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IN
>M
S
ARCH ITECTURE
I
INTERIORS
by Architects
Susan Zevon
In
many
of the
interiors
in
architects.
premier architects
of their
work of some of
in the country,
shown
projects
and
personal,
represent
give
Watts,
multiplicity
styles.
Yet
them
Inside
great
impact.
Beautifully
reveals
of architects
the
on the
how
such
Gwathmey,
With 211
these
photographs by Judith
Architecture
avant-garde residences
Hugh Newell
all
of
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
and
to
my amazing
who have
the
good fortune
mother, an
meet
to
her,
love
and
this
book.
to
gratitude,
My
dedicate
eternal thanks
achieve what
I set
believe
could
my mind to,
it
would be
N
ARCHITECTURE
Interiors by Architects
Susan Zevon
Copyright
No
part of this
in
images
in this
artists
is
made
First
published
in
Rockport Publishers,
Inc.
ISBN 1-56496-278-4
10
987654321
to
Reiser:
House
April
photographer
House
Beautiful, copyright
Printed in
Hong Kong
ACKNOWLEDGMENTS
has, for many
my head, a pursuit and
book
This
been an idea
withstood
in
many
a reality. First of
enhance
this
who welcomed
insight into
how
whose photographs
thank
We
guided
it
the architects
us into their
through
Barbara Hogenson,
initial
who
who
enthusiasti-
continued to believe
We
book
life,
especially
Rosalie Grattaroti,
astic
to
the
who remained
our
editor,
this
who
gave
acquistions editor,
unceasingly enthusi-
tion, to
in
us
Our
all
inspiration
it
Judith Watts,
all,
a goal that
reversals.
talented
years,
initial
conversa-
art director,
Lynne Havighurst.
all
by name, but
gave
many
in particular
stylist
thank Kaaren
much encour-
who
of similar projects
who
patiently listened to
many
late night
was
who were
blessed with
many
Ann
Morris,
conversations
for.
My
much during my
in architectural
Most of
and from
who
whom
all
thank
my
have learned so
my
first
mentor
loving family:
my
my
brother-in-law,
sister,
Donald
my
parents,
took a great
who
who
mention
to
whom
all
this
my
dear
book
is
CONTENTS
FOREWORD
102
Buzz Yudell
INTRODUCTION
Inhabiting a Landscape
no
10
Michael Rubin
120
ARCHITECTS
Stanley Tigerman and Margaret
McCurry
130
14
Franklin Salasky
James Hong
Embellishing a Box
142
10
Debora Reiser
Michael Graves
Pioneering Postmodernism
148
28
Walter Chatham
Joseph Valerio
Creating a Cultural Marker
40
48
Crafting a Collage
60
Adding Innovation
74
176
Peter Pennoyer
Gwathmey
Mellowing Modernism
Charles
158
David Baker
Charles
Lee Mindel
Restoring Elegance
Reinventing Regionalism
DIRECTORY
82
Frederic Schwartz
94
192
to Tradition
184
FOREWORD
HAVING been the editor
zines that report
tion,
am
of several maga-
way
and
how
see
the net-
alive as beautiful,
book on
that
form
in a
as a
would look
first
became
in
staff of
editor. Ultimately
House
became
may
book
that
Still
objects,
style.
And
and
arti-
the author
the 1970s at
House
&
work of younger
others are
and
his
own
But then, as
book reminds
ing
all
more
traditional: the
Hong,
home
Peter
Jacobsen's
work
for
family.
Hugh
of architects orchestrat-
dition of the
all
the
way back
tra-
der Rohe.
Zevon
she
architects create
for
themselves, as
And
I,
for one,
and that
Louis Oliver
Gropp
Editor-in-Chief
amazing variety of
House Beautiful
visual
is
tunity to
Gwathmey,
work with
architecture
is
in joie
all
interiors of the
The rooms
to
Beautiful as architecture
and
lofts
very well.
House
clients
never
my
urban
stylis-
this day.
She shares
in
Hugh Newell
the editor-in-chief of
my work
where
include the
them found
editor-in-chief of
Beautiful,
know
new forms
other
of
Here would be a
many
envelope,
an architectural editor
houses as
at
Inside Architecture, a
facts, as well as
is
was working on
book
tic
league of mine
Some
in
Brown embrace
Mojgan.
No wonder was
broad choices
architecture
like
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
is,
believe,
The work
worth noting
Adam
of Robert
in
eighteenth-
late
one knows,
classicism were
produces a space
the
efforts
his
made more
rigors
of
linear
and
neo-
Palladian
taut.
Within the
without purpose.
illustrated in this
book addresses
interior
of natural
He
light.
interior spaces
them
as well. These
is
the
ter walls
new meaning
boldly brought a
and
rooms
in this introduction.
selection of colors
Through
The work
fifty
site.
and the
programmatic
of predetermined
result
themes suggested
The
really,
to
their
plas-
plifications of
Roman
Greek and
prototypical moldings,
fireplaces
no
architecture.
The work
herein
and innately
work shown
and some
is
but
filled,
The
beautiful.
all
are strong,
Some
of this
lem
was not
It
tects
work continues
in
the
to evolve, as
the prob-
hand.
at
were seen
Still,
The work
architects
that
influenced
the
was accomplished by
times
most serious
ors.
brief
is
of
little
the
comparison of
this
was
Ir
is
of
seventeenth-century
first
who were
in
Adam
architecture
the
in
interior
appeared. They,
specialists
Decorative Arts.
The
architect,
who
traditionally
its
is
responsible not
it is
surprise that
imperative
much
became one.
exterior relationship
at
and
Therefore,
without
first
itself.
For the
total
these
created a
never contradicted
and
Adam
architects of the
Some
chairs,
is
of the
possible.
historically
own
interi-
ably
concerned
warm and
itself
on the regimens
was not
placement of
objects
It
its
resultant spaces
Introduction
was
the
Overwhelmed,
architect
and responsible
colleague, educated
Thomas
who was
Jefferson,
Renaissance man,
is
perhaps the
example of the
a rich
last true
architect's
The
first
are, of course,
and quality of
interior spaces
the promise
fill
let
made by
light
the
It
is
in the spirit
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-
clarity
included
and purpose of
the
creative
Not
architect Stanford
clearest
prolific
example
One can
The
its
of
Beaux Arts
execution
brilliant
filled
utility.
In
Charles
of
classicist, Sir
Rennie
Edwin
with
American genius,
great
a design
air.
philosophy that he
Adam
site,
plan,
and materials.
led
Wright
Utopian guild
Stickley
in
spirit
Syracuse,
of the
New
York,
all
possible influence
from Japan,
The Viennese
furniture
is
more
architect Joseph
well
known than
Hoffman, whose
his
few works of
in order to establish a
complete visual
From
pic-
and juxtaposition of
dis-
encour-
American Gustav
this time.
the
Wright created
this,
and
It
in
mass
inspired the
efforts
surprisingly,
The endeavors of
had wrought.
called
interior
a century of
from
it
the
From
echo of
upon
it,
evolved in Britain
It
the 1880s
and
apparent herein.
Greek Revival
though he denied
Landseer Lutyens.
to recognize
is
influence,
of the nineteenth-century
whose legacy
had an
was
when
architect.
book
century,
truly
it
that in both
Movement, and
Crafts
ful-
within
the
influ-
movements
is
hardly surprising,
still
continues to
iz
Inside Architecture
in
of man's endeavors.
is
important to understand
all
and
architecture
iar to the
interiors
theme of
this
War
II
to
architects,
name only
to our society
a few of the
wed
the
for a
their
now
The
fact
that
these
same
efforts
"good" seems of
Today,
the
furniture
less
is
fur-
work
figure
of architecture
of interiors.
if
Ir
is
you
the most
is
important
self-evident
a point of beginning in
will, in the
and
is
forming
backgrounds
that
make man
better.
were immediately
It
Hugh Newell
Jacobsen
importance.
made by
is
its
a single
beauty to thou-
no question
that the
and
society.
While most,
if
not
all,
whose
and furniture
made
and
is
The
works of these
work
is
archi-
getting close to
Introduction
13
ROBERT VENTURI
& DENISE SCOTT BROWN
Liberating Architecture
teaching, and
Brown
own house
as a
combina-
tion
this vision
own home
in their
Nowhere
is
who
in
Scott
Brown and
couple
fre-
way
who
lived in the
apartment
in
Towers, but
I.
M.
Pei's
in
made
be demolished)
They
and
ences, ornament,
and color
at a time
it
Brown
picture
large
familiar.
chimney and
The
little
in
them both.
sale,
Scott
to
lawn
vistas she
in the
back.
It
Why
they
style,
also be art?
designs of Milton B.
Two
Venturi's
Architecture
was published.
It
became
was completed,
American architecture
since
box
in
a doctrine of lib-
World War
II.
In the first
Gentle
messy
vitality
am
include the
Brown put
us to view
it
temporaries
the familiar in a
jects
14
new
Venturi and
many
of their con-
had characterized
earlier
for a
German
family,
who
Brown were
that
known
in
at first intimidated
by
its size
but reasoned
it
home.
It
we
context, enabling
architects.
artists,
who
for
Medary
It
from
its
life
do," Scott
Brown
says.
