THE INTERNATIONAL DESIGN AUTHORITY OCTOBER 2018
THE NEW CREATIVES DESIGNERS ON THE RISE
MICHAEL S. SMITH’S MANHATTAN MASTERPIECE
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CONTENTS october
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28 Editor’s Letter 32 Object Lesson How the slim sofa Ludwig Mies van der Rohe designed for Philip Johnson became a modern icon.
39 Discoveries Ashe + Leandro crafts a backdrop for creativity at Jake Gyllenhaal’s New York office . . . Tony Duquette’s fantastical designs charm a new generation . . . Joseph Dirand helps launch Paris’s new It restaurant . . . Martina Mondadori Sartogo’s cult lifestyle brand catches on Stateside . . . A trailblazing new medical center blends world-class art with architectural innovation . . . Our favorite light fixtures . . . Neal Beckstedt uses color to rev up a Manhattan pied-à-terre . . . How the 3-D-printed house will transform how we live and build . . . Inside one family’s fabled getaway on the Côte d’Azur . . . and more! (CONTINUED ON PAGE 18)
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MICHAEL MUNDY (2); TOP: ARP © 2018 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/VG BILD-KUNST, BONN
TWO VIEWS OF A MANHATTAN RESIDENCE DESIGNED BY MICHAEL S. SMITH.
Text u re d . To n a l . T ime l e ss. feat. T H E I D R I S C O L L E C T I O N
Rugs for the thoughtfully layered home.
CONTENTS october
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STERLING RUBY IN HIS LOS ANGELES– AREA STUDIO.
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SASHA BIKOFF AT THE KIPS BAY DECORATOR SHOW HOUSE.
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87 New Creatives The latest crop of design stars upend convention, celebrate cultural differences, and revitalize traditions of all kinds.
114 High Style Under the guidance of Michael S. Smith, one of Manhattan’s most storied residences gets a glorious new lease on life. BY JAMES REGINATO
128 Strange Alchemy Gabriel Hendifar and Jeremy Anderson’s New York City loft showcases the couple’s dazzling aesthetic. BY MAYER RUS
136 Homeward Bound When it came time to design her London townhouse, young globe-trotter Nina Flohr enlisted Veere Grenney to help her conjure domestic bliss. BY GIANLUCA LONGO (CONTINUED ON PAGE 20)
CLOCKWISE FROM TOP LEFT: JASON SCHMIDT; WILLIAM ABRANOWICZ; AMY LOMBARD
INSIDE A SAN FRANCISCO HOME WITH INTERIORS BY CHARLES DE LISLE.
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CONTENTS october
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144 Supersize It Sterling Ruby’s vast studio is a testament to the scope and ambition of the artist’s practice. BY MAYER RUS
A MANHATTAN DUPLEX DESIGNED BY MICHAEL S. SMITH. “HIGH STYLE,” PAGE 114. PHOTOGRAPHY BY MICHAEL MUNDY. STYLED BY CAROLINA IRVING. FOR DETAILS SEE RESOURCES.
150 Lush Life With nature threatening to take over, Daniel Romualdez called on Miranda Brooks to tame and transform the acres surrounding his beloved Connecticut retreat. BY PAGE DICKEY
FOLLOW @ARCHDIGEST
156 Back to the Future Marmol Radziner and Charles de Lisle restore and revive a classic midcentury home in San Francisco. BY MAYER RUS
168 Resources The designers, architects, and products featured this month.
170 Last Word Ashley Hicks sheds new light on the legendary quarters of Buckingham Palace.
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CORRECTION IN “CAR TALK” (SEPTEMBER), WE INCORRECTLY IDENTIFIED NICOLA BULGARI AS THE GREAT-GRANDSON OF BULGARI FOUNDER SOTIRIOS VOULGARIS. HE IS VOULGARIS’S GRANDSON. WE REGRET THE ERROR.
FROM TOP: FRANÇOIS DISCHINGER; MICHAEL MUNDY; ON COVER: © 2018 THE FRANZ KLINE ESTATE/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
JEREMY ANDERSON AND GABRIEL HENDIFAR’S NEW YORK CITY LOFT.
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DESIGN STOR IES 2
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SAMUEL & SONS CHEVALLERIE BY TIMOTHY CORRIGAN
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Created by world-renowned interior designer Timothy Corrigan for Samuel & Sons, the Chevallerie collection is inspired by 18th-century documentary trimmings and successfully marries European grandeur with a modern aesthetic. Named after Corrigan’s 18th-century Château de La Chevallerie, located on the northern border of France’s Loire Valley, the collection employs intricate elements, highly complex weave structures, and a mélange of sophisticated hues, which are composed of several rich traditional combinations balanced by the subtle mix of 21st-century palettes.
1. INTERIOR DESIGNER TIMOTHY CORRIGAN
In his projects around the globe, Corrigan carefully mixes furnishings, art, and design from
2. CHEVALLERIE CRETE BORDER IN MARZIPAN
different periods to create spaces that are interesting, beautifully appointed, and inviting.
3. CLOCKWISE: CHEVALLERIE KEY TASSELS IN VERT, BLEU, ORO,
“I think that when you have disparate items in very different styles, there’s a tension that’s
MACARON, BORDEAUX, MARZIPAN, CRÉME, JARDIN, AMANDE, ARGENT, AND PÉTALE 4. CHEVALLERIE SCALLOP TASSEL FRINGE IN MARZIPAN
created,” he said. “Whether you’re mixing new and old, expensive and inexpensive, or ornate and simple, I love the exchange that happens whenever you put two very different pieces together.” In the Chevallerie collection of passementerie for Samuel & Sons, Corrigan exhibits his aesthetic of European elegance infused with California casual in both the line’s tactile and visual elements.
VIEW THESE AND OTHER PRODUCTS AT ARCHDIGEST360.COM
An Elegant Indu lgence for t he Home Timothy Corrigan FOR SA MU EL & SONS
I S T R I M. samuelandsons.com
THE INTERNATIONAL DESIGN AUTHORITY VOLUME 75 NUMBER 9
EDITOR IN CHIEF
Amy Astley CREATIVE DIRECTOR David Sebbah EDITORIAL OPERATIONS DIRECTOR Diane Dragan EXECUTIVE EDITOR Shax Riegler EXECUTIVE DIRECTOR, DIGITAL Keith Pollock INTERIORS & GARDEN DIRECTOR Alison Levasseur STYLE DIRECTOR Jane Keltner de Valle FEATURES DIRECTOR Sam Cochran DECORATIVE ARTS EDITOR Mitchell Owens WEST COAST EDITOR Mayer Rus
FEATURES SENIOR DESIGN WRITER Hannah Martin DEPUTY EDITOR, DIGITAL Kristen Flanagan SPECIAL PROJECTS DIRECTOR, DIGITAL
Sydney Wasserman ENTERTAINMENT EDITORS
Carson Griffith (Digital), Maxwell Losgar DESIGN EDITOR, DIGITAL Amanda Sims EDITOR, DIGITAL David Foxley HOME EDITOR, DIGITAL Lindsey Mather DESIGN REPORTER, DIGITAL Hadley Keller ASSOCIATE FEATURES EDITOR, DIGITAL Nick Mafi EDITORIAL ASSISTANTS Elizabeth Fazzare, Katherine McGrath (Digital), Carly Olson ASSISTANT TO THE EDITOR IN CHIEF Annie Ballaine
MARKET MARKET DIRECTOR Parker Bowie Larson ASSOCIATE MARKET EDITOR Madeline O’Malley PRODUCTION PRODUCTION DIRECTOR Kevin Roff EDITORIAL OPERATIONS MANAGER Nick Traverse PRODUCTION MANAGER Alexandra Kushel PRODUCTION ASSOCIATE Sarah Rath COPY AND RESEARCH COPY DIRECTOR Joyce Rubin RESEARCH DIRECTOR Andrew Gillings COPY MANAGER Adriana Bürgi RESEARCH MANAGER Leslie Anne Wiggins
CREATIVE DESIGN DIRECTOR Natalie Do VISUALS DIRECTOR Michael Shome VISUALS EDITOR, DIGITAL Melissa Maria ASSOCIATE VISUALS EDITOR
Gabrielle Pilotti Langdon
COMMUNICATIONS + EDITORIAL PROJECTS EXECUTIVE DIRECTOR, PUBLIC RELATIONS
Erin Kaplan DIRECTOR, EDITORIAL PROJECTS
Jeffrey C. Caldwell CONTRIBUTORS CONTRIBUTING EDITOR AT LARGE
VIDEO PRODUCERS
Vince Cross, Matt Duckor, Sara Snyder, Chauncey McDougal Tanton, Rusty Ward ARCHDIGEST.COM SOCIAL MEDIA DIRECTOR Rachel Coleman SOCIAL MEDIA MANAGER Jessica Gatdula ANALYST, DIGITAL INTELLIGENCE Kevin Wu
Michael Reynolds CONTRIBUTING INTERNATIONAL PROJECTS EDITOR
Carlos Mota CONTRIBUTING STYLE EDITORS
Lawren Howell, Carolina Irving CONTRIBUTING EDITORS
Amanda Brooks, Gay Gassmann CONTRIBUTORS Fabiola Beracasa Beckman, Derek Blasberg, Peter Copping, Sarah Harrelson, Pippa Holt, Patricia Lansing, Colby Mugrabi, Carlos Souza EDITOR EMERITA Paige Rense Noland
ARTISTIC DIRECTOR
Anna Wintour
CHIEF BUSINESS OFFICER
Craig Kostelic VP REVENUE Jeff Barish VP REVENUE Beth Lusko-Gunderman VP REVENUE Jordana Pransky DIGITAL GENERAL MANAGER Eric Gillin VP MARKETING Bree McKenney VP FINANCE & BUSINESS DEVELOPMENT Barbra Perlstein SENIOR DIRECTOR, SALES OPERATIONS Mary Beth Dwyer EXECUTIVE STRATEGY DIRECTOR Hayley Russman
ADVERTISING NEW YORK SALES DIRECTORS Shelly Johnson, Jeannie Livesay,
Melissa Goolnick Schwartz EXECUTIVE ACCOUNT DIRECTORS Nina B. Brogna, Francesca Coia, Catherine Dewling, Meredith Jeffery, Wendy Gardner Landau, Priya Nat, Kathryn Nave SENIOR ACCOUNT DIRECTORS Emily Harris, Jaime Schwartz ACCOUNT DIRECTORS Sara Coyle, Katie Tomlinson ACCOUNT EXECUTIVE Sean Walter FINANCE & BUSINESS OPERATIONS DIRECTOR Katie Balin SENIOR DIRECTOR Jennifer Crescitelli ASSOCIATE DIRECTOR Anthony Mitchell MANAGERS Joe DeRuvo, Jessica Reinhardt DIGITAL SALES OPERATIONS MANAGERS, SALES OPERATIONS
Alexandra Niemeyer
Isabel Kierencew,
SENIOR ACCOUNT MANAGER Jacquie Pelusi BRANDED MEDIA STRATEGIST Deanna Yudelson ACCOUNT MANAGERS Jena Johansen, Brett Karbach,
Brooke Pischke, Timothy Samson, Mandy Schmidt
ASSOCIATE ACCOUNT MANAGERS Lena Perlmutter, Kendall Rozell SALES PLANNERS Nicole Bramble, Emily Byerly,
Maura Colwell, Hallie Drapkin, Heather Dring, Lauren Gauksheim, Nicole Guzman, Nick Papa, Adam Zakrzewski EXECUTIVE ASSISTANT TO CHIEF BUSINESS OFFICER Olivia Marder SALES ASSOCIATES Alessia Bani, Samantha Benedict, Paulina Carvajal, Catherine Civgin, Malia Estrada, Hannah Neuman, Samantha Pinto, Gabriella Rutkowski, Serena Sheth, Sarah Tinoco
BRAND MARKETING EXECUTIVE DIRECTORS, BRAND MARKETING
Casey McCarthy, Tara Melvin
Christin DeMaria,
EXECUTIVE DIRECTOR, MARKETPLACE STRATEGY Barri Trott DIRECTORS, MARKETING Emma Greenberg, Shannon Muldoon DIRECTORS, MARKETPLACE STRATEGY Brittany Bakacs,
Holly Sabecky
ASSOCIATE DIRECTORS, BRAND MARKETING Jackie Albastro, Caitlin DiLena, Tara Dushey, Tom Heiss, Elena Korn, Caroline Luppescu, Nadine Rivoldi, Lucas Santos, Jessica Sisco, Arisara Srisethnil
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Alexis Aliquo, Alex Bair, Michele Bastin, Caroline Claude, Joshua McDonald, Justine Parker ASSOCIATES, BRAND MARKETING Cydney Eckert, Chelsea Horhn, Marybeth Lawrence, Hillary Miller, Lauren Pernal EXECUTIVE DIRECTOR, EXPERIENCE Benjamin Peryer ASSOCIATE DIRECTORS, EXPERIENCE Jennifer Mills, Joshua Robertson ASSOCIATE, EXPERIENCE Jennifer Lanzarone MANAGERS, BRAND MARKETING
EXECUTIVE DIRECTOR, COMMUNICATIONS, THE LIFESTYLE COLLECTION
Molly Pacala COMMUNICATIONS MANAGER, THE LIFESTYLE COLLECTION
Savannah Jackson CREATIVE SENIOR ART DIRECTOR Phuong Nguyen ART DIRECTORS Tanya DeSelm, Marisa Ehrhardt SENIOR DESIGNER Corinne Baptiste DESIGNERS Elena Scott, Stephanie Stanley EXECUTIVE PRODUCER Lloyd D’Souza SENIOR PRODUCER Julie Sullivan DIRECTOR OF CREATIVE CONTENT PRODUCTION Dana Kravis CONTENT DIRECTOR Kate Marsanico BRANCH OFFICES LOS ANGELES SENIOR ACCOUNT DIRECTOR Melissa Lee 323-965-3455 EXECUTIVE ACCOUNT DIRECTOR Elizabeth Murphy 323-965-3578 SAN FRANCISCO / PACIFIC NORTHWEST EXECUTIVE ACCOUNT DIRECTOR Rick Gruber 415-276-5217 MIDWEST VP, REVENUE Pamela Quandt 312-649-3526 EXECUTIVE ACCOUNT DIRECTOR Jenna Ernster 312-649-3549 SENIOR ACCOUNT DIRECTORS Hillary Kribben 312-649-3525, Chris Roelle 312-649-3553 ACCOUNT DIRECTOR Stephanie Cohen 312-649-3512 DETROIT EXECUTIVE ACCOUNT DIRECTOR Anne Green 248-765-9126 FLORIDA / SOUTHEAST / CARIBBEAN Peter M. Zuckerman, Z-MEDIA 305-532-5566 SOUTHWEST Lewis Stafford Company 972-960-2889 CANADA Dodd Media Group 905-885-0664 MEXICO John Hillock 212-286-2035 ASIA Marcia Kline +62-813-60896848 UK Juliet Fetherstonhaugh +44-20-7349-7111, Steve Middleton, SMS LTD +44(0)7710-128464 MIDDLE EAST Skyscale Media Services +971-42-42-4579 INDIA Saurabh Wig 647-679-6005 EUROPE, FASHION/LUXURY Rula Al Amad +39-02-6558-4237
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editor’s letter
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1. THE ENTRANCE HALL OF A GRAND MANHATTAN APARTMENT DESIGNED BY MICHAEL S. SMITH. 2. STRAWBERRY FIELDS IN A SAN FRANCISCO BEDROOM; INTERIORS BY CHARLES DE LISLE. 3. ARCHITECT DANIEL ROMUALDEZ’S CONNECTICUT GARDEN, DESIGNED BY MIRANDA BROOKS. 4. WITH APPARATUS FOUNDERS JEREMY ANDERSON AND GABRIEL HENDIFAR.
