Loft L

The project started from a simple idea: bringing a landscape into Milan. The owners' roots lie between France and the Jura — and it's from that territory, its woods, stone, and ochre earth, that we drew the palette running through the whole apartment. The result is a home that's Milanese at heart, yet still carries the memory of somewhere else.

The space is a two-level loft in a building whose industrial character still shows through — in the exposed brick, in the windows opening onto the inner courtyard. We lightened the laminated wood ceiling beams with a warm, neutral tone, opening the rooms to more light without erasing the building's history as a workshop.
The living, dining and kitchen area share one continuous space. We built it on contrast rather than coordination: an Edra green velvet sofa next to a red, modernist-leaning armchair, a modular bookcase in dark wood and brass, abstract artworks and objects chosen one at a time. In the kitchen, wood, steel and a marble island veined in violet and brown meet earth-red fronts that anchor the whole room. Around the round green table — Jean Nouvel's NVL — sit chairs that don't match on purpose, Gio Ponti's Superleggera among them: vintage and contemporary, side by side.

For us, the courtyard is where the project truly lives: the loft wraps around it on three sides, every room looking inward before looking out. In Milan. Brick walls, an olive tree, lemon trees, climbing ivy — in Milan, outdoor space like this is a quiet luxury, and here it's what gives the rooms around it room to breathe.

The bedrooms turn the volume down and the materials warmer. Wood panelling and built-in cabinetry shape the walls, a Dedar fabric covers the wall behind the bed, the light stays soft and close. We carried the same mood into the downstairs study, where a wood panel lined with brass backs a period desk — a room built to flex between workspace, TV room, and an extra bedroom when needed.
The bathrooms bring in something cooler: sage-green fluted cabinet fronts, shaped vintage mirrors, glass-and-brass pendants by Caccia Dominioni for Azucena — all without breaking from the house's warm grammar.

In the end, that's our method: eclecticism not as accumulation, but as dialogue. Italian design, period furniture and art hold together not because they match, but because a colour, a light, a sense of place ties them.