They removed
and sold
all
the
city plans
Museum and
an addition to the
in
London bear
the signature of
Inside Architecture
set-
which
Many
furniture
As
Once
Over
Brown found
and
a retinue of
young
assis-
and
objects.
paintings, sculpture,
pieces
were designed by
have
is
more." "Less
niture,
art
nouveau
lived.
fur-
Robert Ventur
Brown
oration.
is
Venturi
and
Scott
Brown have
woodwork
Wood-framed
door open
living
room. Geometric
colors
In a corner
and an
floor
lamp by Louis
C. Tiffany
cabinet.
Inside Architecture
stencils
the
to the
mix of
tile floor,
,'
Mf
vll
^k
1
H
HharH
r- *
mi
VIKTVRI SCOTT
ar. ->
UOXN
//
*'
their living
and
<>/
mom
exalts Venturi
"messy
vitality
over obvious
furnishings in
<>/
unity of exclusion.
Scott Brown
17
wooden
shelves.
9
1
Hmmi
'
1
r
>
K
T*
3.
J'
:"
hi the dining
iNINI
AALTO WRIGHT
"LO
the
oak
table.
couple's idols
architects and a
few musicians
form a
frieze
above
Nicholson.
detail
exuberant stenciling
exotic
intricately patterned
topped by
stars.
photograph
is
background,
The trained
from Learning
from
Venture's mother's
house
library:
an
art
nouvean repousse
art
to the
on
HONG
JAMES
On
narrow, densely
New
on
York
Lower East
City's
HOUSE OF
story
CANDLES. The
mer purpose:
sign
is
for-
populated street
now predominantly
Hispanic
neighborhood.
and
up
to
finishes
James Hong,
gallery for
who
is
home/office/laboratory and
in
it
When
he
produced
more
where
his
clarified
experience working
what he wanted
He was
in
Gae
for Europe,
left
Aulenti's office
who would
spend
me
could never
his career as a
"When
it
York
need to
total control, to
become
now
he
New
Italian
was
shifting
design
its
concept
exclusively
Hong
artists.
and
and
after a
own
work.
ment
Hong was
20
his
work.
Inside Architecture
When
repair.
to sleep
and
over,
to
leases to a theater
workshop.
as a
in a
frames, installing
ceiling.
it
month
He
work
Hong
himself,
set
window
rudimentary bathroom.
the gas
and plumbing
He
built a
lines,
platform to enclose
would provide
the
bedroom
ing
window
Because the
to
in the ceiling to
to the platform
get
up
window
in
slid-
Hong
to the roof.
On
room, he
new bedroom
dows
left
and
with
loft,
windows
screens
filter
sanded the
a
his ever-
first,
how
of
open from
that pivot
puzzling. His
V: feet
are created
wall of win-
The question
the
its
accommodate
The
At the time
need of
in dire
was
there
in,
his loft, so
He
front
and was
had been
it
When
moved
The
water.
was
for years
about putting
graduated, he found
abandoned
the
if
away from
steel tubes.
They
floors, painted
rainbow of paint
tints
floor.
Hong
filled
and
The
coat of polynrethane
last part
of the loft to be
was kept
furniture,
fairly neutral as a
rest of the
background
for the
to be a brightly colored
unit,
sofa,
bar,
and
The
may appear
loft
encounter changes
this place
is
new
pieces,
table,
work
in
new arrangements.
Hong
muses. Yet
home
will
it is
clear
always be a
progress.
James Hong
"If
dining
entertainment
workstation look unusual but
function
21
From
i i
in
wall of
windows
On
the
left,
by
Hong
a synthetic fabric
of his
first
TV cabinet,
designs.
Hong
one
painted
He
windows
Industrie.
Inside Architecture
are
On
the right
is
playhouse created by
bike,
Hong
for
is
he fixed up and
painted turquoise.
mom
is
chair,
front
in
articles
and
catalogs.
The
stealth
Axonometric
of the sofa was designed by
for a sculpture
Propensity
show
Hong
entitled
"A
Toward War."
Floor Plan
e s
Hong
his office
all
equipment: computers,
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,
tinted plaster.
Hong found
the
chair
The dining
and upholstered
it
in
a faux
off,
is
of the design.
two
Hong
screens,
African.
also designed
one of lacquered
chairs.
on
24
Inside Architecture
the
sculpture
On
glass
is
the
left,
the painting
by Carmen Spera.
>
leads
staircase that
to the
sculpture on the
bedroom
wall.
is
by
Chuck Glickman.
refrigerator
oven are
and microwave
built into
one corner of
Mondrian
from a grateful
little
is
gift
client.
Hong
light
bathroom.
He
in his
placed a tempered-
hammered
The
stainless steel
own
Inside Architecture
and
sink.
and copper
creation,
is
set
A work
is
ceramic
tile,
black
the sink
hot plates
and a
kettle.
The floor
slate,
is
steel that
has been
cabinets
is
bright turquoise.
James Hong
27
MICHAEL GRAVES
Pioneering Postmodernism
it is
who
epito-
No
and
objects. His
own house
in
Princeton,
vision
and
show house
28
says.
Inside Architecture
New
domestic
"A room
is
set
His interest
of
set
school days
in the
women.
his
back to
home economics
classes
architecture
in
George
for
Herman
Miller.
"I
up
"New York
in the
along with
that
Hedjuk,
Eisenman, John
Peter
of
known
and,
style
particular,
in
for
1982,
in
postmodernism
is
name has
then his
in architecture. Since
variety.
did not
refrigerators.
want
My clients
my
all
recently,
creat-
like-
ing a breakfast
They missed
that
open to
a garden,
new
ond
floor.
rooms on
the sec-
door."
in
Rome (I960
most American
at
The
The rooms
in
to 1962) as a
wanted
buildings to look
More
floor.
and garden
library,
in the
terrace.
south of France,
room,
first
style.
fact that
Graves
by
lated
changes
in
house,
a plan for a
says. "Just as
see
in
in
like to see
develop
it
barrel-vaulted
heights,
ceiling
design
how
am
how rooms
interested in
sequence."
After
In
University,
later he
opened
He was
his
own
into a live-in
showcase
of Graves's
own
designs and an
archi-
enormous range
still
a struggling
light fixtures, clocks, picture frames, vases,
in
Italian
and bowls
stonemasons
are
all
The
ings
classically
potential,
in
it
in a
tile,
brick,
its
ever since.
lution
>2(S,
facility in
from
a derelict rabbit
warren of 44
its
movement,
home
as a
architects,
work
Graves con-
in progress.
the teapot he
Future
evo-
room
into a
more expansive
library
interior cells
living
He
hist
rior design.
in stages,
and
Michael Graves
19
Above Right:
Be low Right:
federal period
American
table.
copies of first-century
Roman
Site Pla
30
Inside Architecture
//;
the living
own
designs.
The lounge
chairs
nineteenth-century Biedermeier
collected
is
at
ompanied by
Ins
is
arpet
is
The
an antique chain-stitch
Kashmir.
part
Michael Graves
31
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
are separated by
tall
windows
nineteenth-century copy of a
Pompeuan
below a
circular etching in a
Bokharas.
32
Inside Architecture
transparent canopy
fills
the
light.
Ground Floor
34
Inside Architecture
Plan
Michael Graves
35
Doors open
to the kitchen,
where
flea
market
36
Inside Architecture
flank a
window
the garden.
on
In the
nineteenth-century Biedermeier
century, hand-painted
/;;
wing, a breakfast
room
is
chairs,
which
carpet
Roman
nas designed by
Pompeiian
nineteenth-century Biedermeier
//'!
.raves.
chest.
and
end
the years.
guest bedroom.
Michael Graves
open
37
to a
In the master
fireplace
windows
is
bedroom, a
flanked by
tall
fireplace, a bust (a
copy of
Praxiteles' Aphrodite,)
from the
British
purchased
Museum
teenth-century American
corner
is
a Biedcrmeier chair.
Left:
One
wall of the
bedroom opens
antique
38
Inside Architecture
silks.
is
covered with
Ill
In the
master bathroom, a
nineteenth-century bench,
between a pair
of late nineteenth-
floor
is
Di Quesa marble.
Michael Graves
39
JOSEPH VALEPvIO
Creating a Cultural Marker
for
when asked
you images of
to bring
client
who,
opened
tures of
him
Schnabel house
Los Angeles?
in
When
how Gardner
and he studied
lived,
and 59th
Chicago designed by
how
lived,"
entry
room were
work with
were
was
the
group of older
British students
attracted to Archigram's
first
after graduating
who
Archigram. Valerio
modern
work
in
Los Angeles
some
for
Woody
was too
work
Architecture.
has
owned
When
He
still
first
copy he
by the view
As principal
in
work was
residen-
the
main
an icon of Chicago
Hancock Tower also designed
architecture, the
John
The
works
to
what he
calls the
ing, bathing,
to
walls.
terms of where
for Gardner's
40
we
marker
in
The design
Inside Architecture
often
"messy" functions
(conversation
(sleeping, cook-
and contemplation).
would be
thin, light,
and expressive of
design that
its
materials.
two
making
level
are a
who
"ceremonial"
Valerio
a stronger pres-
home, wanted
at
own
They
make
greatest challenge.
to
architect's
and another
level
upstairs.
space within
in
Valerio
room on
1950s and
living
functional services or
like a glove."
studies at U.C.L.A.
to
fit
side
bathroom
is
one-bedroom with
how
They showed
a standard
staircase
level,
recalled.
person wants to
and
Gardner
alternative schemes
Joseph Valerio
closets,
them
as
"heaven,"
ethereal nature. In
homage
is
"warped" by
'
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III
::i
ill
the
tower's
imagined gravitational
The spaces
pull.
were
to contain
the
set
for
rise
sleeping
Gardner
over the
it
in
sa\s.
that
him one
Gardner
three areas
area
large bath
the
"Everyone
some way.
two containers
moved by
right
is
hinged to provide
lake from his bed, so they pushed the bed as far to the
it
to
bedroom
it
If
who comes
they are
way
moved by
here
want
to,"
touched by
is
some guests
way what
to live the
He admits
it."
is
and the
If it
succeeds
in
doing
that,
it
is
good."
