That began with rethinking the layout alongside general contractor David Gordon, weaving a tale that begins as soon as one steps out of the elevator lobby and enters the great room. “Suzanne knew we wanted this area to be usable for enjoying the view as well as entertaining,” he says.
With prior experience working in the building, Lovell knew they’d be able to take down non-load-bearing elements that blocked sights of the white sand and blue ocean beyond. “The line of windows needed to flow from the front door all the way around the home,” she explains. “I wanted people to be able to walk to the edge of the architecture.”
The material palette was essential in moving the story forward. Lovell maintained the box-shaped millwork, adding bright white shiplap and wrapping columns in rope. Walls were transformed with plaster, grass cloth and linen. Other nautical nods—like brass kitchen pendants on chains that bring to mind boating knots, the yacht-inspired game room with its woven panels and leather seating, and the great room’s curved wood-back sofa—serve as reminders of the beachfront location.
The primary bedroom’s Troscan sofa and Caste coffee table face a Jouffre bed. Patrick E. Naggar armchairs, Ross Bleckner art and a Holly Hunt floor lamp add interest beneath Jonathan Browning Studios’ Avion chandelier.
In the dining room, residential designer Suzanne Lovell selected Pierre Frey’s geometric Pueblos fabric for Studio Van den Akker’s Paolo chairs. Dual Lucy Slivinski chandeliers inject whimsy above the redwood slab-topped Pollaro table with cumaro-trunk legs.