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MARCH 2010 m m *DESIGNINTERIORSFASHIONARTLIFESTYLE
AUSTRALIA $ 10.50 CANADA $ 10.50 DENMARK OKK 75.00 FRANCE £8.50 GERMANYC 10.50 HOLLAND ?8.50
SINGAPORE $18.20 SPAIN £8.50 SWEOENSEK 75.00 SWITZERLAND CHF 16.00 UAEAED 45.00
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Shopping sharpens up in New York, Tokyo, Stockholm and online
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We're in a transparen t mood this month; from chairs to chemises, it's a sheer delight
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ARCHITECTURE
0S8 Castaway
We're holing up in Estonia, in a concrete bunker with a view 101 Radical edge in Woodstock Teeth-like louvres, a Sky Mirror and a trio of domes - just wliat your 13605 bungalow needs 150 Daddy's boy
A chip off the old concrete block, Frank Lloyd Wright Jr's Sowden House is a temple toCalifomian cool
Underwear's on show, see page 128, Blouse, £1,250; silver and crystal necklace, £1,255; bronze chain necklace, £230, all by Lanvin. Bustier dress, £540, by Louis Vuitton, Shorts, E5SO; shoes,
1 price on request both by AF Vandevorst For stockists, see Resources, page 1S8
DESIGN
068 The new Edwardians
A restoration drama in London's E2 091 Rocking Ron Arad
The man ensuring Arad s new show is full of shake, rattle and roll
FEATURES
080 Mill power
Zegna, the textile dynasty that built a whole town in the Riellese Alps
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This picture, cast in concrete. Villa Lokaator in Estonia, see page 088 fieiow, why we're touching wood with our interiors, see page 140
FASHION
059 A-grade accessories
It's the little things that count 073 Scan it, bag it
The future of shopping 116 Sheer factor
Why mens wear is making a fine mesh of things 128 Show us your knickers
Basques, bras, corsets - our smalls are living it large 011 the outside
FOOD
i6z Artist's palate
We all love Noble & Webster's marrow submarine
FRONTOFBOOK
049 Newspaper
Ron Arad's 'Well Transparent* chair; swimming trunks - the long and the short of them; animal architecture; seagull egg and soldiers
INTERIORS
140 Fate accompli
Good luck with the decor, we say
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MEDIA
098 Subscriptions
Have Wall paper* delivered and receive limited-edition covers, plus six issues free
TRAVEL
096 Checking in
Philippe Starek's interiors are on the white lines at Venice's newest hotel
099 Departure info
A black-sand bolt-hole in Bali; happy Camper in Berlin; top banana in St Barts; Spanish highs in Barcelona
RESOURCES
158 Stockists
What you want and where to get it
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W* BESPOKE PROMOTION
WHO'S HUE?
There are shades of Swatch Colour Codes watches to match our every mood and inclination
PHOTOGRAPHY: PHELIPPEJARRIGEON FASHION! SORREL KINDER WRITER: DAVEN WU

Ml* BESPOKE PROMOTION
THE CROWD SURFER
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without miisGing a beat
GL.._______
consumerism, is reserved for those who remain defiantly individual; for those who celebrate self-assurance; and especially for those who laugh in the face of conformity- All while looking impossibly stylish, of course.
Swiss watchmaker Swatch has embodied this spirit ever since it launched its first eponymous watch in 1983. With just 51 components (instead of the usual 90 or so of its competitors), this sleek timekeeper set the standard for a generation of affordable, wearable, good-looking watches. With designs that fuse the worlds of pop music, contemporary art, street culture and fashion, it's little wonder that Swatch has been a favourite of trendsetters from Keith Haring and Agatha Ruizde la Prada to Akira Kurosawa and Pedro Almodovar.
This year, Swatch celebrates 27 years in the business with a timely release of the Colour Codes collection. Each monochromatic piece stakes its own quirky sartorial territory. Each may be worn individually or in a multitude, like bangles. It may be mixed and matched according to the outfit. It may even be worn to suit your mood: whether glam chic, foppish artist or. If you're so inclined, a by-night rocker.
If the past 27 years are any indication of Swatch's ingenuity, we can't wait to see what the future holds.
The Swatch Colour Codes collection, ?33 each, www.swatch.com. Available from 15 February
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THE ARTIST
Giving a master class in colour, and revealing a brush with an inner biker

