Pots and pans are within arm’s reach, hanging from a capacious rack over the island. The island itself is constructed of pine that has been stained, which De Giulio believes breaks down the mass of the block shape. “It creates positive and negative spaces that make the room more friendly.” The designer used the same gray-veined white marble for the island ’s countertop as he used for the backsplash—a nice counterpoint to the teak surfaces next to the range. He chose 1930s-style pendant lights with ridged-glass shades to illuminate the island. To prevent the end of the island that faces the doorway from being a visual dead end, De Giulio designed it with open bookshelves topped by a graceful arch. Turned-wood legs on the dining side of the island adds a furniture dimension to the view.
As he does in most of his kitchen designs, De Giulio combines a wide variety of materials for interest and texture. For example, he uses marble, teak, and stainless steel for countertops. This approach is especially appealing to Linda. “That’s the way I dress,” she says. “I’m very eclectic. Some people think teak doesn’t go with marble, but I like the mix, just as I like English antique silver but also modern stainless for an oven.”
De Giulio confirms that this minimal traditional look is enormously appealing: “When you have classic shapes and classic lines, and you don’t overdo elements and finishes, it really works. In 10 years, this kitchen will look as new as the day it was put in.” And that’s for the second time.