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“The apartment is serene and quiet, not jumpy. Things reveal themselves to you slowly.” —Designer Michael S. Smith In the October issue AD trains our spotlight on fresh forces in the design world. To that end we present a memorable San Francisco project by just-under-the-radar California designer Charles de Lisle, whose singular, hard-to-pin-down vision (haute hippie craft meets international high design—with a playful twist!) will surely catapult him to new heights in the field. Gabriel Hendifar and Jeremy Anderson, the talented duo behind the buzzy NYC lighting firm Apparatus, are well known in the industry but not yet household names outside it. So it is a distinct pleasure to share the specific, theatrical, and frankly sexy taste manifested in their New York City loft. Elsewhere in the magazine is a special section edited by our own Sam Cochran, featuring the best and the brightest young breakouts in architecture and furniture, landscape, and interior design. But the house that takes cover honors has nothing to do with the latest and the greatest. Instead, it represents the most recent high point in the long-term relationship of three people of superlative taste and vast experience. AD100 designer Michael S. Smith has worked harmoniously with these clients, a globe-trotting couple, for 25 years. Over that time, they have created an astonishing number of impressive residences together, including the sublime art and antiques–filled New York apartment shown here. Throughout the nearly five-year journey to bring this enormous space into shape, the clients remained involved. “Most people don’t love the process as much as they do and aren’t prepared to be as brave,” comments Smith. Theirs is clearly that rare coalition that can stand the test of time—and the strain of renovation! The result is a home for the ages.
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FALL MUST-READ: ARCHITECTURAL DIGEST: AUTOBIOGRAPHY OF A MAGAZINE 1920–2010 (RIZZOLI), BY PAIGE RENSE, WHO RAN THIS PUBLICATION FOR NEARLY FOUR DECADES.
AMY ASTLEY Editor in Chief @amytastley
1. MICHAEL MUNDY; © 2018 AGNES MARTIN/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; 2. WILLIAM ABRANOWICZ; 3. NGOC MINH NGO; 4. PAOLO RIOLZI; BOOK: © ARCHITECTURAL DIGEST: AUTOBIOGRAPHY OF A MAGAZINE 1920–2010 BY PAIGE RENSE, RIZZOLI NEW YORK, 2018
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ERIC SLOANE (1905–1985), NOVEMBER WIND Questroyal Fine Art, LLC, is an established American art gallery specializing in quality American paintings from the 19th and 20th centuries. Questroyal’s extensive inventory of more than 500 artworks includes important Hudson River School, tonalist, impressionist, and modernist examples. Contact the gallery to request IMPORTANT AMERICAN PAINTINGS, VOLUME XIX: ART CHANGES EVERYTHING, a 96-page hardcover catalogue, featuring 37 color plates. Highlighted artists include: Avery, Bellows, Blakelock, Burchfield, Cole, Cropsey, Gifford, Hassam, Lever, Moran, Richards, Sloane, Whittredge, and Wiggins. Eric Sloane (1905–1985) November Wind Oil on board 24" h. x 42" w. Inscribed and signed lower left: NOVEMBER WIND Eric Sloane
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THE STORY BEHIND AN ICONIC DESIGN
Pure and Simple How the slim sofa Ludwig Mies van der Rohe designed for Philip Johnson became a modern icon
INTERIOR DESIGNER BRUCE BIERMAN DEPLOYED A LIPSTICKRED BARCELONA COUCH IN A MANHATTAN LOFT.
PETER MARGONELLI/COURTESY OF BRUCE BIERMAN DESIGN
object lesson
EVERY THING WE EVER
I M A G I NE D AND THEN SOME
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object lesson
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1. ROGER DAVIES; 2. NORMAN MCGRATH; 3. COURTESY OF KNOLL INC.; 4. DOUGLAS FRIEDMAN
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n 1930, little-known American architect Philip Johnson asked cutting-edge German talent Ludwig Mies van der Rohe to design his New York City apartment. Mies was busy: He had just erected the Barcelona Pavilion, completed Villa Tugendhat, and been named the director of the Bauhaus. But he accepted what was more or less an interior-decorating commission, as an opportunity to employ some of his newly minted furniture designs Stateside. The project, it turned out, would render yet another Miesian icon, its given name as no-nonsense as its form: Couch. The sleek piece—a hand-tufted cowhide cushion and single cylindrical bolster laid on an African-mahogany platform with tubular steel legs—was wildly useful in the small apartment. “It’s an extremely simple way of delineating space,” explains Paul Galloway, MoMA’s collection specialist, architecture and design. “It could sit against the wall or by a window. And because it’s low, it didn’t block the space.” It was Johnson’s next place, however—the famous Glass House completed in 1949 in New Canaan, Connecticut—where the couch got the most publicity. Here the piece’s low profile allowed a clear view out the windows to the sweeping vista beyond. Needless to say, it quickly rose to cult status. Expensive and difficult to make, the couches were manufactured in minuscule batches in Berlin until 1964, when Knoll took over production (a new one costs around $10,000). In fact, it was Knoll—not Mies—that awarded the sofa the name Barcelona in 1987, for its marked resemblance to the Barcelona chair and stool designed for an international exhibition in Spain in 1929. While the early editions go for serious sums at auction, “even without the cushion,” notes Galloway, “it’s strictly due to rarity. The Knoll ones are actually better made.” Today’s come in a variety of colors and customizations, including one rather surprising rendition found in the Shelter Island home of Knoll CEO Andrew Cogan: a snappy version in pink. knoll.com —HANNAH MARTIN
1. A PINK BARCELONA AT KNOLL CEO ANDREW COGAN’S SHELTER ISLAND RETREAT. 2. IN CHESTNUT LEATHER AT PHILIP JOHNSON’S GLASS HOUSE. 3. KNOLL’S BASIC BLACK MODEL. 4. ARCHITECTURAL DESIGNER SIMON JACOBSEN USED A CREAMY COUCH IN THIS NANTUCKET HOME.
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Style runs in the family. Kids’ furnishings now at One Kings Lane. O N E K I N G S L A N E .CO M / K I D S
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S O H O O P E N I N G FA L L 20 1 8
EDITED BY SAM COCHRAN
RIVA MARKER AND JAKE GYLLENHAAL AT THE OFFICE OF THEIR PRODUCTION COMPANY, NINE STORIES. HE SITS IN A PERCIVAL LAFER CHAIR FROM 1STDIBS, WHILE SHE IS ON A KOTI SOFA BY HEM. THE FLOOR LAMP IS BY RUEMMLER. FOR DETAILS SEE RESOURCES.
GROOMING BY KRISTAN SERAFINO
DISCOVERIES
THE BEST IN SHOPPING, DESIGN, AND STYLE
World of: Jake Gyllenhaal With the help of Ashe + Leandro, the Hollywood star and his production partner Riva Marker craft a backdrop for creativity at their Manhattan offices P H OTO G R APHY BY SUSANNA HOWE
STYLED BY COLIN KING
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DISCOVERIES world of 1. POSTERS FOR GYLLENHAAL’S HIT FILMS HANG IN THE SCREENING ROOM; GUILLERME ET CHAMBRON ARMCHAIR FROM 1STDIBS. 2. IN MARKER’S OFFICE, A VINTAGE TEAK DESK FACES CHAIRS BY MORAN WOODWORKED FURNITURE, ALL FROM 1STDIBS. 3. IN THE KITCHEN, WEST ELM CHAIRS FLANK A SAARINEN TABLE.
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hen you’re in the business of producing movies, television, and theater, you understand the importance of establishing the right mise-en-scène. Just ask Jake Gyllenhaal and Riva Marker, founding partners of the New York City–based production company Nine Stories. Established in 2015 and named after J. D. Salinger’s 1953 anthology of short fiction, Nine Stories specializes in what Marker describes as “provocative, characterdriven material that emphasizes both quality and commercial appeal.” The company’s offices are located in a SoHo apartment that was recently transformed by the AD100 firm Ashe + Leandro. “We wanted to have a sense of play in the design. It’s a place where filmmakers and artists can feel empowered to be open, inventive, and collaborative,” Gyllenhaal says. Partners Ariel Ashe and Reinaldo Leandro responded with a design scheme that eschews the trappings of slick Hollywood glamour in favor of something moodier, cozier, and more redolent of Manhattan. “Think of it as the anti-CAA,” Ashe explains, referring to the Los Angeles offices of the entertainment behemoth Creative Artists Agency. The design is a sophisticated mélange of midcentury-modern classics and vintage desks culled from 1stdibs, abundant artwork and movie posters, and bespoke elements such as the dapper wood screen that defines one edge of the communal seating area. Marker’s office has a bright, feminine quality, in contrast to Gyllenhaal’s darker, more pensive lair. “Jake’s office feels very serious, but there are a few humorous moments and lots of personal memorabilia to inspire him,” says Ashe, who met the actor-producer when they were teenagers on Martha’s Vineyard. “He’s actually very funny. He did the best impression of a velociraptor when we were kids.” —MAYER RUS
“It’s a place where filmmakers and artists can feel empowered to be open, inventive, and collaborative,” says Gyllenhaal.
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Inspired by chefs. Created for you. Michelin Three Star Chef Christopher Kostow for Samsung Chef Collection appliances. Š 2018 Samsung Electronics America, Inc.
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Tony Duquette’s fantastical designs strut their stuff for a new generation
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1. THE LIVING ROOM OF DAWNRIDGE, TONY DUQUETTE’S CALIFORNIA HOME. 2. LAPIS LAZULI BOX. 3. SUNBURST CANDLESTICK. 4. SCREEN. 5. CONSOLE TABLE, A 1960s DESIGN FOR ART COLLECTORS PALMER AND CHARLES DUCOMMUN.
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hink Tony Duquette, and certain images spring instantly to mind. Folding screens spattered with giant sunbursts. A coffered ceiling made of plastic serving trays. Chandeliers laden with glistening abalone shells. Then there’s the gilded biomorphic console table that resembles, depending on one’s vantage point, a writhing sea creature or a roller coaster on Mars. Call it Space Age Baroque—and, according to Duquette’s most ardent fans, it’s the kind of overegging that the world is ready for. “We’re entering a maximalist epoch, and Tony is a maximalist icon,” exults Hutton Wilkinson, a designer of interiors and jewelry who was Duquette’s longtime business partner and has been the keeper of his 24K-gold flame since the latter’s death in 1999, at the age of 85. Sister companies Pearson and Maitland-Smith are
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1. ASIAN EFFECTS AT DAWNRIDGE. 2. A CHINOISERIE SIDE CHAIR. 3. SHOOTING STARS ERUPT FROM A FREEFORM MIRROR.
in full agreement. In association with Wilkinson— author of the new Abrams salute Tony Duquette’s Dawnridge—the firms are launching a trove of delirious Duquettiana, from reproductions of objects that he created for his own homes to inspired-by furnishings that nimbly channel the master’s bizarro magic. Some designs were conjured up for clients tobacco-heiress Doris Duke (Pearson’s Duke sofa) and modern-art patrons Palmer and Charles Ducommun (that famous console table, by MaitlandSmith). Others existed as prototypes, such as the Lotus floor lamp. MaitlandSmith is reproducing it in bronze—though, Wilkinson notes, Duquette likely would have used cast resin, one of his go-to materials. As for the Elsie table, it’s a scaled-up version of a Japanese antique that Duquette’s mentor, the decorator Elsie de Wolfe, gave him as a gift. “My favorite piece must be the hand-painted malachite-and-brass desk. Or is it the Louis XV–style bombé chest entirely veneered in abalone shell?” Wilkinson muses, adding, “Tony used to say, ‘If there were only one abalone shell in the world, wars would be fought over it for its beauty.’ ” maitland-smith.com; pearsonco.com —MITCHELL OWENS
1. © 2018 TIM STREET-PORTER/COURTESY OF ABRAMS; 2. COURTESY OF PEARSON; 3. COURTESY OF MAITLAND-SMITH
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“We’re entering a maximalist epoch, and Tony is a maximalist icon.” —Hutton Wilkinson
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DISCOVERIES hot spot 1. AD100 DESIGNER JOSEPH DIRAND CONCEIVED THE INTERIORS AT GIRAFE; CUSTOM LIGHT FIXTURES. 2. THE EXPANSIVE TERRACE AFFORDS VIEWS OF THE EIFFEL TOWER. 3. THE BAR WAS CARVED FROM A SINGLE PIECE OF MARBLE.
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n impressive winning streak continues in Paris, where Girafe, one of the city’s most anticipated new restaurants, quietly opened over the summer. Tucked inside the Palais de Chaillot—home to the Cité de l’Architecture et du Patrimoine—the hot spot marks the latest project from restaurateur Gilles Malafosse, his associate Laurent de Gourcuff, and AD100 designer Joseph Dirand, the brain trust behind local favorites Loulou and Monsieur Bleu. Like those runaway successes, Girafe promises to lure residents and visitors alike, thanks in no small part to Dirand’s interiors— intimate, at times theatrical, spaces inspired by the grand Parisian cafés of the 1930s. A soft palette of beiges and creams showcases custom ceiling fixtures and sconces, Platner dining chairs, and organic touches like oak paneling, natural raffia insets, and a statement bar carved out of a solid piece of marble. Grab a seat and order one of the many seafood delicacies on the menu, which features contemporary twists on traditional brasserie fare. (Think swordfish Milanese, fresh daily catches, and a traditional steak au poivre.) Or head outside to the huge terrace and enjoy picture-perfect views of the Eiffel Tower. girafeparis.com —GAY GASSMANN
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Designer Joseph Dirand teams up with some favorite collaborators to create Paris’s new It restaurant
Explore the Origin of Extraordinary Let your passions run wild and re-imagine your daily routine, because there is nothing you can’t do with Miele’s full suite of built-in appliances. With JOUVJUJWF GVODUJPOBMJUZ BOE ÚBXMFTT EFTJHO ZPVS DVMJOBSZ BEWFOUVSF BXBJUT Get inspired and explore further at mieleusa.com/brand Miele. Immer Besser.
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he magazine is just the shop window,” explains Italian tastemaker Martina Mondadori Sartogo of Cabana, the dreamy, clothbound interiors magazine she launched in 2014. “The real goal has always been to create products for the home that give you the same feeling of flipping through the pages.” A mere four years later and she’s done just that, spinning Cabana’s colorful, mix-and-match ethos into a full-on lifestyle brand that has included tableware collaborations with Italian favorites such as Richard Ginori, Laboratorio Paravicini, and Laguna B. And what Mondadori Sartogo fondly calls her “big Cabana family” just keeps growing, as she brings some kindred spirits into the fold this fall. “I have been friends with Martina—and a big fan of Cabana—for many years,” says Aerin Lauder, founder and creative director of Aerin. Having spent her teenage years in Vienna, Lauder notes that Cabana’s Austrian-themed fall issue, inspired by a trip to the Tyrolean Folk Art Museum, proved “the perfect time to collaborate.” Together they realized Viennese style for the table, asking artisans to
1. & 4. MIGUEL FLORES-VIANNA; 2. & 3. SILJA MAGG; 5. & 6. COURTESY OF CABANA
1. MARTINA MONDADORI SARTOGO AT HOME OUTSIDE VENICE. 2. TABLE LINENS FROM CABANA’S NEW LINE FOR AERIN (AERIN.COM). 3. THE AERIN COLLECTION’S BEDSIDE TUMBLER. 4. THE BREAKFAST NOOK AT MONDADORI SARTOGO’S LONDON HOME. 5. A TABLE SET WITH HER DESIGNS. 6. CABANA POUF IN DEDAR VELVET.
Martina Mondadori Sartogo’s cult lifestyle brand catches on Stateside
DISCOVERIES 1
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Care Package
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AND AERIN LAUDER WITH THEIR NEW COLLECTION. 2. THE DUO’S MEDIUM VASE. 3. THEIR PRINTED TABLECLOTH.
hand-paint glassware with the folkloric motifs and to turn textiles used for traditional dress aprons into prim table linens. The collaboration comes on the heels of Cabana’s international e-commerce launch, which Mondadori Sartogo has celebrated by bringing a selection of new products to the seventh floor of Bergdorf Goodman. (The pop-up runs through October 31.) In addition to introducing Islamic-inspired Richard Ginori dishes, linens that riff on Persian rugs, and a velvet pouf modeled after one by Renzo Mongiardino, she has asked several friends to make their own contributions. Editrix extraordinaire Marian McEvoy has brought her cork-covered obelisks and mirrors. (“I commissioned one for my London home,” Mondadori Sartogo reveals.) Designer Ashley Hicks has created hand-painted boxes and resin totems. And photographer Miguel Flores-Vianna has rekindled his old love for marbleized ceramics, a hobby he picked up years ago in the Hudson Valley. Upon spotting the originals in his London home, Mondadori Sartogo insisted: “You’re going to make these again.” cabanamagazine.com aerin.com —HANNAH MARTIN
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NATURAL LIGHT is typically low on the priority list for health-care design. But the sun is shining at NewYorkPresbyterian Hospital’s new ambulatory-care center, designed for chemotherapy, infusion therapy, and myriad other outpatient treatments and procedures. Beyond the tower’s glass–and–obeche wood curtain wall, visitors find a light-filled triple-height lobby, with floating stairs and a monumental painting by Beatriz Milhazes—one of two site-specific commissions by the Brazilian artist for the facility. Both are among the nearly 400 works curated by Salon 94 gallery. This art program is just one innovation on display. The 734,000-square-foot center champions an architectural model that integrates 21st-century care with patient-centered design. “A lot of it is focused on reducing anxiety,” explains Erin Nunes Cooper of the architecture-engineering firm Ballinger, which collaborated on the building with HOK and Pei Cobb Freed & Partners. Prep rooms double as recovery rooms, providing continuity for patients and their companions. Hallways run along the perimeter, taking in sunshine and city views. And MRI facilities are aboveground, rather than relegated to the basement, as is usually the case. Notably, the center is home to New York’s first MRI-guided linear accelerator, the most accurate cancer-radiation device. As treatment options change, so, too, can the physical architecture. Sections of the swirl-patterned façade are removable so that old equipment can be replaced. Says Joe Ienuso, senior vice president of facilities and real estate at NewYork-Presbyterian: “Technology will continue to evolve, and the building anticipates that.” —ELIZABETH FAZZARE ABOVE LIGHT POURS INTO THE LOBBY OF THE NEWYORKPRESBYTERIAN AMBULATORY-CARE CENTER, DESIGNED BY BALLINGER, HOK, AND PEI COBB FREED & PARTNERS.
