t7ir jf by darielsoreale

THE INTERNATIONAL DESIGN AUTHORITY OCTOBER 2021

BRIGHT OUTLOOK

daring design around the world

a LUIS LAPLACE masterpiece on mexico’s coast JAY-Z’s roc nation headquarters in los angeles NEW AMERICAN VOICES: the future of decorating

FEN D I C A SA .CO M

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Mah Jong. Modular sofa with elements, designed by Hans Hopfer. , Constellation collection. Upholstered in Stained wooden bases, Alezan finish. In-store interior design & 3D modeling services.1 Quick Ship program available.2

This year, Roche Bobois is celebrating the 50th anniversary of the Mah Jong sofa, designed in 1971 by Hans Hopfer. To celebrate this milestone, the Mah Jong is dressed in new designer fabrics and set on elegant platforms that enhance its silhouette and comfort. True to the Mah Jong’s original identity, this new design makes the piece more modern than ever.

Fabrics by

French Art de Vivre Photos by Michel Gibert and Baptiste Le Quiniou, for advertising purposes only. Zulma Editions. 1Conditions apply, contact store for details. 2Program available on select items, subject to availability.

Mah Jong. Modular sofa with elements, designed by Hans Hopfer. Upholstered in fabrics designed by Kenzo Takada, Matsuri collection, Irune version. Lacquered wooden bases, matte bronze patina finish. In-store interior design & 3D modeling services.1 Quick Ship program available.2

Fabrics designed by

French Art de Vivre Photos by Michel Gibert and Baptiste Le Quiniou, for advertising purposes only. TASCHEN. 1Conditions apply, contact store for details. 2Program available on select items, subject to availability.

CONTENTS october

ART AND DESIGN FILL A LONDON MEWS HOUSE BY RACHEL CHUDLEY.

22 Editor’s Letter

A GETAWAY IN THE SOUTH OF FRANCE DESIGNED BY INDIA MAHDAVI WITH LANDSCAPES BY JEAN MUS.

26 Object Lesson

Superstudio’s Quaderna tables.

AD visits the L.A. headquarters of Jay-Z’s Roc Nation... New collections by Brigette Romanek for Mitchell Gold + Bob Williams, Bijoy Jain for Hermès, Eric Schmitt for Ralph Pucci International, Kelly Behun for L’Objet, Lenny Kravitz for CB2, and Athena Calderone for Beni Rugs... Tiffany & Co.’s NYCinspired jewelry... Salt and pepper shakers... Hotels in upstate New York... Ebony L. Haynes helms a new venture for David Zwirner... At home with Jennifer Bunsa in Miami... RH’s first charter jet... And more!

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FROM TOP: SIMON UPTON. VINCENT LEROUX.

29 Discoveries

CONTENTS october

A SITTING AREA IN A MEXICAN RETREAT BY LUIS LAPLACE.

108

BRADLEY L. BOWERS, ONE OF THIS YEAR’S NEW AMERICAN VOICES.

Luis Laplace conjures a visionary escape on Mexico’s west coast. BY DANA THOMAS

A TERRACE OVERLOOKING THE PACIFIC OCEAN AT A HOUSE IN MEXICO DESIGNED BY LUIS LAPLACE. “PACIFIC HEIGHTS,” PAGE 76. PHOTOGRAPHY BY FERNANDO MARROQUIN. STYLED BY MARIANA ESTRADA.

FOLLOW @ARCHDIGEST

SUBSCRIPTIONS GO TO ARCHDIGEST.COM, CALL 800-365-8032, OR EMAIL SUBSCRIPTIONS@ARCHDIGEST.COM. DIGITAL EDITION DOWNLOAD AT ARCHDIGEST.COM/APP. NEWSLETTER SIGN UP AT ARCHDIGEST.COM/NEWSLETTER. COMMENTS CONTACT US VIA SOCIAL MEDIA OR EMAIL LETTERS@ARCHDIGEST.COM.

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88 All In

Blending old and new, Rachel Chudley transforms a London mews house. BY MITCHELL OWENS

98 Good Vibes

India Mahdavi brings her signature flair to a light-filled getaway in the South of France. BY SARAH MEDFORD

114 Mitzvah Machine

OMA’s Shohei Shigematsu crafts an instant Los Angeles landmark that celebrates faith and fellowship. BY MAYER RUS

118 Game Theory

Imbuing a newly built town house with a rich aura of history, Giancarlo Valle writes his own rules. BY SAM COCHRAN

126 Resources

The designers, architects, and products featured this month.

108 New American Voices 128 One to Watch A fresh crop of creative talents is writing the next chapter in great interior design. Meet today’s emerging stars.

Maryam Turkey fashions furniture inspired by architecture.

FROM LEFT: FERNANDO MARROQUIN. MEGHAN MARIN.

