Reside Spring 2024

THE

FUTURE OF SKY-HIGH LIVING / LUXURY VENICE DESTINATIONS

FRESH FACES IN FURNITURE / THE PRIDE OF CAPE COD

A home like this takes a team like this.

A home like this | Curated, chic, serene | Exceptional build quality | 3808 Potomac Avenue | Highland Park, Dallas | $16,900,000 | Completed 2023 | 14,387 square feet | .38 acres | Two levels + Finished basement | 6 bedrooms | 8 full baths | 3 half baths | Study | Media | Exercise | Elevator | Expansive outdoor living | In nity pool | Mature landscaping | Subterranean 9-car auto gallery | Thomas Weber Architecture | Ferdows Custom Homes | Proper Landscape + Architecture | Armstrong Elementary

A team like this | Jobst Randall Group 214-533-8355 | briggsfreeman.com

Do you have valuable assets in your life?

At Briggs Freeman Sotheby’s International Realty, we do — about 400 of them, in fact. They are our hardworking, all-knowing agents across North Texas.

They are, frankly, amazing.

Recently, we’ve been talking together about all the value experienced agents bring to their buyers and sellers — negotiation skills, networks of trusted resources, money-saving advice, risk mitigation, problem-solving, even buffering emotions, so that those emotions don’t cloud judgment or derail a transaction.

On the brokerage side of things, we’re evolving our tech and tools for the future — for our agents and our clients — and we’ve launched partnerships with vetted experts who can help our clients with pre-sale renovations, inspection repairs, mortgage services, title services, property insurance and so much more.

Why? We want your experience with us to be even more well-rounded than before, with nothing to worry about.

That is our idea of value. And it starts with your agent. When you hire

a professional agent and pay them a commission, you’re not just compensating them for the time and effort they just put into one transaction — you’re benefiting from their education, connections, resources, knowledge and expertise.

Every one of those takes years to develop.

If you’ve worked with us, you know about an agent’s worth. And if you haven’t, well, we can’t wait to show you.

RUSS ANDERSON President and CEO Briggs Freeman Sotheby’s International Realty

3555 Dickason Avenue, Dallas

/ briggsfreeman.com

Rosewood Residences Turtle Creek, exclusively represented by Briggs Freeman Sotheby’s International Realty, will be a glamorous tower of approximately 46 homes, with the legendary five-star services of Rosewood Hotels & Resorts.

Up front

06 Interview

Rising design star Miminat Shodeinde is turning the tide on superyacht aesthetics

08 Interiors

The unique decor of old New Orleans lives on through the vision of current residents

10 Destinations

The very best of Venice’s hotels, restaurants and curated luxury to enjoy this Biennale season

12 Spirits

A women-led small-batch tequila brand gives a lesson in mixology at Art Basel Miami

13 Luxury

How a design flaw makes an already rare Patek Phillipe watch a one-of-a-kind

14 Design

Fresh young talent is front and center of Milan’s Salone del Mobile this spring

Features

16 Sky-high ambition

From blue-sky living to the greenest sustainable design, the skyscraper is expanding in all directions

26 If walls could talk

The ancient art of mural painting finds new life in modern homes across the US and beyond

32 The jewel in the Cape

An insider’s guide to Provincetown, Massachusetts—a Cape-side delight with layers of art and history to explore

40 An eclectic eye

Inside design champion Yves Gastou’s collection, amassed over a lifetime of traveling and antique dealing

46 Sowing a collection

Global art institutions are cultivating beautiful gardens that more than rival the masterpieces inside their walls

52 Jansen dreams

Collector Yolanda Eleta de Fierro curated her Madrid mansion inspired by the Maison Jansen style

Living

58

Extraordinary properties

Lush garden properties around the world offer an escape from the hustle of modern life

64 Gallery

The finest agents and properties in North Texas

From far left: Patrick Dunne and Nathan Drewes’ antique-filled home featured in Bohemian Soul: The Vanishing Interiors of New Orleans by Valorie Hart (page 8); The multicolored Shenzhen Women and Children’s Centre in Guangdong Province, China (page 16); The garden of Brook Hollow Farm located in Bedford, New York, designed by Miranda Brooks (page 58)

INTERVIEW

New wave

Miminat Shodeinde’s interiors for the private M/Y K vessel signal a change in tide for yacht design

From a slick penthouse in Cape Town, South Africa, to a contemporary country residence in Gloucestershire, England, British-Nigerian designer Miminat Shodeinde has worked on the interiors of a wealth of different residences since launching her studio, Miminat Designs, in 2015. She has also created an array of sculptural furnishings and objets d’art, and has several architecture projects underway in Portugal, India, and beyond. Now, Shodeinde is diversifying her impressive

professional portfolio as she completes the fit-out for M/Y K, a 131ft private yacht.

The yacht’s owner commissioned London-based Shodeinde in the summer of 2022, and although she wasn’t familiar with creating spaces for the water, it was an opportunity she couldn’t let go adrift. “I love what I do and want to try designing everything and anything,” she says.

The interiors will be installed in the latter half of this year, the culmination of a design process that came with new challenges for

Shodeinde: suddenly she found herself having to navigate the space limitations imposed by even a superyacht’s quarters, and consider how pieces of decor could impact stability, weight distribution, and performance at sea. “It was such a learning curve, especially when it came to all of the marine, boating, and yacht lingo,” she adds. “But overall it doesn’t really differ from designing spaces on land—you’re essentially trying to create moving art that caters to the brief and the desires of the client.”

In taking this unified approach to design, Shodeinde has instilled M/Y K with the same warm tactility that permeates her shore-side residential works: darkened ash veneer will line the vessel’s sinuous walls and swathes of honey-colored jute will underpin the seating areas. The ceilings will be lined with pale ceramic-composite panels, their rectangular form emulating that of a traditional Japanese tatami mat. “A lot of what I do stems from Japanese design philosophy, as it often centers on space, simplicity, harmony,

and a deep appreciation for the natural elements. There’s also a strong emphasis on the seamless integration of indoor and outdoor,” says Shodeinde.

M/Y K’s future furnishings also add to the yacht’s home-like ambience. All of the pieces were designed in-house at Shodeinde’s studio, yet each of them holds distinctive details that make it appear as though they’ve been artfully collected. The chairs that will surround the dining table, for example, feature cushions lined

in a soft, suede-style fabric and angular aluminum backrests, while the light pendant that will hang above is a sumptuous mix of textured glass and Nero Marquina marble. “Many yacht interiors tend to embrace an austere and sometimes very clinical look; they have a lot of white, glossy, and reflective surfaces that almost makes it seem like you’re on a spaceship,” explains Shodeinde. “I wanted to create something that was inviting and elegant.”

She isn’t the only one. An increasing number of architects and interior specialists are getting on board with yacht projects, applying the same palette they would use for spaces on terra firma. Shodeinde thinks this may, in part, be a result of advancements in industry technology and the wider availability of lighter, more durable iterations of ultraluxe materials that can be effectively applied within marine interiors. But it could also be down to a significant shift in aesthetic tastes.

“There’s a growing emphasis across all design genres to infuse spaces with personality and intimacy, particularly in a post-Covid world,” she says. “Everybody wants that boutique, homely feel.” If indeed there is a new wave of yacht design coming, it seems Shodeinde is already riding high.

Natasha Levy is a design writer

Photos: Armand Da Silva, courtesy of Miminat Designs.

Left: Miminat Shodeinde on her OMI D-3 chair in stained mahogany and nubuck.

Above and far left: Interior and exterior renders of Shodeinde’s design for the M/Y K private yacht

Soul of the city

A celebration of old New Orleans through the decorative eyes of its current residents

“There is nothing like the homes in New Orleans,” writes designer and author Valorie Hart, a resident of two decades’ standing. The shame, she adds, is watching that uniqueness being “renovated out of them.”

Documenting the city’s decorative charm before it becomes extinct was the motivation behind her new book, Bohemian Soul: The Vanishing Interiors of New Orleans

Among its chapters, richly photographed by fellow local Sara Essex Bradley, nestle a Creole mansion, a Southern shotgun house, a Victorian cottage, and a raised Eastlakestyle gazebo, to name just four. Where these

homes diverge architecturally, they share something inside their doors: a blend of elegance and eccentricity that speaks to the city’s jambalaya of influences, from the twin forces of Church and Carnival to its colonial and Creole history.

The residents featured are as varied as their homes: bon vivant artists and musicians, retired college professors and attorneys, a marine draftsman, even a voodoo practitioner. Some found their way to New Orleans by chance; many more are lifelong locals, who can trace their families back generations in the city. But it’s a strength

of Hart and Essex Bradley’s approach that we don’t see them, except through the creativity and curation of their decor.

As Hart invokes, “decorating is autobiography,” and each interior tells a story of a life lived and shaped by this city’s character (“multilayered, authentic, soulful, and original”). By its climate, too: while courtyards, gardens, and plunge pools speak to the languid Louisiana heat, cracks in the walls reveal the regular storm damage—most notably from Hurricanes Ida and Katrina— that belies New Orleans’ “Big Easy” label.

Yet, life and art abound in these interiors, notable for their bold palette of “colors that only the light in New Orleans could produce.” The city’s distinctive style has never been about whitewashed perfection, as Patrick Dunne, founder of the late and much-loved Lucullus Antiques in the French Quarter, makes clear in his foreword. As he writes, it’s a style that “sometimes appears to be vanishing but somehow manages, miraculously, to perdure.”

Bohemian Soul: The Vanishing Interiors of New Orleans by Valorie Hart and Sara Essex Bradley is published in March 2024

A green oasis

New Orleans City Park is, stunningly, bigger than New York’s Central Park. Established in 1854, it is home to great cultural destinations—the New Orleans Museum of Art and Louisiana Children’s Museum—as well as verdant landscapes, populated by the world’s largest collection of mature live oak trees. This grand 4,668 sq ft property overlooks the most peaceful part of City Park, embedded in the sought-after Lake Vista neighborhood. Constructed a decade ago in the historic double-gallery townhouse style that defines so much of New Orleans’ architectural heritage, the five-bedroom home benefits from a stately foyer with elegant curved staircase, and a beautifully landscaped courtyard with an outdoor kitchen. Caribbean pine floors throughout create a warm, sophisticated atmosphere, complemented by the abundant panoramic views of greenery.

New Orleans $1,495,000

sothebysrealty.com/id/M7Z3B5

Michael Bain, Axel Oestreicher

Dorian Bennett Sotheby’s International Realty

Left: A painting by New Orleans artist Michael Guidry in the dining room of one of the oldest apartments in the US.

Below: Intricate porch posts and railings on a multicolored Victorian raised cottage Photos: © Rizzoli, 2024.

