A wider archive,
by room.

Five projects Walnut cabinetry with smoked-glass pendants and brass pulls. Counters lean toward warm travertine and honed marble; every kitchen carries at least one piece of unlacquered metal that is meant to patina with use.

Six projects Bouclé seating, hand-troweled plaster walls, and at least one piece sourced through trade from Spain or Italy. Lighting is layered — never overhead alone — with brass lamps and floor uplights doing most of the work after dusk.

Four projects Travertine credenzas, smoked-glass bubble pendants on brass cable, and tables sized for eight rather than six. Each dining room has a single piece of art or one mirror; never both.

Six projects Linen headboards, ceramic vessels by hand on the bedside, and an organic-edge mirror placed where the morning light first lands. Curtains are heavyweight wool, never sheer.

Four projects Honed stone, unlacquered brass fittings, and warm indirect light. Vanities are millwork rather than catalog and almost always carry a small ledge for a single candle.

Three projects The entry is the first room of the home, designed accordingly. Oak treads, plaster walls, and a single piece of furniture that carries weight — a console or a long bench — rather than a console and a mirror.

Four projects Built around a single brass lamp and a chair that is genuinely comfortable. Walnut desks and shelves are sized for books rather than display; nothing curated.

Across projects Brass pulls, plaster shadows, ceramic vessels, herringbone walls, smoked-glass reflections. The small decisions that, taken together, are the studio's actual voice.