Positioned between the calm of Hyde Park and the creative energy of Notting Hill, the hotel brings together 109 rooms and suites, many with private terraces, alongside 14 branded residences. Interiors layer rich textures and sculptural forms: towering windows frame shifting city light, while inky blues, warm woods, glass rain showers, and curved architectural lines create an atmosphere that feels both cinematic and intimate. At the top of the hotel, the Whiteley Suite unfolds around a dramatic 125-square-metre rooftop terrace, offering the possibility of an entirely private floor.

Conceived as a sequence of unfolding experiences, Six Senses London was designed by AvroKO in collaboration with EPR Architects. The project carefully preserves the Whiteley’s Grade II-listed façade while reinterpreting its Art Deco heritage through a contemporary lens. Inspiration was drawn from William Whiteley’s fascination with the Great Exhibition of 1851, where invention, craft, and industry gathered beneath one roof.

At the centre of the building, the restored grand staircase once again becomes the defining architectural gesture. Deconstructed, extended, and rebuilt by hand in Devon by Foster + Partners in collaboration with The Hub, the staircase now rises dramatically through three floors toward a luminous glass-domed ceiling, reconnecting the building vertically through movement and light.

Adam Farmerie, Partner at AvroKO, shares, “Six Senses London draws from the visual language of the Great Exhibition era, which often relied on black and white contrast. Rather than replicate that palette, we introduced deep greens into the lobby marble and architectural detailing, reframing the period through a natural lens. Vitrines remain, but plant life now occupies them. Transparency, from the staircase to the glass shower pods in the rooms, allows light to move freely through the building and shifts the emporium from spectacle to immersion.” 

The design language extends into Six Senses Spa London, where wellness spaces are conceived as a continuous rhythm between movement and stillness. Spanning 2,300 square metres, the spa integrates restorative technologies and tactile natural materials to create an environment that feels simultaneously grounding and futuristic. London’s first hotel magnesium pool anchors the experience alongside a 20-metre swimming pool, yoga studios, treatment rooms, a hammam, sensory suites, and a Biohack Recovery Lounge designed with performance and recovery in mind.

Above the lobby sits the world’s first Six Senses Place. As a social and wellness members’ club, it extends the brand’s reconnection philosophy into an urban context, offering space to switch off and engage in experiences that feel restorative rather than performative. Intentional programming called the Almanac aligns gatherings with seasonal shifts and cultural rhythms, alongside talks and shared meals which explore self-development and reflective healing practices.

Throughout the property, sustainability is embedded not as an aesthetic gesture but as part of the architecture itself. As part of the BREEAM-certified redevelopment of The Whiteley, the hotel incorporates rainwater harvesting, energy-efficient systems, over 1,150 square metres of green roof space, and a complete elimination of single-use plastics. Rooftop planting strengthens biodiversity while softening the urban environment, reinforcing the hotel’s broader philosophy of reconnecting the city with nature.

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The interior architecture is articulated through a curated palette that utilises natural materials such as wood, stone resin, and travertine stone to create a peaceful and symbiotic relationship between the interior and the natural surroundeings. Light was carefully studied, along with calculated effort to fuse seamlessly with the expansive sea views. Interiors unfold as a curated sequence of generous spaces where proportions, materials, and details are meticulously balanced. “What guided the project was the sea, the villa had to embrace the sea and merge within, dissolving the boundary between inside and out, where true luxury lies,” explains Cortese. “The design had just simply to follow and highlight the incredible natural surroundings without overcome with an invasive design.”  

The design follows and celebrates its natural context, choosing harmony without ever competing for attention. Instead of imposing an overt design the interior adopts a quiet presence, allowing the view to remain the protagonist, while the interior subtly frames and enhances its beauty.

The interior architecture unfolds as a refined sequence of spaces, guided by balanced proportions and a fluid, uninterrupted spatial flow. The open-plan living area hosts spectacular kitchen island that overlooks the main view serves as a natural focal point for gathering and interaction. Bespoke furniture and crafted millwork enhance the villa’s understated elegance, while restrained detailing allows natural the expansive sea views to take centre stage. 

