Developers challenged architect Mark McInturff to transform three neighboring 1960s-era Rockville warehouses into a sustainably designed, state-of-the-art office building that will serve as a technology hub. McInturff and his team connected the stripped-down structures via a sleek, glass-enclosed atrium and green space (above) while embracing the edginess of their original materials. “We did what a lot of office buildings don’t,” the architect says. “We didn’t cover up the exposed concrete and steel, and we used a lot of glass and as little drywall as we could.” Now complete, the 103,482-square-foot Greencourt Innovation Center boasts offices and conference rooms, wifi-enabled courtyards, a green roof and optimized energy systems; LEED-Silver certification is pending.
Architecture: Mark McInturff, FAIA; Peter Noonan, AIA, LEED BD+C; David Mogensen, AIA, LEED AP, McInturff Architects, Bethesda, Maryland. Builder: Meridian Construction Corporation, Inc., Rockville, Maryland.
When called upon to overhaul a 12-foot-wide, 1870s-era house in DC, designer Kerra Michele Huerta summoned “every trick in the book” to make the finished interiors appear larger. She also opened up the choppy floor plan, reconfigured the kitchen and master bath and added a powder room on the main floor. “From there,” she recalls, “I added architectural detail because often when people blow out the walls in a historical home and make it super-modern, the character is lost.”
Her clients, government consultant Patrick Carberry and Elizabeth Carberry, founder of arts management agency ArtSee, were expecting their first child, so a nursery was also part of the plan. “I tried to mix the historical aspects of the home with the young, fun art-world couple living there,” Huerta explains.
The designer blended classic materials and practical furniture with playful accessories and art. Custom features abound, including a dining room mural of hexagons—a recurring motif in the home—and a shower door with an iron frame that conjures an industrial vibe.
Finished in time for the arrival of the couple’s son, Cannon, the redo was a resounding success. “Everything works for them functionally,” says Huerta. “They are just so happy.”
HOW DID YOU PAY TRIBUTE TO THE HOME’S PAST?
To respect the home’s history, I added architectural details like latticework
on the main wall that runs from the front to the back and up the stairs. I also exposed little pockets of original brick in the kitchen and dining room so the house wouldn’t feel like a blank, white modern box.
DID YOU TURN ANY FLAWS INTO ASSETS?
When we opened up the living and dining rooms, there was one structural beam that had to stay, but it wasn’t pretty. I had it wrapped in wood, then added a few more so it looked like they were supposed to be there. This also eliminated having one solid ceiling surface from the front to the back of the house.
WHAT TRICKS MAKE THE LIVING ROOM APPEAR LARGER?
The latticework adds depth and movement to space. Since we didn’t have room for a sofa, I chose two swivel chairs from Room & Board and a chaise that’s open on one side. And the enormous mirror from Anthropologie makes you feel like there is more space than there actually is.
HOW DID YOU ACCESSORIZE THE BUILT-INS?
I painted the cabinets white and changed the fireplace tile to create depth. Then I sourced items from as many places as possible, including vintage and antique shops. I always pick a color palette first so everything feels cohesive, and layer in natural elements like metals, stone, and wood because using all manmade elements can feel flat.
HOW DID YOU INTEGRATE THE KITCHEN INTO THE OPEN PLAN?
I like kitchens to feel like an extension of the rest of the house. Because it’s a historic home, I picked classic white cabinetry. To punch things up, I added leather cabinet pulls and walnut trim around the upper cabinets to give them a little bit more detail.
WHAT’S YOUR SECRET TO MIXING FABRICS?
I take patterns that are otherwise completely unrelated but in the same color palette and pick the ones I like, along with a couple of solids. I call it “power-clashing.” DC tends to be obsessed with symmetry, but I prefer balance. A lot of my spaces will have an odd number of pillows to make things more interesting and a little quirkier.
HOW DO YOU MARRY MASCULINE AND FEMININE STYLES?
Patrick is into leather furniture and lodge-type items, while Elizabeth is very fashionista and into the modern art scene. In the bedroom, I went with a duvet set that is menswear-inspired—a lightweight flannel that feels like a dream—and layered it in pink, blue and metallic pillows.
