Billionaire Kjell Inge Rokke’s Aker ASA and SalMar ASA will create an offshore fish farming company to open new waters for producing salmon.
Aker will contribute as much as 1.65 billion kroner ($190 million) in cash in three tranches to SalMar Aker Ocean, which will comprise SalMar’s interests in its semi-offshore and offshore farming operations, the companies said in a statement on Thursday.
SalMar will eventually own 66.6% of the joint company, while Aker will own 33.4% through Aker Capital AS.
A new, ground-up, boutique condominium on the Upper West Side is angling to become the most sustainable in New York City and interior designer Alyssa Kapito is the creative force behind its seven one-of-a-kind, full-floor homes.
With luxury, wellness, and sustainability as guiding principles, BKSK Architects designed and engineered the nine-story Charlotte of the Upper West Side to exceed the energy and ventilation standards of the German-based Passive House Institute. Kapito stepped in to collaborate on interior finishes—think, white oak floors and Cream de Lyon marble bathrooms.
Her model units are composed in soft, neutral tones and natural materials, showcasing both custom furniture of her design and vintage pieces by midcentury French and Swiss makers, like Charlotte Perriand, Jean Royère and Pierre Jeanneret, as well as a pair of shearling-clad chairs by Danish designer Philip Arctander.
“Sustainability and wellness are at the forefront of our minds,” said Kapito. “Design isn’t just about beauty, it’s also about craftsmanship, quality and lifestyle.”
Designer Alyssa Kapito
PHOTOS: PORTRAIT, COURTESY ALYSSA KAPITO. VIGNETTE, COURTESY CHARLOTTE OF THE UPPER WEST SIDE.
What’s in a name? In the case of Electric Pass Lodge, a new development comprising 53 two- and three-bedroom ski-in/ski-out residences at the base of Snowmass Ski Area, the name celebrates a design that’s completely powered by renewable energy.
“We set out to design not only a contemporary, Scandinavian-inspired alpine lodge, but the most sustainable, all-electric condominium building in the Colorado mountains,” says Christian Barlock, principal at 4240 Architecture, which collaborated with interior design firm River + Lime on the project. Upon its anticipated spring 2023 debut, “Electric Pass Lodge will set a new standard for the future of building design in Snowmass and hopefully for ski resorts across North America.”
A combination of a rooftop solar array and off-site renewable electricity will power the building, which includes a health club, lounge and ski locker room. Triple-pane windows, robust insulation, phase-change ceilings that retain and release heat, and a mechanical system that pre-heats or -cools incoming fresh air will all minimize the structure’s energy appetite while keeping residents comfortable even on the coldest winter days.
Anyone who has spent time looking at houses on Colorado’s Front Range is familiar with a certain design vernacular, defined by large-scale interior architecture and many layers of wood finishes. Such was the aesthetic of this Castle Pines home when Ed and Ashley Brown first purchased it. “We loved the exterior; it looked like Snow White could live there,” Ashley says. And because the residence offered the amenities they wanted—including fantastic views and a location right on the Castle Pines Golf Club, for Ed’s favorite hobby—the Browns bought it and turned it over to their design team, led by Mark Tremblay.
Tremblay had six months to transform what he calls “a typical lodge-like home” into something brighter and more contemporary. “We had to be mindful of what we should remove and what we should leave alone because it already worked,” he says. “The house was in great shape and the owners liked the layout, so we didn’t have structural changes to make, which allowed us to focus on interior scale, finishes and fixtures.”
To that end, his team—including senior project managers Melissa Adair and Rachel Ortiz, who oversaw the interior detailing—squared up a sea of dated arches that defined the interior doorways and revamped a series of stodgy fireplaces that were too large for the rooms they occupied. The designers also removed nonstructural columns in the entry and the basement that chopped up visual lines through the home. By simplifying the architecture, Tremblay’s team created a clean backdrop.