The spatial narrative culminates in the first-floor master suite, conceived as a tranquil retreat where uninterrupted sea views take center stage and residents from the bed are drawn toward the vast sea horizon, where the landscape unfolds beyond the window establishing a seamless dialogue between the interior and the natural landscape. The master bathroom frames the horizon through large glazing that dissolves the boundary between interior and landscape and creating a serene, immersive connection with the surrounding environment. Here, light and materiality converge to create a serene, almost ethereal atmosphere.

The project was designed for and developed by Alta Real Estate Development. “Elegance is something not to be  taken for granted and is more and more rare in this world,” shares Cortese. “At Delfina Design we do not follow and adapt to changing trends, instead we focus on timeless long-lasting work. I will refer to a phrase by the master of elegance for me, Giorgio Armani: ‘Elegance doesn’t mean being noticed, it means being remembered.” In a design world increasingly driven by artificial intelligence, uniformity, and fleeting social media trends, maintaining a personal, human-centered approach will be essential to preserving true originality. Prioritising human intuition over algorithmic predictions and individuality over mass appeal it will be necessary for an authenticity, depth lasting impact in the future,” she shares. 

Photography: Oculis Project

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WATG and Wimberly Interiors have unveiled the reimagined Lagen Island Resort, setting a new benchmark for preservation-first luxury in Southeast Asia. Conceived as an eco-sanctuary deeply rooted in its surroundings, the 42-key private island retreat embraces a regenerative design philosophy that prioritises conservation, cultural authenticity and immersive guest experiences.

Rather than rebuilding, the design team retained nearly all of the resort’s original structures, significantly reducing environmental impact while protecting the island’s biodiversity. Existing materials, including nara wood flooring, were carefully repurposed into new architectural features, reinforcing the project’s commitment to sustainable reuse. Across the six-hectare resort, architecture and interiors draw heavily from Filipino heritage, weaving traditional craftsmanship into every detail to support the local community. Hand-carved wood, woven textures and indigenous motifs inspired by the Tagbanua, Tausug and Maranao peoples create a layered narrative of place and culture. 

From water villas that blur the boundary between sea and shelter to forest rooms immersed within lush greenery, the resort’s design fosters a seamless connection to Palawan’s dramatic landscape, where nature itself becomes the ultimate luxury.

Amangiri, USA

Designed by original Amangiri architect Marwan Al-Sayed, the retreat’s new Six-Bedroom Villa brings a distinctly architectural perspective to desert living. Set deep within the untouched Utah landscape, the 1,115-square-metre residence is conceived as an extension of its surroundings, with low-slung lines, walled gardens and expansive terraces dissolving into the canyon terrain. Rooted in Aman’s restrained design language, interiors layer walnut, cypress and poured concrete to mirror the raw tones and textures of the desert beyond. Floor-to-ceiling glass walls frame sweeping vistas, while open-plan living spaces transition seamlessly into shaded loggias, alfresco dining areas and a dramatic 36-metre central swimming pool.

Balancing monumental scale with an intimate residential feel, the villa’s six ensuite king bedrooms are designed for privacy and retreat, including a primary suite with its own secluded courtyard and plunge pool. A dedicated spa, steam room, sauna and fitness studio further reinforce the sense of sanctuary. Conceived as a private desert home rather than a conventional resort stay, the experience is elevated through highly personalised service, including a private chef and dedicated villa host.

Wilderness Bisate Lodge, Rwanda

Bisate’s architecure and interior design is rooted in Rwandan building tradition as exemplified in the design of the Royal Palace of the traditional monarch. The spherical, thatched structures echo the thousands of hills that dot the Rwandan landscape. The architecture is also inspired by Bisate’s amphitheatre setting, with the forms and outlines of the lodge thus accentuating the spectacular natural surroundings. This volcanic mountainous terrain also resonates in the volcanic stone that is used in Bisate’s fireplaces and its surrounds, while natural ‘flamed’ granite is used for many surfaces. 

