Clara Solano

Stories by Clara Solano

About Clara Solano
Preview - A Small House in the Hills

Umbria, Italy

Preview - A Small House in the Hills

The client bought the house on the basis of a photograph. She had never been to Umbria. She arrived to find a structure that had not been inhabited since the 1970s, with no running water, no electricity, and a roof that was structurally adequate in summer only.

Preview - For the Collector Who Lives Lightly

Paris, France

Preview - For the Collector Who Lives Lightly

The brief was a paradox: my client owns seven hundred objects — paintings, prints, ceramics, glass — and wanted a home that felt empty. He had been offered advice by every designer he had ever met, and had declined it all, choosing instead to live in a series of rented apartments where he could hang things freely without committing to walls.

Preview - The Madrid House That Learned to Wait

Madrid, Spain

Preview - The Madrid House That Learned to Wait

The brief arrived three years before I could take the project. The owner — a retired magistrate — had bought a nineteenth-century townhouse in Chamberí, gutted it to bare concrete and brick, and then stopped. He wanted to wait until he found someone who understood what he was doing.

Preview - Light and Quiet in Manhattan

New York, USA

Preview - Light and Quiet in Manhattan

I first saw the apartment in February. The broker had left a window open and there was snow on the sill. The bones were extraordinary: original cast-iron columns, fourteen-foot ceilings, north light flooding through factory windows that hadn't been replaced since the 1920s. The clients — a couple who collect contemporary ceramics — wanted something that would hold their objects without competing with them.

Preview - A Manhattan Loft Finds Its Quiet

Preview - A Manhattan Loft Finds Its Quiet

I first saw the apartment in February. The broker had left a window open and there was snow on the sill, which I took as a sign of something — honesty, maybe. The bones were extraordinary: original cast-iron columns, fourteen-foot ceilings, north light flooding through factory windows that hadn't been replaced since the 1920s. The clients, a couple in their late forties who collect contemporary ceramics, wanted something that would hold their objects without competing with them.