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Page 1: A Tropical Variationikb.vaesite.net/__data/46174e92a10fefb50323d3ad65fec32d.pdf · as the exposed wood jointing and projecting, low-slung hori - ... system that is entirely gravity-fed
Page 2: A Tropical Variationikb.vaesite.net/__data/46174e92a10fefb50323d3ad65fec32d.pdf · as the exposed wood jointing and projecting, low-slung hori - ... system that is entirely gravity-fed
Page 3: A Tropical Variationikb.vaesite.net/__data/46174e92a10fefb50323d3ad65fec32d.pdf · as the exposed wood jointing and projecting, low-slung hori - ... system that is entirely gravity-fed

� www.ArchitecturalDigest.com��l��93��

A Tropical Variationwith�its�mix�of�styles,�a�house�on�maui��

offers�a�sophisticated�take�on�island�living�Architecture by Ike Kligerman Barkley/Interior Design by Ron Wilson and Joe Guidera

Landscape Architecture by Bill Mitchell of Chris Hart & Partners Text by Therese Bissell/Photography by Matthew Millman

For Jim and Michelle Falk’s Maui house, “we tried a synthesis of is-land, bungalow and Mediterranean elements,” says architect Joel Bark-ley, of Ike Kligerman Barkley. Left: The rear façade. Janus et Cie chaises and tables. Michael Taylor fabrics.

However�sublime�the�western�maui�site�for� Jim� and� mi-chelle�falk’s�ocean-

front�residence,�their�architects,�upon�hearing�the�project�brief,�could�have�been�forgiven�had�they�declined�the�commission.�while�michelle�falk�favored�the�mediterranean�vocabulary�of� the� family’s�Beverly�hills�house,� her� husband� wanted�something�tropical�and�rooted�in�the�pacific—a�building�that�spoke,�specifically,�of�hawaii.�slated�to�become�their�primary�residence�rather�than�a�retreat�(where,�in�the�spirit�of�escape�and�play,�everyday�design�pref-erences�might�be�set�aside),�the�house� had� to� be� a� seamless�resolution�of�the�falks’�seem-ingly�divergent�visions�of�it.

some�architects�would�have�demurred.�But�synthesis�and�distillation�typify�the�portfolio�of�new�york–based�ike�kliger-man�Barkley�architects:�a�col-lection�of�buildings�that�free�the�regional�vernacular�of�strict�precedent�in�a�contemporary�variation.�“anytime�a�project�takes�us�outside�of�manhattan,”�says�thomas�kligerman,�whose�

The interiors were designed by Ron Wilson and Joe Guidera. “They’re contemporary, with island influences, Wilson notes. “We perked things up with some Hawaiian pieces.” Right: A Darrell Hill painting hangs in the entrance hall. Mimi London console.

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94��l��www.ArchitecturalDigest.com

firm� is�currently�working� in�various� parts� of� the� world,�“we’re�in�somewhat�exotic�ter-ritory.� the� research� always�comes� first—tackling� the�bookstores�and�local�libraries�to�find�out�what’s�historically�relevant�to�the�area.�we�then�determine�what’s�correct�with-in�that�overall�context.”�as�Joel�Barkley,�who�took�the�lead�on�the� falk� house,� points� out,�“this�was�also�about�converg-ing�two�aesthetic�tracks�into�one,�which�placed�the�issues�of�compatibility�and�cohesiveness�into�a�whole�other�realm.”��

the�décor�played�an�essen-tial,�mediating�role.� interior�designer�ron�wilson,�as�well,�notably�marries�diverse�stylistic�components�in�a�definable�look:�“a�hawaiian�house�with�all�ha-waiian�elements?�i�just�would�never�do�that,”�he�says�firmly,�his�bona�fides�demonstrated�by�the�fact�that�even�his�famed�fan-tasy�creations�(such�as�cher’s�italian�renaissance�palace�in�malibu�[see�Architectural Digest,�august�2002])�are�themed�but�not�rigidly�idiomatic.�wilson�and�his�partner,�Joe�guidera,�who�had�overseen�the�interiors�of�the�falks’�california�house,�were�brought� into� the�maui�project�at�the�start�of�construc-tion,�by�which�time�the�archi-

Above: The house’s main volume is an open sequence, which includes the living area and kitchen. “The arch grounds the ‘stick-y’ feeling of the beam work and flying rafters and helps bring the scale down,” John Ike explains. Above Left: Barkley, left, with Guidera, center, and Wilson.

