Architectural Cases

In the bustling heart of Manhattan, artist Laila Gohar and chef Ignacio Mattos cultivate an atmosphere of boundless creativity and warm hospitality within their Tribeca loft. Their home is a testament to an open-door philosophy, where friends, often accompanied by their children, are welcome to partake in an evolving feast of culinary delights and lively conversation. Gohar, celebrated for her imaginative food installations and the distinctive Gohar World collection she co-founded with her sister Nadia, views cooking as a profound act of nurturing. She highlights the rich, sensory experience it offers: the comforting aromas, the cherished rituals of table setting, the delightful chaos, and the melodies of clanking dishes. It's a holistic engagement that stimulates all the senses, transforming a meal into an immersive event.

Artist Laila Gohar and Chef Ignacio Mattos Create a Dynamic Home Environment in Manhattan's Tribeca

In 2022, a significant life change prompted Gohar and Mattos to relocate. With Gohar's pregnancy, the couple, who had been residing on New York's Upper West Side, sought a return to downtown Manhattan. The move aimed to bring Gohar closer to her artistic studio and friends, while Mattos would be nearer to his acclaimed restaurants, Estela and Altro Paradiso. A friend's timely suggestion of a Tribeca apartment, nestled within a building renowned for its artistic community, proved irresistible. They swiftly embraced the new space. Mattos expresses his affection for loft living, acknowledging its propensity for delightful disarray while cherishing its vibrant energy. This dynamic space often serves as an incubator for new ideas, where unexpected moments can spark inspiration.

Gohar's career trajectory is a remarkable narrative of self-creation. Originally from Egypt, she embarked on her culinary journey as a line cook in Miami during her college years, eventually establishing Sunday Supper, a successful catering enterprise, in 2013. Her artistic vision truly blossomed as she began to explore food in sculptural and performative contexts. From bread suspended from ceilings to chocolate busts designed for playful destruction, her edible creations garnered widespread attention. Major brands, recognizing the universal appeal of her joyful approach, soon came calling. Gohar's viral food installations became a sensation. Notable projects include a colossal raspberry tart, a towering langoustine sculpture, and a monumental mortadella, hoisted by crane through a window, for the 2019 opening of Galeries Lafayette on the Champs-Élysées. For Sotheby's Surrealism sale last year, she crafted an edible homage to Ed Ruscha's 'Chocolate Room' and sculpted two beach-ball-sized cakes resembling an apple and a rose. At an Hermès dinner in 2022, Gohar's vegetable topiaries, meticulously assembled from radishes, carrots, and potatoes, captivated guests, including the likes of Martha Stewart.

Gohar's artistic endeavors are not confined to grand spectacles. Last November, at Arch, an exhibition space in Athens, she prepared a pot of beans over three days, inviting art enthusiasts to share a bowl. Regardless of the client or setting, her core message remains consistent: share a bite. This simple act often sparks conversations and shared laughter, fostering connection. Gohar credits her parents, particularly her prominent Egyptian journalist father and her mother, for instilling in her a gift for hosting. Their dinner parties were intellectual salons, bringing together local reporters, writers, politicians, and expatriates. Although Gohar initially considered a diplomatic career, her own gatherings possess a similar strategic social flair, often facilitating introductions to admired artists or future collaborators. Even during the challenging period of COVID-19 lockdowns, Gohar rallied her global followers to prepare comforting, traditional dishes, emphasizing the value of slow, deliberate creation. She famously declared an 'allergy to convenience,' viewing it as an impediment to excitement, quality, and beauty. This philosophy extends to her approach to home life, where 'nice things shouldn't be saved for special occasions.' Recently, in her husband's absence, Gohar spontaneously hosted a 30-person birthday celebration, roasting four chickens and ensuring every guest had a seat, cherishing the ceremonial aspect of shared meals.

Within this vibrant loft, a charming blend of disparate elements coexists harmoniously. A chic Le Corbusier chaise longue finds its place beside Paz's playful toys, while exotic stones complement antique textiles. Gohar advocates for truly living with one's possessions, citing her own example of roasting chickens in a Courrèges vinyl minidress and expressing discomfort with overly precious items. This ethos underpins Gohar World, her brand that infuses the whimsical charm of her installations into products accessible to a wider audience. A seemingly delectable Italian pastry transforms into a candle, a tiny stainless-steel bird cleverly squeezes lemon wedges, and a slender, bow-adorned satin bag is ingeniously designed for carrying baguettes. The arrival of their son, Paz, has only amplified the home's joyous chaos. While they initially attempted childproofing, Paz's playful dismantling of protective corners led them to embrace a more adaptable environment, where everything and everyone coexists. Inevitably, there are minor casualties, such as the Noguchi lamp, a cherished gift from the late lighting luminary Ingo Maurer, which Paz, with an artist's child's natural curiosity, once sampled. Gohar recounts this with laughter, understanding that for a child of an artist who crafts quilts from flatbread and sculptures from butter, why shouldn't a lamp be considered edible too?

The cinematic world of "Bugonia" presents a meticulously curated aesthetic, where iconic furniture pieces are more than mere props; they are integral to the narrative and character development. As Michelle, played by Emma Stone, navigates her professional and personal spaces, viewers are treated to a parade of design masterpieces, each subtly hinting at her true, non-human identity. These selections, ranging from the sleek Barcelona chairs to the geometric Taliesin 2 lamp, serve as visual metaphors for Michelle's carefully constructed human facade.

Production designer James Price intentionally populated Michelle's environments with these revered designs, suggesting that she collects them as symbols of human achievement and authenticity. Yet, the pristine, almost clinical presentation of these objects—chosen for their grand stature and efficient immaculateness—belies a deeper, unsettling truth. The presence of these seemingly perfect, yet emotionally distant, artifacts implies Michelle's efforts to overcompensate for her alien nature, using design as a form of self-validation rather than genuine connection.

Inspired by mid-century science fiction films such as "2001: A Space Odyssey," Price deliberately infused "Bugonia" with a retro-futuristic charm. This influence is evident in the film's set pieces, which include Ludwig Mies van der Rohe's Barcelona chairs, Frank Lloyd Wright's Taliesin 2 floor lamp, Claire Norcross's Ribbon Lamp, Jan Bocan's armchairs, and Henrik Pederson's Imola chair. Each item not only contributes to the film's distinctive visual style but also subtly amplifies the underlying tension and mystery surrounding Michelle's character and her place within the human world.

Through the thoughtful integration of these design elements, "Bugonia" invites audiences to look beyond the surface and consider the intricate ways in which our environments can reflect, and even reveal, our inner selves. The film encourages an appreciation for the details that shape a narrative, highlighting how design, when used creatively, can elevate storytelling and foster a deeper engagement with complex themes. Ultimately, the film champions the idea that genuine connection and authenticity stem from within, rather than being merely acquired or simulated through external trappings.