DESTINATIONS

Treasures of Venice

A carefully curated round-up of the best places to eat, sleep and visit during the 60th Art Biennale

To love Venice is to understand its ability to keep secrets. Of course, there is the pomp and circumstance of its churches and the spectacular drama of its piazzas, but the memorable moments are often made in quieter spaces, tucked away down a dead-end street or sometimes even hidden in plain sight.

This spring, visitors in town for the 60th Venice Art Biennale will have plenty to discover off the beaten track, from a just-opened hotel filled with art to a new showroom for a beloved local glassblower.

Andrea Whittle is a Venice specialist, writer, and editor based in New York

Palazzo Diedo

The newest outpost of the Berggruen Institute, headquartered at the Casa dei Tre Oci on the island of Giudecca, opens this spring in a palazzo in Canareggio. A Sterling Ruby relief will accentuate the 18th-century facade, while programming will include rotating exhibitions as well as an artist residency.

Fondamenta Diedo; berggruenarts.org

The Venice Venice Hotel

Recently opened a stone’s throw from the Rialto Bridge on the Grand Canal, this hotel marries historic grandeur with modern elegance. The owners, avid art collectors, have filled every room of the 11th-century palazzo—even the spa—with works by the likes of Yoko Ono, Christo and Jeanne-Claude, and Jannis Kounellis.

Sestiere Cannaregio, 5631; venicevenice.com

Pasticceria Tonolo

Fabulously stuck in time, in the way the best Italian pastry shops often are. Stop by in the morning for a cappuccino (always served in delicate blue and white porcelain) or select something sweet from the abundantly filled glass cases for an afternoon pick-me-up.

Calle S. Pantalon, 3764; pasticceria-tonolo-venezia.business.site

Attilio Codognato

Each piece of jewelry in this San Marco boutique is a work of art in itself. The designs are bold, sculptural, and not for the faint-hearted: signatures include carved skulls with diamond eyes and serpent rings with carefully articulated scales.

Calle Vallaresso, San Marco, 1316; attiliocodognato.it

Courtesy of The Venice Venice Hotel; Courtesy of Codognato; Enrico Fiorese; courtesy of Le Stanze del Vetro; © Anna Ambrosi; Courtesy of Hotel Flora.

Corte Sconta

Ever popular for its fresh seafood and vine-covered courtyard, this is local simplicity at its finest. Choose the tasting menu for a special occasion, or pair a chilled bottle of garganega with a pile of shatteringly crisp fritto misto and a plate of fresh linguine with clams for a more relaxed dinner. Calle del Pestrin, 3886; cortescontave.com

Far left: Room 35 at The Venice Venice Hotel. Left: A one-of-a-kind handmade serpent ring, sold at Attilio Condognato’s only store. This page, from top: The Glass Ark. Animals in the Pierre Rosenberg Collection installation at Le Stanze del Vetro, 2021; a selection of dishes at Corte Sconta; the courtyard garden of the Hotel Flora

Le Stanze del Vetro

Skip the tourist throngs of Murano for the serene island of San Giorgio Maggiore, where a former boarding school renovated by Annabelle Selldorf houses a spectacular archive of glass art and design. On view this spring is an exhibition dedicated to Murano glass and its relationship to the Biennale in the early 20th century. Isola di San Giorgio Maggiore, 8; lestanzedelvetro.org

Pied à Terre

A jewel box of a shop hidden behind a market stall by the Rialto. Various iterations of Venetian furlane slippers—from traditional velvet and canvas to tie-dye cotton and denim Mary Janes—are piled floor to ceiling, inviting careful and considered treasure-hunting. San Polo 60; piedaterrevenezia.com

Laguna~B

Known for its playfully stylish glassware (tumblers striped with aquamarine and amethyst, champagne flutes accented with daisies), this local outfit opened a sleek showroom in Dorsoduro in 2023. The perfect place to pick up a gift for the in-the-know host. Sestiere Dorsoduro, 3276; lagunab.com

Al Covo

A short walk from the Arsenale, this family-run restaurant serves refined Venetian dishes including salt cod and local artichoke carpaccio in an unfussy setting. Ideal for a nourishing lunch between exhibitions. Campiello de la Pescaria, 3968; ristorantealcovo.com

Hotel Flora

This charming boutique hotel feels like a secret amid the bustle of San Marco. Rooms are fitted out with an eclectic mix of antique furniture and sumptuous textiles, but the real draw here is the lush garden where you’ll be tempted to linger in the evenings with a spritz or two. S. Marco, 2283/A; hotelflora.it

SPIRITS

Tequila queen

A lesson in creative cocktail-making at Art Basel

Casa Dragones is known for doing things differently. Its co-founder and CEO, Bertha González Nieves, is the world’s first Maestra Tequilera. Her small-batch tequila brand is femaleled, and when catering to the crowds at December’s Art Basel Miami, the brand side-stepped serving the artists in attendance, persuading them behind the bar to “art-tender” instead.

Guest art-tenders in the Casa Dragones tasting room of the fair’s Collectors Lounge included NYC subway art king Lee Quiñones and artist-author Harland Miller, famed for his giant canvases of Penguin book covers, with each crafting a cocktail recipe based on their practice.

But it was former Miami local Ilana Savdie’s creation, the Venus Fly Trap, that proved a particular hit. Born in Colombia, now a resident of Brooklyn, Savdie’s riotous canvases— most recently seen at the Whitney Museum of American Art—vibrate with color and texture. So, little wonder she chose the otherworldly rambutan fruit to garnish her glass.

For those who want to shake things up at home, try her recipe.

Venus Fly Trap

by Ilana Savdie

1.5 oz Casa Dragones Tequila Blanco

1 oz freshly squeezed grapefruit juice

0.5 oz freshly squeezed lemon juice

1 oz lychee cordial

Add all ingredients to a shaker with ice. Hard shake before double straining over a large ice cube in a rocks glass. Garnish with half a rambutan and seed.

Artist Ilana Savdie with her cocktail creation at Art Basel Miami, 2023

The Venus Fly Trap cocktail, made with Casa Dragones Tequila Blanco

LUXURY

Perfectly imperfect

A one-of-a-kind timepiece proves that less can mean

It is a pleasing peculiarity of high-end wristwear that a slight discrepancy can mean the world to collectors. The smallest flaw, much like upside-down numeration on a postage stamp, can make a watch more sought-after than its pristine counterparts. A one-off Patek Philippe Aquanaut, now available at Sotheby’s Salon at Bucherer, Zürich, is a fine example of this principle.

The Aquanaut is a nigh-on perfect sports watch but, as with many forward-thinking designs, it was met with raised eyebrows by some in the watch community at its 1997 launch. Today, precious-metal wristwatches paired with the soft comfort of a rubber strap are highly coveted, and this can be traced to the original Aquanaut, an unexpected release and trendsetting disruptor by the brand’s own standards. As a stablemate to the Nautilus, it enabled Patek to cross over into a new arena of casual luxury.

The later white-gold Ref.5650G-001 at the Salon, created by the brand’s Advanced Research department in 2017, delivers on these aesthetics, debuting a deep-blue dial with matching rubber strap. Against the dial, the gently rounded octagonal bezel is an elegant juxtaposition. Each 18-carat whitegold, lume-filled numeral offers legibility. And, thanks to the Caliber 324 FUS movement, when touching down in a new time zone a deft click or two of the pushers puts you on track for your first meeting.

Patek launched its Advanced Research initiative in 2005 to explore such horological innovations. The resulting functionality is laid bare here through the framed cut-out on the left side of the dial, revealing the microarchitecture and steel mechanism developed for this model. Another tell-tale sign of its significance is the capitalized “Advanced Research” wording within the date sub-dial, which is a signature of the 500-edition run.

But it is just above the exposed part of the dial that the watch’s most unusual feature

more

reveals itself by its absence: a space where the 53-second mark should be. It is a detail only the owner will notice and the sole known example of this discreet flaw, making an already rare Patek Philippe a genuine one-of-a-kind for the astute collector. Thor Svaboe writes about watches for publications including British GQ, Wallpaper*, and Oracle Time

The Salon is Sotheby’s luxury retail experience where collectors can buy from a selection of watches, jewelry, sneakers, leather goods, fine wines, and fine art at a fixed price. Visit the Salon’s locations at Bucherer, Zürich, and Sotheby’s London and New York

Above right: The Patek Philippe Aquanaut. Below: The Salon at Bucherer, Zürich

Photos: Courtesy of Casa Dragones.

DESIGN

Forever young

Fresh talent is front and center of SaloneSatellite, Milan’s annual showcase of future design stars

In the vast, sometimes overwhelming fairground of annual design that is Milan’s Salone del Mobile (running April 16–21 this year) nestles an enclave favored by those in the know and hungry for experimental ideas: SaloneSatellite. Removed from the glitzier stands of the blue chip brands, this low-key but cult event showcases products dreamt up by younger designers from across the globe—some still as prototypes, others thrillingly functional.

The influential offshoot to the main fair—founded in 1998 by Marva Griffin who remains its curator today—has launched many well-known names, including Britain’s Sebastian Wrong, Italy’s Cristina Celestino, and Japan’s Oki Sato, the founder of acclaimed minimalist design studio Nendo.

Ostensibly a platform for emerging talent, almost a third of the 500–600 exhibitors this year have participated before. Designers can exhibit up to three times until they are 35, shoring up SaloneSatellite’s reputation as an incubator over time. “Every year, 10–12 personalities from the design world evaluate prototypes,” Griffin explains. “They include top architects and designers, journalists, a retailer who can appreciate if the piece can be marketed, and a designer who has taken part before. The sum of these votes determines who takes part.”

Griffin also involves universities, from the Parsons School of Design in New York to London’s Royal College of Art. Benefits for exhibitors include profile-raising exposure to companies who may want to manufacture their pieces. Here, Griffin picks three designers returning to this year’s showcase, whose work continues to get more exciting.

Sustainable style

Danish designer Felicia Arvid first showed her modular Addéra sofa and wall-mounted Klipper acoustic panels at Satellite in 2018. By 2019, Italian company Caimi had put Klipper into full production and in 2022, it won the prestigious design award, Compasso d’Oro. Last year’s display of Infinity chairs offered a sustainable alternative to traditional upholstery. Attached to steel frames was a recycled fabric with concertina-like folds to bulk up the seat, obviating any need to use foam. This year,

Arvid is launching a chair with metal components, both essential to assembling the piece and designed as decorative in their own right.

“I wanted to make the metal elements stand out, rather like accessories in a fashion context,” says Arvid, who studied fashion in Copenhagen before a BA in architecture at Glasgow School of Art. The chair’s individual pieces can be removed and replaced if damaged—a repair-don’t-replace approach increasingly endorsed by the design world.

