{"id":990896,"date":"2026-11-02T09:10:17","date_gmt":"2026-11-02T14:10:17","guid":{"rendered":"https:\/\/graziamagazine.com\/us\/?post_type=articles&p=990896"},"modified":"2026-11-02T03:11:37","modified_gmt":"2026-11-02T08:11:37","slug":"casa-de-orio-luxury-chicago-loft","status":"publish","type":"articles","link":"https:\/\/graziamagazine.com\/us\/articles\/casa-de-orio-luxury-chicago-loft\/","title":{"rendered":"The Art of Making a House Feel Like Home"},"content":{"rendered":"
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Photo by Eric Kleinberg<\/figcaption><\/figure>\n

Fresh out of college, Catherine De Orio was living in Venice, Italy, and working at the Peggy Guggenheim Collection when she began hosting dinner parties in her apartment overlooking Dorsoduro\u2019s majestic Basilica di Santa Maria della Salute. At night, the glow of a Murano glass chandelier caught the eye of passersby below. When De Orio spotted someone looking up, she would wave from the balcony and invite them to join the festivities. Even then, home was less a private retreat than an invitation.<\/p>\n

That instinct took shape much earlier in the large Italian family in Chicago where De Orio grew up. At the home of her grandmother, known to loved ones as Nana Kay, a pot of Sunday gravy rich with pork neck bones was a near-constant presence as was the unspoken understanding that anyone who walked through the door would be fed. \u201cEven if I was just tagging along with a cousin or showing up with a friend, there was an immediate sense of \u2018Come in, sit down, let me feed you,\u2019\u201d she recalls. \u201cThere was warmth, generosity and an instinct to bring people into the fold.\u201d<\/p>\n

Decades later, open-heartedness and hospitality inform the way De Orio cooks, entertains, and designs. \u201cI now show love and create connection in much the same spirit,\u201d she says. Welcoming people into her home is an expression of affection and a way of honoring the time she and her guests choose to spend together.<\/p>\n

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Photo by Eric Kleinberg<\/figcaption><\/figure>\n

That approach is also embedded in the Chicago loft she shares with her husband, renowned trial attorney John Gorey, a partner at leading civil rights firm Romanucci & Blandin. A recently completed multiyear renovation combined the original loft with a neighboring unit, bringing the home to just over 3,000 square feet. Part of a former printing press and cardboard box factory, it retains its industrial character. Limewashed brick, timber beams, and exposed piping preserve that heritage while long sightlines and high ceilings provide drama. \u201cI think renovations can sometimes go too far,\u201d says De Orio, who resisted smoothing the enlarged loft into a single immaculate whole. \u201cI wanted to contrast this very Chicago industrial shell with spaces that feel decorative, glamorous, intimate, and sometimes quite European.\u201d Open gathering spaces give way to jewel-box rooms; broad views are interrupted by doorways, shelving, and hidden passages. \u201cI wanted smaller rooms to be discovered,\u201d she explains, \u201cand places where you don\u2019t see everything all at once.\u201d<\/p>\n

That element of surprise is central to De Orio\u2019s point of view. Her rooms are composed but never obedient to a single period or provenance. Italian modernism meets Art Deco; salvaged surfaces sit beside high-gloss lacquer; serious pieces coexist with candy jars and irreverent art. The tension keeps the interiors alive. So does the feeling that nearly everything has a story, memory, or joke. Much of the home is custom, less as a declaration of luxury than as an expression of De Orio\u2019s unwillingness to settle for an approximation. When she couldn\u2019t find what she envisioned, she designed it \u2014 or had it made.<\/p>\n

De Orio\u2019s path has been similarly resistant to tidy categories. A self-described \u201crecovering attorney,\u201d she left law to train as a chef, built a career in food and television \u2014 including hosting an Emmy-winning dining program \u2014 and established and leads the Foundation for Culinary Arts, which creates culinary career pathways for young people from historically underserved Chicago communities. She is also the founder and creative director of Casa De Orio<\/a>, an editorial lifestyle platform devoted to dining, design, and la dolce vita. Bringing the strands of her career together, its \u201clife lived well\u201d ethos celebrates discernment, pleasure, and connection rather than perfection or display. The loft is where those ideas come to life.<\/p>\n

