Pla

30

Inside Architecture

//;

the living

room, some of the

own

designs.

The lounge

chairs

nineteenth-century Biedermeier

near the fireplace were designed

furniture that Graves has

by Graves, and the glass flower

collected

is

at

ompanied by

Ins

rase with bronze armature

is

of Ins collection for Steuben.

arpet

is

The

an antique chain-stitch

Kashmir.

part

Michael Graves

31

The view from a second-story

light well

is

framed by an

eighteenth-century architectural

fragment purchased

in Sorrento,

Italy.

nineteenth-century copy of a

bust of a

Roman

warrior

from a second-floor

is

seen

staircase

landing.

OPPOSITE:
The

long,

narrow

library

is

flanked by elegantly propor-

tioned shelves that, on the right,

are separated by

tall

windows

looking out on the garden.

nineteenth-century copy of a

Pompeuan

below a

brasserie table stands

circular etching in a

gold-leaf frame designed by

Graves. The carpets are antique

Bokharas.

32

Inside Architecture

transparent canopy

two-story library with

fills

the

light.

North-South Section Through West and North

East- West Section

Through North Wing

Ground Floor

34

Inside Architecture

Plan

2nd Floor Plan

Michael Graves

35

Doors open

to the kitchen,

where

a nineteenth-century table, a local

flea

market

find, stands in the

center. Glass-fronted cabinets

36

Inside Architecture

with old-fashioned drawer pulls

flank a

window

the garden.

that looks out

on

In the second floor study stand a

In the

nineteenth-century Biedermeier

of the west wing, a nineteenth-

situated adjacent to the kitchen.

piano stool and a desk draped

century, hand-painted

The French metal

will) l-ortnnx silk velvet.

wall fragment bangs above a

/;;

the newly renovated west

wing, a breakfast

room

is

chairs,

which

hare been faux-grained, stand

lounge chair designed by

beside a table designed by

Corbusiet occupies a earner.

Graves. Shelves bob! a portion of

carpet

the Etruscan, Greek, anil

Roman

nas designed by

newly renovated hallway

Pompeiian

nineteenth-century Biedermeier

//'!

.raves.

chest.

The warehouse's original

concrete floors were scored

and

painted to resemble stone. At the

pottery Graves has collected over

end

the years.

guest bedroom.

of the hall, iloors

Michael Graves

open

37

to a

In the master

fireplace

windows

is

bedroom, a

flanked by

tall

that overlook the

gardens. To the right of the

fireplace, a bust (a

copy of

Praxiteles' Aphrodite,)

from the

British

purchased

Museum

Collection stands on a nine-

teenth-century American

neoclassical pedestal. In the

corner

is

a Biedcrmeier chair.

Left:

One

wall of the

French empire table holds piles

bedroom opens

of books. The bed

antique

to the library. Shelves display a

nineteenth-century bronze figure

and a twentienth-century French

painting of a view of the Seine.

38

Inside Architecture

silks.

is

covered with

Ill

In the

master bathroom, a

nineteenth-century bench,

holding a pile of towels, stands

between a pair

of late nineteenth-

century porcelain basins. The

floor

is

Rojo Alieante and Gris

Di Quesa marble.

Michael Graves

39

JOSEPH VALEPvIO
Creating a Cultural Marker

What do you design

for

when asked

his favorite places,

you images of

to bring

client

who,

studying the client and the space. "The architects came

in,

opened

presents you with photographs of Le Corbusier's Villa

tures of

Savoye and La Tourette monastery and Frank Gehry's

him

Schnabel house

Los Angeles?

in

When

Valerio proceeded by doing an intensive, almost anthropological study of

how Gardner

and he studied

lived,

the site as well: 1,000 square feet on the 58th

floors of a towering building in

and 59th

Chicago designed by

how

lived,"

entry

room were

going to be happy, the space must

and remained there

work with

were

was
the

group of older

British students

disciples of the British firm

attracted to Archigram's
first

after graduating

who

Archigram. Valerio

work because "they were

group to break with the modernist trend of the

brought an awareness of materials and structure to

modern

architecture," he says. His

work

in

Los Angeles

consisted primarily of designs for movie sets, including

some

for

Woody

Allen's Sleeper. Valerio's experience in

L.A. taught him "never to think that any idea

was too

outrageous." Another profound influence on his

is

work

Robert Venturi's Complexity and Contradiction

Architecture.

has

owned

When

He

still

refers to the first edition

first

copy he

by the view

As principal

in

work was

residen-

charge of design for the Chicago-

the

main

window modules seemed

an icon of Chicago
Hancock Tower also designed

architecture, the

John

by Skidmore, Owings and Merrill. The dark monolith

appeared to loom over the apartment,
ence than the apartment's

The
works
to

what he

calls the

ing, bathing,

to

walls.

terms of where
for Gardner's

40

we

are as a culture," he says.

marker

in

The design

apartment evolved over several months of

Inside Architecture

often

to minimize the spaces devoted

"messy" functions

(conversation

(sleeping, cook-

and contemplation).

deduced from the examples of architecture

Gardner admired that he was seeking

would be

thin, light,

and expressive of

design that

its

materials.

Valerio decided to consider the apartment as a single

its

defining walls. Into this space,

two

boxes were inserted to contain the ceremonial spaces:

an aluminum box on the lower

and conversation, and

level for entertaining

maple box on the upper

making

level

Because these were to be ceremonial

spaces, the architects thought of

are a

who

and storage) and maximize those devoted

"ceremonial"

Valerio

a stronger pres-

architect observed that Gardner,

home, wanted

at

own

only one residential project a year. "Houses are an

They

make

directly to the north

for the study.

greatest challenge.

to

The apartment was dominated

based firm of Valerio Dewalt Train, he prefers doing

architect's

and another

level

Nothing about the position of the

upstairs.

space within

returned to the Midwest from

California, almost 50 percent of his

tial.

in

since his school days.

Valerio

room on

sense to the architects.

1960s to abstract materials. Archigram

1950s and

living

Although there was only one bedroom, there was a

functional services or

like a glove."

native of Chicago, Valerio did his graduate

studies at U.C.L.A.
to

fit

blocked sweeping views of

by side and of the same dimensions.

side

bathroom

is

one-bedroom with

Chicago and Lake Michigan; the bedroom and

how

live," Valerio says. "If the client

They showed

listened to his reactions.

a standard

staircase

level,

recalled.

were drywall, painted white; on the

a loft. All the walls

bath and powder

person wants to

and

The apartment was

Skidmore, Owings and Merrill. "You have to figure out

a

Gardner

alternative schemes

Joseph Valerio

these photos by Tracy Gardner,

was presented with

peered into drawers, and took pic-

closets,

them

as

"heaven,"

their walls as thin as possible to express their

ethereal nature. In

homage

to the strong presence of the

John Hancock Tower, each of the boxes

is

"warped" by

'

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ill

the

tower's

imagined gravitational

The spaces

pull.

between the boxes and the apartment's outer walls that

were

to contain

the

"messy" functions were named

"purgatory," and the architect

set

about designing these

spaces to conform to Gardner's needs. For his

Gardner required only enough space

for

alcove but wanted to be able to see the sun

media center and attached

rise

every surface of the

sleeping

Gardner

over the

it

in

sa\s.

that

dow. The powder room and bathroom were combined

to give

him one

Gardner

and dressing room. To give

a large television that

three areas

area

large bath

the

could be viewed from

bath, the bed, and the conversation

"Everyone

some way.

west as possible and placed

up against the win-

two containers

"The design allows me

moved by

right

one of the pivoting

is

hinged to provide

.ku-ss to the functional areas.

lake from his bed, so they pushed the bed as far to the
it

to

metal panels that enclosed the aluminum box. Almost

bedroom

it

If

who comes

they are

way

moved by

here

want

to,"

touched by

is

the view, they are

the design without realizing

some guests

way what

to live the

He admits

it."

are unsettled by the angles,

they expect to be substantial

is

and the

thin, but that

does not bother him. "Art should affect your behavior

and make you think.

If it

succeeds

in

doing

that,

it

is

good."

within the limited space, the architects designed

1'

41

The leaning maple walls

at

the entry frame the view of the

John Hancock Building, keeping

the rest of the apartment

new

and

a mystery until you step

further inside.

wall of double-height

windows

opens the lofty apartment to an

airplane-passenger's view of

Chicago and Lake Michigan. The

aluminum

the study

staircase leads

on the

up

to

loft level.

b-

"

"

/
i

'

15

FT

1
Set ">id

J
1

Floor I'lan

hirst

hlcmr I'lan

Axonometric

Joseph Valerio

43

"

The aluminum

leads

up

staircase that

to the study

is,

according to Valeria, "so thin

it

defies description.

Aluminum

panels contain the

conversation area, which

furnished with classic

designs.

The

is

modern

lipstick-red sofa

and

ottoman were designed by Isamu

Noguchi, as was the round table

surrounded by Alvar Aalto

lounge chairs. The floors are

aluminum

4 4

Inside Architecture

plate.

From

his

desk on the

loft level,

Gardner faces the wall of

and

tabic

woe

designed by

Charles Eames.

windows. The molded chair

Joseph

a l e r

45

LEFT:

Be LOW:

The

Aluminum

glass counter in the

bathroom appears

to float

on

its

glass-and-aluminum base. The

bed

is

pushed up against the west

wall of the apartment and the

north-facing

window

so that

panels pivot to open

the kitchen to the conversation

room, with

its

wall of windows,

Valeria designed the

maple

cabinets. Floors in the functional

areas, including the kitchen, are

Gardner can watch the sunrise

terrazzo.

above Lake Michigan.

from Knoll.

Jamaica bar stools are

Attached to one of the aluminum

panels, the

media center pivots to

face cither the

bed or the

conversation area.

Opposite:
With the aluminum panels open,

Gardner can enjoy the view

through the apartment's windows

from

46

Inside Architecture

his

whirlpool bath.

HUGH NEWELL JACOBSEN

Abstracting the Vernacular
Welles Residence

Long before regionalism

architectural fashion,

Hugh Newell Jacobsen

the art of abstracting the vernacular.

designing

in

Greece or

became an

in

mastered

Whether he

Ohio, he creates buildings that

fit

comfortably into their surroundings. Yet by the

ity

of

its

plan, the crispness of

tation of light

its

and view, a Jacobsen house

a

to a house," Jacobsen says, "should be a

48

must be

is

distinctive

keen awareness of

a house will reveal itself to visitors.

inside, that expectation

clar-

modeling, and the exal-

and recognizable. He designs with

how

is

The Welles
tessential

ing the

Ohio

residence in northwest

is

Jacobsen house. Driving along a road border-

Maumee

River through farmland, you might

easily miss the entrance to the 8-acre property,

marked only by

a white

mailbox and

Once you break

a glimpse of the river

the crest of the

and the building's

which

is

double row of

spruce trees. The long driveway curves

plateau.

a quin-

down from
hill,

tall

you catch

white chim-

"The approach

neys and vaults, which poke out above the evergreens

drum

planted on the public side of the

fulfilled."

Inside Architecture

roll,

and

site.

At the end of the

driveway, you face the front door. There are no win-

dovvs to reveal the interiors.

The

size

and plan remain a

mystery.

dome-

Inside, just to the left of the entrance, a

topped atrium spotlights the center of the house from

which

its

eye to the

four branches unfold.

left,

toward the

windows and

wall of

view of the river and

ning of the century,

living

The

draws your

light

room, where an arched

sliding glass

doors reveals the

concrete bridge. At the begin-

when

it

was

built for the trolley line

that connected Toledo with Lima, the bridge's 12 arches

formed the longest concrete structure

Time and nature have mellowed

which

a tangle of trees

it

the world.

in

from

to a golden ruin

and vines grow

in a

manner

that,

according to Jacobsen, "would have pleased Giovanni

Piranesi."
this

view that he designed the house so that the bridge and

can be seen from every room. The main bar of the

house's cruciform plan parallels the river.

crossbar,

rather

than

being set at a

The

shorter

angle,

right

is

skewed by 30 degrees and aimed toward the bridge.

The longer bar contains

three

garage on the other. The angle of the crossbar deter-

mined the parallelogram shape of rooms,

echoed

in details

shape

such as built-in dresser drawers. The

crossbar extends from the living room. Four steps lead

you to the atrium under the 8-foot dome, and from

there,

through an archway to the

serves as a dining

library,

which

room. The library shares the

also

living

room's view of the bridge and river through the clean

sweep of

determine

He

family's needs before designing a

How many

How much
feet for

has,

wall space

books?

needed tor

is

How much

he often designs

know how

much

How main

art?

linear

storage space for shoes? All

into his designs. His schematics

plan, so his clients

living

people will be seated for dinner?

of their functional requirements are

bedrooms and baths on

one side of the atrium, balanced by the kitchen and

art.

over the years, developed a derailed questionnaire to

space.

Jacobsen was so taken with the romance of

river

provided for their growing collection of

woven

come with

the

rooms

seamlessly
a furniture

will

work, and

of the furniture himself.

Typically, Jacobsen has "floated" the furniture, so

the limits of the

the

rooms

are not defined,

same flooring (white

merge the

interiors with

and he has used

travertine) inside

and out, to

outdoor spaces. Details such as

moldings, baseboards, and door frames are absent.

Although some postmodern architecture aspires to

classical quality

through decorative detailing, Georgia

Welles points out that "Jacobsen's

because of

its

symmetry and

work

order.

is

classical

This discipline

brings great serenity to his houses."

light-filled space.

Arches

in the ceiling

and windows above the

ing glass doors echo the arches of the bridge.

the house has so

much

pleasantly surprised by

glass, the Welleses

how much

slid-

Though

have heen

wall space Jacobsen

Hugh Newell Jacobsen

49

/;;

an arched

the living room,

wall of glass frames the view of

the bridge. Jacobsen designed the

nig, the Plexiglas table

the sofas, the benches,

behind

and

the

coffee table. Symmetrical

fireplaces face

one another. The

drawing above the fireplace on

the right

Bird by Dappled Sea

is

by Milton Avery; the painting

above the

fireplace

Speedboat

in Pale

same

living

artist.

room

on the

left is

Sea by the

Ficus trees in the

are fed

and watered

by concealed pipes.

Light shines through the circular

dome

at the center of the house

Site Plan

highlighting

on the

right,

two

large paintings:

Songs: Over the

Rainbow by Kenneth Noland; on

the

O O
o o

O
o

O O

no

left.

Ocean Park No. 32 by

Richard Diebenkorn. V-shaped

steps lead to the living room.

Floors throughout the house and

on the outdoor terraces are

honed

50

Floor Pla

10

Inside Architecture

travertine.

lv

Ik

Left:

The placement of the French

country oak table

in the center

of

the room, surrounded by green

velvet

and brass stacking

chairs,

allows the library to serve as a

dining room. The woodblock

print highlighted above the

fireplace

is

Ochre by Diebenkorn.

Below Left:
At night the sunny yellow print

by Diebenkorn, on the

the library,

is

visible

far wall of

from the

terrace outside the living room.

Right:
Jacobsen's trademark egg crate

bookcases

library.

line

The

two walls

in the

table holds part

of

the owners' collection of duck

and

fish decoys.

H
i

Inside Architecture

Hugh Newell

c:

e n

53

Just up the steps

room, doors

from the

slide

open

living

to reveal

a mirrored bar. The glass shelves

hold part of the owners'

collection of pre-Columbian

ceramics.

fireplace provides a cozy focus

on one

it

side of the kitchen.

hangs O.P. 84 #1 by

Hebenkorn. The door to the side

of the fireplace conceals a

television.

Above

Inside Architecture

Georgia Welles requested a large

eat-in kitchen so that she

would

kitchen, preparing dinner.

dining table faces the view

The

<>/

the

not have to keep asking her

bridge through sliding glass

husband what was on the evening

doors. They open to a terrace that

news while she was

is

in the

warm weather

the court

is

used

for dining under the shade o/ pear

and apple

trees.

enclosed on three sides. In

Hugh Newell Jacobsen

55

jhi'iiinc
I m i ii i inr
! 1 1 1 1 1
| !

HUGH NEWELL JACOBSEN

Abstracting the Vernacular

Jacobsen Residence

Jacobsen's own house

historic
a

Georgetown

few blocks from

located in the

section of Washington, D.C., just

his office.

Georgetown Public

is

According to records

Library, the house

was

in the

originally

1871, a third floor was added, and the facade

made

"tasteful" by the addition of an Italianate cornice

bay window.

In

Italianate style

it

When

keeping with

was painted

the

then-fashionable

the color of sandstone.

Jacobsen remodeled the house

in

street,

From

the house looks very

left

the shady, brick-paved

much

like

its

neighbors

it

is

to the view of the garden.

To contain

his family's

ever-expanding collection

of books, Jacobsen has, over time, added his trademark

egg crate bookcases,

to the library

first

and then to the

dining room. Over the years, he has changed the furnishings,

1968,

with his customary deference to a neighborhood, he

the facade almost intact.

and

now-familiar

Nothing interrupts the eye as

ings or baseboards.

drawn

his

between rooms, without mold-

floor-to-ceiling openings

built in the federal style in the early nineteenth century.

