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      Great White Melrose in LA offers outdoor dining on a pink-plaster patio

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      Pink plastered columns and fireplaces surround this open-concept restaurant on Los Angeles’ Melrose Avenue, which co-founder and creative director Sam Cooper coloured to match his childhood home.

      Cooper and his business partner Sam Trude recently opened Great White Melrose as their third and largest location in the city, following outposts in Venice Beach and Larchmont Village.
      Fireplaces face each other across the patio dining area at Great White MelroseOn the site of a former laundromat, the 5,000-square-foot (465-square-metre) restaurant was designed by Cooper and his in-house team. Along with its casual menu by chef Juan Ferreiro, the space combines influences from coastal cultures in Australia, Mexico and Europe.
      Dining is available on a partially open patio facing the street, beneath a roof of slatted panels between weathered timber beams.
      The pink-toned plasterwork was chosen to match the colour of co-founder Sam Cooper’s childhood homePink fireplaces face each other across this area, which is lit with a soft glow from large woven pendants found in Pakistan.

      “Completely visible from the street, the open concept was developed very intentionally to create a relationship with the neighborhood, the antithesis of the way so many Los Angeles – and specifically West Hollywood – hospitality venues operate,” said the restaurant team.
      Reclaimed cobblestones sourced from Germany cover the floors inside and outGuests arrive via a ramped cobblestone walkway that passes through a procession of pink arches, each draped in greenery and featuring sconces built into the plasterwork.
      The colour was chosen to match the home where Cooper grew up in Australia, adding “a sentimental touch” to the project.
      The interior space swaps pink for neutral tonesThe reclaimed cobblestone flooring sourced from Germany continues inside, where pink is swapped for neutral tones and a focus is placed on craft.
      A bar made from Portuguese limestone runs along the back of the space, with arched niches behind displaying wine bottles on wooden shelves.
      A bar made from Portuguese limestone runs along the back of the roomOn the main wall hangs a large painting by Berlin-based artist Danny Gretscher that brings hints of the colours found outside into the room.
      Glazed doors with black metal frames concertina open to connect the indoor and outdoor areas.

      Six of the best restaurant interiors in California

      Rattan chairs and brown-toned seat cushions found across both echo the laid-back style typically found at hospitality venues in the Mexican resort of Tulum.
      “Our West Hollywood location is an extension of what we’ve found to be a successful formula that considers all of the necessary elements for an unforgettable dining experience,” said Trude.
      Lighting is integrated into the plasterworkGreat White Melrose combines “interesting art, design, architecture, music, and a variety of options as it pertains to both food and beverage that feature the best ingredients and an ever-growing list of talented makers”, he added.
      Melrose Avenue is a popular destination for tourists and locals alike, thanks to its wealth of boutique shops like Forte Forte, eateries such as the now-shuttered Auburn and design galleries including Francis Gallery LA.
      Great White Melrose is the third outpost from Cooper and business partner Sam Trude, following locations in Venice Beach and Larchmont Village”I have always enjoyed this part of West Hollywood, which seems to seamlessly connect all of the different worlds within it such as entertainment, nightlife, tourism, etc,” said Cooper.
      “There is a real energy about this space and the surrounding area and we are excited to tap into that with Great White Melrose.”
      Other hospitality projects to open recently in LA include Hotel Per La, designed by Jaqui Seerman in a neoclassical building.
      Last year, we rounded up six of the best restaurant designs in California.

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      Jaqui Seerman updates interiors of LA bank building for Hotel Per La

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      A new hotel occupies 1920s bank headquarters in Downtown LA, where Jaqui Seerman refreshed public spaces to include a botanical-themed lounge and a mirror-lined arched gallery.

      Hotel Per La is housed in the neoclassical Giannini Building, built in 1922 as the headquarters for the Bank of Italy, and takes the place of the NoMad Los Angeles which closed its doors in March 2021.
      Hotel Per La replaces the Nomad Los Angeles in the 1920s bank headquartersIts 10,000 square feet (930 square metres) of public and event spaces have been refreshed by local interior designer Jaqui Seerman, who used the 12-storey property’s Italian connection to inform her updates.
      “A nod to the building’s storied beginning as a bank for the people, the ‘Per La’ name translates to ‘for the’ in Italian,” said the hotel.
      “[The bank’s] founder, Amadeo Pietro Giannini, believed in the dignity and abilities of those commonly overlooked, signifying the hotel’s inclusive spirit and name, essentially meaning ‘for Los Angeles, and people like you’.”