The architecture was completed by Garreth Kriel from Nicholas Plewman and Associates – who pulled the project together, with Designers Caline Williams-Wynn and Nilfah Adams from Artichoke. Materials used included concrete, steel, timber, synthetic thatch, volcanic rock, bamboo, reed, and papyrus. Bisate’s interior design is drawn from a variety of aspects of the Rwandan lifestyle, particularly the colourful textiles and use of texture. “The emerald green colour in the textiles and chandeliers is reminiscent of the verdant greens of the rainforests, as well as the vibrant markets that dot the villages throughout the country,” shares Williams-Wynn. Following through with Artichoke’s commitment to the principle of recycling, the chandeliers are of recycled glass, and the ibyansi milk jug motif is reused across a number of elements. Many of the furnishings are decorated using imigongo, an art form unique to Rwanda that uses cow dung. The use of black and white cow hides reflect the rural way of life in the villages, and volcanic stone is used in the fireplaces to echo the volcanoes of the adjacent Volcanoes National Park.

With only six luxurious forest villas, each villa comprises a generous yet intimate combination of bedroom, reception area and bathroom, all warmed by a central fireplace and with breathtaking views out across a private deck towards Mount Bisoke.

Recently, Wilderness has unveiled the Sanctuary – a purpose-built wellness space dedicated to restoration, reflection and connection to place. The spatial journey is defined by a deliberate interplay of scale, light and movement and local craftsmanship lies at the heart of the Sanctuary’s design. 

One&Only Mandarina, Mexico

One&Only Mandarina is deeply immersed in the culture and landscape of Mexico, with the eco-conscious retreat designed to preserve the untouched beauty of Riviera Nayarit. Conceived by Studio Rick Joy, the resort responds sensitively to its surroundings, allowing the dense jungle, ancient trees, and dramatic coastline to guide the architectural language and spatial planning.

“Our designs naturally attune with the views, light, activity and atmosphere created by the hundreds of hues of greens that stimulate all the senses from foreground to horizon. Our process was narrated not just by the hundreds of years’ old trees and vegetation but also the pre-Hispanic history and artifacts on site – so much so that it became necessary that the roads be constructed to divert disturbance and a great weaving take place throughout the site to preserve as much as possible,” says Studio Rick Joy. “Our intent is that those who visit, will sense the rare ancient timelessness of nature and uniqueness of this place.”

Throughout the resort, interiors celebrate Mexican craftsmanship through bespoke furnishings, artisanal textiles, and locally made artworks. Highlights include cast-bronze pieces by the Grez family, gold-leaf installations by Mexico City-based studio Fervor, and handwoven textiles sourced from artisan communities in Oaxaca and Chiapas. The One&Only Spa, set within a volcanic rock garden, draws inspiration from Huichol sacred geometry, with its eight-point star layout symbolising rebirth, renewal, and spiritual regeneration

STORY Carrousel Rabat, Morocco

Dubai-based studio ROAR has reinterpreted Amazigh heritage through a contemporary spatial language rooted in movement, craft, and materiality. Conceived as an immersive journey rather than a conventional hotel, the project balances cultural references with a refined architectural sensibility.

Throughout the interiors, tactile wall reliefs reinterpret traditional weaving techniques, transforming craft into architectural surfaces rather than decorative gestures. Geometric compositions derived from Berber textiles inform flooring patterns, joinery, and custom details, while wayfinding elements subtly reference Tuareg jewellery and protective amulets. “We wanted to distill Amazigh heritage into something more abstract and architectural, where culture is felt through space rather than explicitly shown,” says Pallavi Dean, Founder and Creative Director at ROAR. Natural materials, layered textures, and a muted palette inspired by Morocco’s landscapes define the guest rooms, while ocean-oriented planning and rooftop social spaces reinforce the hotel’s connection to the Atlantic coastline.