The experience begins in the entry, where an overdyed peacock-blue and green Turkish rug, sourced from Istanbul, sets the palette, and bookshelves wrap the doorway. \u201cI wanted it to feel as if you are officially leaving the outside world behind,\u201d De Orio says. Cookbooks mingle with volumes on fashion, art, and design \u2014 an immediate introduction to De Orio’s interests and the home’s governing principle: curiosity as a form of decoration. That idea deepens in the library hallway, where oxblood saturates every surface and 1950s Andr\u00e9 Arbus sconces shaped like hands illuminate books that De Orio and Gorey, both devoted readers, have actually read rather than selected merely for show. The hallway\u2019s impact comes not from theatrical gestures but something quieter \u2014 the life of the mind made tangible.<\/p>\n

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Photo by Eric Kleinberg<\/figcaption><\/figure>\n

The kitchen, dining room, and sitting areas occupy a continuous volume. For De Orio, who remains active in the culinary world, the kitchen is unapologetically functional. \u201cI wanted it to look like a kitchen,\u201d she says. \u201cUtilitarian things can be incredibly beautiful without disguising what they are.\u201d Unable to find a range hood with the presence the room demanded, De Orio designed one in patinated zinc with brass strapping and trim, giving the open space an architectural centerpiece.<\/p>\n

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Photo by Eric Kleinberg<\/figcaption><\/figure>\n

In the dining area, an Art Deco-style burlwood table is surrounded by clean-lined Guglielmo Ulrich chairs upholstered in deep green Dedar Milano fabric.\u00a0A more intimate booth is tucked into one corner, lowering the scale and shifting the mood. Its zinc tabletop recalls the old bars of Parisian brasseries, a reference to De Orio\u2019s time living in Paris, where she and Gorey still love to dine. It is slowly accumulating culaccini<\/em>, the Italian term for rings left by glasses and dishware. She chose the untreated metal precisely because it would record use. \u201cI like thinking that over time it will hold evidence of all the meals and people who have sat there,\u201d she says. For now, she laughs, the table is in its \u201cawkward adolescent phase\u201d \u2014 no longer new, not yet enveloped in a silvery patina.<\/p>\n

The booth has become one of the home\u2019s centers of gravity, a place where De Orio works, dines with Gorey and settles in with friends. Glass jars of seasonal candy within reach add an almost childlike note. \u201cThere are plenty of serious design pieces in the house, but I never want the house itself to feel serious,\u201d she says. \u201cThe candy jars bring whimsy and cheer, and they give people permission to help themselves.\u201d<\/p>\n

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Photo by Eric Kleinberg<\/figcaption><\/figure>\n

Nearby, a green goatskin Aldo Tura bar cart turns the Italian ritual of the after-dinner drink into a movable vignette. Bottles of aperitivi and amari are arranged alongside crystal and a 1950s brass ashtray shaped like a fly that has been repurposed for coffee beans, a nod to le mosche<\/em>, or \u201cthe flies,\u201d traditionally served with sambuca, Gorey\u2019s preferred digestivo. It is at once an inside joke and a gesture of hospitality tailored to him.<\/p>\n

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Photo by Eric Kleinberg<\/figcaption><\/figure>\n

The fireplace room offers perhaps the clearest conversation between the building\u2019s industrial origins and the world De Orio has brought into it. A carved Arabescato marble mantel is set against inky black Venetian plaster with a subtly sueded finish. An antique crystal chandelier and towering foxed mirror multiply the room\u2019s glow and height while weathered brown Chesterfields keep the room grounded and sociable. Beneath an ornate Italian mirror, a compact Paolo Buffa dry bar holds an antique carved wooden figure of a woman, acquired in Florence and said to have once displayed jewelry in a Ponte Vecchio shop. Battered and bruised, she is all the more beloved for it. The materials are opulent, but the atmosphere is more akin to a private club than a formal salon.<\/p>\n

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Photo by Eric Kleinberg<\/figcaption><\/figure>\n

