Monastic Modern

Ty Larkins was specifically sought out by a young couple with two school-aged children about helping them create a very specific interior architectural style most closely resembling an approach exercised in newer high-end Belgium architect-designed residential buildings.  The basic DNA of this “Belgium style” embraces spareness and natural light, judiciously excludes superfluous details, but retains the use of honest yet substantial building materials, some re-salvaged, seemingly to provide warmth, age and patina but in the context of a clean, pared down shell, a very careful balancing act to say the least.   The challenge for us was to somehow channel the spareness of this Belgium architectural approach through a more traditional southern vernacular, albeit, French, so that the two styles would harmonize effortlessly. The more we studied the style, it suddenly dawned on us that it as very similar in line and execution to a monastery.  The rest of the design language that would be created for this home all fell into place, making design decisions clear and unambiguous.  

The public areas encompassing the entry foyer, living room, dining area and kitchen were re-imagined as a sort of open-spaced modern loft, the type commonly found in Tribeca or Soho.   In an effort to balance out all of the newness of this newly constructed home and suggest patina and history, enormous two hundred year old plus re-salvaged beams were installed on the fourteen foot tall ceilings in the family room and lightly white-washed to slightly modernize their inherent rusticity.   Re-salvaged honed black marble was installed in the entry foyer which was coupled with walls fabricated of old brick painted stark white, which was implemented throughout the rest of public spaces to lend a sense of solidarity, modernity and patina.  Finally, pale wood floor boards were installed throughout the home in an effort to maintain a sense of calmness, serenity and to provide the perfect backdrop for the decor.  

The furnishings and artwork we selected needed to work in harmony with the architecture as opposed to attempting to upstage it or makeup for any deficiencies.   Therefore, we deliberately avoided bright colors in the finishes, fabrics, furniture and artwork throughout the home.   Instead, we largely specified neutral tones in varying textures for drapery fabrics, rugs and upholstery.   Finishing touches reflected one of kind accessories and original black & white art photography by emerging artists with a subtle equestrian vibe which seemed to marry well with the spare, monastic and modernist sensibilities we were trying to merge.