HOW WILL THE NURSERY WORK POST-BABYHOOD?
I’m a believer that the permanent elements in a room should be neutral and sophisticated. I focus on accessories that are easier to change as a child gets older. In Cannon’s room, the wallpaper will be classic forever; we added elements like the sheep and vintage chest to make it feel whimsical.
DESIGN PET PEEVE?
TVs above fireplaces! If you can avoid it, do.
SECRET TO A WELL-DESIGNED SPACE?
Balance. I try to mix an equal number of organic and graphic patterns with natural and manmade elements to craft a warm, lived-in feeling.
WHY IS ART IMPORTANT?
Art is a reflection of the homeowners and personalizes a space. Without it, even a beautifully designed home can feel generic.
IS IT OKAY TO MIX METALS?
Mix with abandon! I feel the same way about metals as I do about color; decide from the get-go on what kind of look you want, then commit.
MISTAKE TO AVOID?
Using small furniture in small spaces. Rooms feel more spacious when you use fewer, larger pieces rather than lots of small ones.
RENOVATION & INTERIOR DESIGN: Kerra Michele Huerta, Kerra Michele Interiors, Washington, DC. PHOTOGRAPHY: Laura Metzler.
Mid-Century Modern fans might be surprised to learn that there are many examples of the vernacular in the DC area. In Montgomery Modern: Modern Architecture in Montgomery County, Maryland, 1930-1979, author and local architectural historian Clare Lise Kelly documents these enduring mid-century relics, from office towers and high rises to storefronts and tract homes, that reflect post-War optimism and materials of the Atomic Age. Published by the Montgomery County Planning Department, the 2015 book also chronicles the architects, landscape architects, planners and developers behind these designs.
On October 8, a Montgomery Modern bus tour will visit Potomac homes from this era, along with the mid-century Charles E. Smith campus in Rockville. And on October 16, the author will speak at George Washington University Museum. montgomeryplanning.org/planning/historic/montgomery-modern/
HANDCRAFTED Interwoven metal curves form the base of the Niermann Weeks Tissage Dining Table. Handcrafted in the company’s workshop near Annapolis, the sculptural creation is topped with a floating, bevel-edged glass top. Price on request. niermannweeks.com
LIGHT SHOW The polished-brass Jasmine pendant by Mitzi, an offshoot of Hudson Valley Lighting, sports an eye-catching, “open-cage” design. Available in two sizes; $198 and $248. hudsonvalleylighting.com
BOLD STATEMENT Part of Christian Lacroix Maison for Roche Bobois, the Maison Lacroix Chair makes a bold statement. The beech chair is upholstered in graphic Cabanon fabric, with legs finished in contrasting brass. $1,470. roche-bobois.com
CHIC CURVES At 60 inches wide, the Bacharach Settee by Jonathan Adler is ideal for small spaces. The curvaceous seat is upholstered in Rialto Ash velvet and paired with an architectural, brushed-brass base. $3,950; jonathanadler.com
After years of careful formulation, Benjamin Moore recently introduced Century paints. Conceived to bring a sophisticated palette to high-end interiors, the line’s 75 new shades were inspired by natural elements, from plants and herbs to gems and minerals. The paints are unique not only for their depth of color but also their matte finish, which the company likens to a soft leather glove. Pre-mixed gallons ($125) and four-ounce samples ($10) are available. experiencecentury.com
Smithsonian Craft2Wear showcases cutting-edge couture and one-of-a-kind jewelry from October 5 to 7.
More than 60 designers will display their clothing, jewelry and accessory collections—ranging from classic to avant-garde—at the Smithsonian Craft2Wear show. Exhibitor Janice Kissinger “builds” her own textiles and fashions by hand without sewing.