& J ■
AHATON ABEDISA THINGTO DREAD
Toledo' bed, ?6,482, by Carlo Scarpa, from Simon Colleiione. Mattress, from £200, fromPentonville Rubber. 'Ball' lights, £525each, by Michael Anastass lades, from Slgmar. Hat £195, by Giorgio Armani. 'Fawn Light'fox fur throw, £7,200; 'Nouwelle' bedlinen, £940, both by Fendi Ca&a, from Harrods. 'Japanese Metal Leaf wallpaper, £83 per mr by Altfield
Wallpaper'

SHOES ON A HOOK ARE LACED WITH MISFORTUNE
'Sei il mio chiodo fisso' coat hooks, ?322 for a set of 12, by MinottiitaHa. Shoes, £600, by Louis Vuitton. 'Shiva' silk wallpaper in Oriental Blue, £482 per roll, by Ralph Lauren Heme
Wallpaper1
WALK AROUND, AND WATCH YOUR STEP
Japanese screen with gold panels, £2,500, from Gregg Baker Asian Art. La Luna' ladder and light, £2,900, by Rolf Sachs. 'Maslow' buffet drawer, ?3,700, by 5,5 Designers. 'Shiva' silk wallpaper in Dove Grey, £482 per roll, by Ralph Lauren Home, 'Lamp Room Gray' emulsion, £27 per 2.5 litres, by Farrow & Ball. 'Codex Grigio' floor tiles, £228 per sq m, by Blsaua
.com.-
A BROKEN MIRROR, NOT SO SMASHING
'Fantome' crystal celling lamps, £1,010 each, by Arik Levy, for Baccarat, from Harrods.Tube amplifier, prototype, by Case-Real, for Elekit, 'Scrigno' cabinet £8,615, by Fernando and Humberta Campana, for Edra from Chaplins. Shiva'silk wallpaper; 'Lamp Room Gray' emulsion; 'Codex Grigro' ftoor tiles, all as before
J.3" . KM
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BLOCKBUSTER
This page, built in 1926 by Lloyd Wright for bis friend John Sowden, the 6,00 Osq ft house is arranged around a central courtyard now furnished with Janus et Cie armchairs Opposite, inspired by ancient Mayan pyramids, the fa^ade's sandy concrete blocks emerge from a lush Californian garden
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IN RESIDENCE | 1S1

