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This airy New York kitchen was born out of the backyard—and acts like a playground. By Hadley Keller MANAGEMENT CONSULTANT– turned-designer Sarah Robertson always approaches her projects with a can-do mindset. Take this 1910 Queen Anne home in New York’s Westchester County. Originally, it held a dark and cramped kitchen. The backyard, on the other hand, was totally dreamy. So the owners reached out to Robertson, whose firm, Studio Dearborn, has specialized in kitchens for more than a decade. Working with Stoll & Stoll Architects, she moved the kitchen to the back of the house, where it looks out onto the greenery. To make the room feel expansive, they bumped up the roofline to create a wood-paneled tray ceiling and added eight windows. Robertson assigned storage to lower cabinets, drawers, and one wall. “We wanted that open connection to the backyard,” she explains, “and I like to maximize storage.” Here, everything has its place, alltucked within the cabinetsRobertson designed with Schrocks of Walnut Creek, the undercabinetry painted in Benjamin Moore’s Rockport Gray. “It’s a historic house, so this color felt more right than white,” says the designer, who opted for modern hardware by Foundryman and DLV Design for “a cleaner, transitional vibe.” With a view this nice, why ever go outside? Countertop Storage “We wanted to make it feel cohesive,” Robertson says of the full wall of cabinetry. Pull-down panels—complete with brass hardware by Foundryman—hide small appliances. Built-In Pantry Snacks take up lots of space, so Robertson devised a pantry with tray shelves (which pull out so items in the far back are easily accessible) to stash all manner of dry goods. Custom Drawers Robertson designs all her cabinets with Schrocks of Walnut Creek, an Amish company in Ohio. This pull-out caddy for cooking utensils is conveniently situated beside the range. Hidden Brilliance Rather than taking up another drawer, a drying rack and cutting board are stashed between lower cabinets—they slide out easily thanks to sturdy leather pulls.

This airy New York kitchen was born out of the backyard—and acts like a playground. By Hadley Keller MANAGEMENT CONSULTANT– turned-designer Sarah Robertson always approaches her projects with a can-do mindset. Take this 1910 Queen Anne home in New York’s Westchester County. Originally, it held a dark and cramped kitchen. The backyard, on the other hand, was totally dreamy. So the owners reached out to Robertson, whose firm, Studio Dearborn, has specialized in kitchens for more than a decade. Working with Stoll & Stoll Architects, she moved the kitchen to the back of the house, where it looks out onto the greenery. To make the room feel expansive, they bumped up the roofline to create a wood-paneled tray ceiling and added eight windows. Robertson assigned storage to lower cabinets, drawers, and one wall. “We wanted that open connection to the backyard,” she explains, “and I like to maximize storage.” Here, everything has its place, alltucked within the cabinetsRobertson designed with Schrocks of Walnut Creek, the undercabinetry painted in Benjamin Moore’s Rockport Gray. “It’s a historic house, so this color felt more right than white,” says the designer, who opted for modern hardware by Foundryman and DLV Design for “a cleaner, transitional vibe.” With a view this nice, why ever go outside? Countertop Storage “We wanted to make it feel cohesive,” Robertson says of the full wall of cabinetry. Pull-down panels—complete with brass hardware by Foundryman—hide small appliances. Built-In Pantry Snacks take up lots of space, so Robertson devised a pantry with tray shelves (which pull out so items in the far back are easily accessible) to stash all manner of dry goods. Custom Drawers Robertson designs all her cabinets with Schrocks of Walnut Creek, an Amish company in Ohio. This pull-out caddy for cooking utensils is conveniently situated beside the range. Hidden Brilliance Rather than taking up another drawer, a drying rack and cutting board are stashed between lower cabinets—they slide out easily thanks to sturdy leather pulls.

This airy New York kitchen was born out of the backyard—and acts like a playground. By Hadley Keller MANAGEMENT CONSULTANT– turned-designer Sarah Robertson always approaches her projects with a can-do mindset. Take this 1910 Queen Anne home in New York’s Westchester County. Originally, it held a dark and cramped kitchen. The backyard, on the other hand, was totally dreamy. So the owners reached out to Robertson, whose firm, Studio Dearborn, has specialized in kitchens for more than a decade. Working with Stoll & Stoll Architects, she moved the kitchen to the back of the house, where it looks out onto the greenery. To make the room feel expansive, they bumped up the roofline to create a wood-paneled tray ceiling and added eight windows. Robertson assigned storage to lower cabinets, drawers, and one wall. “We wanted that open connection to the backyard,” she explains, “and I like to maximize storage.” Here, everything has its place, alltucked within the cabinetsRobertson designed with Schrocks of Walnut Creek, the undercabinetry painted in Benjamin Moore’s Rockport Gray. “It’s a historic house, so this color felt more right than white,” says the designer, who opted for modern hardware by Foundryman and DLV Design for “a cleaner, transitional vibe.” With a view this nice, why ever go outside? Countertop Storage “We wanted to make it feel cohesive,” Robertson says of the full wall of cabinetry. Pull-down panels—complete with brass hardware by Foundryman—hide small appliances. Built-In Pantry Snacks take up lots of space, so Robertson devised a pantry with tray shelves (which pull out so items in the far back are easily accessible) to stash all manner of dry goods. Custom Drawers Robertson designs all her cabinets with Schrocks of Walnut Creek, an Amish company in Ohio. This pull-out caddy for cooking utensils is conveniently situated beside the range. Hidden Brilliance Rather than taking up another drawer, a drying rack and cutting board are stashed between lower cabinets—they slide out easily thanks to sturdy leather pulls.