1'
41
at
new
and
further inside.
wall of double-height
windows
airplane-passenger's view of
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,
it
defies description.
Aluminum
designs.
The
is
modern
lipstick-red sofa
and
aluminum
4 4
Inside Architecture
plate.
From
his
desk on the
loft level,
and
tabic
woe
designed by
Charles Eames.
Joseph
a l e r
45
LEFT:
Be LOW:
The
Aluminum
bathroom appears
to float
on
its
bed
is
north-facing
window
so that
room, with
its
wall of windows,
maple
terrazzo.
from Knoll.
panels, the
bed or the
conversation area.
Opposite:
With the aluminum panels open,
from
46
Inside Architecture
his
whirlpool bath.
designing
in
Greece or
became an
in
mastered
Whether he
fit
ity
of
its
tation of light
its
48
must be
is
distinctive
keen awareness of
clar-
how
is
The Welles
tessential
ing the
Ohio
residence in northwest
is
Maumee
marked only by
a white
mailbox and
which
is
double row of
a quin-
down from
hill,
tall
you catch
white chim-
"The approach
drum
fulfilled."
Inside Architecture
roll,
and
site.
The
size
mystery.
dome-
which
its
eye to the
toward the
windows and
wall of
living
The
draws your
light
sliding glass
when
it
was
a tangle of trees
it
the world.
in
from
to a golden ruin
in a
manner
that,
rather
than
being set at a
The
shorter
angle,
right
is
three
in details
shape
serves as a dining
library,
which
also
living
sweep of
determine
He
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
living
art.
space.
river
woven
come with
the
rooms
seamlessly
a furniture
will
work, and
the
rooms
merge the
interiors with
travertine) inside
and out, to
because of
its
symmetry and
work
order.
is
classical
This discipline
light-filled space.
Arches
in the ceiling
much
pleasantly surprised by
how much
slid-
Though
have heen
49
/;;
an arched
behind
and
the
fireplaces face
the right
is
above the
fireplace
Speedboat
in Pale
same
living
artist.
room
on the
left is
Sea by the
are fed
and watered
by concealed pipes.
dome
Site Plan
highlighting
on the
right,
two
large paintings:
the
O O
o o
O
o
O O
no
left.
honed
50
Floor Pla
10
Inside Architecture
travertine.
lv
Ik
Left:
in the center
of
velvet
chairs,
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
Right:
Jacobsen's trademark egg crate
bookcases
library.
line
The
two walls
in the
of
and
fish decoys.
H
i
Inside Architecture
Hugh Newell
c:
e n
53
room, doors
from the
slide
open
living
to reveal
collection of pre-Columbian
ceramics.
on one
it
hangs O.P. 84 #1 by
television.
Above
Inside Architecture
would
The
<>/
the
is
in the
warm weather
the court
is
used
and apple
trees.
55
jhi'iiinc
I m i ii i inr
! 1 1 1 1 1
| !
Jacobsen Residence
Georgetown
located in the
his office.
Georgetown Public
is
According to records
was
in the
originally
made
bay window.
In
Italianate style
it
When
keeping with
was painted
the
then-fashionable
in
street,
From
left
much
like
its
neighbors
it
is
To contain
his family's
ever-expanding collection
to the library
first
1968,
and
now-familiar
ings or baseboards.
drawn
his
floor-to-ceiling openings
project in
combining
Scarpa sofas
classic
in the living
modern
room and
Cognac
a Finnish
own
design,
These furnishings,
study.
plus
few
in the
remarkable
antiques, such
revealed only
that
"demoted"
street,
behind
the front
door on the
new
wall that
the
original
house.
Jacobsen
street
house
is
From
the
where Jacobsen
cre-
vintage Jacobsen.
an
house
small
families
inspiration
window
magic of
urban
ivy,
American holly
The
room, where
Georgetown house." A
room
bay
bank of
wall.
living
extending to
lit,
was
the
first
Pompeii.
in
new
column
Ionic
time,
and
the forecourt.
Inside, the
is
the
as
for
today,
is
needs
the
of
Jacobsen's
deeply rooted
architecture.
classical
in
in
Every
with
whom
Louis Kahn,
he studied at Yale:
and
the
in
when
became took
architecture
column
the wall
place
in
Greece."
57
Silver candlesticks
window
classical coin,
garden. Safas
58
and armchairs
Inside Architecture
on the coffee
of
Left:
/;;
room
the living
toward the
on the
(looking
left is
bx losef Albcrs: on
found
Above:
entire wall
<>f
the library
is
Saarinen.
sells
An
in a
staircase la
maquette that a
architectural maquettes.
Roman
terra-cotta
head on the
variety of objects
right
prove
his abilities, to
an
archite<
'flee
table dates
t),
eighteenth century.
table with
Two
.1
offee
hook
an
Omega
desk designed by
St
tmx
presented to a soldier
of architectural stamps, a
Kingdom
lans
on the
that he
was working
in
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*
59
from the
DARCY BONNER
& SCOTT HIMMEL
Restoring Elegance
Bonner Residence
Whether designing
contemporary
a sleekly
"what mat-
retail
ters to us
Bonner
is
says. Scott
It is
"One
was no
a
doorknob," Bonner
makes you
it all
key,
you can
says.
better at each.
tion
"Doing
in
every
They
lost track
first
met
as undergraduates
Tulane
at
at
an archi-
remembered Darcy
when we were
and
when Bonner
as the
students there
is,"
Bonner
triple-hung
married
women from
the
somewhat
same small
in
Chicago, an appropriate
work
their families
who admired
the
was hired
to renovate
one of
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,
in
between the
room,
living
slide
the
open.
He
paneling.
It still
had
its
original
be difficult to restore
it,
wooden
To
Bonner decided
its
walnut
removed the
floors.
room and
led
recalls.
Himmel
Two
becomes
Since
1960s.
in the
axis,
Himmel
and doing
elaborates:
they
University.
If
of the
really play."
when
Himmel
them
that there
is
bor-
is
essential to
"It
to
it
The
would
emphasize
living
dining room.
ceilings
-*3fl
the
Bonner apartment, an
early-
Reindel,
and antique
candlesticks.
Moroccan.
The rug
mirror
silver
is
in a
hand-
carved, late-nineteenth-century
the table.
Floor Plan
61
Inside Architecture
is
to the living
room
Murano
glass.
The
chairs to either
in their original
were found
weathered
leather.
a Parisian jewelry
store.
Above
Alistair
Morton
the mantle
is
displayed.
1]
^r*
On
is
fW
the fireplace, an
tribe.
To the
left is
fireplace are
Hedge.
two
collages by
Gene
on the
upholstered
in leather the
color of
table, also
by Mattaliano. The
right
Gio Colucci.
is
On
the bar
is
is
by
part of
is
late-
Below:
The rug
in the library
an
is
eighteenth-century Aubusson.
The sofa
is
sofa by Mattaliano.
It is
by Giant.
On
the table
is
an
column
table
lamp
is
by
Mattaliano.
Amen
Above:
designed the aluminum
Hi inner
stands on a parchment-
The painting
room
at top left
is
by
one below
constructivist; the
punches
The
of light
silver
table
market
the room.
"
by
expressionist.
on the dining-room
from the
is
is
Paris flea
bowl, which
a tureen, a
mother.
is
gift
On
the
from Bonner's
left
wall framing
Hi
mm
el
65
The
original
by Jules
Shirk:
it
is
Leleu.
room
The
is
is
an
sisal
from
#/ by Mattaliano.
The collage
to the left
is
Francesco Monatti
is
right,
displayed.
Hi inner
screens
The sheets
the master
.ire
bedside tables
from
.ire
bedroom.
Protest.
attributed
The
t<>
IhnulJ Deskey.
el
67
nineteenth-century rouge
fireplace. In front
is
drawing.
skins.
He
68
an antique architectural
one of the
made of celadon-striped
taffeta.
chair;
seventeenth-century
it is still
upholstered in the
original fabric.
The
chair to the
left
of the fireplace
was a
from
it sits
flea
market
find.
