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Villa Schwob (Villa Turque), La Chaux-de-Fonds, Switzerland. Architecture by Le Corbusier, 1916–17 · Interiors by Andrée Putman, late 1980s

Designed in 1916 by Charles-Édouard Jeanneret (before he became known as Le Corbusier), Villa Schwob was one of the architect’s final works in his native La Chaux-de-Fonds. Commissioned by watchmaker Anatole Schwob, the house was soon nicknamed Villa Turque for its unconventional, Byzantine-influenced forms.

After the watchmaker EBEL acquired the villa in 1986, it underwent a major restoration, with Andrée Putman entrusted. Putman took a deliberately restrained approach, introducing a quiet palette and carefully chosen modern furnishings while allowing the scale, geometry and light of Jeanneret’s architecture to remain at the center. by @joinfaive

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16 days ago

Design Language: Roberto Burle Marx

“One may think of a plant as a brush stroke, as a single stitch of embroidery; but one must never forget that it is a living thing.” Roberto Burle Marx’s quote extends far beyond his gardens. Painter, sculptor, designer and landscape architect, Burle Marx worked across interiors, murals, paving, textiles and planting, always returning to the same language of abstraction, rhythm, color and form.

He developed his eye as an artist, and brought that way of seeing to everything he touched. In a garden, plants became fields of color, composition and texture; inside, stone floors and relief walls became sweeping abstract forms. His use of native Brazilian flora was equally radical - elevating plants that had long been overlooked locally into the material of modern design. - Whether working with concrete, stone or something living, the composition always came first, blurring the boundaries between landscape, art and architecture.

01 - Interior Wall, Banco Safra headquarters, São Paulo, built 1983. Photography by Leonardo Finotti.
02 - Roberto Burle Marx during a botanical expedition in Ecuador, 1974. Photograph by Luiz Knud Correia de Araújo.
03 - Edmundo Cavanellas residence, Petrópolis, Brazil. Photo: Alamy.
04 - Rooftop Garden, Ministry of Education and Public Health, Rio de Janeiro. Photography by Leonardo Finotti.
05 - Photography by Tyba / Courtesy of The Jewish Museum.
06 - Photography by Cesar Barreto / Courtesy of The Jewish Museum.
07 - A 1970 photograph of one of Marx’s most prominent designs, the mosaic promenade alongside the Copacabana Beach in Rio de Janeiro. by @joinfaive

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20 days ago

The Vilhelm Lauritzen Terminal, Copenhagen Airport, 1939.

When Vilhelm Lauritzen designed Copenhagen Airport’s first terminal, commercial aviation was still in its infancy and there was little precedent for what an airport should look like. He approached the building through function, separating “landside” road traffic from the “airside” gates and runway - a planning principle that would later become standard in airport design.

Inside, expansive windows, an undulating concrete ceiling, and a restrained material palette give the terminal an incredible sense of lightness. Lauritzen also designed the interiors in collaboration with Finn Juhl, considering everything from furniture and lighting to signage.

When the airport expanded decades later, the entire terminal was moved across the airport in 1999. More than eighty years later, it remains one of the defining works of Danish modernism.

01: Photography by Adam Štěch.
02: Photography by Lukas Morio for Anniversary Magazine.
03-05: Photography by Adam Štěch.
06: Photography via Ruard Veltman Architecture.
07: Photography by Rune Buch.

Via @okolo_architecture and @theoblist by @joinfaive

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a month ago

United Nations Plaza, New York, 1985. Designed by Andrée Putman.

In 1985, Andrée Putman brought her unmistakable eye to an apartment high above Manhattan at United Nations Plaza.

Set against the monumentality of the New York City skyline, Putman created an interior defined by precision and warmth: pale woods, stone, white surfaces, and open, light-filled rooms that allowed the city itself to become part of the composition. by @joinfaive

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a month ago

In Good Company: Galerie Sardine + Somerset House

This summer, @thesomersethouse took up residence at @galeriesardine in Amagansett, bringing together art and collectible design in an evolving dialogue.

Born from the friendship between the founders, and rooted in a shared spirit of collaboration and community, the residency unfolded through a series of curated interiors.

Throughout the summer, Somerset House rotated curated furniture, lighting, and objects in response to each exhibition, creating spaces that reflected the distinct visual language of the artworks on view.

While the Amagansett residency has since come to a close, both Somerset House and Galerie Sardine can be visited at their individual galleries in New York City this fall.