Mm
WRIGHT TURN
Angkor Wat by way of Hollywood Boulevard, Lloyd Wright's reinvigorated Sowden House is flourishing In the LA sun Photography Jason Schmidt Producer Michael Reynolds Writer Mayer Rus
Frank Llovd Wright once said; 'Tip the world on its side : 11.1 everything loose will land in las Angeles.' The famously autocratic architect and philanderer may have pooh-poohed the city as a cultural wasteland, but it was there, under the glaring Southern Galiforoian sun, that he built some of the greatest American houses of the 20th century.
It was also in Los Angeles, under the same unforgiving sun, that Frank Lloyd Wrigh t Jr attempted to step out from his father's shadow and establish an independent identity as an architect. He wasn't very successful. The feeble
gesture of dropping the'Frank'and 'Jr' from his name failed, predictably, to distinguish Lloyd Wright from his grandiose progenitor. Furthermore, throughout his long career, the younger Wright never managed to define a personal style that did not echo, in both sensibility and derail, the work ofdearold Dad. It's no wonder that local IA lore frequently confuses houses designed by Wrights pi re et fils.
In the early 1920s, Lloyd Wright served as construction manager on three of his father's classic Mayan-flavoured, concrete-block houses - the Mo: : : »
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IN RESIDENCE | 155
House, the Freeman House and the Ennis House (which notably appeared in Blade Runner as the set for Harrison Ford's apartment). A few years after the completion of those landmarks, the younger Wright made an architectural splash of his own with a daring homage in the LA neighbourhood of Los Feliz.
The Sowden House of 1926 gives a nod to the ancient temple references of its forebears, but makes them decidedly more explicit. With its symmetrical fa$ade crowned by a prow of heavily worked concrete and its grand entry stair that leads from the street through a jungle landscape, the structure emerges like a ruined temple nestled in a primordial forest - Angkor Wat by way of Hollywood Boulevard. The formal entry progression leads through a set of copper gates, up another internal staircase and eventually arrives at the threshold proper, where the architectural drama unfolds in one theatrical sweep of space: two peaked pavilions, made of stepped concrete blocks, connected by two low arcades, wrapped around a lushly planted courtyard cloister.
Like so many of Los Angeles* architectural treasures, the Sowden House had fallen on hard times by the close of the last century. When LA-based designer and developer Xorin Balbcs acquired the property in 2001, the immediate need for structural repairs forestalled any questions regarding decoration or aesthetic direction.
'It was a ruin in more than just a figurative sense/ says Balbcs. *Wc spent two years re-solidifying the porous concrete block, rebuilding the foundations and perimeter walls, and replacing every building system. The enormous amount of work makes you understand why people are often reluctant to undertake this kind of rescue project. But this house called out to me from the moment I stepped inside.'
Balbes worked with Paul Ashley and Norm Wogan, his design partners at the aptly named firm TempleHome, to prepare the house for a meaningful existence in the 21st century. In addition to remedial work on the structure, the team made significant changes to the plan to reflect the needs of a contemporary household. The servants* wing was transformed into dining, kitchen and lounge spaces, and connected to the courtyard through new openings between the concrete columns. At the far end of the courtyard, under the prow of the second pavilion, an erstwhile studio space was turned into the master bedroom, which, elevated on three broad steps, appears to be the high altar of this temple fantasy.
As for the interiors, Balbes confesses that his original decorative scheme was »
CENTRE STAGE
The master suite features a platform bed (opposite) boasting illuminated, leather-wrapped steps, and a vast bathroom (above) with a free-standing bath, a steam shower and a meditation area with koi pond
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156 I IN RESIDENCE
.1 bit tame and deferential. 'I was really intimidated by the pedigree of the house, which suppressed my own creative energy/ he says.'I lived here for six years after the first renovation and over time my sensibilities changed and my confidence grew. I finally felt like I could create interiors that have as much presence as the architecture.'
Confidence, indeed. Much to the consternation of stern preservationists and Wrighrophiles, Balbes (once again working with Wogan) served up a tangy olio of periods, styles and moods - a mix the homeowner describes as 'sexy, rich, masculine, modern, deco, Asian, spiritual and industrial1. These typologies have obvious correlations. Asian notes, for instance, are struck hy the gilded peacock chairs and repurposcd Japanese door-eum-eoffee table in the living room, and the tansu chests in the master bathroom. Ubiquitous metallic velvets and vinyl upholstery fabrics qualify as either rich, industrial or masculine depending on one's point of view. For sex appeal, there's the master suite's platform bed with illuminated, leather-wrapped steps, which has a very 1970s, Eyes of Laura Mars quality about it.
It is in the arena of spirituality, however, that Balbes truly brings his idiosyncratic sensibility to life. Consider the abundance of crystals and geodes. 'They arc anchoring elements that connect the house to the energy of the earth. They give off a frequency and vibration that supports the spirit of the house,' he says. The same New Age spirituality informs the designer's description of the large oil painting that dominates the dining room, Unity: The Unification of Humanity, by Alexander Rosenfeld: 'It depicts people of different religions and vocations coming together as one. The composition reminds me of The Last Supper, but the mood isn't about masculine energy, it's about the divine feminine/says Balbes. 'When I stumbled on it

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