Against
room's triple-bung
nineteenth-century reproduction
of an eighteenth-century French
tortoise secretary
living
classic
of the fireplace
are
Inside Architecture
DARCY BONNER
& SCOTT HIMMEL
Restoring Elegance
Himmel Residence
apartment
The
across
appealed
tory"
ii
ham
prominent Chicago
"The notion
Himmel,
to
that
had a
it
his-
Chicagoan.
native
in
was
from
his
make
as
seem
it
He
there.
fireplace.
He
says.
nineteenth-century
French
replaced
rouge
it
is
with a clas-
Company,
Working with
Welles
the
Furniture
family-owned establish-
a third-generation,
left
the
away from
create a closet.
The
result
is
room
to
for a large
Himmel had
his eye
on
for
some
time.
for
chandelier,
which
When
had
at last
inspired
the
he
a
color
in a
sub-
the French
company
moderne
Ludwig Mies
closed,
Himmel/Bonner took
They manufacture
in
over,
it
its
When
honor of
lously reproduced
He
fireplace.
classics.
firms.)
families'
apartments
Himmel
Bonner and
mentation.
Mattaliano designs
in
often
own homes.
their
a client
in its place
tions.
"The
is
sold and
buys
is
a classic
out
the
Furnishings
collection of
live in
something
try
until
you
live
with
really
understand
it."
ed gray-green moldings
vellum
in
difficult to find,
"off."
the
tle
seemed
finishes discreetly, to
home
od became
some of
lier
enormously
finishes
at
vated, so he
sic
sumptuous
partner.
walls,
in
in the living
room
to the old
the library.
become habitues of
for themselves
and
for clients.
and
his circle.
combination
69
O DD
Hour Fdiw
The
covered
in
an African
tribal cloth.
is
lined with
grille-front bookshelves.
Mattaliano sofa
is
The
table.
based on a
chair, also
tion,
Ruhlmann.
leather.
quilted
70
Ii
can
is
upholstered
in a
is
a Mattaliano reproduc-
upholstered
Inside Architecture
in
sueded
A Lyon
&
piano stands
living
On
room.
an
made
it
of
Prochownik,
room
<</
is
/rum Turin
hangs a
L>
l
painting by
eo
describes as
German
alette sofa
ils
chenille.
chair
is
'\>
also
Himmel designed
.1
Brunschwig
he
he
from Mattaliano
in
second-tier
expressionist."
upholstered
whom Himmel
is
&
he matching club
.in
animal skin
are,
Himmel
from
the 1940s.
from Mattaliano.
-i
Opposite:
Rk.ht:
A 24-spoke
nineteenth-century
the
is
fabric
from
by an African design,
Beneath
it lies
.1
is
spread
table.
paisley fabric
tiro sinks.
right
is
a 1930s
German
by Soulek. Alxire
cubist
it
cabinet
hangs a
flea
market.
*!.*
wr
The Hitnmel's
oldest child,
chef, completely
kitchen.
floor
is
one
creations.
)n the
of Alexander's
The
Lego
vinyl floor's
checkerboard pattern
is
iA
The
floor of black
tile,
remodeled the
which also
is
33
topped
island.
rack
work
tn
cerused oak.
edged
>,
CHARLES GWATHMEY
Mellowing Modernism
and
stu-
bility
and
his
holistic
architecture
is
is
line
no gesture
Gwathmey
has meaning.
Louis
Kahn was
ies at
bly the
est
work
when
was proba-
impact on
work. Early
his
in his career
stud-
whose work
Gwathmey,
New
York
modernism.
Gwathmey remained
buildings,
Long
Gwathmey
critic,"
Gwathmey
large family
apartment
in the
and
for
modernist
tra-
became known
interiors in the
the
As the requirements of
become "too
literal
Gwathmey
the geometry
and
has, in
and too
Gwathmey
cityscape. So they
same
building,
bought
Gwathmey always
awareness of the
site,
leaving
openings they
it
window openings
in the
loft space.
as given
"I
accepted the
an asymmetrical counterpoint,"
gallery leads into the apartment.
kitchen,
he
An
says.
entry
line
right.
At the
room, study,
carved into
you
inevitably
ner
window
The
windows.
down on
Fifth
Maple
toward
cor-
Avenue.
flooring in
perimeters,
helping to
ceiling,
This sequence
front door
is
define
the
rooms.
apartment
window
easy."
majestic
its
Marble
as
loft
a smaller
an
American Le Corbusier
a partner-
good
is
years of living in a
wood.
stint in the office of
many
once abstract,
in being at
says. After
In
his
the
Corbusier's
modernism.
ents brought
career.
studio
true to
in
you seem
fur-
"holistic"
74
Gwathmey's design
Inside Architecture
sensi-
Gwathmey
combined with
:j:a:::3
many
of his
own
designs
the coffee
all
Gwathmey approached
this
Even the
ceiling
"You
is
Add
"By making
in this
window and
but
Characteristically,
the fireplace.
You cannot be
drama,
is
Ann Gwathmey
within the
city.
You
It is
at
surrounded by the
lost in
Charles
Gw
it
a t h m
is
magical.
toward the
room shows
Above
the fireplace
is
a cast from
Gwathmey
bought
lies
either side
living
entertainment unit
76
library looking
the
Gwathmey
Inside Architecture
is
he Corbuster
To
in
is
late-nineteenth-century Viennese
secessionist.
The
on the
left
Albers't
series
room
is
lined
Homage
and on
to rhe
Square
Hoffman
screen
Japam
early-twentieth-century
se
is
.;
set of
gallery
<
is
of the
punctuated by a
collection of black-and-white
door on the
master bedroom.
right
floor Plan
Charles
G w
a t h
e y
77
Gwathmey
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
lacquer.
and
to Peter
leather so/a
tongue
father,
is
by the
architect's
Robert Gwathmey.
//;
chairs,
Hoffman
lighting fixture
was designed by
Andre'e Putman.
When an
Museum
the view,
Gwathmey covered
windows
that
were on the
the
right
He
to bring in daylight.
On
the
Gwathmey
Siegel's candlesticks
and bowl,
Gwathmey
designed the
>f
is
made
all
which
of cherry.
Charles Gwathmey
79
Gwathmey
created a vaulted
ceiling in the
covered by an Amish
design.
quilt, is his
rocking chair
is
a Thonet
prototype.
designed by
Gwathmey
in bird's-
the
leads to
left
Gwathmey's
his wife's
~^*&&r
Right:
slides
and
bathroom
cabinetry
sink
placed in front
of the window.
an oval mirror
slides in front
the window.
is
When
of
the
window,
it
80
away from
toiletries cabinet.
is
made of bird's-eye
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
his
of visiting
house
in
Austin,
was
failing,
it
was so
him not
like
to turn
down
The house
now
is
site
and
tenured
"spread"
amazingly
his
Moore
fruitful
and
held professorships at
and the
and designed a
20 years of
his practice
first
to the
on the design of
opments, but
libraries,
his fascination
devel-
create
But
himself there.
for
it
was
location
Its
Moore
not.
is
pleasant.
described
wood-floor cottage of
1936,
The
original
as "a rather
it
had been
that
in
is
many ways
unpromising
this
with
compound was
Moore on
would remodel
the design.
They decided
a studio
and
assisted
Moore with
a smaller
that they
Moore and
build
who had
1984
New
stant.
in
his
The
failure
cally habitable,
able
and
live
cally habitable,
to us to require
lives,
and
to
He was
inspired by his
old
photograph of
swimming pool
memory
of a long,
Colombo,
wagon entrance
in Salinas, California.
structures
Moore designed
in
Inside Architecture
a courtyard with a
compound
was
Sherwood Ranch
and meta-
Austin, Texas.
an
Establishing
the center
around
Sri
wherever our
us.
the metaphori-
in
phorical,
the buildings
our
recall of
his
office.
new
age Moore's
would
he
by envisioning the
also
but
nasty
professorship
las
three
The
was
the
Despite these
also
grounded
in
cluster of shed-roofed
recall the
Moreover, Moore
to
said,
board-and-
hill
awful as he thought
it
country.
was, he
felt
ing house."
erasure."
He
He
left
intact,
adding
one large one. A pitched roof was raised over the original
Moore wrote
in
modesty, and
my
in
all
the houses he
common
(beside their
residing in them)
is
grand gesture,
dis-
aster."
"shape
an
especially
big
gesture,
include
The
gesture
in
Austin
across
the
court
is
an
ellipse that
with
the
fireplace
extends
is
com-
wall
of
Andersson's house.
The foreword
to create a
make
place that
life
is
Moore's
lected
Austin,
when
door (found
they see that
He
typically
little
inside
monetary value.
the Viennese
local architectural
Moore
trappings" of his
of
step
visitors
in
has
life
In
front
fragments shop),
bound together
the
"goods and
maestro. In
sit
across
hall,
swings around to
and continues
polychromed pattern of
objects:
baroque,
shields,
by-
set
books,
toys,
sculpture,
Charles Mo or
in
83
Right:
Moore found
an antique shop
table in
Angeles. "Gazing
scene,
he said,
"
in
Los
down on
the
my
"is
"
great-grandmother.
great-
Spanish
dining-room
Simple wicker
table.
the chairs
Texas.
in
Moore
in Castroville,
my
house
studios.
between
in
bookshelves
are
seat are
window
and
Mexican birdcages
birds.
and
objects collected by
Moore
in
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,
Andersson out
<>/
cheap
museum
Inside Architecture
we
desired,
table.