1.–3. SILJA MAGG; FAR RIGHT: ALBERT VECERKA/ESTO
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DISCOVERIES shopping Bright Lights Rustic, retro, or refined, our favorite fixtures showcase the materials of the moment
EARTH STUDIES
In ceramics and clay, these new lamps reveal the hand of the artisan FROM LEFT STONE LAMP BY NATALIE WEINBERGER ($1,850; STORE.NATALIE-W .COM). OO LAMP BY ENY LEE PARKER (TO THE TRADE; ENYLEEPARKER.COM). ALIEN TABLE LAMP BY IN COMMON WITH ($1,000; INCOMMONWITH.COM). FANETTE LARGE TABLE LAMP BY AERIN FOR VISUAL COMFORT ($839; AERIN.COM). DUTCH CERAMIC VESSEL TABLE LAMP BY RH ($695; RH.COM).
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PHOTOGRAPHY BY PIPPA DRUM M OND
STYLED BY DAVID DE QUEVEDO
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With its ultra-thin wallpaper design, the LG SIGNATURE OLED TV is technological innovation at its greatest. World-renowned for its superior picture quality and picture-on-wall design, the TV offers a perfect black canvas that plays host to vibrant, accurate color.
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DISCOVERIES shopping 2
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Streamlined shapes and unexpected hues usher Murano’s age-old glass craft into the future
1. GIOPATO & COOMBES FLAUTI PENDANTS; PRICE UPON REQUEST. GIOPATOCOOMBES .COM. 2. ESTABLISHED & SONS FILIGRANA LIGHT BY SEBASTIAN WRONG; FROM $475. MATTERMATTERS.COM. 3. CARLO MORETTI LUNGOMARE “B” LAMP BY DIEGO CHILÒ; $2,000. 1STDIBS.COM. 4. VERONESE BIJOU BIJOU TABLE LAMP BY LAURENCE BRABANT; PRICE UPON REQUEST. VERONE.SE. 5. ARMANI/ CASA HYADES LAMP; $4,350. ARMANI.COM. 6. ANTHONY BIANCO BLUE-AND-WHITE TOTEM LAMP; $4,445. THEFUTUREPERFECT.COM.
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Contemporary or traditional, oxidized-metal fixtures get the right reaction 1. LINDSEY ADELMAN STUDIO DROP SYSTEM; PRICE UPON REQUEST. LINDSEYADELMAN.COM. 2. DIMORE STUDIO LAMPADA 051 SCONCE; $4,805. THEFUTURE PERFECT.COM.
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3. THE URBAN ELECTRIC CO. DIAMOND PENDANT BY MICHAEL AMATO; FROM $3,728. URBANELECTRICCO.COM.
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The LG SIGNATURE refrigerator's beautiful design goes beyond its stunning exterior to a variety of advanced features. And with innovations like InstaView™ Door-in-Door®, you can see inside with just two simple knocks.
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DISCOVERIES shopping
GROOVE THINGS
Chrome lighting in 1970s silhouettes harks back to disco days
FROM LEFT MARIPOSA LAMP BY MARCEL WANDERS FOR ROCHE BOBOIS (FROM $2,345; ROCHE-BOBOIS.COM). TIDAL TABLE LAMP BY LEE BROOM ($3,200; LEEBROOM.COM). FA06 LAMP BY ECART INTERNATIONAL FOR RALPH PUCCI ($3,000; RALPHPUCCI.NET). DOROTHY TABLE LAMP BY ANOTHER HUMAN ($2,900; ANOTHERHUMAN.LA). FONTANNA LED SCONCE BY SONNEMAN—A WAY OF LIGHT ($460; YLIGHTING.COM).
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PRODUCED BY PARKER BOWIE LARSON
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With the minimal design of LG SIGNATURE laundry machines, technology is refined to its simplest, most exquisite form. The TWINWash™ system with LG SideKick™ pedestal washer allows you to wash two loads at once. It's the perfect marriage of convenience and beauty.
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DISCOVERIES decorating 1. PAINTS BY BENJAMIN MOORE BRIGHTEN THE DINING ROOM MILLWORK AND WALLS. THE TERRAZZO TABLE IS BY MAX LAMB. 2. GOLD LEAF ACCENTS THE ENTRY. VINTAGE GERRIT RIETVELD ZIG-ZAG CHAIRS; HSIAO CHIN PAINTING. 3. IN THE LIVING ROOM, A 1940s SCREEN STANDS BEHIND A CUSTOM SOFA BY NEAL BECKSTEDT STUDIO.
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hile not exactly a chromophobe, Neal Beckstedt was never—by his own admission—an interior designer you’d go to for rooms bursting with color. Known for warmly modern schemes, where refined materials, rich textures, and sculptural furnishings tend to be the statement gestures, he has typically deployed color with a reserve that falls somewhere between judicious and parsimonious. And yet. . . . When a friend connected him with a Hong Kong– based couple who were looking to renovate a Manhattan pied-à-terre, Beckstedt knew right away that the project was going to take him out of his chromatic comfort zone. “They loved color,” he says. “In particular, their art collection was supervibrant and bold. That became the starting point.” Situated in a West Side building by architect Thomas Juul-Hansen, the two-bedroom apartment features an open living-dining space, with great natural light and enviable views overlooking the High Line. After dropping the ceilings a couple of inches to put in lighting—better for displaying artworks by the likes of Matthew Brandt, Steven Klein, and Marc Quinn—and installing some millwork for discreet
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Inspired by two international clients, designer Neal Beckstedt looks beyond his neutral comfort zone to find a world of color awaits
DISCOVERIES decorating TV cabinets and a bar, Beckstedt turned to the finishes and furnishings. “It was clear that the clients were attracted to things that are a little avant-garde,” says the designer, whose initial acquisitions for the apartment included an eye-catching Max Lamb dining table made of engineered terrazzo. Speckling the table’s surface are flecks of bluish green, golden yellow, and punchy persimmon red—colors that Beckstedt adopted for neighboring walls and furniture fabrics. In the living area, he embellished walls with subtly patterned gold leaf, upholstered a 1950s Italian sofa in a teal velvet, and clad an Edward Wormley chaise longue in an acid-lime velvet with burgundy piping. Joining the mix are a Johnny Swing coin chair, a Deco-style folding screen, and vintage Jindrich Halabala lounge chairs covered in Mongolian sheepskin. The animated ensemble is reflected in the high-gloss ceiling, into which Beckstedt inserted a recessed oval detail. “It was all about how we could do a different take on things,” the designer explains. In terms of color, the question became, “How far are we going to go?” Quite a bit further, it turns out.
1. A PUNCHY EGGPLANT WALL MEETS SEAFOAM-GREEN CURTAINS IN THE MASTER BEDROOM. PHOTOGRAPHS BY NEWBOLD BOHEMIA. 2. THE GUEST BEDROOM FEATURES SHADES OF TEAL AND A CUSTOM HEADBOARD.
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In the guest bedroom, Beckstedt used shades of teal for the bed, walls, and even the ceiling, which he contrasted with rust-colored curtains. For the master suite, meanwhile, he opted for a two-tone scheme, with deep burgundy-meets-aubergine colors on the bed and walls offset by the pale greens of the ceiling and curtains. If this palette marks a departure for Beckstedt, certain hallmarks remain. “I’m always pushing pottery—there’s just a warmth and a depth to it,” says the designer, who chose ceramics ranging from a modern Berndt Friberg vase to recent sculptural vessels by the Haas Brothers. Also evident is his fondness for distinctive details, like the exposed selvage edges on the master bedroom’s coverlet and the variations in texture and pile on the living room carpet. Handwoven in South America, the rug adds an element of coziness while taking that space “down a notch, so it didn’t become too glam,” Beckstedt notes. Clearly, he hasn’t lost all of his reserve. nbeckstedtstudio.com —STEPHEN WALLIS
1. & 2. ERIC PIASECKI
“In terms of color, the question became, ‘How far are we going to go?’ ”
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DISCOVERIES architecture 1. ARCHITECT MASSIMILIANO LOCATELLI OUTSIDE THE 3-D-PRINTED HOUSE HE PRESENTED DURING APRIL’S SALONE DEL MOBILE IN MILAN. 2. THE STRUCTURE INCORPORATES CURVED WALLS AND A GREEN ROOF. 3. LOCATELLI DECORATED THE HOUSE WITH CONTEMPORARY AND VINTAGE FURNITURE.
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Welcome to the Robot Age Cutting costs, saving time, and eliminating waste, the 3-D-printed house has officially arrived
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or the past several years, talk of 3-D printing revolutionizing the way we build has been mostly just that—talk. But the promise of printing a habitable house, on demand, in virtually any location, is becoming a reality. Around the globe, teams of architects, engineers, and entrepreneurs have developed robotic arms capable of producing walls for a small home in as little as 24 hours, with essentially zero waste and for a fraction of traditional construction costs. Competing to develop the top technology, industry players are now engaged in a space race of sorts—literally so, in some cases, with NASA funding research for printing habitats beyond our planet. Of more immediate, earthly interest was the recent unveiling of two of the first-ever homes to be printed on-site. At Austin’s South by Southwest festival this past March, the San Francisco–based nonprofit New Story presented a 350square-foot prototype of the low-cost homes it hopes to build across the developing world. Just a month later, during Milan’s Design Week, architect Massimiliano Locatelli debuted a 1,100-square-foot residence of a decidedly more luxurious sort, with elegantly plastered interior walls, brass details, and stylish furnishings. These two projects—using similar technologies in which robotic arms extrude layers of a concrete mixture that harden into solid walls—represent opposing ends of the spectrum for this industry’s potential.
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DISCOVERIES architecture “There are over a billion people without adequate shelter,” says New Story cofounder Brett Hagler. “It’s a massive deficit, and traditional construction methods are not enough to make a dent. But 3-D printing promises significant decreases in cost and build time.” To date, New Story has completed close to 1,000 conventional houses in Bolivia, El Salvador, Mexico, and Haiti—where it is currently building a community with support from AD— with each home requiring around $7,000 and two weeks to finish. Using a 3-D printer developed with the company Icon, Hagler expects to reduce those numbers to $4,000 and just a couple of days. The charity’s first large-scale printed project will be 100 homes in El Salvador, slated for completion next year. “We will be able to put a lot of creativity into the design based on a family’s current situation and their future dreams,” Hagler notes of the homes’ flexible layouts, which are determined by customizable CAD files. “We’re trying to have better aesthetics—something that’s too often ignored when it comes to the world’s poorest families.” It’s precisely the aesthetics and creative potential that inspired Locatelli, cofounder of the firm CLS Architetti, to erect his 3-D-printed house in Piazza Cesare Beccaria. As he explains, the project was all about embracing the textures of 3-Dprinted forms and “exploring the beauty of the new language.” Realized in collaboration with concrete specialists Italcementi, the engineering firm Arup, and the Dutch mobile 3-D-printer maker CyBe Construction, the house took about a week to create, with production lasting roughly 48 hours. Consisting of four rounded volumes (living area, bedroom, kitchen, bath), all topped by a roof garden, “the shape was
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completely free compared to traditional architecture,” says Locatelli. “Go ahead, try to make a curved house with bricks or stone—it’s so complicated. With this you really can create new shapes.” Locatelli says he has received numerous inquiries, including commissions for 100 homes near Washington, D.C., and a 10,000-square-foot house on Sardinia. And the owner of a Lake Como villa who had hired him to build a guesthouse switched gears after seeing the project in Milan. “He said, ‘I’m not going to build in stone anymore. I want the 3-D-printed house,’ ” recounts the architect, who is working with Arup on how to print multilevel structures—something that has never been done. “The relationship between architect and client is going to change so much,” says Locatelli. “Probably the architect is going to become a shrink, more or less, helping give shape to the client’s dreams.” —STEPHEN WALLIS
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STYLE IT TO SUIT YOUR NEEDS No matter the size or shape of your space, you can design a chic storage solution using the freestanding cabinets and the corner unit. Add or remove sections to fit the layout of your room. For the base, choose doors that open to reveal shelving or two stacked drawers.
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LIEBHERR’S NEW MONOLITH When the Monolith refrigerator/freezer debuted this past spring, it marked yet another revolutionary design in a long line of innovations for the renowned German appliance manufacturer. This addition to its suite of technologically advanced cooling systems is in a class all its own, with features that add convenience and unparalleled customization.
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DISCOVERIES legacy
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2 1. A BEDROOM AT LA CASELLA, THE CÔTE D’AZUR HOME OF LORD AND LADY BALNIEL, INHERITED FROM TOM PARR OF SIBYL COLEFAX & JOHN FOWLER (SIBYLCOLEFAX.COM). 2. AMELIE LINEN-BLEND, ONE OF COLEFAX AND FOWLER’S FABRICS FROM COWTAN & TOUT (COWTAN.COM). 3. TREE POPPY COTTON. 4. THE HOUSE.
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Sun Splashed Rooted in classic Colefax & Fowler style, a villa on the Côte d’Azur is one family’s memory-laden getaway PHOTOGRAPHY BY RICARDO LABOUGLE STYLED BY ANITA SARSIDI
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ean and tall, with Apollonian looks and an Olympian temper, Tom Parr was the eminence of English decorating. From youthful beginnings selling antiques at General Trading Company, he became, in the 1960s, chairman and guiding light of Sibyl Colefax & John Fowler, the London firm famous for chintzing up rooms for the likes of Grace, Countess of Dudley, and the 11th Duke of Beaufort, to name just two of Parr’s titled clients. His proudest, most personal achievement, lovingly maintained by his family, can be found on a distant shore: La Casella, a 1960 Côte d’Azur house that architect Robert Streitz modeled on Madame de Pompadour’s 1753 Fontainebleau pavilion, though he dressed his simulacrum in ocher stucco rather than pale limestone. When Parr died seven years ago, at the age of 81, he left La Casella (Italian for “little house”) to his niece Minnie and her husband, Anthony Lindsay, Lord Balniel, a wealthmanagement powerhouse, passionate gardener, and heir apparent to the earldoms of Crawford and Balcarres. Today the London-based couple and their four grown children spend as much time there as possible and let it when they can’t. In contrast to the recherché façade, the foyer of La Casella has a raw modernity, its chic brutalism offset by the severe luxury of black-and-gold furnishings, which include a superb
DISCOVERIES legacy
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1. LA CASELLA’S LIBRARY FEATURES COLEFAX AND FOWLER’S LONGFORD PINK PATTERN (DISCONTINUED) ON THE WALLS. 2. LINCOLN LINEN-BLEND. 3. BEAUFORT COTTON. 4. PLUMBAGO BOUQUET BLOSSOMS IN THE MASTER BEDROOM.