In

which Jacobsen employed

project in

combining

Scarpa sofas

classic

in the living

modern

pieces, such as the

room and

Cognac

a Finnish

chair in the study, with furniture of his

own

design,

such as the prototype sofa and the coffee table

These furnishings,

study.

plus

few

in the

remarkable

except for a discreet plaque on the door, which says

antiques, such

"back door." The new main entry to the house

have created a serene background for a growing collec-

when you open

revealed only

the gate to an ivy-covered

court bounded by the original house, a

extends along the

stretches

that

"demoted"

street,

behind

the front

door on the

new

wall that

the

original

house.

Jacobsen

door to kitchen door, and removed

and address plate from

and placed them on the gate to

street

and silver-framed family photos.

The house, with

grows increasingly personal.

house

is

From

the

where Jacobsen

cre-

vintage Jacobsen.

forecourt, you enter at the center,

tioned reproduction columns to the stair hall: a Doric

column from the Temple of

Poseidon,

an

composite column from

house

small

house from the 1871 bay window, which he lowered to

families

the floor in the dining room. This axis continues unin-

inspiration

window

reveals the garden.

says, "is the

magic of

adjacent to the living

his

urban

ivy,

American holly

The

room, where

Georgetown house." A

room

bay

"The garden," Jacobsen

library

shares the garden view. For

oasis, he created a stone terrace

bank of

wall.

living

extending to

which stretches toward the columnar

trees

planted along the back garden

trees are individually

lit,

so the garden can be

seen from the house at night. This house

was

the

first

Pompeii.

in

While clearly contemporary

designing

new

column

Ionic

from the Temple of Artemis,

ated an axis that extends the length of the enlarged

terrupted through the

time,

Recently Jacobsen added three perfectly propor-

and

the forecourt.
Inside, the

tion ot art, antiquities,

and the two-story addition

the pediment trim, entry light,

the

is

fifteenth-century dining table,

the

as

for

today,
is

needs

the

of

Jacobsen's

deeply rooted

architecture.

classical

in

in

Every

morning when he comes downstairs, the

columns remind him

of a favorite quotation from

his great mentor,

with

whom

Louis Kahn,

he studied at Yale:

"The great moment

divided

and

the

in

when
became took

architecture

column

the wall

place

in

Greece."

Hugh Newell Jacobsen

57

In the living room, sliding glass

designed by Carlo Scarpa face

Silver candlesticks

doors flank a floor-to-ceiling bay

each other across a pair of steel-

table represent the three orders

window

and-glass Barcelona coffee tables

classical coin,

that looks out to the

garden. Safas

58

and armchairs

Inside Architecture

by Ludwig Mies van der Kobe.

on the coffee

of

Left:
/;;

room

the living

toward the

on the

(looking

library) the painting

left is

bx losef Albcrs: on

the right stands a perfectly scaled

model of a portion of Angejacque Gabriel's Hotel du Garde-

meuhle du R01 that Jacobsen

found

Above:
entire wall

<>f

the library

Kobe, the Cognac chair by hero

is

lined with Jacobsen's trademark

Saarinen.

egg crate bookcases, jacobsen

Parisian shop that

nineteenth -century Dutch

designed by Ludii'tg Mies van der

sells

An

in a

staircase la

maquette that a

architectural maquettes.

Roman

terra-cotta

head on the

cabinetmaker would execute to

variety of objects

right

prove

reflecting Jacobsen's extensive

his abilities, to

an

archite<

'flee

table dates

t),

eighteenth century.

designed the sofa and the

table with

Two

.1

interests are displayed

offee

French marble top.

hook

chairs {designed by Charles

Pollock) face one another across

an

Omega

desk designed by

St

Eichenberger. The ottoman was

tmx

from Cambodia, a ribbon

presented to a soldier

of architectural stamps, a

ulpture dating from the Middle

Kingdom

lans

a fragment of a sculpted head

on the

desk: a silver Shaker box, a

that he

was working

in

the (ireat War,

found when be

containing

airo, a

Thomas

some

who

and a

served

tiny

hook

of the writing

Jefferson.

hloor Plan

THUD KOCW

The

It

St

CON

HOO*

* *

* ft $ # 4g
FUST tlOO*

Hugh Newell Jacobsen

59

from the

DARCY BONNER
& SCOTT HIMMEL
Restoring Elegance

Bonner Residence

Whether designing

contemporary

a sleekly

"what mat-

space, a traditional interior, or a sofa,

retail

ters to us

Bonner

the opportunity to be inventive," Darcy

is

says. Scott

Himmel, who was

his partner in the

Chicago-based firm Himmel/Bonner, agrees:

ing to play music in just one key."

It is

"One

admire about Carlo Scarpa's work

was no
a

doorknob," Bonner

makes you

it all

key,

you can

says.

better at each.

tion

you can play

"Doing
in

every

They

lost track

first

met

as undergraduates

Tulane

at

of one another after graduato his native Dallas

to Chicago. Several years later,

tectural licensing seminar. "I

at

an archi-

remembered Darcy

when we were

and

when Bonner

had moved to Chicago, he ran into Himmel

best designer at Tulane

Only three of the

as the

students there

is,"

Bonner

triple-hung

parallel lives: they

married

women from

the

somewhat
same small

town, and each of the two couples has three children of

similar ages.

Bonner and Himmel and

lived for years in

one of Mies van der Rohe's apartment

towers on Lake Shore Drive

in

Chicago, an appropriate

address for two young architects

work

their families

who admired

the

of the early modernists.

Several years after they formed their architectural

partnership, the firm

was hired

to renovate

one of

Chicago's grand old apartment buildings on Lake Shore

Drive.

60

The

nine-story building

had been

built in the

Inside Architecture

of the

what elegance

see

"We wanted

really

away from

to get

8 72-

by the

enticed

10-foot ceilings,

windows, and generously proportioned

rooms. In particular, they admired the enfilade of main

rooms. With no hallways

in

between the

room,

living

dining room, and library, the rooms, which are on an

become one majestic sweep of space when

pocket doors between them

slide

the

open.

Bonner bought one of the two apartments that

had an unchanged layout.

He

paneling.

It still

had

its

original

restored the paneling and

marbleized vinyl that covered the

be difficult to restore

it,

wooden

the contrast by painting

a highlight
library.

To

Bonner decided
its

walnut

removed the
floors.

dining-room paneling had been painted. Since

room and
led

recalls.

The partners were

Himmel

becoming partners, they have

Two

foot ceilings and steel-and-aluminum sash windows."

becomes

Since

original layouts remained.

"Those apartments made us

and therefore suggested that we work together,"

recalls.

1960s.

in the

apartments shared an elevator and had similar plans.

axis,

when Bonner returned

Himmel

and doing

elaborates:

were studying architecture

they

University.

If

of the

really play."

Himmel and Bonner

when

Himmel

them

that there

is

difference between doing a building

bor-

is

essential to

both to create a complete environment.

things

"It

1920s but was divided into smaller units

to

it

The

would

emphasize

walls a rich cream that

between the walnut-paneled

living

further accentuate the dark luster

of the paneling in those rooms, he bleached the oak

floors

and painted the

dining room.

ceilings

and trim the color of the

-*3fl

In the walnut-paneled foyer of

the

Bonner apartment, an

early-

nineteenth-century Italian table

holds an antique Japanese basket,

a contemporary sculpture by jean

Reindel,

and antique

candlesticks.

Moroccan.

The rug

mirror

silver

is

in a

hand-

carved, late-nineteenth-century

Spanish frame hangs above

the table.

Floor Plan

61

Inside Architecture

The arched shape of the entry

from the foyer

is

to the living

room

repeated in the windows' arched

part of the Bonners' collection of

Murano

glass.

The

chairs to either

side of the fireplace, upholstered

openings. In front of the fireplace,

in their original

a generic flea-market table holds

were found

weathered

leather.

a Parisian jewelry

store.

Above

English constructivist painting by

Alistair

Morton

the mantle

is

displayed.

below the Morton

1]

^r*

On
is

bronze African sleeve ornament

fW

from the Kuba

the fireplace, an

tribe.

To the

left is

a grand tour model of the Temple

of Castor. To the right of the

fireplace are

Hedge.

two

collages by

Gene

In the dining room, Flea Market

Pierre Chareau-style bar cabinet

#32 dining chairs by Mattaliano,

on the

upholstered

The painting above the bar

in leather the

color of

cream, surround an olive ash

table, also

by Mattaliano. The

right

Gio Colucci.

is

a flea market find.

On

the bar

is

is

by

part of

a collection of primitive masks

and headdresses. The rug

is

late-

nineteenth -century Savonnerie.

Below:
The rug

in the library

an

is

eighteenth-century Aubusson.

The sofa

is

the Colette three-seat

sofa by Mattaliano.

It is

upholstered in a cotton chenille

by Giant.

On

the table

is

an

antique astrosphere. The vellum

column

table

lamp

is

by

Mattaliano.

Amen

Above:
designed the aluminum

Hi inner

stands on a parchment-

n/ered pedestal by Mattaliano.

lighting fixture in the dining

The painting

room

Robert Michel, a German

as a "vehicle to update the

at top left

is

by

one below

atmosphere The low voltage

constructivist; the

bulbs," he explains, "throw

Leo Prochownik, a German

punches

The

of light

silver

table

market

the room.

"

by

expressionist.

on the dining-room

from the

is

is

Paris flea

except for the large

bowl, which

a tureen, a

mother.

is

actually the top of

gift

On

the

from Bonner's

left

wall framing

the study, a sculpture by Irving

Darcy Bonner and Scott

Hi

mm

el

65

The

table holding the tulips

original

by Jules

rug in the living

Shirk:

it

is

Leleu.

room

The

is

is

an

sisal

from

overlaid with a French

eighteenth-century Aubusson. The

club chairs, upholstered in suede,

by Bob Nichols. To the

the color of cantaloupe, are Franc

behind the piano, a painting by

#/ by Mattaliano.

The collage

hanging on the living-room wall

to the left

of the dining room

is

Francesco Monatti

is

right,

displayed.

Hi inner

designed the sycamore

screens

The sheets

the master

.ire

bedside tables

from

.ire

bedroom.

Protest.

attributed

The

t<>

IhnulJ Deskey.

Darcy Bonner and Scott Hi mm

el

67

In his living room, Hinimel has

nineteenth-century rouge

layered the stone-color carpet

fireplace. In front

with a French Aubusson rug and

is

eighteenth-century Indian zebra

drawing.

skins.

He

replaced the apart-

ment's overscaled fireplace

opening and mantel with a

68

an antique architectural

Belgian art nouveau

table stiinds in front of

one of the

made of celadon-striped

taffeta.

chair;

seventeenth-century

tapestry covers the ottoman.

it is still

upholstered in the

original fabric.

The

chair to the

left

The 1930s French

of the fireplace

white armchair was designed by

was a

Jules Leleu. Across

the wall to the left of the

from

it sits

flea

market

find.

Against

room's triple-bung

nineteenth-century reproduction

fireplace stands a French faux

windows. The unlined curtains

of an eighteenth-century French

tortoise secretary

living

classic

of the fireplace

are

Inside Architecture

from the 1930s.

DARCY BONNER
& SCOTT HIMMEL
Restoring Elegance

Himmel Residence
apartment

The

across

from Bonner's had been owned by

family for over 50 years.

appealed

tory"

Moreover, not many buildings

ii

ham

prominent Chicago

"The notion

Himmel,

to

that

had a

it

his-

Chicagoan.

native

in

Chicago have such

dramatic layouts. He, too, was seduced by the sweeping

was

space, and soon he

from

living across the hall

his

Himmel's apartment had

added detailing and

make

as

seem

it

He

there.

"The building design

fireplace.

and too wide," Himmel

He

says.

nineteenth-century

French

replaced

rouge

it

is

with a clas-

Company,

and available reproductions

Working with

Welles

the

Furniture

family-owned establish-

a third-generation,

ment that had been manufacturing custom-designed

furniture for architects since the time of

left

the

apartment's plan basically intact, with the exception of

taking space

away from

create a closet.

The

the rectangular dining

result

room, the perfect frame

is

room

to

square 18-by- 18-foot

for a large

round table and

spectacular nineteenth-century Venetian glass chandethat

Himmel had

his eye

on

for

some

time.

bought the apartment, he knew that he

the

for

chandelier,

which

When
had

at last

inspired

the

scheme of the main rooms. The colors deepen

he
a

color

in a

sub-

the French

company

moderne

Ludwig Mies

closed,

pieces they admired.

Himmel/Bonner took

changing the name to Mattaliano

founder.

They manufacture

in

over,

it

its

a line of furniture meticu-

(Himmel and Bonner continue

now run two separate

When

honor of

from the French moderne

lously reproduced

He

fireplace.

remodeled the kitchen and master bath, but he

classics.

to share office space, but

firms.)

Although neither of the two

families'

apartments

resembles a laboratory, they are both places of experi-

Himmel

Bonner and

mentation.

Mattaliano designs

in

often

own homes.

their

and objects are constantly changing.

Samurai armor
masks;

a client

in its place

tions.

"The

is

sold and

buys

is

a classic

out

the

Furnishings
collection of

replaced with primitive

French moderne chair and

appears one of the Mattaliano reproducplaces

live in

are always the best training

ground," Himmel says. "You don't

something

try

until

you

live

with

really

understand

it."

progression from the vanilla and celadons with gild-

ed gray-green moldings

vellum
in

difficult to find,

"off."

the

French, but the mantel was Midwest hocum, too high

tle

seemed

finishes discreetly, to

though they had always been

and redid the

home

od became

some of

added about 40 percent of the moldings, glazed the

lier

enormously

finishes

Appealing. However, the authentic furniture of the peri-

one time been reno-

at

vated, so he

sic

sumptuous

van der Rohe, Himmel and Bonner began reproducing

partner.

walls,

of simplicity of line and

in

in the living

room

to the old

the dining room, culminating with olive green

the library.

Since the early 1980s,

become habitues of
for themselves

and

Himmel and Bonner had

Paris flea markets, buying furniture

for clients.

There they discovered the

furniture designed by Jean-Michel Frank

They found the

and

early French modernists'

his circle.

combination

Darcy Bonner and Scott Himmel

69

O DD

Hour Fdiw

The

library has mirrored paneled

covered

in

an African

tribal cloth.

doors that open to the master

Another zebra skin stretches

bedroom. The room

beneath the Frank vellum coffee

is

lined with

grille-front bookshelves.

Mattaliano sofa

is

The

table.

based on a

The Flea Market #1 club

chair, also

1920s design by Jacques-Etnile

tion,

Ruhlmann.

leather.

quilted

70

Ii

can

is

upholstered

in a

is

a Mattaliano reproduc-

upholstered

fabric with pillows

Inside Architecture

in

sueded

A Lyon

&

piano stands

living

one corner o) the

On

room.

the other side

the opening to the dining

an

Italian futurist h.n

made

it

of

Prochownik,

Healy baby grand

room

<</

is

/rum Turin

Makassar ebony; above

hangs a

L>
l

painting by

eo

describes as

German

alette sofa

ils

chenille.

chair

is

'\>

also

Himmel designed

.1

Brunschwig

he

pull-up chairs upholstered with

he

from Mattaliano

in

the coffee table

from Indiana limestone.

second-tier

expressionist."

upholstered

whom Himmel

is

&

he matching club

.in

animal skin

are,

Himmel

thinks, .in Italian design

from

the 1940s.

from Mattaliano.

Darcy Bonner and Scott Himmel

-i

Opposite:

Rk.ht:

A 24-spoke

The master bath was completely

nineteenth-century

Venetian glass chandelier

remodeled by Himinel. The walls

the

is

centerpiece of the dining room.

fabric

from

Pierre Frey. inspired

by an African design,

on the round dining

Beneath

it lies

.1

is

spread

are covered in Italian white

marble. The black Portuguese

marble vanity top, supported by

a polished chrome frame, holds

table.

paisley fabric

tiro sinks.

from Old World Wearers. The

cream-colored oak dining chairs

are by Jean-Michel Frank. To the

right

is

a 1930s

German

by Soulek. Alxire

cubist

it

cabinet

hangs a

drawing from the

flea

market.

*!.*
wr

The Hitnmel's

Hnnmel, who series as the family

oldest child,

Alexander, has toy towers

chef, completely

designed by his father.

kitchen.

floor

is

one

creations.

)n the

of Alexander's

The

Lego

vinyl floor's

checkerboard pattern

is

iA

The

eat-in kitchen has a

floor of black

tile,

remodeled the

and white ceramic

which also

is

used for the

33

sides of the granite

topped

island.

Shiny copper pots hang from a

rack

easy reach of the

work

island. Frosted-glass cabinet

doors are framed

tn

cerused oak.

edged

with a contrasting border.

Darcy Bonner and Scott Himmel

>,

CHARLES GWATHMEY
Mellowing Modernism

From the now-famous house

and

stu-

bility

and

his

holistic

approach are apparent

dio he designed for his parents in 1966 to the apartment

apartment he designed for himself and

he presently shares with his wife, Charles Gwathmey's

Ann. The design succeeds

architecture
is

is

often described as sculptural

wasted, and every

line

no gesture

Gwathmey

has meaning.

ied architecture at the University of Pennsylvania

Louis

Kahn was

ies at

Yale with Paul Rudolph. However,

bly the
est

work

when

teaching there and completed his studit

was proba-

of the early modernists that had the great-

impact on

work. Early

his

in his career

with Michael Graves, became one of the

Five,

stud-

whose work

at the time recalled early

Gwathmey,

New

York

modernism.

