In the apartment designed by designer Gisbert Peppler, everything is made to order, taking into account the unusual habits of customers.
The owners of this penthouse turned to the Gisbert Pöppler bureau after looking at the interiors of their friends and acquaintances designed by Gisbert Pöppler and his team. “They liked the aesthetics and the way we work with materials and shades,” says the founder of the bureau.
The penthouse is located on the roof of a 1930s Berlin house next to the Cologne Park. There was nothing left of the original interior, only a glass shell, and the designer decided to radically change the traditional inconvenient layout, which was a long corridor with a bunch of rooms strung on it. Instead of a “comb”, a large common space appeared, of which even a guest bedroom became a part (but if necessary, it can be isolated). Only the master block is separately taken out.
The area of the apartment is large — 160 m2, and Gisbert tried to preserve this space as much as possible, not forgetting about comfort and coziness. Playing with materials, shades and textures helped him to make the interior enclosed in a glass cube cozy — they also emphasize the architecture of the space. The entrance hall is highlighted by wooden lacquer panels with a reddish tinge, their glossy sheen favorably emphasizes the matte linoleum with which the facades of the console are finished.
In the common area, one of the walls and the partition separating the guest bedroom are made of teak, and a contrasting pair for it is textured sandstone, with which the walls of the kitchen are decorated. “This stone was chosen by the customers themselves during a trip to Italy, and we came up with the pattern together,” says Gisbert Peppler. Permanent companions of wall decoration with wood or stone panels are seams and joints. The designer decided to beat them: they also mark the boundaries of the baseboards and ceiling frieze, which, in fact, do not exist, and, despite the variety of materials, visually make the interior one.
Gisbert had complete freedom of expression, but he still worked closely with customers. “Freedom is not about imposing one’s tastes and views. We are professionals, and our task is to help customers decide on their preferences so that they end up with a suitable interior,” explains the author of the project. Peppler and his team not only ask customers about all their habits, but also consciously involve them in the creative process. This is how they begin to understand the process and automatically gain confidence in the designer. For example, according to the author’s plan, the ceiling in the entire apartment was supposed to be a deep purple-blue shade, and the owners were a little scared, but they decided to rely on the designer, and everyone was satisfied with the result.
For technical reasons, the ceiling had to be lowered in the living room area, and Gisbert made it an accent detail, choosing an atypical material for these tasks — stainless steel. “It seems cold to many, but here everything works the other way around: vague reflections of light add volume and warmth to the space,” explains Peppler.
All the furniture in the apartment, including soft, is made to order according to the designer’s sketches. All in order to make it as comfortable as possible and it was convenient to use. For example, the customer likes to stack T-shirts in stacks, and shelves of a certain depth were made especially for him, and the shoe cabinet inside was covered with an unmarked and wear-resistant material. In the kitchen, they counted all the dishes and designed boxes in which even the largest frying pan fits without problems. The breakfast table and the dining table are also made to order, but then the customers got into the taste and wanted to have things specially created for them with the designer’s handwriting in their house. So, the dining table is designed in such a way that even the back side of the countertop can be admired. “The thing is that the owner likes to listen to music while lying on the floor in the living room, and we didn’t want him to see unsightly design details,” explains Gisbert Peppler.