2. & 3. COURTESY OF COWTAN & TOUT
Regency mirror. The decorating of the salon, however, is absolute Englishgentleman: yellow trompe l’oeil paneling, Colefax and Fowler’s iconic Old Rose chintz, and a cosmopolitan blend of French and English pieces. “Would you care to see the house?” Parr asked me on a long-ago visit after a vitello tonnato lunch. Chairs were pushed back, and the tour commenced. We parsed the line of a chair, the cut of a valance, and I learned that Cole Porter had given the humble novecento creamware on the dining room walls to the jeweler Duke Fulco di Verdura, Parr’s late companion. By the time that Parr and his ultimate life partner, Claus Scheinert, a retired German motor-parts salesman, bought La Casella in 1984, there had been more than one false start with Anglo-Saxon gardeners. Scheinert had never handled a trowel before but stepped up to the plate with Teutonic resolve. That he came to master the horticultural arts, late in life and faute de mieux, revealed his true calling. Pebble-dash walks and elegant flights of stairs link eight descending terraces, and Scheinert, who died in 2015, planted walls of cypress and Euclidean spheres of box. The palette is green, rich in hue and texture, yet enlivened with lashings of white wisteria and tumbles of blue plumbago that are echoed in the master bedroom’s chintz. The Balniels have conserved this legacy with the help of Parr’s onetime colleague Wendy Nicholls, who can identify every chintz that had ever caught Parr’s roving eye. Thus, his and Scheinert’s sun-spangled paradise has come into its second golden age, albeit one with a lively, expanding family splashing in the pool. lacasellacotedazur.com
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As the first layer of a sophisticated space, shaped by nostalgia and warm, inviting materials, Facet makes a beautiful design statement and is an invitation to embrace your walls. For more information, visit innovationsusa.com
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50 Scollard is a 41-story architectural masterpiece located in beautiful Yorkville, Toronto. Not only has Lanterra Developments 64-residence property reshaped the idea of luxury through its interior and exterior design, it is redefining luxury living through its hotelinspired amenities, curated to provide five-star services every day. “We asked ourselves: How we could not only support but enhance residents’ lifestyles? They have such resources and so many options available so what will bring them true comfort? What services and experiences should our interiors support?” says Mark Mandelbaum, chairman at Lanterra Developments. “All those questions led us in creating an exclusive and private experience.”
1. THE EXCLUSIVE PORTE-COCHERE 2. THE CONTEMPORARY WINE ROOM 3. THE MODERN LOUNGE 4. THE EXPANSIVE LOBBY
The services offered are carefully tailored and uniquely designed to be as individual as each resident’s lifestyle. From daily errands to luxury concierge-like requests, the 50 Scollard service team is there to assist. And the high staff-to-resident ratio ensures there is always someone to call on, day or night. Other opulent amenities include an indoor-outdoor pool, porter services, 24-hour valet parking, a pet spa, an underground car wash, and a state-of-the-art fitness center. In addition, a beautifully stocked wine lounge and private dining area complement the amenities in this one-of-a-kind property. 50 Scollard is now accepting appointments. Secure your place at fiftyscollard.com
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Transforming the notion of lighting and décor for both interiors and exteriors is the forte of KingsHaven. This involves conceptualizing innovative product designs to enhance how illumination and shapes interact in traditional, transitional, and contemporary spaces. KingsHaven proudly introduces a new standard in lifestyle lighting and décor with a distinctly original offering that combines luxury lighting, fine furniture, and decorative accessories in a perfect blend of harmony and design. Each KingsHaven lighting fixture or other exquisite accent is created with exceptional craftsmanship by talented, worldwide artisans. Hand-forged iron and wood-crafted choices range from historic reproductions of fine European antiques to highly creative modern designs. Many elegant, in-stock selections are available to satisfy specific design solutions and for expedited shipping. KingsHaven’s extensive options for lighting and
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Next level—that’s just one way to describe the latest crop of design stars, a group of international talents upending convention, celebrating FXOWXUDO GLҬHUHQFHV DQG UHYLWDOL]LQJ traditions of all kinds EDITED BY SAM COCHRAN
Nicolas Moussallem (left) and David Raffoul of the Lebanese design studio David/Nicolas pose in their Beirut office.
P ORT R A IT BY TONY ELIEH
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David/Nicolas David Raffoul and Nicolas Moussallem, cofounders of the Beirut-based design studio David/Nicolas, are obsessed with time—a bit surprising for two guys who have only just reached their 30s. “We are always trying to understand how things worked before, how they are now, and how they might be later,” Moussallem explains of their trendeschewing style, a blend of classic and contemporary elements that they’ve dubbed retrofuturism. We call it ahead of the curve. Since launching their firm in 2011— they first met studying design at the Lebanese Academy of Fine Arts— Raffoul and Moussallem have established themselves as champions of craftsmanship, tackling projects ranging from furniture pieces to automotive design to shops and restaurants. For their current exhibition, “Supernova,” on view through October 6 at Carpenters Workshop Gallery in Paris, the duo took their lofty ideas to new heights, looking to the cosmos for inspiration. “A supernova is basically when a star explodes and creates two kinds of reactions—either a new star or a black
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hole,” explains Moussallem, noting that the exhibition comprises two distinct collections of objects. While the Constellation series is a study in sleek silhouettes and pristine stone surfaces, the Monocle series mixes marquetry, marble, and glass into intricate compositions. A case in point is their Monocle bar cabinet, which debuted in 2017 at TEFAF New York, where it caught the attention of designer Richard Petit of AD100 firm The Archers. “It’s a covetable design object, but it’s also a lot to think about,” he says. “The complex construction is simultaneously postmodern and deeply sincere.” Other recent projects include the Beirut restaurant Kaléo, a limitededition chair for Nilufar gallery, and the Brussels flagship for luxury lingerie brand Carine Gilson, the duo’s first fashion boutique. Here, as in all their interiors projects, David/Nicolas took a holistic approach, custom-designing everything from the sumptuous pink seats to the pristine glass shelving. Says Raffoul, “It’s important for us to communicate a vision, not just create a product.” davidandnicolas.com —CARLY OLSON
1. The firm’s interiors for restaurant Kaléo. 2. Monocle bar cabinet. 3. Constellation table. 4. An armchair designed for Nilufar gallery in Milan.
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1. MARCO PINARELLI; 2. & 3. COURTESY OF CARPENTERS WORKSHOP GALLERY; 4. DANIELE IODICE
Working in scales large and small, the Beirut design duo celebrates craftsmanship with cerebral élan
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Frida Escobedo The Mexico City–based architect fuses local and global traditions to spark cross-cultural dialogues
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1. Architect Frida Escobedo, at her 2018 pavilion for London’s Serpentine Gallery. 2. The structure remains on view through October 7.
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Growing up in Mexico City, Frida Escobedo would go with her doctor father to the hospital, where she would stare out the windows into neighboring apartments. “I was trying to understand how space reflects people’s personalities,” says Escobedo, now a locally based architect. “Those guys are fighting, this couple is happy—all that is revealed by design.” Nowadays, however, Escobedo has her sights set much farther afield. This past summer, the rising star debuted her realized design for the 2018 Serpentine Pavilion in London. “My idea was to combine exterior and interior, like a secret place,” Escobedo says of her scheme, a clandestine cloister
that acts as a kind of complex clock. Gray concrete tiles typical of British roofs are stacked into celosías, or breeze blocks, casting shadows to mark the passage of time. Rectangular volumes form an interior courtyard—a nod to Mexican domestic architecture—with one angled parallel to the prime meridian. And a reflecting pool, refracted by a curved, mirrored ceiling, gives the illusion of double height while accentuating light. “We were interested in filtering the landscape into the space,” says Escobedo, adding that the pavilion’s metal steel frame “aged and bled” as it has developed a patina. Escobedo is no stranger to such temporary, interactive feats. Her 2010 installation at Mexico City’s Museo Experimental El Eco featured movable concrete blocks that could accommodate lectures and performances. In 2013, she created a circular stage for the
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Lisbon Architecture Triennale, followed two years later by a series of mirrored surfaces for the courtyard of London’s V&A museum. But the Serpentine commission, she admits, presented “quite a challenge,” all the more so considering the 39-year-old is the youngest architect ever to receive it. While Escobedo finds the experimental nature of pavilions rewarding, she is now tackling two private homes and a housing complex. For her second hotel with Grupo Habita, meanwhile, she is transforming an 1890s residence in the Mexican city of Puebla into a wellness retreat. She’s also settling into her new apartment in an iconic Mario Pani– designed building. “I have so many windows, which is just fantastic,” she says, excited to revisit a favorite pastime. “I’m back to my childhood.” fridaescobedo.net —MICHAEL SLENSKE
1. A storefront and signage by LA-Más in the Wilmington neighborhood of Los Angeles. 2. (OL]DEHWK 7LPPH OHIW and Helen Leung.
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3. Acapulco’s Hotel Boca Chica, revamped by Escobedo in 2010.
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If implementing good neighborhood design seems like a no-brainer, you’d be surprised. Reports end up shelved. Plans don’t move beyond renderings. But constructive change has come to Frogtown, Koreatown, and other underserved neighborhoods of Los Angeles thanks to LA-Más, an innovative nonprofit—part design studio, part public-policy think tank—dedicated to improving urban conditions and supporting vulnerable populations in the face of gentrification. “Adding furniture, signage, and bus shelters may all sound simple, but it requires major moving of the bureaucracy,” says Helen Leung, a Frogtown native and graduate of Harvard’s Kennedy School, who leads LA-Más with architectural designer and fellow Harvard grad Elizabeth Timme. Projects thus far have included updating the visual identities of local storefronts, formalizing businesses through proper permitting, and enhancing streetscapes by incorporating furniture and designating pedestrian space. Their latest venture addresses the housing crisis through a scalable program of Section 8 backyard accessory dwelling units—a.k.a. “granny flats.” The pilot unit will be completed this fall, with eight more in the pipeline. “We’re hoping to inspire the city to simplify its processes,” says Leung, who serves as a liaison between community representatives and policymakers while Timme spearheads design and execution. “Our goal is for more communities to do this without an LA-Más.” mas.la —ELIZABETH FAZZARE
1. COURTESY OF LA-MÁS; 2. MAGGIE SHANNON; 3: UNDINE PRÖHL
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Sasha %LNRҬ After stealing the show at Kips Bay, this Manhattanite is shaking up the decorating world with party-girl panache 1. Sasha Bikoff on the staircase she designed for this year’s Kips Bay Decorator Show House. 2. Bikoff’s wool Zodiac rug. 3. A kaleidoscope of pattern spirals down the stairs.
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When Sasha Bikoff was asked to create a room for this year’s Kips Bay Decorator Show House, her vision was clear. “I wanted to design a nightclub on the Upper East Side,” recalls the 31-year-old New Yorker. There was only one catch. “I got the staircase.” Furniture and window treatments were out of the question for the space, which—with its limited options—was no one’s dream assignment. Undeterred, Bikoff ran wild, reconstituting 1980s Memphis motifs into psychedelic carpets by The Rug Company and kaleidoscopic wallpapers by Voutsa, and painting the floor and ceiling trim in archival Farrow & Ball hues. Her eye-popping display stole the show and became an immediate Instagram sensation. “She showed up and she delivered,” praises Voutsa’s George Venson. “I cannot tell you how on point she was.” The proof, of course, was in the product. As Bikoff reflects
of the daringly patterned staircase, “You couldn’t help but dance.” That urge, you might say, is signature Sasha, whose taste for decorating developed during a semester abroad in Paris, where she studied painting and lived with textile designer Lisa Fine. What started as a hobby took front seat when, a few years later, she quit her job at Gagosian to decorate her mother’s apartment in the Dakota. “She taught me how to deal with uptown women,” Bikoff says with a laugh. Since then, her upbeat approach and unlikely pairings have caught on, with a villa on Lake Como, five Manhattan homes, and four Hamptons houses all under way. Now she’s making her first foray into product design with a series of disco-ready rugs produced by Stark and sold through 1stdibs.com. “They’re kind of Marie Antoinette–meets–Bianca Jagger,” she says of the new collection, which includes shiny shag and zodiac-inspired motifs. “People are going to want to lie on these carpets and have a cocktail.” sashabikoff.com —HANNAH MARTIN
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Formafantasma Adopting an anthropological, research-driven approach to object making, the Amsterdam-based studio tackles the complex issues of our time “A smartphone is really hard to recycle,” says Simone Farresin, the 38-year-old cofounder of the Amsterdam-based studio Formafantasma. “Each component is extremely small, difficult to access, and glued in place.” As a result, explains his partner, Andrea Trimarchi, 35, “every time you recycle a phone, you have to grind it up and make new raw materials— it’s so stupid.” Where others are resigned to waste, Formafantasma sees opportunity to innovate. For the last two years the Italian-born designers have visited facilities around the world in search of ways to rethink the recycling process. Commissioned by Melbourne’s National Gallery of Victoria, their research has given way to a growing collection of objects, titled Ore Streams, which debuted during the museum’s inaugural triennial last December. Among the pieces are a glass cabinet filled with reclaimed computer cases; an aluminum chair trimmed in gold from electronic waste; and a table that incorporates stacks of old smartphones. Next March, additional works and documentary footage will appear as part of an exhibition curated by Paola Antonelli for Milan’s Triennale museum. Farresin and Trimarchi, who met as undergrads in Florence, have been performing this type of intensive, globespanning research since they graduated as a duo from Design Academy Eindhoven (DAE) in 2009. “Design touches economics, politics, sociology,” reflects Farresin.
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1. SIMON; 2. & 3. IKON
Andrea Trimarchi (left) and Simone
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Wandering through Dia:Beacon this past May, during its annual spring benefit, Karin Gustafsson paused before a painting by Mary Corse. “She expresses so much with so little,” noted Gustafsson, the creative director of COS. You could say the same of her. Since taking the helm of the fashion label two years ago, after working behind the scenes for nearly a decade, Gustafsson has made a roar with a whisper—masterminding both the spare, sophisticated collections for which COS is known and the multisensory installations that have established it as an incubator for cutting-edge talents. “We’ve always been rooted in minimalism,” said the designer, who has found inspiration in everything from Agnes Martin paintings to Anne Truitt sculptures. “Our stamp is timeless design that focuses on functionality—how to offer new materials and new experiences.” Created in collaborations with rising-star designers and artists, the latter include Studio Swine’s bubble-yielding tree sculpture (traveling to Shanghai this October) and Phillip K. Smith III’s wall of mirrors, mounted in Milan last April. “You have to see it in person,” said Gustafsson. “Only then do you feel the full wow.” cosstores.com —SAM COCHRAN 4 1. Karin Gustafsson, creative director of COS, with Studio Swine’s “New Spring” installation. 2. “Open Sky,” a 2018 project by Phillip K. Smith III in collaboration with COS.
4. A glass cabinet decorated with aluminum computer cases.
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1. & 2. COURTESY OF COS; 4. IKON
“But the complexity of objects has been largely neglected in mainstream design.” For their graduation project at DAE, they examined the European refugee crisis through the lens of Sicily’s Testa di Moro vases—popular souvenirs bearing faces of the Moorish people who once conquered the island. Formafantasma’s riffs featured the faces of modern refugees, calling attention to the hypocrisy baked into the island’s centuries-old craft. In 2011 the pair traced the history of plastic back to the 18th century and created vessels inspired by early plantand animal-derived polymers. And after Sicily’s Mount Etna erupted in 2013, they explored lava—turning excavated hunks into objects of desire. The duo’s blatant deviation from the mainstream design world has won the attention of some of its titans. In 2017 the designers unveiled lighting with Flos; in April they introduced ceramics with Bitossi; and they will soon reveal a collaboration with Cassina. But even with more mass-market collections a sense of thoughtfulness remains. To complement the 2017 Salone del Mobile debut with Flos, for instance, Formafantasma staged an exhibition across town at Spazio Krizia that revealed the collection’s experimental origins—enigmatic fixtures that played with shadow, light, and color. “We went back to the initial stage of light,” explains Farresin. “It was less about the object and more about light itself.” formafantasma.com —H.M.
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Taher Asad-Bakhtiari Traditional Iranian textiles ºQG D PRGHUQ YRLFH LQ WKH ZRUN of this Tehran-born talent
1. Artist-designer Taher Asad-Bakhtiari with a selection of his tribal weaves. 2. One of AsadBakhtiari’s colorful kilims woven by Iranian artisans.
