New Hamptons

words by Fla­via Gior­gi — pho­tos by Max Zam­bel­li in col­la­bo­ra­tion wi­th Francesca Be­ne­det­to

ELLE Decor (Italy) - - English Text -

out­doors, Pa­me­la de­di­ca­ted her­self to the mood of the rooms, whe­re her ta­ste for con­tem­po­ra­ry de­si­gn and for the mo­no­chro­ma­tic sha­des of black and whi­te is evi­dent. Out­doors, the cou­ple ha­ve al­so wor­ked on the de­si­gn of the gar­den, wi­th bam­boo, ferns, palm trees and um­brel­la pi­nes. But it is the hu­sband who has brought a tree in­to the hou­se: in the midd­le of the li­ving room, he has in­stal­led a trunk co­ve­red in dark pat­ches: it be­lon­ged to a plant whi­ch had been cut do­wn and whi­ch he re­co­ve­red and reas­sem­bled in its cur­rent lo­ca­tion. En­ri­ched by the to­nes of the wood, the pa­let­te looks for new har­mo­nies wi­th fur­ni­shing ac­ces­so­ries from Asia and Afri­ca. “We see beau­ty in the unu­sual, we in­stinc­ti­ve­ly ga­ther what others would find in­si­gni­fi­cant. We lo­ve sim­ple and au­ste­re ob­jec­ts,” says Pa­me­la. A con­tem­po­ra­ry rein­ter­pre­ta­tion wi­th an eye on the pa­st for this clas­sic Long Island vil­la. A pro­ject by Bo­net­ti & Ko­zer­ski, spur­red on by an unu­sual turn of even­ts

It all hap­pens in the si­len­ce of the cold sea­son. The hou­se is uni­n­ha­bi­ted. A pi­pe bursts and wa­ter pours on to the floor, then drips from the walls, and sli­des do­wn the stairs. Di­sa­ster! The im­pact on the vil­la in­te­rior is de­va­sta­ting. “The ow­ner is an old friend from New York”, says the ar­chi­tect En­ri­co Bo­net­ti. “He bought the vil­la around fif­teen years ago for ho­li­day­ing on Long Island wi­th his fa­mi­ly. Af­ter the pi­pe bur­st, he cal­led me, tel­ling me it was ac­tual­ly the nud­ge he nee­ded, be­cau­se he was thin­king about a chan­ge”. Along wi­th as­so­cia­te Do­mi­nic Ko­zer­ski, Bo­net­ti set to work on the in­te­rior tran­sfor­ma­tion. “We bro­ke do­wn the walls to crea­te fluid spa­ces, whi­ch flo­wed from one in­to the next”. Sim­ple, mi­ni­ma­li­st spa­ces, whe­re emp­ti­ness is pre­ser­ved as a va­lue be­cau­se it al­lo­ws in na­tu­ral light, em­pha­si­sed by the ope­ning of new win­do­ws. And by the re­flec­tions in the light sur­fa­ces, whi­te paint for the walls and whi­tewa­shed pi­ne sla­ts for the floors. Stu­den­ts of Pe­ter Ma­ri­no in the 90’ s, Bo­net­ti and Ko­zer­ski ope­ned their stu­dio in New York in 2000, al­ter­na­ting re­si­den­tial pro­jec­ts wi­th re­tail, but al­so ex­plo­ring the ho­tel sec­tor, art gal­le­ries and schools. Their ‘ lu­xu­ry’ is not showy, it is sub­tle, it is qua­li­ty. And in this ho­me it al­so trans­la­tes in­to a ca­li­bra­ted choi­ce of fur­ni­tu­re, in­ter­na­tio­nal de­si­gn by the Ea­mes, Mo­gens Ko­ch, Ser­gio Ro­dri­gues, Gi­no Sar­fat­ti, Hans We­gner. “We re­fre­shed the in­te­rior spa­ces wi­th a con­tem­po­ra­ry lan­gua­ge, but wi­thout ex­cess. We loo­ked not for con­tra­st but for con­ti­nui­ty, so our in­ter­ven­tion was in­no­va­ti­ve but in har­mo­ny wi­th the ove­rall mood”, the ar­chi­tect con­clu­des.

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