AS CONSUMERS’ MEALTIME ROUTINES EVOLVE, HOW WILL KITCHEN DESIGN CHANGE IN AN ONLINE WORLD, WONDERS GRAHAME MORRISON Mention ‘online’ when you are talking about kitchen design and there is a pretty good chance the person you are talking to will either think of one of the online planning tools springing up on a growing number of websites or of WiFi-linked cooking appliances. Less attention has been paid so far on how the online world is going to change the function of the kitchen. As architect Louis Henry Sullivan – the father of the skyscraper – once remarked, ‘form follows function’, so if the way kitchens are used in the future changes, so will the form or design of the kitchen change as well.It was ever thus... I’m old enough to remember advertisements with ‘OXO Katie’ emerging from ‘her’ kitchen with a delicious gravy-smothered meal for her adoring husband Philip and their two perfect children. Philip’s sole contribution to the feast was to help Katie load the dishes after the meal into ‘her’ dishwasher.Fast forward to today and so much has changed. The kitchen space is now frequently found as part of the whole living space rather than a dedicated room of its own. The dining room has all but vanished and the once essential kitchen table is today frequently replaced with a dropped down working surface area. This in itself is ironic, as the standalone kitchen table, beloved of many an Enid Blyton myth, frequently doubled as a food prep area.And talking of food, this too has changed for many households. Even the Sunday lunch, where the whole family gathered to enjoy a ‘roast beef and all the trimmings’ belt-buster of a meal is a lot less frequent. And in the week, it is not unknown for a family of four to have individual meals at individual times.There is much talk about ‘The Internet of Things’ at present, and the networked kitchen is already upon us. Okay, in some of the demos at exhibitions the technology is a little glitchy, but it is getting there. According to a recent report 45% of German consumers want a networked kitchen. And in the world of kitchen design and features, what German consumers want, we all will start to love sooner or later.However, The Internet of Things has little impact on future kitchen design in itself as it is mostly about the control of appliances, we are already familiar with. Those barcode-enabled refrigerators that can plan a meal based on its contents and their use-by dates and then set the oven at the correct temperature to cook the meal, use regular sized ovens and refrigerators. Ovens with built-in menus and cooking instructions take up the same amount of wall space as a basic fan oven. But what is going to stir things up is the dramatic growth in ready meal services Currently a mostly urban trend, ready meal services fall broadly into two categories; the ready to cook and the ready to eat. Both will impact on the design of kitchens in the future if the services continue to grow as they are predicted to. A ready to cook meal is basically a box with all of the ingredients needed to cook the dish, already measured out in the quantities required. FRESH is one of the market leaders in this arena. According to its website, FRESH delivers 16 million meals per month and has almost two million customers. Andthis is just one of dozens ofcompanies now offering a ‘meal in a box’ delivery service. It seems obvious that if ingredients are going to be delivered and stored in precise quantities rather than bulk packets then a change of storage systems – and by extension the cabinets containing storage systems – is going to happen too. If all you need to cook the perfect meal is just a mouse click away, will tomorrow’s kitchen take up as much space?“ Companies like FRESH are doing well and are meeting a need to supply good food, very easily and simply,” says Keith Myers of The Myers Touch. “These meal systems still need cooking and people seem to be moving away from microwave meals in to cooking fresh and will therefore need some equipment to do that. “I would say it will be dependent on the skills they have to cook, how much space they have and how much cooking is a pleasure verses a chore. Just look at the interest in cooking shows and the sale of cook books.“Kitchens are so much more than food. They are social spaces and cooking meals together is a big element of a family and relational groups. So, if you like cooking I still think people are going to be adventurous and enjoy the whole range of exciting experience that cooking together can bring, and therefore will be require equipment within their budget to meet that objective.”“Generally speaking Miele customers love to cook from scratch,” adds Neil Pooley, Category Manager for Kitchens at Miele. “They may well subscribe to a recipe box subscription service, taking advantage of the automatic ordering and delivery and the opportunity to try new dishes, but the raw ingredients still need to be prepared and cooked perfectly. The most successful recipe box services will offer food that is of the highest quality, organic and with excellent provenance. “My view is that in the future, it is not necessarily that appliances will need to become smaller or have less features – certainly Miele’s Perfect Fresh refrigeration technology will be as important as ever in storing fresh ingredients that may not be cooked for a few days. I suspect the real change will be in kitchen design and storage as customers will need to eficiently store the dry goods from their recipe boxes.”If ready-to-cook packages still rely on traditional appliances to do the actual cooking, the same cannot be said of ready-to-eat meals. These are not in themselves a new idea; very few people have not enjoyed take away meals either collected from or delivered by the local Indian or Chinese outlet, pizzas and of course ish & chips. But there is a whole raft of companies springing up to deliver restaurant-quality cuisine. Deliveroo for example offers a delivery service from local restaurants. Founded in 2013, just three years later the company was worth almost £130m. And Uber Eats says it has hundreds of restaurants to choose from. When you open its app, you can scroll through the feed for inspiration or search for a particular restaurant or cuisine. When you ind something you like, tap to add it to your basket and start laying the table. Your dedicated Uber driver will soon be knocking on your door to give you tonight’s supper.If a customer is getting some of their meals delivered ready to eat, do they still need a state-of-the-art oven and large capacity cooling and freezing appliance? If not, how will this impact on future kitchen design? “We have noticed a shift towards unexpected kitchen furniture,” says Matt Phillips, Head of UK Operations for Rotpunkt UK, “where modular solutions like room dividers, wall-hung designs and asymmetrical space planning are allowing the homeowner to interpret the space ergonomically, instead of spatially. “This is also working to naturally kerb the domestic qualities of a kitchen space with modular solutions introducing dedicated herb storage, an open ice trough for cooling drinks or an easy-access room divider that is raised for extra utility or transform a typical ‘box-shape’ island unit into a multipurpose workstation. We have also introduced a new stack-up frame shelving system which works on its own or as part of a itted kitchen concept and can be wall or loor mounted, freestanding or integrated for the utmost lexibility.” “When it comes to kitchen size, I'm not of the opinion that they are reducing,” says Carmel Diggins, Designer at Halcyon Interiors. “I just feel that the use of space has changed. Pantries and utility rooms are beginning to be more common, thus removing certain appliances and additional storage space into different areas within the household. “With the wealth of options when it comes to kitchen appliances, it’s hard to say that certain appliances will become redundant as they are all tailored to the individual’s needs. The choices people make will be subjective, client A may be fond of entertaining guests so a choice of an oven, combi and warming drawer would be suitable, whereas client B may decide that a combi will be suficient enough for their needs. One thing that seems apparent is the use of microwaves has begun to diminish. Could this mean the beginning of the steam era in the UK?” “I live in the countryside and I work in a city and while I don’t yet have access to Uber Eats, I have ordered an organic recipe box on occasions,” admits Darren Taylor, Managing Director of Searle & Taylor. “This is certainly a burgeoning trend in households, which may one day shape the way we design the kitchens of the future by only needing the minimum amount of cabinetry, together with some nifty compact appliances, but that is a big leap forward. “In some ways, and for different reasons, we are already incorporating more modular and compact options in the kitchens of today and this trend is certainly set to continue. I often design kitchens for clients that have oil-ired ranges already installed or that want a range styled cooker that will also heat the home, and that has to be incorporated in the scheme. This is all well and good until the summer months when they need to be switched off due to excessive heat in the room. “Gone are the days when you had to specify an additional single oven and 60cm electric hob with hidden canopy extractor above and have them all on show, taking up valuable storage space and disrupting any clean lines. This is thanks to some very savvy appliance brands that have developed advanced dual-purpose compact ovens, which enable designers to hide them within cabinetry when not in use. A number of premium brands make 45cm compact combination microwave ovens and/or with steam functions in the same appliance. This is a boon, because the product is ostensibly a fan oven with grill options, and unless you want to roast a 36lb turkey, it performs most of the functions of a single sized version just with extra useful features. Many brands offer fantastic modular induction hobs, some with zoneless cooking, so even if the hob is slimline, you can still place a larger pan on it. “While ingredient boxes tend to have recipes developed for surface cooking, I can’t see the day when an oven of some sort will not be a standard requirement in any kitchen, large or small,” adds Taylor. “However, I can see a future where it will no longer be seen within the layout. Already, the fashion in European design is to create a kitchen that conceals many functional aspects behind pocket doors, so that the room itself can be truly multifunctional and will hardly look like a kitchen at all until it is being used.” 