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high-pile rug, the gabbeh. By introducing unexpected materials like lace, polyurethane, and metallic threads, he has elevated functional floor coverings into fine art. “I wanted to work within this craft and evolve it,” explains AsadBakhtiari of the labor-intensive process. (A single textile can take up to four months to complete.) “My goal was to give it a new identity.” His approach resonated across the globe, from Beirut, where he shows with 1 Carwan Gallery, to New York, where he just made his Stateside debut at the International Contemporary Furniture Fair. Collaborating with Bernhardt Design, Asad-Bakhtiari has reinterpreted Iranian weaves into six industrial-grade upholstery fabrics. Whereas one mimics the black-and-white motif of Bakhtiari jackets, another is flecked with shimmering silver yarn, nodding to the metallic accents of traditional Iranian clothing. “My people weave their tents, their beds, And in June, he unveiled a series of their blankets, their clothes,” reflects graphic, riotously colorful textiles—woven textile artist Taher Asad-Bakhtiari, who by artisans in Afghanistan—at the Met was born in Tehran and descends from Breuer shop. members of Iran’s seminomadic Bakhtiari “Geometry is the basis of all weaves,” tribe. “Everything they have is woven in he says, referring to the long, slender different ways. This is our craft.” tapestries’ repeating triangles and arrows. Inspired by that tradition, Asad“I just made it more bold—I minimized it.” To him, these simplified motifs symBakhtiari—who now splits his time bolize something greater than his own between New York, Dubai, and Tehran— heritage. “They represent all tribes,” launched the Tribal Weave Project, he says. “They speak every language.” working with Iranian artisans to reinvent taherasadbakhtiari.com —H.M. the kilim and his ancestors’ signature
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Harris Bugg Studio Two critically acclaimed Brits join forces to create soulful gardens that are rich with meaning, mystery, and relevance 2
1. ALLAN POLLOK-MORRIS; 2. MARIANNE MAJERUS; 3. MARK WAUGH/RHS
1. Harris’s gold-medal Canadiannatives garden for the 2017 RHS Chelsea Flower Show. 2. A Jordanian forest inspired Bugg’s awardwinning 2016 Chelsea installation. 3. The partners.
Whether the commission is a cubistic backyard for fashion model Cara Delevingne or an Islam-infused botanical oasis the size of a small country, Charlotte Harris and Hugo Bugg have one goal: to make the best garden possible. “Our approach to landscape is very much about immersing ourselves in the spirit of the place,” says Harris, one half of London’s Harris Bugg Studio, a two-year-old partnership between the RHS Chelsea Flower Show gold medalists. “Not just how it feels when we’re standing in it but being aware of the site’s history, geology, vernacular, and plantings as well as the stories of the people who have inhabited that space for thousands of years.” Their two-acre public garden for the RHS Garden Bridgewater, near Manchester, England—currently under way and part of a 154-acre series of interconnected gardens master-planned by British landscape star Tom Stuart-Smith that will open in 2020—speaks of the city’s industrial heritage. Thus, the scheme is an abstracted plan of the area’s canal network, layered within a long-ago duke’s 19th-century kitchen garden. But it’s more than just pretty. “People must be able to take ideas home,” Bugg continues, to be inspired by everything from scented plantings to edible forestry, one of the most ancient forms of agriculture. Delevingne’s London plot, on the other hand, is tucked behind the model’s Georgian townhouse (AD, May 2018) and centered on what Bugg describes as “a modern parterre” composed of “large lumps of triangular topiary,” all reflected by a black-glass studio structure. “It’s always a challenge in London to create a space that is very crisp yet very inviting and sensual,” he adds. Bugg explains that the point is not just “a beautiful garden but one that expands our skills and knowledge.” Chimes in Harris with a grin, “We like tearing things apart to make them better.” harrisbugg.com —MITCHELL OWENS
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HIGH STYLE Under the masterful guidance of Michael S. Smith, one of Manhattan’s most storied residences gets a glorious new lease on life
© 2018 HELEN FRANKENTHALER FOUNDATION, INC./ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; © 2018 AGNES MARTIN/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
TEXT BY JAMES REGINATO PHOTOGRAPHY BY MICHAEL MUNDY STYLED BY CAROLINA IRVING
IN THE EAST GALLERY, ANTIQUES MIX WITH CONTEMPORARY AND MODERN ARTWORKS BY HELEN FRANKENTHALER (ON BACK WALL), AGNES MARTIN (AT RIGHT), AND HENRI MATISSE (ON CONSOLE). FOR DETAILS SEE RESOURCES.
“The key to the whole thing was taking out that staircase,” says the financier. “But who in New York thinks about taking out a staircase? You have to think outside the box. “Of course, that’s what Michael does, along with [architect] Oscar [Shamamian],” he continues. “They just took the stair out and put another one over there. And, voilà.” But maybe it was not quite so simple. “Well, four and half years later. And some money,” the financier adds. “Oscar and I did a huge victory lap when we figured out how we could fuse the apartments,” says Smith. “People in the past, I think, were held back because they were so enamored—as they should be—of original Candela architecture. But Oscar built this amazing new stair that changed everything and really added to the value of Candela’s design because it made everything work.” Throughout the years-long odyssey, the couple didn’t flinch. “Most people don’t love the process as much as they do, and aren’t prepared to be as brave,” says Smith. Once the engineering hurdles were cleared, the most formidable challenge involved integrating the couple’s museumquality collection of art and antiques, much of which has been displayed in the dozen or so residences that Smith has designed for them over the past quarter-century.
A PICASSO PAINTING HANGS ABOVE A CUSTOM ARMLESS SOFA IN A FORTUNY COTTON. OPPOSITE STENCILED RATTAN PANELS COVER THE FAMILY-ROOM WALLS. GEORGE III LEATHER-TOPPED GAME TABLE; CHAIRS IN AN EMIL ROTTER FABRIC.
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© 2018 ESTATE OF PABLO PICASSO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; FRAMED STILL LIFE: JANSSEN © 2018 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/VG BILD-KUNST, BONN
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n these challenging times, long-term relationships are hard to sustain. Los Angeles–based AD100 designer Michael S. Smith, renowned for his work at the White House for Barack and Michelle Obama and for many other A-list clients, has enjoyed a solid one with a certain couple who have been his clients for 25 years. The apartment that this pair purchased several years ago has been a lengthy undertaking, too. The eight-bedroom duplex, atop an iconic 1920s Rosario Candela–designed building, was considered one of Manhattan’s ultimate trophy apartments. In fact, the residence had a big drawback—it was basically two separate apartments. Its previous owners, a business mogul and his wife, had bought the adjacent units in the late 1980s and combined them, but only in a rudimentary way. “They busted a hole in a wall, but the apartments were never properly integrated,” attests one of the new owners—the husband, a financier. The mogul had been stymied—as were many prospective purchasers after his widow put it on the market—by a seemingly insurmountable obstacle: A grand staircase in the center of the footprint blocked complete consolidation.
© 2018 THE FRANZ KLINE ESTATE/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; © 2018 CALDER FOUNDATION, NEW YORK/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
A LARGE FRANZ KLINE PAINTING CENTERS THE LIGHT-FILLED LIVING ROOM. ANTIQUE CHANDELIER; ALEXANDER CALDER SCULPTURE ON RUSSIAN NEOCLASSICAL TABLE; 19TH-CENTURY SAVONNERIE RUG.
“A lot of things have followed them around from house to house. It’s a really personal group of objects,” says Smith. “Some things are super-precious and some things are really simple—picked up in a flea market or a souk in Morocco.” The couple’s paintings collection is focused on Old Masters and modern masters, while their superlative furniture collection veers mostly to the 18th century, though it does include stellar 20th-century and contemporary pieces. “I love the 18th century, but an apartment done with everything from the 18th century is frozen in aspic,” says the financier. “We like combining that period with modern art and furniture.” Busy as he is, it’s the husband here who parses over aesthetic matters with Smith. His wife, who’s an investor behind a thriving fashion brand, is happy to delegate these concerns to her spouse and Smith. (Their two adult children have left the nest.)
ABOVE FIREPLACE: LANYON © SHEILA LANYON. ALL RIGHTS RESERVED, DACS, LONDON/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/DACS, LONDON; RIGHT WALL: STELLA © 2018 FRANK STELLA/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
“Tramping around for art and antiques with Michael is probably my favorite leisuretime activity,” says the homeowner.
ABOVE IN THE KITCHEN, CUBE LIGHTS BY JEAN PERZEL HANG FROM THE PEWTER LEAF–COVERED CEILING. LEFT BRONZE CLAUDE LALANNE CANDELABRA ADORN THE DINING TABLE. CHINESE EXPORT PADAUK WOOD CHAIRS WEAR A HOLLAND & SHERRY FABRIC; PAINTINGS BY PETER LANYON (LEFT) AND FRANK STELLA.
“I do the heavy lifting,” the husband explains. “Between [my wife and me], she’s the client and I’m the designer. She’s not going to go through 100 auction catalogs, but I like to. I’d rather spend three hours walking through the Rive Gauche; she’d rather not. In the end, I show her choices, and she picks, say, 15 things she likes. “Tramping around for art and antiques with Michael is probably my favorite leisure-time activity,” he continues. “We always have fun. It’s not like it’s work.” When it comes to putting all these purchases together, the couple leaves it in Smith’s expert hands. “He so knows what we want by now,” says the husband. “But it’s not really accurate to say he gives us what we want. Why should he give us what we want? We’re not design professionals. He gives us things we didn’t know we wanted. Sometimes he will keep showing me something I say no to. If I say no three times, then I know it must be great, and I say yes.
“In every room there is something discordant, that doesn’t belong—that’s fabulous,” he adds. “His stuff is not matchy-matchy.” For Smith, the challenge was to bring harmony to this collection of spectacular but diverse objects. “There are many high points, but not everything is at full volume. Overall, the apartment is serene and quiet, not jumpy. Things reveal themselves to you slowly,” says Smith. On the fast track, Smith has two major auctions at Christie’s featuring contents of residences he designed: “Eaton Square,” in London, September 12, and “A Tale of Two Cities, New York and Los Angeles,” in New York, September 26. The designer has also created a new blog, The House on Mapleton Drive, to chronicle the major renovation of his primary residence in Los Angeles, which he shares with James Costos, the former U.S. ambassador to Spain, his life partner of the last 18 years. Clearly, Smith is one for long-term relationships.
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ABOVE FIREPLACE: ARP © 2018 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/VG BILD-KUNST, BONN; BESIDE BED: VANTONGERLOO © 2018 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/PROLITTERIS, ZURICH
A GARDEN-SCENE WALLPAPER BY ZUBER WRAPS THE MASTER BEDROOM, WHERE THE CUSTOM-PATINATED BRONZE BED BY CAROLE GRATALE WEARS D. PORTHAULT LINENS. PAINTINGS BY JEAN ARP (LEFT) AND GEORGES VANTONGERLOO.
© 2018 BRICE MARDEN/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
ABOVE IN THE SUNROOM, A CUSTOM PLASTER LANTERN BY PHILIPPE ANTHONIOZ HANGS OVER A DINING TABLE BY HERVÉ VAN DER STRAETEN AND MIDCENTURY CHAIRS. BRICE MARDEN PAINTING. BELOW INDIAN MINIATURES DECORATE THE HUSBAND’S DRESSING ROOM; PANELING DESIGNED BY FERGUSON & SHAMAMIAN. OPPOSITE THE WIFE’S DRESSING ROOM FEATURES A PAUL FRANKL DAYBED.
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IN THE ANTIQUESFILLED LIVING ROOM, A JOSEF ALBERS PAINTING HANGS OVER THE LOUIS XVI MANTEL.
24-ARM LEAF CHANDELIER; $12,450. CHARLESEDWARDS.COM
SNAKE CHARMER FABRIC; TO THE TRADE. POLLACKASSOCIATES.COM
ANTIQUE FRENCH LOUIS XVI MANTEL; $35,000. JAMB.CO.UK
HALLE DAYBED BY MICHAEL S. SMITH FOR JASPER; TO THE TRADE. MICHAELSMITHINC.COM SODALITE BLUE STONE SLAB; PRICE UPON REQUEST. ANTOLINI.COM
PRODUCED BY M ADELINE O’M ALLEY
INTERIORS: MICHAEL MUNDY; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES; © THE JOSEF AND ANNI ALBERS FOUNDATION/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK 2018
When you walk in, you immediately get a sense of who lives here,” says Smith. “It’s eclectic, but it all holds together.”
BRASS OBELISKS BY CORBIN CRUISE X MARY NELSON SINCLAIR; FROM $400. KRBNYC.COM
ARTIST NANCY LORENZ CREATED CUSTOM WALL PANELS FOR THE BREAKFAST ROOM. LOUIS XVI MAHOGANY TABLE; SQUARE GERRIT LANTERN BY STUDIO VAN DEN AKKER.
LES JARDINS FRANÇAIS WALLPAPER; TO THE TRADE. ZUBER.FR
BORGHESE MIRROR BY MICHAEL S. SMITH FOR JASPER; TO THE TRADE. MICHAELSMITHINC.COM
TREVISO ARMCHAIR BY MICHAEL S. SMITH FOR JASPER; TO THE TRADE. MICHAELSMITH INC.COM
DROPLET WOOL RUG (8' X 10'); $8,700. ORLEYSHABAHANG.COM H. THEOPHILE CABINET PULL HT9300-HT3182; TO THE TRADE. HTHEOPHILE.COM
There’s an element of serendipity in shopping for antiques,” notes the homeowner. “You can’t just order things up.” A GUEST BATH IS COVERED IN A STRIATED CREMA TIRRENO MARBLE. JUAN GRIS DRAWING.
ARO BARSTOOL BY LIEVORE ALTHERR MOLINA FOR BERNHARDT DESIGN; FROM $1,177. YLIVING.COM
TORSADE CANDLESTICK; $14,000 PER PAIR. BUCCELLATI.COM
STRANGE ALCHEMY Gabriel Hendifar and Jeremy Anderson of Apparatus transform their New York Cıty loft into a dazzling showcase of the couple’s signature aesthetic MAYER RUS FRANÇOIS DISCHINGER STYLED BY MICHAEL REYNOLDS
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A ZAK + FOX COTTON VELVET LINES THE BEDROOM IN THE HOME OF APPARATUS FOUNDERS JEREMY ANDERSON AND GABRIEL HENDIFAR. THE LATTER DESIGNED THE CUSTOM BED. PAINTING BY ALESSANDRO TOMASSETTI; LANTERN PENDANTS BY APPARATUS; VINTAGE CHAIR AND RUG. FOR DETAILS SEE RESOURCES.
AN ALBERT EMIEL MURAL WRAPS WALLS IN THE FOYER AND DINING ROOM, WHERE THE CONSOLE (LEFT), PENDANT, DINING TABLE, CANDLESTICKS, AND DOUBLE VASE ARE BY APPARATUS. 1970s DINING CHAIRS. CUSTOM SHUTTERS BY HENDIFAR.
