There are special occasions in life, and this residence in Tanager Way in Los Angeles was born from my long-lasting friendship with Mary Ta and Lars Hypko, histrionic owners of Mass Beverly and Minotti LA.
The architecture of McClean Design on the Hollywood hills was the perfect context: large glass walls, with the light that filters in every direction, an infinity pool overlooking Down Town with a breathtaking view. These are the main features, the “Raw materials” on which we based the “TR-102” project, a luxury private residence located in Los Angeles, in the exclusive West Hollywood neighborhood. The two keywords were light and lightness. The villa is literally set in a sort of cul-de-sac, where the view is amazing. Our task was to enhance spaces, expertly modeled by McClean, with the eclecticism that contradicts my studio, trying to define every single area creating harmony in open-space architecture.
You enter through a gate, defined by two walls covered in marble, and immediately you can find a spectacular living room defined by glass walls. You can access the room through a walkway that shows you the way, walking over a stretch of water on the lower floor. Starting from the “spectacularizating” philosophy typical from Hollywood, the living areas of Minotti have been integrated with the kitchen of Ernesto Meda in Gray Stone, with metal lamps of Henge, in a material succession of a soft chromatic palette that gives spaces a refined nuance, where the only “excess” is the selection of art pieces that harmoniously accompany the client’s gaze, giving a “wow” effect to the guest.
The articulation of the internal spaces elegantly celebrates the strong union that is created between indoor and outdoor in this residence, where the essentiality (simplicity’) of the architectural lines of the house make the most of the view on Down Town and the direct view on the swimming pool, which extends over everything the main front, enhancing the external terrace with a wide use of sliding glass walls that allow to maximize contact with the external environment.
In the entertaining areas placed on the lower floor, the connection between inside and outside continues. In fact, this floor contains a green space enriched with stretches of water interrupted by an artificial waterfall which gives us pleasing and unexpected emotions while flowing. Inside this island of water placed on a double volume, iconic outdoor furniture is displayed in order to give owners an immersive experience when they will feel the need. In the same place there is a lounge bar with a counter realized on a custom drawing, covered with scratched and embossed Fossena stone and aback-painted stop-sol glass lower frame. On the same floor you can find a multimedia room for moments of leisure and evenings with friends. Given the technology chosen and the high level of soundproofing designed during the planning phase, you can also enjoy movie or football game nights. To conclude there is the garage, which was actually designed to be an Art Gallery, a vault where you can admire the car collection and the art works property of the well-known owner, a clue? The initials are C.K.
Lighting and Home automation: Viabizzuno with Graziella Smart Technology
Mural Trim and Coating: Metropolis
Tailored furnishings: Bimar Arredo Contract
Furnishings and Complements: Minotti, Ernesto Meda, Henge, Antonio Lupi
Architectural project: McClean Design
Interior: Studio Svetti Architecture with MASS Beverly
Superface: 880 mq
Beginning of construction: June 2014
State: work completed in April 2015
Talking about Studio Svetti Architecture
Emanuele Svetti was born in Cortona in 1976 and after completing his training at the Faculty of Architecture in Florence, specializing in Industrial Design under the guidance of the master Roberto Segoni, he founded Studio Svetti Architecture in 2004.
Thus began a path of research and technical-design in-depth analysis, which goes beyond theory and project, aimed at the rediscovery of craftsmanship and at the search for new materials that can be applied to industrial production, or traditional materials to be reinterpreted in a modern key in what he likes to call “New Tuscan Style”. Emanuele Svetti took his first steps in the interior world by interacting with numerous companies in the furniture and contract sector for which he takes care of product design and market strategy. In his anti-traditional conception, he blends modern trends with typical styles of fashion and design, combining spatial rigor with strokes of glamour made of matter and color. His interiors are easily recognizable by the essentiality and rigor of the structures that literally explode in their dialogue with the material and put man at the center of everything. That man, whose soul is deeply tied to his land, Tuscany, full of references to nature, its colors and materiality.
“Each project is a journey, like every journey is a project” – this is how Emanuele Svetti tells the emotional melting pot that comes from the encounter with new cultures. The Architect’s personal experiences and passions influence and reflect on the conception of a new work, as well as everything that happens in the world: each project is a wise mixture of sensations, elements, form and matter, colors and intelligence emotional.
The professional activity grew both nationally and internationally with the development of numerous projects from California to North Africa, from Russia to China until the opening of the London office in 2016. Studio Svetti Architecture thus dedicates itself to the design of accomodating, directional and commercial spaces, with particular attention to the study of interiors and then to residential architecture. It is here that Emanuele Svetti expresses luxury in the use of materials and the attention to details, where the calibration of the balance of shadows creates rare spaces in which design is a touch of glamour. A luxury that is never shown off and that aims at reaching a timeless charm thanks to the contribution of a “smart” technology, practical and sustainable from an economic, ecological and relational point of view.
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