“We really had to ‘de-wood’ the place,” Tremblay says, by which he means that the team deployed multiple strategies—including staining, painting or replacing the wood. In Ashley’s office, for example, the team reworked the built-ins by removing shelves and adding a mirrored backing. Across the room, an elegant marble-and-steel fireplace surround balances the look. “Keeping original elements was important to us all,” Tremblay adds, noting that simply staining ceiling beams darker, and therefore removing yellow undertones, preserved the textural charm of such details while bringing the space up to date.
Only two spaces got a complete overhaul: the primary bathroom and the basement. A warren of small, oddly shaped spaces prior to the renovation, the primary bath was gutted and reimagined as a contemporary oasis with his-and-her bronze- framed shower enclosures and a handsome copper tub. A shimmery copper screen hangs behind the makeup vanity, making “the most beautiful place for Ashley to sit and start her day,” Adair says. The basement bar area—which, before the work started, resembled an Olive Garden restaurant— became a contemporary entertaining space after Tremblay’s team removed wood floors and cabinetry and a stone arch above the wine cellar door. In their place, handsome black cabinets and modern glass-and-metal shelving—all atop a sleek honed limestone flooring—create a gorgeous space for the Browns to entertain.
Throughout, layers of textural finishes and decor make the rooms feel both cozy and elegant. Upholstered furniture in tactile linens, velvets and leathers, in mostly muted hues with shades of blue woven smartly into the mix, make for pleasing scenes. “We pulled furniture from countless lines,” Tremblay says, “which helps make the interiors endure the test of time.” Carefully selected wall treatments, such as the metallic raffia wallpaper in the basement living area and the painted walls with gold-leaf detail in the primary bedroom, are stylistic counterpoints to the warm white walls throughout most of the home. Against these ideal backdrops hang exquisite, sculptural light fixtures. “Our philosophy on lighting is ‘the bigger, the better,’” Tremblay laughs. “We found unique pieces, and nearly every room has one that takes your breath away.” His favorite: the Skakuff fixture that extends into the entry from the second floor.
Outside, the architecture remains entirely unchanged—enhanced only by fresh paint on the stucco, a light editing of the landscaping, and a contemporary stone sculpture by the Phillips Collection. While the Browns live primarily in Florida, the Colorado summers draw them to the Centennial State, where they relish their new pad’s fresh style and the opportunity to entertain, indoors and out. “When it’s just Ed and me, the home feels livable and cozy,” Ashley says. “But when we have company, the space is magnificent for entertaining. We use—and love—every space in this house.”
When a globetrotting couple from Russia decided to put down roots in Greenwich, Connecticut, they wanted the kind of elegant home that would fit in as beautifully in the suburbs as it would in the English countryside. So, they turned to local architect Douglas VanderHorn to craft an impressive Georgian residence that would transcend its location. “They wanted a gracious estate that would make a more formal statement,” says VanderHorn. “We decided to go with a traditional Georgian style because it’s internationally recognized for its handsome, timeless aesthetic.”
The resulting manse is a study in breathtaking symmetry, with a serious brick façade accented with limestone quoins and chimney caps. And though VanderHorn and his team researched the classic 18th-century Georgian estates of master architects for inspiration before starting the project, his own interpretation also manages to embrace fresh, modern style—something he accomplished by simply paring down. “In general, you don’t want too much of a good thing,” he says with a laugh. “A Georgian home in the 1700s would have had a lot more detailing, but we didn’t want to overdo it. We didn’t want the moments of architectural interest to become visual clutter.”
Despite demonstrating restraint, however, VanderHorn’s mark is felt throughout the interiors—from the expansive Palladian windows and heavy molding to the intricate plaster cornices and arched openings. All of this set a luxe backdrop when it came time for designer Inson Wood to put the finishing touches on the interiors: a job made infinitely easier by the incredible material palette. Tumbled Botticino marble on the floors in the entry foyer and white statuary marble fabricated by Chesney’s on the surrounds of each of the seven fireplaces contribute to the old-world feel, while cerused white-oak flooring elsewhere offers a contemporary feel. “Every material has a very interesting texture,” Wood says. “There are almost no flat or smooth surfaces. I wanted the pieces I selected to feel the same way, so I tried to cultivate a hand-warped and natural feel.”
