MJD INSPO: Victor Skrebneski's Chicago Residence

When starting a new project, I always look to the past for inspiration and ideas. One home that I always seem to reference is Victor Skrebneski’s Chicago residence, designed by Bruce Gregga. This home is located in Chicago and features a strikingly minimalistic space that is decorated with the most impressive collection of furnishings and art. This home is inspiring for myself because it does not rely on a given architectural pedigree; instead it allows the furnishings and art to do all of the work. This is important as often times a new project lacks in architectural integrity, but allows for the furnishings and art to play a larger role. Originally a coach house, this space was transformed into a modern oasis filled with the most pedigreed furnishings and art.

The image above shows a vignette of the main living room of the home. This corner of the living room is packed with significant art and furnishings. In the foreground of the image is a stone pedestal with an antique bust on top. The stone of the pedestal mirrors the stone flooring, creating a seamless movement for the eyes. Also of note is the gilt wood console table with a contemporary work of art by Louis Marcoussis gracing its stone top. We also see a traditional French chair with a contemporary leather upholstery. In the corner of the picture we get a glimpse of a large scale tapestry. I would argue that this tapestry is the star of the room; it is large, fabulous and creates a focal point in a room filled with so many exquisite objects.

Living Room inside Victor Skrebneski’s Chicago Residence. Design by Bruce Gregga, Photography by Victor Skrebneski. Photo retrieved from Architectural Digest, March 2000 Issue.

The picture above is an image of the whole living room. This image allows us to recognize the true magnitude of the design of this space. The first object that stands out to me is the gilt wood chandelier that is hung in the center of the room. The contrast between this traditional chandelier and the contemporary room that surrounds it. What makes this chandelier works is the warm undertones that play off the stone flooring. If this chandelier would have been a cool tone, it may not have been as successful in its immersion into the space. Another element of this space that I find to be immensely successful is its use of antique furniture in a contemporary setting. I believe this to have succeeded because of the amount of antiques that were used in contrast to how contemporary the space is. If the walls had intricate moldings and wood paneling, I don’t believe that this room would be as much of a statement. Would it still be gorgeous? Absolutely, but it would not have the same chic, fashionable aesthetic as it does now.

Foyer/Entry inside Victor Skrebneski’s Chicago Residence. Design by Bruce Gregga, Photography by Victor Skrebneski. Photo retrieved from Architectural Digest, March 2000 Issue.

The next space I want to discuss is the entry/stairway. This space features a dramatic yet minimalistic staircase that is made of concrete and features no railings. Obviously this was created before building codes were enforced because this would not fly today, BUT I think this is stunning and wish it was achievable today. This space features a classical statue that sits atop a black granite base. This statue appears to be hold together by internal supports. This is one of my favorite ways of displaying an antique sculpture; letting the sculpture speak for itself without an ornamented base. In this case, the black marble allows for the sculpture to stand out and be the focal point. If the base had been the same material as the flooring, the chances of the sculpture standing out would be smaller. Overall I would say this space is by far the most iconic image of this particular home and for very good reason; it is fabulous.

Foyer/Entry inside Victor Skrebneski’s Chicago Residence. Design by Bruce Gregga, Photography by Victor Skrebneski. Photo retrieved from Architectural Digest, March 2000 Issue.

The next photograph that we get of this home is of the kitchen (pictured above). From an initial glance, you probably wouldn’t even know it is a kitchen. The only indication from the image that this may possibly be a kitchen is the row of cabinets on the left hand side of the image. We do not get much information on this space in the original AD article, except that the kitchen is lined with built-in book shelves and has painted zig-zag floors. The floors immediately reminded me of a Mary McDonald interior. While I do not care for a painted floor, I think that this room definitely benefited from having it. Another take away from this room are the built-in bookcases. If you are short on space for your book collection, why not make the kitchen into a library!

Primary Bedroom Sitting Room inside Victor Skrebneski’s Chicago Residence. Design by Bruce Gregga, Photography by Victor Skrebneski. Photo retrieved from Architectural Digest, March 2000 Issue.