Eventually the five architects went in different directions, but

Gwathmey remained

The house and

Gwathmey,

imitated icons on the

buildings,

Long

strong, logical geometry

villas,

which became much-

Island landscape, have the

and sculptural form of Le

but instead of stucco,

Gwathmey

critic,"

Gwathmey

large family

apartment

in the

ship with Robert Siegel. Their firm

spare, elegant houses
dition.

and

Over the years

for

modernist

tra-

work has evolved beyond

that of the original modernists.

their projects

became known

interiors in the

the

As the requirements of

become more complex,

the palette of materials

become "too

literal

Gwathmey

the geometry

and

and color grew more sumptu-

has, in

and too

Gwathmey

same building, they were

cityscape. So they

same

building,

bought

only the perimeter walls and

Gwathmey always
awareness of the

site,

leaving
openings they
it

designs buildings with an acute

so the apartment's tenth-floor

view of the reservoir directed the design.

window openings

in the

loft space.

as given

"I

accepted the

and then made the usable

spaces axial to them, but manipulated the sequence as

an asymmetrical counterpoint,"
gallery leads into the apartment.

kitchen,

he

off the gallery

left

An

says.

entry

The master bedroom

on the

are the dining

and guest room and bath.

line

right.

At the

room, study,
carved into

the ceiling curves from the gallery to the right drawing

you

into the living

room and almost

inevitably

the view of the reservoir through the

ner

window
The

facing south looks

windows.

down on

floors reinforce the scheme.

Fifth

Maple

toward

cor-

Avenue.

flooring in

5V:-inch planks runs parallel and orthogonal to the

building's

perimeters,

helping to

ceiling,

articulating the circulation

This sequence
front door

is

define

the

rooms.

echo the curve of the dropped

Gwathmey's own words,

has always had what he describes as a

apartment

window

insets in the floor

easy."

majestic

its

and by completely gutting

Marble

as

but liked the

loft

a smaller

an

ous. So the now-familiar labeling of

American Le Corbusier

a partner-

good

view of the Central Park Reservoir and the surrounding

end of the hallway to the

Edward Larrabee Barnes, Gwathmey formed

is

years of living in a

amenities of the Fifth Avenue building and

wood.
stint in the office of

many

ready for a change. They wanted a

and two baths open

1968, after a three-year

once abstract,

in being at

says. After

used the quintessential American building material:

In

his wife, Bette-

an opportunity to experiment, and Bette-Ann

on eastern Long Island that

his

the

complex, and sensual. "Designing for yourself presents

achieved the freedom of a

him immediate fame and launched

The two small

Corbusier's

modernism.

at the age of 27, designed for his artist par-

ents brought
career.

studio

true to

in

toward the view.

so skillfully handled that from the

you seem

to be pulled almost magnetically

fur-

toward the view from the living-room wall of windows

nishings and landscaping are always intrinsic to the

facing Fifth Avenue. Art and furnishings collected by

"holistic"

approach to the design of houses. The

design. Both the evolution of

74

Gwathmey's design

Inside Architecture

sensi-

Gwathmey

since his student days are

combined with

:j:a:::3

many

of his

own

designs

the coffee

rabies, sofas, the

entertainment unit that separates the living area from

the library, the bed,
table,

all

the cabinets, the dining-room

even the dishes.

Gwathmey approached

this

interior design sculpturally, building out the walls in

order to carve into them tor the

Even the

ceiling

the walls appear thicker, you

sure," he explains.

"You

is

Add

window openings and

sculpted.

"By making

to the sense of enclo-

really are inside a sculpture.

in this

apartment without looking up."

These geometric forms, the curve of the ceiling, and the

window and
but

Characteristically,

the fireplace.

You cannot be

fireplace openings possess great

drama,

because they have meaning .\nd every detail

is

resolved, the apartment radiates great serenity. Bette-

Ann Gwathmey
within the

city.

describes their apartment as "a retreat

You

are surrounded by the view.

It is

at

once serene, romantic, and exciting." At night, when

the park

and reservoir are

surrounded by the

lost in

darkness and you are

city's glittering lights,

Charles

Gw

it

a t h m

is

magical.

The view from the

toward the

room shows

Above

the fireplace

is

a cast from

seating, signed pieces

Gwathmey

Zurich when he was a

a frieze designed by Louis

bought

Sullivan for the Garrick Theater.

Fulbright scholar living in

designed to store stereo equip-

Europe. The clock on the right

ment. The fireplace appears to be

lies

carved into the living room wall.

either side

living

entertainment unit

76

library looking

the

Gwathmey

Inside Architecture

rug designed by Josef Hoffman

front of the fireplace.

is

he Corbuster

To

in

is

late-nineteenth-century Viennese

secessionist.

The

gallery leading from the front

ilnnr to the living

on the

left

Albers't

series

room

is

lined

wall with Josef

Homage

and on

to rhe

Square

the right with a

Hoffman

screen

Japam

early-twentieth-century

se

is

.;

set of

Kabuki armor. The end

gallery

<

is

of the

punctuated by a

olumn, and the dropped ceding

collection of black-and-white

curves into the living room. The

photographs. The bench and the

door on the

mirrored screen were designed by

master bedroom.

right

opens into the

Josef Hoffman. Next to the

floor Plan

Charles

G w

a t h

e y

77

Gwathmey

says he designed the

entertainment unit to

show

thai

he eould do a deconstructivist

design. "It

is

my homage

Eisemnan," he

says, with

in cheek.

The unit

is

made from

beech, ebony, stainless steel,

lacquer.

and

The painting above the

to Peter

leather so/a

tongue

father,

is

by the

architect's

Robert Gwathmey.

//;

the dining room,

chairs,

Hoffman

which were Thonet

prototypes, surround a table

designed by Gwathmey. The

lighting fixture

was designed by

Andre'e Putman.

When an

addition to the Jewish

Museum

located across the street blocked

the view,

Gwathmey covered

windows

that

were on the

wall of the dining room.

the

right

He

created a clerestory n/ glass brick

to bring in daylight.

dining table are

On

the

Gwathmey

Siegel's candlesticks

and bowl,

designed for Swid Powell.

Gwathmey

designed the

counter stools as well as

>f

is

the kitchen cabinetry,

made

all

which

of cherry.

Charles Gwathmey

79

Gwathmey

created a vaulted

ceiling in the

bedroom. The bed,

covered by an Amish

design.

quilt, is his

painting by his father,

Robert Cwathmey, hangs

between the bedroom's two

windows, which overlook the

Central Park Reservoir. The

rocking chair

is

a Thonet

prototype.

The bedroom cabinetry was

designed by

Gwathmey

in bird's-

eye and solid maple. The door on

the

leads to

left

Gwathmey's

bathroom, which faces

his wife's

on the other side of the room.

~^*&&r

Right:

slides

overlooking the reservoir. The

and

bathroom

cabinetry

sink

placed in front

of the window.

an oval mirror

slides in front

the window.

is

glass panel with

When

of

the

window,

it

as a front for the medicine

Both master baths have windows

80

away from

toiletries cabinet.

is

made of bird's-eye

maple; the counter

is

onyx.

the panel

Inside Architecture

The

Charles

G w

a t h

e y

CHARLES MOORE
& ARTHUR. ANDERSSON
Collaborating with Joy

Moore Residence
We had the good fortune
Charles

Moore and photographing

his

of visiting

house

in

Austin,

Texas, just months before he died. Although his health

was

failing,

it

was so

him not

like

to turn

down

request for help and enlightenment, even at that time.

The house

now

is

being preserved as a historic

site

and

architectural study center.

tenured

"spread"

amazingly

his

Moore

peripatetic career, Charles

fruitful

and

held professorships at

and the

University of Texas at Austin. At each place he estab-

and designed a

lished a collaborative architecture office

house for himself, sometimes more than one. The

20 years of

his practice

were devoted primarily

first

to the

design of private residences. Since then he collaborated

on the design of
opments, but

libraries,

museums, and housing

his fascination

devel-

with houses remained con-

create

But

himself there.

for

oaks close to town.

house on

it

was

location

Its

Moore

not.

is

pleasant.

described

wood-floor cottage of

1936,

The

original

as "a rather

it

had been

that

enlarged in 1950 by an even nastier addition on concrete slab."

The "spread" he created from

beginning

in

is

many ways

unpromising

this

representative of his work.

Like the majority of both his written and built projects,

the Austin
effort.

with

compound was

the result of a collaborative

Richard Dodge and Arthur Andersson worked

Moore on

would remodel

the design.

They decided

the existing house for

a studio

and

assisted

Moore with

a smaller

that they

Moore and

build

who had

house for Andersson,

1984

the building of the

New

Orleans World's Fair and had moved to Austin to man-

stant.

The Place of Houses,

lished in

1974 and written

in

his

landmark book pub-

The

failure

cally habitable,

able

and

live

cally habitable,

to us to require

lives,

both the physi-

and

to

imaginations will transport

He was

inspired by his

old

photograph of

swimming pool

memory

of a long,

Colombo,

wagon entrance

in Salinas, California.

a specific sense of place.

structures

Moore designed
in

lured to Texas not only by a

Inside Architecture

a courtyard with a

far-reaching allusions, the project

the prime basis of architecture.

compound

was

Sherwood Ranch

and meta-

eight houses for himself, including this

Austin, Texas.

an

Establishing

In his personal quest for "habitation,"

the center

around

Sri

Lanka. The entrance to the courtyard was derived from

wherever our
us.

both architectural history and the

raised tank at Geoffrey Bawa's office in

the metaphori-

a territory for habitation, physical

is

in

where we can go beyond

where we actually are

phorical,

the buildings

where we can be comfort-

our

recall of

his

places he has visited. In Austin, the idea for grouping

of our surroundings to establish

a search for the habitable

office.

Moore's projects have been enriched by

remarkable

where and who we are seems

new

age Moore's

collaboration with Gerald

Allen and Donlyn Lyndon, says:

would

he

by envisioning the

also

sloping acre of property shaded by Spanish and post

the University of California at Berkeley, Yale University,

the University of California at Los Angeles,

but

"spreads" were elusive and he finally settled on a gentle

nasty

During the course of

professorship

las

three

The

was

the

Despite these

also

grounded

in

cluster of shed-roofed

buildings linked by covered pergo-

that surround a central court

recall the

batten farmhouses of the nearby Texas

Moreover, Moore

to

said,

board-and-

hill

awful as he thought

it

country.

was, he

felt

"a kind of archaeologist's morality about the exist-

ing house."

erasure."

He

He

described the remodeling as "selective

left

most of the windows

intact,

adding

one large one. A pitched roof was raised over the original

Hat roof, and the ceiling and most interior walls

were removed to reorder the interior space.

Moore wrote

in

designed for himself "have

modesty, and

my

in

all

the houses he

common

(beside their

residing in them)

and since there was no

is

grand gesture,

client to offend but myself, they

gave eight special chances to walk the thin edge of

dis-

aster."

According to Andersson, Moore's big gestures

"shape

an

space like environmental art." Texas required

especially

big

one that would

gesture,

include

Moore's house, the court, the studio, and Andersson's

house.

The

gesture

in

Austin

through Moore's house as

pleted

across

the

court

is

an

ellipse that

curved wall and

with

the

fireplace

extends
is

com-

wall

of

Andersson's house.

The foreword
to create a

make

place that

with your dreams to

life

uniquely your own."

is

Moore's

houses are distinguished by the joy with which he carried

out those words.

objects

lected

Austin,

an essay entitled "The Yin, the

Yang and the Three Bears," that what

goods and trappings of your

when

door (found
they see that

He

typically

little

inside

monetary value.
the Viennese

local architectural

Moore

trappings" of his

of

step

visitors
in

traveled extensively and col-

has

life

In

front

fragments shop),

bound together

the

with the panache of

"goods and
maestro. In

the entry corridor, miniature Italian villages

sit

across

from Mexican birdcages beneath shelves that hold toys

and objects from several continents. The curve of the

ellipse

extends through the entry

hall,

swings around to

provide a partition between the dining area and the

kitchen,

and continues

as the fireplace wall in the living

room. This strong geometric gesture orders

intensely

polychromed pattern of

objects:

baroque,
shields,

and birdcages inhabited

by-

ceramic painted birds. These objects are merrily

set

books,

toys,

sculpture,

against walls painted with vibrant blues and corals.

to

The Place of Houses advises that

house of great worth, "you bind together the

These colors were inspired by the oriental rug, which

lies

Charles Mo or

between the leather sofas

in

the living room.

and Arthur Andersson

83

Right:
Moore found

the English dining

an antique shop

table in

Angeles. "Gazing

scene,

he said,

"

in

Los

down on

the

my

"is

"

great-grandmother.

great-

Spanish

chandelier hangs above the

dining-room

Simple wicker

table.

chairs at the table contrast with

the chairs

made of horns and

cowhides around a small table

front of the kitchen.

found these chairs

Texas.

in

Moore

in Castroville,

Along the wall that Moore

says "ventures into

my

house

along the planned oval" are

painted shields designed by

students in one of his architecture

studios.

Each one has a big

kachina in the middle and a

This view of the entry looks

Across from the windows,

toward the carved-wood Viennese

between

in

mask overhead; most of them

pilasters, are

bookshelves
are

front door. Along the

seat are

window

and

Mexican birdcages

miniature Italian villages and

inhabited by painted ceramic

birds.

and

Plexiglas boxes that contain

collections of bronze buildings.

The shelf above holds toys

objects collected by

Moore

in

China, Chile, and Great Britain.

Inside Architecture

from Mexico.

(#

Moore painted

fireplace

tile.

ami /anus we

the original

and decorated

it

with

"The mantelpiece," he

said,

"inhabited by an assortment of

angels,

was made by irthur

Andersson out

<>/

cheap

museum

hoard. After getting the shapes

Inside Architecture

we

desired,

table.

Beneath

its

glass top

intended to render them

in

painted lake scene with a

plywood. Even though

am

village

'leased with the

way

the

trees look, this has not

yet.

"

palm

happened

Tiro leather sofas face one

another across a large coffee

turtles,

.1

little

populated with ducks,

and toy

made from an
on

is

soldiers.

A lamp

old glass jug

sits

painted red chest that Moore

brought back from China.

/;/.-;/

across from the fireplace,

three steps

room,

is

up from the

drenched

a sitting area

with sunshine from the

window
more

living

the house.

A<

rom

there

steps lead to a sleeping loft.

The Adirondack chair was

designed by Moore.

that he

my own
and

.1

He explained

"updated the

classic

with

shapes, aide armrests,

soft purple eo.it of paint

with orange and red patterns

ne.tr the tnf>. " Shelves

near the

top of the

room hold

enormous

collection of

part of Ins

wooden

animals. Most of them originate

from Central and South America.

Charles Moore and Arthur Andersson

Opposite:
The design for the gate

compound was

to the

inspired by a

photograph by Roger Sturtevant

of a wagon entrance to the

Sherwood Ranch

in Salinas,

California.

Andersson designed

the mirror

framed

painted

wood as

in tin

a birthday

surprise for Charles

1992.

It

pool.

Moore painted

the original

concrete floor with a pattern of

circles

within squares, covered

fust inside the front door, a flight

of Cape

attic

bedroom and

study.

Windows open one

make

entry corridor to the view of the

it

shine. This detail

shows

on top of

low bookcase form a long

window

Inside Architecture

side of the

court. Colorful pillows

leads up to the

with several coats of acrylic to

the floor in the entry corridor.

Cod steps

bench.

Moore

in

hangs above the entry

gate. Steps lead

court,

and

which

is

down

to the

bisected by a lap

DIM

"1

T
,;!

CHARLES MOORE
& ARTHUR.ANDERS SON
Collaborating with Joy

Andersson Residence

Although the exterior design

wall completes the oval of the wall in Moore's house.

Moore's house, the simi-

The

shelves

ends when you step inside the door. "I would not

cliff

dwellings of the

Andersson's house
larity

of

similar to

is

be comfortable living with the level of intensity

Andersson

Charles's house,"

For so young an

says.

was only 25

(Andersson

architect

in

at

time

the

he

designed the house) he maintained an extraordinary

He was

discipline.

determined not to overload the 770-

in

library,

Styrofoam wall that

room

into living

a freestanding

open from waist height

is

thick, richly carved lintel

the

room with

topped by an oculus.

It

to a

divides

and study/dining areas without a

it is

who would

aggrandize

chapel with an overscaled canopy.

San Carlo

cloister at

Borromini

in

Rome

alle

also

small

relatively

The door

to the

Quattro Fontane by Francesco

was an

inspiration.

ness of things disappeared with the

"The

thick-

modern move-

ment," Andersson says. "The classical idiom has withstood the

test

of time, but

and arches, and

it

it is

not just about pediments

does not have energy

when

it

is

thoughtlessly reproduced."

Andersson ordered the long room with

of

windows on one

90

side.