Felicia Arvid’s 2022 SaloneSatellite entry, the Infinity chair, made from pleated recylced fabric secured to a steel frame

Calm and collected

This will be Shanghai-based Tongqi Lu’s second outing at SaloneSatellite. In 2023, she presented her Banyan metal and leather chaise longue, side table, and floor lamp to great reviews. While Lu’s work often fuses contrasting, seemingly incongruous materials—glass tea cups with metal handles, say—her intention is not to surprise or shock, but to soothe.

“My designs typically arouse feelings of softness, lightness, and relaxation,” she says. The prototypes she will be showcasing at this year’s fair are, she explains, a “work in progress.” The joy of showing at SaloneSatellite, she adds, is to “push yourself to present your best work. This opens up fantastic opportunities for engaging chats with others in the same field.”

Made for walking

Mexican-born, New York-based duo Design VA—Armando Mora Medina and Viviane Hernández Padilla—met studying architecture at the Tecnológico de Monterrey (Monterrey Institute of Technology and Higher Education) in Guadalajara. Since completing their MFAs at Savannah College of Art and Design, they have focused on playful furniture design, chiefly inspired by Mexican culture. Take the wooden Walky chair showcased at SaloneSatellite in 2020, which mimicked human movement—its legs even fitted with their own footwear. The designers were inspired by seeing pairs of

shoes slung, laces tied together, across overhead electricity cables. “In Mexico, this often symbolizes entering a new phase of your life,” they say of the habit.

Now, Walky’s cartoon-like shoes are becoming a recurring motif in Design VA’s work. This year, they will exhibit a new chandelier made up of pairs of shoe-shaped metallic shades suspended from a horizontal bar, as well as a metal table that threatens a life of its own. Dominic Lutyens is a London-based arts and design journalist and author Salone Internazionale del Mobile is at Fiera Milano, Milan, Italy, April 16–21

Photos: Kasper Bottern; Courtesy of Tongqi Lu; Courtesy of Design VA.

Portable metal and leather lamps were on display as part of Tongqi Lu’s Banyan collection in the 2023 edition of the fair

Left: The solid wood Walky chair, presented by Design VA at the 2020 SaloneSatellite, is an example of the duo’s joyful aesthetic

SKY-HIGH ambition

From blue-sky living to the greenest sustainable design, the skyscraper of the future is expanding in every direction,

writes

Harriet Thorpe

The word “skyscraper” first emerged in Chicago in the late 19th century, a natural expression of people’s awe at the newly tall buildings scraping away a piece of sky from their vision, casting shadows onto sidewalks, and blocking out the sun. It altered their experience of the city. Skyscrapers still have that effect today, perhaps on an even more visceral scale: the gust of a wind tunnel, the speed of an elevator, the breathtaking sight of a skyline at sunset.

While US architect William Le Baron Jenney’s 10-story Home Insurance Building of 1885 in Chicago is widely considered to be the first true example of the form, it is his contemporary, Louis Sullivan (1856–1924) who was labeled “the father of skyscrapers” for his influential theories of design and construction that enabled these buildings to reach new heights. In the centenary of Sullivan’s death, it feels timely to reflect on the skyscraper’s ever-expanding appeal.

The past century has seen it rise from the ornate brick and steel office buildings of the late 1880s, all the way to the current tallest, the 828m Burj Khalifa, completed in Dubai in 2010: a colossal slither of glass, concrete, and metal. Styles have shape-shifted in between, from the decorative art deco

Previous page: Jeanne Gang’s Aqua Tower in Chicago mirrors the hills, valleys, and lakes of a natural landscape.

Left: Chicago’s Home Insurance Building, built in 1885, was the first tower to use a metal structure to support its masonry, enabling a narrower but taller design.

Below right: Dubai’s Burj Khalifa is the currently the world’s tallest building at more than 828m

Chrysler building (completed in 1930) and clean lines of Ludwig Mies van der Rohe’s Modernist Seagram Building (1958) in New York; to London’s so-called Gherkin (2003), Cheesegrater (2014), and Walkie Talkie (2015); and Beijing’s CCTV Tower (2008), described by its Dutch architects OMA as a “three-dimensional cranked loop.”

Today, the lower height limit of a skyscraper is considered to be 150m, with China boasting six of the top 10 cities worldwide with the highest number of skyscrapers, and Dubai the highest number of “supertalls”—buildings above 300m. How we use skyscrapers has also dramatically evolved.

Once built mainly as offices, skyscrapers are now vertical hubs of all kinds of activity. We traverse these towers with as much ease as the horizontal streets below them, whether that’s soaring up to a rooftop bar—Ozone on

the 118th floor of Hong Kong’s 480m Ritz Carlton is currently the world’s highest—or to penthouse homes, from where the luckiest few can enjoy spectacular views of the skies and the surrounding city.

“It’s exhilarating to live and work in a place that is so private and solitary, but at the same time so connected to the city,” says architect Scott Duncan of SOM (Skidmore, Owings & Merrill). The firm designed both the very first “mixed-use” skyscraper back in 1968 (Chicago’s John Hancock Center) and the world’s largest mixed-use, the Burj Khalifa, which houses a mall, restaurants, hotel, spa, apartments, observation platform, and much more. Duncan sees the appeal of living in the skies only increasing: “The skyscraper had its origins in efficiency and density. Its future, however, will be rooted in enhancing the quality of the human experience. We will see architects exploring ways to make living in a skyscraper an even more extraordinary and sublime experience.”

Architects have been thinking about how to make skyscrapers healthier and more liveable since the 1970s. Singapore-based practice WOHA uses features such as elevated gardens, open-air walkways, integrated landscaping including trees, and shading systems that cool buildings to prevent reliance on air conditioning—all important for the tropical Southeast Asian context and for our globally warming world. In Chicago, architect Jeanne Gang has explored how to sculpt a skyscraper to boost social ties and nature. Her 82-story residential building Aqua (2009) is designed

“ THE FUTURE OF THE SKYSCRAPER WILL BE ROOTED IN ENHANCING THE QUALITY OF THE HUMAN EXPERIENCE ”

Architects MVRDV turned a drum tower into the colorful Shenzhen Women and Children’s Centre, which is now a vibrant community space (left) complete with a covered roof terrace (far left).

Below left: Residential building Aqua encourages social interaction between neighbors with strategically curved terraces

as a vertical landscape, with curved balconies, a rooftop garden and a bird-friendly facade.

Now construction accounts for around 40% of carbon emissions worldwide, a new era of skyscraper “retrofits” are showing that existing tall buildings can be effectively repurposed and made more sustainable with additions such as solar shading. Recent examples include the transformed Quay Quarter Tower office building in Sydney and the Shenzhen Women and Children’s Centre, once a 100m drum tower and now a colorful community resource. What will the skyscrapers of today become in the next century?

“The most sustainable building is one you do not tear down,” says Peter Wang, principal and design director at Gensler. He has just led the groundbreaking conversion of a 24-story 1970s office tower in New York into 588 homes, in response to changing demands of space in the city, post-Covid. “Shifts in culture, work styles, lifestyles, and attitudes are happening faster and faster, hastening the demise of these older buildings. Our job is to think analytically and creatively on how to leverage these existing structures to support new uses.”

Sustainability has also been a driver for the recent growth of so-called “plyscrapers,” built with an engineered wooden structure made possible by innovations in cross-laminated and glue-laminated timber. Timber offers many benefits in comparison with concrete and steel; it is a natural carbon store and renewable when sourced sustainably, plus it can be pre-fabricated, is quicker to build with, and healthier for construction workers. Today, the tallest timber building rises to 86.6m; by 2027 it’s set to reach 100m (in Switzerland, with the Rocket & Tigerli by Schmidt Hammer Lassen).

Many of the first innovations in timber tall buildings have been in Norway and Sweden, countries with timber industries and support from the public sector and municipalities—for example, the 20-story Sara Cultural Centre (2021) in northern Sweden, which houses a theater, library, and art gallery. While excited about the promise of plyscrapers growing taller, the cultural center’s lead architects, Robert Schmitz and Oskar Norelius of White Arkitekter,

Sweden’s climate-positive Sara Cultural Centre is currently the world’s third-tallest tower with an all-timber structure

“ A NEW ERA OF ‘RETROFITS’ SHOWS THAT EXISTING TALL BUILDINGS CAN BE REPURPOSED ”

The Sara Cultural Center is located in Skellefteå, Sweden, which has a rich history of building with wood.

Right: The building’s lead architects, Oskar Norelius and Robert Schmitz

both agree that height isn’t everything: “The main achievement of a tall timber building is its much smaller climate impact than a conventional tall building, the new possibilities for architectural expressions, and the quality of interior spaces that timber [offers].”

Architect Andrew Waugh, who has pioneered timber high-rises in east London where he grew up, supports this: “Timber is good for people, providing healthy environments that reduce stress and increase wellbeing. And timber buildings just smell so good!” Waugh’s design, the 10-story residential Dalston Works in London was the world’s largest cross-laminated timber building on completion in 2017. He wonders, do we really need to build higher and higher? “I think super-tall buildings aren’t great for people or for cities—they create shadow and wind and alienate the young and elderly. I think we’ll find a sweet spot for timber buildings that suit the material and work better for all of us.”

Just like scenes from science fiction, it seems the skyscraper of the future will be rising in all kinds of directions and dimensions. At present, Duncan sees most of the innovation happening “at the nano-scale.” SOM is currently co-developing an algae-based concrete (aimed at reducing its carbon footprint and soaking up CO2 from the air) and embedding solar technology in ultra-thin layers of glass to make this most skyscraper-friendly material more energy productive. In London, Danish architect Bjarke Ingels has teamed up with British designer Thomas Heatherwick on plans for a new Google headquarters “groundscraper”—as long horizontally as the Shard is vertical (as London’s tallest building at just over 300m). Meanwhile, the Italian architect Carlo Ratti has proposed an idea for the “farmscraper,” including a vertical hydroponic farming system for a Chinese supermarket chain. It seems as though the sky is no longer the limit. 0 Harriet Thorpe is a London-based author and journalist, writing about architecture, urbanism, art, design, and travel

A sunny outlook

Robert AM Stern has been heralded as “architecture’s king of tradition” for his firm’s skyscrapers that blend admiration for the past with truly contemporary luxury living. The architect’s new project in Miami, the St. Regis Residences on the South Brickell coastline, is no exception. The elegantly curved building takes its design cues from the aesthetic of golden-age ocean liners, rooted in the art deco spirit that defines so much of Miami’s glamour.

