The house of Edoardo Caovilla in Fiesso d’Artico

Photos from http://www.revistalofficiel.com.br

Edoardo is the grandson of René Caovilla, founder of the company.

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A familiar House in Seville

Photos and text from
www.amarosanchezdemoya.com

In 2007 Amaro opened his studio in Seville, where he develops a wide range of residential, commercial and ephemeral interior design projects. A true world citizen, Amaro has worked internationally in a variety of cities, such as Paris, Saint-Tropez, Venice, Lisbon, Madrid, and Seville.
“My individual signature is precision, from concept development to technical drawing and execution. Artistic excellence is paramount. Most importantly, I feel comfortable and adroit with all types of clients and architectures, from a luxurious baroque palace to a casual pied-à-terre on the coast”.
The common denominator among all his projects is attention to detail and expertise. Through a silent dialogue with architecture and continuous
consultation with the client, Amaro comes up with the perfect solution for each project, without any style imperative. The end result not only reflects the individual personality of the owner, but it also transcends time and ultimately expresses the essence of the present moment.

A 18th-century townhouse in the quaint Bairro da Sé district in Lisbon, Portugal

Photos and text: www.conceitosdearte.pt e http://www.architecturaldigest.com

The house belonged to the late designer Pedro Espírito Santo. By his words “I was not looking for a flat, but this one found me. No one else would have wanted 11 rooms with no proper bedroom and only a tiny bath.”

The home may have lacked certain amenities but it was rich in character, the enfilade of reception rooms embellished with intricate frescoes of floral garlands and Vitruvian scrolls in palest pink. Modern comforts were swiftly installed. An English cast-iron tub now takes up a corner of a chamber swaged with ravishing trompe l’oeil draperies, while a shower has been slotted into a narrow service corridor.

When close friends, such as Valentino brand ambassador Carlos Souza or the actress and model Marisa Berenson, were going to visit, the designer closed off three connecting salons to form a cozy suite.

Given Espírito Santo’s reputation as a consummate host, the heart of the dwelling is the dining room. It is here that Espírito Santo presided over convivial dinners that were the talk of the town (as well as a feast for the eyes), his guests seated around a stately mahogany pedestal table in a motley mix of Victorian side chairs and Louis XVI–style bergères. Hefty heirloom silverware and vintage linen napkins that measure more than three feet square hark back to a more ceremonial age, as does the flattering glow of candles the designer prefers to the glare of electricity. Souza admiringly recalls a table set with Chinese plates and vases of different types—famille rose, café au lait, blue with white—that bear witness to the Espírito Santo clan’s decades of collecting. Stunned by the dining room’s romantic atmosphere, fashion designer Diane von Furstenberg once declared, “Oh, Pedro, it’s so divine it’s almost Russian.”

A Regal Residence on Manhattan’s Upper East Side by Mario Buatta

Photos and text: http://www.architecturaldigest.com

Mario Buatta decorated writer Aileen Mehle’s Manhattan apartment in a 1903 townhouse designed by Horace Trumbauer.

A previous owner of the apartment was Susanna (Suni) Agnelli. She was a brilliant Italian political figure and the only woman to serve as Italy’s Minister of Foreign Affairs, Suni was also an heiress to the Fiat fortune.

The ballroom, now the main living area, is swathed in an apricot silk by Grey Watkins from Stark; the chandelier is French, the curtains are of a Pierre Frey satin, and the Savonnerie carpet is by Stark.
In the foyer, an oval Irish mirror from Julia Gray tops a French console flanked by Louis XVI chairs that are clad in a Brunschwig & Fils velvet; the wood floor has been painted in a faux-marble design.
A floral carpet by Stark covers the parquet-pattern painted floor in the dining room.
The fantastical dining room is tented in a regimental-stripe fabric by Christopher Norman, with Scalamandré rope passementerie at the ceiling. A French crystal chandelier by Nesle is suspended over the dining table; the silk tablecloth and the cushion fabric on the dining chairs are by Scalamandré as well. Above an Italian painted credenza are wall brackets holding a pair of porcelain cranes by de Gournay.
The ballroom features Mehle’s collection of 18th- and 19th-century mirrors and paintings, which overlook a Chinese low table by Gracie, an 18th-century Italian bergère (at right), and a sofa whose pillows are made of Scalamandré floral prints.
For the bedroom Buatta selected a Julia Gray mirrored dressing table and bedside chests to complement Continental antiques, including an armchair and stool upholstered in a Scalamandré silk and a French chaise longue; the landscape painting is also French. D. Porthault linens dress the bed; the carpeting is by Stark.