AN ELEGANT STONE AND WOOD PAIRING CHARACTERISES THIS STYLISHLY SUBTLE APARTMENT SCHEME IN MONTE CARLO. A historic building in prestigious Monte Carlo houses the renovation of an apartment whose style relects the elegance of the city. The interior scheme by architect Matteo Piras of Ellepi Studio is a precise and subtle one, dedicated to natural materials skilfully used in a contemporary way.The four colours used and revisited with different textures come to cover the entire surface of the living space, giving uniqueness to every room of the house and at the same time acting as a common thread between them.Spaces are pervaded by light that emphasises the reinement in detail and interaction with the natural elements of interior furnishing, with stone and Canaletto walnut combining to deliver a consistent union between the architectural ideas.Almost as if sculpted in stone, CEA’s Black Diamond inish steel taps stand out and feature throughout the project  

ADDRESSING IMMINENT CHALLENGES FACING DESIGNERS, ARCHITECTS AND DEVELOPERS WAS THE KEY FOCUS OF A DISCUSSION EVENT HELD BY MATERIALS MANUFACTURER EGGER The impact of biotechnology on the future development of materials, new ways of constructing buildings, the negative impact of continuing as we are now on society and the environment, and the growing concern of how all this affects our lives were among the many varied avenues of discussion for an enlightening event addressing some of the biggest questions facing architects and designers over the years ahead. Hosted by wood-based panel manufacturer EGGER at London’s Material Lab, the event boasted a stellar panel of experts, chaired by Peter Murray, Chairman of New London Architecture, and founder of Blueprint magazine.Panel topics ranged from advocating an innovative approach to materials, the shift from industrial to ecological techniques, using robots and machines to make new things, creating spaces for young people to develop ideas and new materials, and considering the biological systems that could revolutionise business and manufacturing practices. Self-styled maverick Raphael Gielgen, Future of Work ‘trend scout’ for furniture brand Vitra, started with two questions to set the tone. He asked: “What do you have to do to stay relevant to your company in 10 years? And what does your company have to do to stay relevant in 10 years? ”From the discussions that ensued, it was clear that to a large extent, the answer depends on three actions: change; innovate; listen. Panellist Rachel Armstrong, Professor of Experimental Architecture at Newcastle University, leads a hub for biotechnology in the built environment, part of an EU innovation project. She spoke passionately about taking responsibility for the environment around us and working with living organisms to create new products and materials or to perform industrial tasks. Examples of this included using chemical reactions from urine to charge mobile phones at Glastonbury, bio-electricity created in a composting environment with microns turning waste into electrons, and the rise of bio-composites such as self-healing bio-concrete, where organisms are mixed into traditional material.She said: “The question needs to be asked, do we really need industrial-level 230v electricity supplies in every home? Can we design homes with 12v supplies because, if we did, then actually we could power our homes with our waste.”Such changes can perhaps only be enacted if the construction process stops to re-evaluate all aspects of current practice, questioning what is normal and why it has become so. “Design is no longer just for the human. What we’re seeing is an expanded notion of humanism in which the organisms we live alongside, the materials and the environment that we live with, all become part of the sphere of care and value.”“It changes the focus of design so that yes, it is still very much about designing for humans, but it is about more than just designing for humans. It is about the responsibilities we have to sustain the other things around us .”This could involve looking at everyday products in a totally different way. For example, how could a chair be more than ‘just’ a chair? Armstrong points out that NASA are looking at ways in which the chair can harness energy from the person sitting in it – with obvious beneits for maximising power on a space craft, but with a potential for contributing to the energy-saving agenda a little closer to home perhaps.She adds that the toilet could also take on a bigger role than just acting as a chute for waste, with a future that could see it play a part within a larger system of waste recycling within the home.  Ehab Sayed, Founder and Director of Innovation at Biohm and PhD Researcher at Northumbria University, added further revelations to this glimpse of a new world ahead, by showing the audience some of the new material his company is making from living organisms and waste products. Sayed and his colleagues are driven by a vision of mutual integration between the built and natural environment via a circular economy based on a clear ethos of mutual beneit and doing what is right for the planet. He explained the background to his new form of carbon-neutral insulation developed using the fungus mycelium which feeds on organic and synthetic waste to grow into desired shapes. Both Armstrong and Sayed are at the forefront of innovation in their ields and advocate that changing how we build our cities and lead our lives has to – and will – happen. Gielgun picked up the point that however desirable, change is restricted in the current construction industry because it is driven by giants, the big house builders and investment companies, adding that it is hard to challenge the status quo but it has to be done. He said there are so many standards in the construction industry that have to be adhered to that it is hard for new products to break through the barriers. Panelist Leonne Cuppen, curator and founder of Yksi Connect, feels very strongly about giving our architects of the future the space and opportunity to develop new ideas and more sustainable products. Her work connects designers with industry, bringing all the parties together, focussing on social issues, sustainability, and circularity in relation to design. In her eyes, young people are highly connected with technology and motivated to make the world a better place in which to live. She called for big companies to work with young designers to create something new. She recognised how hard it is for big corporate organisations to change but feels optimistic it can happen. The event inished off with some pertinent questions from the audience about the ethics of bio-technology and also the dificulty for architects to specify new products and materials that do not meet construction standards. The inal question touched on the lifespan of things in a throw-away society. It led to further discussion about making products that last a long time, and whether we should instead be looking to create products that are temporary but also do not need recycling. Gielgen posed one of the most thought-provoking prospects, suggesting that all manufacturers could be facing a major disruption to the status quo in the not too distant future. “We are likely to see a ban of artiicial materials and that will be the biggest shock to all of the producers worldwide. I believe we will see a plastic ban, coffee cup ban, all of these things will only expand into other areas as time goes on so manufacturers will have to adapt to this, and probably faster than many are currently prepared to believe. ”Peter Murray summarised by suggesting that although the beneits of many of the futuristic ideas for harvesting energy or making better use of natural resources are pretty clear for people to see, we perhaps still have a long way to go to shift current industry practices and the constraints of building regulations. Getting new material onto the market is clearly challenging but there is a lot of optimism that this can happen, with the right education, investment and creative spaces for new ideas to lourish.Andrew Laidler, Director of Sales and Marketing at EGGER, thanked the panel for a fascinating insight in to the future of design and architecture and the role that biotechnology companies can play in promoting a new approach to construction. He added: “It’s clear that we all have to change and develop to stay relevant to our companies, and companies themselves have to change, innovate and listen to what the younger generations are asking for: a sustainable economy and a world free of materials that are harmful to humans and the environment.”