In the butler\u2019s pantry, the loft\u2019s expansiveness gives way to compressed glamour. Salvaged Spanish marble tiles form a checkerboard floor beneath a distressed pressed-tin ceiling. Lacquered aubergine cabinetry holds vintage china and crystal, while a Romina Ressia photograph of a woman eating pasta with the solemnity of a Renaissance sitter punctures any preciousness. The first room completed during the renovation, it became De Orio\u2019s refuge from all the dust and disorder. Its wine fridge helped. \u201cI would come in here, pour myself a glass of champagne, and unwind,\u201d she says. She nicknamed it the \u201cCham-panic Room.\u201d The joke, and ritual, stuck.<\/p>\n

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Photo by Eric Kleinberg<\/figcaption><\/figure>\n

The former neighboring loft is divided into small, increasingly enclosed spaces culminating in the Green Room. Without windows or a distant view, attention turns inward. Matte Venetian plaster absorbs the light, Versailles-pattern parquet lends formal order, and towering hand-painted de Gournay panels transform the walls into a landscape of pomegranates, flowers, and peacocks, De Orio\u2019s favorite bird. Inspired by a screen once owned by Yves Saint Laurent, the panels make the room feel transported and intensely private. An immense mirror above a leather sofa creates an illusory opening in the windowless room, doubling the chandelier, bookshelves, and panels, giving the interior unexpected depth. \u201cIt\u2019s glamorous and cocooning because the scale is so intimate,\u201d she says. \u201cIt\u2019s like disappearing into a world unto itself.\u201d<\/p>\n

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Photo by Eric Kleinberg<\/figcaption><\/figure>\n

A wet bar with a vintage Sherle Wagner swan faucet and a green-and-white porcelain basin occupies one corner. Hardwired 1970s Bowers & Wilkins speakers, a turntable, and custom vinyl drawers reinforce the room\u2019s analog character. Books, records, and patterned Scalamandr\u00e9 pillows soften the grandeur. Of all the rooms, it may best capture the balance at the heart of De Orio\u2019s sensibility \u2014 erudite but playful, glamorous without being remote, and happiest when put to use. She often retreats here at day\u2019s end, but after dinner, guests tend to follow. One recent visitor arrived for happy hour at four in the afternoon and stayed until sunrise. \u201cThe Green Room feels like something from another time, but it isn\u2019t intimidating,\u201d she says.<\/p>\n

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Photo by Eric Kleinberg<\/figcaption><\/figure>\n

On quieter evenings, you\u2019ll find her curled up on a blush-pink Mario Bellini Camaleonda sofa with Gnocchi, the couple\u2019s pug, and Gatsby, their Brussels Griffon, in the Blue Room, its glossy walls catching the low light of a brass Sputnik fixture.<\/p>\n

For all its dramatic furnishings, the home\u2019s real luxury lies in its shifts of atmosphere and the freedom to use every room according to one\u2019s mood. It can hold a crowd without feeling cavernous and provide solitude without feeling closed off. Its architecture provides the volume; De Orio\u2019s layers of color, material, memory, and humor provide the emotional scale.<\/p>\n

\u201cAn interior becomes interesting when it tells you something about the people who live there,\u201d she says. \u201cThe places you\u2019ve been, the people you love, your sense of humor, even your peculiarities should all make their way into a home.\u201d<\/p>\n

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Photo by Eric Kleinberg<\/figcaption><\/figure>\n

In De Orio\u2019s loft, patina is allowed to form, doors conceal unexpected spaces, and a grand room is never too grand for a jar of candy. Beauty matters, but only insofar as it serves the life unfolding around it. The home is the most persuasive expression of Casa De Orio\u2019s vision of a life lived well: not a perfectly styled existence, but one made richer through attention, appetite, and company. \u201cI want the house to feel warm, layered and welcoming,\u201d De Orio says. \u201cThe whole point, for me, is that people should want to stay.\u201d<\/p>\n","protected":false},"author":42766,"featured_media":990903,"template":"","format":"standard","categories":[6939,2716,2719,16],"yoast_head":"\nThe Art of Making a House Feel Like Home<\/title>\n<meta name=\"description\" content=\"Catherine De Orio\u2019s expansive Chicago loft layers architectural character, evocative art, and collected objects into a home that's both grand and intimate.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/graziamagazine.com\/us\/articles\/casa-de-orio-luxury-chicago-loft\/\" \/>\n<meta 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