On

cadence

the other side an arched

Inside Architecture

bedroom. He

seen

smaller than usual.

beige with color

is

very serene, mostly white and

coming from the wall of books and

softly patterned geometric design painted

Although

his interior

wry humor

architect

the opening to the

The small house

the wall seems to enlarge the space, an idea Andersson

the Italian Renaissance

at

Irish

from across the room, the doorway seems more distant

to Moore's,

Donato Bramante,

extensive

enlarged the space by playing with the scale

complete visual interruption. The exaggerated scale of

credits to

his

only 6 feet 3 inches high. Here again, he has visu-

because

partitioned the long

which holds

explains that because people were smaller then, the por-

ally

He

towns along the Ganges River

penetrated by openings to the kitchen and

is

Georgian door

foot trailer with high ceilings." Instead he limited him-

small space.

hill

he says, were inspired by the

bedroom. Andersson placed an eighteenth-century

tal is

few bold strokes that enliven and enhance the

this wall,

India. This thick wall,

square-foot house, which he describes as a "24-by-36-

self to a

on

bookcases

Spartan

Andersson has introduced

in

hold

black-and-white

men from Texas

own man, Andersson

floor.

comparison

his characteristic

above the

into the house. Wall brackets

tographs of great
nitely his

may seem

on the

cutouts
history.

pho-

of

While

has, like his

defi-

mentor

Charles Moore, enhanced his surroundings with

joy.

Arthur Andersson's

set

by

room

on the diagonal and

ti

divider,

/<>/>/i<\/

Styrofoam entablature,

frames the door to the bedroom

as seen

from

the living area. Just

helwid the room divider

is

Mexican

table that serves as a

London. Giovanni

dak and

dining table. The

Rome, which Andersson

fireplace (stove)

if

manufactured

by Rais-Wittus. The two 1920s

chairs thai

room

sit

in front of the

divider were found in

mounted on foam

far wall.

Nolli's plan

core,

of

with

.;

/;//

of local lore

cutouts of black-and-white

is

He hand-painted

Texan heroes on

on the

photographs

the

brackets above the bookcases,

<>/

canvas curtains. Andersson has

combined

classical

by placing

vocabulary

CHARLts Moore and Arthur Andersson

91

Plan of Studio

Antique brackets from Barcelona

are

mounted

to the heraldic arch

on the side facing the

Andersson paneled

his

bathroom

walls with standing-seam

glass

door on the

left

the shower, the door

to the toilet.

Pu

Inside Architecture

tin.

The

opens to

on the

right

table.

I^^jm

An

eighteenth-century Irish door

that

Andersson found

opens to the bedroom.

is

in

Dallas

On

the

left

an Indian shutter from Delhi.

Venetian blinds control the light

from

tall

windows behind

bed, which

is

the

covered with a

simple white blanket.

Charles Moore and Arthur Andersson

93

FREDERIC SCHWARTZ

Fusing Color and Pattern

The moment you step into

Manhattan apartment, you know you have entered

this

a place different

Dubbed

enced.

from any other that you have experi"the Hall of the Giant Rose" by

Schwartz Architects

in

New

its

partner in Anderson/

Frederic Schwartz, a

designer,

York

City, the foyer sets the

tone for the rest of the apartment.

its

the foyer of

The

chairs that line

walls hint at the major collection of twentieth-century

that

furniture

Central Park.

the

fills

The

spacious rooms

stenciled

who

working

Venturi and Scott Brown's house while

He went on

for them.

to

of the firm and then to head their

become an

associate

New

office. In

partner,

Ross Anderson, are collaborating with Venturi

and Scott Brown on the design

for the Staten Island

Ferry Terminal and a capitol building in southwest

France.

Many

architects, confronted with a collection of

and decorative

furniture

arts

that extends

flowers refers to the apartment's view of Central Park

Bauhaus to postmodernism, from De

and the patterns of furniture and objects

might have opted to place

tion.

The Hall of the Giant Rose

is

in the collec-

a prelude to the con-

versation that Schwartz has developed between this collection of twentieth-century furniture
arts

and decorative

and the architecture of the apartment.

The owner, Andrew Cogan,

of marketing for Knoll

International,

introduction to twentieth-century design.

who was

of Marshall Cogan,

had an early

He

collection

a chair designed

now

Andrew

by Charles Eames. His

includes twentieth-century classics by

modern masters such

as

Frank Lloyd Wright, Marcel

Breuer, Gerrit Rietveld, Charles Eames, Alvar Aalto,

Ettore Sottsass, Isamu Noguchi,

Ludwig Mies van der

Rohe, Robert Venturi, and Frank Gehry, as well as car-

and

pets, furniture,

for the

lighting fixtures custom-designed

Cogan and Schwartz met when Schwartz was

on Knoll's collection of Venturi

the

Memphis,

museum-quality

collec-

unadorned white walls

"A good

however, points out that:

not combine."

He

designer must see

and combine things others would

set

about orchestrating

a retinue of

craftspeople and artisans to create a setting for the collection that

He

would

first

vibrate with color

completed

restoring and,

when

and

pattern.

of the rooms,

a renovation

necessary, re-creating moldings,

mantels, and cornices to reinforce the apartment's traditional quality.

To

create an eat-in kitchen, a practical

solution for Cogan's on-the-run

life,

Schwartz com-

bined several small maids' rooms with the existing

kitchen.
that
after

With the addition of an adjacent apartment

had fortuitously become

Cogan moved

into

entrance hall was doubled

apartment by Schwartz.

to

Stijl

from the

with track lighting, to spotlight the objects. Schwartz,

and chief

the chairman

executive officer of Knoll. At the age of 15,

Cogan bought

the son

is

this

tion in a gallerylike setting of

things other don't see

senior vice president

York

addition to their independent projects, Schwartz and his

overlooking

background of overscaled

in

live

room and

a sitting

the

available, several years

prewar building, the

in size,

and

a separate dining

room were added. For

the

most

part,

chairs.

Schwartz retained the apartment's traditional layout

on some of the prototype

and room proportions. However, he eliminated the

Knoll chairs in Cogan's collection was adapted by

doors between the more public rooms to provide a

project director

The "Grandmother"

Robert Venturi from

grandmother.

Joseph

in

Denise

Scott

as his great mentors.

what has become

94

a tablecloth

owned by

Schwartz's

Schwartz counts Venturi, along with

Esherick,

Buchsbaum,

pattern

Brown, and Alan

Schwartz was the

a tradition of

glimpse of the collection

in

adjoining rooms and a visual

layering of colors and patterns.

Thus from the

living

room you can

see the giant

first

roses stenciled in the hall, as well as the patterns of the

young apprentices

leaded-glass doors Schwartz designed to separate the

Inside Architecture

living

room from

patterns

in

is

bedroom. The colors and

the doors refer to the

and Sottsass. Just

room

the master

down

work

of both Wright

the hall from the master bed-

the library, with stenciling inspired by both

Mondrian and

Invisible Cities,

from

Italo

Calvino's

book

and
after

in

red paint on the walls of the living

eat-in kitchen.

Schwartz had designed

in

the

room

By an almost magical serendipity,

that abstracts the plan of

sage

find,

book about

city,

concealed

story of his

life,

background

which Cogan and Schwartz faxed to

one another during the course of the renovation, are

reproduced

image of the

rug for the living

room

Manhattan, they found a pas-

a carpet that

with pattern and

color represents a city: "Every inhabitant of Eudoxia

immobile order with

carpet's

his

own

an anguish of his own, and each can

among

the arabesques, an answer, the

the twists of fate." These words, repro-

duced on one of the

Rietveld.

passages

Poetic

compares the

living

for the rug

room's walls, form

a striking

Schwartz designed.

Just as each of the cities described in Calvino's

book has
the

its

own

story, so

do Schwartz's

same time he was working on

designed a
white.

loft that is

do not

style," he says.

"sleek

kinds of places, and

experience working

it

apartment, he

and modern,

believe that there

"There are

this

all

is

ail

black and

only one acceptable

kinds of people and

makes an

in a variety

projects. At

all

architect richer to

of ways."

Frederic Schwartz

95

Opposite:
just inside the front door, visitors

are greeted by the Hall of the

Giant Rose. The stenciled walls,

designed by Schwartz and

painted by Braby

form a

lively

& Strackbein,

background for part

of the owner's major collection of

classic twentieth-century chairs.

The

chairs in the foyer, clockwise

from

left:

chair

and

stool

designed by Wright for the Trier

house;

c.

950 prototype painted

tubular chair by Mies van der

Rohe

at a table designed

by

Gehry; wooden lounge chair

designed by Eames in

chairs designed

946; two

by Ventun

in

1984 for Knoll International;

chair designed by Gehry, called

High

Sticking.

The wall sconces

by Ventun and the rug by

Schwartz were custom-designed

for the apartment

was enlarged.

Floor Plan

96

Inside Architecture

when

the foyer

JJJJ

'

In the living

windows

room,

light

that overlook Central

quotation from Calvino's Invisible

designed by Schwartz was

it is

called

New

d a

ns are
r.

Eu do

xi
"-ics|

p syou
u

^vedr

ira

V>ng,the]
amD
Vlde nt in
the inc
,Utthe rp
etpr(

hows
:h eme
is

mp

easy tu

Vo

o|lo

the,rtru

*ed

olo

rk

d inthe
,

"* * what
is
11

J
ou grasp;

,intfr

its

m which

geometrical
1
i

you were seekino

Aabtam

J^-do ^s

wsssffljiiM"
^ncentrate and ,||ggjKEal h ^
:rcet

-"t

icit

^*

you

u reco ni:e
the

of Eudoxia compares the

carpet Mmmob7
own image of the city, an anguish of

fder with his

md

each can find, concealed am- mg

rabesques, an answer, the

t

York,

York and was fabricated by

le

Armchair stands

plan of Manhattan and celebrate

t\?

if

base by

Wright. Gehry's Experimental

the fireplace.

" n thi

llv

wood

was designed by

Noguchi; chairs below a

irst

ut

masters include a glass coffee

the fireplace

Schwartz designed to abstract the

*. int

modem

table with

New

8n of

V'Soske. Furnishings by

Park pours across the rug

the park;

"

from the

stor) ol his

life,

the

the twists

fate,
Italo Calvino, Invisible Cities, pg.

Cities

were both designed by

Rietveld; the chair to the left of

to the right

The

light

sconce

fabricated by (Art + Light)

Lehr Company.

of

fire screen, called

Symbols of

the Universe, with His

and Hers

andirons designed by Schwartz

and fabricated by Solebury Forge,

contrast with the original

fireplace

mantel that iras restored

and painted

white.

On

the

mantel, a model of a Rietveld

chair stands next to a painting by

loan Nelson.

Frederic Schwartz

99

b\ Nancy Howell Studio. The

diinyi in patterns inspired

vibrant colors are echoed in the

classic steel-and-glass coffee table

Rolling Thunder multicore rolling

by Florence Knoll

television stand designed by

rase designed by

by

Wright and Sottsass to separate

the master

100

On

Schwartz designed leaded-glass

bedroom from

the

living

room. The doors, named

Schwartz and fabricated by A.

Right

and Wrong, were fabricated

Leinoff Woodworking. The red

Inside Architecture

eking chair

is

by Eames.

is

the

Memphis

Marco Zamni.

Iii

Venturi designed the side table.

the eat-in kitchen, chairs

designed by Venturi and a

bond

tubular metal chair by Mies ran

tion

der

Robe

encircle the Point

slab dining table designed

and

by

and conversa-

for thought

is

provided by a cornice

red letters spelling Out the

quotation from

alvino's

Schwartz ami fabricated by

Invisible Cities. "Cities, like

A. Leinofl Woodworking.

dreams, are

The Skyscraper

fears,

chair, also called

of

even

made

if

of desires

and

the thread of their

the Liberty chair, designed by

discourse

Schwartz and fabricated by

are absurd, their perspectives

Tansunya, presides

earner

in a

sitting

room's bold color

scheme was inspired by

secret, their rules

and everything com

something

next la glass shelves.

The

deceitful,

is

eals

else."

pillows covered

fabric

by

The

new

dining

room has

on one side and

Salvador Dab. The black chair

uf

by Bruce Roblnns.

on the

left

was designed b\

opens to the Hall

The rug, called Pencil Points.

Aalto.

and

the

was fabricated by V'Soske and

on the

right

designed by Alan Huchsbaitm.

coffee table

a painting

inkage,

plywood

by Gehry;

is

by

chair

tin

antes.

entral Park

Rose on the

chairs, in

a view

of the

Giant

other. Venturis

"Grandmother" ami

"Paola Navona

"

surround the round dining

also designed by Venturi.

The apartment's original

fireplace

wooden

was stripped and

restored to the natural wood.

patterns.

The bright yellow daybed,

designed by Jasper Morris, has

table,

Frederic Schwartz

GISUE HARIRI
& MOJGAN HARIRI
Pushing the Edge

The publication
in this loft

of

New

ofthe striking

launched Hariri

York

&

steel staircase

Hariri into the limelight

City's avant-garde design scene.

somely crafted, ingenious solution to

hand-

complex prob-

mal entertaining, and with

play her art collection, they kept the lower floor fairly

open: organizing the space around two parallel walls

the fireplace wall

lem, the staircase remains representative of the firm's

two oversized

work.

ing

"The excitement

who

Gisue Hariri,

own New York

in

is

with her

The Iranian-born

designs of their

The

interest

started their

sisters

came

to the United

materials,

well in the harsh climate of southern

them and convey

the sisters carry with

When

in

all

kitchen

memories

in their designs.

1987 Kathleen Schneider asked Hariri &c

York

SoHo

City's

neighbor-

hood, the young architects had almost no built projects

to

show

came

She decided to hire them anyway. They

her.

recommended by

highly

design community, and Schneider,

Museum

the Children's

in

Manhattan's

friends in

who

is

SoHo and an

the director of
artist herself,

says she "liked their energy." She does not regret her

"The

decision.
says. "It

is

large

intention

partially renovated.

open spaces

formerly

of this

she

was

client,"

district

The high

ceilings

remained.

"Our

to keep the character of the existing loft

it

Hariri

explains.

To

satisfy

Schneider's request for an open space suitable for infor-

ioz

Inside Architecture

bar that partially

attractive focal

solution for this floor

the

resolution of the vertical circulation in the loft posed a

challenge.

Schneider was determined to have her bedroom

on the top

floor

"up among the clouds," and the

tects realized that

it

would be necessary

existing spiral staircase that,

rotations

and open

were to create

its

to spare

if

bedroom and bath on

the

that

they were not able to expand the existing

level,

larger staircase. "After

"we came up with

partially spiral.

many

a hybrid stair, partially straight

The two

logarithmic spiral."
artists

accommodate

It

attempts," Gisue explains,

stairs are structurally

dent but joined by a single sheet of

by

to replace the

grating, vibrated to a frightening

5-by-5-foot opening in the ceiling to

site

archi-

due to the number of

was almost no room

degree. Since there

steel,

indepen-

curving in a

was welded and molded on

Dan George and Mark

and

the

Gibian. Welding

the steel eliminated the need for bolts and provided a

the staircase, one

is

Moving up and down

simultaneously inside and outside

the single sheet of cold-rolled steel.

end

in the

stools,

stair railings

design of the pendant light fixtures and bar

produced by sculptor Scott R. Madison.

The color
design.

the

The

in a circular pattern of rings that the architects also

used

to develop a habitable space for

Mojgan

The

continuous, sculptural surface.

typical of the cast-iron buildings

industrial

while transforming

our

artistic,"

the Hariris took on the design, the space

had already been

and

both livable and

is

comfort to come home."

When

loft

was straightforward and immediately apparent, but

second

New

liv-

architects left the existing

and provides an

point for the living room.

bought

buildings found in

The

and designed

screens the workspace

architects

one of the late-nineteenth-century cast-iron

a freestanding plaster wall with

a study.

place

in

Hariri to renovate a duplex, penthouse loft she had

in

and

steel-and-glass doors, that divides the

room from

influence.

site-oriented

and the tradition of craftsmanship are

Iran,

1986,

but the buildings and

contrasting

work

in

their studies at

homeland have remained an

in

buildings that

Mojgan

completed

study architecture,

to

States

sister

City-based architectural firm

just three years after they

Cornell.

pushing the edge," says

sufficient wall space to dis-

blue,

which Schneider

The color appears

wooden

in the

loves, unifies the

marble counter and on

floors, stained in light blue-gray.

Deep blue

covers the library walls; the doors are stained steel-blue;

appears on the walls of the master bedroom.

soft blue

In the spring,

wood

trellis in

blue canopy.

when

the wisteria planted

the roof garden blooms,

it

on the cedar

forms a buoyant
sun deck

spiral stair leads to a private

beneath the blue sky.

The

Hariris often design lighting and furnishings

for the interiors of their projects,

designs

are

being

and some of these

manufactured and are available

through George Kovacs. Their work has increasingly

gained recognition for
steel,

its

use of tough materials such as

aluminum, wire mesh, and sandblasted

unusual and poetic ways. "I hope

fortable with a

known

we

glass in

never get too com-

material or design element,"

Gisue says. They continue to push the edge.

Gisue Hariri and Mojgan Hariri

Upper Floor Plan

Lower Floor Plan

Stair

104

Drawing

Inside Architecture

The

loft's brilliant

staircase

was

designed by the Hariris and was

pendant

welded and molded on

by sculptor Scott

sculptors

site

by

Mark Gibian and Dan

echo the pattern of rings at the

George. The bar stools and

light fixtures,

R.

produced

ends of the staircase railing.

