46 SUMMER 2020 | WWW.SHAKER.LIFE
hen contemplating the design for the windows, Reed considered
how the commercial-grade expanse would impact the occupants.
“The spatial experience is completely different when you don’t
have a wall under a window, as most homes do,” he says.
“Typically you lose the ground plane. But here the floor and
ceiling are both continuously glass-lined so it’s much
more panoramic.”
The effect of the wall of glass is particularly pronounced in
the kitchen. Facing north, like an artist’s studio, the light reflects
off the white Zen garden rocks and the surface of the swimming
pool just steps away. It’s fitting for the room that Leskosky
uses for yet another creative outlet, cooking. (He is also an
accomplished painter.)
Leveraging their experience designing Zack Bruell’s
restaurants, the kitchen was inspired by a commercial kitchen
layout; Leskosky frequently hosts dinner parties for friends and
family. Taking another cue from their former home, the central
feature is not an island but a chef’s table Leskosky designed.
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