The final room that we get photographs of in the original AD article is the sitting room in the primary bedroom. This sitting room features an extensive amount of antique furnishings and beautiful oak herringbone flooring. One feature of this room that caught my eye immediately was the mirrored wall in the background. This feature expands the space and gives it a contemporary feel. I am a huge fan and supporter of mirrored walls! I think that they are due for a comeback and I would fully support it! There are two antique mirrors hung on top of the mirror wall above an antique commode. I always think this that is an effective way of layering; it mixes the antique with the contemporary. Another element of this space that I appreciate is the mixing of patterns on the furnishings. This gives the space a layered, collected look.

Primary Bedroom Sitting Room inside Victor Skrebneski’s Chicago Residence. Design by Bruce Gregga, Photography by Victor Skrebneski. Photo retrieved from Architectural Digest, March 2000 Issue.

Above is the final image we are given of the sitting room in the primary bedroom. This image gives us insight into both the layout of the room as well as some design elements that were not visible in the previous image. The first thing that jumped out to me was the high-gloss ceiling. The folding screen in this room makes the ceiling height seem lower than it probably is. I wonder what the wallcovering is behind the console table? Could it be closed draperies? I wish we had more images of this home to dissect! This home probably has some really interesting rooms that did not make it into this AD article, but I would say that they big hits of this home were showcased. I would love to see the formal dining room (if there is one) and maybe a bathroom or two.

Overall, I think this home is probably one of my more re-visited in terms of inspiration for many reasons. It has a fearless vibe to it, which I think is so important when it comes to interior design. A couple of years ago when I was in graduate school mapping out my future business, I would always go back to the word fearless. This interior is fearless for many reasons; from the very unsafe no railing staircase (lol) to the daring black and white chevron kitchen flooring. This home shows that you can live artfully in a home. You can make the whole home out of concrete and stone and have it still feel like a “home”. I also think of the possible alternatives; what if this home had no concrete and tons of woodwork? Would it still be as impactful today as it was back when it was completed? I think the answer is no. While it would still be beautiful, it would not be as impactful. That leads us to the question of when is beauty not enough and we start looking for impact? I think there is a need for both; every home should be beautiful and impactful. If there is not beauty and impact, what does the home offer in terms of aesthetic value? -Michael

MJD INSPO: David Adler, Clow Residence

As a Chicago North Shore native, David Adler is one of my icons when it comes to architecture and design. Of all of Adler’s projects, the Clow residence in Lake Forest is by far my favorite. This home takes influence from the iconic, Mies van der Rohe and the Viennese designer, Josef Hoffmann. These influences are prevalent throughout the home (both inside and out) but particularly on the interior with its striking use of line and form. Another element of this home that makes it my favorite Adler commission is the clients’ impressive collection of modern furniture that was acquired from several countries.

Entrance Hall, Clow Residence by David Adler (1927)

Photograph by Samuel Herman (1875-1971), Retrieved from The Country Houses of David Adler by Stephen M. Salny (2001)

Upon entry to the home, visitors are greeted with a dazzling room lined with geometric silver leaf wallcovering. In addition, there is a simple, yet timeless fireplace with two sconces above it. There is also a decorative column with a sculpture atop it. Perhaps one of the most identifiable qualities of this space is the center floor medallion featuring dramatic contrasting marble. One element of this room that particularly stands out to me is the fireplace; this adds warmth to the space that allows visitors to be greeted comfortably before venturing upstairs to the common areas. The wallcovering in this entrance hall is also quite unexpected; in todays design climate, silver leaf wallcoverings such as the one in this space are often reserved for ceilings. Perhaps this is another example of this home being an example of the last call of grandeur prior to the great depression.

Dining Room, Clow Residence by David Adler (1927)

Photograph by Samuel Herman (1875-1971), Retrieved from The Country Houses of David Adler by Stephen M. Salny (2001)

One of my favorite rooms in this home is the dining room. This space is stylistically pure art deco. This can be seen through a few key elements such as the ceiling which features gradual levels. There are also rounded niches in the walls which allow for larger pieces of decoration and sculpture to be placed. While hard to see, the marble on the fireplace also features a similar stepped motif to the ceiling. This attention to detail creates a harmonious environment that is focused on highlighting the art deco aesthetic of the home.

Another detail in the dining room that catches the eye immediately is the wallcovering. The material is split straw marquetry, created by Adolphe Chanaux (1887-1965). Chanaux was a frequent collaborator of Jean-Michel Frank. The checkerboard pattern is reminiscent of contemporary designs. Unfortunately the wallcovering does not survive as it had been removed at some point. Also- please let me know if you would like me to show some current-ish photos of this home and compare to these original photos!