Each residence commands expansive views over the Biscayne Bay and Atlantic Ocean beyond, and has access to truly covetable amenities, from a fine-dining restaurant and bayside infinity pool, to a private marina and sky bar. Lush landscaped grounds and terraces are designed by Swiss designer Enzo Enea, who expertly crafts livable outdoor spaces—a perfect way to enjoy Miami’s glorious weather.

The St. Regis Residences, Miami Prices starting at $4m sothebysrealty.com/new-developments/ project/st-regis-residences

ONE Sotheby’s International Realty

Xia Zhi; Jonas Westling; Visit Skellefteå.

If WALLScould talk

Talented artists are bringing the ancient art of mural painting to modern homes across America—and beyond

Words by ELFREDA POWNALL

Ever since the first caveman or woman drew a bison, people have loved wall paintings. Amid the remains of Roman Pompeii are beautiful murals of leafy gardens full of fruit trees and flowers while, centuries later, Italian Renaissance ducal palaces were adorned with frolicking gods and goddesses. Early American settlers preferred to paint naive landscapes with pale, slender trees and limpid lakes, but the Gilded Age of the late 19th century saw the walls and ceilings of American mansions (as well as the public institutions endowed by their rich owners) decorated with bold, florid designs. Almost all featured pillowy clouds; the most enduring mural trope throughout the centuries. Now, there are signs that murals are making a return, with those historic subjects—with the possible exception of the bison—being painted onto American walls.

“

The bar at New York’s Le Coucou restaurant in lower Manhattan, with its misty, feathery trees, was painted by much-in-demand muralist Dean Barger. “I want the viewer to get lost in the illusion,” he says of his work, which he paints at large and smaller scale on walls across the US. Recent projects include a dreamy moonscape for the Stable Hall music venue in San Antonio, Texas, and some nebulous pine trees in the manner of the Japanese artist Hasegawa Tōhaku (1539–1610) for the newly opened Nami restaurant in Lake Nona, Florida.

Stephen Alesch of Roman and Williams, the design firm behind Le Coucou’s interiors, says: ‘‘I hate those murals where every brushstroke is screaming for attention’’—and Barger agrees. Instead, he uses multiple diaphanous washes of very dilute artist’s acrylic to create his illusions, “so you are never sure if you are looking at a lake or mist on a meadow.”

The day Anne Harris was fired from a job she disliked, her luck—and her life—changed. It finally tipped the artist, a painter from her university days, into pursuing the mural painting she had so admired on her many trips to Italy and Spain. Now 71 and busier than ever, she has a broad portfolio, from pale grisailles of gardens and landscapes to bold panoramas, with a wide frame of art historical reference. She particularly enjoys painting flowers on a huge scale; some recent pieces measure as much as 8ft by 10ft. “I do love a stamen,” she says with a smile.

Among her projects, Harris has completed a dining room mural for a Dutch friend on Central Park West in New York, where a vastly enlarged still-life in the style of 17th-century Dutch paintings reveals towering peaks of snowy table napkins and massive lemons, their peels curling down to the floor. But her most successful commission, for a Chicago private women’s club, was based on 1921 black and gold lacquer-work screens by Armand-Albert Rateau for the Paris dining room of the couturière Jeanne Lanvin. In Harris’ version,

I WANT THE VIEWER TO GET LOST IN THE ILLUSION ”

Above: Anne Harris’ award-winning black and gold commission for a Chicago private women’s club combines imagery from a 1921 lacquer-work screen with forest scenes

Previous page: This chinoiserie-style mural was painted by Lucinda Oakes and her father George Oakes, himself a decorative artist.

This page: Dean Barger’s landscape mural in the bar of New York’s Le Coucou restaurant

This detail view of Lucinda Oakes’ mural for the Ballyfin Hotel in Ireland shows off intricately painted striped tulips and a trompe-l’œil effect trellis.

Right: Red lacquer walls are finished with bamboo designs, cranes and Chinese lanterns painted by Lizzi Porter for Birley Bakery in Chelsea, London

“

FLOWERS AND ANIMALS FALL OFF THE END OF MY BRUSH ”

greyhounds and deer gambol around the walls in a stylized leafy forest. The piece won her an Institute of Classical Architecture & Art award, and she has now been commissioned to paint a white and gold version for a ballroom in Texas.

As a girl, British decorative painter Lizzi Porter was already helping her father, a cabinet maker, stick on gold leaf in places where only tiny fingers could reach. London-based Porter is a graduate of the University of Oxford’s Ruskin School of Art and the Royal College of Art. Her skills stretch to every style of mural, as well as wood graining, gilding, and finishes from onyx to raw amethyst. She is also a wonderful painter of cloudy skies, and gilvering, a slightly tarnished silver background, is another much-called-for Porter speciality. “Some people might prefer a beach, but give me a building site with other people, some gold leaf, and a bit of paint and we’ll have a great day,” she says. Recent months have been consumed by projects in Dublin and Zurich, and painting a wintry seascape mural—including a bewitching white owl— on a German superyacht. “I find painting flowers and animals really easy,” says Porter. “They fall off the end of my brush.” Robin Birley, owner of some of London’s most exclusive private clubs, says: “I love working with Lizzi and always offer her a glass of champagne when she comes to paint.” For his newest opening, Birley Bakery in Chelsea, Porter painted some glorious Chinese red lacquer walls—one of the few public places where her work can be seen.

Why, when so many lovely, high-quality panoramic wallpapers are readily available, do clients still crave images specially painted on their own walls? “Specially is the word,” says Wendy Nicholls, designer at Sibyl Colefax & John Fowler, one of the UK’s oldest and most prestigious interior decorating firms. “I have commissioned four murals in recent years and not one of them could have been bought off the peg.” A mural can be “tailored to solve a problem,” she adds, recalling a large, characterless room, which with clever mural painting, she made work for cocktail parties, as well as a client’s candlelit dinner à deux in front of the fire—something no ready-made paper could do. Nicholls is a great fan of the work of Lucinda Oakes, the highly accomplished daughter of George Oakes, who painted walls for John Fowler himself. Lucinda’s floral trellises and gentle grisailles provide a beautiful background for rooms of great charm across the UK, America, and the Middle East.

Wherever they call home, the clients of all these talented mural painters have something nobody else can—something created specially for them. 0

Elfreda Pownall is an interiors and gardens writer based in London

Photos: Courtesy of Lucinda Oakes; Courtesy of Anne Harris, photo by William Abramowitz; Courtesy of Le CouCou, photo by Ditte Isager; Courtesy of Ballyfin Hotel, photo by Alun Callender; Courtesy of Birley Bakery.

THE JEWEL IN THE CAPE

Rima Suqi explores the layers of history and art that have made Provincetown the inclusive destination it is today

The Cape Cod peninsula of Massachusetts juts out into the Atlantic Ocean like a long, curved finger beckoning visitors to its idyllic seaside villages. Situated at the very tip is what is often called the “last stop on the continent”: Provincetown. This small coastal resort, affectionately known by locals as “P-Town,” has a year-round population of just 3,664. In summer, this explodes to more than 60,000, with visitors traveling from all over the country—and the world.

It’s hard to imagine 60,000 people flooding this diminutive place, which is just three miles long and three or four blocks wide, albeit with 21 miles of coastal shoreline. Yet Provincetown’s tourism economy exceeds $350 million yearly—visitors spent over $110 million on food and drink in 2023 alone, thanks in no small part to its enduring reputation as a refuge and safe haven for the LGBTQ+ community.

Carnival, the town’s week-long Pride celebration in August, attracts 90,000 visitors. There’s also Family Week, Trans Week, and Frolic Weekend (for men of color), while 2024 marks the 40th anniversary of Women’s Week. Once predominantly a summer destination, the season now extends to December, with some shops, galleries, and restaurants opting to remain open through the holidays.

Provincetown was founded in 1727 but first settled by Native Americans from the Wampanoag and Nauset tribes. In 1620 the Mayflower, the English ship that brought Pilgrims to the New World, landed on these shores (not Plymouth as many are taught). They stayed for more than two months before sailing west, but their presence is commemorated by the 252ft Pilgrim Monument, completed in 1910 and visible for miles around. The 1860s brought the Portuguese to P-Town—most were sailors working on whaling vessels— and to this day it boasts a large Portuguese community, as well as an annual Portuguese Festival and Blessing of the Fleet.

Provincetown also hosts one of the oldest arts colonies in the US, thanks to the Cape Cod School of Art, which was established in 1899 and still offers a range of painting courses, as well as open and drop-in sessions. The Provincetown Art Association and Museum (PAAM) followed in 1914, with the aim to build a “permanent collection of works by artists of outer Cape Cod,

“

THE ROLL CALL OF CREATIVES WHO HAVE LIVED HERE IS IMPRESSIVE ”

and to exhibit art that would allow for unification within the community.” The current collection includes more than 4,000 works by more than 900 artists—a significant historical record of the arts of this area. The Fine Arts Work Center is also going strong. Founded in 1968 by a group including painter and printmaker Robert Motherwell and Stanley Kunitz, who became the 10th US Poet Laureate, it has provided fellowships for some 1,000 artists and writers.

The roll call of creatives who have lived or passed through Provincetown is impressively long. It includes Jackson Pollock, Willem de Kooning, Mark Rothko, Max Ernst, Lee Krasner, and Helen Frankenthaler. And let’s not forget the writers, including EE Cummings, Norman Mailer, Kurt Vonnegut, Mary Oliver, and Jack Kerouac, who penned a portion of On The Road here. Stroll down Commercial Street today and you may spot Pulitzer Prize-winners Michael Cunningham, author of The Hours and Land’s End: A Walk in Provincetown , and Angels in America playwright Tony Kushner, or writer-director Ryan Murphy of American Horror Story fame. Summer 2024 will be irreverent filmmaker, artist, and writer John Water’s 60th in P-Town—in 2023, he hosted Soiree at the Sewer, a private benefit dinner for the Provincetown Film Society. MSNBC anchor Rachel Maddow and her partner, the photographer Susan Mikula, have a home here, as do many more in the fields of design and architecture.

Ken Fulk is one of them. The interior and event designer, who has been featured on Architectural Digest ’s AD100 and the ELLE Decor A-List, has visited Provincetown for more than three decades. While based in San Francisco, Fulk says he spends more time here than anywhere else,

Previous page: A stretch of coastline in Provincetown, Massachusetts.

Left: Since portraitist Charles Hawthorne visited in the summer of 1916, Provincetown has become a creative haven. It is considered the US’ oldest continuous artist colony.

Above: Commercial Street, the town’s main road, is a treasure trove of world-class boutiques, art galleries, restaurants, cafes, and B&Bs

“

RESTAURANT SAL’S PLACE IS LIKE DROPPING INTO THE BEST DINNER PARTY IN TOWN ”

in a waterfront home that he lovingly describes as the “Grey Gardens of Provincetown.”