76 Pacific Heights

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DIY AND RENOVATION INSPIRATION FROM THE ISSUE

Small But Mighty

What powder rooms lack in square footage they more than make up for with possibility. Take, for example, this jewel-box space, designed by Giancarlo Valle for a Manhattan town house (page 118). The AD100 designer went for bold, with floor-to-ceiling surface appeal and fanciful touches at every opportunity. Here’s how to make a splash.... 18

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INTERIOR: STEPHEN KENT JOHNSON. ALL OTHERS COURTESY OF THE COMPANIES.

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BRING YOUR VISION TO US

editor’s letter

1. A VILLA IN THE SOUTH OF FRANCE BY AD100 DESIGNER INDIA MAHDAVI. 2. & 3. L.A.-BASED DESIGNERS ERICK GARCIA AND FAITH BLAKENEY, JUST TWO EXCITING NAMES TO KNOW FROM THE NEW AMERICAN VOICES FEATURE. 4. ROOMS WITH A VIEW FROM OUR COVER STORY, A HOUSE IN MEXICO CONCEIVED BY AD100 ARCHITECT LUIS LAPLACE. 5. WITH LAPLACE AND HIS PARTNER, CHRISTOPHE COMOY (STANDING), IN THEIR PARIS HOME. 1

The October AD is all about designers helping people further their dreams and live their best lives. Our working theme is broadly “the future of design,” and the entire issue celebrates an expansive array of talents, from firmly established superstars to those on the rise. Paris-based AD100 architect Luis Laplace is at the peak of his powers with the stunning ground-up house he built for a longtime client on Mexico’s Pacific coast, shown on our cover. The interiors evoke “something that is clearly Mexican, but with international flavor,” comments Laplace, who commissioned everything from ceramic tiles to terra-cotta jugs and handmade furniture locally, noting “the incredible technique” of Mexico’s artisans. AD100 designer India Mahdavi reminds us of her easy-breezy brilliance in a dreamy villa in the South of France. “He wanted light and color and freshness,” says Mahdavi of her client. “I think that’s why he chose me.” Giancarlo Valle, yet another AD100 talent, transformed a generic white-box town house in New York City into a character-filled beauty. “A project like this, it’s a blank canvas,” he says. “You almost have to create the game.” Speaking of game, the fresh faces spotlighted in our annual New American Voices feature are all game changers and change agents, leading the way forward as how we think about spaces and ways of living keeps morphing. Showcasing even more forward-thinking design, the issue also highlights innovative work by Willo Perron, Lenny Kravitz, Rachel Chudley, Bijoy Jain, Athena Calderone, Brigette Romanek, Jennifer Bunsa, and Kelly Behun. Feast your eyes on the future!

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ARCHITECTURAL DIGEST AND THE BLACK INTERIOR DESIGNERS NETWORK ARE PROUD TO PRESENT THE SECOND INCARNATION OF THE ICONIC HOME, IN PARTNERSHIP WITH METHOD®. THE VIRTUAL SHOW HOUSE IS RENDERED BY THE BOUNDARY AND FEATURES PRODUCT INNOVATIONS FROM ARHAUS, BEAUTYREST, CRATE & KIDS, GARAGE LIVING®, HEAT & GLO, KOHLER, AND RÉMY MARTIN. VISIT AN EXCITING NEW ROSTER OF TALENTS IN A HOUSE (6) CREATED BY ARCHITECT ELIZABETH GRAZIOLO OF YELLOW HOUSE ARCHITECTS WHEN DOORS “OPEN” ON SEPTEMBER 27 AT ARCHDIGEST .COM/ICONICHOME. LANDSCAPE ARCHITECTURE BY SARA ZEWDE OF STUDIO ZEWDE. 6

AMY ASTLEY Editor in Chief @amyastley

1. VINCENT LEROUX. 2 & 3. PHYLICIA J. L. MUNN. 4. FERNANDO MARROQUIN. 5. AMY ASTLEY. 6. THE BOUNDARY.

“My passion is helping people find beautiful ways of expressing their highest selves.” —designer Faith Blakeney

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H I S V I S I O N CONTINUES

IN PA R T NER S HIP WIT H T H E F R A N K LL OY D W RIG H T F O U N D ATIO N

B R I Z O .C O M

object lesson

THE STORY BEHIND AN ICONIC DESIGN

1. SUPERSTUDIO’S QUADERNA TABLE IN COLLECTOR RAQUEL CAYRE’S NEW YORK CITY APARTMENT. 2. IN THE HOTEL C.O.Q IN PARIS, DECORATED BY DELPHINE SAUVAGET AND PAULINE D’HOOP. 3. QUADERNA 710 BENCH BY ZANOTTA. 4. IN A PARIS APARTMENT BY FABRIZIO CASIRAGHI. 5. THE QUADERNA SERIES, PHOTOGRAPHED IN 1970.