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Watch the full panel below:

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Vaida Buchrotaite, Principal and International Interior Design and Operations Director and Henrique Dias, Principal and Middle East Hospitality and Mixed-Use Director

“Culture, rituals, materials, and subtle details that make a destination unique. That’s where the real narrative begins”

As opposed to forming a story once the project is complete, Buchrotaite’s team focuses on discovery by unveiling chapters layer by layer. Canopy by Hilton The Point in Abha, emerges as a common example. “For example, something as specific as the flower reeds worn by men during ceremonies became the inspiration for the ballroom chandelier design. It’s a small cultural detail, but when translated thoughtfully, it creates something authentic and memorable. Similarly, reception panelling can take cues from the surrounding Asir mountain formations, while patterns and colour palettes across the rest of the spaces draw directly from the craftsmanship of local women – elements you see across the city,” she shares. The focus seems to embed meaning into decisions and create spaces that transcend beauty. Instead, the focus lies in creating something that feels rooted, intentional, and impossible to replicate elsewhere.

Teams work in sync, as opposed to silos. Buchrotaite shares the sentiment of working together in one poignant line: “Interior designers are not decorators, and architects are not just façade designers; we operate as one embedded team,” she says. The teams work together across a variety of functions, from inception, planning, zoning, and user-experience to realise an experience that feels seamless, cohesive, and well-resolved.

To bring about a sense of synchronicity for mega-projects, Dias shares that this comes from creating a shared logic rather than a repeated visual language. The real challenge, he shares is more on making the journey feel seamless and intentional. “What we establish early is a common experiential DNA,” he shares. “How arrival is choreographed, how public spaces connect, how landscape carries continuity, and how material language reinforces a sense of belonging across the wider ecosystem.” He cites Saudi Arabia where this approach holds relevance as hospitality being embedded within the giga-scale destinations is a priority. “Guests are no longer experiencing a standalone hotel; they are moving through a larger narrative of culture, retail, wellness, entertainment, and public life,” he shares.

Restaurant concept of Canopy by Hilton The Point in Abha

“A project I often reference is Canopy by Hilton The Point, because it demonstrates how brand identity becomes strongest when it is inseparable from place.” Shares Dias. “Rather than treating the Canopy ethos as a fixed set of standards, we allowed the character of Abha, the mountain landscape, the cultural richness of Aseer, and the region’s artistic heritage to shape how the brand was expressed. That, to me, is where hospitality branding becomes truly innovative: not when a brand is imposed on a destination, but when the destination becomes the brand’s most authentic expression.”

Shifting Themes, Trends, and Technology

When asked about what the latest considerations were for hospitality, Buchrotaite shared that there still seems to be a focus on what she calls refined, minimal luxury. “It’s less about bold, lifestyle-driven palettes and more about material honesty, texture, and quiet elegance,” she said. “It’s not a one-directional trend. Our portfolio spans everything – from ultra-minimal resorts to richly detailed, traditional environments, and even more playful, industrial, or entertainment-driven spaces. Each has its place.” In markets with a diverse range of users, this may be perceived as particularly challenging. “You’re designing for a global audience with very different definitions of luxury and experience,” shares Buchrotaite. “While certain trends may lead at a given moment, in reality they all coexist – and that balance is what makes the region so dynamic.”

Dias adds that while aesthetics do matter in hospitality; context is critical. “In hospitality, they [aesthetics] only become meaningful when they translate into memory, wellbeing, and a sense of restoration,” he shares. Emotion out of the experience is key and is the goalpost. “Guests may first notice beauty, but what stays with them is the emotional residue of the experience,” shares Dias. “It is the calmness of arrival, the warmth of natural materials, the softness of filtered light, the shift in acoustics as they move from a vibrant social space into the privacy of their room, or the way a framed view creates a moment of pause.”

With a focus on sensory composition, the DLR team focuses on shaping guest experiences through rhythm, tactility, sound, scent, framing, and the emotional pacing between energy and retreat. Increasingly, this is also tied to wellness. “Luxury today is no longer only about visual richness; it is about how a space supports recovery, better sleep, mental clarity, social connection, and a deeper sense of human restoration,” shares Dias. “For me, the real role of aesthetics is to create emotion through space, but also to design environments that guests leave feeling better than when they arrived. Beauty is only the first layer; restoration is the lasting memory.”