Beneath
its
glass top
in
am
village
way
the
yet.
"
palm
happened
turtles,
.1
little
and toy
made from an
on
is
soldiers.
A lamp
sits
/;/.-;/
three steps
room,
is
up from the
drenched
a sitting area
window
more
living
the house.
A<
rom
there
designed by Moore.
that he
my own
and
.1
He explained
"updated the
classic
with
near the
top of the
room hold
enormous
collection of
part of Ins
wooden
Opposite:
The design for the gate
compound was
to the
inspired by a
Sherwood Ranch
in Salinas,
California.
Andersson designed
the mirror
framed
painted
wood as
in tin
a birthday
1992.
It
pool.
Moore painted
the original
circles
of Cape
attic
bedroom and
study.
make
it
shows
on top of
window
Inside Architecture
side of the
leads up to the
Cod steps
bench.
Moore
in
court,
and
which
is
down
to the
bisected by a lap
DIM
"1
T
,;!
CHARLES MOORE
& ARTHUR.ANDERS SON
Collaborating with Joy
Andersson Residence
The
shelves
ends when you step inside the door. "I would not
cliff
dwellings of the
Andersson's house
larity
of
similar to
is
Andersson
Charles's house,"
For so young an
says.
was only 25
(Andersson
architect
in
at
time
the
he
He was
discipline.
in
library,
room
into living
a freestanding
is
the
room with
topped by an oculus.
It
to a
divides
it is
who would
aggrandize
San Carlo
cloister at
Borromini
in
Rome
alle
also
small
relatively
The door
to the
was an
inspiration.
"The
thick-
modern move-
test
of time, but
it
it is
when
it
is
thoughtlessly reproduced."
windows on one
90
side.
On
cadence
Inside Architecture
bedroom. He
seen
is
Although
his interior
wry humor
architect
at
Irish
to Moore's,
Donato Bramante,
extensive
credits to
his
because
which holds
ally
He
is
Georgian door
small space.
hill
tal is
this wall,
self to a
on
bookcases
Spartan
in
hold
black-and-white
floor.
comparison
his characteristic
above the
tographs of great
nitely his
may seem
on the
cutouts
history.
pho-
of
While
defi-
mentor
joy.
Arthur Andersson's
set
by
room
ti
divider,
/<>/>/i<\/
Styrofoam entablature,
as seen
from
is
Mexican
London. Giovanni
dak and
fireplace (stove)
if
manufactured
chairs thai
room
sit
in front of the
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
<>/
combined
classical
by placing
vocabulary
91
Plan of Studio
are
mounted
Andersson paneled
his
bathroom
glass
door on the
left
to the toilet.
Pu
Inside Architecture
tin.
The
opens to
on the
right
table.
I^^jm
An
that
Andersson found
is
in
Dallas
On
the
left
from
tall
windows behind
bed, which
is
the
covered with a
93
FREDERIC SCHWARTZ
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
the foyer of
The
that
furniture
Central Park.
the
fills
The
spacious rooms
stenciled
who
working
He went on
for them.
to
become an
associate
New
office. In
partner,
France.
Many
and decorative
furniture
arts
that extends
tion.
is
in the collec-
versation that Schwartz has developed between this collection of twentieth-century furniture
arts
and decorative
International,
who was
of Marshall Cogan,
had an early
He
collection
a chair designed
now
Andrew
as
and
pets, furniture,
for the
the
Memphis,
museum-quality
collec-
"A good
not combine."
He
set
about orchestrating
a retinue of
He
would
first
completed
restoring and,
when
and
pattern.
of the rooms,
a renovation
To
life,
Schwartz com-
Cogan moved
into
apartment by Schwartz.
to
Stijl
from the
and chief
the chairman
Cogan bought
the son
is
this
York
overlooking
background of overscaled
in
live
room and
a sitting
the
in size,
and
a separate dining
the
most
part,
chairs.
project director
The "Grandmother"
Joseph
in
Denise
Scott
94
a tablecloth
owned by
Schwartz's
Esherick,
Buchsbaum,
pattern
a tradition of
in
living
first
young apprentices
Inside Architecture
living
room from
patterns
in
is
room
the master
down
work
of both Wright
Mondrian and
Invisible Cities,
from
Italo
Calvino's
book
and
after
in
eat-in kitchen.
in
the
room
sage
find,
book about
city,
concealed
story of his
life,
background
image of the
room
a carpet that
carpet's
his
own
among
Rietveld.
passages
Poetic
compares the
living
a striking
Schwartz designed.
book has
the
its
own
story, so
do Schwartz's
designed a
white.
loft that is
do not
style," he says.
"sleek
experience working
it
apartment, he
and modern,
"There are
this
all
is
ail
black and
makes an
in a variety
projects. At
all
architect richer to
of ways."
Frederic Schwartz
95
Opposite:
just inside the front door, visitors
painted by Braby
form a
lively
& Strackbein,
The
from
left:
chair
and
stool
house;
c.
Rohe
at a table designed
by
designed by Eames in
chairs designed
946; two
by Ventun
in
High
Sticking.
was enlarged.
Floor Plan
96
Inside Architecture
when
the foyer
JJJJ
'
In the living
windows
room,
light
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
Aabtam
J^-do ^s
wsssffljiiM"
^ncentrate and ,||ggjKEal h ^
:rcet
-"t
icit
^*
you
u reco ni:e
the
md
York,
le
Armchair stands
t\?
if
base by
the fireplace.
" n thi
llv
wood
was designed by
irst
ut
the fireplace
*. int
modem
table with
New
8n of
V'Soske. Furnishings by
the park;
"
from the
stor) ol his
life,
the
the twists
fate,
Italo Calvino, Invisible Cities, pg.
Cities
to the right
The
light
sconce
Lehr Company.
of
Symbols of
and Hers
fireplace
and painted
white.
On
the
loan Nelson.
Frederic Schwartz
99
by Florence Knoll
rase designed by
by
the master
100
On
bedroom from
the
living
Right
Inside Architecture
eking chair
is
by Eames.
is
the
Memphis
Marco Zamni.
Iii
bond
tion
der
Robe
and
by
and conversa-
for thought
is
provided by a cornice
quotation from
alvino's
A. Leinofl Woodworking.
dreams, are
The Skyscraper
fears,
of
even
made
if
of desires
and
discourse
Tansunya, presides
earner
in a
sitting
something
The
deceitful,
is
eals
else."
pillows covered
fabric
by
The
new
dining
room has
uf
by Bruce Roblnns.
on the
left
was designed b\
Aalto.
and
the
on the
right
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
"
fireplace
wooden
patterns.
table,
Frederic Schwartz
GISUE HARIRI
& MOJGAN HARIRI
Pushing the Edge
The publication
in this loft
of
New
ofthe striking
launched Hariri
York
&
steel staircase
hand-
complex prob-
play her art collection, they kept the lower floor fairly
two oversized
work.
ing
"The excitement
who
Gisue Hariri,
in
is
with her
The Iranian-born
designs of their
The
interest
started their
sisters
came
to the United
materials,
When
in
all
kitchen
memories
in their designs.
York
SoHo
City's
neighbor-
show
came
her.
recommended by
highly
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
Hariri
explains.
To
satisfy
ioz
Inside Architecture
on the top
floor
it
would be necessary
rotations
and open
were to create
its
to spare
if
the
that
level,
many
The two
logarithmic spiral."
artists
accommodate
It
by
to replace the
site
archi-
steel,
indepen-
curving in a
and
the
Gibian. Welding
is
end
in the
stools,
stair railings
The color
design.
the
The
used
Mojgan
The
industrial
while transforming
our
artistic,"
and
is
When
loft
second
New
liv-
and provides an
bought
buildings found in
The
and designed
architects
a study.
place
in
and
room from
influence.
site-oriented
Iran,
1986,
contrasting
work
in
their studies at
in
buildings that
Mojgan
completed
study architecture,
to
States
sister
Cornell.
blue,
which Schneider
wooden
in the
Deep blue
soft blue
In the spring,
wood
trellis in
blue canopy.
when
it
on the cedar
forms a buoyant
sun deck
The
designs
are
being
its
known
we
glass in
Stair
104
Drawing
Inside Architecture
The
loft's brilliant
staircase
was
pendant
by sculptor Scott
sculptors
site
by
light fixtures,
R.
produced
Madison,
to
105
Ill
a masterly juxtaposition of
had
the
hand-
log box.
o 6
Inside Architecture
The kitchen
bar,
mahogany and
and unexpected
handsome
designs.
107
Right:
The
wisteria
left
from Switzerland.
The
bathroom were
all
designed by
Hariri
& Hariri.
Hariri
and
treated
o 8
Inside Architecture
architects
wood.
trellis
made of cedar-
8**'.
x - -v
'>
BUZZ YUDELL
Inhabiting a Landscape
Malibu
is
as tightly
woven
by California sun-
Moore
established that, in a
celebrate
Yudell
habitation.
worked independently
through him.
well as the
more
distant outlooks
rooms
are
endowed with
Ocean
as
the Malibu
to the south.
much comfort
hills
as the stucco-
In
move from
call
of their
the East to
new
110
firm,
Moore Ruble
Yudell.