And lastly, I wanted to point out the dining table, which had it own storied history before even making it to the home! This table was a European commission and was clad in pewter. The table was such a success that it was first displayed in a Stockholm museum prior to being shipped to the states. The Swedish government even requested that the table stay in the museum, but eventually the table made its way to Lake Forest! Can you imagine eating off a dining table with that much pedigree?

Living Room, Clow Residence by David Adler (1927)

Photograph by Samuel Herman (1875-1971), Retrieved from The Country Houses of David Adler by Stephen M. Salny (2001)

Perhaps the most extravagant room at the Clow residence, the living room. This room is certainly the stunner of the home; it features soaring ceilings and gray silk wallcovering as a way to highlight the homeowners collection of modern furniture and art (all European of course). One of the highlights of this room are the white lacquered panel doors. These doors tower over the room and stand out against the grey silk wallcovering. The herringbone flooring is in a black finish, creating an elegant mood in the space. And lastly, the chandeliers in the space were made of crystal and amethyst (yes really) and would be reflecting light throughout the day as sunlight poured into the space. I would love to know where these pieces of furniture are today. Do any still exist?

Living Room, Clow Residence by David Adler (1927)

Photograph by Samuel Herman (1875-1971), Retrieved from The Country Houses of David Adler by Stephen M. Salny (2001)

Above is another view of the living room at the Clow residence. This view shows the two large sofas in front of the fireplace. From this photograph it is hard to tell exactly the style of the fireplace, but from the look of it, it appears to be less art deco inspired than the fireplace in the dining room. Also notice the zebra hide rug on the floor. I particularly love the art deco wing back chairs that are in this space. They are tufted on the inside and feature a decorative wood detail on the outside. Would love to see these today (I wonder if Mr.Clow took them with him when he moved).

Guest Bedroom, Clow Residence by David Adler (1927)

Photograph by Samuel Herman (1875-1971), Retrieved from The Country Houses of David Adler by Stephen M. Salny (2001)

I saved the one of the best rooms for last: the guest bedroom. This is a new image to me as I have never seen this space before (Side note: there is nothing better than finding an image of a historic home that you have never seen before). This guest bedroom features two beds that appear to be suspended by chains from the ceiling. This appears to just be a trick on the eyes as the beds are most likely sitting on hidden platforms. The chains are a design feature that would even be daring for todays design climate, so to see them in a home from 1927 is jarring in the best way possible. I appreciate the use of geometric rugs as a way of adding a bit of a contemporary flair to the space. This allows the room to feel contemporary and up to date with the times. The height of the windows is also not to be overlooked; the windows are practically floor to ceiling. That is impressive yet again as today there is a large focus on preserving energy blah blah blah. Big windows will always be chic and glamourous. Overall this is a gorgeous room with daring design decisions.

Exterior View of Twin Greek Pavillions, Clow Residence by David Adler (1927)

Photograph by Samuel Herman (1875-1971), Retrieved from The Country Houses of David Adler by Stephen M. Salny (2001)

And lastly, a look at the gorgeous garden on the property. This garden features twin Greek pavilions and two massive trees which are most likely original to the property. It was such a blast diving into a few of my favorite rooms in this home. I think that there should be more attention given to this home given its uniqueness. It is truly unlike any other David Adler home, given its modern style and art deco influence. Since the home was built, it has been sold a few times over the years, the last time being in 2014. Since then, the new owner has restored the homes white washed facade, which is great. I may dive deeper into the last real estate listing photos that are available for this home from 2014 in a later blog post. I think it would be fascinating to see what original elements are still in tact and see what changes have been made. Please let me know in the comments below if you would be interested in seeing some newer images of this home! -Michael

Terrazzo: From Pure Function to Aesthetic

In the last few years there has been a meteoric reemergence of terrazzo. This is the biggest “surface” trend since marble replaced granite as the go to stone for the home. The major distinction between terrazzo and marble is that the latter is a natural stone. Terrazzo on the other hand is a man made mosaic material which consists of embedding chips into a matrix and polishing it. The chips that are embedded in terrazzo are often comprised of materials such as marble, granite and other stones. Today, there are many other materials that are used as chips in terrazzo such as glass, onyx or even metal. For this post I will be looking at the two major waves that terrazzo has had as a trendy material, one being in the late twentieth century and the other being in current time (2018-now). It is important to note that terrazzo is a material that has been used for centuries and that this post is specifically looking at two time periods in which it has appealed to the mass consumer market.