SOURCING JUST THE RIGHT MIX OF COMPONENTS WAS KEY TO THE SUCCESS OF THIS DECEPTIVELY SIMPLE-LOOKING KITCHEN PACKED WITH DESIGN FLAIR The main brief for the kitchen in this large family home was to utilise the sizeable space in a way that worked effectively for a large extended family that loves entertaining, and to ensure that there was plenty of storage to it everything into one space. Key elements in delivering some of this included a large Sub-Zero fridge and freezer, a ‘secret’ walk-in pantry, a large island with seating and hob, and a bar and TV area to act as a real family space.“Although it was a very large kitchen, we quickly illed every zone with clear and speciic storage to suit the client’s needs,” explains the kitchen’s designer Paul Welburn of Roundhouse. Materials were at the very heart of the design of course, and the selection process was very much in partnership with the cient. “The materials we used were very pleasing,” says Welburn. “The choice was inspired by visits to three different Roundhouse showrooms – Wigmore Street, Fulham and Guildford – as well as a speciic journey to a stone yard to select the correct piece of worktop for the show-stopper island.”In terms of appliances, Welburn says that the choice of Sub-Zero was a no-brainer because of the volume of storage for the chilled and frozen requirements, along with a backup fridge in the hidden pantry. Gaggenau built-in ovens and hob were also chosen due to the aesthetic and high-level performance, and the integrated wine cooler because it its so well into custom furniture. “The client loved the look of the Sub-Zero combo but equally loved the look of the Gaggenau ovens so between them, this offered the ideal solution.”  KITCHENS / CASE STUDYdesigner kitchen & bathroomdesignerkbmag.co.ukAUG2019d61Contacts Roundhouse /roundhousedesign.comThe furniture is Roundhouse Urbo high gloss lacquer in Farrow & Ball Ammonite on the sink and fridge runs, with Hammered Silver on the island and wall cabinet. Quartz worksurfaces in White Fantasy and brushed stainless steel and splashback in White Fantasy are combined with Metro vertical grain Driftwood on the bespoke TV and drinks bar and wine storage cabinetry. The space also includes the Nightingale Cabinet in RAL 7026 with Antique Bronze Mirror splashback.Welburn believes that the key elements in the design were all about the combination of the furniture, materials and the appliance practicality. “The polished plaster surrounding the Sub-Zero run framed by Roundhouse Gloss furniture was chosen to give a real sense of glamour. This was punctuated with Roundhouse bespoke furniture in a Hammered Silver inish to lift the kitchen – the way in which this inish catches the light was a signiicant factor in its selection.”He adds: “On the opposite wall, the Driftwood adds some warmth to give more of a furniture and less purely kitchen feel, housing the TV and the hidden bar. The only giveaway is the wine cooler but again, because it is integrated well into this wall, it works really well in this location.”Two sets of pocket doors hide the bar and coffee zone and complete the large family kitchen giving different zones to the whole space and allowing low into all other parts of the room and the house overall. From the designer’s perspective, there are a few key highlights within the project. Welburn says that it was particularly pleasing that the clients stuck with their original instincts regarding their choice of inishes and were happy to combine these with the extra elements such as the White Fantasy quartz and the polished plaster effect. He adds that the hidden aspects are also real gems within the scheme. “I love the hidden pantry behind the ‘secret’ pocket door. Every kitchen should have one! Also, hiding the bar and coffee zone gives a little wow factor and continuing the White Fantasy stone in these areas adds glamour.”Above all though, it is another example of how close co-operation between client and designer can really reap dividends. Welburn adds: “Working with the client on the detail was really important with this one. In particular, we took the time out with them to explore the storage throughout the kitchen so that every element was considered, to the point where we added a bespoke glass display cabinet to just give the kitchen the inal inishing touc 

anish furniture brand Garde Hvalsøe has created a new space to show off its range of bespoke kitchen and interior designs with a Copenhagen showroom designed in close collaboration with the architect and interior designer David Thulstrup. Located in a former car assembly garage in central Copenhagen, the space has been transformed into a calm space with a residential feel in a carefully executed blend of intimate and more expansive scales, which showcases the wide range of interior solutions offered by the manufacturer, from walk-in wardrobes and kitchens, to wine rooms and integrated hallway furniture. Talking about the new showroom, partner and co-owner Søren Lundh Aagaard said: “Having worked with David Thulstrup previously, we knew he would take us in the right direction and create a showroom that underlines the ethos of Garde Hvalsøe. We have aimed for a harmonious space that displays our craftsmanship and the many bespoke possibilities in an inspiring setting.” Almost hidden in a quiet Copenhagen backyard, the new showroom has an understated exterior. But upon entering the space, visitors are immediately taken into the essence of the brand and its emphasis on craftsmanship. An architectural insertion made completely from smoked oak planks functions as an entrance and custom-made wine room, while bespoke loor-to-ceiling shelving units act as room dividers throughout the space. The walls have a white structured surface and all the windows are covered up with white fabric, creating a monolithic and neutral setting. Thulstrup, who also worked on Garde Hvalsøe’s showroom in Aarhus, Denmark, explained: “My ambition was to create a calm and minimalistic backdrop to highlight the rich Garde Hvalsøe story, products and craft and, at the same time, capture the feeling of home.” The use of wood, especially prevalent in the entrance design, emphasises the core of the company which is to use high quality materials and traditional craftsmanship to create long-lasting furniture. While showcasing the signature Garde Hvalsøe product range, the new space also features the iconic Lundgaard Tranberg Model in Douglas Fir with a stainless-steel tabletop, a combination where the bright wood strikes a warm contrast to the cool steel surface, creating a contemporary look. Also on display is a new Garde Hvalsøe design, a wall shelving system made of stone with custom-made raw steel shelves. The showroom is divided into open areas, closed spaces and semi-transparent zones by means of custom-designed space-dividing elements incorporated into the rhythmic structure of the existing columns of the former car assembly garage. The result is that visitors are invited to explore and experience materials, colours, structures and design as they wander from once section to another. Custom pieces include freestanding storage units, a minimalist 12-seater table made of light blue stained ash planks, and metal and stone tables, which all complement a specially curated selection of vintage pieces and new furniture pieces designed by David Thulstrup.