Even the Venetian plaster used on the walls in the center reception area, for example, has been hand-waxed and formulated with gold dust. “It’s a shimmer that you can barely see, but it adds warmth to the white walls,” Wood explains. “The effect is fancy and elaborate yet also very subtle.” Columns distinguish the reception area from the open dining and living areas on either side. In lieu of walls, a pair of glass screens provides a sense of separation without sacrificing the flow of light. “The living, sitting and dining rooms are open in this fantastic space, which lends itself very well to cocktail parties where people are wandering about,” Wood says.
In the dining room, modern artwork and simple Swedish furnishings complement the comfortable, contemporary pieces and neutral palette of the adjacent living area. In the more intimate spaces, colorful antique rugs, ornate French and Russian furnishings, and pieces from the owners’ existing collection are combined seamlessly. “Many times we create these historical mansions to be period-perfect,” Wood says. “In reality, however, people from those times would have included pieces from a number of countries and eras.”
Indeed, in the wife’s elegant sitting room, inspired by a 17th-century French chateau, gilded moldings and crystal chandeliers are joined by an eclectic Buddha head that rests atop an antique Biedermeier desk. On the other end of the spectrum, too, is the husband’s office, where African masks and trophies from his many safaris sit peaceably alongside a handsome desk and a Chippendale cabinet. “It was important that they each have their own space,” Wood says. “They both have very good taste. They are an international family that has traveled widely and experienced many different cultures, and that is what is represented in the design of their home.”
This article originally appeared in the Winter 2015 New York issue of Luxe Interiors + Design.
Founded in 1987, Portland-based GreenWorks has steadily emerged as a leader in landscape design with its unique approach to shaping places that work for people just as they celebrate and protect natural resources. With major parks and recreation projects across the Northwest, including Portland’s first bike park at Gateway Green (top), GreenWorks’ new managing principal Gill Williams is bringing the firm squarely into the future.
How do you define “sustainable design”? To me, it has three tenants: environmental, physical and social. We’ve honed our approach to the natural and environmental over the years, but today the social issues facing our communities are profound. As designers of environments, it’s our duty to create places that are adaptable, equitable and accessible.
What’s most important to you in design today? We’re landscape architects, so we’re always concerned with our impact on the spaces around us. As a firm, we’ve realized that in order to reflect what we’d like to see externally, we need to model those behaviors and approaches internally. It’s designing from the inside out.
What’s next for GreenWorks? We just moved to a new office on the Central Eastside, across the river from downtown Portland. It’s an emerging neighborhood, and we’re excited to help shape its character.
A new development in Chicago’s Lakeshore East incorporates the concept of biophilia, or the human desire to live among nature, through a verdant indoor amenity. The Conservatory, a shared space connecting the 350-unit condo tower Cirrus and the 503-unit apartment building Cascade, is filled with flora and fauna and floor-to-ceiling windows overlooking Cascade Park.
Abundant natural light, lush plants (think fiddle leaf figs and bamboo), wood-block flooring and polished stone allow residents to enjoy natural surroundings no matter the weather. “Over the past year, we have been reminded of the importance of being connected to the outdoors,” says Linda Kozloski, creative design director with Lendlease, a developer on the project. “This renewed interest in the natural world, including its role in supporting our physical and mental well-being, has made biophilic design a guiding principle in new residential communities.”
Headquartered in London, leading British interiors brand OKA—which was founded in 1999 by Sue Jones, Annabel Astor and Lucinda Waterhouse—has debuted its first-ever American location in Houston. “It’s been our dream to bring OKA to the States since the very beginning,” says Jones. “And Houston was the perfect fit for us—a big city in the heart of the U.S. with residents who already live by the OKA ethos that a beautiful home is designed to be enjoyed with friends and family.”