Shiro Kuramata, Nara Table.

The first time period in which terrazzo had great mass appeal/popularity would be during the postmodern era (1980s-1990s). Specifically I will be talking about terrazzo’s prevelance in the Memphis design aesthetic/movement. This style originated from the Memphis Group, which was an Italian design and architecture group that was active from 1981-1987. The aesthetic of this style was characterized by bright colors and asymmetrical shapes. This was quite a divisive style as many criticized it for being childish and tacky. The Memphis Group had major influence during this time and it viewed as the defining style of postmodernism. The image above is of the Nara Table, created by Shiro Kuramata. This table is a prime example of how terrazzo slipped its way into the consumer market. It is important to remember that in centuries prior, terrazzo was being used as a material primarily for flooring because of its durability. Once it started being used on objects such as coffee tables, it took on a new life that started to veer away from functionality and head towards an aesthetic based material. Terrazzo was very appealing during the height of the Memphis style because of its versatility with colors. Furniture designers such as Kuramata could choose specific colors for their furniture pieces that were popular at the time in order to appeal to the masses. I believe that terrazzo had gained such popularity during the late twentieth century because of the fact that its aesthetic matched so closely with the design movement that was prevailing at that time. In addition, I believe that the color ways and designs that terrazzo was being made in during this time have defined the way that we view terrazzo today.

In the mid-late nineties terrazzo fell out of fashion as well as its parent aesthetics, Memphis and post modernism. Post modern design fell out of favor the late nineties saw the rise of farmhouse style. This new trend was characterized by a return to classic elements inspired by Europe, such as the reemergence of chinoiserie. It would not be until the late 2010’s that terrazzo gained its popularity back.

Image Credit: Dzek

Terrazzo has experienced a magnificent gain of popularity within the last few years, that I believe is due to the publics renewed interest in modern aesthetics. For most of the 2010’s, white marble dominated interior design. It was/is used in practically every part of the home from the kitchen to the bathrooms to the fireplace mantle to flooring etc. While I believe that marble is a timeless material, I do believe that in some ways it had oversaturated the market. The image above is of a kitchen that features dark, dramatic terrazzo counters and backsplash. In many ways, terrazzo is the antithesis of what white marble represented for so many years. White marble represented timelessness and versatility where as terrazzo goes against both of those sentiments; it is not traditionally timeless and it is not versatile. To choose terrazzo for your home, you must be committed to the colors that are used in its mosaic. If one chooses white marble for their kitchen counters, they can always repaint and redecorate, and the counters will adapt. Terrazzo is not a material that is easily adaptable, as its color ways are very specific.

There are many positives to having terrazzo in your home. One of the most appealing reasons to choose this material is that it is very durable. It takes a lot of ware for terrazzo to need refinishing. While terrazzo is more durable than most other materials used in homes, I believe that the majority of people that choose to include terrazzo in their homes are purely wanting it for aesthetic purposes. The image above is a perfect example of how terrazzo has gone from being a purely functional material to being one of aesthetics. In reality, most kitchens in high end homes do not need counters as resilient to damage as terrazzo. Choosing terrazzo is an aesthetic choice above durability. The one exception to this would be using terrazzo as flooring, in which case I would argue that in those cases, the terrazzo is chosen because of its durability.

Terrazzo Outdoor Throw Pillow, Target

Over the past two years terrazzo has moved from being a building material to a mass produced commodity. This is a trend that happens whenever a new stone or texture becomes popular. The best example of this would be the endless products that are produced in the white marble finish. The image above is of a mass produced pillow that can be purchased from Target. This is a great example of how obtainable terrazzo is at the moment. For those that cannot afford to install a terrazzo floor in their home, they can obtain objects such as pillows or rugs to achieve a similar look. If you are looking to experiment with terrazzo in your home I would recommend starting off with accessories such as lamps or pillows.

There is no telling how long terrazzo will remain in style, but I believe that if you truly love something you can have it forever! The key to finding forever pieces for your home is to buy things that speak to you and to buy things that you love. And who knows, maybe terrazzo will the next thing you fall in love with.