      A mirror-lined arched gallery opens into the main lobbyDemarcated by a pale blue awning, the hotel’s entrance has been relocated from 7th Street to Olive Street, leaving the doric columns across the grand facade fully visible.
      Through the doors, guests find themselves in a double-height lounge filled with plants and comfy chairs covered in botanical patterns.
      The custom front desk is by Voila Creative Studio and the hand-painted tapestry behind is by Jessalyn BrooksAn arched gallery lined with mirrors leads to the lobby, situated in what was once the main banking hall.
      In the reception area, a custom-made curved plaster front desk influenced by linen fabric was designed by Voila Creative Studio, while a hand-painted tapestry that hangs in the niches behind was produced by LA muralist Jessalyn Brooks.
      A purple games room features commissioned art and furniture from local artisansA rich purple lounge features a new game cabinet, as well as commissioned art and furniture sourced from local artisans.
      Event spaces range from a second-floor courtyard for private outdoor dinners, to larger spaces for up to 850 people.
      A second-floor courtyard hosts private outdoor dinnersDining options within the hotel include Per L’Ora, which serves Italian cuisine and features a light colour palette across curvaceous design elements influenced by the early 2000s.
      “The bar of the restaurant acts as a dramatic centerpiece, with a custom-made marble top in shades of green, grey, and white, and globe-shaped light fixtures, while custom white plasterwork on the front of the bar offers a new sense of texture,” said the hotel operators.

      Kelly Wearstler makes “bold and eclectic choices” for Downtown LA Proper hotel

      Adjacent to the restaurant is a casual cafe modelled on a Venetian coffee shop, serving beverages, pastries and snacks.
      On the rooftop, Bar Clara offers cocktails for poolside lounging and hosts live performances with the LA skyline as a backdrop.
      Guest rooms are decorated to echo the ornate blue and gold ceiling in lobbyThe 241 guest rooms and suites have retained much of the aesthetic created by French architect Jacques Garcia for the NoMad, referencing the restored gold and blue ceiling in the lobby.
      Downtown LA, the city’s most walkable neighbourhood, has experienced a cultural renaissance over the past decade.
      The hotel occupies the neoclassical Giannini Building in Downtown LAThe area is now home to several design-forward hotels including Kelly Wearstler’s Proper – which was just named hotel and short-stay interior of the year at the 2022 Dezeen Awards – a Soho House, and an Ace Hotel.
      Per La is the latest hotel in the US to open in a converted bank building, following the likes of The Durham in North Carolina and The Quoin in Wilmington, Delaware.
      The photography is by The Ingalls.

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      ASA Studio Albanese references mid-century offices for Thom Browne store in San Francisco

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      American fashion label Thom Browne has opened its first retail location in San Francisco, designed by ASA Studio Albanese to feature dramatic marble against white slatted blinds.

      The flagship store is situated at 432 Jackson Street in the historic Yeon Building, which dates back to 1855, in the heart of the city’s luxury shopping district.
      Thom Browne’s San Francisco store pairs decorative marble walls with white slatted blindsIts interior is the latest collaboration between Thom Browne’s eponymous founder and architect Flavio Albanese of Italy-based ASA Studio Albanese, who has designed over a dozen stores for the brand since 2017.
      Like its counterparts around the world, the 1,250-square-foot (116-square-metre) space is outfitted to look like a Mad Men-era workplace.
      A selection of mid-century furniture pieces was curated for the spaceThis is achieved by pairing highly decorative marble surfaces with strips of white slatted blinds and tube lighting.

      “Behind Thom Browne’s signature slat blind-covered windows is a minimalist mid-century style office with rows of fluorescent tube lighting, polished with white Calcutta and Carrara marble floors, and banker grey Bardiglio and Carrara marble walls,” said the Thom Browne team.
      The store’s desaturated colour palette is reflective of the brand’s clothingAmong the furniture pieces curated to embellish the theme are a glass-topped desk placed in the centre of the room at one end and chairs that form a small seating area at the other.
      “Thom continues to outfit this space with mid-century furniture by American and French designers — including seating and lamps by Jacques Adnet, a desk by TH Robsjohn-Gibbings, office chairs by Knoll, benches by McCobb, coffee tables by Mathieu Mategot, and display etagere’s by Maison Jansen,” the team said.
      Accessories are displayed on minimalist shelving unitsThe largely desaturated colour palette – reflective of the brand’s clothing – is interrupted by brass accessories and details on the furniture, as well as a few camel-toned garments.
      A black band wraps around the rooms at floor level, separating the grey marble on the walls from the lighter toned stone underfoot.