the digital age 5

ARCHDIGE S T.COM

ick of the monotony of modern architecture, in the late 1960s, radical Florentine collective Superstudio started making tongue-in-cheek works featuring an invasive, orthogonal grid. In their Continuous Monument collages it sliced through deserts and cityscapes; in their Architectural Histograms, it stacked into cubic forms. “In those years it became very clear that to continue to design furniture, objects, and similar household decorations was no solution to [the] problems of living,” they wrote in 1968. Accordingly, their output was mostly speculative—meant to provoke questions about what they called “the bestiality of architecture.” But in 1969 theory gave way to something more physical: rectilinear tables, benches, cabinets, even a bed, classically built in blockboard and clad in plastic laminate sporting a three-centimeter-square grid. They named the “neutral surface,” developed by Abet Print, Misura (or Measure). “The idea of using a simple unit of measure—the square—minimizes the interference of the designer or architect, yet it’s scalable, from an ashtray to an entire city,” explains Evan Snyderman, an expert on the Italian Radical era and cofounder of New York design gallery R & Co. The Milanese brand Zanotta began producing the so-called Quaderna tables in 1971. And 50 years after that debut, the pieces (from $5,010 for a console) have become icons of Italian design—one of the tables is now on permanent display at the Palazzo del Quirinale, Italy’s official presidential residence in Rome. Meanwhile, as the millennial generation rediscovers radical and postmodern design, Quaderna has had a resurgence. French AD100 designer Fabrizio Casiraghi recently placed one in an elegant Parisian entryway. The furniture adviser and collector Raquel Cayre lives with one in her New York City apartment. And Zoe Fisher, independent curator and director of New York’s Salon 94 Design, has brought hers—scored on Craigslist—from apartment to apartment. For a younger audience, Superstudio’s “neutral surface” still holds up; “it’s bold but it also kind of disappears,” Fisher explains, “almost like the checkerboard transparency background of a PNG image file.” zanotta.it —HANNAH MARTIN

1. RAQUEL CAYRE. 2. HERVÉ GOLUZA. 3 & 5. COURTESY OF ZANOTTA. 4. CERRUTI DRAIME.

For more inspiration visit our San Francisco Design & Experience Center zephyronline.com

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JAY-Z’S EXECUTIVE SUITE IS OUTFITTED WITH A CHARLOTTE PERRIAND DESK, ERBERTO CARBONI CHAIRS BY ARFLEX, AND LIGHTING BY MARCEL BREUER AND OSVALDO BORSANI; ARTWORK BY DERRICK ADAMS.

DISCOVERIES

THE BEST IN SHOPPING, DESIGN, AND STYLE

EDITED BY SAM COCHRAN

AD VISITS

DERRICK ADAMS.

Roc Steady

For the L.A. headquarters of Jay-Z ’s Roc Nation, designer Willo Perron eschews bells and whistles in favor of a setting as cool as it is calm PHOTOGRAPHY BY SHADE DEGGES. STYLED BY EMILY BOWSER.

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DISCOVERIES

1. IN THE DINING/MEETING AREA, SINUOUS BANQUETTES WITH CHAIRS BY VICO MAGISTRETTI. 2. JAY-Z’S OFFICE HAS CHAIRS BY RICK OWENS AND OSCAR NIEMEYER. 3. AFRA AND TOBIA SCARPA’S AFRICA CHAIRS AND A MARIO BELLINI TABLE.

illo Perron is no stranger to spectacle. Over the years, the Montreal-born, Los Angeles–based designer, creative director, and partner in the firm PerronRoettinger has orchestrated a vast array of live events for many of the world’s most influential performers and brands. He has crafted jawdropping stage sets for the likes of Rihanna, Kanye West, Lady Gaga, Drake, Florence + the Machine, Kendrick Lamar, Travis Scott, and a host of other global superstars. He’s collaborated with luminaries of the contemporary art scene as well as mega-corporations like Nike and Samsung. He’s even focused his avant-garde, zeitgeist-surfing eye on the annual Pornhub Awards ceremony. Perron’s design for the L.A. offices of the entertainment behemoth Roc Nation, however, has little to do with razzledazzle. “I didn’t want it to feel like a caricatured media or management office, with music blaring and video screens everywhere. I wasn’t interested in that kind of sensory overload,” Perron explains. “I wanted to do the opposite, to create a zen environment conducive to ideas and conversation, a space where you can actually think,” he adds. The designer’s relationship with Shawn “Jay-Z” Carter, Roc Nation’s founder, dates back roughly a decade. The two have collaborated on everything from live performances and album packaging to home design. “He’s given me lots of freedom to explore and develop concepts that I find intriguing. The only boundaries I had for the office were the number of desks and offices. Beyond that, they trusted us,” Perron says. Rather than relying on flashy gimmicks, the office gathers strength from its deep sense of materiality, expressed in the chunky marble counters that anchor the central meeting/