Held at the National Building Museum, the juried event begins Thursday, October 5, with an evening reception (admission: $50), then continues all day on the 6th and 7th (admission: $15). Proceeds benefit Smithsonian museums and programs. smithsoniancraft2wear.org
French Classic
James Beard Award-winning chef Frank Ruta’s latest hot spot, Mirabelle, is just two blocks away from his former kitchen at The White House. Georgia-based Norris Design Studio decked out the chic interiors, from the entry vestibule with tufted-leather walls to the chic dining room. The menu offers a fresh take on French classics. After dinner, a floating dessert cart tempts diners to sample the creations of pastry chef Aggie Chin. 900 16th Street, NW; 202-506-3833. mirabelledc.com
Rising Star
Ryan Ratino, the former executive chef at Ripple and a 2017 Rammy award-winner for rising star, is slated to open his own restaurant, Bresca, in fall 2017. It will celebrate the European movement of “bistronomy,” putting a less formal, “bistro” spin on traditional French gastronomy. Ratino says the menu—featuring cured ocean trout and sea urchin linguini —“will create new traditions that everyone can enjoy.” 1906 14th Street, NW; brescadc.com
Opened in 2016, Four Seasons Hotel Kyoto has won two prestigious awards for hospitality design. Set in a five-acre pond garden complete with a traditional tea house, the property features 123 guest rooms that accent modern style with traditional Japanese shoji panels and polished woods. The Brasserie serves classic bistro fare with a local twist. A spa welcomes guests to engage mind and body with a host of treatments. Rates from $675; fourseasons.com
To many, relaxing by the pool is almost as enjoyable as diving in on a summer day—particularly when screened from the sun’s hot rays. Increasingly, homeowners planning a pool project choose to incorporate a shelter into their overall plan. Options range from simple pergolas and pavilions to elaborate pool houses decked out with kitchens and bars, audio-video systems, baths and changing rooms.
Pros advise clients to consider everything from functionality and size to positioning and style when designing a poolside shelter. “More and more people are looking for shade as opposed to the full-on sun around swimming pools,” says Charles Owen of Fine Landscapes. He recommends sitting structures on the western side of the pool for maximum shade as the sun sets.
While pergolas with comfortable seating can serve as ideal social and dining areas for pools sited close to the house, says Mike Prokopchak of Walnut Hill Landscape Company, a pool house “provides amenities for a ‘destination’ pool located farther away.”
However, Owen cautions homeowners against trying to fit too many features into a pool structure. “Don’t bite off more than you need,” he advises. “Assess what the absolute need is beyond creating shelter from sun and rain. Having a little fridge is not a bad thing, but whether you need running water or a bathroom—those are secondary considerations.”
Sponsored by the Maryland Building Industry Association, the annual Custom Builder Awards honor architecture, construction and remodeling projects in the Greater Washington, DC, area. Following is a list of all 2017 MBIA winners; Gold-Award winners are pictured here.
GOLD—Sandy Spring Builders, LLC. Architecture: GTM Architects. Photography: MBK Photography.
CUSTOM CONTEMPORARY HOME
GOLD—Studio Z Design Concepts, LLC. Builder: Menditch Homes, LLC. Photography: Stu Estler Photography.
CUSTOM TRANSITIONAL HOME
GOLD—Sandy Spring Builders, LLC. Architecture: GTM Architects. Photography: MBK Photography.
SILVER—Chuck Sullivan Homes. Architecture: Studio Z Design Concepts, LLC.
CUSTOM GREEN HOME
GOLD—Mid-Atlantic Custom Builders. Architecture: Custom Design Concepts. Photography: BTW Images.
SPECULATIVE TRANSITIONAL HOME
GOLD—Laurence Cafritz Builders. Architecture: Studio Z Design Concepts, LLC. Photography: Stu Estler Photography.
SILVER—Three Brothers Land Co. Architecture: Claude C. Lapp Architects.
BRONZE—R&R Custom Homes. Architecture: Studio Z Design Concepts, LLC.
SPECULATIVE GREEN HOME
GOLD—Mid-Atlantic Custom Builders. Architecture:
Mid-Atlantic Custom Builders. Photography: BTW Images.
SILVER—Mid-Atlantic Custom Builders. Architecture:
Mid-Atlantic Custom Builders.
CUSTOM HOME under 3,500 square feet
GOLD—Douglas Construction Group. Architecture: Studio Z Design Concepts, LLC. Photography: Doug Monsein.
CUSTOM HOME 3,500-5,000 square feet
GOLD—Mid-Atlantic Custom Builders. Architecture: Lessard Design, Inc. Photography: HomeVisit.
