The Ibero loft was acquired raw and occupies the sixth floor of a 1924 warehouse designed by Lockwood, Green & Co., taking up one quarter of the building plan.  The building is a forthright four square structure diagonally related to an important intersection.

The loft was conceived as a private gallery for an art collector, and was distinguished by broad areas of window glass and four massive concrete columns with a view diagonally over the intersection.

A sequence of eight spaces was developed around the central living area that the columns define. The media, dining, kitchen and meditation areas are open to, but have differing degrees of separation from the center living room; the two bedroom suites are based on the idea of an enclosed maze, but with different configurations; the entrance gallery and terrace are the opposite of each other, one linear and interior, the other square and exterior.

Floors are of quarter sawn maple throughout, are cabinets are of walnut with chrome accented glass display vitrines and floor to ceiling translucent glass panels are arranged in various configurations to create a variety of vistas. 

Each space explores a different way of developing spatial opportunities for the display of the collection.  Four of these spaces are grouped at right angles to the living room.  (A) The media room contains small etchings and prints and is partially separated from the living room by glass, forming a small side gallery. The dining room is fully open to the living room, formed by a wall of bookcases with display vitrines and openings for rare book display on one side and the glazed wall of the terrace on the other.  The kitchen is partially screened behind a column and the necessary elements such as range and cabinets treated as sculptural objects, the cabinet section revealed behind full height ribbed glass. The meditation area is defined by a Japanese light fixture fabricated of a single enormous piece of origami paper, with tatami mat floor, and places for the display of sculptural objects.

The two bedrooms are diagonally related, and each is arranged in the form of small mazes. (B) The guest bedroom is reached by a gently curving corridor without door and the circulation spirals in to the bed, bathroom and storage areas.  The master bedroom is reached by a full height sliding door and the space spirals in the opposite direction, providing walls for the display of paintings and tapestries.

The entrance gallery is a long rectangular space for the display of paintings on large flat surfaces.  It is diagonally related to its opposite, the exterior terrace (C), whose artistic purpose is to culminate the collection by presenting the city itself as a work of art, framed in a wall of multiple panels, thus also culminating the experience of spaciousness by releasing one’s gaze from the living room out over the urban intersection beyond.