It
in
remains one of
Inside Architecture
Moore
before
they
to
Outdoor
for
Moore
was
"He was
clear that
we were
and
his
clients,
in.
He made
it
method of working
were
sweeping
in
now works
for
Moore
designer.
When
lived
in
the couple
first
moved
to California, they
dreamed of building
a courtyard
no one
ously had
known what
do with
to
it.
The
site,
library.
feet
The master
as a
suite,
wing
opposite side.
previ-
100
tional plan,"
side by a
feet long,
and 18
on the other
feet
feet
long by 32
feet
on the
side of
the property
was
therefore
Ocean on
"We
als,
proportions,
how
recalls, "it
light,
felt
good
in.
living
room, but
is,
for example,
is
of the
rooms
both
inside
The furnishing of
oration
found," Yudell
no formal
the south.
Thinking about
there
and out
the house
a large party,
are used
many
for dining.
an ongoing collab-
is
She has incorporated some things from her grandparents' house that she finds "comforting," whereas
Almost
all
the
their
It is
in
California and
both an appropriate
paved
soon make
room and
way
trellises,
and
a rose court.
It
Under her
they
pergolas,
their
garden rooms
and vegetables
they
a kitchen/sitting
down
fruit
sumptuous
build.
fills
would look
dried.
reflect the
light.
The
site
and
testing
resulting
walls
how
when
seem to constantly
sunset.
On
toward the
Buzz Yudell
iii
Left:
Percy laps up the California
in
left
leads
up
made
the
parchment sconces
Thanksgiving
to
Day
Opposite:
The
7
<?
"
"'
down from
--.,
K^ace^
spaces.
IP
Lounge
chairs designed
by Mario
Bellini provide
additional seating.
pair of
doors.
sits at
PwklafCMH
I
,..
..,,
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
living
room, an
and
reading.
parents.
The
designed by
It
mantel
is
Bellini.
On
the
a small painting by
fireplace, the
room opens
to the
it
was
applied.
A hallway
bedroom doubles
as a library.
floor.
It
first
is
by Stephen
The limestone
Sidelinger.
staircase lipids
*e#r
down from
gallery.
It is
*** *r
*** w[]
*****
ww
decorated with
>
Mexico, and a photograph
Colored
Site
Plan
<>/
Axonometric
BUZZ YUDELL
IIS
At one end
of the kitchen/sitting
fireplace
simple
is
ornamented by
opening.
On
flowers.
limes, quinces,
and tomatoes
paintings of a walnut
still-life
and a
inherited
on open
shelves.
I
i
A French fruitwood
table
dining.
sink,
Open
acquisitions.
BUZZ YUDELL
II-
anemones from
and
glow of
integral-colored plaster
tile
by
slate
toward the
the
Pacific.
bedroom are
At one end of
a chaise
and
Caucasian.
to a
floor.
Inside Architecture
is
"
//;
idic of the
outdoor rooms
suspended under a
arcade. Poppies
trellised
grow between
and
with the
the
I'niil
marc datum
spirits
BUZZ
and
/<iul the
YU D
E L L
in.
119
"
Tina
good
had ones so
MICHAEL RUBIN
Designing for Change
end up
had
to
like the
change
it is
up
and adaptable,
flexible
diet,"
could
it
when
its
to a
it
and
changing,
Manhattan
for a
always
is
decade-long adaptation
his
in
which merchandise
in
of
home
When
They chose
home
York
the area
(now
was almost
boasts a
it
raw
cats.
They
City.
two
their
New
in
and
for themselves
Chelsea
make
number
knew
a
entirely
of chic
want
Rubin
is
architecture, dining
rooms were
shell intact
columns,
wood and
like screens
was used
received
"And we
working
in
in
building materi-
didn't
its
industrial
framework
Work proceeded
style in six
how
have to
lofts.
a lack of pretense,"
is
in this space,
biggest concern
moved
later
was how
to
tell
Michael he would
accommodate
three sides.
120
"Once
made
feet
left
child
room
to
Rubin devised
Inside Architecture
later,
He
room
when
sim-
into a
second
Over the
loft)
the baby,"
was
empty square
Drake
Rubin had
To
in
ocean
lenge of 2,300
per-
"Our
was
gim-
time
first
"No
office in
pale
now
in
and
up
Then, to
and
York
first
traditionally set
New
side
wood and
room on one
recalls.
own
both dining
their
his
is
out of that
micks, lots of
head of
large, generously
home
building
little
would be out of
architect.
room and
windowed
into place," he
would take
comfortable," Shipper
own domed
and
"We wanted
it
its
The
fell
it
space.
make
recalls.
To
young
space into a
family members'
it
lives.
Now
Philip
in the
Shipper likes to
younger brother,
home
group
in life
becomes magical.
is
without
being
believes. After
there,
restricted
at
home,"
their
like that
like visiting
Oz."
mother
Rubin comments
"It's
wonderful to see
how
the
Michael Rubin
iii
living
in the
Charles Givathmey.
sized chair
owners
One
was found by
in Paris, the
child-
the
other
Arizona.
Opposite:
Broad openings provide an
from the
living
Axonometric
breakfast table, to the master
bedroom.
122
Inside Architecture
Anthony Ames;
be pulled aside
it
when space
can
is
parties.
The rug
Loom
chairs
ookittg
Ot/et
and across
you
windows. The
the
left
shoji screens
on
bedroom.
its
is
crafted
own
and part
on
the table.
Michael Rubin
125
Center,
lights
of
World Trade
window
parties.
Translucent glass-and-birch
screen
126
Inside Architecture
set
is
Michael Rubin
127
This child's
study. Its
occupant finds
it
128
Inside Architectu
Buddy Rubin
relaxes
the
living
to the dining
and
rooms.
nv
')/'''//////tt^H
Although there
is
second small
hath,
sinks, a
shower
toilet in
a private cubicle.
Michael Rubin
119
STANLEY TIGERMAN
& MARGARET MCCURRY
Accomplishing the Unexpected
On
street
quiet
in
Chicago suburb,
sit
primly
behind
What
gravel driveway.
is
actually a
McCurry
five
grown
for a couple
was never
entirely
autonomous
ture,
where he was
dictable;
trained.
He
work
common denominator
McCurry,
his partner
generation
the unexpected,
surprise.
is
and
is
his
wife, for
and the
Tigerman
credits
McCurry
considers the
comparing buildings to
place inside."
whether
crystals in
which
"life
takes
their
own
small
The
architecture
is
When you
and furnishings.
step
its
"room"
own
roof,
an
is
and each
by the
all
This variety
architects.
Just inside the front door are the only totally interior
rooms:
and
round
library
left,
a small cylindrical
find
when
filled
the house
is
furniture; a
handy
phone booth,
with guests.
is
in
a dining
drum punctured by
down
to the
basement
room under
is
the
hub of
a flat-roofed, circular
circle
win-
of silver-painted
room
the
is
To accommodate
60
sit
down
when as many as
set
up on the
Beyond
the dining
room, the
living
monitor.
each
building with
or designed
selected
little
twist
walls,
with
but
burger,"
with
in the
is
room
is
topped by
set in
a light
Come
is
ing
you
traditional
appears to
be
foyer,
limestone-paved
130
yourself on
"street"
level,
what
curving
the house
Inside Architecture
is,
in
rug designed
contrast
to
the
living
light-filled
McCurry
room.
scheme contains
living
room
is
accented
with black.
in the
morning
nestles
the
pantry.
small,
suite
is
beyond the
study.
opposite
light.
the
owners
is
the driveway
131
Black accents
in the living
room
relate to the
predominantly black
media room
to the left
green sofa
recall the
of the
and
chairs
room
rug.
is
designed by
the
Mourgue;
room hangs a
painting by David
Snyder.
behind the
stair rail,
you see
custom-designed glass-topped
tables
metallic
the cloakroom.
is
the
door
to
The umbrella
chairs by Paul
Haigh from
Bernhardt stand
in front
basement.
Floor Plan
132
Inside Architecture
Sinistra
down
of
to the
The
fireplace,
Rumford
based on a (.aunt
design,
is
made
<>/
base course
The
<>/
the building.
fireplace screen
and
tools,
The pull-up
chairs
were designed
u r r y
133
All the
by different
finishes.
Wooden
architects.
The rectangular
table
with
insert
room
floor.
triangular, black-granite-topped
Lela
is
granite
and Massimo
Vignelli/Dai'id
Law from
A.I.
The Academy
Angelo Donghia.
different
at
rooms.
spin off.
The
cylindrical
phone booth
that
/list
illusion
Woven
of being on a
sisal
city street.
sculpture
is
by Marcel
and
The metal
{-lores.
135
/;:
encloses a
large tub.
and
walls.
desk, cabinets,
are
all
Kezu
and game
table
chairs, designed
by Dakota
green leather.
136
Inside Architecture
/;;
dressing table
and pup-up
television cabinet
by the architects
in
pale green
and
bed open
the
to the garden.
were designed
137
STANLEY TIGERMAN
& MARGARET MCCURRY
Accomplishing the Unexpected
Tigerman
McCurry Residence
McCurry
and
in a lakeside
community
in
own
small
weekend house
tight
says. "Yet
it is
one
lofts,
sheet-
138
Inside Architecture
The exposed
You
little
common
doors.