SILVER—Finecraft Contractors, Inc. Architecture: SevenFiveThree Development.
CUSTOM HOME 5,000-7,500 square feet
GOLD—Studio Z Design Concepts, LLC. Builder: Sandy Spring Builders, LLC. Photography: Stu Estler Photography.
SILVER—Washington Metropolitan Homes. Architecture: Claude C. Lapp Architects.
BRONZE—Mid-Atlantic Custom Builders. Architecture:
Custom Design Concepts.
CUSTOM HOME 7,500-12,500 square feet
GOLD—R&R Custom Homes. Architecture: Studio Z Design Concepts, LLC. Photography: Stu Estler Photography.
SILVER—Studio Z Design Concepts, LLC. Builder: Sandy Spring Builders, LLC.
SPECULATIVE HOME 3,500-5,000 square feet
GOLD—Foxhall Homes. Architecture: Architecture Collaborative. Photography: HouseLens, Inc.
SPECULATIVE HOME 5,000-7,500 square feet
GOLD—Washington Metropolitan Homes. Architecture: Claude C. Lapp Architects. Photography: Structure Photography.
SILVER—Douglas Construction Group. Architecture: Studio Z Design Concepts, LLC.
BRONZE—Chuck Sullivan Homes. Architecture: Studio Z Design Concepts, LLC.
SPECULATIVE HOME over 7,500 square feet
GOLD—Castlewood Consulting, LLC. Architecture: Castlewood Consulting, LLC. Photography: HomeVisit.
ADDITION over 2,000 square feet
GOLD—R&R Custom Homes. Architecture: Studio Z Design Concepts, LLC. Photography: Stu Estler Photography.
RENOVATION over 2,000 square feet
GOLD—Sandy Spring Builders, LLC. Architecture: Glenn Chen Fong, AIA, PLLC. Photography: MBK Photography.
When a May downpour dampened Jodi Macklin’s plans to host a pre-prom dinner for her son’s senior class in her Chevy Chase backyard, the designer quickly switched gears.
She whipped out placemats, set up a buffet in the dining room and invited the 200 guests into her gracious home. “It was fast and furious,” recalls the unflappable host. Two days later when she opened her doors to a magazine photography crew, the only clue that prom night had taken place was her son Cooper napping on the screened porch.
Macklin’s house rolls with the punches—and has aged gracefully since she and her husband overhauled the tiny 1930s Colonial Revival they acquired in the coveted Somerset neighborhood 16 years ago. Though four times the size of the original, the house doesn’t overwhelm its shady lot. Inside, a clever layout with generous proportions gives it staying power. When you factor in Macklin’s design smarts, it’s no accident that the home continues to evolve.
Macklin began her career in marketing at Estée Lauder in New York. But when she moved back to her hometown of DC with husband Rodd, now CFO of a private equity firm, just before their first son was born in 1991, she had an epiphany. “I didn’t want to be at work from 9 to 7 every day,” she recalls. “I decided I was going to do what I’d always had a passion for.” She enrolled in Mount Vernon College’s interior design program, earned a degree, then landed an internship with “a great mentor,” designer David Mitchell.
By the time she and Rodd bought the Somerset property, Jodi had launched her own design firm and their fourth and final child was on the way. The couple tapped architect David Jones to design a larger residence for their growing family. Since the home was deemed historic, his plan had to build upon the original. “The question was how to make this very small housework as though it had grown over time,” Jones recalls. A large new wing containing the living and family rooms solved the dilemma by suggesting that the smaller, original wing housing the dining room and kitchen came later. Called “a Colonial Revival with finesse” by the architect, the new home boasts a slate roof and hand-troweled stucco walls that reinforce his built-over-time narrative.
From the entry, guests see straight through the foyer and rear stair hall to the garden. Stairs to the upper-level run parallel to the rear wall of French doors so that, explains Jones, “the family is always looking at the beautiful backyard when going up and down the stairs.”
The interior architecture creates a perfect backdrop for Macklin’s artistry. “David nailed the proportions,” she says of the 10-foot ceilings and generous openings between rooms. “He made the house feel bigger than it is.”
Her original goal—to design a “livable, kid-friendly house”—still holds true today. “It should not feel too precious, yet it should be pretty and feel like a home,” the designer reflects.
