Collection by Brian Karo
Dogs Who Love Modern Design
There are many ways to judge a room—its size, its shape, its furniture. But as these dogs would likely attest, all it takes is good instinct.
In the living room, angel wings taken from a circa-1890s Parisian statue were discovered at Scott Landon Antiques in Vancouver. The vintage Petal coffee table, by Richard Schultz for Knoll, is topped with various brass and copper bowls found at secondhand stores, displayed alongside Form bowls by Tom Dixon.
Boise, Idaho–based architectural designer Macy Miller built her own 196-square-foot home, which she shares with her partner, James Herndon, their newborn, Hazel, and the family’s Great Dane, Denver. The exterior cladding, which Miller stained for a uniform effect, is a mix of nearly a dozen types of wood plank, including poplar, oak, and fir.
Though this kitchen fits in with its period surroundings, a few tweaks keep it current. “It’s functional in a way that doesn’t feel like the kitchen is in the living room,” says architect Rick Black. He explains, “One of the goals was to make the islands more like furniture than like heavy objects that go all the way to the floor.”
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Photo by Ye Rin Mok
Featuring reclaimed wood from the original house, a single sliding door covers only half of the kitchen pantry. As the door slides, china and glassware are revealed on one side; the other side holds Anne’s design library and favored heirlooms. The sliding door follows a track installed in the concrete underfloor; the shelves are supported by recessed steel brackets, strong enough to hold the weight of a man—or a baby. An additional full-size pantry is located inside the laundry room, toward the original bungalow.
#workspace #office #interior #inside #window #seatingdesign #interiordesign #desk #lighting #flow #chairs #stools #dog #lamp #misewellstudio
Photo by Daniel Shea
Two pieces from E15’s Shiraz sofa flank
the company’s wooden Leila side tables.
Hill chose to use flat paint in Benjamin Moore’s Decorators White throughout the home
because it emphasizes the chalkiness of the plaster walls, making them “look almost like slate.” The sconce shown in the foreground—David Chipperfield’s Corrubedo design for
FontanaArte—gives off a soft glow and
replaces the dozens of paper-lampshade
wall fixtures the owners found in the house when they bought it. Stewart Cohen’s
zany photograph of a gun-toting Marfa
resident encapsulates Barbara Hill’s offbeat brand of decorating: bright and minimal,
yet darkly humorous.
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