When it comes to AI and technology, Dias is robustly positive. “The most successful technology in hospitality is the kind guests barely notice,” he shares. “Its role is not to make the experience feel more digital, but more intuitive. Whether through adaptive room settings, seamless arrival, intelligent concierge systems, or back-of-house efficiencies, technology should remove friction and allow the human side of hospitality to become even stronger.” 

He shares he is most excited about how AI influences design. “It allows us to understand guest movement, dwell patterns, circulation logic, and operational behaviour far earlier in the process, giving us a more intelligent framework for shaping experience before the building is even realised,” he shares. “For me, the benchmark is simple: technology should make hospitality feel more human, not less,”

A contemporary three-bedroom villa designed around indoor-outdoor living, blending sculpted arches, shaded terraces, and tropical landscaping

Sustainability equated to quality

Dias also argues that sustainability is not an added value. “Guests today are far more conscious of how spaces are made, how they age, and how authentically they connect to their environment,” he shares. A focus is given on healthier materials, better daylight, natural ventilation, a stronger connection to the landscape, and spaces that feel built to last rather than designed for short-term visual impact. “That has shifted the design conversation much earlier for us,” he shares. “We now begin with endurance: how a space performs over time, how gracefully it ages, and how it can remain emotionally and operationally relevant without constant reinvention. For me, the most sustainable hospitality experiences are the ones that still feel timeless a decade later. That sense of longevity, calm, and authenticity is increasingly what both operators and guests are looking for.”

On operating in Saudi Arabia

With a lot of active projects in the region, Buchrotaite claims that hotel operators are focused on very similar goals as the rest of the region. This includes efficiency, a strong ROI, and clear positioning. According to Buchrotaite, in Saudi Arabia, there’s an added layer: every project is expected to be a destination. “That doesn’t always mean ‘iconic’ in the traditional sense,” she shares. “Some projects are bold and statement-driven; others are more familiar and expected, but what they all have in common is the need to deliver an experience that stays with people. Not just something that photographs well, but something that creates a memory.”

Another focus is on fit-for-purpose destinations. “Whether it’s a business hotel supporting a new wave of remote work, a resort offering a genuine escape, or a family-oriented development built around ease and entertainment – the success comes from how well it’s curated for its end user,” Buchrotaite shares. It’s all about creating a space that people remember long after they leave.

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The spirit of synchronicity is reflected in our cover story with DLR Group, a full-service practice where architecture and interior design exist in constant dialogue. Directors Henrique Dias and Vaida Buchrotaite share insights into the studio’s integrated approach, discussing how collaboration across disciplines continue to define their work and distinguish their offering in an evolving regional hospitality landscape.

We also take you to Madrid with highlights from our recent trip in collaboration with Spanish trade agency ICEX, where Casa Decor offered a vibrant showcase of creativity, sustainability, and innovation. What stood out most was the individuality of each space and the confidence with which every studio approached curation and storytelling. We round up some of our favourite exhibits in this issue.

We also step inside two striking coastal homes in Dubai – one on Palm Jumeirah and another on Jumeirah Bay. Across the ocean, a remarkable home in Mumbai has taken shape, with views over the Arabian Sea. We also present an exciting collectible design debut, exclusively on identity.

Enjoy the read.

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Courtyard is first and foremost a hub for the community; a place for people to gather, catch an exhibition, shop, watch a show at the theatre, or just exchange ideas as they sip coffee. The book attempts to capture exactly this spirit and the space’s evolution. As a result, the book unfolds less as a linear narrative and more as a layered collage. It is textured, personal, and at times deliberately poetic, though always engaging. At its core is the story of how the space came to be. The salvaged fragments, the portholes from decommissioned ships, the weathered wood, the rusted metal, all the reclaimed architectural details from old houses that were being demolished come together, unexpectedly cohesively, over time. And the reader sees the Courtyard emerge as an unlikely oasis within what was an otherwise industrial landscape.

The visual language of the book mirrors this evolution. Floorplans and sketches sit alongside archival clippings, photographs, and documentation of the space as it grew into a cultural node. There is a sense of constant movement and of a place shaped by the people who pass through it. Also captured in these pages is the life within these walls: exhibitions, fashion-shows, launch events, gatherings, collaborations, and the quieter, everyday moments that give the space its character. Testimonials and community voices add depth, reinforcing the idea that the Courtyard is a lived-in place.