A relaxed, understated elegance prevails in spaces where Macklin mixes classic appointments with modern furniture and art. “Traditional pieces bring a warmer feeling,” she explains. “It’s fun to have ‘found’ things that have meaning and history, mixed in with newer, more contemporary ones.
“I’m looking for beautiful lines—and I love to mix textures,” Macklin continues, pointing to her family room’s shagreen table, wooden chairs and tufted-leather ottoman. She offsets a neutral palette with pops of color in accessories, pillows, and art—such as the Ellsworth Kelly painting in the living room.
Macklin likes to host intimate dinners in her “timeless” blue-and-white kitchen, originally designed by kitchen designer Jennifer Gilmer. “I wasn’t a cook,” she says, “but then my kids grew up and over the years I learned how.” She recently tapped Gilmer’s associate Meghan Browne to update the space. Browne created more storage and workspace in the form of a large, new island made of hot-rolled steel.
On holidays, when the guest list typically tops 40, Macklin sets up a buffet in the dining room, graced by a glamorous Porta Romana chandelier and geometric hide rug. “I’m really into tabletop,” she says. Macklin favors Kim Sybert linens that “go from very casual to very dressy.”
With their two oldest sons and a daughter off to college or beyond, the Macklins still have one son, Luke, at home. On an early May evening, he and his dad play catch in the yard while Macklin relaxes on the screened porch. “This is my happy space. Once everything’s green,” she says, motioning to the springtime landscape, “I feel like I’m in France.”
Meanwhile, her home is always a work in progress. A few years after they moved in, David Jones designed a free-standing office for Macklin’s growing firm, adding on a conference room later. And in the main house, she is now transforming an empty room next to the master bedroom into a luxurious bath suite and closet.
“As a designer,” Macklin says, “there’s a lot that you see that you love. You’re constantly evolving.”
Photographer Geoffrey Hodgdon is based in Deale, Maryland.
Architecture: DAVID JONES, AIA, Jones & Boer Architects, Washington, DC. Interior Design, JODI MACKLIN, Jodi Macklin Interior Design, Chevy Chase, Maryland. Builder: RICHARD ZANTZINGER, Mauck Zantzinger & Associates, Washington, DC.
When he was growing up, Paul Miller’s mother “was always playing with color and creating tableaux in our home,” he recalls. This inspiration led the Virginia native, who also considered a career in acting or writing, to study interior design. “It would more immediately give me a creative outlet,” he reasoned.
Miller completed the design program at Lord Fairfax Community College and later apprenticed to designer Deborah Langfitt—an experience he found invaluable. “She was a good macro-view person,” he says, “and really helped me see the big picture.”
In 2004, Miller went out on his own, opening MakeNest Interiors, a Winchester, Virginia, design studio and home furnishings boutique. Now tackling residential and commercial projects throughout the DC Metro region, he and his team aim to “create working solutions in an artful way to inspire joy,” he says.
“We focus on sustainability, functionality, and beauty, exclusively sourcing made-in-America furnishings,” the designer continues. He often augments new, sustainable finds with clients’ existing collections and antiques—scavenging around to find one-of-a-kind objects.
“I’m a big believer in mixing design styles, like combining a Hepplewhite piece with a Lucite cocktail table,” Miller says. “The best rooms are a weird, wonderful mix that makes you feel homeowners have had diverse experiences.”
Interior Design: Paul C. Miller, MakeNest Interiors, Winchester, Virginia. Architecture: Frazier Associates, Staunton, Virginia.
On a recent trip to Texas, Katie DeStefano brought home the unexpected: an old taxidermic pheasant. “When I go to another city, I love picking through flea markets,” enthuses the Baltimore designer, who says she might combine the vintage specimen with a 17th-century tapestry, an English upholstered piece, and an Oushak rug for a timeless look.
“I’m into green design,” says DeStefano, who contends that 90 percent of the furnishings consumers are looking for is “out in the world”—and she intends to find them. “I like to hunt down old pieces and learn their history,” she says. “Clients love having a story to tell.”
