The skyscraper is an icon of contemporary life, as is minimalist style. In this penthouse, the interiors harmonise with the skyline, giving expression to a new classicism, with rooms interconnected through flexible systems and neutral tones that update traditional elegance in the light of a contemporary lifestyle.
At the entrance, the round Kensington table is imposing and sculptural. Standing alone in the centre of the room, with the metropolitan skyline as a backdrop, it sets the tone for the rooms that follow – contemporary, evocative and refined, skilfully blending architecture, art and design.
In the living room, the selection of furnishings favours modern forms and materials. Suspended on slender legs, the sofa is a synthesis of horizontality and lightness, as is the coffee table, while the armchairs stand tall on their metal bases. The colour tones are sophisticated, while the textures of fabrics and leathers add a tactile note.
The Mondrian sofa was chosen for its minimalist design and graphic, modern look with strong architectural appeal. The configuration is a classic L-shape, with a seat width that ensures maximum comfort. Alongside it are Stanford armchairs, which are also inspired by a minimalist, contemporary aesthetic that favours metal as its material of choice.
In a convivial space, the furnishings are dynamic and the finishes exclusive: the table top with a sculptural base is made of marble, while the chairs are completely upholstered in leather. Adding character, the red sideboard with a glossy finish contrasts with the urban landscape glimpsed through the large windows.
A Kensington table was also chosen for the dining room, the same as the one in the entrance hall. The monumental nature of this space is softened by the dining area and the design of the Seattle chairs, which are distinguished by the careful craftsmanship of their leather upholstery, with stitching and broguing inspired by traditional English footwear.
Scheltens & Abbenes are a duo of artists-photographers among the best known in the world of still-life photography. Maurice Scheltens was trained as a photographer and Liesbeth Abbenes as an artist, but when they work together they become each other’s mirror, exploring the potential of both means of expression. What is essential in the work of Scheltens & Abbenes is the process, that meticulous work of constructing, folding, and reordering that transforms every object any object, from a shirt to a paper flower – into a two-dimensional surface with a strong graphic impact. Sometimes things become unrecognizable, abstract subjects to be decoded, like the dark clothes of the Unfolded portfolio; other times they are more easily identifiable, al-though out of context or portrayed in unusual configurations, as is the case with the white shirts. A somehow reassuring dis-order, a deconstruction that builds and tells a vision of the world that is different each time.”