Like the Courtyard itself, the book is best approached without expectation. It rewards those willing to slow down, wander, and take it in as it comes.

Published by Motivate Books, Courtyard is available across leading bookstores. 

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The design unfolds through a composed interplay of contrast, balancing solidity with openness, light with mass, and precision with warmth. Clean geometries are softened by texture and tone, allowing the architecture to feel both grounded and refined. In simple elegance, the villa avoids excess, instead relying on disciplined forms and a curated material palette to create a sense of quiet sophistication.

archiSENSE Studio, House A

Lines are in conversation throughout the project with depth and rhythm across façades and interior volumes. This push and pull establishes a dynamic spatial experience, where movement is guided not by ornament, but by proportion and alignment.

Within, the spaces are intentionally composed. Rooms are contemplative, offering moments of pause and stillness amid daily life. Open-plan areas flow seamlessly, while more intimate zones provide retreat, each defined by subtle shifts in scale, light, and enclosure.

archiSENSE Studio

Light itself becomes a primary design element, defining the rhythms of the home from morning to evening. It filters through layered openings, casting patterns that evolve throughout the day and animate the architecture without overwhelming it.

The result is a residence that is both expressive and restrained. It is a place where architecture speaks quietly, yet with enduring clarity.

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In the same spirit of dialogue, a few months ago, AlNassar opened his studio to the public at Alserkal; only this time with an additional gallery space downstairs with the workspace stationed upstairs. The gallery is conceived not as a conventional retail space, but as an evolving spatial narrative where collectible pieces, furniture, and objects are presented with the same level of intention and storytelling found in the studio’s architectural and interior work. Located on the ground floor and open to the public, it invites visitors to discover distinctive and thoughtfully curated design finds. “As designers, we’re constantly sourcing, referencing, and collecting, but those pieces rarely get a life outside of the spaces we design. The gallery became a way to give those objects a platform of their own, and for visitors to experience what we are able to create without being a client of ours,” says AlNassar. When asked what lens he uses to curate the pieces, he says, “The curatorial lens is quite instinctive. It’s less about trends and more about emotional resonance, material honesty, craftsmanship, and how an object sits within a space.”

Upstairs on the first floor, the studio overlooks an internal courtyard defined by skylights and an abundance of natural light. This setting creates a quiet, immersive atmosphere, one that feels distinctly removed from the surrounding industrial fabric of the neighborhood. 

Along with the shift of the studio to Alserkal, arrived a change in brand identity. This has been reflected throughout the space in subtle touches that are uncovered layer by layer. AlNassar worked with several partners to achieve this. He partnered with Delta light on the lighting and worked with Bauwerk lime wash which is the main finish of the entire interior space. “We used a color called ‘House’ which seems very fitting.” Shared AlNassar. For the exterior façade, AlNassar and his team worked with SLO ceramics that custom-made navy-blue tiles with the studio’s monogram. “There are so many details and collabs that really helped shape the space, we are so grateful for our supplier friends that really showed up. But my favorite would be the wallpaper in our powder room, by Material Library, an incredible supplier here in Dubai, it’s my favourite!” he says.

A cheeky dog bar is a crowd favourite – something thoughtful and much needed within the arts and culture community that is pet-friendly. “It came from something very personal, my own relationship with my dog, and how naturally he becomes part of any space I occupy,” shares AlNassar. “But also, we wanted the studio and gallery to feel welcoming, not just for people, but for the way people actually live. In Dubai, a lot of spaces still overlook that. The dog bar adds a sense of warmth and informality. It softens the experience.”

Together, the two levels of the space operate in quiet dialogue. The studio remains appointment-based, maintaining a degree of privacy, while the gallery below stays open as an accessible, evolving platform. Between them, the practice finds a new rhythm: one that moves between making and sharing, between working and inviting, and increasingly, between the studio and the community.

