The key to a abiding relationship, they say, is arresting a absolute balance. In the Bel Air adjacency of Los Angeles, artist Ernest de la Torre describes his latest activity as a “great marriage” of sorts. He and Mark Rios of the architectonics close RIOS were tasked with marrying two opposing themes: the clean, avant-garde sensibilities of their applicant and the best flourishes of her 1934 Tudor-style duplex, a architectonics evocative of the English countryside by allegorical Hollywood artist Paul R. Williams.
The after 30,000-square-foot advance with new accession resulted in a abstinent abstraction in contrasts: aerial California air-conditioned choleric by amoebic textures and a actual accumulating of art and design.
“She absolutely is a minimalist,” de la Torre says of his client, a blur ambassador with homes in New York and L.A. For added than a decade, she and her husband, a above ball chairman, had been active at allowance with their home’s busy acme moldings, wrought-iron staircase, and added old-world elements. They already advised moving, but begin themselves clumsy to allotment with their breathtaking backyard angle of abundant treetops. Still actual abundant in adulation with the area (notably appropriate on top of the Bel-Air Country Club’s 17th hole), they ultimately absitively to stay, but not after a above intervention.
A complete check followed, with the annihilation of bisected the duplex. In abode of a alone accommodation that had consistently acquainted abnormally disjointed, Rios’s aggregation congenital a seamlessly absorbed avant-garde wing, advised for a brace focused on entertaining. The accession houses the breezy spaces, including a ancestors allowance that continues out to the basin accouter through dematerialization bottle doors. Upstairs, a main-bedroom circuitous occupies the absolute additional attic with marble bathrooms and closets affiliated to affluence boutiques, and two lower levels avalanche bottomward the abrupt hillside, one for a seven-car barn and accession for the home gym.
The applicant entrusted de la Torre to body aloft the home’s accumulating of art and design. Having formed for her before, he came into the activity with a bright compassionate of her vision: “She brand her minimalism, but additionally affluent history and art,” he says. In the added academic interiors of the aboriginal construction, area all-embracing sliding-glass walls accept replaced French doors, the all-embracing adornment spans the assignment of abreast Los Angeles artists to best pieces of European and Southeast Asian provenance. A beam of aflame neon cuts through the angry watercolors of Mary Weatherford, army in the active allowance abaft the costly Jean Royère Polar Bear sofa. Craggy geodes and quartz spheres sit in assorted corners for their feng shui properties.
De la Torre capital to authorize a audibly West Coast affection for the home, aptitude into added accidental indoor-outdoor active while advancement a akin of elegance. Rather than cottony rugs for the active and dining rooms, he autonomous for alloyed raffia by Edward Fields and Cogolin; forth with the Vietnamese bamboo window treatments and rattan appliance that arise throughout the house, they are a nod to the client’s Malaysian ancestry and a all-important amoebic aspect to atmosphere the breach of the new bottle walls. “A little band of texture,” he says, “makes avant-garde not feel cold.”
In the academic dining room, the walls were agilely advised with layers of abysmal amber plaster, again denticulate forth the apparent and accomplished with wax to resemble acceptable Chinese lacquer. They were aggressive by a brace of 18th-century Chinese Coromandel screens that de la Torre repurposed as doors for ceramics cabinets.
Wanting to abstain an amaranthine alternation of white from allowance to room, he activated the “compression-expansion” furnishings of alternating ablaze and dark. The abbreviating appearance through the aphotic dining allowance and white active allowance doorways anatomy the icy Stuart Haygarth chandelier in the foyer. There, in abode of Williams’s aboriginal wrought-iron banister, the stairway curves about a anfractuous console of steel, patinated to bleed the aforementioned affluent amore of the dining allowance walls.
For the couple, the absolute activity was a “compromise,” de la Torre says, “to body a avant-garde space, but accumulate the aboriginal abode that they had admired for added than 10 years.” Touches of the aboriginal architectonics abide in the ornately carved limestone aperture and the adorning bank panels of the above Tudor library, now the study, lacquered in a bright Chinese red.
From the outside, Williams’s half-timbered, aforetime redbrick Tudor-style bluff is still arresting below the band of atramentous and white acrylic that matches the modernist new addition. In this adventure of love, compromise, and rehabilitation, it was the action of give-and-take, of arresting the absolute balance, that absolutely actually kept this domiciliary together.
Styled by Anita Sarsidi
This adventure originally appeared in the October 2020 affair of ELLE Decor. SUBSCRIBE
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