The architects divided the various environments using free volumes instead of the conventional divisions floor to ceiling, thus creating an intriguing geography of materials, heights, light and shadow.

The wooden structural beams are lost through the free volumes. All woodwork is mahogany manufactured in Argentina and exported to NY in parts for easy assembly on site.

In the master bedroom is used again open space giving the industry its own bathroom and shower volumetric identity. The shower itself is circumscribed by a stone wall of 2.30 m in height and the perimeter wall of brick. The kitchen cabinets are designed in black steel and translucent plexiglass. The eco-friendly Loft Fireplaces alcohol use with and without ventilation.

  

At a glance, all the space you can go and see each of the units stay open publicly . Stresses in the living-room shelving unit, multifunctional and created specifically for this space. Perhaps living in the fashion district in Los Angeles, inspired part of design and decoration of the whole area, full of industrial buildings, abandoned warehouses with art galleries and fashion showrooms. The loft is in a fashion manufacturing building built in 1916 and has been declared local landmark. The spirit of the old city inspires the design.

The recovery and conversion of materials giving other use is a passion of Chris. Stresses the coffee table that he made with wood from pallets, creating a solid piece and maintained over time. Thousands of men’s details stand out in this unique space: the movie screen that unrolled takes up the entire wall, the sober and neutral color palette, the industrial touch, lack of decorative …

One bedroom completely minimalist and uncompromising color , a rack full of clothes exposed male, a bar open kitchen-office, view facilities and spaces without walls …

A project full of personality and a clear commitment to the industrial design and functional masculine touch of this young designer, who makes his creativity, a real home.

Some of his designs are classics—even if you don’t know who he is you will have seen his Papier Japonais or La Palmas textiles in someone’s house somewhere. He also spends a good portion of his time making art, both sculpture and works on paper and he is currently shopping a delightful picture book manuscript as well as designing collections for Clarence House and Hermès. His new book, Clarence House: The Art of the Textile, is both a visual presentation of this textile house’s fabric collections and an illumination of Yoshida’s creative design process.

The same sense of imagination applies to decor, and there too Yoshida knows his business. The interior he designed for his loft in New York City’s Tribeca neighborhood demonstrates a talent for both engaging aesthetics and practical needs. The furnishings reflect Yoshida’s numerous interests, as well as his delight in what he calls “making conversations.” Figuratively, this means the visual crosstalk between the gridded geometries of a rare set of 1905 Josef Hoffmann nesting tables and the sensuously curved lamps on a three-arm Serge Mouille chandelier. Literally, it means that Yoshida excels at creating spaces where people can comfortably sit and chat.

The last is key, to Yoshida’s way of thinking. After leaving his native Japan, he took a grab bag of art and design courses in London and New York City. But, he says, the best education he received came from “simply hanging around with and talking to smart, creative people.” One of these was Robin Roberts, the founder of Clarence House, whom Yoshida met in 1980. “We just clicked,” the designer says. “He taught me everything I know about textiles. Back then, I had a taste for only clean, Zenlike designs. But Robin introduced me to a new world—pattern and color combinations stretching from the 18th century to those by 20th-century designers such as Dorothy Draper and Madeleine Castaing.” Yoshida absorbed all these influences in his designs for Clarence House. His wallpapers tend toward lyrical Japanese botanicals, and his woven works echo Cubist art (he pays homage to Fernand Léger, among others) and antique kimono motifs.

That sweeping sensibility is at play in Yoshida’s loft. Impressed by Alan Tanksley’s sleek and serene design for the condo, including a trim kitchen with French limestone counters and stainless steel appliances, Yoshida sought a cool backdrop for his diverse furnishings and objects, painting the wood-paneled walls in battleship gray and bright white.