The Annapolis native first honed her skills at the University of Alabama, where she studied interior design with a minor in art history. “I’m a traditionalist at heart,” she says. Following stints with Dream House Studios, Mona Hajj, and the late Amanda Austin, she launched her eponymous design practice and Curiosity, an eclectic home-furnishings boutique in Baltimore’s Federal Hill, at the age of 25. Seven years later, she runs her shop—now in tony Harbor East—and has completed homes for clients ranging from a 25-year-old bachelor to a retired couple in their 70s.
DeStefano starts each project by divining a homeowner’s innate style. “There’s always room to grow,” she says. “I want clients to contribute when they’re traveling or when they have a beautiful epiphany. It’s a very organic process.”
Interior Design: Katie DeStefano, Katie DeStefano Design, Baltimore, Maryland.
Jonah Takagi tinkers away in the converted attic of a Depression-era row house in Washington’s Glover Park. He sketches ideas, builds models and refines 3D drawings of objects ranging from furniture and lighting to desk accessories—and even a sculptural shaving brush that wobbles.
Though the Japanese-born Takagi travels under the radar in DC design circles, he has created pieces for Design Within Reach, Kvadrat, Umbra Shift, and Matter, among others. Just back from showing his new work at the 2017 Salone del Mobile in Milan, he caught up with Home & Design in early May.
Pausing first in the dining room of the house he shares with girlfriend Mary Timony, who fronts the indie band Ex Hex, he pointed out unfinished wooden boxes scattered across the table. “I moved my studio to the attic, but it’s a pain to get stuff up there. Much to Mary’s chagrin, there are constantly things on the table.” Nearby, a rare, self-produced table awaits a final coat of lacquer, while an upturned bicycle under construction also vies for attention.
But with only a couple of weeks to go before his boxes, pendant lights, shaving brush and other “half-done” creations would be on view at NYCxDesign, New York’s annual Design-a-palooza, Takagi had more pressing projects on his plate.
Up a “treacherous” stairway, one end of his attic studio houses a photography station where he shoots his work; a desk at the other end is topped with computer monitors. Paper and clay models and finished designs, from candleholders to measuring instruments, cover shelves along the walls.
Sketches on a center table trace the trajectory of Takagi’s shaving brush—one of 13 designs commissioned by the online shaving brand Harry’s as a modern spin on nostalgia. “I was doing all this math to make it work,” said Takagi of the weighted steel sphere that counterbalances his brush. “It seems simple, but there was no room for error.” After completing a mass study and models made of plastic Easter eggs and clay-like plasticine, Takagi sent his drawings off to a 3D printer in Europe and hoped for the best. “Luckily,” he sighed, “it worked.”
Whether he’s conceiving a lamp or sculptural pieces for the summer residency he’s accepted at a glass-blowing studio in France, the lanky, laid-back Rhode Island School of Design grad embraces challenges with a disciplined eye and a fresh, modern aesthetic. In addition to solo work for his own Atelier Takagi, he contributes to Field, a brand he co-founded in 2012 that creates made-in-America tabletop and desk accessories. And he frequently collaborates with Hallgeir Homstvedt, an Oslo-based friend, and colleague, on pieces ranging from pendant lights for Roll & Hill to a forthcoming, four-piece upholstered-chair collection for a major client that remains under wraps.
“Chairs are the ‘holy grail’ of furniture,” Takagi asserted with some trepidation, noting that often in collections, one piece is a standout while the others merely “force a typology on an existing design. They all need to be great,” he insisted.
The process takes years. After extensive research and planning, Takagi and Homstvedt have finally entered the design phase where they are refining the lines, joinery, and stance of each piece via screen-sharing apps and daily phone calls.
“Right now, there’s a lot of sketching and computer models. These were all over the floor yesterday,” said Takagi, rifling through a heap of sketches on tracing paper. “My work starts in my sketchbook then slowly moves onto the computer.”
A plasticine model on his side table approximates one of the chairs—sleek, with a Scandinavian-style profile—but he and Homstvedt won’t see an actual prototype until later this year. The chairs should hit the market by 2019.
When work gets overwhelming, Takagi heads to the basement, which doubles as a recording studio, to play the drums. A long-time musician who started with the cello in high school, he has played bass guitar and drums for various rock bands over the years. “Music is a good foil because design work can be tedious when you’re butting your head for a while,” he said.