tecture� had� evolved� from� a�number�of�early�schemes.�

square�one�was�a�previous�ike�kligerman�Barkley�design�for�another�client�on�maui�that�featured� a� massive� thatched�roof,�to�which�Jim�falk,�own-er�of�automotive�dealerships�in� hawaii� and� california,�responded� with� a� desire� for�more�decorative�detail�and�a�greater�degree�of�finish.�“the�word�plantation�was�a�catch-all�for�him,”�says�Barkley.�“trans-lated,�that�became�a�Balinese�

roof�form�and�a�porch�with�a�distinctive�balustrade.”�it�be-came,�further,�an�homage�to�the�pre–world�war�ii�archi-tecture�of�charles�dickey:�his�upscale�hawaiian�residences�of�the�period�are�still�singled�out�for� their�spacious� lanais�and�steep-pitched,�double-hipped�roofs�with�extended�eaves.

the�link�between�an�islands�tenor�and�michelle�falk’s�pre-dilection� for�big� arches� and�textured-plaster�walls�would�be,�the�architects�concluded,�

During the design process, “they were very hands-on,” Wilson, who had previously worked with the Falks, remembers. “I never want cli-ents to say, ‘Do it and call us when you’re done.’ ” opposite: Separated from the lanai via glass pocket doors, the living area faces the Pacific.

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opposite: “Fat cedar bungalow columns and finer rafters and beams give shelter to a bright dining area floored in sandstone. Not quite rustic, the bungalow elaboration is casual but carefully executed and finished,” Thomas Kli-german says. Brown Jordan chairs. this pAge: Ike de-scribes a dining area off the kitchen as “having an alfresco sense. The folding glass panels let in the ocean breezes.”

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� www.ArchitecturalDigest.com��l��99��

yet� another� genre:� the�arts�and�crafts�style�epitomized�by�charles�and�henry�greene�in�early-20th-century�southern�california.�(in�effect,�it�is�the�pacific�rim�come�full�circle,�as�the�exposed�wood�jointing�and�projecting,�low-slung�hori-zontality�common�to�Japanese�structures� were� a� particular�greene�&�greene�influence.)�here,� the�craftsman�arch—used� generously� inside� and,�most�prominently,�at�the�pas-sageway�to�the�pool�terrace—the�thick�cedar�columns�and�beams�and�the�exposed�rafters�terminating�in�a�stepped�profile�“layer�and�stack�well,”�kliger-man�notes,�“with�the�Balinese�roof�and�the�grounding,�medi-terranean-style�stucco�base�of��the�house.”�

the� main� volume� of� the�7,500-square-foot� residence�

(there� is� also� a� 500-square-foot� guesthouse)� is� an� open�sequence� of� living� area,� sit-ting�area,�kitchen�and�dining�bay� delineated� by� the� over-scale�arches�and�adjoined�by�a�deep,�ocean-facing�lanai.�off�the�kitchen,�the�lanai�serves�as�an�exterior�dining�space�and�at�the�opposite,�north�end�as�a�seating�niche�sheltered�from�the�sun�and�breeze.�views�from�the�lanai,�out�past�the�lawn�to�ka‘anapali�beach,�are�a�stun-ning,�ever-present�visual�com-ponent�made�more�immediate�by� pocketing� glass� doors.�a�split-level�plan—the�bedroom�wing�lies�a�half�flight�above�the�living�area;�a�half�flight�below�are�the�exercise�room�and�the�service� areas—“makes� the�large�volumes�feel�small�and�intimate,�with�all� the�rooms�close�by,”� Jim�falk� remarks.�indeed,�the�architectural�pro-gram,�while�including�a�pan-eled�study�and�a�wine�cellar,�stopped�short�of�clear�adult-child�zoning.�“there’s�no�real�compartmentalization,”�offers�Barkley.�“Because� the�whole�family�uses� the�whole�house�

Above: Designed as a split level, the house features a master wing that is raised above the main living area. Of the grounds, landscape architect Bill Mitchell, of Chris Hart & Part-ners, says, “Coconut and foxtail palms frame the elevation of the home. The edges of the great lawn are defined with tropical shrubs and ground covers, including hibiscus and red ti. The planting also creates a spatial separation from the great lawn and the lower pool lanai.”

opposite: On the lanai off the master wing, as throughout the resi-dence, teak decking, cedar beams and rafters, and bamboo-and-teak balusters were used. Rocking chairs, Mimi London. Left: Wilson and Guidera created the master bed-room’s textile-draped four-poster.

continued on page 163

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� www.ArchitecturalDigest.com��l��163��

all�the�time,�proximity�and�flow�were�key.”�comfort�above�everything—this�is,�for�

all�the�refinement�of�detail,�a�beach�house�whose�owner�is�out�on�his�surfboard�early�most�mornings—was�the�guiding�prin-ciple.�the�three�young�children�(a�six-year-old�daughter�and�four-year-old�twin�boys)�“love�climbing�on�the�furniture,�so�we�selected�soft�fabrics,�treated�to�hold�up�to�that�kind�of�use,”�wilson�says.�“Jim�and�michelle�lead�a�very�casual�lifestyle�and�gave�me�the�freedom�not�to�be�con-cerned—but�with�the�children’s�ages�and�all�the�activity,�the�need�for�durability�ob-viously�went�beyond�just�the�climate.”