Not surprisingly, his collection is wildly eclectic. Pieces are by turns antique, exotic, vintage, cutting edge, minimalist, and maximalist. They come from Europe, Asia, Africa, and the United States. The living area is anchored by a zebra-stripe upholstered Art Deco bergère and a 1950s Milo Baughman sofa and matching club chairs. In Yoshida’s work space, a zebra-skin rug sets off a classic leather-and-rosewood Eames lounge chair and ottoman and Marc Newson’s fiberglass Felt chair. The master bedroom contains a 1950s red-lacquer Japanese table. A pair of unrolled and framed antique Asian calligraphy scrolls—one covered in Chinese characters, the other in Japanese—hangs above the bed, which is flanked by a small table by Koloman Moser (a founder of the Wiener Werkstätte) and a pair of vintage wall lamps by René Mathieu.

The artwork deserves a special note. While Yoshida owns works by the Belgian artist Jan De Cock and by Sonia Delaunay, most of the pieces are of his own making. His favorite format is to layer painted segments of wood in a box, giving the artwork a 3-D effect. He does both abstract pieces and figurative work. A whimsical composition called Birdie—an arrangement of six boxed elements that recalls the famed glass birds made on the Venetian island of Murano—is the centerpiece of the guest room.

Placement is also a kind of art, and Yoshida has done a sterling job of creating seating arrangements tailored to encourage banter. The dining area, outfitted with a Vladimir Kagan table and chair set, is adjacent to the kitchen, so guests can hold forth with the cook. “I love to entertain, but usually don’t invite more than six or eight people,” Yoshida says. “In large groups, people rarely get beyond polite chit-chat. At a smaller party, you can have a truly meaningful discussion.” And, as Yoshida knows, a good conversation can be the starting point for just about anything.

Poggenpohl cabinetry and French limestone countertops in the kitchen; the stools are fromDesign Within Reach, and the wall ovens and cooktop are by Thermador.

In the guest room, artworks by Yoshida hang above a daybed upholstered in a Clarence House fabric; the étagère is Japanese, the 1950s wall lamp is by René Mathieu, and the side table is by Eileen Gray.

A Serge Mouille chandelier hangs above a dining table and chairs by Vladimir Kagan; the photo work is by Jan De Cock.

In the master bedroom, Asian calligraphy scrolls hang above a Charles H. Beckley bed upholstered in a Clarence House fabric; the Japanese lacquer table is from the 1950s, a pair of vintage French armchairs are upholstered in a Clarence House fabric, and the Tibetan rug is from Aero.

In the study, Marc Newson’s Felt chair from Cappellini, an Eames armchair and ottoman, and a Saarinen side table; the 1960s floor lamp is by Arredoluce.

The artworks and rug in the apartment’s entrance hall are by Yoshida, and the table is by Roger Tallon; the chair is by Satyendra Pakhalé, the mobile is vintage, and the curtains are of a Clarence House fabric.

In the living area, a Milo Baughman sofa and armchairs are upholstered in a Clarence House mohair; other furnishings include a Vladimir Kagan cocktail table, a French Art Deco bergère, and a wall lamp by Jean Prouvé. Yoshida created the sculptural piece above the fireplace and designed the rug.

Photographs by Jeffrey Hirsch and Erik Piasecki

The impressive master suite overlooks the living space via a wall of glass. Enjoy the four seasons from one of the coziest spots thinkable [the high-end Poliform bed falls in line with most of the other furnishings throughout], or pull the remote-controlled shades. The Broadway Lofts, built originally in 1898 as McDonald’s Chocolate Factory, and famous for bold, gallery-ready walls of concrete and brick, are an art appreciator’s dream. Current owner being no exception, impressive pieces are hung and lit perfectly throughout [we love the Gerard Bourgeois nude], all of which are available for purchase. The kitchen is skillfully ripe for hosting, given the space, elite cooking tools, and appliances from GE and Bosch. An occupant with an eye toward entertaining would be a poetic match — a recent fundraiser testifies to the space’s potential to host any soirée, fête, ball, bash, or function.

The icing on this dreamy cake, we say, is the location, with a plethora of options for entertainment, dining, and social events, alike. The loft is just across the street from the Rose Wagner Performing Arts Center, and tasty cuisine in all its forms [Italian, Japanese, American, seafood, etc.] is scattered in every direction. Blocks from the SL Farmer’s Market, City Creek, and all things SLC, it’s basically propped nicely in the perfect downtown location. Perfect. Yes…that’s the word we’re looking for.