Madison,

were designed by the architects

to

Gisue Hariri and Mojgan Hariri

105

Ill

a masterly juxtaposition of

materials, the architects

had

fireplace wall treated with

the

hand-

rough texture accented by a linear

marble mantel and a punched-in

log box.

troweled stucco to produce a

o 6

Inside Architecture

The kitchen

bar,

mahogany and

with a blue marble counter and

brushed-steel support, illustrates the

Hariris' ability to juxtapose materials in

and unexpected

handsome

designs.

Gisue Hariri and Mojgan Hariri

107

Steel-framed glass doors designed

Right:

by the architects lead from the

The

master bedroom to the roof

garden with a rose arbor and

garden. The heating unit to the

wisteria

of the doors was imported

left

from Switzerland.

The

mirror, the steel-framed,

sandblasted glass window, and

the vanity with blue marble

countertop in the master

bathroom were

all

designed by

Hariri

& Hariri.

Hariri

& Hariri designed the bed

and

the cabinetry in the master

bedroom using ashwood

treated

with white pigment and finished

with lacquer. The plaster walls

are colored with blue pigment.

o 8

Inside Architecture

architects

wood.

trellis

framed the roof

made of cedar-

8**'.

x - -v

'>

BUZZ YUDELL

Inhabiting a Landscape

BUZZ YUDELL AND TlNA BEEBE'S HOUSE

in

Malibu

is

as tightly

woven

foliage in a medieval tapestry.

into the landscape as the

It is lit

by California sun-

Moore

established that, in a

living legacy to him, continue to

produce houses that

several collaborative firms

celebrate

Yudell

habitation.

shine and enhanced by the views and scents of the gar-

worked independently

dens they have cultivated surrounding the house, as

through him.

well as the

more

distant outlooks

the north and the Pacific

rooms

are

endowed with

Ocean
as

the Malibu

to the south.

much comfort

hills

as the stucco-

enclosed rooms of their remarkable house.

1976, the couple answered the

In

mentor, Charles Moore, to

move from

call

of their

the East to

southern California, where Yudell became a partner

the

new

110

firm,

Moore Ruble

Yudell.

It

in

remains one of

Inside Architecture

Moore

before

they

Yudell began his studies at Yale just as

to

Outdoor

for

and Beebe had both

met

Moore

arrived at the university to serve as the dean of architecture. "Charles

was

a whimsical radical," Yudell says.

"He was

like a fresh breeze

clear that

we were

and

his

clients,

in.

He made

it

designing places for people." That,

method of working
were

sweeping

in

collaboration with his

at the time revolutionary ideas. Beebe, a

Yale-trained graphic designer,

now works

for

Moore

Ruble Yudell as a color consultant and landscape

distant view of the Pacific.

designer.

front door leads

When
lived

in

the couple

first

moved

to California, they

600-square-foot remodeled bungalow and

dreamed of building

a courtyard

house near the beach.

for property they could

They searched along the coast

no one

afford, finally finding a long, skinny lot;

ously had

known what

do with

to

it.

The

site,

library.

feet

staircase to the left of the

up to a hallway that doubles

The master

as a

with a sleeping porch that

suite,

overlooks the view toward the Pacific, occupies one

wing

off the hall. Beebe's

and Yudell's studies are on the

opposite side.

"The house does not have

previ-

100

tional plan,"

the tyranny of a tradi-

Yudell says. Rather, they have created

side by a

places that through their character create possibilities,

dry riverbed and on the other by a neighbor's stables.

and because many of the rooms open to one another,

wide and 600

was bordered on one

feet long,

Restrictions required a 50-foot clearance

the riverbed

and 18

on the other

feet

The buildable portion of

600

feet

long by 32

feet

on the

side of

side for a fire lane.

the property

was

therefore

wide. Real estate agents called

the property "distressed," but Yudell

and Beebe saw

bucolic land that stretched along a gentle slope from the

federally protected hills
Pacific

Ocean on

lized the couple's

"We
als,

proportions,

how

they wanted to live crystal-

recalls, "it

light,

felt

good

in.

had to do with materi-

space, and connection with the

living

room, but

is,

for example,

a variety of places to dine.

Depending on the weather and number of people, meals

are taken in the kitchen, living

room, or one of the

many outdoor rooms; when

is

of the

rooms

both

inside

The furnishing of
oration

memories of houses they

found," Yudell

no formal

on the north to the view of the

the south.

Thinking about

the plan allows for great flexibility. There

there

and out

the house

a process, like the

a large party,

are used

many

for dining.

an ongoing collab-

is

gardens Beebe has planted.

She has incorporated some things from her grandparents' house that she finds "comforting," whereas

Buzz prefers contemporary designs.

rooms have an outdoor extension so

Almost

all

the

that the landscape

landscape. Shaping places for habitation and connec-

becomes part of the decoration. Beebe, an avid gardener

tion to the land takes precedence over the expression of

and accomplished cook,

the object alone." Yudell

site,

and Beebe thought of

their

former tomato farm, as having an essentially

agricultural quality, so their design adapts the simple

forms of farmhouses they admired

southern European countries.

and economical way to

It is

in

California and

both an appropriate

the strong axes of the site

by running a long gallery, wide enough for additional

seating, along

one side of the generously proportioned

main rooms of the house:

living/dining

paved

bouquets of flowers. Baskets of

soon make

room and

the firm's work.

way

into aromatic pots in the kitchen.

the slope past a series of

trellises,

and

a rose court.

the lowest level, a blue lap pool stretches

It

Under her

delineates proportions, creates tonal

sequences, and imparts

plasterers,

they

pergolas,

their

architecture and can influence the palette."

room. French doors open the gallery to a

garden rooms

and vegetables

"Gardens," Beebe says, "are a natural extension of

they

a kitchen/sitting

down

fruit

sumptuous

picked from the gardens and orchards she cultivates

street that steps

the house with

guidance, color has become an important dimension of

build.

The design emphasizes

fills

Beebe worked with the

mixing the colors on the

would look
dried.

reflect the

light.

The

site

and

testing

in the location's particular light

resulting

walls

glow of the California

how

when

seem to constantly
sunset.

On

toward the

Buzz Yudell

iii

Left:
Percy laps up the California

sunshine in a gallery paved

in

Vicenza limestone that runs the

length of the house. Just to the

left

of the entrance, a staircase

leads

up

made

the

to the library. Yudell

parchment sconces

light the first

Thanksgiving

to

Day

dinner held at the house.

Opposite:
The
7

<?

"

"'

gallery steps lead

down from

--.,

the entry court past the living

K^ace^

spaces.

IP

Lounge

chairs designed

by Mario

Bellini provide

additional seating.

pair of

antique Japanese rice pots stand

on either side of the French

doors.

basket of lemons picked

from the garden

sits at

entrance to the kitchen.

CrounrJ Floor Plan

I

PwklafCMH
I

,..

..,,

Ground Floor Plan

Second Floor Pla

Site

Olive Grove

Pool
Pool Courl
Pergola
Rose Courl

3
4
5

House

Entry Court
Parking Court
Studio/Guest

9
II)

Site

Plan

Plan

Citrus Orchard

the

At one end of the

living

room, an

English walnut tilt-top table

serves for dining

and

reading.

parents.

The

designed by

It

mantel

is

leather chairs are

Bellini.

On

the

a small painting by

stands on a Caucasian rug that

D. E. May. To either side of the

belonged to Beebe's grand-

fireplace, the

room opens

to the

adjacent kitchen. Beebe mixed

wall colors into the wet plaster as

it

was

applied.

A hallway

leading to the master

bedroom doubles

as a library.

overlooks the gallery on the

floor.

cozy reading corner

It

first

is

decorated with a chair designed

by Angclo Donghia and a table

by Stephen

The limestone

Sidelinger.

staircase lipids

*e#r
down from

gallery.

It is

*** *r
*** w[]
*****
ww

the upper level to the

decorated with

bouquets of garden flowers, a

mirror and painted bird from

>
Mexico, and a photograph

Colored

Site

Plan

<>/

Tibet taken by Spencer Keebe.

Axonometric

BUZZ YUDELL

IIS

At one end

of the kitchen/sitting

room, an integral-colored plaster

fireplace

simple

is

ornamented by

wooden mantel and

verdigris brass trim at the hearth

opening.

On

the mantel, Japanese

sake cups stand alongside garden

flowers.

In the kitchen, a French cherry

table holds old roses, lemons,

limes, quinces,

and tomatoes

from the garden. Small

paintings of a walnut

still-life

and a

cherry to either side of the door

are by Sally Haley. Dishes

inherited

from family and

collected in travels are displayed

on open

shelves.

I
i

A French fruitwood

table

dining.

The counter and

sink,

Open

shelves hold collections of

surrounded by wicker armchairs

used for arranging flowers,

antique plates, tureens, and rases,

provides an area lor informal

double OS a bar for entertaining.

mixed with new

acquisitions.

BUZZ YUDELL

II-

In the master bath, roses

anemones from

and

the garden are set

against the watery

glow of

integral-colored plaster

tile

by

slate

Beebe decorated the table

with potato stamps.

toward the

the

Pacific.

bedroom are

At one end of

a chaise

and

chair that belonged to Beebe's

great-grandmother. The rug

Caucasian.

to a

shaded sleeping porch that looks

Barbara Bead and a celadon

floor.

The master bedroom opens

Inside Architecture

is

"

//;

idic of the

outdoor rooms

Mexican hammocks are

suspended under a

arcade. Poppies

trellised

grow between

the paving stones.

house wonderful feng shut.

and

the water in front, especially

with the

the

I'niil

says. "It helps collect the

between you and

marc datum

spirits

water, give the

BUZZ

and

/<iul the

they cannot vet

YU D

E L L

in.

119

"

Tina

good

had ones so

MICHAEL RUBIN
Designing for Change

"Architecture must stand

lot of tests; unless

end up

had

to

like the

change

it is

up

and adaptable,

flexible

diet,"

could

it

when

dinosaur that became extinct

its

to a

it

Michael Rubin says. His con-

viction that a well-designed space should be adaptable

proved successful both

to different circumstances has

his designs for stores in

and

changing,

Manhattan
for a

always

is

decade-long adaptation

his

in

which merchandise

in

of

home

industrial space into a comfortable

family.

When

Kiki Boucher and

Aaron Shipper bought

the loft as newlyweds, they intended to convert the

They chose

home

York

downtown even though

industrial at the time

liked the idea of living

the area

(now

was almost

boasts a

it

boutiques and restaurants), but they

time and a good architect to

raw

cats.

Greenwich Village and

They

City.

two

their

had once been a

a floor in a building that

New

in

and

for themselves

printing plant, located between

Chelsea

make

number

knew
a

entirely

of chic

want

Rubin

is

corridor to the living

architecture, dining

rooms were

shell intact

columns,

wood and

like screens

was used

for the floors of the entry, kitchen, dining

room, and bathroom. "The training

als

received

"And we

working

in

in

building materi-

Louis Kahn's office has stuck

with me," he says. "But this was the

didn't

its

industrial

framework

Work proceeded

style in six

ment was completed, and

how

have to

lofts.

a lack of pretense,"

is

impression of Rubin's work.

in this space,

biggest concern

moved

a partner in the graphic design firm

style.

later

was how

alter the design to

Boucher was pregnant.

to

tell

Michael he would

accommodate

three sides.

120

"Once

made

feet

left

child

was expected, Rubin

room

to

with the chal-

Rubin devised

with windows around

the decision to place the

Inside Architecture

later,

He

room

when

sim-

into a

second

cut off part of the living

form another small bedroom.

Over the

loft)

the baby,"

Shipper says. "But Michael never lost his smile.

was

After excess space (about a third of the

empty square

Drake

Rubin had

into their perfectly

shipshape nursery." Five years

Boucher, a Parisian by birth

To

due course, Shipper,

in

ocean

lenge of 2,300

per-

in stages. First the rental apart-

"Our

was

and the new walls green.

gim-

partitioned off for rental, Rubin

time

first

the original exterior walls and columns painted white

"No

office in

Boucher, has a finely honed sense of

pale

between the rooms. Tennessee pink marble

ply converted the study next to the living

now

in

translucent glass for furniture and for shoji-

Moreover, one of the projects reminded him of the

and

up

Then, to

"tame" the space, he used elegant materials

planned space. Six months

liners his wife loves.

and

Rubin kept the

ceiling, exterior walls.

York

first

traditionally set

retain the character of the loft,

New

Shipper sums up his

side

hallways," Rubin notes.

Boucher, and the two cats

wood and

room on one

heighten the contrast between the domestic apartment

recalls.

own

both dining

master suite on the other. "In Renaissance and baroque

their

his

is

out of that

City and had already designed several

micks, lots of

area adjoining the kitchen

work and knew he had found

head of

large, generously

home

months." After interviewing half a dozen architects,

Shipper saw Rubin's

building

little

sonally explored such a rich palette of materials."

would be out of

a trendy design that

architect.

room and

and covered with

roof, resembles a separate

inserted under the taller loft ceiling.

windowed

into place," he

would take

to keep the feeling of the loft but

comfortable," Shipper

kitchen, enclosed in birch

own domed

and

"We wanted
it

its

The

fell

it

space.

make

recalls.

To

young

space into a

kitchen in the middle, everything else

years, both the space

for

family members'

it

and the furniture

have adjusted to changes

lives.

Now

Philip

in the

Shipper likes to

pedal his pint-size silver Mercedes around and around

the kitchen, closely followed by his

younger brother,

design adapts to having 40 kids running around.

Alexander, on his red tricycle. To these children,

home

group

one big piazza. "There arc enough restrictions

in life

becomes magical.

is

without

being

believes. After
there,

restricted

at

home,"

their

like that

changes the scale of things; the space

It's

like visiting

Oz."

mother

having attended several birthday parties

Rubin comments

"It's

wonderful to see

how

the

Michael Rubin

iii

The living-room pocket doors

open to the dining room and the

corridor that leads to the master

bedroom. The V'Soske rug

living

in the

room was designed by

Charles Givathmey.

sized chair

owners

One

was found by

in Paris, the

child-

the

other

Arizona.

Opposite:
Broad openings provide an

expansive spatial flow. With

pocket doors open, you can see

from the

living

room, over the

Axonometric
breakfast table, to the master

bedroom.

122

Inside Architecture

Rubin designed the large square

needed for large

dining table on casters so

from V'Soske was designed by

Mouille; the Larsen

Anthony Ames;

are from Jack Lenor Larsen.

be pulled aside

it

when space

can

is

parties.

The rug

the floor lamps

from Delorenzo are by Serge

Loom

chairs

ookittg

Ot/et

and across

the kitchen counter

the dining table,

you

can see through the south-facing

windows. The

the

left

shoji screens

on

close oft the master

bedroom.

The kitchen, seen here from

across the dining table,

Irom birch and has

its

is

crafted

own

arched roof. Murano glass uases

and part

of the owner's collection

of Fiestaware are displayed

on

the table.

Michael Rubin

125

At night the twinkling

the towers of the

Center,

lights

of

World Trade

framed by the center

window

facing south, form an

elegant backdrop for dinner

parties.

Translucent glass-and-birch

screen

and cabinet were designed

by Rubin. A Christofle tea

displayed on the cabinet.

126

Inside Architecture

set

is

Michael Rubin

127

This child's

study. Its

bedroom was once a

occupant finds

it

conveniently close to the kitchen.

128

Inside Architectu

Buddy Rubin

relaxes

the

master bedroom, where the

birch-framed, translucent glass

screens act as pocket doors that

open the room

living

to the dining

and

rooms.

nv

')/'''//////tt^H

Although there

is

second small

bathroom, the whole family often

uses the generously sized master

hath,

which has two

large tub, a steam

sinks, a

shower

enclosed in a glass block, and a

toilet in

a private cubicle.

Michael Rubin

119

STANLEY TIGERMAN
& MARGARET MCCURRY
Accomplishing the Unexpected

Suburban Chicago Residence

On

street

quiet

in

where traditional-looking houses

wide front lawns, a surprising

Chicago suburb,

sit

primly

behind

cluster of small, pastel

buildings peeks out from behind a wide, circular pink

What

gravel driveway.

appears to be a small village

topped by standing-seam zinc roofs sparkling

sunshine

is

actually a

McCurry

five

grown

for a couple

children and a large extended family.

pride in his city's architectural heritage, he

was never

seduced by either Ludwig Mies van der Rohe's

entirely

autonomous

ture,

where he was

dictable;

trained.

He

whereas many architects of

have appropriated a particular

the trademark of his

work

common denominator
McCurry,

delights in being unpre-

his partner

generation

style as their signature,

the unexpected,

surprise.

is

and

is

his

wife, for

of the importance of interiors.

and the

Tigerman

credits

making him aware

McCurry

considers the

form, finishes, and furnishings integral to one another,

comparing buildings to
place inside."

whether

crystals in

which

"life

takes

The houses they have collaborated on,

their

own

small

weekend house or more

elaborate projects for clients, are enhanced by the point

of view each brings to the project.

The

architecture

is

enriched by being reflected and embellished by the

interior finishes

When you

and furnishings.
step

its

"room"

own

roof,

an

is

and each

by the

all

This variety

architects.

infuses the house with an urban excitement.

