Bradley and Peter Hüsemann-Odom weren’t specifically looking for a loft—a house with a yard where their pair of vizslas would have room to romp was more what they envisioned—but when a tall, light-filled space in a 1938 Art Deco factory building that backs up to Atlanta’s Beltline essentially fell into their laps, they were game to give it a try. A good friend, it turned out, was moving to New York; she offered them her unit, which both men had admired during social gatherings. And so the deal was made.“We looked at the loft as an opportunity to combine our aesthetics into one,” says Bradley, who leads the eponymous AD PRO Directory design firm Bradley Odom. The recently married couple had been staying in his apartment, which shared much the same moody, layered style as his popular home furnishings store, Dixon Rye (where Peter serves as design director). Rather than continuing to live and work in matched environments, however, they decided that their new home should incorporate a measure of the sparer, airier sensibility Peter grew up with in Germany.Hanging constructions of wire hoops and vintage bocce balls—resembling miniature solar systems—help bring down the main living area’s ceiling height for a more intimate feeling. The shape-echoing circular wall mirror is a Paris flea market find. The wood barstools were custom-made, but designed to give off a vintage vibe. Not much was needed in the way of build-out, with most of the loft’s interior simply getting a coat of pristine white paint—although the ceilings and certain strategic walls were left with the worn, peeling surface the years had provided, as a reminder of the building’s manufacturing heritage. While the majority of the space remains open and interconnected, custom-designed oak doors (inspired by examples the two had seen in a Mexico City hotel) were installed to create separation and privacy for the bathrooms, a walk-in closet, and the kitchen pantry.In addition to the desire to blend their personal styles in the project, Peter says, “another driver was that we really wanted a space where we could entertain and bring all of our friends together.” The loft’s living area, as a result, is set up to accommodate plenty of company. One major focal point is a 1950s leather-wrapped daybed by the French designer Jacques Adnet, which is accompanied by further seating in the form of a puffy Verellen sofa, a pair of Mitchell Gold + Bob Williams slipper chairs that Bradley has owned for more than twenty years (freshly re-covered in a heather-colored Schumacher wool), and a funky, rounded spindle chair and ottoman that were picked up at a roadside flea market near New Orleans for 20 dollars. Peter designed the coffee table for the room, in the form of 12 independent cubes—10 wood, two marble—that can be pulled over to wherever a guest needs to set down a plate or a drink.The loft’s under-stairs entry is painted a smoky purple, which extends around the corner to provide an atmospheric backdrop for a Kit Reuther painting. The Vittorio Introini lounge chair, from 214 Modern Vintage at High Point, is dressed in a Kravet velvet. A carved Anne Herbst console table stands beneath a grid of Rocío Rodríguez works on paper in the dining area. The set of vintage brass-and-rattan chairs came from Bradley’s previous apartment. Other furnishings, such as a rolled-steel dining table, take their cues from the loft’s industrial windows and concrete floors. “We like for a place to speak to us about what it wants to be,” Bradley says, although “we also definitely wanted to have a little bit of fun”—hence a scattering of more playful pieces such as an Anne Herbst console table supported by carved lions.Perhaps above all, Bradley and Peter see their new residence as a spot that symbolizes their joined lives, a repository for artworks they have both collected over the years as well as furniture and accessories discovered during travels together to High Point or Paris or Charleston. Much of the art has been acquired in consultation with Robin Sandler of Atlanta’s Sandler Hudson Gallery, and such professional ties are important to the couple. More than a few owners of businesses where the loft’s contents were sourced, Peter explains, “are friends of ours, and we host them in our space. So it’s really nice to have this representation of them in our interiors.”“I don’t think either of us sees the loft as our forever home,” says Bradley, “but it’s a nice transition, especially for our first years of marriage.” The meaningful things the two have surrounded themselves with, whether brought over by Peter from Germany, kept on from Bradley’s former bachelor pad, or recently purchased à deux, will “continue to find new life in our spaces,” he says, both now and in the future.Bradley (left) and Peter Hüsemann-Odom with their vizslas, Stella Bates and Grayton Rhodes, in their Atlanta loft. A vignette beneath the loft’s stairway includes a Dixon Rye tiered chest, a tadelakt pottery lamp, and brightly hued ceramics from Michael Dickey’s Accretion Series. The couple intend, eventually, to cover the entire wall behind their bed in works of art. The papier-mâché ceiling fixture, from Jeanne Tardif at Atlanta’s Foxglove Antiques, was the final piece added to the room. Graphically patterned nightstands flanking the upholstered Verellen bed are from Dixon Rye. Just outside the closet’s custom white-oak doors is a compact work space; the desk was found at a French flea market. “Since we’ve both worked in fashion,” says Peter, “we’re very keen on having our closet organized, with everything nicely folded and color-coordinated. So it feels like going shopping in the morning for what we are going to wear.” The powder bath is a departure in mood from the rest of the loft, with its skirted vanity, darker color palette, and foliage-covered walls. The three wild-clay vessels are from Josh Copus Pottery.