      Thom Browne holds “teddy talk” for toy-inspired Autumn Winter 2022 collection

      Clothes are presented on metal rails mounted on wheels, while bags, shoes, eyewear and fragrances are displayed on minimalist freestanding shelves.
      The fitting rooms are hidden behind doors covered in the same material as the walls so that they blend in seamlessly when closed.
      The store is located in the historic Yeon Building on Jackson SquareThom Browne founded his label in 2001 with five suits in a small by-appointment shop in New York City’s West Village, and eventually expanded to include ready-to-wear and accessories lines for both men and women.
      Browne’s Autumn Winter 2022 collection was an ode to toys and featured sculptural tailoring, presented at New York Fashion Week in front of an audience of 500 teddy bears.
      The photography is courtesy of Thom Browne.

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      BC designs Francis Gallery LA to celebrate Korean art and culture

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      Gallerist Rosa Park has opened a space in Los Angeles to showcase the work of Korean artists and designers, with interiors by local studio BC intended to reflect the country’s visual culture.

      Francis Gallery LA is Park’s second location and is an expansion of her original gallery in Bath, UK – both presenting the work of emerging Korean artists.
      Places of worship informed the interiors of the gallery on Melrose AvenueSituated on Melrose Avenue in West Hollywood, the new space was designed with Lindsey Chan and Jerome Byron, founders of LA-based BC.
      The duo preserved the building while transforming the inside with references to traditional Korean architecture and art.
      The inaugural exhibition displays the work of six artists, including photography by Koo BohnchangThese include a curved partition wall influenced by a moon jar and a contemporary re-interpretation of a hanok courtyard.

      “The space was conceived to pay homage to Korean art and design in subtle ways – whether it was in the curve of a partition wall, the colour palette of the interior paints, or the profile of a low bench in the courtyard,” said Park.
      BC designed the gallery to be pared-back yet warmPlaces of worship like chapels and monasteries were also referenced in the design. These were accentuated by the use of “humble materials” and pared-back forms.
      Although minimal, the intention was to ensure the gallery still felt warm and inviting, as well as provide an appropriate setting for the pieces on show.
      Rahee Yoon’s translucent acrylic blocks are among the works on show”I think this emotional connection to a space, to a work, is central to what I’m doing with Francis,” Park said.
      “It was of great importance to me that the space acted as the ideal framework to house works that I hope will move people.”

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      The inaugural exhibition at Francis Gallery LA is titled Morning Calm, on view until 7 January 2023, and features the work of six artists of Korean descent.
      Bo Kim, John Zabawa, Koo Bohn Chang, Nancy Kwon, Rahee Yoon and Song Jaeho are all at different stages in their careers.
      An abstract painting by John Zabawa hangs on a dark wallTheir painting, photography, sculpture and ceramics all explore Korean identity in an international context and offer insights into the artists’ cultural heritage.
      “With Los Angeles being home to the largest Korean community in the United States and Park having roots in both Seoul and LA, the debut show seeks to explore the nuanced connections between the two places,” said a statement from the gallery.
      References to Korean architecture at the gallery include a contemporary interpretation of a traditional hanok courtyardLA’s art scene has grown exponentially over the past decade, and the city is now home to many new galleries and exhibition spaces.
      Well-known names that have opened their own locations there include Hauser & Wirth and The Future Perfect, while others like Marta are using modernist buildings like Neutra’s VDL II House to exhibit.
      The photography is by Rich Stapleton.

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      Woods + Dangaran brings warmth and light to mid-century modern home in Los Angeles

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      Teak wood, travertine stone and expansive glazing all feature in Woods + Dangaran’s renovation of a mid-century modern house that once belonged to singer Bing Crosby’s manager.

      Los Angeles-based Woods + Dangaran has both upgraded the architecture and designed the interiors for Clear Oak Residence, which is located on a hillside above LA’s San Fernando Valley.
      Clear Oak Residence is located on a hillside above LA’s San Fernando ValleyThe design aims to enhance the building’s relationship with its setting while also bringing an increased sense of warmth and comfort to the living spaces.
      Doorways and windows were adjusted and enlarged to enable wraparound views of the landscape, while skylights were added to highlight key moments within the interior.
      A new swimming pool cantilevers out towards the viewTravertine creates a continuous floor surface that extends out from the living spaces to a sunset terrace, while teak provides wall panelling and in-built joinery throughout.