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marble. Plus, I really got off on designing the hardware that holds it in place,” Hendifar explains. The apartment’s second defining feature is a series of custom oak shutters punched with symmetrical apertures. The repeating circle motif nods to Jean Prouvé’s ribbedaluminum porthole panels, but the scale of the pattern and the inset rings of hand-finished brass keep the design squarely within Apparatus territory. “The first thing we did when we got this place was take down the roller shades on the giant, nine-foot-tall windows. The shutters immediately unified and elevated the architecture,” says Anderson. Throughout the home, the designers paired Apparatus lighting and furniture with sympathetic vintage pieces both pedigreed and unattributed. The living room, a tour de force he New York City home of Apparatus founders Gabriel Hendifar of eccentric chic, exemplifies the duo’s sensibility. Midcentury and Jeremy Anderson feels very much like one of the company’s sofas by Milo Baughman are covered in a black faux-bois moiré signature lighting designs. They share a strange kind of beauty, fabric that provides a dramatic counterpoint to the warm red-toned wood shutters. The room is anchored by an imposing highly refined and seriously seductive. A similar vibe pervades Apparatus’s famously swanky Manhattan showroom, as well as Hendifar-designed cabinet constructed of brass mesh, wood, and eel skin, set atop turned legs of solid brass. Flanking the the lavish annual fête that Hendifar and Anderson throw there every spring. At a time of increasing sameness, when designers cabinet are two folk-art liquor cupboards in the shape of human figures, acquired from a hunting lodge in Maine. Hendifar across the globe draw from a communal digital well of inspirations and influences, the Apparatus aesthetic remains blissfully, bumped up the surrealism of the ensemble by adding a custom marble-topped cocktail table in the shape of a three-toed foot. unapologetically idiosyncratic. The look of the couple’s master bedroom can be summed “Many of our product designs and collections evolved up in two words: come-hither. Sheathed in rust-colored velvet directly from pieces we made for ourselves. As much as this and centered on a brass bed with a Persian lamb bolster set loft functions as a creative laboratory, it’s also our home. We set a high bar for the things we live with and the things we put into the headboard, the space echoes the crazy-sexy-cool vibe of disco-era debauchery. Even the mirror-fronted closets out into the world,” says Hendifar, who serves as Apparatus’s and the meshugenah Vladimir Kagan Omnibus lounge in the creative director. “Besides, we always need a project to chew adjacent dressing room have an undercurrent of 1970s louche. on to keep the creative juices flowing.” As a final flourish, a small painting of Anderson’s ear that Located on the top floor of an erstwhile industrial building Hendifar commissioned for his partner’s 40th birthday hangs in the Flatiron District, the loft speaks volumes about the above the bed. “It was the perfectly right wrong thing to put Apparatus brand and the passions of its protagonists. Filled there,” Hendifar avers. with prototypes, custom pieces, peculiar objets de vertu, The bedroom carpet— an unexpectedly traditional American design from the 1940s—is something the couple acquired when they lived in Los Angeles, before the pair took Manhattan by storm in 2011. Likewise, the large French Deco– ish cabinet that presides over the entry hall and the curious and compelling architectural details, the residence strikes a delicate balance between the raw and the cooked. “We wanted Asian-inflected altar table in the dining area are both L.A. imports. “They’re not only great designs but also mementos of to experiment with living in a semiformal way in a space that our shared life and history. We always find a place for them,” resists formality. Basically, we tried to make it feel less like a Anderson says. loft,” Anderson says of the couple’s design approach. Indeed, as the story of the couple and the brand they Two primary architectural interventions set the tone for the created continues to evolve, the loft contains hints of what experience. The first is a semi-freestanding wall that defines a generous entry vestibule off the elevator. Paneled in quarter- we might expect to see from them in the future. Anderson, for instance, has quietly been experimenting with ceramics, sawn oak on one side, the wall snakes into the heart of the loft, where it discreetly delineates individual areas—dining room, and the fruits of his labors are on display throughout the apartment. True to form, his subtly anthropomorphic vessels kitchen, master suite—within the open expanse. In a decorahave a peculiar poetry that jibes with the overall spirit and tive coup de théâtre, Hendifar and Anderson adhered a 15allure of the couple’s work. To borrow a phrase from Marvin foot-long, unframed, 1930s Danish canvas to the meandering Gaye and Tammi Terrell, when it comes to strange beauty, divider. “We loved the idea of this giant pastoral painting of “Ain’t nothing like the real thing, baby.” cows and milkmaids juxtaposed with all the sleek brass and
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GROOMING BY NICOLE ELLE USING TOM FORD AND LA MER
“We set a high bar for the things we live with and the things we put out into the world.” —Gabriel Hendifar
ABOVE ANDERSON (LEFT) AND HENDIFAR. RIGHT 1950s BARSTOOLS STAND AT THE BRASS-CLAD, SAINT LAURENT MARBLE-TOPPED KITCHEN ISLAND.
BELOW IN THE DRESSING ROOM, A VLADIMIR KAGAN LOUNGE AND OTTOMAN WEAR A TOYINE SELLERS FABRIC. SIDE TABLE BY APPARATUS.
IN THE LIVING ROOM, MILO BAUGHMAN SOFAS AND AN OTTOMAN WITH A BOLSTER SURROUND MARBLETOPPED COCKTAIL TABLES DESIGNED BY HENDIFAR. TWO HAND-CARVED LIQUOR CUPBOARDS ON COPPER PLINTHS FLANK AN EEL SKIN–AND–BRASS CABINET BY HENDIFAR. ARTWORK BY ROBERT MORELAND.
The living room, a tour de force of eccentric chic, exempliďŹ es the duo’s sensibility.
A LANDSCAPE PAINTING BY CARL FREDERIK AAGAARD SITS ATOP THE GARDEN’S FIREPLACE. JINNY BLOM DESIGNED THE LANDSCAPE. FOR DETAILS SEE RESOURCES.
HAIR BY ADAM EMBLETON FOR JOSH WOOD COLOUR; MAKEUP BY SONIA BHOGAL USING DR. HAUSCHKA
NINA FLOHR, WEARING A CHANEL SWEATER, LOUNGES IN HER LONDON HOME. THE CUSTOM SOFA, BY VEERE GRENNEY ASSOC., AND WALLS ARE COVERED IN A BENNISON PRINTED LINEN.
Homeward Bound
When it came time to design her London townhouse, young globe-trotter Nina Flohr enlisted Veere Grenney to help her conjure domestic bliss TEXT AND STYLING BY
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RIGHT IN A DINING AREA, A SERGE MOUILLE LIGHT HANGS OVER THE MARBLE-TOPPED SAARINEN TABLE. CUSTOM BANQUETTE. OPPOSITE A TILED TERRACE. OUTDOOR FURNITURE BY VEERE GRENNEY ASSOC.; CURTAINS AND PELMET OF A PAOLO MOSCHINO FOR NICHOLAS HASLAM LTD. LINEN.
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ven the most intrepid world traveler needs a place to stow her luggage and rest her head. In other words, a place to call home. A couple of years ago, when her father decided to give up his house in central London, Nina Flohr decided to let go of her Notting Hill flat and take the opportunity to make the family home her own. “I’ve always admired the way the English dress their houses, the great estates with their Colefax & Fowler furnishings and eccentric flourishes,” says the Swiss-born Flohr, who until 2016 served as the creative director of VistaJet, the fleet of superstylish private planes founded by her father in 2004. “I wanted to take that inspiration and create a beautiful space that reflects my personal style and taste, an easy place to entertain, and a cozy nest to return to after my travels.” To help her realize her vision, Flohr turned to Londonbased AD100 designer Veere Grenney, who worked at Sibyl Colefax & John Fowler in the 1990s before opening his
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own firm. Since then, he has forged a path as one of the leading torchbearers for the great English tradition of creating rooms that are both beautiful and comfortable, many of which can be seen in the just published Veere Grenney: A Point of View (Rizzoli). “Nina came to my office with her inspiration book—nearly 200 images!—which included plenty of my own work,” Grenney recalls. “I was so flattered, I couldn’t refuse.” Nestling into the living room’s green Fortuny-clad sofa, Flohr starts to describe her brief for the space. “I grew up here, so it has lots of familiarity, but I had to make changes.” Refurbished in the 1990s, the interiors of the Regency-era neoclassical beauty were rather minimal—“contemporary,” in Flohr’s description. She and Grenney dove right in, reconfiguring the floor plan. What had been the main drawing room on the second floor was transformed into Flohr’s bedroom and bath. (A separate, fancifully “tented” dressing room is just upstairs.) Her former bedroom in the basement was given over to creating a zone dedicated to cooking, dining, and entertaining. (In contrast to most renovations these days, they actually made the new kitchen smaller, in order to steal more space for the dining and bar area.) The ground floor was divided into living room, library, and a cozy fabric-lined TV room Flohr calls the “snug,” while the top-floor study became a pair of guest rooms.
“I’ve always admired the way the English dress their houses, those great estates with their Colefax & Fowler furnishings and eccentric flourishes.” —Nina Flohr
ABOVE LOAFERS SURROUND A VINTAGE SWEDISH TABLE IN FLOHR’S DRESSING ROOM. VINTAGE INLAID MOROCCAN CHAIRS; WALLS AND CURTAINS OF A SISTER PARISH DESIGN LINEN-COTTON. RIGHT IN THE MASTER BEDROOM, A CANOPY OF A BESPOKE BENNISON PRINT DRAPES THE CUSTOM BED; 19TH-CENTURY BENCH.
CLOCKWISE FROM LEFT A GHANAIAN SCULPTURE STANDS ON AN ANTIQUE CONSOLE TABLE IN THE ENTRANCE HALL. CHANEL (LEFT) AND VALENTINO FROCKS HANG IN THE DRESSING ROOM. THE LIVING-ROOM SOFA IS UPHOLSTERED IN A FORTUNY COTTON.
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LEFT A BENNISON PRINT ENVELOPS A GUEST ROOM. VINTAGE STRIPED ARMCHAIR FROM ROBERT KIME; MOROCCAN RUG.
Over the course of the project, the duo grew quite comfortable in their constructive back-and-forth. When Flohr proposed lacquering the walls of the ground floor, Grenney installed simple paneling first to create more visual interest in the low-ceilinged space; she suggested contrast piping for his pleated lampshades; he had the flamboyant Bennison fabrics she chose recolored to create sumptuously bespoke environments. “Nina’s taste is very eclectic, and she believes in quality and details,” says Grenney. “She is also a keen organizer and likes functionality. We had fun with color and pattern, but we also had to make it all work.” Great details and fine craftsmanship abound. The living room is swathed in a moss-green silk velvet, the same material the curtains are made of. A Bennison linen envelops the TV room’s walls and Turkish-style sofa. (The space was inspired by Cecil Beaton’s iconic 1966 portrait of Lee Radziwill with her daughter in their Renzo Mongiardino– designed house in London.) The dressing room is tented in light-green striped fabric, with Flohr’s tidy closets hidden behind the draped fabric that lines the walls. Flohr’s personality is seen in the array of artworks and souvenirs on display: An Op Art painting by Victor Vasarely in shades of green—Flohr’s favorite color—hangs on a staircase landing; edgy contemporary artworks by Koen van den Broek
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BELOW A CARLTON DAVIDSON ANTIQUES CHANDELIER HANGS ABOVE A TUB BY THE WATER MONOPOLY IN THE MASTER BATH.
and Clare Rojas adorn the bedroom; a vintage Fornasetti chest of drawers sits in the living room. Throughout the house, a visitor spots many photographs, artwork, and crafts from countries all around Africa; Flohr has nurtured a passion for the continent since she first visited Kenya at age 15. Since then, she has returned again and again. And a few years ago, she established the Kisawa Sanctuary, a nonprofit marine-research facility and community-empowerment program, on an island in Mozambique. (A luxury hotel is scheduled to open there in 2019.) Keeping in mind her respect for the local vernacular, inclination toward vibrant colors, prints, and patterns, and taste for African objects and midcentury furniture, Grenney has conceived a glamorous yet down-to-earth space where the young entrepreneur can really feel at home. “This house is definitely Nina,” says the designer. “If you met her at a party when she’s all glammed up in beautiful clothes and accessories and she invited you over for tea, you would not be surprised.” Flohr interjects, “The house feels very much like an extension of me, a visualization of who I am and what I represent.” What more could anyone ask from their home? “My best clients are what I call ‘inspired amateurs,’ and Nina is for sure one of them,” adds Grenney. “She loves clothes, furniture, gardens, pictures—she loves beauty wherever she finds it!”
IN A GUEST ROOM, BED AND CANOPY DESIGNED BY VEERE GRENNEY ASSOC. FLOHR PICKED UP THE BLANKET IN INDIA.
supersiz
THE ENORMOUS SCALE OF THE GALLERY AT STERLING RUBY’S STUDIO PROVIDES THE ARTIST WITH AMPLE SPACE TO STUDY HIS WORK. HE CAN ALSO INSTALL EXHIBITION MOCK-UPS BY TAPING OFF FLOOR PLANS THAT APPROXIMATE GALLERY AND MUSEUM ROOMS.
e it
Sterling Ruby’s vast studio outside Los Angeles is a testament to the scope and ambition of the artist’s practice MAYER RUS JASON SCHMIDT STYLED BY MICHAEL REYNOLDS TEXT BY
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terling Ruby seems to enjoy pricking the membrane of esoterica and fabulousness that shrouds the contemporaryart world. Despite his ascension to its highest echelons, he chafes at the shibboleths and notso-subtle snobbery of the fickle international art scene. Prodigious output across a wide range of media; a refusal to choose between spectacle and sincerity; outsize ambition; phenomenal commercial success attained early in a career—all of these tend to raise eyebrows among the art world’s traditional gatekeepers. But Ruby takes it all cum grano salis. He’s just doing his thing. Consider the artist’s vast studio in Vernon, California, a small industrial city of warehouses, factories, and the occasional adult-entertainment superstore, just five miles south of downtown Los Angeles. The complex sits on four acres, with roughly 122,000 square feet of indoor space. Ruby purchased the property six years ago and spent three years on renovations, which included the replacement of 116 skylights. There are massive studios dedicated to work in various media, along with viewing rooms and storage and support facilities (e.g., woodworking and welding). Just off the entry to the compound,
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CLOCKWISE FROM FAR LEFT A GROUP OF RUBY’S CERAMIC TOTEMS. TWO CERAMIC BASKETS. ONE OF THE ARTIST’S BASIN THEOLOGY SCULPTURES BEING LOADED INTO THE LARGEST OF THE STUDIO’S SIX KILNS.
Ruby has a 10,000-square-foot gallery with a 40-foot ceiling, where he can study his work and install exhibition mock-ups at full scale. Even by the XXL standards of the art world of 2018—where galleries operate like multinational conglomerates and museums can’t stop hawking their latest starchitect makeovers—the scale of Ruby’s enterprise feels audacious. “I was on top of myself in my old studio. I never had room to look at things with space around them. To photograph one thing, we’d have to move everything else,” the artist says. “Now I have more time and space to make decisions when I’m finishing a piece or a series. I can sit back and take a valuation of the colors, the palette, the patterns, as well as what the work means to me and where I feel it comes from. I can figure out if I need to throw a red herring into the mix.”
RIGHT RUBY BESIDE ONE OF HIS FLUORESCENT MONOLITHS IN THE COMPOUND’S SPRAWLING OUTDOOR SPACE. BOTTOM A WALL-HANGING CERAMIC HEART.
“I wanted to make something expressive where you can see the tactility, something with chance in the process.”
“I can sit back and take a valuation of the colors, the as well as what the work means to me and where I 148
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RUBY SURVEYING HIS WORK IN THE STUDIO DEDICATED TO DRAWING AND SMALL-SCALE PAINTING.
palette, the patterns, feel it comes from.”
The four primary art studios are allocated to painting (specifically large-scale canvases), drawing (including collage and small-scale painting), ceramics, and textiles (soft sculpture, tapestries, and garment construction). At any given time, certain studios show signs of active production while others remain completely quiet. Despite his team of 16 assistants, one gets the impression that Ruby often inhabits the space alone, roaming from studio to studio as inspiration strikes, occasionally crossing paths with a kiln technician or seamstress. “I get manic, so I like to move around,” he explains. In recent months, the ceramics studio has kicked into high gear in preparation for the first museum exhibition devoted exclusively to Ruby’s work in that medium. Organized by the Des Moines Art Center, the show, titled simply “Sterling Ruby: Ceramics,” debuted in Iowa this past summer. It moves to New York City’s Museum of Arts and Design for a five-and-a-halfmonth run starting on October 3. Given the recent surge of interest in ceramics among contemporary artists and collectors, and the backlash from the established ceramics community—they decry the arrivistes’ insistence on wonkiness as a signifier of authenticity—Ruby is quick to point out that he has worked in clay for nearly two decades. “Honestly, I don’t think I would have done ceramics if I’d started five or six years ago. When I first became interested in the material, it felt like uncharted territory. Clay was still seen as craft, with none of the conceptual imperative that dominated contemporary-art theory and practice,” he insists. “I wanted to make something expressive where you can see the tactility, something with chance in the process, particularly in the firing,” he adds. Ruby’s connection to ceramics dates back to his youth. When the German-born artist was a child, his family moved from Europe (where his American father was stationed with the U.S. Air Force) and ended up at a farm near New Freedom, Pennsylvania, in the heart of Pennsylvania Dutch country. “I grew up in a place that highly valued craft. My mother, who was Dutch, brought a lot of her West German pottery and dishware to the States. It was typically lumpy and thickly glazed. In regard to my autobiography,” he continues, “I felt like I had a history with that particular material that I should play up in my art.” The current exhibition surveys a broad range of Ruby’s ceramic sculptures, from the hefty basins that he fills with shards of earlier works that failed in construction or firing to smaller works that he describes as totems, soldiers, and ashtrays. Certain pieces riff on the shape of a heart, beautifully glazed in a broad range of hues. The heart sculptures may be a sly undermining of the outmoded conflation of clay and craft—akin to something one might encounter at the local art fair, down the aisle from the batik ponchos and driftwood lamps. Or perhaps it’s just a red herring.
lush life
With nature threatening to take over, architect Daniel Romualdez enlisted landscape designer Miranda Brooks to tame and transform the acres surrounding his beloved Connecticut retreat TEXT BY
PAGE DICKEY
PHOTOGRAPHY BY
NGOC MINH NGO
MOWN PATHS LEAD TO THE ORCHARD. THE MEADOW GRASS IS DOTTED WITH MOUNT EVEREST ALLIUM. FOR DETAILS SEE RESOURCES.