Three years ago, with his husband Kurt Wootton, Fulk bought and restored the former home of Mary Heaton Vorse, a journalist and labor organizer, turning it into an eight-bedroom artist residence, with portions of the house and grounds available for use by local arts organizations. Its first resident was the model and actor Hari Nef, most recently seen as Dr Barbie in the Barbie movie, whose writing has appeared in the New York Times and Artforum

Fulk’s list of things to do and see in Provincetown includes wholesome outdoor activities such as hiking the dunes, swimming in the breakwater at the far west end of town, and taking Art’s Dune tour of the famous Dune shacks. There’s also practical advice, from renting a bike (a must for getting around in summer) to where to get coffee (Kohi or Joe), or a casual meal (Liz’s Cafe for breakfast, or The Canteen at the beach). His guilty pleasures include the cupcakes at Relish and an ice cream at Lewis Brothers, while restaurant recommendations range from newcomer Freemans (“more sophisticated than your typical beach town experience and the place to see and be seen”) to The Red Inn (for “Old Cape Cod ambience”) and perennial favorite Sal’s Place, a cash-only establishment situated on an old wharf (“it’s like dropping into the best dinner party in town”).

Navigating Provincetown’s gallery scene can be tricky; there are many. Fulk suggests popping into Kiley Court to take in landscapes by Robert and Julien Cardinal, William-Scott to view works by local legend John Dowd, and Berta Walker, whose parents helped found the The Fine Arts Work Center and who now represents many iconic 20th-century painters.

There’s a surprising amount of retail for a very small town, most of which is densely packed on Commercial Street. Highlights include: Respoke for espadrilles and hats crafted from Hermès scarves; Clove & Creek for simple yet sophisticated housewares; Utilities for every imaginable kitchen and cocktail item; and Tim’s Used Books, hidden down an alley—that has everything from rare signed copies by Mary Oliver to coffee table books and easy beach reads.

John Derian’s perfectly styled shop, featuring his own decoupage collection, as well as pieces by French ceramics company Astier de Villatte, is located on a blink-and-you’ll-miss it side street (technically the back of his 18th-century home). A native of Watertown, Massachusetts, Derian has

An antique canopy bed from a summer camp, once owned by American business woman Marjorie Merriweather Post, can be found in the guest bedroom of interior and event designer Ken Fulk’s waterfront Victorian cottage.

Left: Founder Scott Nield inside Clove & Creek, his home and lifestyle store in Provincetown

frequented P-Town since the 1970s when, he recalls, it was “always exciting, with thousands of people, fun performances in the street, and spin art machines.” He insists the “energy seems the same—fun, chaotic, creative, and neverending festivities.” Hosting a houseful of guests almost every weekend, Derian recommends Poor Richard’s Landing, the White Porch Inn, and Captain Jack’s Wharf for those arranging their own accommodation.

Fashion designer and culinary creative Peter Som has spent a week a year at Captain Jack’s for the better part of a decade. “It’s an old wharf with little houses where fishermen used to stay. It reminds me of [Armistead Maupin’s] Tales of the City—its own little world,” he says. Each of the 15 “cabins” is privately owned; many are professionally designed. One, called Ribbons, is where Tennessee Williams stayed, worked on several plays, and allegedly “found his true love.”

Som, a San Francisco native who lives in New York City, describes Provincetown as “the best of both worlds in a quintessential New England way.” His recommendations echo those mentioned, with the addition of Oysters Rockefeller and rosé at Pepe’s Wharf, consumed on one of the waterfront decks. And for the best fashion: MAP.

Founded by Dublin native Pauline Fisher 30 years ago, MAP (or Modified American Plan) wouldn’t seem out of place in a cosmopolitan city, in terms of merchandise and pricing. Fisher says the offerings are “a mixture of things that I love” and she clearly has a penchant for Japanese brands, including Kapitol (for clothing, scarves, and fun socks), veteran bag makers Porter-Yoshida (for nylon totes, packs, and duffles), and Stevenson Overall. There’s also Cutler & Gross eyewear, a selection of Paul Smith, vintage jewelry, and Palo Santo incense.

When asked for tips, Fisher responds with a quote from her friend John Waters, who suggested that “the way to find out what the cool people are doing in Provincetown is to go into MAP clothing store, eavesdrop on the customers’ plans as they shop, and you’ll be steered in the right direction.” 0

Rima Suqi is a culture, travel, and lifestyle journalist, and regular visitor to Provincetown

A rural escape

In the 1960s, many flocked to Provincetown for its coastal charm and bohemian cultural scene. This four-bedroom home was built during that moment, in 1964, and blends countryside cosiness with sleek, airy, open-plan living. Named “Windswept,” its unique location atop the highest point in the area offers views across Cape Cod Bay. Across the 4,082 sq ft interior, tall vaulted ceilings and Brazilian cherry floors set the tone for luxurious living. Outside, generous wraparound decking, an in-ground saltwater pool and hot tub invite immersion in the landscape.

Provincetown

$7,850,000

sothebysrealty.com/id/R638S7

David M. Nicolau

Gibson Sotheby’s International Realty

Left: Local hotspot, Sal’s Place serves healthy and seasonal dishes alongside classic Italian staples.

Far left: Decoupage artist John Derian’s New England store offers his own work alongside a curated collection of furniture and ephemera

Photos: iStock/Getty Images; Evans/Three Lions/Getty Images; Elizabeth Cecil; Emma Austen; Douglas Friedman/Trunk Archive; Stephen Kent Johnson; Alison Gootee.

AN ECLECTIC EYE

French antiques dealer Yves Gastou collected and commissioned design according to taste, not trends, writes Laurence Mouillefarine

Yves Gastou’s Biarritz retreat

Far

Recalling Yves Gastou, who died in 2020 at the age of 72, many people single out his sunny southern accent. But that wasn’t the only characteristic that set the late French antiques dealer apart from his Parisian peers.

He was a jovial, tireless professional who praised his finds with almost feverish passion. To Gastou, almost everything he saw was an exciting discovery.

He was born in 1948 in Limoux, a small town near the fortified city of Carcassonne, where his father worked as a bailiff and auctioneer. Seeing that he was not thriving at school, his mother found him a work placement with a dealer specialising in 18th-century antiques. It was an epiphany: the young Gastou had found his path.

Gastou left school at the age of 16, and in 1970 opened his first boutique in Carcassonne, before moving to Toulouse five years later. He was fascinated by art nouveau and art deco design, which had fallen out of fashion and was relatively inexpensive at the time. He was soon supplying the galleries of Paris with Émile Gallé vases and Pierre Legrain furniture.

Every weekend Gastou would drive to Italy in search of treasures. In Venice he bought glassware crafted in Murano by Ercole Barovier, Flavio Poli, and Archimede Seguso. Then, in Milan, he had a revelation. “I lost my mind after seeing 1970s Italian design,” he recalled. The work of Ettore Sottsass in particular enchanted him: the fanciful shapes, the unusual materials, the colors, the humor.

Feeling stifled in the provincial south, Gastou headed to Paris. After four years running a stall at the Saint-Ouen flea market, he took over Galerie M.A.I. in Saint-Germain-des-Prés. The storefront, adjacent to the École des Beaux-Arts, was in need of refurbishment, and Gastou chose Sottsass to do the work. The designer proposed a black-and-white terrazzo facade made of marble debris and cement. Naturally, it caused an uproar in the historical district, but Gastou held his ground. For months Gastou wrestled with the burdensome French administration to secure planning approval, and eventually Jack Lang, the minister of culture, granted his request. In 1985 Gastou inaugurated his gallery with a bold retrospective of Sottsass’ work. He was also the first in France to present the furniture of Ron Arad and Shiro Kuramata. Passersby who spotted the

Japanese designer’s

Right: François Cante-Pacos, Carapace cabinet, 1970.

right: The black and white storefront of Galerie Yves Gastou, designed by architect and designer Ettore Sottsass, was controversial at the time of its construction.

Below: Yves Gastou in 2018

“ HE SAW BEAUTY IN OBJECTS THAT OTHERS DISMISSED ”

unusual creations in the window would burst out laughing, thinking it must be a joke. Such pieces—though displayed today in some of the world’s greatest museum collections—were unmarketable at the time.

The gallery’s accountant bristled with concern, but Gastou proved to be an excellent salesperson. Though he spoke no English, he managed to land sales with American buyers who couldn’t understand a word of French. His sheer energy spoke for itself. He then broadened his scope, and was soon selling works from the mid-20th century alongside contemporary designs. Gastou presented furniture by André Arbus, Jean-Charles Moreux, and Marc du Plantier at the prestigious Biennale des antiquaires, which until then had stubbornly refused to exhibit any decorative art from after 1930.

Gastou never confined himself to a particular period of the 20th century—he was too curious, and saw beauty in objects that others dismissed. He also resurrected forgotten talents. If he came across an original piece of furniture as he browsed, he sought out its designer. That was how he gave a second wind to the career of Ado Chale, whose tables topped with petrified wood or stone mosaics had thrilled buyers in the 1970s. Gastou also initiated the production of Philippe Hiquily’s sculpture-furniture, which had been in demand decades earlier.

He exhibited work from every decade and joyfully jumbled it together. Gastou would eagerly juxtapose an armchair by Gio Ponti with a Lalanne sheep sculpture and bookshelves designed by Zaha Hadid. On a single occasional table he placed a figurine of a phallus-brandishing Mickey Mouse next to a praying Madonna.

However, one of his design passions remained secret until two years before his death. In 2018 he unveiled his huge collection of men’s rings at the École des Arts Joailliers in Paris. From the precious episcopal rings of bishops to skull rings worn by Hell’s Angels, he had amassed more than a thousand of them. Gastou also loved opera, and regularly attended the Palais Garnier and Opéra Bastille. According to his son Victor, who joined his father’s business in 2005: “If he enjoyed the show, he would express his enthusiasm by shouting ‘bravo’ so loudly that the staff

“

WORKS BY PHILIPPE HIQUILY, WHO HAD BECOME A FRIEND, WERE GIVEN PRIDE OF PLACE ”

began to recognize his cries. At the time I was embarrassed that he brought attention to himself in such refined company. Today, when I think I won’t ever hear his happy outbursts again, it makes me want to cry.”