The geometric
a fireplace flanked
grid
seen
by French
on the outside
is
Two
gingham
small
fabric
bedrooms
are
on the
right.
left,
Tigerman
McCurry with
for
the
the house's
"baroque" embellishments
Tigerman
com-
up to the sleeping
maintains
loft
that,
the
curved
like
so
much
of
place,
is
reminiscent of a
and
baptistry.
The gabled
see
it
to
everyone's
says, "it
is
like a
as a Polish shetel."
is
139
The carved
fish
reinforcing the
room
's
symmetry.
worked by a twentieth-century
Nova
Steep,
round-nosed
stairs lead
up
rrrrrrrrr
I
three-sided
architects, occupies
room
in front
most of the
of a simple white
dining table.
Loft Plan
Floor Plan
Section
141
FRANKLIN SALASKY
Embellishing a
Box
Portraiture
the word
the
New York
&
Decorators,
is
the partners in
At once
just
below the
ceiling,
ele-
Then he saw
own
apartment
500-square-foot
Manhattan
section of
finesse that
a self-portrait.
is
Chelsea
the
in
displays a
It
is
and
its
elaborate
clicked."
When B
on a
is
fabrics.
and
He
decided that
Salasky
if
bedroom
known
it is
decoration,"
Salasky
says.
Often
they
will
for his
"something
says,
why
shouldn't he?
it,
using
and
and,
interiors,
tight budget.
seems
it
of
the
design
firm's
strategy,
Mary
Bright,
whom
Salasky
"box."
ric,"
cover,
comprehensive approach to
is
school," he explains.
"There
Rhode
The
limits of
dow
size of his
apartment and
treatments.
Elliott Levine,
apartment as a box, so
tern, color,
would have
set
out to define
it
"First,
with patI
straight-
He
floor
who
The apartment
The
it.
in a
both the
room and
painted the
reflects Salasky's
admiration for
and
their
that decoration
is
bad
is
With
a deft
his
own
was
in a free
manner
molding
On some
walls he placed
ers he raised
142
it
to head-level.
He
also used
and on othmolding to
Inside Architecture
is
hiult
arched
and Franklin
windows
at the opposite
the apartment.
end of
The window
treatment, created hy
Mary
two windows
The vintage
to
Gio
Pouti.
Bright
added
Franklin Salasky
An
ornate Italian
144
set
sits
a pineapple-
On
Inside Architecture
leather sofa
is
RlCHI:
cloth
mix
a tasteful
on the
window.
On
the table
is
a glass
minor, framed
molding,
stered
designed by H
small
is
it
is
a screen designed by
Levine,
who
reflects a
small painting
behind
in catalog
wooden
table
5.
The
was designed
Miller.
Clarence House.
limit
rf^
Franklin Salasky
145
Salasky transformed a
mahogany
black.
Only
finish.
is
left
mahogany
The
taller
lamp
is
French,
other
is
tiny library
was
built in
an
the
alt "i e
146
Inside Architecture
is
by Levine.
DEBORA REISER
Experimenting with Modernism
In
still
there are
would be
interesting to see
is
buildings.
A Manhattan
The
mental.
When
was one
women
of three
was
there
"We
working
that
in a class of 75.
in the office
of George
Nemeny.
"It
with architecture
in
this
country
that
is
is
it
often
Nemeny's
work
Manhattan
headed her
Reiser has
office,
own
firm,
in the
couple's apartment
road
"Debora
is
is
interested in
what her
clients
want but
says.
The
bedrooms;
separate
but not completely closed off from the living and dining
rooms, so that she could see and hear what was going
lots
of
windows; and a
owned 17
says, "I
was
rating
air,
would wind
until
Debora
onetime profes-
and space
light,
dance
stu-
'
Inside Architecture
it
spare
modern house
England
landscape.
how
in the
"My
New
New
Yorkers came
in
and
To
fulfill
list
for the
house with-
volumes, enclosed
in
The main
connects the
mam
bedroom
suite)
two
to the
back
woods
hall leads
bird's
outdoor views.
When
in
kitchen,
the
much
and
terraces.
The
in
the
living
room,
gallery,
who
background.
glass-
and coffee
in the living
rug,
room. She
for except
room
and antiques.
the
Mountains
ing
Berkshire
rior of the
living
To emphasize
bedroom on
left.
the house to
the
room on
like a
room
dining
it.
"The
entire
house
is
room
to the
Debora Reiser
149
The
room
suite
to the master
on one
side
bedroom
and
the kitchen
on the
rooms
to the
wall of
outdoors through a
windows punctuated by
supermarket,
"
Reiser says.
Site
Plan
Roof caps,
the
150
at
the
Shaker desk.
Inside Architecture
glass
and painted-stucco
link
the
The
fireplace at the
living
end of the
that once
of
New
marked
the boundaries
dining table.
open the
room
bring
view
to the
of the Berkshire
Mountains.
Reiser/Umemoto
Architects.
chandeliers
dining
and
and
the
aluminum
mahogany
coffee tables.
The TOW
windows
columns are
The concrete
structural.
Debora Reiser
153
the master
bedroom looks
Berkshires.
154
Inside Architecture
The kitchen
is
topped by a roof
like
a parasol.
An
shaped
island with
space. Attached to
it
is
an ash
Debora Reiser
155
by Reiser
is
covered by a
late-
156
Inside Architecture
patterned
quilt.
A mahogany
staircase with
exterior stucco.
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
power
when he decided
SoHo neighborhood,
who
heads
to transform an
his
young
own
numerous Manhattan
the Caribbean
and
Chatham, an
children.
firm in
home
into a
New York
his
work
when
dren, they
there, he
his edu-
work
for
know
ies
in
his
capacity
president
as
Architectural League,
the luminar-
More
New
of
recently,
York
City's
of
Chatham
Nevertheless,
influential
development
housing he did
vernacular
designed. In 1981,
design
in his
when
was
career
for
the
most
the study of
first
house he
asked him to
Chatham looked
at native
what works
examines
in a particular climate
and what
will
fit
plant, he
renovations
interior
in
Manhattan.
Although
he
"modernism
he has
come
is
New
had
Chatham
profound
effect
158
chil-
level,
The
and
an
levels,
tor,
my
eleva-
Chathams were
loft
space because
it
the
hunting again.
we chose
it
this
was
What
sense of
want
two and
a half
the chil-
floor, "to
Chatham
Although
all
five
power
expanded
the
the
for his
architect
where
Chatham
He and
left in
at Seaside, Florida,
abandoned
plant,
Manhattan's
a formidable
make
is
bedrooms and
bath.
quarters-size
well-equipped
kitchen and dining area can be closed off from the children's space with
tall
is
at the
loft
bedroom
at
living
Inside Architecture
room,
bright orange,
The
Chathams have
and
collected,
their
own
designs. "If
design
it,"
Adams
says.
our
dren
is
teaching
me
to
operate
light
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
would
like
my work."
Walter Chatham
159
the space,
Chatham painted
the
leads
up
to the studio
and
It
the
roof garden.
7
:
^-fTy
+Q TP
qr'
HW
lR*l [r'
"
"
"
"
"I
"n
n
h~i
-'ilH
4=M
,^T>v
ni
lEft
[PnT_ B
'
ii
"
irrin
"11
II
il
"
'I
ir~M
Sections
6 o
Inside Architecture
Floor Plan
In the living
fireplace
was done by
Aldo Rossi.
Walter Chatham
161
space,"
youngest
children's loft
6 I
iNSIDfc
and
the adults'
ARCHITECTUR
Chatham
child's
Archaeology.
Pell chairs
from
the 1930s
by Pier
mgi
is
'onsagra.
Walter Chatham
163
to
Mary
Bright.
dressing table
The harlequin
was designed by
study
is
ft*
164
Inside Architecture
/.
Walter Chatham
165
MINDEL
LEE
make
dining
separate
pavilion,
trellised
courtyard,
like a
miniature of the
Southampton,
New York.
It is
indoors merge to
become rooms
open to the
sky;
mixed with
deftly
fur-
temporary craftspeople.
when
hard to
ued
his
studies at the
New
York
firms
on huge
City,
projects. Their
feel a
mutual desire
for large
work
for
own
firm
When
1978.
in
Mindel
Shelton,
and
and
ceilings; the
bed
antiques,
and
linens,
"Historically, architecture
and
even
interiors
as a single entity,
selection
accessories.
were conceived
to
Frank Lloyd
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
asbestos-sided shack.
two-room
is
the firm
is
best
known
for
ele-
MindePs
structure
often
reflect
In
Shelton,
designs,
an apartment
tated by
in
Manhattan
was
dic-
major
art collectors,
for
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
firm's
work
in
weekend house,
all
unnecessary walls were removed, and the dining pavilion and guest house were set a few feet apart.
the outdoors
the house
is
larger. In a
suburban house
view of
illusion that
which only
in
in light.
The
into
the
living
room and
dining
Illuminated at night,
it
aquamarine
set in the
reflects
pavilion.