A PYRAMID, CONSTRUCTED USING STONES FOUND ON THE PROPERTY, SITS AT THE FOOT OF AN ALLÉE OF FIELD MAPLES. SOME 20 FEET TALL, THE FOLLY CAN BE SEEN FROM THE HOUSE IN WINTER AND SERVES AS A PLEASANT DESTINATION FOR A WALK DURING WARMER MONTHS.
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never thought a garden would be part of my life,” the AD100 architect and interior designer Daniel Romualdez says about his weekend home in northwest Connecticut. “I have no skills with gardening, no landscape vision,” he adds modestly. But ten years ago Romualdez asked his friend the landscape designer Miranda Brooks to make something of the property around the 18th-century house he had recently purchased, where he and his husband, investment banker Michael Meaghar, planned to spend fall, winter, and early spring. Once famously the home of fashion great Bill Blass, the handsome fieldstone-and-clapboard house had become shrouded with overgrown rhododendrons, the sky darkened by towering conifers. No design of the outdoors had ever been undertaken. There was no view, no place outside to sit. Brooks changed all that. “It was exciting making a winter garden,” Brooks says, concentrating on green architecture and perspectives, on the forms of trees and shrubs, planting roses more for their colorful hips through fall and winter than for their flowers. But what she proposed was a huge project. Construction ensued,
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as major walls were built and grades were changed to conquer a dramatic descent on the south side of the house and allow for a series of garden spaces. Steps now lead down from the south-facing sunroom to a terrace laid randomly with granite slabs and planted lushly with box bushes, amsonias, grasses, Japanese anemones, peonies, and lilacs around a cluster of garden chairs. More comfortable seating and a dining table are shaded by a bamboo-covered pergola at the end of the terrace. Pots of rosemary and figs mark steps descending to a formal garden space enclosed by tall hornbeam hedges. Four bold box parterres are centered here in an expanse of lawn and simply filled almost to the edges with more boxwood, clipped slightly higher. The gaps between the inner boxwood and the outer are filled with a grass, Molinia caerulea—moorhexe— that waves above the parterres, seemingly laughing at the stolid blocks of green. The journey continues past these strict hedges and opens out onto a pastoral scene of high grass and fruiting trees, an old apple orchard threaded with paths on one side, woods and blue hills beyond. Romualdez wanted a focal point that he could see from the house in winter, and that led to the construction of a folly—a stone pyramid at the end of an allée carved out of the woods.
Walking back from the pyramid, you glimpse the white steeple of a church rising above the garden. Brooks brought an understated elegance to the north, more public side of the house. “I wanted to make the front supersimple,” she says. The façade was cleaned of old shrubbery and now is viewed from the road sitting plainly on its bed of lawn, ledge rocks, and ferns, shaded by ancient sugar maples. “I’m an architect and want to see the house,” Romualdez says. Brooks redirected the entrance driveway, giving it no fanfare—no stone posts, no gates, no lampposts. Now it’s merely two strips of gravel set in lawn, but placed charmingly on axis with the 19th-century stone church across the street. Pleached lindens enclose the small parking area that leads to the front door of the house. Romualdez says what appeals to him about Brooks’s gardens is that there’s strict architecture and yet “she knows when to let go. Miranda also knows how people live and how to help them to live better,” he notes, referring to the sitting areas she carved out below the house. “We love to read in the garden.” Romualdez spends many hours beneath the pergola, “lunch, after lunch, dinner—it’s literally our living room.” Brooks adds, “Even in winter, Daniel is out there, covered with blankets!” From the pergola, he looks out onto the stone terrace and its plantings, and down the long view to the hills and the sky. “After Miranda did the garden, I really felt like I was in the country. I’m in love. We rush home on the weekends to see what’s new. It changed the way we live.”
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“After Miranda did the garden, I really felt like I was in the country,” says Romualdez. “I’m in love.”
ABOVE A FORMAL HORNBEAM-ENCLOSED PARTERRE OF BOXWOOD INTERPLANTED WITH MOORHEXE GRASS SITS BELOW THE HOUSE AND STONE TERRACE. OLD TREES AND WILDER MEADOWS LIE JUST BEYOND. OPPOSITE LEFT A CLOSE-UP VIEW INTO THE HORNBEAM HEDGES.
Marmol Radziner’s meticulous architectural restoration of a classic midcentury home in San Francisco provides an unexpectedly hospitable backdrop for avant-garde interiors by designer Charles de Lisle MAYER RUS WILLIAM ABRANOWICZ STYLED BY MICHAEL REYNOLDS
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Back to the
THE SPACIOUS LIVING AREA OFFERS A SWEEPING VIEW OF THE SAN FRANCISCO BAY. BELOW, VINTAGE ERCOL DINING CHAIRS SURROUND A CUSTOM MARMOLEUM TABLE BY MARTINO GAMPER; CUSTOM ABACA FLOORING. FOR DETAILS SEE RESOURCES.
Future
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hen you’re a professional shelter-magazine writer, certain clichés come with the territory. There’s the house that’s modern but surprisingly warm; the house that blurs the boundaries between indoors and out; the house in which every object and design detail tells a story. The San Francisco home of Jessica and Aaron Sittig is all of the above— but there’s nothing clichéd about it. “This was one of the most thoughtful and deliberate design processes we’ve ever been through. Aaron and Jessica wanted to drill down into every aspect of the project—conceptual, narrative, aesthetic, mechanical, and functional,” says Leo Marmol of Marmol Radziner, the Los Angeles–based AD100 architecture firm and restoration specialist tasked with the rehab of the Sittigs’ classic midcentury residence in San Francisco. His partner, Ron Radziner, seconds that emotion: “The level of rigor reminded me of the conversations we had when we were restoring Neutra’s Kaufmann House. We almost never get the opportunity to go this deep.”
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ABOVE JESSICA AND AARON SITTIG IN THE ENTRYWAY. LEFT ORIGINALLY DESIGNED IN 1963 BY ARCHITECTURE FIRM SCHUBART AND FRIEDMAN, THE STRUCTURE IS CLAD IN REDWOOD SIDING AND STUCCO.
Interior designer Charles de Lisle, who spent five years working in close collaboration with the homeowners and Marmol Radziner, is equally rhapsodic. “Jessica and Aaron approached the design process with a kind of intellectual curiosity beyond compare. We’d have eight-hour meetings about a door handle and hinges,” he recalls. “What makes them so extraordinary is that they don’t feel beholden to conventional wisdom about objects and rooms. They wanted to question everything.” The Sittigs are a young power couple in the technology world, although they’d undoubtedly be mortified to find themselves described as such. They’d much rather be known, if at all, for their dedication to design, particularly as design development has always been part of their professional milieu. “We’re interested in how something great comes to be—whether it’s a perfectly placed tree, a piece of software, or a chair,” Jessica says. Originally built in 1963, the Sittigs’ house is composed of stacked rectilinear volumes of redwood and glass, projecting from a steep San Francisco hillside. The taut modernist structure had barely been touched in the half-century since it arose in
THE LIVING ROOM’S BAR IS SWATHED IN A CUSTOM DE GOURNAY SILK. VINTAGE BORIS LACROIX SCONCE; CUSTOM INDIGO-DYED ASH CABINET WITH BRASS COUNTERTOP AND SHELVES BY DE LISLE; VINTAGE MAURICE DUFRÈNE ARMCHAIR.
ABOVE, FROM LEFT THE POWDER ROOM FEATURES A HAND-CARVED ELM SINK; BLACK LACQUERED ROSEWOOD PANELING ON WALLS. A HIPPO TOY BY RENATE MÜLLER STANDS WATCH IN FRONT OF A FREESTANDING PLYWOOD SLEEPING POD IN THE KIDS’ ROOM. BELOW, FROM LEFT GLIMPSED THROUGH A PORTHOLE, THE READING NOOK IS DECORATED WITH BENJAMIN MOORE AND PRATT & LAMBERT PAINTS, VINTAGE TEXTILES, AND CUSTOM CASEWORK BY DE LISLE. A BETTY WOODMAN WALL-MOUNTED CERAMIC SCULPTURE OVERLOOKS A PIERRE CHAPO COCKTAIL TABLE.
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A STRAWBERRY PRINT DEVISED BY DE LISLE COVERS THE GUEST ROOM’S WALLS, HEADBOARD, AND QUILT; DUVET COVER AND SHAMS OF ROGERS & GOFFIGON FABRICS; MARTINO GAMPER CHAIR.
THE KIDS’ BATH IS LINED WITH ADJUSTABLE SHELVES OF CLEAR RED BIRCH, WALNUT, AND CEDAR. CUSTOM BLUESTONE SINK BY MAX LAMB.
“The design process gave us insight into how we want to raise our kids and how we want to live.” —Jessica Sittig
IN THE MASTER BEDROOM, A CUSTOM BED BY GLITHERO FEATURES BUILT-IN NIGHTSTANDS. CUSTOM QUILT COMPOSED OF VINTAGE FABRICS; VINTAGE DANISH ROCKING CHAIR; SILK RUG BY STARK.
a neighborhood better known for Victorian and Beaux Arts finery. Its architect, Hank Schubart of Schubart and Friedman, apprenticed under Frank Lloyd Wright and worked in the studio of influential Bay Area maestro William Wurster. In typically fastidious fashion, the Sittigs drew up a detailed spreadsheet of nearly 100 architects before ultimately alighting on Marmol Radziner. “We wanted to work with people we could have a conversation with—people deeply invested in research,” Aaron explains. A similarly exhaustive process led the couple to de Lisle, a San Francisco interior and product designer. “Charles is more chaotic and willing to improvise. We thought he’d be a good foil to the architects,” Jessica says. Indeed, the extraordinary character of the home emerges from the tension between the meticulous architectural restoration and the wild panoply of decorative elements contained within. Deferring to the spirit of Schubart’s plans, the Sittigs and their design team essentially gutted and rebuilt the house, invisibly introducing necessary mechanical and
seismic upgrades while replicating and refining its original design details. Since many of the original off-the-rack hinges, knobs, and pulls went out of production decades ago—midcentury architects loved a good hardware store—the Sittigs had them remade. When a particular architectural lighting fixture could not be procured, the couple went through the process of obtaining a UL listing for a custom version. “The stove top was our Waterloo,” Jessica laments, referring to a complex and as yet unresolved engineering challenge involving flush-mounted burners. The homeowners’ fascination with craft and process naturally extended from humble hinges to the splashier furnishings and decorative flourishes that coalesce in de Lisle’s kaleidoscopic assemblage. For pure sex appeal (as design nerds would understand the phrase), it’s hard to beat the commodious living/dining room, with its panoramic view, massive retractable skylight, and huge glass sliders. Along one side of the room, panels of figured red birch veneer conceal a seriously seductive bar, bookshelves, and a
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A HALLWAY LEADS TO A SEMI-CONTAINED MOSS GARDEN. WICKER STOOL BY FABIEN CAPPELLO; ANTIQUE BEECH SETTEE; CUSTOM RUG BY MAX LAMB.
small work station. Floating within the open expanse is an ever-changing landscape of toothsome vintage furnishings by the likes of Gio Ponti, Ward Bennett, Joe Colombo, Maurice Dufrène, and Pierre Chapo, all set atop a sprawling carpet of abaca tiles. A custom de Gournay wallpaper of pine trees in fog, as delicate as a Japanese ink drawing, lines the bar interior. In addition to orchestrating this heady mix, de Lisle made his own contribution in the form of custom sofas that nod to both Northern California and Japanese craft traditions. De Lisle also served as a conduit between the Sittigs and the myriad designers, artists, and master craftsmen they enlisted to create custom pieces. Consider the bespoke dining table by Martino Gamper. De Lisle took his clients
“We wanted to work with people we could have a conversation with.” —Aaron Sittig to London to meet the designer, and after more than a year and a half of conversations, sketches, and on-site mock-ups, Gamper fabricated a series of supersite-specific tables made of teak-banded Marmoleum set on powder-coated aubergine legs. Max Lamb, another London-based design star, contributed a monolithic freestanding sink in the children’s bathroom. Cut from a solid block of Belgian bluestone, hand-finished, and embellished with an array of whimsical brass fixtures, the massive piece required plumbing to be rerouted and structural reinforcement of the floor. Beyond boldface names on the international scene, the Sittigs engaged master artisans with deep ties to the California craft movement. In the stunning powder room off the kitchen, where the walls of riftcut redwood are lacquered black in a nod to Japanese urushi, Rick Yoshimoto fashioned a hand-carved elm sink of de Lisle’s design that feels like a high altar in a pocket temple. Now based in New Mexico, Yoshimoto worked for years alongside California craft titan J. B. Blunk. The homeowners also commissioned designer Tripp Carpenter, son of the revered woodworker Arthur Espenet Carpenter, to create a desk for the Sittigs’ guest room, where de Lisle’s madcap strawberry pattern adorns the headboard, walls, and bed linens. “Our joy comes from working with people we admire, giving them our story and the story of the house, and seeing what they come up with. It’s not about collecting,” Jessica says of the couple’s extraordinary design odyssey. Aaron puts a finer point on the process: “It was our job to care more than anyone else.”
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design notes
THE DETAILS THAT MAKE THE LOOK
LINDEN STICK LIGHT BY CHARLES DE LISLE FOR THE FUTURE PERFECT; $5,050. THEFUTURE PERFECT.COM
GUEST-BEDROOM NOOK. VINTAGE PAAVO TYNELL PENDANT; CLARO WALNUT DESK BY TRIPP CARPENTER. BUCKLAND LINEN BY COLEFAX AND FOWLER; TO THE TRADE. COWTAN.COM
CUSTOM ACNE STUDIOS RUG BY MAX LAMB FOR KASTHALL. SIMILAR AVAILABLE AT KASTHALL.COM
STRAWBERRY TREE WALLPAPER BY COLE & SON; TO THE TRADE. LEEJOFA.COM
THERAPEUTIC TOY HIPPOPOTAMUS BY RENATE MÜLLER; PRICE UPON REQUEST. R-ANDCOMPANY.COM
CAP 1 KNIGHT AND IAN MOTOR YHCYC LES. THE THIRD AND LATEST FALCON,
in the crazy stuff.” —Charles de Lisle PRODUCED BY M ADELINE O’M ALLEY
What excited us was finding out what excited the designers.” —Jessica Sittig RABARBER LINEN BLEND; $170 PER METER. JOBSHAND TRYCK.SE
CARA SOFA BY PAUL MATHIEU FOR LUXURY LIVING; $15,530. LUXURYLIVINGGROUP.COM
ACRYLIC SCULPTURE BY PHILLIP LOW; PRICE UPON REQUEST. SIMILAR AVAILABLE AT THEFUTUREPERFECT.COM
HAND-PAINTED ABSTRACT PINES SILK WALLPAPER; $1,043 PER PANEL. DEGOURNAY.COM
VINTAGE WARD BENNETT CLUB CHAIRS FACE OFF IN THE LIVING ROOM.