Just inside the front door are the only totally interior

rooms:

and

round

library

left,

a small cylindrical

which the owners

find

when

filled

the house

is

with rosewood floors,

cloakroom with adjoining guest

furniture; a

bath; and, to the

handy

phone booth,

for private conversations

with guests.

Because the other rooms rotate off the main

sphere, each

is

open to views of the pool and gardens

in

the back. Behind a metal-railed staircase (called the

"metro") that leads

the house

a dining

drum punctured by

down

to the

basement

room under

is

the

hub of

a flat-roofed, circular

a clerestory of small square

dows, and surrounded by

circle

win-

of silver-painted

columns. McCurry says that throughout the house,

columns and trim were covered with metallic paint to

recall the roofs outside.
ily,

room

the

is

To accommodate

60

sit

down

the large fam-

furnished with three tables, and on

Thanksgiving and religious holidays

to dinner

when as many as

more tables are

set

up on the

curved "street" outside the colonnade.

Beyond

the dining

room, the

living

a cube covered by a hipped roof that

monitor.

between the thick columns that

each

building with

or designed

selected

imprint on Chicago or by what was being taught by

Paul Rudolph at Yale University's school of architec-

little

twist

space has different finishes, lighting, and furnishings,

walls,

Although Tigerman, a native of Chicago, takes

with

but

burger,"

house designed by architects

Stanley Tigerman and Margaret

with

in the

according to Tigerman, basically a 16-room "ranch

is

room

is

topped by

set in

a light

large fireplace provides a cozy focus during

the long Chicago winters.

Come

spring, French doors

flank the entrance to the suburban Chicago house, the

open to the gardens and swimming pool.

sense of being in a village

is

by the architects abstracts the floor plan of the house.

ing

you

traditional

appears to

be

foyer,

increased. Instead of enterfind

limestone-paved

through the house. All on one

130

yourself on
"street"

level,

what

curving

the house

Inside Architecture

is,

wedge-shaped media room swings

room. Custom cabinets covered

in

rug designed

off the living

black veneer, which

have built-in electronic equipment, provide a striking

contrast

to

the

living

light-filled

McCurry

room.

explains that to give the house continuity each room's

individual color
the next

scheme contains

room, thus the white

a hint of the color in

living

room

is

accented

with black.

in the

end of the house so the family can breakfast

morning

nestles

the

pantry.

small,

round sewing room

between the garage and kitchen.

The master bedroom

suite

is

beyond the

study.

Gable-roofed guest rooms are clustered at the west end

of the house near the guest garage that stands opposite

The generously proportioned kitchen was placed

at the east

opposite

light.

The garage used by

the

owners

is

the driveway

from the one used by the owners. This

separate garage allows visitors to

come and go without

passing through other areas of the house.

Stanley Tigerman and Margaret McCurry

131

Black accents

in the living

room

house, and was custom-fabricated

relate to the

predominantly black

by Spinning Wheel. The forest

media room

to the left

green sofa

piano. The green sofa

recall the

of the

and

chairs

garden outside the front

doors. The living

room

rug.

is

designed by

Massimo Iosa Ghin, and

coffee table by Pascal

the

Mourgue;

near the entrance to the living

room hangs a

painting by David

Snyder.

Looking toward the entry from

behind the

stair rail,

you see

custom-designed glass-topped

tables

on tubular metal supports

flanking the front doors. Square

windows outlined with

metallic

paint pierce the cylinder that

encloses the library.

just inside the front door, across

the limestone path,

the cloakroom.

is

the

door

to

The umbrella

stand was designed by Marco

Zanuso from Luminaire.

chairs by Paul

Haigh from

Bernhardt stand

in front

staircase that leads

basement.

Floor Plan

132

Inside Architecture

Sinistra

down

of

to the

The

fireplace,

Rumford

based on a (.aunt

design,

is

made

<>/

limestone to match the exterior

base course

The

<>/

the building.

fireplace screen

and

tools,

designed by the architects, were

fabricated by Janet Benes.

The pull-up

chairs

were designed

by Mark Mack from Bernhardt.

Stanley Tiger man and Margaret M

u r r y

133

All the

rooms are distinguished

by different

finishes.

Wooden

dining table are designed by the

architects.

The rectangular

wooden top and

table

columns covered with metallic

with

paint encompass the oak dining-

insert

room

Serenissimo table was designed by

floor.

Cabinets and the

triangular, black-granite-topped

Lela

is

granite

from Stendig, and the

and Massimo

Vignelli/Dai'id

Law from

A.I.

The Academy

dining chairs were designed by

Angelo Donghia.

Each room features a

different

flooring material. This detail

shows the point

at

which the oak

dining-room floor meets the

limestone path and the lighter

limestone living-room floor.

Polished black granite marks a

small leftover area between

rooms.

stainless steel line

designates the back arc of the

house from which the rooms

spin off.

The

cylindrical

phone booth

that

stands on the limestone path

/list

outside the pantry increases the

illusion

Woven

of being on a

sisal

city street.

covers the floor

walls inside the booth.

sculpture

is

Stanley Tigerman and Margaret McCurry

by Marcel

and

The metal

{-lores.

135

/;:

the master bath, a glass block

encloses a

shower room, one of

two that flank a

large tub.

The green marble countertops

echo the green granite floors

and

walls.

In the library, cherry shelves,

desk, cabinets,

are

all

Kezu

and game

table

designed by the architects.

chairs, designed

by Dakota

Jackson, are upholstered in

green leather.

136

Inside Architecture

/;;

the master bedroom, the

dressing table

and pup-up

television cabinet

by the architects

in

pale green

blond bird's-eye maple veneer.

and

The French doors opposite

bed open

the

to the garden.

were designed

Stanley Tigerman and Margaret McCurry

137

STANLEY TIGERMAN
& MARGARET MCCURRY
Accomplishing the Unexpected

Tigerman

McCurry Residence

Although Tigerman took charge

roof are part of the local vernacular, materials

of the architectural design of the "village" house, with

to the barns that dot the countryside.

McCurry

painted plywood ends covered with latticework give the

and

reinforcing the themes through her furniture

finishing selections, their

in a lakeside

community

in

own

small

weekend house

what we wanted," Tigerman

of our best projects."

size, just

tight

says. "Yet

it is

one

budget dictated the small

1,000 square feet including the sleeping

and humble materials. The corrugated galvanized

lofts,

sheet-

metal walls and standing-seam galvanized sheet-metal

138

Inside Architecture

enter the house

round screen porch

ing

The exposed

building a strong geometric impact.

You

southern Michigan was and

continues to be a collaboration. "Neither one of us got

entirely

little

common

directly into the double-height liv-

room, where you face

doors.

by passing alongside the

The geometric

a fireplace flanked

grid

seen

by French

on the outside

is

repeated on the U-shaped built-in banquette, the win-

dow and door

mullions, and even the

used to cover the seating cushions.

Two

gingham
small

fabric

bedrooms

are

on the

right.

left,

Tigerman

and the kitchen and bath are on the

credits

McCurry with

forting sense of symmetry,

sible

for

the

the house's

and she says he was respon-

"baroque" embellishments

stairs that lead

Tigerman

com-

up to the sleeping
maintains

loft

that,

the

curved

and the moldings.

like

so

much

American architecture, the design of the house

of

The rectangular building with adjoining round screen

porch
basilica

place,

is

reminiscent of a

and

baptistry.

barn and granary, or a

The gabled

roof, central fire-

and mullioned windows speak

image of home. "To Margaret," he

Quaker meetinghouse, while

see

it

to

everyone's

says, "it

is

like a

as a Polish shetel."

is

derived from both American and European heritages.

Stanley Tigerman and Margaret McCurry

139

Seating surrounds the fireplace.

The carved

fish

and mantel were

doors flank the fireplace,

reinforcing the

room

's

symmetry.

worked by a twentieth-century

The tabletop was created by

Nova

sculptor Antoni Miralda.

Steep,

Scotia folk artist. French

round-nosed

stairs lead

to the sleeping lofts that are

tucked below the gabled roof.

up

rrrrrrrrr
I

Sleeping lofts stand opposite each

other at both ends of the double-

height living room.

three-sided

seating unit, designed by the

architects, occupies

room

in front

most of the

of a simple white

dining table.

Loft Plan

Floor Plan

Section

Stanley Tigerman and Margaret McCurry

141

FRANKLIN SALASKY
Embellishing a

Box

Portraiture

the word

the

New York

&

Decorators,

is

the partners in

City-based firm B Five Studio, Architects

u.se

At once

to describe their work.

frame the mirror; placed

to

just

below the

ceiling,

add both depth and height to the space.

Salasky considered dividing the space to create a

ele-

Then he saw

gant and eccentric, Franklin Salasky's design for his

separate area for the bedroom.

own

designed by Mario Buatta, the decorator

apartment

500-square-foot

Manhattan

section of

finesse that

a self-portrait.

is

Chelsea

the

in

displays a

It

the result of a very sure hand,

is

luxuriousness that belies

and

small size and relatively

its

elaborate
clicked."

When B

Five Studio takes

on a

project, the design

is

"The genesis of the direction of our firm

fabrics.

the idea that

and

He

decided that

Salasky
if

bedroom

known

it is

decoration,"

impossible to separate architecture

Salasky

says.

Often

they

will

for his

"something

says,

throughout history royalty

often entertained in their bedrooms,

why

shouldn't he?
it,

using

column, the canopy, and draperies to define the space.

Typical

often includes architecture, lighting, furnishings, color,

and

and,

interiors,

So instead of concealing the bed, he highlighted

tight budget.

seems

it

of

the

design

firm's

strategy,

enlisted the aid of artisans to embellish the

Mary

Bright,

whom

Salasky

"box."

he describes as "a sculptor in fab-

used a fabric painted by Ted Tyler to produce the

ric,"

use architecture as decoration, and decoration to high-

bed hangings. Salasky designed the chartreuse bed

light or create architectural details. Salasky credits his

cover,

comprehensive approach to

his training at the

Island School of Design. "It

is

school," he explains.

"There

Rhode

not just an architecture

is

concern with the

entire material world."

The

limits of

dow

size of his

apartment and

treatments.

Elliott Levine,

nishings. "I realized that

apartment as a box, so
tern, color,

would have

set

to deal with the

out to define

and texture," he explains.

it

"First,

with patI

straight-

ened out the bones of the apartment as judiciously and

minimally as possible," he says.

He

redid the kitchen

floor

She also made the win-

was sanded and then rubbed

who

also created the screen that stands

corner at the far end of the

fabric for the cloth used

The apartment

budget ruled out any great manipulation of the space,

so Salasky concentrated on the surfaces and the fur-

The

it.

with paint and urethanes. The hallway was painted by

in a

both the

and Bright executed

the freedom with

room and

painted the

on the table near the window.

reflects Salasky's

admiration for

which the Victorians mixed furniture

of different scales and periods, their use of polychromy,

and

their

emphasis on comfort. "This modern concept

that decoration

is

bad

is

an anomaly that comes from

the repudiation of the Victorian style," Salasky says.

With

a deft

hand he has mixed furnishings of

his

own

and created an arched entry between the foyer and the

design (such as the comfortable armchair upholstered in

main room. The catalog moldings that

give scale to the

green velvet) with Italian and American designs, pre-

was

dominantly from the 1940s and 1950s. The single room

room were used

in a free

manner

influenced by Japanese design

influenced the Victorians.

molding

which, he explains, also

On some

walls he placed

at the traditional chair-rail height,

ers he raised

142

that Salasky says

it

to head-level.

He

also used

and on othmolding to

Inside Architecture

is

infused with Salasky's relish for domesticity.

Through the newly

hiult

arched

and Franklin

Salasky, conceals the

entry from the /over, you see the

fact that there are

windows

rather than one.

at the opposite

the apartment.

end of

The window

treatment, created hy

Mary

two windows

The vintage

ladder-hack chairs arc attributed

to

Gio

Pouti.

Knoll chair was designed by

Bright

Pierre Jeanneret. Salasky

added

Franklin Salasky

Bed hangings made by Bright

the bed apart.

An

ornate Italian

mirror hangs above the bed.

144

set

the bedside table

sits

a pineapple-

topped brass lamp. The old

On

Inside Architecture

leather sofa

is

Spanish and dates

from the 1930s.

RlCHI:

cloth

The room contains

mix

a tasteful

on the

window.

On

table in front of the

the table

is

a glass

of furnishings designed by the

candelabra by Susan Plum. The

architects, along with choice

minor, framed

antiques: the armchair uphol-

molding,

stered

green velvet was

designed by H

small

ive Studio for

is

hatch designed by Nakashima;

it

is

a screen designed by

Salasky and painted by

Levine,

who

reflects a

small painting

that Salasky did at age

Brickel; in front of the chair

behind

in catalog

wooden

table

5.

The

was designed

by Gilbert Rohde for Herman

Miller.

Wallpapers are from

Clarence House.

limit

also painted the

rf^

Franklin Salasky

145

Salasky transformed a

mahogany

sideboard, designed by Paul

Laszlo but in poor condition, by

changing the sliding doors to

sycamore and painting the case

black.

Only

the drawers were

with the original

finish.

is

left

mahogany

Arranged on the sideboard

a portion of Salasky 's

collection of Italian ceramics.

The

taller

lamp

is

French,

designed by jean Royere; the

other

is

Swedish. The painting

above the sideboard

tiny library

was

built in

an

alcove off the entrance. The chair

was designed by Tom Dixon.

French-style chandelier lights

the

alt "i e

146

Inside Architecture

is

by Levine.

DEBORA REISER
Experimenting with Modernism

In

the Berkshire Mountains

still

farms with land that has been worked by the same

there are

would be

interesting to see

what she would do on

former cornfield with a mountain backdrop.

is

Although Debora Reiser has never veered from

punctuated by clusters of small, pitched-roof farm

modernism, her work has grown increasingly experi-

families for generations.

buildings.

A Manhattan

The

rolling green landscape

couple had, for a dozen years,

mental.

When

was one

she entered Pratt University in 1944, she

women

of three

completing her studies, she spent 25 years

was

there

got used to doing everything," Reiser says.

"We

working
that

By the time the

20 students remained, including

class graduated, only

Reiser. After

in a class of 75.

in the office

of George

Nemeny.

"It

designed the furniture, lighting, and rugs. The problem

with architecture

in

this

country

that

is

is

it

often

treated as a business rather than an art." Since leaving

Nemeny's

where she has

crafted

work

Manhattan

headed her

Reiser has

office,

own

firm,

for years been producing impeccably

in the

modernist tradition, including the

couple's apartment

and the renovation of

house for the husband's brother

just across the

road

from the property they owned.

"Debora
is

is

interested in

what her

clients

mature enough to direct them," the wife

want but
says.

The

couple's requirements for the house were specific: three

bedrooms;

a studio for him; a kitchen for her

separate

but not completely closed off from the living and dining

rooms, so that she could see and hear what was going

on while preparing meals;

lots

of

windows; and a

screened porch. The wife loves space and hates clutter,

but she worried about

owned 17
says, "I

acres of this countryside, but, as the wife

was

afraid a house in the country

up owning us." She had never wanted one

Reiser renovated their apartment.
sional dancer, the wife

rating
air,

would wind
until

Debora

onetime profes-

found the design process exhila-

and compares the remodeled apartment's

and space

to the places she loves best

light,

dance

stu-

dios. If Reiser could achieve that in a city apartment,

'

Inside Architecture

it

spare

modern house

England

landscape.

how

in the

"My

neighbors saying, 'Those

neighbors would react to a

midst of their bucolic

New

husband didn't want the

New

Yorkers came

in

and

ruined everything,'" she recalls.

To

fulfill

the couple's wish

list

for the

house with-

out offending the neighbors, Reiser fragmented the

house's 5,000 square feet into several clusters.

volumes, enclosed

in

The main

white vertical siding under pitched

roofs of cedar shakes, arc not unlike neighboring farm

buildings, but a
link

contemporary glass-and-painted stucco

connects the

mam

portion of the house (living and

dining rooms and master

bedroom

suite)

two

to the

additional bedrooms, which are topped by a studio.

"The kitchen pivots

of the

back

woods

hall leads

bird's

outdoor views.

When

visitors step inside

swimming pool through

in

kitchen,

the

much

and

terraces.

The

in

the

living

room,

gallery,

floors are radiantly heated to

who

background.

glass-

of the furniture for the house, including the din-

and coffee

tables, all three beds, the living

and the aluminum chandeliers

also helped select the fabrics

in the living

the screened porch,

rug,

room. She

for except

and because the house so embraces

the outdoors, they don't miss

like a

room

and antiques.

The couple got everything they asked

the

loves the beach, has her water view, as well as the

Mountains

house and the outdoors, Reiser used the

same bluestone flooring

ing

room's back wall of glass doors; the wife,

Berkshire

rior of the

the connection between the inte-

the tradition of the early modernists, Reiser designed

Large expanses of glass doors and windows open

living

To emphasize

bedroom on

wing," Reiser explains. A

from the kitchen to an open court that

the front door, they see the

left.

the right, and the master

increase the owners' pleasure in walking barefoot. In

connects the house to the garage.

the house to

the

room on

into the view

off the dining

like a

room

dining

it.

