沙漠的正午阳光 | Alexander Kozlov | 2026 | 阿联酋
Arabic has a word for the hour when the sun becomes most unforgiving: al-hājirah, midday at the height of the heat. The region’s potent sunlight has shaped architecture for millennia, from inward-facing courtyard houses and narrow, shaded streets to mashrabiya screens, all designed to keep its intensity at bay. At this 550-square-metre residence atop the Four Seasons Private Residences Dubai, however, interior architect Alexander Kozlov has taken the opposite approach, embracing the sun as a design collaborator that brings bronze, timber and art to life as the light shifts throughout the day. As founder and creative director of his eponymous studio, Kozlov avoids imposing the same design language on every project. “For me, the context of the place is very important,” he says. In Dubai, that meant responding to the particular force of its light. “The sun here is very white,” he continues, “but Dubai also has a softness: sunset, a touch of gold, and the warm tones that come with it.”
This is most striking in the living room, where 90-degree windows pull in views of the canal, the sea, and the low-rise neighbourhood of Jumeirah beyond. Kozlov divided the generous space into two distinct seating areas, one end anchored by a library and a large-scale artwork, and the other by a sculpted screen finished in liquid bronze, which changes character as the light moves across it. “It has a touch of brass and was made for us in England by a London-based specialist,” he explains. The resulting ever-changing shimmer is so mesmerising that the screen is rarely opened to reveal the television behind. Bespoke elements, including Kozlov’s parchment coffee table, give the room its character, while ceiling beams introduce a European note reminiscent of the owners’ homes in London and Monaco.
Elsewhere, Kozlov was less inclined to accept the handed-over design as it was. Although the residence arrived with complete interiors, demolition revealed unused spaces hidden behind partitions and cladding, allowing him to rethink the layout and give each room stronger proportions. The clearest example is the landing between the bedrooms, originally little more than an oversized corridor. Kozlov lined it with bookshelves and introduced a large central table, transforming it into a family library where the children can do homework, tea can be served, and everyone can gather. “Before, it was just a corridor,” he says. “Now they meet in one space.”
Three principal bedrooms open off the library, including the wife’s bedroom, where Kozlov drew inspiration from the views, using warm whites and pale timbers to echo the rooftops and villas of the surrounding neighbourhood. A sculptural relief above the bed complements the room’s curved forms, from the upholstered headboard to the bench and window surround.
Practicality is built into the architecture, with open shelves and concealed cupboards as well as a slender desk beneath the window. “Maybe it’s for make-up, maybe for a laptop,” says Kozlov. “Most importantly, it’s a space that can be used.”
This manifesto serves the apartment well, with works from the clients’ collection appearing in almost every room. Kozlov’s challenge was to give each piece the space and architectural presence it deserved. “The apartment is large, so I preferred to use large artworks,” he says. “The smaller pieces can change, but the big ones become part of the space.” In the dining room, monumental white relief blends tonally with the wall, preserving the pale palette, while Olga Engel’s Zephyr chandelier, fashioned from handcrafted porcelain teardrops, hangs above the table. “I didn’t want a bright artwork in the white dining room,” says Kozlov. “I wanted to keep it white to allow the focus to be on the conversation around the dining table.”
- 转载自：AD(admiddleeast)
- 图片@AD(admiddleeast)
- 国家：美国
- 编辑：序赞网
- 翻译：序赞网
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