TWO HOMES, MANY PASSIONS

The forthcoming auctions of Yves Gastou’s personal collection at Sotheby’s Paris say a lot about the eclecticism of his taste. His Paris apartment on Quai Malaquais was filled with the same mix of 20th-century art and design that he sold in his gallery. A resin Expansion mural by César was displayed alongside Altuglas columns by Jean-Claude Farhi and an acrylic occasional table, Placebo, by Shiro Kuramata. There was colorful glassware by Sottsass and a scarlet Carapace cabinet by François Cante-Pacos, who created futuristic furniture for the fashion designer Pierre Cardin and was the last of Gastou’s great enthusiasms. Works by Hiquily, who had become a friend, were given pride of place, with a desk, Cygne lamps, candelabra, a gilded brass dining table, and an aluminium Coque armchair.

At Gastou’s retreat in Biarritz there was a completely different ambience. For his holiday home, he chose a gothic-revival folly built for a member of the imperial court under Napoleon III. The villa, topped with battlements, also reveals a surprising aspect of his taste—a fascination with religious objects.

Despite being an atheist, Gastou hung the walls with crucifixes, rosaries, and medallions bearing the portraits of martyrs. On the doors of a book cabinet by André Arbus there were a number of votive offerings in the shape of the Sacred Heart, alongside reliquary frames and silver crosses. The top of a sideboard by Jean-Charles Moreux held chalices, candle-snuffers, and an enamel plaque portraying Saint Sebastian. On another table stood a devil.

Gastou was also fond of 19th-century bronzes, and the figures of brave knights in his collection express his nostalgia for a childhood spent within the ramparts of Carcassonne. Prominent among the warriors in shining armor was Joan of Arc, the great French heroine of the Hundred Years’ War with England.

The Biarritz villa is a true cabinet of curiosities. Pebbles that Gastou collected along Bidart Beach were piled up on a forged iron bench to form a kind of land art. Every day on holiday he would set out on a treasure hunt, and he rarely came home empty-handed. What was this aesthete seeking in the local bazaars and rummage sales? Simply another moment of wonder. 0

Laurence Mouillefarine is an art market specialist and regular contributor to Architectural Digest

》 The Yves Gastou auction series runs March 13–20 at Sotheby’s Paris, with highlights on view March 15–18

Photos: © B. Chelly/Albin Michel; © Guillaume de Laubier; © Olivier Bac.

Left: Gastou’s Biarritz villa featured 20th-century and contemporary design pieces such as The Skull chair by Vladi Rapaport, 2023. Rosary beads, crucifixes, and other religious symbols decorated the walls.

Right: His Paris apartment mirrored his gallery, with an eclectic array of contemporary furnishings and sculptures

Sowing a collection

A selection of Golden Barrel cacti in the Huntington Botanical Garden’s desert-inspired section.

Right: The Getty Center, nestled on a hilltop in the Santa Monica Mountains, Los Angeles

Art institutions around the world get back to nature with gardens that hold their own against the works of art inside, discovers Lauren Gallow

Mysteriously and rather giddily splendid, hidden in a grove of sycamores just above the Pacific Coast Highway in Malibu…” So opens cultural critic Joan Didion’s evocative essay on the Getty Villa—a place that doesn’t ask its nearly half a million visitors a year to choose between art and nature, but to appreciate both in equal measure.

Opened in 1974, the museum was oil tycoon and business magnate J Paul Getty’s tribute to classical antiquity, and just as the building itself was carefully crafted to replicate a Roman country house, the landscaping was also inspired by Mediterranean gardens of the time. Here, among carefully arranged cypress and pomegranate trees, neat boxwood hedges, and a fragrant herb garden, the visitor is transported to another time and place in a setting that evokes ancient Greek, Roman, and Etruscan life just steps from the Californian coast.

More and more culture seekers today are seeking out places like the gardens at the Getty Villa on their travels; somewhere they can be wholly immersed in an environment of inspiration and creative vision. While these celebrated art gardens at cultural institutions around the globe relate in many different ways to the artworks on show inside, they share a singular ability to engage the senses and offer a new perspective on one’s place in the world.

For Brian Houck, head of ground and gardens at the Getty, who oversees public garden space for both the villa and the sprawling Getty Center in the Santa Monica Mountains of west Los Angeles, this function makes art gardens some of the most special places in the world. “What we offer with our public gardens is something complete and something different, and that allows people to be inspired,” he says. Inspiration comes in different flora forms, with some gardens designed to complement the more traditional examples of art and architecture on view, and some designed to be art themselves.

At the Getty Center, which opened in 1995, Houck oversees the Central Garden, which was created by the late Californian artist Robert Irwin in parallel with Richard Meier’s architectural design of the site. The 134,000 sq ft garden sits at the heart of the complex in what was originally a small canyon, with Irwin designing a zigzagging walkway that draws visitors down through a mosaic of expertly curated flowers, trees and perennials, ending at a waterfall and reflecting pool that contains a maze of clipped azaleas.

“

GARDEN MAKING IS NOTHING LESS THAN AN ART ”

“Irwin had never done anything like the Central Garden before,” says Houck of an artist who began as a painter, before shifting to largescale installations exploring light and space and, latterly, landscape projects, including at Dia Beacon in New York and the Chinati Foundation in Texas. “He used the color, size, and texture of plants as his paints. That was his palette.”

Today the Central Garden is treated like any other art object in the Getty’s collection, maintained in such a way that the presentation of the work stays true to Irwin’s guiding artistic principles, even as specific plants are swapped out for specimens more appropriate to current climatic conditions in Southern California. Here, nature is shaped and arranged akin to how an artist might model a sculpture or apply paint to a canvas, with the total composition evoking a holistic, colorful, and multidimensional experience intended to complement Meier’s restrained, regimented architecture.

For legendary Dutch landscape designer Piet Oudolf, his approach to gardens is similarly artistic in nature. The mastermind behind such triumphs as the gardens of the High Line in New York City and the Lurie Garden at Millennium Park in Chicago, Oudolf is known for his complex and intricate arrangements of plants that treat landscape as a living tapestry. For his design of the landscape at the rural outpost of the global gallery Hauser & Wirth in Somerset, England, Oudolf crafted a set of experiential gardens interwoven by paths and seating areas, combining bold drifts of grasses and herbaceous perennials for a colorful and textured composition that manages to feel both natural and highly crafted. Oudolf is clear that garden making is nothing less than an art. As he wrote in the recent monograph Piet Oudolf At Work (Phaidon, 2023): “For me, garden design is not just about plants, it is about emotion, atmosphere, a sense of contemplation.”

Perhaps it is this human dimension that makes art gardens so appealing: they evoke a sense of creativity in a way that untouched natural landscapes do not. “A garden is a fully constructed human creation,” says Nicole Cavender,

Above: An aerial view of Piet Oudolf’s High Line gardens in New York.

Left: The Getty Villa’s Outer Peristyle garden is modeled after the Villa dei Papiri’s courtyard in Rome, complete with replica statues and a 3ft-deep reflecting pool

“ GARDENS HAVE THE POTENTIAL TO SHAPE THE HUMAN EXPERIENCE

director of the botanical gardens at the Huntington—a library, art museum, and botanical garden in Pasadena, California. While many public gardens are simply meant for human enjoyment, botanical gardens like those at the Huntington have a more scientific agenda and collect plant specimens for a specific purpose.

At the Huntington, the botanical gardens encompass nearly 130 acres and include 16 themed gardens, ranging from dedicated palm, jungle, and rose gardens to a Japanese landscape with a ceremonial teahouse called Seifu-an (“Arbor of Pure Breeze”) and a desert garden with one of the largest outdoor collections of cacti and succulents in the world. More than 16,000 species of plants make up the Huntington’s collection, which complements the collections of fine art, manuscripts, and rare books on view inside its celebrated library and art museum.

“Henry Huntington was a collector by nature, so it was very natural for him to collect plants,” says Cavender of the institution’s founder, who helped establish the electric railway system in Los Angeles after moving there in 1902. He purchased the Pasadena property in 1903 and, with his second wife Arabella Duval Huntington, began amassing the extensive cultural and botanical collections that define the institution today, including one of the world’s largest troves of British medieval manuscripts, one of 12 surviving copies on vellum of the Gutenberg Bible, extensive holdings of Americana and science and technology, as well as a very significant collection of British portraiture.

While Huntington originally established the gardens to advance his business opportunities for real estate and agriculture in what was a newly booming region—and to satisfy his collector’s impulse—today the botanical gardens are frequented by casual visitors as well as horticulturists and scholars from around the world. “We have one of the most diverse plant collections in the country, if not the world,” says Cavender. “At the same time, there’s a magic in the experiential quality of the gardens that Henry Huntington established very early on.”

Whether designed for artistic, cultural, or scientific purposes, gardens have the potential to shape human experience in a way that both inspires and reminds us of our intimate connection to the planet we call home. Just as art can reveal new perspectives and help us understand each other, so too can gardens open our worldview to something similarly expansive. “If people have an experience of beauty in the gardens that taps into something deeper, that means they are thinking beyond themselves and about their place in the world,” says Cavender. “I want people to be inspired, because I want the world to be better.” 0

Lauren Gallow is is a Seattle-based writer and editor covering art, architecture, and design

From left: The Huntington’s 15-acre Chinese Garden is inspired by a UNESCO heritage site in Suzhou, China, and was co-developed and installed by designers and artisans from the region; Echinopsis “April Dawn” cacti can be found in the Huntington’s Desert Garden

Photos: The Huntington Library, Art Museum, and Botanical Gardens; Christopher Sprinkle © 2018 J. Paul Getty Trust; Cassia Davis

2023 J. Paul Getty Trust; Timothy Schenck, courtesy of the High Line.

Jansen

In curating her Madrid mansion, Yolanda Eleta de Fierro was inspired by the same interior design firm as Jackie Kennedy

Words by ANA DOMÍNGUEZ SIEMENS

dreams

In the recollections of those who knew her, the late Yolanda Eleta de Fierro— cultural patron, avid collector and lifelong lover of the arts—emerges as the definition of a breath of fresh air. Born in Panama in 1924, she arrived in Madrid at the end of the 1940s after her marriage to Ignacio Fierro, one of a family of Spanish bankers and industrialists. In a country still recovering from the ravages of the Spanish Civil War, the beautiful Panamanian— a cultured woman who had been educated at Stanford University and had an open mind and cosmopolitan lifestyle—must have made a striking impression.

The city’s old-fashioned social elite would have seen in Fierro a model for modern life, one that would be reflected in the characterful mansion she built on Calle de Serrano, a street long associated with luxury stores, the Spanish upper class and some of Spain’s finest homes. Now, a large part of the house’s collection of furniture and objects is coming to auction at Sotheby’s Paris in May. Designed in 1966 by Guillermo de Roux, a fellow Panamanian, the two-story Serrano residence not only showcased Neo-Classical inspiration but set the stage for a meticulously curated interior. Collaborating closely with De Roux, Fierro envisioned a space that would blend elegance with functionality. De Roux, who studied architecture at Yale, understood how to combine classical and modern elements to create a livable home and space for entertaining.

