
Nothing lit above three metres. The height stays dark and the room stays tall.
Daylight enters high and is diffused by sheer linen; artificial light is kept at table and floor level, with three low pendants as the only fittings in the volume. The upper wall is never washed, because a lit ceiling collapses the height it is meant to reveal.

Pale lime plaster, grey-veined marble, one walnut. Three surfaces, no more.
Plaster carries the volume and is left slightly cloudy so the wall has depth at distance. Marble appears only as horizontal tops. Walnut is book-matched and used for everything that stores, which keeps the dark tone at low level where it belongs.

Every horizontal line stays under a metre and runs long.
The sofa is four metres and low; the sideboard is two and a half and low. Long, unbroken horizontals read as calm against a tall wall, where a cluster of small pieces would read as clutter.

Wool bouclé, leather and walnut — one weight each, repeated.
Upholstery is a single undyed wool bouclé; seating leather is one hide colour across ten chairs. Nothing is patterned, so the veining in the marble is the only figure in the room.