This
Mindel's work
Shelton,
to
be
labeled
tional
fabrics,
approach
traditional
employ
in
ject is
may have
use their
plan
is
According to
on
their style,
which
with which
thesis.
work makes
is
is
the
it
perhaps as
penmanship
There must be
filled his
if
he
designs.
The
also
has
many
in a
decidedly
site
street
lots."
Houses
Nancy
Lee Mindel
16-
A round
English regency
(nutwood breakfast
table
is
surrounded by William IV
Above
the table
is
chairs.
an English
London
on the
staircase.
The hammered
is
also one
of Dubreuil's designs.
Site
Plan
SITE PLAN
Axonometric
Floor
6 8
Inside Architecture
Plai,
In the living
polished floors
nutwood
late- nineteenth-century
of
OH the
Southampton
on the
a porcelain maquette by an
mom,
unknown
walls
and
light,
Mindel's quirky
mix
furniture, mostly
tall
of antique
found
in flea
left
is
supports a sculpture
artist.
The round
mahogany empire
In front of the
windows, an
table holds a
left is
covered
in
German musicians
rests
on
upholstered
in
is
the
Museum
filled
169
in
with
An
blue stripes.
Lee Mindel
";
The wide,
ivhite
wood-and-oak
on the landing.
living
W^^?r^* "mm
-
*V*-
On
narrow
sewing
At the
far
table.
bedroom, a small
sitting area
is
beams
details.
)n the
left
a Biedermeier
the right
.?
<
On
best of Juicers.
Two small
a/ the
sit
front
library chair
upholstered
mi the
in
left is
blue-and-white-
l\
is
covered
a floral chintz.
Lee Mindel
172-
Inside Archit
e c t
u r e
feeling. In
dining
ticking.
and
summer
sitting
it is
used as a
room.
collection of
the guest
room
mahogany empire
upholstered
in
IV chair
is
is
propped on the
floor.
blue-and-white
Lee Mindel
173
The stairway
house
rises
in the
guest
alongside a wall
serves as a dormitory.
At the
far
Etrurian ware.
bird's-eye
floor,
shows an
art
nouveau
a Biedermeier table.
Victorian
sits
English sofa
paisley
from
found the
left
Inside Architectur
upholstered
Fonthill.
ma
Mindel
house tag
174
is
sale.
Lee Mindel
175
DAVID BAKER
Crafting a Collage
Baker
David
arrived
in
on
never
left.
He now
heads his
still
His
own
its
inspiration
back and
bay
in Berkeley.
be a collage, with overlaps and colhe says. Baker often names his
quirky as
architectural firm in
projects.
own
his
Berkeley,
title
as
for
Whitcombe from
came
design
and
Baker
to
both
fabricators,
rate the
and mosaic
work
Baker,
in the
rates the
march of
"Maybecks," the
eclectic
hills to battle
the
the early
in
1900s, which
Baker grew up
experiment
tural
in a
a solar
until they
art
and
after
at
graduating,
The house
won
state-
lot,
where the
is
like
The plan of
is
the
custom-
streets
up the steep
it is,
would
could
says.
built
as a
feet
of Berkeley
3,000 square
Canyon Regional
steps
the furniture
all
"leftover"
wardrobe
been a Dutch
was determined
made and
marks of wear," he
who had
home
kitchen.
destiny
the
is
tect.
some of
experiment
unusual
becoming an
lication in Arts
house
of the
a patina
his
House
evident in the
work on
facade, nar-
is
a carpenter before
all
wood
ability to incorpo-
who was
and designed
His
of the Stuccoids.
boxy, stucco
own
much
flat-roofed,
artisans.
steel
architect, did
its
Baker
projects,
woodworkers, metalsmiths,
furniture designers,
alien,
For
interiors.
triffids
which
in
Triffids,
and commercial
residential
his
and university
Preserve.
hillside
Baker
on the entry
office
into
level
and home
who
likes to
cook,
left
the
what he describes
energy consultancy.
In
Baker established
reports,
176
his
own
firm,
Inside Architecture
room by
an
as
is
marked
off
which
from the
living
cooking range,
bar,
The
raised or lowered.
utility
room
The
three bedrooms,
tradition
and
its trellises
experimentation. "I
bubbling stew.
It is
like to
regard
;.ll
as does
its
my work
as
David Baker
177
Mosaic
artist
and reconstructed
it.
She also
First
Flan
Third Floor
I'Lvi
Floor Plan
md Hour
s,\
Site
[78
Inside Architecture
and
First
Floor Plan
door
is
the
zmc
woodworker Paco
made
of
Prieto.
It is
top.
Mary
The
glass inset
is
is
by
\
\
\
/
;v.'
'}&:&?&&&&
and
steel posts
to
may
cook. Baker
made
the aniline-
on the
left.
fire.
office into
the
first
On
is
Michael Bondi, an
smith.
designed by
leather
Tom
art black-
Wax
Leiber, the
Jameson.
Left:
On
working quickly
father's store.
David Baker
and
rv
-,
ft
fssp*1
essentials.
^4
II
was salvaged.
/'
^^
_|
^'
k^tf
The second bath
is
also
by Arthur's mosaics.
182
Inside Architecture
enhanced
ftmmar
\
m.
in
the master
bedroom was
^^jfl
Baker's ability
t<>
blend
hi<
own
"
palette.
\
i
'Hi.
WKM
concrete
tile
unround
ifith
made b\ Ruddy
coiner window.
Hh
""
-~^r^(
jQg^
David Baker
183
PETER PENNOYER
Adding Innovation
to Tradition
Moore,
and
artists
in associa-
Islands.
property
this
in
in the late
summered down
from
farmland
settled as
1600s.
the Elizabeth
the road
a turn-of-the-century shingled
award-winning renova-
tion of
The Mark,
a residential
apartment hotel
in
is
the
every
room may be
sculpted to
make
it
wrapped with
inspiration
a different expe-
is
in a
rience."
When
ents asked
the architect
him
was 34
shore and
is
and with
house;
site.
The com-
From
and
detailing.
window
room
that looks
house.
and
to the living
windows above
in the
living
an arched transom
is
repeated
all
level.
The
of the major
rooms. Pennoyer had the panel above the cornice wallpapered with a design by William Morris.
A
study.
It
mands an
folly,
scale
study
hall
complete project
riors.
The
site,
peninsula on
which
Mishaum
of Massachusetts,
184
is
at the
end of
inte-
a two-mile-long
commands
Inside Architecture
Pennoyer designed as
a toolshed that
makes
is
the garden
open
seem
to the living
on the second
floor.
far larger
room
The study
and
than
it
is."
The
below, as well as to a
fered ceiling
whose miniature
three levels.
all
painted
says.
To
some
intricate paneling
ever,
"many
When
all
"The custom-designed
room
furniture,
Columbia,
at
M.
Stern taught
Because
completed
three
selves.
in
months
his parents
style architects,"
Pennoyer
The
interiors illustrate
his
way
of living."
says.
summer
working
aged within
a relatively small
that he
"There
and
in their travels in
fabrics
the East.
Peter Pennoyer
[85
"
Pennoyer
zebrawood
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
and chth
/.
"Province Duck.
sisal
rug
is
"
The
striped
The front
hall arches
frame the
to a
The
the
is
"Chrysanthemum" pattern
bay window
light
and
in
is
of a Japanese
do period
A sugarcane crusher
screen.
serves as an
to the sofa.
a reproduction
Tom
Peter Pennoyer
187
kitchen, but
shaped
higher ceiling,
summer
truncated pyramid
designed
its
like a
is
open
defines
it
to the
blue,
as a separate space.
table
is
from
houses, Pennoyer
this
one
to easily
and
is
used
in the
kitchen
used,
"
when
Pennoyer
and dining
The
From
garden.
nity tn
"It
do a formal garden
88
Inside Archite
C T U R E
in the
it is
says.
old
curtains that
doorway
"anchored,
"
you are
the
bed.
hang
in front
of the
door can be
left
open to help
Pennoyer
into
T4SI
^HTi
table
Pottery Barn.
is
from
The two
upstairs
bedrooms are
detailing
simple.
was
intentionally kept
The pine
table,
all
desk chair,
from
Pottery Barn.
For
his parents,
who
love big,
to
dressing table.
bedroom overlooking
bedroom
dnur
Courtney Bird
the bay.
tn the
green
design.
He
to Pennoyer's
describes
it
as "shelves
"
is
.;
bureau
huilt
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
&
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
McCurry
Walter
F.
Chatham,
A.I.A.,
Architects
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
New
York,
NY
i9i
TX
Joseph Valerio
Inc.
78703
PC.
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
Charles
Charles
York,
Street
Philadelphia,
PA 19127
Buzz Yudell
Moore Ruble Yudell Architects
Planners
Inside Architecture
24091
Zevon
Susan
has
architecture editor of
served
House
the
as
more
Beautiful for
New
home
New
Judith Watts
is
specializing
architecture
in
is
on the Cheap.
a freelance photographer
A Main
and
in
interiors.
House
Home,
Her
Beautiful,
Better
Homes
others.
Selection of Architects
and Designers
Book Club
If
you would
forthcoming
titles,
of our
new and
name and
r<n
address to
-V. lYi
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
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