The new 9,000-square-foot space houses all the essential ingredients required to bring the British way of life into the home. Product highlights include The Chronicle Collection of home fragrances with candles made by Cire Trudon and OKA icons like the Stafford dining chair, hand-crafted rattan accessories and the blue-and-white Kraak China Collection. Additionally, look for the elegant, whimsical tableware collaboration with American fashion designer Adam Lippes.
Once upon a time—in 1928 to be exact—The Cloister at Sea Island opened its doors and, with its enchanting Mediterranean style (markedly different than the prevailing vernacular of the surrounding Lowcountry), the hotel laid the groundwork for a local aesthetic that has reverberated over the decades. The resort’s telltale hallmarks—terra-cotta roof tiles, sheltered courtyards, elegant archways—inspired one Atlanta-based couple as they sought to build a vacation home on the Georgia island. For this, they turned to their longtime designer, Suzanne Kasler, and local architect Thad Truett. “I wanted something that exuded old Sea Island style,” the wife expresses.
A location with outstanding Atlantic views—formerly home to a rambling 1930s cottage—proved ideal for a materials-forward concept. “The owners wanted something in stone and stucco, and we took painstaking effort to get the color and texture right,” Truett notes. Working with general contractor Chip Evans, the architect settled on Texas shellstone, whose sandy tone and chiseled face melded organically with the home’s cream-colored walls and reclaimed French roof tiles. In a nod to The Cloister’s influence, Truett employed pecky cypress on ceilings throughout the house—most evident in the covered loggia, breakfast area, upper stairwell and study. Rooms were positioned to take advantage of the seascape (“every bedroom, except for the nursery, has a view of the ocean,” the wife reveals), while Mediterranean flourishes, such as the classical quatrefoil, serve as consistent decorative accents. “We carried that motif throughout the house, from the entry gates to the kitchen tile backsplash,” Truett explains.
For the interiors, Kasler capitalized on the architecture’s elegant, old-world precedent. Having designed an Atlanta residence and lake home for the couple previously, she and the clients already spoke the same design love language—which translates to sophisticated yet relaxed interiors. “The wife really has a love for classic, timeless design,” says Kasler who, collaborating with project manager and designer Keith Arnold, delivered comfort without compromising refinement. And while location was imperative to the design, “it really doesn’t feel like a beach house,” she notes. “It’s more like a primary home, with its antiques and beautiful pieces.”
To wit, a joint buying trip Kasler and the wife took to Los Angeles produced Murano glass mirrors, French chandeliers, an Italian shelf and substantial antiques with a gravitas befitting the home’s scale. The designer offset these with a backdrop of luminous Venetian plaster, employing framed scenic panels in striking aqua as living room accents. “She really gets into beautiful, subtle colors,” the wife effuses, pointing to the airy blue in the kitchen, as well as a sand-and-blue palette in the main bedroom. Though colors traditionally thought of as “beachy,” in Kasler’s hands, they’re decidedly elevated.
More vibrant moments come from an eye-catching Turkish silk tapestry in the entryway and punches of burnt orange—appearing on the living room’s sumptuous damask draperies and a boldly lacquered bar. Thanks to multiple seating groups, the living area is conducive to gatherings but suitable for moments of solitude, too. “I love just sitting in this room when no one’s here,” the wife muses. The poolside patio overlooking the ocean offers another favorite escape: It’s where she begins her day with coffee, then ends it with the same view and a grapefruit cocktail.
For the grounds, landscape designer Alex Smith likewise referenced a Southern European vernacular. “We planted a very old specimen olive tree to give the entry courtyard an instant aged quality,” he notes, adding that the same effect was achieved through custom-grown lavender trumpet vines for the courtyard walls. “On the ocean side, we had to consider variables such as wind, salt spray and sun exposure,” Smith continues. So, he brought in salt-tolerant Bougainvillea from South Florida to pin against the rear of the house.
Collectively, these thoughtful details from the design team pay faithful tribute to Sea Island’s past paired with a timelessness to carry the home forward for generations to come. “Theirs is a big, and growing, family,” Kasler notes. “So, this project was about more than decorating; it was creating a way of life.”