The word biophilia originates from the Greek words for Life (Bios) and Love (Philia). It literally means a love of life or living things. As humans, we have an innate biological connection with nature which has existed since man’s very earliest days surviving from the land and living as one with nature. Throughout history we have seen nature themes incorporated into the earliest human structures and the consistency with which this occurs dispels any misapprehension that biophilic design – the process of designing nature back into the built environment – is a new phenomenon. Frank Lloyd Wright was an American architect, interior designer, writer, and educator, who believed in designing structures that were in harmony with humanity and its environment, a philosophy he called “organic architecture”. Whilst this does not encapsulate all the tenants of what we now tend to identify as biophilic design, it does provide a starting point from which we can explore this more recent design trend. “Study nature, love nature, stay close to nature. It will never fail you,” is something that Wright is known to have taught to his students. Whilst organic architecture can be seen as a precursor to biophilic design, the term was actually coined in 1964 by social psychologist Eric Fromm and later popularised by biologist Edward Wilson in his 1984 book Biophilia in which he deines biophilia as “the urge to afiliate with other forms of life”.It is only really in the past few centuries that the human species has become predominantly urban dwelling. This shift from countryside to city environment has had a dehumanising effect and has caused a persistent disconnect from nature. It is projected that by 2050, 66% of the developed world will be urbanised, and increasingly distanced from nature and natural systems.Add to this modern society’s dependency on technology and it is easy to see why our mental health and wellbeing are suffering. There is today, a direct correlation between the increasing urbanisation of our society and rising stress rates. In fact, stress has been called the “health epidemic of the 21st century” by the World Health Organisation.Whilst the science supporting biophilic design is still emerging, it is now being championed as a complementary strategy for addressing many of the familiar challenges to health and wellbeing. Alexander Bond is the Founder of Biophilic Designs, a company that supplies and installs the latest biophilic design products. He says: “Biophilic design has the power to improve the built environment in almost every sector imaginable, for example: happier and more productive employees in corporate environments, calmer and more attentive students in educational spaces and more positive and comfortable patients in healthcare environments.”Interest in biophilia has grown substantially over the last decade as research scientists and design practitioners have attempted to understand the relationships between nature, science, and the built environment so that we may experience the human beneits of biophilia.Biophilic Design expert Oliver Heath believes that the current interest in biophilic design is an extension of the sustainable architecture movement. “For a long time, the conversation was around sustainability and how we reduce our use of basic resources, such as water and electricity. This was to reduce costs but also to reduce the building’s impact. Now, the conversation revolves around the fact that a massive part of a building’s costs is the people in it and that 90% of the cost is paid out in salary and beneits. So there is a massive opportunity here to support and nurture people in a way that can reduce stress and increase productivity. This means there is a very strong business case for biophilic design.”This business case has not gone unnoticed. According to the report Human Spaces 2.0: Biophilic Design in Hospitality prepared by environmental consulting and strategic planning irm Terrapin Bright Green, hotel rooms with a view to nature, particularly to water, are consistently priced on average 11-18% higher than rooms without a view and the dwell rate of biophilic hotel lobbies is 36% higher than in conventional lobbies, which in turn creates more revenue. Ofices that incorporate biophilia are known to be more productive and create lower levels of stress, fostering greater happiness and creativity, whilst helping to retain staff and reduce absenteeism. Examples include some large companies who are at the forefront of workplace design such as Facebook, Apple and Amazon and which all incorporate biophilic design principles into their ofices. Hospital patients have been found to receive substantial recovery beneits when exposed to environments that incorporate the principles of biophilia into their design. Being exposed to natural elements, whether directly from nature or an interpretation of it, can aid the healing process of patients by reducing stress levels, reducing the need for medication and in some cases shortening postoperative stays. It can also have a beneicial impact on the staff that work in healthcare facilities. Heath says that biophilic design has been led by an interest in human-centric design and a willingness to    

What unites lovers of the classical all over the world is the passion for craftsmanship and everything authentic, for long-lasting values and timeless elegance. LEICHT kitchens are also appreciated for precisely these qualities, but are also distinguished by innovative planning ideas. “In what is almost a contradiction between a value-oriented attitude and the passion for new furnishing concepts, we develop unmistakeable, characterful kitchens,” says LEICHT CEO and Chairman of the Board Stefan Waldenmaier of the innovation which is being presented for the first time at the Küchenmeile A 30 fair. New frame programme - with a modern interpretation Verve is a new frame programme with a light, modern-looking style: alongside the classical frame frieze , the front is emphasised by an external 10 millimetre contour frame which is demarcated from the neighbouring door with a small groove. With Verve, kitchens can be planned very simply and yet with a charming touch of classicism. The individuality of the classic With Verve, LEICHT is presenting an elegant frame programme in a light, modern-looking variant. And in perfect harmony with Verve, the warm “ombre naturelle moyenne” from LEICHT IS REINTERPRETING THE CLASSICAL FRAME FRONT, IN CONJUNCTION WITH LES COULEURS LE CORBUSIER, THE RESULT IS A TIMELESSLY ELEGANT, INDIVIDUAL KITCHEN the colour spectrum Les Couleurs Le Corbusier. The parapet made of characterful genuine wood and featuring an integrated bench seat is room-shaping and inviting. LEICHT is reinterpreting the classical frame front. In conjunction with Les Couleurs Le Corbusier, the result is a timelessly elegant, individual kitchen. 1 PRESS RELEASE Thanks to the high-quality and elegant colour scheme – including the warm “ombre naturelle moyenne” from the colour spectrum Les Couleurs Le Corbusier offered exclusively by LEICHT – there is a harmonious transition to the shelving and wall panel with an integrated bench seat both made from a dark, finely structured genuine wood. The harmonious integration of technical components is also characteristic: the encased extractor thus becomes an aesthetic sculpture. “At LEICHT we enable comprehensive kitchen planning from ceiling to floor, integrating an individual interior and furnishing the kitchen in a very homely way,” explains Stefan Waldenmaier, CEO and Chairman of the Board at LEICHT. The aspects of timelessness an corporate |global news19individuality are elementary for planning The entire interior exudes cosiness and harmony and thus has the appeal of the traditional breakfast kitchen. As an expression of personal style, colour plays an outstanding role which, in the case of Verve, extends beyond the fronts to encompass the worktop with which it forms a harmonious entity. “LEICHT has also opted for the high-grade nuances from Le Corbusier because on the one hand they are timeless and universally valid, and on the other represent a ‘demonstration of individuality’ – to use the words of the architect. Both aspects are of elementary importance for planning,” says Stefan Waldenmaier of the new developments. The colour chosen by LEICHT for the frame programme Verve, “ombre naturelle moyenne”, was described by Le Corbusier as a “shadow colour” and is thus the perfect choice for giving the kitchen a light and subdued look. “In umbra tones, surfaces and objects withdraw into the shadow and thus no longer attract attention. Their presence is decimated: the focus is drawn away to other points,” explained the architect. As an addition to the total of 15 colours from the spectrum of Les Couleurs Le Corbusier, all RAL and NCS colours are available in matt or high-gloss lacquer. Love of detail inside The organisation of the interior can also be coordinated to suit individual preferences – a LEICHT kitchen stands for a love of detail, convenience and ergonomics at the highest level. This means that all utensils are easy to access in the convenient pullouts and are just as easy to put away again. So as not to detract from the overall impression of homeliness and elegance, the appliances are positioned at a perfect height out of the direct field of vision. For more information, visit www.leicht.com