Photography by @cgbp by @joinfaive

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a month ago

“I think of my studio as a vegetable garden… Things follow their natural course. They grow, they ripen… You have to water, as you do for lettuce. Things ripen in my mind.” — Joan Miró

In 1956, architect Josep Lluís Sert designed Joan Miró’s studio in Mallorca as a space shaped around the act of making.

Geometric forms are softened by an undulating, vaulted roof, while intentionally placed windows bring in natural light and frame the surrounding Mediterranean landscape. The space reflected a shared understanding that architecture could influence the creative process.

Miró worked here for decades, gradually filling the studio with canvases, brushes, paints, sketches, stones, shells, postcards, found objects, and both finished and unfinished works. The contrast became part of the space itself: Sert’s ordered structure holding the eclectic, instinctive world of Miró’s practice.

Today, the studio is preserved as part of the Fundació Miró Mallorca, with much of it left as Miró left it — canvases, tools, objects, and works in progress still filling the space. It feels as though he could walk back in and start working again.

01: Miró with his canvas titled “Poem” (1966) via Josep Planas y Montanyà
02-03: Photography by Daniel Fransnay from his book “The Artist’s World”
04: Photography by Carla Step for Urth Magazine
05: Source unknown
06: Photography by Jean Marie del Moral
07: Source unknown
08: Jean Marie del Moral: Joan Miro by @joinfaive

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2 months ago

Design Language: Thad Hayes @thadhayesinc

Thad Hayes’ interiors are defined by their timelessness, with moments of modernity that keep them feeling current. His spaces feel as relevant today as when they were created; a reflection of his instinct for what endures.

Across his work, there is a dialogue between restraint and warmth, precision and imperfection, the contemporary and the historical. Nothing feels overly precious or staged, yet every detail seems to have found exactly where it belongs.

Here are a few of our favorite Thad Hayes vignettes over the years: elegant, personal, and nearly impossible to place within a single era.

01: San Remo Apartment, 1991. Photography by Michael Mundy for Homes & Gardens.
02: Tribeca Duplex. Photography by Scott Frances.
03: Lauder Penthouse over Central Park; Archive 1992. Photography by Durston Saylor.
04: Tribeca Duplex. Photography by Scott Frances.
05: Photography by Scott Frances.
06: Dressing room on Fifth Ave. Photography by Stephen Kent Johnson.
07: East Side Duplex. Photography by Stephen Kent Johnson.
08: Traditional Home Magazine Show House for the Breast Cancer Research Center in the late 90’s. For Evelyn Lauder. Photography by Steve Freihon. by @joinfaive

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2 months ago

Design Language: Sam Shahid’s Greenwich Village apartment, designed in collaboration with David Piscuskas of 1100 Architect.

The three-story prewar home reflects what Shahid calls his “American Pure” aesthetic: simple, direct, and almost entirely free of visual noise. Lacquered walls conceal books, artwork, storage, a guest room, and a marble bathroom.

Poul Kjærholm furniture sits within spare, light-filled rooms, while photographs by Walker Evans, George Platt Lynes, Bruce Weber, and Larry Clark are hidden inside closets. “I don’t always want to see it,” Shahid says. “I want it to be a surprise.”

“At work, I have so much stuff around me,” Shahid says. “And then you come here and it’s serene, calm.”

Photographed by François Halard for The New York Times Style Magazine, 2015. by @joinfaive

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2 months ago

Jacopo Etro’s Paris apartment, set within a 1920s building designed by Michel Roux-Spitz.

Bought by his parents 50 years ago, the home has evolved slowly over time - layering its original Art Deco character with Eileen Gray screens, a Carlo Scarpa dining table, objects found while traveling, and pieces collected over time.

“Things never stay the same—even your own taste changes a little bit over time,” Etro says. “The house has lived through a lot, and it looks very different from when my parents bought it—but at the same time, it has kept a certain kind of charm from the past.”

Via World of Interiors. Photographed by @ricardolabougle by @joinfaive

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2 months ago

Inside the Milan studio of architect and designer Giuliano Andrea Dell’Uva, set within Luigi Caccia Dominioni’s iconic Casa Caccia Dominioni.

Featured in AD Italia. Photography by Piergiorgio Sorgetti. by @joinfaive

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2 months ago

Calvin Klein’s New York City apartment, designed by Joseph D’Urso and photographed by Horst P. Horst for Vogue, November 1975. by @joinfaive

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2 months ago

The London home of Richard and Ruth Rogers, built in 1983 and photographed in the 1990s.

From Intérieurs Modernes, 1991, via @domicile.file. by @joinfaive

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2 months ago