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From the outset, a singular artwork shaped the home’s identity: a stainless-steel sculpture by Jedd Novatt. Composed of intersecting cubic volumes, the piece has long held personal significance for the family and now serves as the conceptual anchor of the design. Positioned within a reflective pool in the entry courtyard, it greets visitors while establishing a geometric language echoed throughout the architecture. Much like the sculpture itself, the home reveals its complexity gradually, offering shifting perspectives and moments of discovery.

The approach reinforces this sense of unfolding experience. A meandering drive leads through the property before the house emerges from the trees, nestled into the hillside to maintain a low, unobtrusive profile. “We’ve blended this rugged Wyoming landscape with the clients’ spectacular art collection and high design goals – it’s a home that echoes both modern art and a rugged, western landscape,”  shares Andy Ankeny, AIA, Partner at CLB. Despite its two-story scale, the structure feels grounded and discreet, opening into a sheltered courtyard that provides a moment of calm against the expansive mountain backdrop. This interplay between exposure and refuge mirrors the surrounding landscape, where sweeping views coexist with quiet, introspective spaces.

Architecturally, the home is composed of interlocking volumes that respond to both site and program. A sandstone base grounds the home, while upper forms clad in cedar and blackened stainless steel rest lightly above. Organised around a central courtyard shared by the main house and guesthouse, the layout offers protection from the elements while framing key moments of arrival and gathering. Inside, Western red cedar and hemlock provide warmth, complemented by floors of limestone and white oak. These materials create a refined yet understated backdrop for the family’s wide-ranging art collection, which includes works by Andy Warhol, Henri Matisse, vintage rock photography, and additional sculptures and a painting by Novatt.

Interior design by WRJ Design builds on this foundation with a philosophy of “luxuriously livable” spaces. Furnishings are carefully curated to complement both architecture and artwork, blending clean lines with subtle curves in a restrained, neutral palette. Ample restraint was taken to curate the home to sit comfortably beside the blue-chip art. “An art collection of this scale and importance requires an unusual level of care. Drawing from my time as Director of Design for Sotheby’s New York and working closely with the homeowner – who also has great knowledge of art and presentation – we created interiors where furnishings and décor are in clear dialogue with the artworks, drawing you forward with a surprise around every corner,” shares Rush Jenkins, CEO and creative director, WRJ Design   Natural materials such as mohair, linen, wool, leather, walnut, and bronze introduce depth and durability suited to an active, multigenerational household.

Moments of personality punctuate the home that embraces a quiet, neutral colour palette that keeps the focus on the mountain panoramas and the art. This direction is beautifully exemplified in the great room’s Vladimir Kagan Design accent chairs and Holly Hunt and McEwen sofas encircling a Hellman Chang cocktail table. Interior finishes including white oak and limestone flooring and quartzite countertops were chosen in concert with the architecture’s regionally connected use of wood and stone to provide an understated yet sophisticated backdrop. 

Decorative lighting choices play a vital, sculptural role, as with the dining room’s Frederik Molenschot art chandelier from Carpenters Workshop Gallery suspended over a custom walnut-and-metal table, or the kitchen banquette area’s handblown and hand-carved Alison Berger Glassworks crystal pendant from Holly Hunt placed over a cast-bronze Jiun Ho table with white quartz top. 

Inspired by the black-and-white photography and graphic, boldly coloured Warhols, the home’s softer palette is punctuated with black – as with the entry’s dramatic ebony-finished Alfonso Marina console; and is spotlighted by jewel tones. For example, the butler’s pantry is a standout in lacquered Matisse blue, becoming a personal creative space for the wife with such carefully selected elements as her Joseph Jeup desk chair, and Porter Teleo wallcovering in white Japanese paper accented by delicately hand-painted gold strokes.

The lower level embraces a more relaxed, playful spirit, with spaces for recreation including a media room, bunk room, fitness area, and wine room. Outdoors, the experience extends into the landscape through hiking trails, a secluded firepit, and protected terraces that foster year-round connection to nature.

Sustainability is integral to the design, with energy-efficient systems, triple-glazed windows, and regionally sourced materials supporting long-term performance. Ultimately, the home is designed not just for today, but for generations to come.

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