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dining/entertainment zone, in the bespoke benches and serpentine banquettes of muscular concrete, and, perhaps most noticeably, in the columns and accent walls sheathed in a pebbly lime plaster aggregate. “The mixture is a nod to where I grew up. Montreal modernism is wrapped up in the texture and aesthetic of concrete—a combination of brutalism and beauty,” Perron observes. In the surprisingly serene open-office areas, Perron custom-designed workstations that blend Juddian minimalism with 21st-century technology. For the executive wing, where concrete floors segue to Dinesen heart oak, Perron boosted the level of refinement while maintaining the largely monochromatic palette and pervasive air of restrained luxury. Jay-Z’s private office, in particular, is chockablock with design treasures—a Charlotte Perriand desk, a Marcel Breuer lamp, a Gio Ponti mirror, and seating by Oscar Niemeyer, Erberto Carboni, and Afra and Tobia Scarpa—all arranged in vignettes with a tailored, residential vibe. “We selected pieces that tell the story of modernism as it evolved through the decades in different places. The Rick Owens chair brings the mix up to the present day,” Perron says of the heady brew. In Jay-Z’s office, as throughout the headquarters, artworks by primarily African American artists sing out against a backdrop of hushed plaster walls and sleek glass enclosures. Unlike the art program at Roc Nation’s Manhattan digs, which is heavy on instantly recognizable, blue-chip names, the L.A. roster leans more toward emerging talents. “We wanted something less predictable,” the designer insists. “This felt more experimental and more appropriate for L.A. It’s all about the vanguard of culture.” —MAYER RUS

HANNA LIDEN.

1. WILLO PERRON. 2. THE LOUNGE’S COFFEE BAR IS CLAD IN CALACATTA VIOLA MARBLE; PHOTOGRAPHS BY HANNA LIDEN AND WALL-HUNG SCULPTURE BY MOFFAT TAKADIWA. 3. A MEDIA ROOM WITH CUSTOM COCKTAIL TABLES IS SWADDLED IN RUST-COLORED MOHAIR.

WHAT COFFEE IS MEANT TO BE

1. ROMANEK PERCHES ON HER LA SOFA FOR MITCHELL GOLD + BOB WILLIAMS IN THE LIVING ROOM OF HER LAUREL CANYON HOME (AD, OCTOBER 2016). 2. LUCY LOUNGE CHAIR. 3. LUCY DAYBED.

DEBUT

Brigette Romanek has translated her philosophy of livable luxury into a bright, breezy line of home furnishings for retailer Mitchell Gold + Bob Williams. “I like furniture that’s practical—the right pitch, the right level of comfort—but there has to be more. There has to be an element of playfulness and joy,” says the AD100 designer. Her Lucy series weaves Art Deco curves—think Eileen Gray’s Bibendum chair—and a dash of high-fashion glam into plush seating with serious come-hither appeal. Her LA collection likewise blends rounded silhouettes and taut forms for a distinctly upbeat personality, more timeless than trendy. “I tried to capture the optimism and light of the city I love,” Romanek explains. “To me, these pieces feel like a ray of sunshine.” mgbw.com —MAYER RUS

JEWELRY

CHAIN REACTION

A lifelong New Yorker, Tiffany & Co. understands Manhattan’s architectural fabric down to the last detail. The brand’s latest jewelry offerings pay tribute to one such element: chain link. The Tiffany Knot collection reinterprets this ubiquitous industrial staple as an array of rings, bracelets, necklaces, and earrings in rose and yellow gold, some with pavé diamonds. Like the Big Apple, it’s an elegant mix of grit and glamour. tiffany.com —SOPHIA HERRING 34

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1. WILLIAM WALDRON. 2 & 3. COURTESY OF MITCHELL GOLD + BOB WILLIAMS. JEWELRY: RAYMOND MEIER/TIFFANY & CO.

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SHOPPING

Shake It Up

Our favorite salt-and-pepper sets deliver a dose of polish and personality to the dining table 36

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PRODUCE D BY MA DELINE O’MAL LEY

ALL PHOTOS COURTESY OF THE COMPANIES.

DISCOVERIES

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DISCOVERIES

DETAIL ORIENTED

Art and Craft

Material innovation meets artisanal know-how in Bijoy Jain’s sublime new furniture for Hermès

1. ARCHITECT BIJOY JAIN OF STUDIO MUMBAI ON THE STEPS TO HIS MUMBAI HOME (AD INDIA, 2016). 2. AN ITALIAN ARTISAN APPLIES PAPIER-MÂCHÉ TO JAIN’S NEW CHAIR FOR HERMÈS. 3. A FINISHED SILLAGE D’HERMÈS ARMCHAIR.

1. IWAN BAAN. 2. MAXIME VERRET. 3. STUDIO DES FLEURS.

or Bijoy Jain, every design begins with a material investigation. “Materials sit latent in our subconscious only to be revealed as—and when—the opportune moment arises, like when a seed meets a raindrop,” notes the celebrated Indian architect, founder of Studio Mumbai. Each project involves teaming with local artisans to translate Jain’s own inimitable grasp of traditional craft into unexpected forms, both spaces and objects. It’s an approach he has now applied to a new collaboration with Hermès: a three-piece furniture collection that just debuted at Milan’s Salone del Mobile furniture fair. “The fact that he works very closely with the people involved in the making of an object is one of the reasons we wanted to work with him,” says Charlotte Macaux Perelman, who, alongside Alexis Fabry, serves as the co–artistic director of all Hermès home collections. “When we approached him for the project, we had a very open discussion about the aspects of his work that speak to us the most—his take on craftsmanship, his proximity with the materials, his modern approach.” Handmade by Italian crafts2 people in Puglia, Jain’s Sillage d’Hermès armchair is constructed of wood but coated with a unique papier-mâché compound, the cellulose microfibers of which create strikingly soft edges. Each armchair is then varnished and painted in a graphic striped pattern, one line at a time, and fitted with two cashmere cushions. (Says Fabry, “We needed three years to find a workshop capable of making it in papier-mâché without losing the highly artisanal character of Jain’s prototype.”) Meanwhile the Lignange d’Hermès table, available in two sizes, is carved in Burgundy from a single bluestone block as stonecutters score radiating ridges into its surface, articulating a precise gesture between man and material.