"The

entire

house

is

screened porch," the wife says.

enclosed gallery, with outdoor views framed by large

red columns, runs the length of the living

room

to the

Debora Reiser

149

The

gallery runs along the length

of the living room and dining

room

suite

to the master

on one

side

bedroom

and

the kitchen

on the

other. It connects the

rooms

to the

wall of

outdoors through a

windows punctuated by

three-foot-wide red columns. "I

used the columns to frame the

views and to prevent the house

from looking as wide-open as a

supermarket,

"

Reiser says.

Shaker school desk holds part of

the owners' hat collection.

Site

Plan

Roof caps,

collected locally, stand

on pedestals designed by Reiser

the

150

end of the gallery near the

at

master bedroom. Antique

game boards hang above

the

Shaker desk.

Inside Architecture

glass

and painted-stucco

link

connects the main portion of the

house to the wing that contains

the

two guest bedrooms and

the studio upstairs,

The

fireplace at the

living

end of the

room was made of local

stones from tumbled stone walls

that once

of

New

marked

the boundaries

England farms. Chairs

by Bruce Etcher surround the

dining table.

open the

Sliding glass doors

room

bring

view

to the

pool and the

of the Berkshire

Mountains.

The pool and landscape were

designed by the /inn of Debora's

son and daughtcr-in-lait:

Reiser/Umemoto

Architects.

Reiser designed the

chandeliers

dining

and

and

the

aluminum

mahogany

coffee tables.

The TOW

of small, square, highly placed

windows

brings additional light

into the room.

columns are

The concrete

structural.

Debora Reiser

153

glass-enclosed sitting area of

the master

bedroom looks

toward the view of the

Berkshires.

154

Inside Architecture

The kitchen

is

topped by a roof

thai Reiser describe* as

like

a parasol.

An

shaped

island with

marble counter provides a

block table. The back ball opens

generously proportioned work

to the court that connects the

space. Attached to

it

is

an ash

house to the garage.

Debora Reiser

155

In one of the guest bedrooms, a

cherry pencil-post bed designed

by Reiser

is

covered by a

late-

nmeteenth-century log cabin-

156

Inside Architecture

patterned

quilt.

A mahogany

staircase with

painted-steel handrail leads up

are painted to resemble the

exterior stucco.

to the studio. Sheetrock walls

t L

In

.j

xiia-t

bedroom.

Reiser's

contemporary version

oj a sleigh bed.

aluminum,

ancastet

patch

is

<

produced

covered with a

ounty Amish

nint

quilt.

Debora Reiser

IkJl

157

WALTER CHATHAM
Reinventing Regionalism

Walter Chatham took on

challenge

power

when he decided

SoHo neighborhood,

wife and three

who

heads

to transform an

his

young

own

numerous Manhattan
the Caribbean

and

Chatham, an

children.

firm in

home

into a

New York

decades ago, long before the area bristled with fancy

interiors, as well as projects in

his

work

Maryland, but he believes an important part of

when

dren, they

there, he

his edu-

work

he took a year off to

for

had the job of driving to the airport to meet

architects invited to speak at a club in the city. His

views were broadened by getting to

know

ies

he escorted to and from the airport.

in

his

capacity

president

as

Architectural League,

the luminar-

More

New

of

recently,

York

City's

Chatham has brought some

of

the world's leading architects to speak in Manhattan.

Chatham

Nevertheless,
influential

development

housing he did

vernacular

designed. In 1981,

design

in his

when

believes the single

was

career
for

the

his wife's parents

most

the study of

first

house he

asked him to

house for them on the island of Nevis,

Chatham looked

at native

since then he always

what works

housing for a model, and

examines

local buildings to see

in a particular climate

and what

will

fit

well in a given region.

plant, he

had extensive experience designing

renovations

interior

in

Manhattan.

Although

he

admires the work of the early modernists and believes

that

"modernism

he has

come

is

New

York's regional vernacular,"

to distrust style "isms": "Classification

tends to exclude other options." Moreover,

says, "Living with children has

had

Chatham

profound

effect

upon my work. They have completely destroyed

158

chil-

their original loft to include

nanny occupied the top

level,

The

and

an

children and their

a small elevator con-

and the awkward time lapse caused by the

levels,
tor,

my

eleva-

became too complicated, and before long

Chathams were

loft

"After seeing a lot of renovations,

space because

it

the

hunting again.

we chose

had never been renovated;

totally raw, totally pure," says

it

this

was

Mary Adams Chatham

about the top floor of the abandoned power plant.

What

the couple considered "pure,"

most people would

consider a wreck. The space had been on the market for

15 years. The Chathams not only saw the possibilities

for renovation but also didn't

sense of

what had been

want

to totally lose the

there before. So they kept the

concrete floor and the original beams, encasing them in

sheetrock.
tractor
in just

The team assembled by Chatham and con-

Tony Lee managed

two and

a half

to complete the renovation

months while Mary and

the chil-

dren were out of town for the summer.

Chathams share one

floor, "to

put some distance between the generations"

Chatham

Although

all

five

organized the space to

By the time Chatham took on the renovation of

power

expanded

additional floor of their building.

Miami-based firm Arquitectonica. While working

the

the

shops and restaurants. With the arrival of their

nected them to the parents' rooms below. Life on two

studied architecture at the University of

cation took place

Mary Adams Chatham,

for his

architect

where

his wife, designer

were pioneers when they moved to SoHo, almost two

has been influenced by the local vernacular.

Chatham

He and

left in

City, has designed

at Seaside, Florida,

desire for glass doors."

abandoned

one of the few untouched spaces

plant,

Manhattan's

a formidable

make

a separate area for the chil-

dren at the entrance. Here a 7'/2-by-35-foot hall that

serves as

gym and playroom

is

flanked by three ship's-

bedrooms and

bath.

quarters-size

well-equipped

kitchen and dining area can be closed off from the children's space with

metal doors. The master bed-

tall

room, with an antique bed

strategically placed so the

couple can survey their entire realm from bed,

is

at the

from the children's space. Just

opposite end of the

loft

outside the master

bedroom

at

one end of the

living

Inside Architecture

room,

bright orange,

metal staircase leads up to

The entrance hallway doubles as

Mary's studio and the roof garden.

a playroom lor the children.

The

Furnishings are a mix of inherited pieces, things

the
I

Chathams have

and

collected,

their

own

cannot find a perfect piece of furniture,

designs. "If

design

glass-topped table was designed

it,"

by their mother, Mary

Mary Adams Chatham

shares an impressive knowledge of the history of architecture

and design, Chatham

Adams

Although the couple

says.

says, "living with

our

Chatham. The synthetic-blend

chilcarpets arc machine-washable.

dren

is

teaching

me

to

operate

Experimenting with color and

light

thing about being an architect.

more
is

most

joyful

like to

think

the

would

intuitively.
The drawing above the table

is

hx David Winter.

that

if

someone from

our own,
visited

with

one of

my

a culture totally

removed from

no knowledge of our architecture,

projects, he

would

like

my work."

Walter Chatham

159

As a reminder of the power

station that originally occupied

the space,

Chatham painted

the

metal staircase bright orange.

leads

up

to the studio

and

It

the

roof garden.

7
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6 o

Inside Architecture

Floor Plan

In the living

room, gray chairs

with tubular metal frames were

designed by Warren McArthur.

The watercolor above the

fireplace

was done by

Aldo Rossi.

Walter Chatham

161

"The kitchen and dining area act

space,"

as a buffer zone between the

youngest

children's loft

6 I

iNSIDfc

and

the adults'

ARCHITECTUR

Chatham

child's

says. Since the

room did not

have an outside window, she was

given a view to the kitchen

through a window from Urban

Archaeology.

Pell chairs

from

the 1930s

surround aluminum and

lacquered ftberboard tables

The painting on the right

designed by Jonas Milder.

by Pier

mgi

is

'onsagra.

Walter Chatham

163

The antique bed belonged

to

Walter Chatham's mother.

Curtains and bed hangings are by

Mary

Bright.

dressing table

The harlequin

was designed by

Mary Adams Chatham.

study

is

formed from a small

space tucked behind the living

room. Bookshelves painted

bright yellow line the wall of

the living room.

ft*

164

Inside Architecture

/.

Walter Chatham

165

MINDEL

LEE

Uniting Architecture with Decoration

An idyllic shingle-covered cottage

attention to detail; outdoors and

with a wide porch, rose-covered

make

dining

separate

pavilion,

trellised

courtyard,

and guest quarters, Lee

MindePs weekend house looks

like a

miniature of the

posh turn-of-the-century estates on the other side of the

railroad tracks in

Southampton,

New York.

It is

indoors merge to

become rooms

small spaces seem larger; gardens

open to the

and antiques are

sky;

niture designed by the architects

mixed with

deftly

fur-

and objects from con-

temporary craftspeople.

when

Shelton and Mindel met

hard to

they were both stu-

dents at the University of Pennsylvania. Mindel contin-

ued

his

Harvard Graduate School of

studies at the

Design, Shelton at Pratt Institute. They met again in

New

York

firms

on huge

where they were working

City,

projects. Their

with which they could

feel a

mutual desire

for large

work

for

more personal connection

resulted in their forming a partnership to launch their

own

firm

When

1978.

in

Mindel

Shelton,

and

Associates takes on a project, whether large or small, no

detail escapes attention.

Their design for an apartment

renovation will typically include a restructuring of the

interior space, including walls, floors,

and

ceilings; the

custom design of rugs and furnishings; and the

of

bed

antiques,

and

linens,

"Historically, architecture

and

even

interiors

from Andrea Palladio

as a single entity,

selection

accessories.

were conceived
to

Frank Lloyd

Wright and Le Corbusier by way of Robert Adam,"

says

Shelton.

In

addition

to

interiors

for

grand

Manhattan apartments, suburban houses, and corporate offices, the firm has designed furniture, rugs,

and

lighting.

that

believe

the

house started out as

asbestos-sided shack.

two-room

The new owner, Lee Mindel,

is

partner with Peter Shelton in the Manhattan architecture firm of Shelton,

the firm

is

best

Mindel and Associates. Although

known

for

grand projects such as

ele-

MindePs

structure

often

becomes ornament, and ornaments enforce and

reflect

In

Shelton,

designs,

structure. For example, the scale for the renovation of

an apartment
tated by

in

Manhattan

for art collectors

was

dic-

10-by- 15-foot paintings and floor-to-ceiling

and structure merge so

gant apartments overlooking Central Park, interiors for

sculpture. In that apartment, art

major

seamlessly that paintings seem to divide the space, and

art collectors,

and the corporate headquarters

for

Polo Ralph Lauren, the transformation of MindePs

1,600-square-foot house
of

their

work.

approached as

66

is

in

many ways

Architecture

and

a seamless discipline,

representative

decoration

are

with meticulous

Inside Architecture

the structure appears to be sculpture.

The

firm's

work

often reveals an intentional ambi-

guity in the definition of interior and outdoor space.

Walls open to reveal gardens. Gardens are mirrored

in

the design of carpets. In Mindel's

weekend house,

all

unnecessary walls were removed, and the dining pavilion and guest house were set a few feet apart.

from every room creates the

the outdoors
the house

is

larger. In a

suburban house

view of

illusion that

which only

in

the front received light, they cut a steel-framed, skylit

corridor through the entire house to bring

in light.

through the house

like a street bisecting a village.

The

front gardens lead to a rose-covered trellised court with

a brilliant blue lap pool,
light

into

the

living

which during the day

room and

dining

Illuminated at night,

it

aquamarine

dark green garden.

set in the

reflects

pavilion.

looks like a giant rectangular

This

tendency to pull apart structural elements has sometimes caused

Mindel's work

Shelton,

to

be

labeled

deconstructivist. Yet their interiors also display a tradi-

concern for comfort, the elegance of luxurious

tional

and exquisite craftsmanship.

fabrics,

Mindel, although some projects

aspects, the firm's

approach

the latest technology,

traditional

always modernist. They

ideas,

employ

and apply the modernist's open

new and often innovative ways. Yet every pro-

in

unique. The variety of the firm's

ject is

difficult to pin a label

it

may have

knowledge of history to abstract

use their

plan

is

According to

on

their style,

which

should be. Mindel says, "The style

with which

you write the

thesis.

work makes

is

is

the

it

perhaps as

penmanship

There must be

deeper idea present."

Although Mindel has

filled his

country house with

an assortment of antiques that look as

if

they had been

collected by several generations of a particularly stylish

family,

he

designs.

The

also

has

some very up-to-date modern

staircase without a railing looks like a con-

temporary sculpture, and the rooms open to one another

and the outdoors

many

in a

decidedly

of their projects, the

site

modern way. As with

posed a major challenge

and also suggested the solution. Decades ago, when

developers divided up the area's potato farms into sub-

urban neighborhoods, they created "flag

are set

back from the

street

lots."

Houses

with long driveways, shared

by neighbors, at the edge of their property. The long

driveway enabled Mindel, on the advice of landscape

architect
It

Nancy

Haseley, to create a dramatic entrance.

divides the front garden

and then appears to cut

Lee Mindel

16-

A round

English regency

(nutwood breakfast

table

is

surrounded by William IV

Above

the table

is

chairs.

an English

1920s lighting fixture with a

shade designed by Mindel.

clock created by the

London

designer Andre Dubreuil hangs

on the

staircase.

The hammered

sheet-metal side table

is

also one

of Dubreuil's designs.

Site

Plan

SITE PLAN

Axonometric

Floor

6 8

Inside Architecture

Plai,

In the living

room, creamy white

English regency recamier

polished floors

nutwood

late- nineteenth-century

front door. Mindel says the busts

flanked by two pedestals

bookcase displays part

of

are a "nod to the context

designed by Mindel: the pedestal

Mindel's collection of creamware.

garden of the Parish

OH the

The deep English smoking chair

Southampton

by Mark Brazier-Jones, the other

on the

similar plaster statues.

markets. At the far end of the

a porcelain maquette by an

nineteenth-century Trench fabric.

American gothic revival table

mom,

unknown

stands in front of a slipper chair

walls

and

light,

provide a elean backdrop for

Mindel's quirky

mix

furniture, mostly

tall

of antique

found

in flea

windows are framed

left

is

supports a sculpture

artist.

The round

by simple, unlined linen curtains

mahogany empire

In front of the

bouquet of garden flowers. The

windows, an

table holds a

left is

covered

in

pair of English busts of

German musicians

rests

on

upholstered

in

is

the

Museum

filled

169

in

with

An

blue stripes.

bookcases to each side of the

Lee Mindel

";

The wide,

ivhite

wood-and-oak

on the landing.

staircase doubles as a divider

between the dining and

gothic chair stands

living

W^^?r^* "mm
-

*V*-

On

the second floor, a

narrow

hallway stretches above the

open stairway. Along the wall

the hallway stands a gothic

sewing

At the

far

table.

end of the master

bedroom, a small

sitting area

is

tucked beneath the exposed

beams

of the roof gable. Bead-

center-bead paneling adds to the

mi, ni's allusions to vintage

details.

)n the

left

a Biedermeier

pedestal holds a fruit bowl.

the right

.?

<

On

oad stone bust

reposes on the French provincial

best of Juicers.

Two small

1920s Liberty stools

a/ the

sit

front

window. The William IV

library chair

upholstered

mi the

in

left is

blue-and-white-

striped fabric; the small William

l\

chair on the right

is

covered

a floral chintz.

Lee Mindel

172-

Inside Archit

e c t

u r e

Exposed sheathing and framing

give the pavilion a relaxed, rustic

feeling. In

dining

Sophie, the owner's springer

ticking.

and

summer

sitting

it is

used as a

room.

collection of

Furnishings were found at flea

spaniel, reposes

the guest

room

eighteenth-century engrat 'ings,

markets and country shops.

alongside a

mahogany empire

bed. The William

upholstered

in

IV chair

is

colored in the nineteenth century,

is

propped on the

floor.

blue-and-white

Lee Mindel

173

The stairway

house

rises

in the

guest

alongside a wall

paneled with birch plywood.

Southampton tax maps hang

above the panels.

The balcony of the guest house

serves as a dormitory.

At the

far

end, a 1920s Biedermeier revival

chest holds a collection of

Etrurian ware.

bird's-eye

view of the guest-

house, taken from the second

floor,

shows an

art

nouveau

hooked needlepoint rug beneath

a Biedermeier table.

Victorian

storage bench covered in a

Hungarian drapery fabric

sits

below a large American gothic

mirror from a church school. The

English sofa

paisley

from

found the

left

Inside Architectur

upholstered

Fonthill.

ma

Mindel

V40s torchere, to the

of the sofa, at an auction-

house tag

174

is

sale.

Lee Mindel

175

DAVID BAKER
Crafting a Collage

Baker

David

arrived

in

on

California, in 1971 with a knapsack

never

left.

He now

San Francisco, but

heads his
still

"I like a building to

His

own

its

inspiration

back and

affordable housing, conversions of industrial buildings

bay

in Berkeley.

be a collage, with overlaps and colhe says. Baker often names his

house, which he designed in collabo-

ration with architect

quirky as

duced a diversity of projects, including award-winning

architectural firm in

lives across the

lisions that tell a story,"

projects.

own

his

Berkeley,

Nancy Whitcombe, has

title

as

appearance: House of the Stuccoids. The

the

for

Whitcombe from

came

design

the science fiction

and

Baker

to

to residences, trendy cafes,

both

fabricators,
rate the

and mosaic

work

Baker,

in the

rates the

march of

the "Stuccoids," the stucco bunga-

lows of the flatlands, up the Berkeley

"Maybecks," the

eclectic

hills to battle

the

wood-clad houses designed by

Bernard Ralph Maybeck

the early

in

1900s, which

greatly influenced California architecture.