Cosentino, a global leader in innovative surfaces celebrated the grand opening of its Cosentino Center Malaysia – the largest Cosentino showroom in Asia. The festive event was attended by senior members of Cosentino from the global and regional offices, local architects, interior designers, business partners, and media. At 46,607 square feet, the experiential facility marks the Spanish company’s commitment to bring innovative and inspiring surfaces to the Malaysian market featuring its renowned brands including Silestone, Dekton and Sensa.The Center deviates from the traditional perception of a typical showroom. Over 3,000 slabs are on display in an art gallery format to showcase the variety of surfaces to inspire architects, planners, interior designers and consumers. Networking areas, a fully functioning show kitchen and a bar counter spanning over 5 floors are some of the interactive spaces offered. “We have been looking forward to this moment to be truly present in Malaysia. Cosentino has been in Malaysia since 2014 and finally we have a space to fully engage with our friends in the architect and interior design industry as well as end users. Our vision is to imagine and anticipate design solutions INSPIRING INNOVATIVE SURFACES WITH THE LAUNCH OF COSENTINO CENTER MALAYSIA that offer value and inspiration to people’s lives. We currently distribute our products in more than 110 countries, and we will continue to expand,” said Eduardo Cosentino, Vice President of Cosentino Group and the CEO of Cosentino North America. The launch of Cosentino Center Malaysia marks the transformation of surfaces in Malaysia, be it in homes, offices, restaurants or public spaces. Cosentino carries wide range of quartz, granite, natural stone, marble, limestone, travertine and other different surfaces through its three brands – Silestone, Dekton and Sensa. Mark Collar, General Manager of Cosentino Malaysia stated that, “We believe that there is great potential in the Malaysian market for Cosentino. There is increasing appreciation for quality surfaces in Malaysia due to its functionality and its capability to transform the aesthetics of a space. Guided by the philosophy of constant improvement, Cosentino Malaysia strives to bring top-notch products that create limitless inspiration to homeowners, designers and architects. We are also ecstatic to bring Malaysians together with our experiential showroom. We will be holding frequent cooking events, wine tastings, networking sessions and specialised events for interior designers, architects, as well as the public.” Adding to the celebration of their welcome to Malaysia, the Cosentino Group was recently selected as one of the ‘50 Best Companies to Work For’ by the Spanish edition of Forbes magazine. The study was based on the opinions of more than 8,000 employees of the biggest companies of all industries in Spain, where a stringent and transparent evaluation process took place. The launch also witnessed the introduction of the Dekton Stonika Collection that provides users with high shock and impact resistance without compromising aesthetics, the introduction of two dark, matte shades – Bromo and Milar of Dekton by Cosentino and the launch of Sensa by Cosentino, a protected natural stone with exclusive protection against stain. Introduction of the Dekton Stonika Collection Attendees of the event also witnessed the introduction of the Dekton Stonika Collection - the most advanced offering of Dekton by Cosentino. The ultra-compact architectural surface with advanced technical properties for both interior and exterior application. Having drawn inspiration from natural stone materials, the Stonika Collection comes with sharper designs, resulting in an ultra-realistic appeal due to new findings in the manufacturing process. The collection also offers the best resistance to thermal shock and impact in the market. The Dekton Stonika Collection is available in six different colours, namely Olimpo, Bergen, Arga, Taga, Sogne and Korso. Introduction of Bromo and Milar for Dekton® by CosentinoDekton® by Cosentino also launched Bromo and Milar for the Malaysian market. These two new dark, matte shades come with a soothing elegance that imbue interior and exterior decor with personality. Bromo, with its natural and organic appearance, and Milar, with an aesthetic that evokes old industrial ships located in the outskirts of cities, exude beauty and functionality due to the design and the quality delivered. The excellent feature of the Dekton ultra-compact surface is that it guarantees lasting and unique technical and aesthetic performances for both Bromo and Milar. The two colours are included in the Natural and Industrial colour collections respectively. Launch of Sensa by Cosentino The event also witnessed the launch of Sensa by Cosentino. Sensa® is Cosentino's brand of protected natural stone with exclusive protection against stains. Sensa’s granites and quartzites are subjected to a revolutionary treatment, Senguard NK that makes them highly stain resistant. With a 15-year warranty, Sensa granites offer unique designs that can only be replicated by Mother Nature and they come in ten different colours, namely Black Beauty, Glacial Blue, Orinoco, Colonial White, Indian Black, Ice Blue, Moak Black and Bianco Antico, Taj Mahal and White Macaubas each with a specific finish, suede, polished or caresse. For more information, visit www.sensabycosentino.com

Almost forty years since its debut, the TOTO WASHLET toilet system has become a mainstay of lavatories around the world thanks to its pioneering integrated self-cleaning wand, efficient operation, and sleek styling. To celebrate the WASHLET, TOTO Asia Oceania will host a roadshow event from 17 to 23 June at the Waterway Point Main Atrium, Level 1. The event will introduce the latest WASHLET models and educate consumers on the line’s unique hygienic benefits.The event will introduce TOTO’s origins and history, along with the WASHLET’s latest features and functions. A mock-up room demonstrates how TOTO’s expert technicians can quickly install WASHLET models in HDB and BTO settings alike.Along with an opportunity to learn about WASHLET and experience its revolutionary approach to personal hygiene, the event also makes it easier than ever to bring one home. A roadshow exclusive: the most popular WASHLET models will be available at deep discounts. Model TCF6630SP will be available for just S$570, a 60% discount from its usual retail price; other models will start at just S$837, a 40% discount.Since the first WASHLET found a home, more than 50 million units have been sold. Along with introducing visitors to the WASHLET’s proud history, the roadshow event will unveil the next generation of lavatory luxury, the TOTO Neorest NX II.The Neorest makes a compelling statement simply as a piece of furniture. Its soft elliptical contours and tankless profile are inspired by the natural beauty of pebbles shaped by water. The simple elegance of its design belies a wealth of sophisticated features including automatic open/close with automatic flushing, an integrated WASHLET personal cleansing system complete with warm-air dryer, an instantly heated seat, and soft backlighting for night-time use.But the NX II doesn’t stop with a top-flight array of amenities. Its approach to sanitation is built around the Actilight, an integrated UV light that works in concert with electrolysed water and the bowl’s titanium dioxide/zirconium glaze to continuously break down waste particles within the bowl, even when it is not in use. A premist applied while the seat opens prepares the bowl for efficient flushing, and electrolysed water sanitises the bowl after flushing.At USD$13,000, the Neorest NX II may not become the immediate and enduring sensation that WASHLET has proven to be. But as the pinnacle of TOTO’s engineering art, it shows us what lavatories are capable of, and where lavatory technology is headed.For more information, visit www.toto.com