MISTY COPELAND Principal Dancer American Ballet Theatre

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WINE CELLAR

DISCOVERIES

TEAM EFFORTS

An abbreviated history on past Hermès collaborations with architects, artists, and designers... 2014

ALEXIS FABRY AND CHARLOTTE MACAUX PERELMAN JOIN HERMÈS AS DEPUTY ARTISTIC DIRECTORS OF THE BRAND’S HOME CATEGORIES.

2016

DESIGNER PIERRE CHARPIN PARTNERS WITH HERMÈS ON CENTERPIECES IN JAPANESE LACQUER.

2016

1. A STUDIO MUMBAI– DESIGNED RESIDENCE IN AHMEDABAD, INDIA.

THE CARNETS D’EQUATEUR PORCELAIN COLLECTION REIMAGINES ARTWORK BY THE LATE NATURALIST ROBERT DALLET.

TABLE IS CARVED FROM A BLOCK OF BLUESTONE.

Such sensitivity is at the heart of Studio Mumbai, which Jain established in 1996. In the years since, he has designed projects all throughout India, including houses in Alibag, Mumbai, Ahmedabad, and Kashid; a mountain lodge in the foothills of the Himalayas; and a weaving studio in Dehradun. A recent architectural feat was the renovation and expansion of the LOG (Lantern Onomichi Garden) hotel in Japan’s Hiroshima prefecture. He has also designed furniture, from daybeds of marble and lime and rice husk to bamboo and teak chairs with rope woven around angular frames. Some just found their way into LOG, walls at which are lined in two layers of washi paper to soften texture and light. “The intention with these material investigations was to explore their capacity in weight, volume, mass, lightness, perception, and making,” Jain says, reflecting on his broader practice. Of the Hermès collection, he adds: “There was calmness in the making of these pieces, even in a period of strife. This collaboration, in mutual exchange, traversed boundaries in our ability to transfer thoughts, ideas, ethics, and making malleable to location, geography, language, material, and time, adjusting to its own center of gravity.” Rooted in a feverish pursuit of handmade beauty, Jain’s conceptual process and Hermès’s centuries-old legacy make for a natural fit. hermes.com —RITUPRIYA BASU

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2019–2020

MEMPHIS MARVEL NATHALIE DU PASQUIER TRANSLATES HER SIGNATURE COMPOSITIONS IN CASHMERE.

2020–2021

IT BRIT JASPER MORRISON’S ÉQUILIBRE COLLECTION REVEALS AN ELEGANT BALANCING ACT IN OAK.

1. IWAN BAAN. 2. STUDIO DES FLEURS. PORTRAIT: MATTHIAS ZIEGLER. ALL OTHERS COURTESY OF HERMÈS.

2017–2018

ARCHITECT ÁLVARO SIZA’S KARUMI STOOLS MELD BAMBOO CRAFT WITH CARBON-FIBER INNOVATIONS.

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DISCOVERIES TRAVEL

Against the Current In upstate New York, a trio of hip new hotels brings fresh energy and serious style to the west side of the Hudson River

PIAULE

CATSKILL, NY Reiki, sound baths, meditation, the best night’s rest—

this wellness retreat offers it all on 50 verdant acres, with 24 modernist cabins conceived in partnership with Garrison Architects. The view from the spa’s exquisite pool would have made any Hudson River School painter swoon. From $399; piaule.com —SAM COCHRAN

INNESS

ACCORD, NY Hospitality

a former brick factory has been transformed into a sprawling oasis that is beckoning wedding parties and weekenders alike. Thirty-one light-filled cabins are cozy anecdotes to three expansive event spaces and chef Dan Silverman’s River Pavilion restaurant. From $395; huttonbrickyards.com —MADELEINE LUCKEL

EXHIBITIONS

A NEW LOVE AFFAIR

“I’d flirted with fiberglass,” Eric Schmitt recalls. Now the French furniture designer has committed to it long-term. Launching in November at Ralph Pucci International, his new collection effortlessly melds the gallery’s proprietary riff on the industrial matter (dubbed Plasterglass) with old flames like marble and metal. “We worked with it like it was bronze,” says Schmitt. “One process is no more noble than another.” ralphpucci.com —HANNAH MARTIN 42

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FROM TOP: SEAN DAVIDSON; JANE BEILES; ADRIAN GAUT; ANTOINE BOOTZ.