He was also the person who helped Fierro design the mansion’s interiors, interpreting the popular Maison Jansen style, which Fierro particularly appreciated. The Paris-based global design firm was founded in the late 19th century by Dutchborn Jean-Henri Jansen, but by the 1960s was led by the French designer Stéphane Boudin. He garnered international acclaim for his collaboration with Jackie Kennedy on

Previous page: Yolanda Eleta de Fierro’s Madrid home featured columns and geometric marble floors.

This page, clockwise from far left: Roman-style statues and busts could be found throughout the property; a Coromandel lacquer screen from the Kangxi period sits behind a collection of objects in the library; Antoni Tàpies’ 1962 abstract, Campins, hung in the living room

her White House renovation, cementing Maison Jansen’s reputation among a new generation.

It was another 20th-century French designer, Andrée Putman, who said “style is a point of view,” and Fierro searched the world for collectibles that would bring a flavor of Maison Jansen to her house, informed by her own personal perspective. Each piece in her collection reflects an adherence to the principles of the style she so admired. At the peak of its popularity the design house’s aesthetic referenced several historical periods—from French furniture and decorative art of the 18th and 19th centuries and the imposing interiors of English country houses—and sprinkled it all, as Jansen expert James Archer Abbott says, with some Hollywood theatricality and glamour.

A classical atmosphere predominated in Fierro’s house, emphasized by columns that ran along the walls, the geometric patterns of its marble floors, and strategically placed Roman-style busts. But amid this setting sat decorative elements of diverse and exquisite craftsmanship, many of which will be auctioned in Paris. These include floral rugs in pastel colors, examples of Chinese lacquer furniture, and glass lamps. They were originally mixed in with more contemporary elements, such as striking glass-topped coffee tables with bronze legs, and metal cabinets from the post-Boudin period, when Maison Jansen was led by Pierre Delbée.

Fierro and her architect traveled extensively, says João Magalhães, Sotheby’s senior specialist and head of furniture. They were not only looking for treasures with which to decorate the house, but also visited palaces, stately homes, and museums for inspiration. To move from room to room in her house was to take a tour of the artefacts they collected from around the world.

Walking into the entrance hall, guests were greeted by a large bell-shaped vase made of porphyry in the 19th century by the royal Swedish lapidary works, and a George III-style console similar to the one Thomas Chippendale made for Harewood House in Yorkshire. Chippendale’s work on that great English stately home also served as inspiration for some of the ornamental details on the staircase and the mahogany doors, based on a design for Harewood by Robert Adam.

Fierro’s library housed a superb Coromandel lacquer screen from the Kangxi period (1662–1722). These had been fashionable ever since Coco Chanel

decorated her office at Rue Cambon in Paris with them. There were also two large, very rare globes signed by the London company Malby & Sons, and a series of malachite objects, including a Russian cup. Among several pieces of English furniture, a Carlton House desk stood out—the original is believed to have been designed at the start of the 19th century for the Prince of Wales.

A showcase of porcelain in the large living room included two tall blue and white vases with giltwood mounts—further examples are preserved in the Liechtenstein Museum, Vienna. Here too sat a pair of Chinese celadon bowls, probably Kangxi, with an English bronze mount from the first quarter of the 19th century. The lavish atmosphere of the room was set off by an Antoni Tàpies abstract from 1962, the year the Spanish artist had a solo exhibition at the Guggenheim in New York.

But perhaps the most unique room in Fierro’s mansion was the fabulous dining room, decorated in a powder blue reminiscent of the tone used by Maison Jansen in the Blue Room of the Kennedy White House. It was dominated by a fantastic Real Fábrica de Cristales de la Granja chandelier and covered with Chinese wallpaper, patterned with flowers and birds, from the end of the 18th century. Intended for the export market, wallpaper of this type decorates many European palaces but, according to experts, this example is a rare complete set. The interior was complemented by an extraordinary silver service made by Paul Storr, the most important English silversmith of the late 18th and early 19th century.

“

Each element of Fierro’s carefully curated collection helps to tell the story of her global travels and refined taste. As a whole, it is the enduring legacy of a woman who turned her Madrid mansion into a timeless masterpiece, blending Neo-Classical elegance with cosmopolitan flair. 0

Ana Domínguez Siemens is a design writer and curator based in Madrid

》 The Eleta Collection will be auctioned at Sotheby’s Paris on May 21–22, with highlights on view May 16–20

THE MOST UNIQUE ROOM IN FIERRO’S MANSION WAS THE FABULOUS DINING ROOM ”

Left: The dining room was decorated in a floral wallpaper inspired by Maison Jansen’s Blue Room in the Kennedy White House.

Right: Two blue and white vases with giltwood mounts stood behind a glass coffee table in Fierro’s living room

EXTRAORDINARY PROPERTIES

Lush garden properties offer the perfect opportunity to reconnect with nature and escape the hustle of modern life

The Impressionist art movement, which celebrates its 150th anniversary in 2024, is associated with city scenes as much as it is with natural landscapes. But nothing is more evocative of its spirit than Claude Monet’s beautiful garden in Giverny, France.

Monet is famous for capturing the Saint-Lazare station in Paris, Rouen’s mighty cathedral, and even London’s Houses of Parliament, but he also painted snowcovered country lanes and poppy fields in Normandy, and sun-bathed gardens in the south of France. A passion for nature eventually caught up with this city dweller, leading him to move just outside of Paris, where he planted the garden that became his sole source of inspiration.

Private gardens today similarly offer the perfect spot to avoid the hubbub of urban life.

Brook Hollow Farm is located just an hour out of Manhattan, in Bedford, New York. The 48-acre estate, founded in 1928, centers around a three-floor manor characterized by high ceilings and blue stone terraces, which have been recently renovated. This exceptional property features a pool, tennis court, guest cottage, three one-bedroom apartments above the garage, a glass-walled pavilion, and a former barn converted into a state-of-the art gym. The surrounding gardens have also been reimagined by landscape designer Miranda Brooks, who studied at the Courtauld Institute of Art in London. The result: a painter’s delight.

Also in New York is the historic Lands End Manor. This spectacular waterfront residence is located within Oyster Bay, Nassau County, in the pretty village of Lattingtown, which boasts its own sandy

beach. A former working farm transformed over time, the 32-acre property has only had two owners, and its pastoral grounds were designed by the “father of landscape architecture” Frederick Law Olmsted. These include a fragrant English garden with a charming cherub fountain, a rose garden and wall fountain, a herb and vegetable garden, grape vines, and an orchard of apple, pear, peach, and fig trees. Manicured lawns encircle the central eight-bedroom colonial house, while the patios of the adjacent pool house overlook an ornamental garden and wisteria-covered gazebo. The grounds also contain a six-bedroom outbuilding, five-stall heated stable attached to two caretaker cottages, a four-bay garage, and every gardener’s dream: a greenhouse.

Another personal Eden sits in Belgium, just 30 minutes from Antwerp. The 36.67-acre domain is located in the Zoerselbos forest and nature reserve, ideal for walkers eager to disconnect from city living. The property’s long private driveway leads to an 18th-century castle surrounded by gardens carefully manicured in the French style. The main residence of 11,600 sq ft— which includes an immaculate attic—has been refurbished with a modern touch. Next door stands a coach house, open plan at ground level with a guest apartment on the first floor. Take in the on-site tennis court and you have match point.

In Jackson Hole, a beautiful valley at the base of the Teton range in Wyoming, the Montana-based architecture firm JLF & Associates has designed an enchanting new residence, stretching to a generous 8,713 sq ft but imbued with all the charm

of cottage living. The main house has four bedrooms, each with an ensuite bathroom, two powder rooms, an office, wine cellar, laundry and, notably, a flower room, for nature is welcome everywhere on the premises—inside and outside. The house’s masonry stone construction stands in a 4.94-acre landscape dotted with perennial flower beds and a pond, all set on the edge of Tucker Ranch’s lake where a winding path leads down to the banks of the Snake River.

Château des Alpes is nestled in the heart of Cap d’Antibes on the French Riviera, where Claude Monet, traveling with fellow painter Pierre-Auguste Renoir, developed his “palette of diamond and jewels.” This fully renovated three-level property includes a three-suite guest house, swimming pool, tennis court, and eight-car garage. But the standout feature is the surrounding 2.4-acre park, planted with Lebanese cedars, lush bougainvillea, and some of the last Phoenix Canariensis palm trees in the region, as well as a fine Japanese garden. Also on the estate is a 200 sq m waterfront villa with private access to the Garoupe beach, whose shimmering waves the Impressionists would surely have loved to capture. Sarah Belmont is an author and contributor to Le Parisien and Beaux Arts magazine

Zoersel, Antwerp, Belgium

Located in the quiet and green area of the Zoerselbos domain, this 900 sq m castle dates back to the 18th century, but has been renovated with highly modern finishes. The entrance hall, with its authentic wooden staircase, leads to various large living spaces, currently used as office areas.

The property transitions from work to pleasure on the first floor, including a living room with a fireplace, dining room and fully equipped kitchen, as well as bedrooms— including the master suite, with a bathroom and dressing area. The second floor is home to a billiard room and an exhibition space,

as well as rooms that can be used as office space or bedrooms. The attic has been transformed for modern living, with fitted closets and generous storage.

A coach house sits next to the castle with an apartment on the first floor. The grounds are complete with a well-manicured French garden, a tennis court with clubhouse, and separate visitor parking.

This estate, set in a picturesque environment, has easy access to nearby Antwerp and the Netherlands.

€4,450,000

Property ID: VBTGD3

sothebysrealty.com

Brabant Sotheby’s International Realty Veerle Viérin +32 475 32 57 37

Cap d’Antibes, Provence-Alpes-Cote d’Azur, France

Located in the heart of Cap d’Antibes, near the beaches, this fully renovated property is set on a park of more than 10,000 sq m. The main house, built on three levels, includes a large reception, dining room, five bedrooms with bathrooms, an office, and gym. This property is an ideal setting for guests with a separate house composed of three suites, a sauna,

hammam, and massage room. Enjoy outdoor activities in nicer weather with a swimming pool, tennis court, and an eight-car garage.

Delight in the sun and shores of the Garoupe beaches with a separate waterfront villa included with this property, featuring its own living room, dining room, three bedrooms, and private swimming pool.