AN A-LINE SKIRT can be ho-hum, but snipped out of a splashy print and it suddenly has attitude. That ’s one way of looking at this grand apartment in Toronto’s Yorkville neighbourhood. Here, riotous colour, lively prints and art mingle for the ultimate in city living. “I would describe it as traditional elegance with a twist,” says the homeowner of the condo’s design.She downsized from a veritable Shangri-la, a midtown house where she had lived for 20 years, which was filled with art and antiques. “It was a magnificent home with 150-year-old oak trees, a great garden and a swimming pool,” she says. The new digs, then, had to be up to snuff, both in terms of style and scope. At 3,800 square feet with two terraces  one terrace is a party-sized 800 square feet the airy condo elegantly meanders across half of one storey of a boutique building. The home has sizable rooms and, with its coolly crisp white interior, it’s the perfect showcase for the owner’s sizable art collection. The smart layout caters to the way rooms are most often used, with the living room, dining roomand den separated from the bedrooms by a long hallway. Sleek and spacious, the two-tone kitchen in the centre of the condo can handle a crowd — very important for the occasional shindig thrown here. Designer Christine Johnson, a long-standing collaborator of the homeowner, started with the layout so the space was exactly the way they wanted it. Then, she chose materials and pieces to create rooms that felt intimate and inviting. “The owner wanted colour and she wanted contemporary, so we did a very open space,” says Christine. “Vast rooms are tricky; you have to make sure the space has an inviting and comfortable feel. We made it cosy through textures and colour.”Two vibrant yellow rugs, for instance, are eye-catching in the living room. Colourful stripes on mid-century modern Milo Baughman lounge chairs and playful raised dots on dining seats are decorating details that achieve a laid-back luxury.   The den’s regal purple drapery is dynamic and different. On the chairs the owner has had forever, hypnotic fabric is a fun upgrade.Grey sofa, South Hill Home; rug, The Rug Company; drapery fabric (throughout), Primavera Interior Furnishings; left painting by Jean-Paul Riopelle; right painting by Paul-Émile Borduas. Likewise, two once-taupe French armchairs now sport a jewel-tone woven print inspired by Paul Klee. “One of the best things Christine did was find that patterned fabric, because I tend to go for geometric things,” says the owner. “Christine said, ‘You’re going to kill me: it’s unbelievably expensive, but I know you’re going to love it.’ And I said, ‘I don’t care what it costs; that’s what we’re doing!’”Adding to the off beat opulence are minimalist architectural details: f loating oak-clad walls in the den, stately limestone-look columns in the living area and a ripple-walled foyer featuring pieces of wood that are laminated together to look like they’re f loating. Since moving, the homeowner has never looked back. “I adore the apartment,” she says. “When you’ve lived in a large house with a garden that’s half an acre, it’s not easy to move into something smaller. But I had my first party at the apartment last September, and I had 110 people for cocktails, no problem.” We’ll toast to that!     

A LANDMARK 1920's HOME IN PALM BEACH IS REDONE IN A GIDDY, GUTSY BLEND OF PAST AND PRESENT. FROM THE OUTSIDE, the Palm Beach, Fla., house that Maxine Granovsky Gluskin shares with her husband, Ira Gluskin, is a throwback to the oceanfront enclave’s old-school opulence. Built in the 1920s by renowned American architect Addison Mizner, the landmark has a Mediterranean Revival style that perfectly preserves the glamour of an era when Vanderbilts, Rockefellers and Astors f locked to the area for sun and fun. Inside, however, the transformation that took nearly two years to complete is an awe-inspiring blend of conservation and contemporary chutzpah. The couple, who have enjoyed living in Palm Beach for 13 years, were attracted to the home’s prime location along the ocean and its extensive grounds. “We first saw it at night with the garden softly lit and hurricane candles around the pool,” says Maxine. “It was very romantic.” The previous owners, however, had a very different aesthetic. The interiors were dark and in a style that felt too rooted in the past. “I wanted to give the house a much more updated, modern   Maxine Granovsky Gluskin stands under an Allegro Assai chandelier that brings contemporary verve to the loggia. Chandelier, Foscarini.  feel while still keeping the beautiful elements of the architecture and the design,” says Maxine.She interviewed five designers before committing to the New York firm Haynes-Roberts, whose partners were familiar with the nuances of Palm Beach style. More importantly, they instinctively understood how to translate Maxine’s vision, which she sums up as a certain “relaxed formality.” The renovation included recolouring the original cork and composite f loors in the living and dining rooms, enlisting an artisan to resurface the walls with Marmorino plaster, introducing light into rooms with bright white and barely-there shades and hunting for vintage furniture and accessories. No matter how major or minor the decision, Maxine was involved.“It’s Maxine’s amazing attitude and positivity that makes you say, ‘OK, let’s do this; let’s keep going,’” say the designers. And seizing on this confidence, they arrived at a unique spin on the glamour and grandeur inherent to the home’s history and setting. “There’s an urbanity to some of the pieces because you’re in a place where it’s about sophistication and elegance — the old Palm Beach,” say the designers. But, then, this is new Palm Beach. A slightly later mid-century inf luence — think 1960s and ’70s — comes through, particularly in the lighting, which expresses personality and modernity in equal measure. “It’s a  little more playful-chic, an almost Italian inspiration in terms of interiors,” say the designers. From Maxine’s perspective, the point was less about an aesthetic statement than enjoying a home that would feel at once family-friendly (their many grandkids visit often) and suited to their passion for contemporary art. “Everything, I think, is very carefully considered,” says Maxine.As the former president and current honorary chair of the Art Gallery of Ontario board of trustees, Maxine also drew on her considerable understanding and appreciation of art to establish an added layer of visual interest and storytelling within the house. Whereas some pieces were already part of their collection, others were acquired with the rooms in mind. A hot pink, silver and white sculpture by Ugo Rondinone lives on the landing, a text-based painting by Gary Simmons hangs in the dining room, a provocative Wolfgang Tillmans image is in the living room, and a Suzan Frecon painting adorns the front hall. Throughout, the house conveys a subtle yet impressive air of connoisseurship. Maxine feels the deference that comes with living in a house that’s nearly a century old that has withstood hurricanes and owners’ whims alike. “The house is really solid; you feel that as soon as you walk in,” she says. “It’s also nice to know that you’re the keeper of the house for a little while, and then it will pass on to someone else.” The next generation of storied sunseekers should be so lucky.  