SILVIA CHAIR BY PAOLO TILCHE FOR ARCHIVIO STORICO BONACINA 1889, REISSUED BY DE PADOVA; $7,520. DEPADOVA.COM
INTERIORS: WILLIAM ABRANOWICZ; SILVIA CHAIR: TOMMASO SARTORI; HIPPOPOTAMUS: JOE KRAMM/COURTESY OF R & CO.; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES
ARNOLD CIRCUS STOOL BY MARTINO GAMPER; $132. KARENWALKER.COM
VINTAGE TOPO TASK LAMP BY JOE COLOMBO FOR STILNOVO; $1,400. TWOENLIGHTEN.COM
CRANFORD CRIMSON RUG; TO THE TRADE. STARKCARPET.COM
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resources Items pictured but not listed here are not sourceable. Items similar to vintage and antique pieces shown are often available from the dealers listed. (T) means the item is available only to the trade. WORLD OF: JAKE GYLLENHAAL PAGES 39–40: Interiors by Ashe + Leandro; asheleandro.com. PAGE 39: Percival Lafer
lounge club chair from 1stdibs; 1stdibs.com. Koti 2 Seater Sofa by Hem; hem.com. 548 Standing Lamp by Ruemmler; ruemmler.us. PAGE 40: In screening room, vintage Guillerme et Chambron armchair from 1stdibs; 1stdibs .com. Corbett coffee table by Room & Board; roomandboard.com. Q rug, in black, by Studio Woven; woven.is. In Marker’s office, teak desk from Horseman Antiques; horse manantiques.net. Banded Barrel Back chairs by Moran Woodworked Furniture; shop .moranwoodworked.com. Stairway bookshelves, in white, by CB2; cb2.com. In kitchen, Classic Café upholstered dining chair by West Elm; westelm.com. Eero Saarinen round dining table for Knoll from Design Within Reach; dwr.com. HIGH STYLE COVER, PAGES 114–127: Interiors by Michael
S. Smith; michaelsmithinc.com. Architecture by Ferguson & Shamamian Architects; fergusonshamamian.com. COVER: In bar, antique Venetian mirror from Galerie Aveline; aveline.com. Vintage Emilio Terry mantel from Féau & Cie; feauboiserie.fr. Vintage Paul Belvoir andirons from Bonhams; bonhams.com. Custom chandelier by Junko Mori from Adrian Sassoon; adriansassoon.com. Table Grecque by Diego Giacometti from Liz O’Brien (T); lizobrien.com. Artworks by Franz Kline (left, top) and Joaquin Torres-Garcia (right). Custom silk rug by Beauvais Carpets (T); beauvaiscarpets.com. PAGE 116: On custom armless sofa, Malmaison cotton, in chocolate & gold stripes on slate blue, by Fortuny (T); fortuny.com. PAGE 117: On chairs, Apollon horsehair-blend, in mixed light brown, by Emil Rotter (T); emil-rotter.de. On bronze commode facette by Ingrid Donat from Carpenters Workshop Gallery; carpentersworkshopgallery .com; vintage Karl Springer table lamp, in ocher crackle finish, from Liz O’Brien (T); lizobrien .com. PAGES 118–19: Curtains of custom linensilk by Michael S. Smith; michaelsmithinc.com. Shades of hand-woven fabric, in ivory, with metallic banding by Anne et Vincent Corbière (T); av-corbiere.com. On sofas (at center), custom silk by Soie de Lune (T); soiedelune .com. On George III giltwood armchairs, Jaspe cotton-linen, in fern, by Cowtan & Tout (T); cowtan.com. PAGE 120: On chairs, Abaca fabric, in cream & plum, by Holland & Sherry (T); hollandsherry.com. Custom bronze mantel by Philippe Anthonioz; philippe-anthonioz.com. PAGE 121: Cabinetry by Lico Contracting; licocontracting.com. Window shades of Grace linen-blend, in windswept; by Pollack (T); pollackassociates.com; fabricated by Interiors by J.C. Landa; interiorsbyjclanda.com. Aro stools by Lievore Altherr Molina for Bernhardt Design; bernhardtdesign.com. PAGES 122–23: On walls, Les Jardins Français wallpaper, in blue-green custom grisaille-style color, by Zuber (T); zuber.fr. Custom patinated-bronze bed by Carole Gratale; carolegratale.com. Headboard of fabrics by Rogers & Goffigon (T); rogersandgoffigon.com. Custom Taiga
bed linens by D. Porthault (T); dporthaultparis .com. Swing-arm sconces by Chameleon Fine Lighting (T); chameleonhome.com. PAGE 124: On daybed, Veneto rayon-cotton, in lichen, by Rose Tarlow Melrose House (T); rosetarlow .com. Jacques Quinet side table from Maison Gerard; maisongerard.com. Custom églomisé doors by Miriam Ellner; miriamellner.com. Custom Monolithe crystal light fixtures by Mathieu Lustrerie; mathieulustrerie.com. Shards I wool-and-dull silk carpet by Tai Ping (T); houseoftaiping.com. PAGE 125: In sunroom, custom lantern by Philippe Anthonioz; philippeanthonioz.com. Bubble Gum dining table by Hervé Van der Straeten; vanderstraeten.fr. On midcentury chairs, custom fabric by Toyine Sellers (T); toyinesellers.com. Curtains of custom panels by Robert Crowder & Co. (T); robertcrowder.com; fabricated by Interiors by J.C. Landa; interiorsbyjclanda.com. Custom rug by Tai Ping (T); houseoftaiping.com. In husband’s dressing room, on walls, paneling by Ferguson & Shamamian Architects; fergusonshamamian.com. On stool, Kimmel silk-blend, in rust/blue, by Christopher Hyland (T); christopherhyland.com. STRANGE ALCHEMY PAGES 128–135: Interiors and custom
furniture throughout by Gabriel Hendifar of Apparatus; apparatusstudio.com. PAGES 128– 29: On walls, Bayan cotton-blend velvet, in alim, by Zak + Fox (T); zakandfox.com. Lantern pendants by Apparatus; apparatusstudio.com. Side tables by Lumifer; lumifer.us. PAGES 130–31: Segment 6 console, in lacquer and resin; 20" Median 1 pendant; Portal dining table, in marble; Candle Blocks, in brass; and Block double vase (right), all by Apparatus; apparatusstudio.com. On dining chairs, suede from Dualoy Leather (T); dualoy.com. Custom rift-cut oak-and-brass shutters by Gabriel Hendifar of Apparatus. On console, ceramic sculptures by Jeremy Anderson of Apparatus. On vintage brass chair (at left), Amazonia cotton with wool embroidery, in brown, by Clarence House (T); clarencehouse.com. Custom rugs by Gabriel Hendifar with Studio Four NYC (T); studiofournyc.com. PAGE 133: In kitchen, on walls and cabintery, custom paints by Benjamin Moore; benjaminmoore .com. Custom hardware by Apparatus; apparatusstudio.com. Cylinder extended down lights by Apparatus. On vintage chair, leather by Dualoy Leather (T); dualoy.com. In Paul Mayen aluminum chrome planters, plants from Harrison Green; harrisongreen.com. In dressing room, on Vladimir Kagan sofa and ottoman (similar at Holly Hunt (T); hollyhunt.com), Cent Six viscose-blend by Toyine Sellers (T); toyinesellers.com. Pars cocktail table, in oil-rubbed bronze and Nero Gold marble; and Metronome articulating floor lamp (in background), in black suede; both by Apparatus. In cast-iron planters, plants from Harrison Green. Custom rug by Studio Four NYC (T); studiofournyc.com. PAGES 134–35: Atop custom cabinet, Shiraz vessel by Apparatus; apparatusstudio.com. On custom pillows, fabrics by Studio Four NYC (T); studiofournyc.com; and Zak + Fox (T); zakandfox.com. On floor pillow, Bayan cottonblend velvet, in nuru, by Zak + Fox (T). Side table by Julian Chichester; julianchichester.com.
ARCHITECTURAL DIGEST AND AD ARE REGISTERED TRADEMARKS OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT © 2018 CONDÉ NAST. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 75, NO. 9. ARCHITECTURAL DIGEST (ISSN 0003-8520) is published monthly except for combined July/August issues by Condé Nast, which is a division of Advance Magazine Publishers Inc. PRINCIPAL OFFICE: Condé Nast, 1 World Trade Center, New York, NY 10007. Robert A. Sauerberg, Jr., President & Chief Executive Officer; David E. Geithner, Chief Financial Officer; Pamela Drucker Mann, Chief Revenue & Marketing Officer. Periodicals postage paid at New York, NY, and at additional mailing offices. Canada Post Publications Mail Agreement No. 40644503. Canadian Goods and Services Tax Registration No. 123242885-RT0001. POSTMASTER: Send all UAA to CFS. (See DMM 507.1.5.2); NON-POSTAL AND MILITARY FACILITIES: Send address corrections to ARCHITECTURAL DIGEST, P.O. Box 37641, Boone, IA 50037-0641.
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HOMEWARD BOUND PAGES 136–143: Nina Flohr of Kisawa
LUSH LIFE PAGES 150–55: Daniel Romualdez of
Sanctuary; kisawasanctuary.com. Interiors by Veere Grenney Assoc.; veeregrenney.com. Landscape design by Jinny Blom Ltd.; jinnyblom.com. PAGE 137: On walls, pillows, and on custom sofa by Veere Grenney Assoc.; veeregrenney.com. Coromandel linen by Bennison (T); bennisonfabrics.com. On other pillows, silk velvet, in golden yellow, by de Gournay (T); degournay.com; and Fez weave, in sage, by Guy Goodfellow Collection; guygoodfellowcollection.com. Moroccan sconces by Veere Grenney Assoc. PAGE 138: Serge Mouille three-arm ceiling lamp from Guéridon; gueridon.com. Eero Saarinen round dining table for Knoll from Design Within Reach; dwr.com. On custom banquette by Veere Grenney Assoc.; veeregrenney.com; Natural Maroc goat leather, in poppy, by Howe; 36bournestreet.com. Droit bistro chairs by Philippe Model Maison; philippemodelmaison .com. Convex mirror by Collier Webb (T); collierwebb.com. Curtains of Tajmahal cotton, in grenat, by Braquenié from Pierre Frey (T); pierrefrey.com. PAGE 139: Outdoor furniture by Veere Grenney Assoc.; veeregrenney.com. Curtains and pelmet of Aurora on Nivelles linen, in oyster-green, by Paolo Moschino for Nicholas Haslam (T); nicholashaslam.com. PAGES 140–41: In dressing room, vintage Swedish table from Modernity; modernity.se. Vintage Moroccan chairs from Guinevere; guinevere.co.uk. Walls and curtains of Dot cotton-linen, in fern, by Sister Parish Design (T); sisterparishdesign.com. Vintage chandelier from Carlton Davidson Antiques; carlton davidson.co.uk. Orange trunk by Globe-Trotter; globe-trotter.com. Antique rug from Robert Stephenson; robertstephenson.co.uk. In master bedroom, on custom bed by Veere Grenney Assoc., veeregrenney.com; Pomegranate fabric, in a custom blue, by Bennison (T); bennison fabrics.com. On antique bench from Timothy Langston Fine Art & Antiques; timothylangston .com; Maestro silk velvet, in ciel, by Lelièvre (T); lelievreparis.com. In entrance hall, console table from Arcadia Antiques; arcadiaantiques .co.uk. Bubble Lantern pendant by Rose Uniacke; roseuniacke.com. In living room, on sofa by Veere Grenney Assoc., Orsini Egyptian cotton, in bayou green on parchment, by Fortuny (T); fortuny.com. On ottoman by Veere Grenney Assoc., African weave, in olive, by Guy Goodfellow Collection; guygoodfellowcollection.com. On vintage Aldo Morbelli armchair from 1stdibs; 1stdibs .com; Duke mohair velvet, in moutarde, by Pierre Frey (T); pierrefrey.com. PAGE 142: In guest room, walls and curtains of Palampore linen-cotton, in charcoal blue on oyster, by Bennison (T); bennisonfabrics.com. Vintage striped armchair from Robert Kime; robertkime.com. MID070 writing desk by Chelsea Textiles; chelseatextiles.com. Vintage floor lamp from Modernisten; modernisten .com. In master bath, vintage Murano-glass chandelier from Carlton Davidson Antiques; carltondavidson.co.uk. Paris bathtub without feet and custom antique French bow-front basin with Soho fittings by the Water Monopoly; thewatermonopoly.com. Curtains and pelmet of Bray linen, in ecru, by Zoffany (T); stylelibrary.com. PAGE 143: On bed and canopy by Veere Grenney Assoc.; veeregrenney.com. On bookcase, Vista 5 wallpaper by Brian Yates from Jane Clayton & Co.; janeclayton.co.uk. Antique side table from Westenholz Antiques; westenholz.co.uk.
Daniel Romualdez Architects; 212-989-8429. Landscape design by Miranda Brooks Landscape Design; mirandabrooks.com.
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BACK TO THE FUTURE PAGES 156–167: Interiors by Charles
de Lisle; charlesdelisle.com. Architecture and landscape design by Marmol Radziner; marmol-radziner.com. PAGES 156–57: Custom dining table by Martino Gamper; martinogamper.com. On custom sofa by Charles de Lisle; charlesdelisle.com; Keaton linen, in vintage rose, by Kerry Joyce (T); kerryjoyce.com. Vintage rattan floor lamp from Paris Underground; parisunderground .com. PAGE 159: Custom silk wall covering by de Gournay (T); degournay.com. Vintage Boris Lacroix sconce from Galerie Pascal Cuisinier; galeriepascalcuisinier.com. Custom bar cabinet by Charles de Lisle; charlesdelisle .com. On vintage Maurice Dufrène armchair from Magen H Gallery; magenxxcentury.com; custom fabric from Scalamandré (T); starkcarpet.com. PAGE 160: In powder room, custom wall paneling and sink by Charles de Lisle; charlesdelisle.com. Vintage sconce by Bruno Gatta from Galerie Kreo; galeriekreo .com. At low right, custom laminate storage cabinet by Martino Gamper; martinogamper .com. In kids’ room, custom hippopotamus toy by Renate Müller from R & Co.; r-andcompany.com. Custom plywood sleeping pod by Charles de Lisle. Custom wool rug by Stark (T); starkcarpet.com. Through porthole, walls and shelves in paints by Benjamin Moore; benjaminmoore.com; and Pratt & Lambert; prattandlambert.com. Custom casework by Charles de Lisle. Outside porthole, on custom bench by Charles de Lisle, fabric by Lee Jofa (T); kravet.com. Vintage Dieter Gullert child’s chair from Kinder Modern. In living room, vintage Pierre Chapo table (similar) from 1stdibs; 1stdibs.com. On sofa, Brentwood velvet, in jadestone, by Décor de Paris (T); decordeparis.com. Custom sconces by Charles de Lisle. At right, Marmoreal side table by Max Lamb; maxlamb.org. PAGE 161: Custom linen wall covering, headboard, and quilt by Charles de Lisle; charlesdelisle.com. Custom duvet cover and shams by Rogers & Goffigon (T); rogersandgoffigon.com. Sessel chair by Martino Gamper; martinogamper.com. Custom Claro walnut desk by Tripp Carpenter from Espenet Furniture; espenetfurniture.com. Vintage Paavo Tynell pendant from Kabinet Hubert; kabinethubert.com. PAGE 162: Custom cabinetry and shower curtain by Charles de Lisle; charlesdelisle.com. Custom bluestone sink by Max Lamb; maxlamb.org. Custom brass sink fittings by Max Lamb fabricated by Barber Wilsons & Co.; barwil.co.uk. Vintage children’s chair by Thonet from Kinder Modern; kindermodern.com. PAGE 163: Custom bed by Glithero; glithero.com. On headboard, Baa Baa wool, in basco, by Rogers & Goffigon (T); rogersandgoffigon.com. Custom quilt by Charles de Lisle; charlesdelisle.com. Vintage rocking chair by Hans Olsen for Juul Kristiansen from 1stdibs; 1stdibs.com. Custom silk rug by Stark (T); starkcarpet.com. Curtains of alpaca linen by Rosemary Hallgarten (T); rosemaryhallgarten.com. PAGES 164–65: Wicker stool by Fabien Cappello; fabiencappello .com. Custom rug by Max Lamb; maxlamb.org. Antique settee from H. Blairman & Sons; blairman.co.uk.
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Palace Coup One might think that interior designer Ashley Hicks would know Buckingham Palace inside and out, given that his grandfather Lord Mountbatten was Prince Philip’s uncle. Think again. “As children we used to go once a year, to see my grandfather ride in the queen’s birthday parade,” he explains, “go into the courtyard to give his horse a sugar lump, and then have a drink in the wonderful chinoiserie Centre Room behind the balcony. I had almost never seen the state rooms.” So when Hicks was asked to produce Buckingham Palace: The Interiors (Rizzoli, $55), the first book about the royal digs in decades, he jumped at the chance. Armed with a Canon Digital SLR, he snapped 21 spaces in about ten days—and all, for once, in natural light. Pictured is the skylit corridor that leads to the State Dining Room. “I spent a great deal of time getting people to turn lights off,” Hicks says, noting that the palace serves as a home, museum, and place of business at the same time. “I’d be ready to take a picture, and suddenly in come the Lord Chamberlain’s Office officials to work out the state banquet for the king of Spain.” —MITCHELL OWENS
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FROM BUCKINGHAM PALACE: THE INTERIORS, BY ASHLEY HICKS; © 2018 RIZZOLI. PHOTOGRAPHY © ROYAL COLLECTION TRUST/ASHLEY HICKS
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