HUTTON BRICKYARDS

KINGSTON, NY Perched right on the bank of the Hudson,

hitmaker Taavo Somer is back with this 225-acre refuge and members club, designed in collaboration with Post Company (formerly Studio Tack) and garden guru Miranda Brooks, among others. It includes 28 cabins, 12 farmhouse rooms, a nine-hole golf course, an organic farm, and more— in other words, a nice slice of country pie. From $365; inness.co —S.C.

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DISCOVERIES

ART SCENE

Change Agent

Helmed by Ebony L. Haynes, a new Manhattan art space challenges gallery norms

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1. 52 WALKER’S TRIBECA SPACE PRIOR TO ITS UPDATE BY SELLDORF ARCHITECTS. 2. EBONY L. HAYNES, DIRECTOR OF 52 WALKER, A NEW OUTPOST OF DAVID ZWIRNER GALLERY. 3. THE ENTRANCE’S EXISTING NIGHTCLUB SIGNAGE.

Tiona Nekkia McClodden, and Tau Lewis will follow. Taking its name from its address, 52 Walker occupies the ground floor and basement of a former Tribeca nightclub. Selldorf Architects, the AD100 firm behind the highly considered minimalism of other Zwirner gallery locations, led the renovation with “as little intervention as possible,” Annabelle Selldorf says. Stripped of nearly everything but two 3 existing columns and the original maple floors, the interiors retain “the entirety of a beautifully proportioned, open loft with daylight at both ends.” With three-month exhibitions, 16-foot ceilings, and 10,000 square feet, 52 Walker offers artists the rare luxuries that we often take for granted: time and space. 52walker.com —JANELLE ZARA

1 & 3. JASON SCHMIDT. 2. ELLIOTT JEROME BROWN JR.

hen curator and art dealer Ebony L. Haynes joined David Zwirner gallery as a director in 2020, the quick pace of the art world had already been wearing on her morale. For years, she recalls, “artists and I would work really hard on a show, then watch it come down in the blink of an eye.” As a respite from the pressures of rapid turnover, she proposed that she and her new employer create a space where shows could stay open for months at a time. “I felt that if artists and I could do things a bit bigger and slower, we could really go deep and focus on the exhibition together.” Haynes’s proposal comes to life October 28 in New York City with the opening of 52 Walker, a Zwirner outpost that she describes as a kind of hybrid. It combines the sales focus of a commercial gallery with the curatorial focus of a kunsthalle, the European “art hall” model that welcomes large-scale, provocative, and otherwise unorthodox works. “I’m drawn largely toward conceptual practices— the research-heavy, the site-specific,” says Haynes, who’s already scheduled the initial five exhibitions. The first marks the New York City solo debut of Los Angeles artist Kandis Williams, whose multidisciplinary works, including collage, text, and performance, critically examine the dynamics of power and identity. Over the next year, shows with Nikita Gale, Nora Turato,

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DISCOVERIES

1. THE FLORIDA ROOM OF DESIGNER JENNIFER BUNSA’S MIAMI HOME FEATURES A HANS WEGNER CHAIR, A GIANFRANCO FRATTINI SOFA, AND AN ARNE NORELL SETTEE IN A JOSEF FRANK PRINT. 2. CB2 SECTIONAL ON THE PATIO.

DECORATING

Back to the Start

Returning to her childhood home in Miami, designer Jennifer Bunsa conjures a world of color and pattern for her own young family

s a child, Jennifer Bunsa spent many happy hours on the shag rug of her Miami bedroom, building elaborate Lego houses. More than 30 years later, it’s this same bedroom where Bunsa—now an interior designer known for relaxed, livably elegant spaces—puts her six-yearold son, Jack, to sleep in a bunk bed that she’s transformed into a cozy tented hideout. “It’s still amazing to me that this is his room now,” she says. “I guess it’s what people call coming full circle.” Bunsa and her parents moved out of the modest midcentury house in the historic neighborhood of The Roads when she was eight, relocating to Orlando. But her family held on to the dwelling, which had been passed down from her great-grandmother, as a rental property. Bunsa eventually went on to study architecture at Harvard, practice at Rogers Marvel Architects in New York City, get married, and start a family of her own. But the house was always in her heart. “It held so many memories, especially of my [late] mom,” she says. In 2016, Bunsa and her husband, Bryan Whitefield, were living in a Brooklyn rental with their then 2

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PHOTOGRAPHY BY N ICOLE FRA NZEN

DISCOVERIES

1. IN THE LIVING ROOM, CRATE AND BARREL SOFA, ANGELO MANGIAROTTI COCKTAIL TABLE, AND ADAM POGUE FLOOR CUSHION. 2. BUNSA IN THE GARDEN. 3. THE KITCHEN’S APPARATUS LIGHTS AND JOSEF FRANK ROMAN SHADE. 4. MARTHE ARMITAGE WALLPAPER AND VITSŒ SHELVES.