      “The architectural finish palette was intentionally limited to four materials: clear anodised aluminium, plaster, travertine, and teak for the wall panelling,” said Woods + Dangaran.
      “This visual restraint manifests in a serene ambiance that permeates all aspects of the residence.”
      Travertine flooring extends both inside and outClear Oak Residence is shortlisted for Dezeen Awards 2022 in the house interior category, where it will compete with four other projects – including another one by Woods + Dangaran – for the title.
      Woods + Dangaran designed this project for client Robert Galishoff, whose brief to the architects was to embrace the building’s mid-century heritage but ensure the result exudes a sense of “effortless luxury”.
      Teak provides wall panelling and custom joineryLandscaping played a big role in the transformation. By relocating the swimming pool so that it cantilevers over the hill and adjusting the topography, more terrace and deck space could be created.
      Sliding floor-to-ceiling glass doors allow the main bedroom, the living room and the dining area to open out to this terrace.

      Woods + Dangaran updates 1960s California home by Craig Ellwood

      “Enlarged doorways and windows inside the house, including floor-to-ceiling glass doors, integrate the interior spaces with the landscape and foreground views by eliminating barriers,” said the architects.
      “Glazed openings inserted along corridors create memorable spatial experiences from new axes and vantage points.”
      Skylights create framed views of the skyThe interior furnishings include both new and retro pieces in natural materials and warm colours, which sit alongside Galishoff’s collection of objets d’art.
      The living room features a copper silk shag rug from Mehraban, a Minotti sectional reupholstered in a retro-patterned textile and a pair of the Arthur Casas-designed Amorfa coffee tables.
      “Inspired by mid-century pieces but adjusted for scale, function, and material, these pieces give the home a unique voice that mixes old and new, retro with contemporary vibes,” said Woods + Dangaran.
      The design respect’s the building’s mid-century heritageLed by architects Brett Woods and Joe Dangaran, Woods + Dangaran has developed a reputation for modernising mid-century homes but also designs new-builds with a similar character.
      Other recent projects include an upgrade of a 1960s Craig Ellwood house and a brass-clad home in Palm Springs.
      The photography is by Joe Fletcher.

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      Alexander May launches Sized Studio creative space in Los Angeles

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      Alexander May, the founder of creative advisory Sized, has opened a flexible studio space in a former industrial building in Hollywood that will host photoshoots, events, exhibitions and more.

      Sized Studio was designed over 5,000 square feet (465 square metres) in a former industrial space. The space will host commercial projects, events, dinners, performances and other experiential marketing, as well as public-facing programming.
      Sized Studio offers a variety of bookable spaces, including a loading bay with built-in lounge seating”Sized Studio is an exciting step in the development of the Sized brand,” said May. “It’s designed to create strong collaborations with designers, brands, and creatives. Sized Studio gives another layer of access to the environments that Sized creates.”
      A variety of spaces in the former industrial building can be booked for photographers to shoot campaigns, galleries to put on exhibitions and brands to host activations.
      Located in Hollywood, Los Angeles, the venue is designed to be a blank canvasCeiling heights in the different rooms range from 10 to 30 feet (three to nine metres), and the majority of spaces are white-washed to provide a blank canvas.

      Of the larger spaces is a 1,612-square-foot (150-square-metre) loading bay, which features exposed beams and built-in lounge seating with black cushions.
      Flexible rooms in a variety of sizes are offered to clientsAnyone who rents a space will have the opportunity to enlist Sized’s advisory services, which encompass creative direction, set design, site activation and curatorial consultation.
      “There’s no limit to what kind of activations can be realized within Sized Studio,” May said. “What’s unique about Sized Studio is that it’s adjacent to Sized, which allows the people who use it to become closer to the larger culturally conscious community that Sized embodies.”

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      Although the studios officially open on 17 October 2022, Kim Kardashian’s underwear brand Skims has already utilised the studio, while upcoming public progamming includes a planned showcase of Andy Warhol photography.
      May founded Sized in 2021, following a career in creative direction across a wide variety of locations and industries.
      The majority of the former industrial building interior is white-washedHis collaborators have ranged from interior designer Kelly Wearstler to fashion house Rick Owens.
      Prior to this venture, May founded and provided creative direction for art non-profit Fondazione Converso in Milan from 2017 to 2020.
      Ceiling heights vary from 10 to 30 feet (three to nine metres)Similar creative hubs to Sized Studio elsewhere include Spring Studios in New York, located in a Tribeca telephone exchange building converted by AA Studio.
      Brooklyn venue A/D/O by MINI hosted multiple creative events and installations before it was shuttered due to the economic fallout of the Covid-19 pandemic.

