“每个人都是疯狂的楼梯上,出于某种原因,”理查德·佩蒂特说负责人uber-hip洛杉矶设计协作弓箭手与特征,“谁,我吗?”谦虚。(他还照片所有项目,包括这一个。)他引用一个螺旋钢楼梯漆的特性在最富有的,光滑的镉黄imaginable-was这种由他的团队对于一个农场在银湖房子建在山坡上,洛杉矶。(你可能会看到它上露面@archdigest Instagram今年夏天)。家里的owners-film和音乐视频制作人沙龙Oreck和她的丈夫,摄影师比尔Pope-were实际上理查德的第一客户:他们雇佣了他设计一个庞大的西班牙殖民早在2003年之前裁员1940年代建造,位于一个邻居,去年。几千平方英尺总共“很多小水平变化两个和三个步骤,“中世纪家里被剥夺了其原始功能之前的改造,所以恢复是不可能的。相反,“我们试图合理化,是有意义的,”理查德说。
“这所房子是最大的问题,”莎朗回忆道,“在楼下和楼上似乎完全不同的结构,而事实上,他们。”Early on, the trio agreed on ways to provide a much-needed sense of continuity: brand-new wide-plank walnut wood floors throughout and a whole lot of gray paint on the walls. The latter was Bill's vision from the start: "He had clear ideas: soft gray on all the walls, no white, with intense color,” Richard recalls, so his team crafted meticulous renderings of their design—right down to the scale of the gallery-style photographs hung on the living room walls—to get the cinematographer comfortable with the look before diving in. A tedious step, perhaps, but one their firm has since adopted for all clients: “If people can see exactly what you’re talking about, chances are they’ll green-light things.” Not that Sharon and Bill needed any convincing. They green-lit a pair of anthropomorphic Guillerme et Chambron armchairs, a Le Corbusier–inspired table that's literally bolted to the dining room floor, and a rambling tabletop cactus collection in plain terra-cotta pots from the nursery.
“我们很少在任何不同意理查德,”莎朗说,“如果我做,我已经学会闭上我的嘴。他们总是对的。”