$49,450,549 Property ID: J5SWGJ sothebysrealty.com

Côte d’Azur Sotheby’s International Realty Frédéric Barth +33 4 92 92 12 88

Katonah, New York

Brook Hollow Farm is a captivating retreat nestled in the town of Bedford, New York. The 48 acres of grounds and gardens— recently reimagined by noted landscape designer Miranda Brooks—embrace the main house, six outbuildings, a new tennis court, and 72ft pool. The current owner’s renovation has blended quality craftsmanship, timeless architecture, and modern amenities into a residence designed to cater to the needs of a contemporary lifestyle, while preserving the classic charm of the 1920s house.

The main house offers seven bedrooms, eight full and four half baths, a great room with a floor-to-ceiling stacked-stone fireplace, and a bespoke kitchen with a towering skylight. There is a guest cottage with three bedrooms and baths, as well as

three one-bed apartments above the garage and a pavilion that opens up to a wisteria arbor and octabarn.

A former barn has been transformed into a fully equipped gym—with a ballet bar, aromatherapy room, and full bath. Survey all that is offered by this property via the trail that winds around it, past the charming 1920s writer’s cottage—one more element of an incomparable lifestyle so close to New York City.

$29,500,000 Property ID: QT9XSN

sothebysrealty.com

Sotheby’s International Realty –Greenwich Brokerage

Fran Ehrlich +1 203 249 5561

Wilson, Wyoming

Overlooking the rugged landscape of the Teton Range, this 8,713 sq ft residence is as charming and romantic as an English cottage. Designed by JLF & Associates and built by On-Site Management, its masonry stone construction stands out in the valley with its uniqueness and beauty.

The 4.94 acres of landscaped grounds include a private lake, flower gardens, and a pond, all set on Tucker Ranch’s lake

where a walking path leads to the banks of the Snake River. The residence features four bedrooms, each with ensuite bathrooms, plus two powder rooms, an office, wine cellar, laundry room, and flower shop.

Enjoy easy access to the Jackson Hole Mountain Resort, Grand Teton National Park, Teton Pass and its innumerable hiking and biking trails, as well as to all of Wilson, Teton Village, and Jackson’s amenities.

$22,500,000

Property ID: KGJQYS sothebysrealty.com

Jackson Hole Sotheby’s International Realty

Tom Evans +1 307 413 5101

GALLERY

The finest agents and properties in North Texas

Cross Roads, Texas

Game on: The legendary Mayer Ranch Polo complex near Dallas-Fort Worth offers a polo field, indoor polo arena, various barns, main residence, staff residences, office/studio and private helipad and hangar.

Learn more on page 66.

Another plus of working with North Texas’ most thoughtful brokerage is that we now have vetted partners who will ensure a smooth, easy, well-rounded experience — everything from pre-sale renovations to mortgage and title services to activating all the utilities at your beautiful new home. Come see all the special White Glove offerings that go far beyond buying and selling, only at briggsfreeman.com/ whiteglove

THE INTRIGUING ICON SERVICES AS SPECIAL AS YOUR HOME PONIES, MALLETS AND A PLACE FOR THE HELICOPTER

A legendary polo ranch near Dallas-Fort Worth is for sale — and it comes with more than a home for horses. Called Mayer Ranch Polo, the unique complex spans 111 acres in Cross Roads, Texas. Currently home to the women’s and men’s polo teams of famed Southern Methodist University, it offers a polo field, indoor polo arena, various barns (including nearly 60 stalls), staff residences and a private helipad and hangar. What’s more, there is

ON THE COVER

Rarely does a home of such elegance and provenance become available. This is that home: 3801 Gillon Avenue, a beloved Highland Park archetype, written about by scholars and admired since its creation in 1917. Private and peaceful, it offers

a luxurious main residence and separate office/studio. Less than an hour from bustling Dallas and Fort Worth, the ranch is a haven for pursuits beyond polo: Its eastern and southwestern perimeters are heavily treed, which provides habitat for a variety of wildlife. Enjoy fishing in stock tanks, riding horses and more. Mayer Ranch Polo is offered for $20,000,000. For more information, contact the Burgher-Ray Ranch Group: 214-353-6601; briggsfreeman.com.

manicured gardens, large and gracious rooms, multiple fireplaces, a veranda, pool and two-car garage with quarters above. The second-floor primary suite is sumptuous, with its bedroom, sitting room, spacious office and private bath. As light-filled and luxurious as modern houses, this crafted home has something that few can equal: an aura of history and permanence. 3801 Gillon Avenue is represented by Joan Eleazer of The Eleazer Group for $11,995,000. For more information: 214-537-5923 or jeleazer@ briggsfreeman.com

How communication matters.

The same team with these reviews —

“Listened … Listened so well … Kept us up to date … Kept everything on track … Understood exactly what we wanted … Knew exactly what we were looking for” — is the same team with this review: “Nailed it, right from the start.”

THE BALANCING ACT

In historic Preston Hollow, one home mixes contemporary design and creature comforts like no other.

Think Preston Hollow and you may conjure visions of stately mansions — columns, cornices and all — set far back from the area’s winding streets, under majestic old trees that could tell some stories.

You wouldn’t be wrong. But, amid the beautiful Tudors, Georgians and Colonials is a Contemporary stunner that nudges the neighborhood forward a bit. It is 4610 South Lindhurst Avenue, completed in 2017 and extensively updated in the last two years. The five-bedroom residence spans nearly 9,000 square feet and is confidently sited on its sprawling, .79-acre lot. From its oasis-like pool to its elegant interior finishes, this home is a blend of luxurious living and impeccable design.

Walking into the house is a thrill. The foyer’s large windows, gleaming hardwood floors and neutral palette create a light-filled welcome. From there, the first floor unfolds, offering a great room, kitchen, formal dining room, temperature-controlled wine room, office, media room, golf-simulator room and guest suite with attached pool bath.

Made for entertaining, the airy kitchen is complete with a wet bar, prep kitchen and walk-in pantry. It opens to the great room and looks out to the backyard’s pool and outdoor living area.

The primary suite is found on the west side of the first level and boasts a statement fireplace, new hardwood floors, custom built-ins and a seating area surrounded by

windows and natural light. A sophisticated bath with a beverage station and a towel warmer, an exercise room with a relaxing sauna, dual walk-in closets, a private gym and a safe room complete the primary wing.

Upstairs, find three additional guest rooms with en-suite baths, as well as a bunk room and a large game room with a wet bar and full bath.

More entertaining areas are found out back: a covered patio; an outdoor kitchen; an eat-in bar; and a built-in grill. In addition to a sparkling saltwater pool and spa, the outdoor luxuries include a

fireplace, fire pit, turfed backyard and putting green.

From its beautiful, expansive spaces — perfect for hosting — to its long list of features, including the climate-controlled three-car garage and automatic shades throughout, this is a special home that offers elegance and ease in equal doses.

THE DETAILS THE LISTING

5 bedrooms + 6 full baths + 1 half bath + Exercise room with coal and infrared sauna + Kitchen with Wolf ovens, SubZero refrigerators, dual dishwashers, wine refrigerator and coffee maker + Control4 smart-home system + Backup generator

4610 South Lindhurst Avenue is represented by Faisal Halum of the Faisal Halum Group at Briggs Freeman Sotheby’s International Realty for $7,850,000. For more, call 214-240-2575 or e-mail fhalum@ briggsfreeman.com.

FORCE OF NATURE

Innovative technology. Energy-saving appliances. Strategic design choices. Responsibly sourced materials. Environmentally conscious landscaping. At 5714 Meadow Crest Drive, the grass isn’t necessarily greener — but the house certainly is. Here’s a detailed look at the LEED Platinum certified home that’s setting the new standard in sustainable living.

THE TEAM

THE SPECS

5,300 square feet | 6 bedrooms

5 full baths | 1 half bath | 0.38-acre lot

THE GREEN DETAILS

Energy-efficient design

- Whole-house energy recovery ventilator (ERV) system

- Thermosyphon ventilated roof + solar panels

- High-efficiency HVAC system

- Tankless, solar water-heating system

Eco-friendly elements

- IrriGRAY graywater irrigation system + rainwater harvesting system

- Native xeriscaping

- Low-flow plumbing fixtures

- Repurposed materials from original home

Health-optimization features

- Whole-house Ophora water filtration system

- Aerus air purification machines

- Hyper-oxygenated pool filtration system

- VOC-free interior materials

5714 Meadow Crest Drive in North Dallas, price upon request, represented by Diane DuVall, 214-725-1451, dduvall@briggsfreeman.com

greenlabhouse.com

AT HOME WITH HOLLY

The lifelong Park Cities resident knows every inch of University Park, namely The Fairway, where she lives, works and plays. Here, a glimpse of Holly’s hometown from her perspective — plus a peek at her recent sales in the neighborhood.

SCHOOL SPIRIT “The HPISD community has so much school pride, especially when it comes to elementary schools. So many Park Cities natives move back here as adults so that their kids can attend the same elementary school they went to — once a Hyer Elementary Husky, always a Husky!”

PARK PERKS “It’s no secret UP is known for its parks, and there are three within The Fairway alone: Smith Park, Coffee Park and Caruth Park,” says Holly. “My favorites are the tennis and pickleball courts at Caruth Park, which also has a great fishing pond that my sons love.”

FAMILY TIES “I live on Colgate Avenue, and I also grew up on Colgate Avenue — just on a different block. I love getting to raise my three boys on this street, and my whole family lives within a five-mile radius!”

FAIRWAY FAVES “For great neighborhood restaurants, you can’t beat Preston Center,” Holly says. “Dinner and drinks at AT Bistro make for the perfect date night, or head to the bar at Montlake Cut for oysters and cocktails. Muchacho is another favorite, and of course il Bracco — I love the meatballs, chicken piccata and cacio e pepe.”

STREET SMARTS “Here’s a fun fact you may not know,” says Holly. “North of Lovers Lane, all the UP streets that run east to west are named after current or former colleges — with two exceptions: Wentwood Drive and Caruth Boulevard. As the story goes, Wentwood Drive was originally Wentworth Drive, which does share its name with a university. But because there was already a Wentworth Street in Oak Cliff, Wentworth Drive in UP was subsequently changed to Wentwood Drive to eliminate mail delivery mix-ups.”

Holly Krug

Global Real Estate Advisor

214-498-7678

hkrug@briggsfreeman.com

2023 SALES IN 75225 3905

10 ways agent

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Susan Marcus has built one of the most sterling reputations in real estate on discreet transactions with astounding results. Both business-minded and lifestyle-minded, she is adroit with every generation and every situation — especially off-market sales of important homes. The outcomes don’t just impress her discerning clients: They surpass all expectations. Dynamic, dedicated, diplomatic: Susan Marcus remains real estate’s best kept secret.

Bar raised, again.

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von Rosenberg doesn’t just

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The team at the top.