Baker grew up
experiment

tural

in a

a solar

until they

Surrounded by the tools of the trade and

art

and

architecture publications, the son says his professional

after

at

an early age. Three years

Baker hitchhiked to Berkeley, he entered the

University of California's architecture program. Before

graduating,

Baker and two friends

The house

won

state-

lot,

where the

is

like

The plan of
is

the

custom-

copper and stucco that gain

streets

up the steep

were Louis XIV

it is,

would

could

rather see the

says.
built

on what Baker describes

as a

feet

with an 18-foot grade,

of Berkeley

meet the Claremont

3,000 square

Canyon Regional
steps

office, the buffet in

the furniture

all

with age and use. "If

"leftover"

wardrobe

the surfaces embellished by craftspeople.

Baker favors materials

been a Dutch

and Architecture magazine

was determined

made and

marks of wear," he

who had

home

kitchen.

adobe house designed by

discovered that Baker Senior was not a licensed archi-

destiny

the

casual, but almost

is

the house himself

the furniture, and his most

keep things perfect, but as

migrant farmworker. The house was scheduled for pub-

tect.

some of

experiment

unusual

becoming an

the built-ins, including the

house that was an architec-

father, a self-trained architect

lication in Arts

the dining area,

house

of the

master bedroom, the

a patina

his

House

evident in the

work on

Baker, the house, with

facade, nar-

is

a carpenter before

all

wood

ability to incorpo-

who was

and designed

blocks that appear to collide into a

His

of the Stuccoids.

attack and destroy most of humanity. According to

boxy, stucco

own

that remains distinctly his

much

flat-roofed,

artisans.

steel

of a variety of craftspeople into a design

architect, did

its

Baker

projects,

woodworkers, metalsmiths,

furniture designers,

movie Day of the

mobile plants called

alien,

For

interiors.

seeks the participation of Bay Area artisans, including

triffids

which

in

Triffids,

and commercial

residential

his

and university

The three-bedroom house

Preserve.
hillside

with seven half-levels linked

by an angled plan. To serve

their casual lifestyle,

Baker

and Whitcombe arranged the main rooms of the house

on the entry
office

into

level

living, dining, kitchen,

and home

one "great room" defined by different

heights and materials. Baker,

who

likes to

cook,

left

the

sponsored competition for energy-efficient, affordable

kitchen open to the living and dining areas so he can

housing. That project led to others and the formation of

chat with family and guests while preparing a meal. In

Sol-Arc, a firm specializing in affordable housing and

what he describes

energy consultancy.

response," the kitchen

1982, tired of doing research and writing

In

Baker established

reports,

176

his

own

firm,

which has pro-

Inside Architecture

room by

an

as
is

"ad hoc postindustrial

marked

three steel posts to

off

which

from the

living

cooking range,

chopping block, cookbook holder, knife magnet

bar,

The

microwave, and pot rack are attached with adjustable

clamps.

special crank allows the range to be easily

raised or lowered.
utility

room

The

three bedrooms,

two baths, and

are stacked in the upper levels, connected

tradition

house's continuation of the arts and crafts

and

its trellises

reflect the influence of

spirit of

and indoor/outdoor areas

Bay Area architecture,

experimentation. "I

by a staircase that twists up the tower, which pokes out

of the building. Terraces, shaded by live oak trees,

projects energy," Baker says.

bubbling stew.

It is

like to

regard

;.ll

as does

its

my work

as

the lack of resolution that gives the

extend the rooms, some of which have views over

Berkeley to San Francisco Bay.

David Baker

177

Mosaic

artist

Twyla Arthur found

the Saarinen table at a junk sale

and reconstructed

it.

She also

refinished the dining chairs.

First

Flan

Third Floor

I'Lvi

Floor Plan

md Hour

s,\

Site

[78

Inside Architecture

and

First

Floor Plan

jint inside the front

door

is

the

zmc

by Baker and executed by

dining area of Baker's "great

woodworker Paco

room." The buffet was designed

made

of

Prieto.

It is

maple plywood with a

top.

Mary

The

glass inset

White. The floor

is

is

polished, stained concrete.

by

\
\

\
/

;v.'

'}&:&?&&&&

In Baker's innovative kitchen, the

range, a cutting board,

and

microwave oven are attached

steel posts

with clamps that

to

may

be adjusted to the height of the

cook. Baker

made

the aniline-

dyed box that contains the

microwave, attached to the post

on the

left.

The wooden lounge

was designed by Jim Zack.

Arthur made the top for the old

typing table using pieces of glass

rescued from the Oakland

Baker tucked a home

fire.

office into

one end of the "great room."

the

first

On

landing of the staircase

is

a forged bronze railing that

Baker collaborated on with

Michael Bondi, an

smith.

The red chair was

designed by

leather

Tom

art black-

Wax

Leiber, the

and metal bench by

Jameson.

Left:

On

the back wall of a landing in

the stair tower,

working quickly

before the plaster dried. Arthur

and W'hitcombc arranged

Whitcombe's seashell collection

and hardware from Arthur's

father's store.

David Baker

Baker designed the bathroom

cabinet to hold books

and

magazines as well as the usual

rv

-,

ft
fssp*1

essentials.

Arthur was responsible

for the mosaics.

^4

II

The 1948 sink

was salvaged.

/'

^^

_|

^'

k^tf
The second bath

is

also

by Arthur's mosaics.

182

Inside Architecture

enhanced

ftmmar

\
m.

The stained-plywood wardrobe

in

the master

bedroom was

^^jfl

designed by Baker and built

by Paco Pietro. Pietro admires

Baker's ability

t<>

blend

"craftspeople's expertise into

hi<

own

"

palette.

\
i

'Hi.

WKM

In the master hath, Arthur

create J the tub

concrete

tile

unround

ifith

made b\ Ruddy

Rhodc>. Treetops shade the

coiner window.

Hh

""

-~^r^(

jQg^

David Baker

183

PETER PENNOYER
Adding Innovation

to Tradition

"Houses are my favorite projects,"

Peter Pennoyer says. In a partnership with Peter

Moore,

Pennoyer did commercial work for fashion designers

and

artists

such as Keith Haring and Zoran;

tion with his former firm,

in associa-

Pennoyer Turino Architects,

across Buzzards Bay to

The point was

Islands.

Cape Cod and

property

this

in

in the late

mingle with the remaining

summered down

farms. Pennoyer's mother

from

farmland

settled as

Now summer houses

1600s.

the Elizabeth

the road

a turn-of-the-century shingled

he completed numerous large residential and institu-

house, which has remained in their family. According to

award-winning renova-

Pennoyer, that house inspired the basic massing of his

tional projects, including the

tion of

The Mark,

a residential

apartment hotel

in

Manhattan. Yet Pennoyer believes that "designing a

house

is

the complete architectural experience. There

the relationship with history, with the client,

the

every

room may be

sculpted to

make

it

wrapped with

low, spreading verandas.

from two sources. Whereas the sweeping

inspiration

porches, dormers, shingled facade, and gabled mass are

a different expe-

in the tradition of the area's shingled houses, the interi-

is

in a

ors are infused with classical proportions

rience."

When
ents asked

the architect

him

was 34

shore and

For the design of the new house, Pennoyer sought

is

and with

set parallel to the

house;

Everything about architecture

site.

scheme: a gabled shed

years of age, his par-

to design a house for them.

The com-

mission presented him with an opportunity to do a

From

and

detailing.

the outside, only the double-height bay

window

facing the garden

and the arched elevation of the

room

toward the bay

that looks

spirit of the interior of the

refer to the classical

house.

Just inside the front door,

marks the entry

in the

and

to the living

windows above

in the

living

an arched transom

room. This arch

is

repeated

the living room's French doors

opening to a study raised half a

cornice that supports the arches wraps

all

level.

The

of the major

rooms. Pennoyer had the panel above the cornice wallpapered with a design by William Morris.

A
study.

large oriel occupies almost the entire wall of the

It

faces west, opening the center of the house to

the afternoon light

mands an

axis that runs through the house into a gar-

den and ends with

"a

folly,

scale

study
hall

complete project
riors.

The

site,

peninsula on

the architecture, landscape, and

which

Mishaum

of Massachusetts,

184

is

at the

end of

inte-

a two-mile-long

Point at the southeastern corner

commands

sweeping view east

Inside Architecture

Pennoyer designed as

a toolshed that

part Palladian, part rustic,

makes
is

and breezes. This bay window com-

the garden

open

seem

to the living

on the second

floor.

far larger

room

The study

In contrast to the living

and

than

it

is."

The

below, as well as to a

ing for the staircase that connects

fered ceiling

whose miniature

also serves as a landall

three levels.

room's elaborately cof-

classical detailing, the furnishings are

relaxed and simple.

The main rooms were

all

painted

white to contrast with the William Morris-designed

says.

To

wallpaper above the cornice and to emphasize their

some

of the furniture and

intricate paneling
ever,

and moldings. The bedrooms, how-

were each given

a specific color scheme.

Pennoyer was studying architecture

"many

When

all

the built-in lighting them-

"The custom-designed

center table in the living

room

furniture,

from the low

to the shelf units in the

Columbia,

green bedroom, which incorporate Indonesian mats,

of the critics were put off by plans that seemed

also evokes the Oriental furniture favored by the shingle-

at

too comfortable and would furnish well," he says. In

contrast, Robert A.

M.

Stern taught

of houses "begins with suggesting a

Because

completed
three

selves.

stretch the budget, Pennoyer's office designed

in

months

his parents

style architects,"

Pennoyer

The

interiors illustrate

propensity for combining a respect for tradition

him that the design

his

way

with innovative design.

of living."

says.

were eager for the house to be

time for the

summer

season, he had only

to install the interiors. Pennoyer,

working

with his wife, Katie Ridder, an interior designer, man-

aged within

a relatively small

budget and the tight time

frame to create the sort of casually elegant interiors that

usually reflect decades of collecting. Pennoyer selected
furniture, reproduction porcelains, screens,

that he

"There

and Katie had found

is

and

in their travels in

fabrics

the East.

long tradition of Oriental furniture being

compatible with shingle-style architecture," Pennoyer

Peter Pennoyer

[85

"

Furnishings were intentionally

Pennoyer

kept casual in the classically

zebrawood

ed living room. "In

the furniture

simplicity

Inside

was chosen

and

r c h

Chinese

for

its

materiality,

c t u R E

says.

He

designed the

coffee table.

bamboo

The

side chairs, the

Chinese porcelains, and the sofas

and chth

chairs are upholstered in

/.

H. Thorpe and Company's

"Province Duck.

sisal

rug

is

"

The

striped

from Pottery Barn.

The front

hall arches

frame the

entrance to the living room,

where French doors open

terrace facing the water.

to a

The

wallpaper above the cornice

the

is

"Chrysanthemum" pattern

designed hy William Morris.

bay window

light

and

in

the study brings

breezes through an open

balcony to the living room below.

Behind the sofa

is

of a Japanese

do period

A sugarcane crusher

end table next

screen.

serves as an

to the sofa.

a reproduction

SECOND FLOOR PLAN

Tom

GROUND FLOOR PLAN

Peter Pennoyer

187

The dining room

kitchen, but

shaped

are often the center of activity in

room; kitchen cabinets are wood

higher ceiling,

summer

with maple interiors.

truncated pyramid

designed

its

like a

is

open

and painted a smoky

defines

it

to the

blue,

as a separate space.

The antique dining

table

is

from

the Philippines. Because kitchens

houses, Pennoyer

this

one

"Everything was designed to

to easily

accommodate two people

breathe with the sea air and to

working with others gathered

look even better

around. The same oak flooring

and

is

used

in the

kitchen

used,

"

when

Pennoyer

and dining

The

oriel in the study looks out

onto a garden designed by

Pennoyer with Madison Cox.

From

the beginning, Pennoyer

envisioned the unci focusing on a

garden.

nity tn

"It

created the opportu-

do a formal garden

ragtag landscape," he says.

88

Inside Archite

C T U R E

in the

it is

says.

old

Pennoyer describes the center

curtains that

yellow bedroom as more

doorway

"anchored,

"

because you don't

see the view until

you are

Obi panels were made up

the

bed.

hang

in front

of the

so that on a hot night

door can be

circulate the an:

left

open to help

Pennoyer

designed the headboards; the

into

T4SI
^HTi

table

lamps are from Lights Up;

the checked sisal rug

Pottery Barn.

is

from

The two

upstairs

bedrooms are

shaped by the folded planes of

the pitched-roof dormers. In

contrast to the downstairs,

detailing

simple.

was

intentionally kept

The pine

table,

and boucle rug are

all

desk chair,

from

Pottery Barn.

For

his parents,

who

love big,

old bathrooms, Pennoyer

designed the upstairs bathroom

to

have two exposures. Under

one of the windows he placed a

dressing table.

Upstairs, a mirror reflects j hall

bedroom overlooking

that extends Irani the staircase

lust inside the

across the house to the "green'

bedroom

dnur

Courtney Bird

the bay.

tn the

green

design.

He

to Pennoyer's

describes

it

as "shelves

"
is

.;

bureau

huilt

d up with nutts as cover.

by

P E T

PENNOYER

DIRECTORY OF ARCHITECTS
David Baker
David Baker Associates Architects
461 Second Street
Suite

C127

San Francisco,

CA

James Hong
James Hong Design
99 Stanton Street
New York, NY 10002

Franklin Salasky

94107

Darcy Bonner
Associates
Darcy Bonner
205 West Wacker Drive, #307

&

Hugh Newell Jacobsen

Hugh Newell Jacobsen, FA. LA.
Architect

2529 P

Street

NW

DC

Fifth

Avenue

Suite

702

New

York,

NY

10010

Frederic Schwartz
Anderson/Schwartz Archtects
180 Varick Street

New

20007-3024

LLP

Five Studio,

160

NY

10014

Chicago, IL 60606

Washington,

Walter Chatham

Lee Mindel

Stanley Tigerman and Margaret

Shelton, Mindel & Associates

216 West 18th Street
New York, NY 10011

McCurry

Walter

F.

Chatham,

A.I.A.,

Architects

524 Broadway #601

New York, NY 10012

Moore and Arthur

Michael Graves
Michael Graves Architect
341 Nassau Street

Andersson
Moore/Andersson Architects,
2102 Quarry Road

Princeton, NJ 08540-4692

Austin,

Gwathmey
Gwathmey Siegel &

Peter Pennoyer

Associates

Architects

475 Tenth Avenue

New York, NY 10018
Gisue Hariri and Mojgan Hariri
Hariri

& Hariri Architects

18 East 12th Street

New

York,

NY

i9i

TX

Joseph Valerio
Inc.

78703

Peter Pennoyer Architects

PC.

1239 Broadway, Penthouse

York, NY 10001

Valerio Dewalt Train Associates

200 North LaSalle

Suite 2400
Chicago, IL 60601
Robert Venturi and Denise Scott

Brown

New

Venturi, Scott

Debora K. Reiser
Debora K. Reiser Design Associates
28 South Washington Avenue
Dobbs Ferry, NY 10522

4236 Main

Michael Rubin
Michael Rubin Architects
200 Park Avenue South
New York, NY 10003

&

Brown and

Associates, Inc.

10003

Himmel
Scott Himmel Architects
205 West Wacker Drive, #309
Chicago, IL 60606
Scott

Tigerman McCurry Architeccts

444 North Wells Street
Chicago, IL 60610

Charles

Charles

York,

Street

Philadelphia,

PA 19127

Buzz Yudell
Moore Ruble Yudell Architects
Planners

933 Pico Boulevard

Santa Monica, CA 90405

Inside Architecture

24091

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Susan

has

architecture editor of

served

House

the

as

more

Beautiful for

than a decade, has held editorial positions at Self

and House and Garden magazines, and has been

a contributor to the

New

home

design sections of the

New

York Times and the

the co-author of Decorating

Judith Watts

is

specializing

architecture

in

is

on the Cheap.

a freelance photographer

work has been published

Colonial Homes, Country

and Gardens, Home, and

A Main

York Post. She

and
in

interiors.

House

Home,

Her

Beautiful,

Better

Homes

others.

Selection of Architects

and Designers

Book Club

If

you would

forthcoming

like to receive details

titles,

of our

please send your

new and

name and
r<n

address to

-V. lYi

THAMES AND HUDSON

500

New

Fifth

Avenue

York,

New

Printed iirHong

York 10110

Kong

.diJ

Venturi,

Michael

Hariri,

and

VOLUME

BEAUTIFUL

THIS

Michael
Rubin,

Charles

many

photographs

PRESENTS

THE

Graves,

Hariri

&

Gwathi

Co

more.

illustrate

the

windows,

and

wall

>or treatments,

.companymg
.triguing

le

le

wide

variety

they reflect a sense of place

and a

creativity not

allowed

in

the

designs of architects.

genera""

exteri

text contains

architects

themselves.

architectural

stylis

while the

commentary from

interior design

ugh

and

is

1
;

nature of

highlighted

together