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      Kate Byron designs modernist Don't Worry Darling set as “a playful and debaucherous take on the 1950s”

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      Production designer Kate Byron used vintage “treasures” and referenced key modernist architecture to create the set of psychological thriller Don’t Worry Darling, which was shot in California’s Palm Springs.

      Byron drew on the architecture and interior style of the many modernist buildings that dominate the landscape in the desert city to create Victory – a fictional, utopian 1950s-style society where the film takes place.
      Katie Byron referenced modernist architecture for the film”We wanted to build a playful and debaucherous take on the 1950s, when there was this illustrious progressive, mid-century modern movement happening,” Byron told Dezeen.
      “The world of Victory is supposed to be alluring, it’s supposed to be beautiful and sultry and sumptuous and opulent.”
      It was shot in Palm Springs, a Californian city famous for its modernist architectureDirected by actor and director Olivia Wilde, Don’t Worry Darling follows fiery couple Alice and Jack – played by British actor Florence Pugh and musician and actor Harry Styles – as they go from living in an idealistic paradise to a troubled world fraught with secrets, control and manipulation.

      The characters move across a quintessential Palm Springs backdrop of low-slung buildings with clean lines by architects including Richard Neutra, Harold Bissner Junior and Albert Frey.
      Kaufmann House was one of the filming locationsSeveral scenes, such as a cocktail party hosted by the leader of Victory which took place in Neutra’s Kaufmann House, were shot in real modernist buildings, while the home of protagonists Alice and Jack was built in a Los Angeles studio.
      “We’re really lucky in California to have access to this architecture and in my history of being an architecture student and a production designer, I’ve gotten to visit a lot of these houses in person,” Byron said.
      “I was interested in Neutra, but also Frey was a huge inspiration for us because of that playful wholesomeness that he embodied,” she said.
      Alice and Jack’s house is filled with locally sourced propsByron, who studied architecture at University of California, Berkeley, threaded more subtle modernist details into the interiors of Don’t Worry Darling through devices such as colour.
      “A colour we used quite a bit was Frey’s favourite colour – this Frey blue – which is like a robin’s-egg blue that he puts in all of his buildings,” explained Byron.
      “There’s also a colour that Kaufman House has quite a bit of; Neutra put this really, really, really dark brown that almost feels black, but it has this warmth to it,” she continued. “We weaved that throughout the film as well.”
      Byron used lots of glass and mirrors throughout the setByron sourced vintage products from shops and prop houses in LA for Alice and Jack’s home, which recalls “cookie-cutter” houses – rows of identical homes found in idyllic depictions of 1950s suburbia.
      Much of the furniture seen was built from scratch, in part because the film was shot during the autumn of 2020 when many vendors were unavailable or had long lead times as a result of the coronavirus pandemic.

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      “When you’re in Palm Springs, they just have these antique stores and even in thrift stores and Facebook marketplace you can find really special things,” the designer recalled.
      “That’s also one of the most amazing things about Los Angeles – there are infinite prop houses here so we shopped quite a bit at all the local prop houses,” she continued.
      “The television in Alice and Jack’s house is from this vendor called RC Vintage, which is just like a treasure trove place of antique electronics.”
      Much of the furniture was made from scratchOther smaller references were embedded into Byron’s material choices, primarily glass, stone and brick.
      Meanwhile, the designer paid homage to Neutra’s storage cabinets, which the production team filled with items such as business cards, cleaning supplies and photographs of Alice and Jack to make the set feel more real for the actors.
      “Keeping with Neutra as our design inspiration, the house is designed with a lot of storage in mind – we wanted all of this stuff to be cleanly kept behind doors,” Byron said.
      The desert setting is designed to look like a utopiaByron hoped that by incorporating playful elements throughout the set she could “subvert” the sense of normalcy in Victory and play with the audience’s expectations of a thriller.
      “The thriller follows a formula often, and I thought it could be really great to just subvert that,” she said.