Born in Tokyo, Takagi moved to Connecticut with his mother at the age of 18 months, after his parents split. As a boy, he loved to build things with Legos and Lincoln Logs—and received encouragement from art teachers. His father, an architect in Japan, was also an inspiration. “I like the technical side of architecture and the way spaces can make you feel,” Takagi said. “But I also like making stuff myself.”
He earned a degree in fine arts at RISD and in 2003 moved to DC with a former girlfriend. He started out building sets for the Folger Theatre and the Kennedy Center, playing in bands and designing furniture on the side. Then he exhibited his American Gothic table at the 2009 ICFF in New York and his design career took off. Soon, he was showing at the big furniture fairs in Cologne and Milan. “There was a lot of press surrounding my work, and two products I showed in Milan were picked up by an American manufacturer,” recalled the designer, who’s focused on product design full-time ever since.
Frequent visits to Japan have no doubt influenced Takagi’s spare style, which emphasizes simple, geometric forms. “There’s so much appreciation for craft, form, proportion and detailing there,” he marveled. “Everything’s very considered. I think that’s really stuck with me and is a big source of inspiration.”
Though he’s lived in DC for 13 years, most of Takagi’s clients are elsewhere. “I never applied myself here, but I’d like to,” he said. One exception: The Line hotel, opening soon in Adams Morgan, has tapped Takagi to design guest-room accessories, a large coffee table and a glass-enclosed deejay booth for the lobby.
“I’ll really design anything,” said Takagi. “If someone asked me to design a car or a missile, I’d do it.”
For more information, visit ateliertakagi.com.
The 2017 Kitchen & Bath Awards, organized by the Baltimore-Washington Chapter of the National Kitchen & Bath Association (NKBA) and sponsored by Home & Design, welcomed 89 entries from area designers. This year’s panel of local judges included architect Bruce Wentworth of Wentworth, Inc.; designer Victoria Sanchez of Victoria at Home; Meghan Fox of Fox Design Studio, LLC; and Home & Design editor in chief Sharon Jaffe Dan.
Winning entries, shown on the following pages, suggest that gray and white kitchens are here to stay (for now), brass is back—but in a matte finish—and leathered surfaces are all the rage. Smoothie bars and indoor herb cultivators reflect an emphasis on health. And organic materials reveal a desire to create spaces that soothe homeowners and guests in au naturel style.
1st PLACE
Brass & Glass—Large Kitchen
Kitchen Design: Sarah Kahn Turner, Jennifer Gilmer Kitchen & Bath, Chevy Chase, Maryland
Treetop Aerie—Large Bath
Interior & Bath Design: Mary Douglas Drysdale, Drysdale, Inc., Washington, DC.
Retro Vibe—Medium Kitchen
Kitchen Design: Paul Bentham, Jennifer Gilmer Kitchen & Bath, Chevy Chase, Maryland.
Moment of Zen—Medium Bath
Bath Design & Renovation: Jonas Carnemark, CKD, Carnemark design + build, Bethesda, Maryland.
True Blue—Specialty Room
Scarlett Breeding, AIA, Alt Breeding Schwarz Architects, Annapolis, Maryland.
2nd PLACE
Minimalist Makeover—Large Kitchen
Kitchen Design: Sarah Kahn Turner, Jennifer Gilmer Kitchen & Bath, Chevy Chase, Maryland.
Bathed in Light—Large Bath
Bath Design: Paul Bentham, Jennifer Gilmer Kitchen & Bath, Chevy Chase, Maryland.
Old World Style—Medium Kitchen
Kitchen Design: Shannon Kadwell, CMKBD, Allied ASID, Anthony Wilder Design/Build, Cabin John, Maryland.
3rd PLACE
Modern Update—Large Kitchen
Kitchen Design: Davida Rodriguez, CKD, Davida’s Kitchen + Tiles, Gaithersburg, Maryland.
Honorable Mention
Industrial Edge—Large Kitchen
Kitchen Design: Paul Bentham, Jennifer Gilmer Kitchen & Bath, Chevy Chase, Maryland.
