What’s different about them?
A cool kitchen is a place to remember as a craving, as a fulcrum of an artist’ fantasies about awesome food, drinking and conviviality.
It’s a way of living, in an exquisite nut shell.
A cool kitchen is where you anticipate the theater of cooking. Where you’re not afraid to get dirty. Where meat is presented raw, fish in all it’s glory while vibrant vegetables strewn on a worktable hackles to steal the show. It’s a place where you can hear the plates clicking, the food sizzling, smell the wine flowing while your host’s voice, drawn-out under the vent is shouting at you do you likes?
A cool kitchen is a yearning to attend a secret food party. A cool kitchen is a calling to your inner chef.
It’s esthetic is pared down to punchy essentials. It’s never about wealth display.
It is bare on the functional side yet somehow it is glamorous. It’s about smarts, culture and hidden culinary ambitions.
It is right-on. It has balls. It maybe filled with light and colors or not.
Bellow is a short selection of places where I’d love to cook a feast as I can “rock the casbah” when it comes to food.
Tell me who designed this kitchen!
Who designed this kitchen?
Phillipe Le Berre
Philippe Le Berre
Egue Y Seta
I love wood…. always have. And suddenly, it’s every where. There is nothing like a well designed wood stool to anchor and relax the gaze. Here are some of my favorites.
Bassam Fellows’ Tractor Seat Stool
The John Vogel Hand Woven Net Stool
Morph Stool by Zeitraum in Walnut
Erik Buch Model 61
The Kimus Stools for Alki by Jean Louis Iratzoki
The Cherner Stools in Walnut
The Kuskoa Stools by J.L. Iratzoki for Alki
The Darper Kitchen Stools by Andrew Dominic, South Africa
Nara Stool by Shin Azumi for Fredericia Furniture
If kitchens reflect the soul of a house, these betray a yearning for the “extra sophisticated”. The world traveler’s kitchen, never really cooks but lives for it’s perfect expression. Simple color schemes paired with immaculate brilliant surfaces and lacquered wall to wall cabinetry, is “de rigeur” .
Kelly Wearstler Los Angeles
Philipe Deniot Paris
Lazaro Rosa-Violan’s own kitchen in Barcelona
Jim Luigs Gramercy Park
Ilse Crawford Hong Kong
I wish that I could for you, elaborate on the intellectual underpinnings that sprung out such a FANTASTIC allegorical tile collection but I can’t. As I’ve never quite understood the “what was” in Visconti’s The Guepard.
There is a lot of plots, and counter plots in Visconti’s iGattipardi. All, implicating one way or an other the numerous members of an Southern Italian aristocratic family. Each of the pattern in the iGattipardi’s collection is named after one of Visconti’s protagonist. There is Angelica, Don Diego, Donna Margaretha, Fabrizio and so forth.
Perhaps, the story is about the power of denial for Visconti’s main protagonist who call himself “the Guepard” does refuse to acknowledge his province’s military defeat in the face of France’s withdrawal.
Maybe, it’s a last “stand your ground” statement via bold and imperial graphic tile displays? Who knows!
Never mind, cause no matter who’s says is in charge, you own on any of these…
THE BEAM AND THE SUBWAY TILES
I woke up this morning with a few revelations:
1-The pendants have to be white as to not intrude, visually. The future kitchen’s definite space is not that wide and we can’t over burdened it with dark colors. White is the way to go as it will blend with the subway tiles wall.
2-The pendants cannot be a grouping of smallish sizes ( like a few 5″ to 7″ ) : It became clear to me that the beam’s position and size would have to be taken into account in our lighting decision for the island. A grouping of small little pendants will not cut it against the large beam, nor the subway tiles ( which are rather big). In order to balance the beam’s presence with need a mix, in our arrangement of pendants. And one of those pendants must be at least 15″ wide.We need to create an arrangement that will distract the eye away from the beam which lowers the ceiling by a foot. I keep on forgetting how massive the beam will be…In other words, we must establish a visual distraction.
3- The pendant’s shape must relate to the subway tiles. The rectangular shape of the subway tiles will make a strong impact. And we must find a pendant’s shape that will answers back to the subway tiles set behind them. A complex spherical shape like the Pietro, the Scotch Club or the Pleat Box would be excellent as they would also relate to roundness of Azulej.
I feel like an assemblage of pendants that are different in either heights’s position, in sizes and alinement singularly or all of the above, is the way to go.
Look at a few examples of such arrangements here.
Scotch Club by Marset comes in three different sizes and awsome colors. Look at how well the rectangular forms answeres to each other
Cabalash by Komplotd Lighting. They come in white.
Two Pietro pendants at different heights
These come in 3 different sizes and all have multiple finishes available. I like the white and gold. We could also go with a grey and gold. The gold gives off a fantastic glow at night.
I could see two of those in their 9 inches version. We can’t put three small ones as the beam is in the way!!
I like the wild idea of pairing reclaimed wood with gold.
The last photo is of a different pendant. It’s a bit big for your space but it’s shows you how one can play down the sophistication of gold with rustic wood finishes.