wilson�restricted�the�palette�to�creamy�neutrals,�incorporating�accent�colors�true�to�the�environs:�primarily�terra-cotta�and�melon�tones.�having�kept�the�islands�mien�in�check�throughout�(“i�enhanced�things�with�a�few�hawaiian�objects�that�are�so�beautiful�they�would�work�well�in�any�set-ting”),�he�let�loose,�relatively�speaking,�in�the�master�suite.�complementing�the�ar-chitects’�bamboo-and-teak�balustrade�for�the�master�lanai,�he�inserted�bamboo�reeds�between�the�high�cedar�beams�of�the�bed-room�ceiling�and�draped�the�bamboo�four-poster� (one�of�several�wilson-guidera�pieces�custom-made�for� the�residence)�with�mosquito�netting—“tropical,�light�and�romantic,”�in�Barkley’s�estimation.�in�

the�master�bath,�wilson�lined�the�walls�with�a�woven�rushlike�material�instead�of�large�mirrors:�“a�subtle�infusion�of�local�style,”�he�explains,�“to�emphasize�the�set-ting�and�complete�the�idea.”

recalling�the�house’s�journey�to�being�an�amalgam�of�the�clients’�wishes,�kliger-man�observes,�“it�might�be�a�cliché,�but��it�invariably�happens�that�what�is�most�challenging� in� the� beginning� ends� up�being�a�building’s�strength.”�his�partner�goes�one�further.�“threading�together�the�things�that�were�so�personal�and�familiar�to�the�falks,”�says�Barkley,�“allowed�us�to�create�an�architecture�that�feels�fully�at�home�in�hawaii.”�l

A split-level plan “makes the large volumes

feel small and intimate,” Jim Falk remarks.

a�tropical�variation

continued from page 99waste�is�purified�at�the�same�time,�by�a�system�that�is�entirely�gravity-fed.

now�how�does� an� interior�designer�hold�her�own�against�all�this�architectural�vigor?�if�she�is�twila�wilson,�she�makes�it�clear�that�she�is�not�interested�in�another�“caribbean�corny,�overcooked�pastel”�ap-proach.�she�and�her�clients�agreed�that�the�interiors�should�reflect�the�muscular-ity�of�the�architecture.�they�should�also�reflect�the�best�of�local�tradition—hard-wood�furniture�with�bold�lines�and�silhou-ettes—while�at�the�same�time�reaching�for�a�cosmopolitan�air�and�remaining�open�to�an�infusion�of�color.�“this�had�to�be�a�house�with�a�strong�voice,”�wilson�says.

interestingly,�one�of��wilson’s�earliest�ef-�fects�was�more�like�a�whisper:�when�her�clients�wanted�to�spend�a�first�christmas�in� their� still-unfinished�home,�wilson�

ordered�up�miles�of�theatrical�gauze�and�draped�it�throughout�much�of�the�house,�thereby�concealing�construction�debris.�she�put�down�sisal� rugs�and�vivid�pil-lows,�and�it�was�in�this�casual�temporary�arrangement�that�she�found�the�house’s�softening�spirit.��

as�it�became�clear�that�the�larger�rooms�in�particular�needed�humanizing,�wilson�retained�the�gauzy�effect,�using�it�as�inte-rior�curtains�in�the�finished�gallery�and�bed�tenting�in�the�bedrooms.�the�pub-lic�rooms�also�needed�pieces�that�would�stand�up�to�14-foot�ceilings—hence�the�large�painted�Brazilian�cupboards,�the�long�custom-made�mahogany�dining�table�and�the�antique�west�indian�rockers,�which�in�this�context�acquire�an�almost�sculptural�dimension.�further�detailed�layering�came�from�katrin�haub,�who�is�an�avid�traveler�and�a�discerning�collector.

finally,�there�are�the�colors:�lime�green,�raspberry,�mango,�bougainvillea,�hibiscus�pink�and�half�a�dozen�different�yellows,�indoors�and�out,�on�cushions�and�uphol-stery,�bric-a-brac�and�china.�“the�clients�were�open�to�bringing�the�decoration�up�to�meet�the�architecture.�they�were�will-ing�to�let�their�house�sing,”�says�wilson.�“and�so�was�i.”�l

“The clients were open to bringing the decoration upto meet the architecture.”

cariBBean�classic

continued from page 87