toddler when they started to crave more space. “We wanted a yard but weren’t interested in the New York suburbs,” she recalls. They realized that the Miami house, only a 12-minute drive from South Beach, was the answer staring them in the face. At some 2,000 square feet, the home has the same footprint as when it was built in 1948. But Bunsa has refreshed nearly every inch, tweaking the layout and mixing furnishings that reflect her ardor for color, pattern, and midcentury Scandinavian design. She notes: “My goal was to respect the house, but also update it in a way that felt like us.” In the Florida room—or sunroom—which functions as a conversation space, office, and play area, Bunsa replaced louvered windows with hurricane-proof glass and swapped the terra-cotta tile floor for limestone, adding a vintage Moroccan rug. The focal point is a love seat covered in Josef Frank’s Mirakel fabric, one of several prints by the Swedish designer. A hand-blocked wallpaper by another of Bunsa’s favorites, Marthe Armitage, carries from one wall into the kitchen, formerly clad in laminate and melamine and closed off by pocket doors. Bunsa opened the kitchen to the dining room and installed a backsplash 4

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DISCOVERIES DEBUT

PARTY FAVORS

1. THE DINING AREA’S LINDSEY ADELMAN LIGHT AND VINTAGE TABLE AND CHAIRS. 2. BIRGER KAIPIAINEN WALLPAPER AND BEDDING OF PIERRE FREY FABRIC IN BUNSA’S BEDROOM; ARTWORKS BY ADAM POGUE, LAMPS BY DANNY KAPLAN. 1

AD100 designer Kelly Behun doesn’t cook. But she loves having friends over for some casual bites, especially after the long, pandemic-imposed hiatus. So when Elad Yifrach, founder of home accessories brand L’Objet, asked her to collaborate on a line, she proposed the sort of pieces she’s always after for herself and her clients—vessels and centerpieces that elevate a dining table or kitchen island. “I wanted to simplify the art of entertaining,” says Behun. “You take one of these and you throw some figs or pomegranate or lemon in and it becomes this beautiful composition. But it can also stand on its own, sculpturally.” Crafted by woodworkers in Portugal, the collection includes marquetry lazy Susans (shown), lacquered serving trays inlaid with brass, and playful leaf bowls and platters (also shown) that Yifrach deems perfect for guacamole. “It’s a very pleasing visual and a very pleasing function,” he says. l-objet.com —HANNAH MARTIN

of Calacatta gold marble, radically brightening the space. She made sure, however, to preserve the wavy glass embedded into the wall on either side of the sink. “When I was little, I would sit on the countertop and trace my finger on the bumpy surface.” Other subtle changes made a dramatic difference. She bleached the wood floors in the living room and bedrooms, which she deemed too orange for her liking, and shifted a hallway, creating space for a media wall in the living room. Functioning as her own client, Bunsa also coached herself to splurge and economize. The Lindsey Adelman chandelier in the dining room is an example of the former, the CB2 sectional on the patio the latter. The kitchen cabinets and her bedroom’s wardrobe are a bit of both: good ol’ IKEA disguised with walnut doors from Semihandmade. “According to my dad, I’ve spent too much on our old house,” she says with a laugh. “But you know what? It’s going to Jack next.” —CATHERINE HONG

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The Future of Kitchen Design

AD 100 designer Oliver M. Furth imagines a place where less meets more “Appropriateness is a hallmark of my design,” says Los Angeles-based interior designer Oliver M. Furth. But when it comes to kitchens, Furth says, it’s easy for clients to get overexcited. That’s why he says his job is often less about presenting ideas than editing them out. “I love to start all kitchen conversations from a fantasy perspective: budget and space and other parameters aside, what do you want? Let’s think big,” he says. “Once we have that list, we hone it back.” Selecting appliances, one of the first major considerations of any kitchen build, often means asking a client to consider what they’ll truly use, and not what they think they’ll use. He points to Miele as a brand that offers a broad range of appliances appealing to culinary novices, enthusiasts, and those somewhere in between. “I myself might lean more towards multi-use, but maybe that specialty appliance, like

the Tepan Yaki, serves to bring people together around a particular type of cooking. And that can really influence someone’s life. Which, at the end of the day, is my job—how do I get you to live better?” More than other rooms, the kitchen, says Furth, can and should feel a bit more futuristic. For some clients, that may mean the most tech-forward appliances, like Miele’s MasterCool WiFi-enabled refrigerator. For others, it may be an appliance that can perform three functions in one, like Miele’s Combi-Steam Oven, which can cook with convection, steam, or a combination of both. What’s most important in any appliance, he says, is user-friendliness. “At the end of the day, we’re still humans,” he says. “So I will always recommend appliances like Miele’s that are intuitive and simple to use, and that will improve the way we live, versus yet another thing to figure out. What I love the most is after you’ve learned one Miele appliance, you’ve pretty much learned them all.” Talk about effortless operation.

Visit mieleusa.com to learn more about Miele’s kitchen suite.