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      “I think the level of play helps viewers feel like they want to be there and if it wasn’t for the playful aesthetic, I think we would be expecting something to go wrong,” she added.
      Don’t Worry Darling is not the only film that draws on a key architectural movement to inform its set. Wes Anderson’s Isle of Dogs film sets were heavily informed by metabolist architecture, while Black Panther’s “voluptuous” sets recalled works by architect Zaha Hadid.
      The photography is courtesy of Warner Bros.

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      Studio Terpeluk renovates Albert Lanier-designed Noe Valley home

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      San Francisco-based Studio Terpeluk has renovated and expanded Redwood House in Noe Valley with redwood interiors and terraces.

      The three-storey Redwood House was originally designed by American architect Albert Lanier – husband to sculptor Ruth Asawa – in a hilly  San Francisco neighbourhood characterised by Victorian and Edwardian houses.
      Studio Terpeluk renovated an interior in Noe ValleyStudio Terpeluk was selected to expand the 1976 house from 2,260 square feet (210 square metres) to 3,218 square feet (299 square metres) with a new guest room suite, home office, wet bar and media room.
      The renovation “surgically modified the house in an architecturally non-aggressive manner,” the studio said.
      Western red cedar was used for the walls and ceilingWrapped with irregular western red cedar planks, the narrow house cascades down the hillside with exterior courtyards that mitigate the grade change.

      One enters the house through an intimate courtyard off the street into an open-plan upper level with a sloping ceiling and dark-knotted Douglas fir flooring made from local reclaimed pier pilings.
      Many of the walls and ceilings were updated with vintage rough-sawn redwood veneered plywood maintained from the original build.
      “Redwood surfaces and structural elements complete the warm interior landscape: from the sloping roof beams to partition walls and built-in shelves,” the studio said.
      The renovation expanded the homeTo the left of the entrance is the kitchen with custom-gloss cabinets and a Carrara marble backsplash. It opens to a dining room that features a Saarinen table and Hans Wegner wishbone chairs.
      To the right is the library where sunlight from the large window brightens the dark panelling and sculptural furniture.
      Bright panelling contrasts the rich wood tonesThe living room is oriented around a pink sculpture by American artist Wanxin Zhang.
      Padded seating wraps the corner under a large window looking out to the San Francisco skyline.
      The living room has wrap-around seating and views of San FranciscoThe house is centred around a staircase illuminated by a skylight.
      “The sculptural blackened steel stair with vintage rough-sawn redwood plywood walls anchors the house, weaving together the three floors and their diverse spatial character,” the studio continued.
      The home is oriented around a central staircaseThe middle level features guest suites with direct access to the entry courtyard.
      The primary suite is softened by light pink terrazzo tile and a micro mosaic of Indian red recycled plastic tiles.
      The home’s colour complements the art collection of the owners”Color was a recurring theme in the exquisite and eclectic art collection of the owners,” studio founder Brett Terpeluk said.
      “This went perfectly hand in hand with my interest in mid-century Italian design and its bold use of color.”
      A series of terraces connect the home with the sloping site”We collaborated with our friend and designer Beatrice Santiccioli to enrich the project with a dedicated and bespoke color language,” he continued.
      At the lowest level, a media room, home office and kitchenette open to an abundantly landscaped garden.

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      The outdoor areas were designed by Terpeluk’s wife and longtime consultant, Italian landscape designer Monica Viarengo.
      The terraces shift from curated gardens to wild vegetation as one moves through the property, while the plantings reference California coastal landscapes with yellow roses, espaliered fruit trees and a variety of thymes.
      A guest suite connects to the central courtyardStudio Terpeluk was founded in 2008 by Brett Terpeluk, after he finished a tenure working with Italian architect Renzo Piano.
      Other Noe Valley renovations include the Gable House by Edmonds + Lee, a renovated Victorian townhouse by Fougeron Architecture and an industrial home for a tech entrepreneur by Levy Art and Architecture and Síol Studios.
      Photography is by Joe Fletcher.
      Project credits
      Project team: Brett Terpeluk, Huy NguyenLandscape design: Monica ViarengoColor consultant: Beatrice SanticcioliContractor: Saturn ConstructionStructural engineering: Strandberg EngineeringFurniture: Santiccioli ArredamentiOrama sliding window systems: CooritaliaWindows: BonelliWood reclaimed wood flooring: ArboricaMetal fabrication: Upper Story DesignDrapery/upholstery: Malatesta & CoArt: Catharine Clark Gallery

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