Incorporating Fine Art in Interior Design

The use of art in the home is a tradition that has been practiced for centuries. Some of the earliest forms of art that were found in homes can be found in ancient Rome; private homes would feature intricate artisan mosaics that would adorn the walls and floors of Roman homes. Since the beginning of time there has been this desire to add beauty into the home, and it is no different today. In fact, there are many more options for people to incorporate art in the home today because of factors such as the internet, which allows people to purchase art and have it sent directly to their homes. For this blog post I will be focusing on how contemporary interiors incorporate fine art as a way of enhancing the interior design of the space as well as the fulfilling the collectors ambitions that are associated with owning fine art.

Living Room, Miami Residence. Architect: Peter Marino, Photography: Manolo Yllera. Architectural Digest, 2019

The photograph above is of the living room in a Miami residence that was designed by the architect, Peter Marino. This space features impressive architectural features, including soaring ceilings and towering windows. The floors in this space appear to be a natural stone, perhaps limestone and the walls also appear to be clad in stone. The light colors of the floors and walls are heavily contrasted with the bright, eye catching art and furniture that inhabit the space. Marino is successful in using the space above the seating area to its full capacity, height wise. Three different paintings (all by the artist Richard Prince) inhabit the vertical space. The paintings are hung in the gallery style, which is a traditional style of hanging art which focuses on filling up a wall with many works of art. This arrangement is visually appealing because the largest painting grounds the space directly above the sofa. By hanging the largest painting of the group at the lowest elevation, the two smaller paintings can lead the eye up the wall, highlighting the generous height of the space. This space also incorporates a metal sculpture by Yonel Lebovici as well as an ancient Asian sculpture on the right hand side. It is evident that the owners of this home have quite the varied collection that is cohesive enough to inhabit a room together.

Living Room in Patrick and Laurence Seguin’s Paris Apartment. Photography: Simon Watson. Featured in Architectural Digest

In the photograph above, we get a shot of a Paris living room with a minimal but strong art collection. I personally do not enjoy the furniture arrangement/choices in this room, but I do admire the art that is on display. This room features a plethora of famous furniture including Perriand stools. The style that this room is conveying is one of eclectic minimalism. The bold, red suede sofa grabs the viewers eyes and contrasts heavily from the beige rug and the brown sofa and chair located opposite of the red sofa. Above the fireplace, there is a silk-screen portrait by Andy Warhol. This piece predominantly features the color blue which contrasts with all of the other elements in the room. I enjoy the way that this piece is truly different from anything else in the room, but the interior designer in me wishes there was more cohesion between the art and the furniture in the room. A recommendation that I would make to the owners of this home would be to reupholster the red sofa in a more neutral color fabric; I personally would upholster this piece in white shearling to tie in the white walls and to let the Warhol screen print be the main focal point of the room.

Entry Foyer in the Residence of Kris Jenner, Hidden Hills, CA. Photography by William Abranowicz for Architectural Digest, 2019.

The overwhelming trend in incorporating art in interior spaces over the past few years has been to feature contemporary art as opposed to classical art. It is important to note that this is just a trend and that ultimately the choice of what art goes into a home is made by its owner. The beauty of having a personal taste in art is that it can influence the ultimate vibe and feeling of your home. The image above is of the entry way in Kris Jenner’s home as featured in Architectural Digest. The first noticeable feature of the interiors/collections of Ms.Jenner is that there was a color story/theme in mind when assembling the space. The colors used in this home are in a muted palette which starts with the warm toned wood flooring and continues through the furnishings and art. The focal point of the space is the large painting by Sergej Jensen that hangs above the natural wood console table. This painting was an ideal choice for the space as it fills up the wall that it inhabits and contrasts the white walls that it hangs on. This painting has a primitive aspect to it, which can be seen through the bleached black style of background that is behind the figures. This primitive aspect is continued to the figures that appear just barely rendered. This painting continues the primitive theme in the space which can be also seen in the furniture that has been picked; the most noticeable being the table, vases and chair. This space is rather successful in combining fine art and interior design.

The three interiors that I have examined all exemplify how modern day art collectors display their works of art in their homes. All three of these interiors show how a collector can combine their art collections with the interiors that they live with. This is a concept that is becoming more important as time goes on because of the focus on interiors being livable and personalized. Gone are the days of collecting art purely because of its value or because of its popularity. With the amount of information that people have access to, the concept of having a collection of unique objects that represent individuality has become increasingly important. Your home should feel like your very own private museum consisting of all artworks that you admire.