Designer Brian Gluckstein outdoes himself with a must-see showhome that holds the promise of life well lived. Low-set wainscotting and full-length drapery emphasize the great room’s lofty ceiling. “I like high ceilings and love to incorporate at least one in every design,” says Brian. High-contrast trimon the off-white coffee tables and armchairs evokes the signature piping of a timeless Chanel jacket. Sofa, GlucksteinHome; armchairs, cube tables, throw pillows, art (right), Gluckstein Design Planning; drapery fabric, Threadcount Textile & Design; rug, Elte; photographic art (left) by To ny Ko u ko s; wall and trim colour, Distant Gray (OC-68), ceiling colour(throughout), Decorator’s White (CC-20), Benjamin Moore.  Like the glamorous lead in a classic Hollywood film, this year’s Princess Margaret Cancer Centre Home Lottery Showhome makes an alluring first impression: it greets you in a dramatic fashion and dazzles you with gorgeous looks, but is careful not to give away too much, too fast. From the extra-tall foyer just inside the front door, a tiger-print rug worthy of Lana Turner can be glimpsed in the home office across the hallway. “It’s similar to a carpet I had in my New York City apartment years ago,” says designer Brian Gluckstein. The scene beckons visitors forward until the 6,700-square-foot home’s elegant main f loor is revealed through a procession of grey-trimmed archways. “The house is quite open, but I didn’t want you to see everything as soon as you walk in,” says Brian. In design, as in the movies, a little mystery goes a long way. Set on a corner lot in a leafy neighbourhood of south Oakville, Ont., the five-bedroom, two-storey house is loosely inspired by French Normandy style. In less than eight months, Brian expertly tempered the interior’s open layout by creating defined living spaces with purpose. He pulled in some walls (to create a centre courtyard) and pushed out others (the great room is generously sized and self-contained), varied ceiling heights and balanced bright, lofty spaces with cosy, moodier rooms. Nearly every surface received its own treatment, from washable murals in the kitchen to a grey wall covering on the dining room ceiling to graphic f loor tiles in the foyer. Grey-washed white oak f loors with a scraped finish quietly tie together the showstopping elements. TOP RIGHT: For the home’s French Normandy–inspired exterior, architect Richard Wengle chose an aged brick that looks like lime has seeped through over time. Construction,PCM Project and Construction Management; landscape architecture, Strybos Barron King Landscape Architecture.  EVERYONE WILL BE TALKING ABOUT The tiger-print rug“It adds whimsy and drama, and brings in the black that’s the accent colour in the space. I wanted that wow factor,” says Brian.  The cumulative effect of these many thoughtful moments is at once modern and traditional, open and inviting. The home’s easy f low, plush conversation zones and dreamkitchen make it ideal for gatherings and entertaining — a good thing, since the house will soon welcome more than 70,000 visitors. This is Brian’s seventh showhome, and he remains committed to providing the imminent crowd and, ultimately, the lucky winner, with lots of fresh inspiration. “I want people to leave with ideas they can replicate at home,” he says.There’s also plenty to simply fantasize about. One of this year’s drool-worthy spaces is found on the lower level: the wellness spa is kitted out with a side-by-side dry sauna and wet steamroom, a DXV tub with a waterfall feature, a massage room and a spinning studio, all enclosed by terry cloth drapery and glass doors. Taking a seat in the steam room looking out at the spa, Brian says, “This is my favourite space. It’s what I want in my basement — and everyone who comes down here says they want one, too.” Already planning next year’s showhome, Brian wonders aloud how he’ll top this. 

Jackie Di Cara has long lived by the design motto, “If it’s not beautiful or useful, it has no place in your home,” but walking the walk got substantially easier recently when she rebuilt her home around the concept. In 2016, when their son, Dane, was a fast-growing toddler, Jackie and her husband, Nino (he owns a publishing company focused on electric vehicles), finally gave up on their “cool and happening” St. Lawrence Market condo in Toronto and moved out to a more kid-friendly neighbourhood near the lake and local shops and cafés. But the charming wood and cedar-shingled two-storey home they bought — built in 1895 as a quaint holiday cottage just outside the city was dark, cramped and poorly laid out. So, they embarked on an eight-month reno that saw them gut the interior  “Literally nothing remained; we stood in the basement and could see the sky” and add a third-f loor principal suite, taking the 1,500-square-foot living space up to 2,200. Jackie spoke to us about the pitfalls of being both homeowner and designer on the project, and about how she builds (and maintains!) her decorated minimalist look. Clean-lined elements such as the new staircase and flat-front white oak built-ins are the architectural underpinnings of Jackie’s modern redesign.Cabinetmaker, Kattlus Cabinetry & Millwork; engineered hardwood flooring (throughout), Silverwood Flooring; pendants by Pablo Bola, GR Shop by Gabriel Ross; faucetby Waterstone, Roman Bath Centre; black bowl,Elte; lamp (on countertop), Kelly Wearstler.  Question: What inspired your aesthetic for the new spaces?JACKIE DI CARA: In part, this design is the culmination of research I’ve done for clients — all those pent-up design ideas I never got to express. I’ve always been inclined toward relaxed, contemporary interiors, so the shell of the house — the built-ins, the staircase, the fireplace — is clean and simple but with some warmth. It’s a bit Scandinavian, and a bit Californian, too. Q: What were your steps in developing the design?JDC: It started with the materials. I knew everything was going to be light and fresh with hits of black. Light Scandinavian f looring, and light wood for the kitchen cabinets, built-ins, and even the window trim. Then, I designed the millwork. In a contemporary house, there’s not a lot of trim, so the millwork creates the architectural character. Especially the staircase you don’t get more minimalist than that. With a clean shell, I can rotate my personal items and have those be the stars. I think of the look as decorated minimalism  Q: You moved the staircase. Why?JDC: It chopped the house in half it was in the middle, cutting from one side to the other. Now it runs up one side, which let us do an open-concept layout on the main f loor and create a light well. Q: How does the light well work?JDC: There’s a skylight on the third f loor and an open space running alongside the new stairs fromthere, down to the basement. It does a great job of brightening the space, even on overcast days. It’s my husband’s favourite part of the reno! Q: What else was on your reno wish list? JDC: Open-concept family living on the main floor, with the kitchen in the centre. A third-f loor master retreat. We both wanted a fireplace. I love the aesthetic of a three-sided glass fireplace, and Nino loves the practical side: if there’s a blackout, we can keep ourselves warm. Plus, little things like an instant-boil tap in the kitchen. My husband, being British, drinks a cup of tea every seven minutes! Q: The millwork is so integral to the look. How did you plan it?JDC: I find symmetry very calming, so I strove for that with the built-ins. In the kitchen, I did the cabinets with the fridge-freezer at one end and tall pantries at the other. I also added opportunities for display: the living room bookshelves, the wraparound f loating shelves on the island and the black steel boxes under the upper cabinets. And I had to incorporate storage because, in an open space, there are no doors to let you close away the clutter. Everything has to have a place. For example, four deep drawers in the fireplace unit hold all of Dane’s toys, and drawers in the banquette stash craft supplies. Q:How was working on your own home different from working with clients?JDC: I have a newfound sense of empathy for all the decisions my clients have to make! With clients, I go through three to five options per piece, whereas I needed to see more like 35 options per piece. I tortured myself a bit; it wasn’t pretty fromwhat my husband says. But I got some unique pieces  and I’m content I made the right choices.