     

Christopher Losa freely admits to being “OCD.”

“I need to exist in a space that’s free of clutter,” he claims, and it’s this compulsion that led him, in 2003, to his present home in San Francisco. At first glance the empty loft condo seemed run-of-the-mill, but Losa had a strong vision for the space and high hopes for his new life in the Mission Disctrict. He and his wife, Elizabeth,  tired of the Beltway-driven life in Washington, DC,  moved to the Bay Area to find an environment with more cultural stimulation. Losa, an independent supply-chain management consultant for 16 years, an excellent cook, and longtime food connoisseur, dreamed of opening his own restaurant.

They opted for a loft because “it’s a clean way of living,” says Losa. “It’s a beautiful thing to come home to a space that opens up. In a way, it’s everything that ‘urban’ isn’t.”

The transplanted couple’s 1,400-square-foot unit had the usual: tall ceilings, concrete floors, large windows, no walls; “a big white box,” in Losa’s words. In order to remodel it to fit their needs, they hired Joshua Aidlin (of Aidlin Darling Design), who based his eventual design around what he calls “a generous amount of eastern morning light” that streams in from tall ground-floor windows.

Aidlin conceived a plan made up of five architectonic elements: “the cradle,” “the zipper,” “the hearth,” “the stage,” and “the scrim.” After two years of renovation, the loft was transformed into a radiant interior dotted with mid-Century treasures .

The main space of the Loft is left open and a stage has been designed to accommodate various performances. The library works as a background /theatrical prop to the stage and the kitchen becomes part of the bookshelves system. The bookshelves prop can be open and become a single seating area for the reader or close of and become a screening façade.

After gutting the existing labyrinthian space and leaving only key structural elements such as the existing heavy timber beams, steel columns, and brick walls, OA and Push carefully organized the private and public spaces in such a manner that the full depth of the entire unit remains uninterrupted.  This enables the living room, den, and kitchen areas on the east side of the unit to benefit from the natural light and views of the bedroom windows on the west without ever catching a glimpse of the sleeping areas.  To help further define and facilitate specific activities, a series of design objects were inserted into the space such as floating walnut cabinetry, a cantilevered wet bar, as well as large sliding and accordion doors.  These objects, besides being functional and sculptural, contribute to the clear and casual circulation throughout the unit.

Too often “loft living” forces a choice between bohemian charm and individual privacy. With some spatial ingenuity, this residence manages to support family living within the laid-back vibe of a traditional loft.

This scenic site is a part of the residential area developed in the natural greenery area of the mountain gwanggyo and that is located at the entrance area to trail to mountain.

From agony about the direction to which major living space see, the plan of this house started. After all, the direction to the opposite mountain that will be preserved in the natural green space forever was selected. But this charming selection that introduce the permanent natural landscape brought the problem, bad solar condition, that the major living space is faced to northwest sunlight. And so, we must make the solution to absorb the southern and eastern sunlight into the inside of the house.

“Glass box of light” that will absorb the useful sunlight was introduced to inside space of the various level and these boxes which are planted with flower and fruit are functioned as “Floating glass garden”. Actually, we solved the problem and we own both the two conditions that are the introduction of landscape and ecological environment and naturally, we have been reached to the complex solution that all the rooms have their own garden.
The dynamic, unrealistic interior space which are produced with several floating glass boxes over the major living space that is opened to the vertical height of 3 floors, will be the symbolic impression of this house.

We expect that this landscape architecture will coexist with the surrounding context for a long time, as if a small purple hill….

Meanwhile, the towering 11′ ceilings yield gallery-size walls that are ideal for displaying art. The front entrance opens into a vast, sweeping loft space configured into large living and dining areas. One end is continuous with a large, open kitchen.

The bedrooms, meanwhile, are separated from the main space by pocket doors, which allow easy transition from openness to privacy.

If you happen to find $1,950,000 somewhere, you can even buy it.