2 1. Harmonious kitchen design with Miele’s built-in appliances 2. Miele Combi-Steam oven: convection, steam, or a combination of both

And though Furth believes that techforward aesthetic will rule kitchen design, he says there’s another way to think about the kitchen of the future. “As kitchens are being more integrated into the rest of the home, the rest of the home is being more integrated into the kitchen,” he says. “Nowadays, I’m treating the kitchen even more as I would any other room—with freestanding furniture, and art, and light fixtures that are not necessarily ‘kitchen lights.’” Which means the kitchen of the future may be one that’s both high-tech and hyper-traditional— one that truly does it all. Just try not to get overexcited.

DISCOVERIES

DEBUT

Go His Way

With a new collection for CB2, Lenny Kravitz shares his famous style with the world ver the decades, chart-topper and AD100 designer Lenny Kravitz has circled the globe time and time again—whether performing on tour or just scouring the world for creative inspiration. And though 3

Kravitz’s second furniture collection for CB2, a 72-piece line that draws on his far-flung adventures, as well as his homes in Brazil (AD, May 2019) and Paris. “It is based on a mélange of places, things, and people that I have encountered,” says Kravitz, who imbued each design with signature cosmopolitan flair. The Sojourn Ogo bed, for example, showcases bold geometries with particular panache, its graphic velvet offset by a high-sheen nickel frame. Much like Kravitz, whose hit songs pivot between musical genres, the collection flouts easy categorization. Whereas the Paseo Wood Credenza mixes African-inspired carvings, rugged timbers, and brutalist forms, the Origin Dining table and Caravan Dining chairs strike a softer note, all sinuous curves and dynamic metal finishes. Though brimming with eclectic personality, each piece exudes an effortless cool that feels unique to Kravitz—that rock star je ne sais quoi, you could say. We may not all have it, but thanks to CB2 now we can get a little bit closer. cb2.com —SOPHIA HERRING 4 54

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1. A VIGNETTE OF FURNISHINGS FROM THE NEW CB2 X KRAVITZ DESIGN COLLECTION. 2. THE AD100 DESIGNER AT HOME IN BRAZIL (AD, MAY 2019). 3. SOJOURN OGO BED. 4. ORIGIN DINING TABLE AND CARAVAN DINING CHAIRS.

2. SIMON UPTON. ALL OTHERS COURTESY OF CB2.

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DISCOVERIES

RH ONE, THE BRAND’S NEW PRIVATE JET, IN FLIGHT ABOVE SAN FRANCISCO.

FUTURE OF DESIGN

Liftoff!

With the debut of its first charter jet and a global expansion under way, RH embarks on a bold new journey

fine charcoal linen that complements the hand-tufted floor covering and echoes the exterior’s metallic paint. Outside, a champagne-hued undercarriage accentuates the aeronautical form. “Aesthetically, the most important thing t’s hard to imagine something you haven’t seen before,” was to eliminate as many visually distracting elements as possible,” Friedman reflects. “How do we make a cabin that is says Gary Friedman, the chairman and CEO of RH, beautiful and simple, that is quiet, that enables us to relax?” speaking via Zoom this past July. “We’re inspired to find out what could be—you don’t know until you push The plane will double as the company’s own innovation center the boundaries.” These days, the intrepid entrepreneur in the sky—a place to collaborate, uninterrupted, for hours otherwise lost to transit and isolation. And heaven only knows isn’t holding back as he endeavors to reposition the how busy Friedman and his team will be as they tackle countcompany as a global thought leader and tastemaker, all the less projects to come, including a private yacht, the new RH while scaling what he calls “the luxury mountain.” Guesthouse concept, an entire Aspen enclave, and an ambitious That ascent begins soon with the launch of RH One, the expansion to Europe, with galleries planned for Paris, London, brand’s first fully designed private jet. Available for charter, and—perhaps most boldly—the English countryside. All the 12-passenger Gulfstream G650 is at once a radical departure for the company and a natural extension of its core design will eventually live on World of RH, the brand’s new digital platform, launching in the months ahead. ethos, which is rooted in the Vitruvian principles of balance, Even ardent aficionados of the brand may be surprised. symmetry, and proportion. The one-of-a-kind cabin is clad Friedman hints that the eagerly anticipated RH Guesthouse entirely in brushed European pale white oak, a look more in keeping with Art Deco ocean liners than contemporary planes— New York in the Meatpacking District will defy all expectations. Counterintuitively, the brand’s forthcoming Champs-Élysées and an engineering feat reportedly never before attempted. location eschews a streetside entrance in favor of historic iron Enriching that quiet timber cocoon are stainless-steel details gates that will lead visitors down a hedge-lined path to a rear and a dozen streamlined lounge chairs, each upholstered in

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GREG WILSON.

ANTI Q UE R EI M AG INE D DISTRESSED TRADITIONAL

ZOELLA SOLARIA RUG 8 4 4 . 4 0 . STA R K | S TA R KC A R P E T. C O M

DISCOVERIES

1. CLAD ENTIRELY IN PALE WHITE OAK, THE CABIN FEATURES 12 LINENUPHOLSTERED CHAIRS WITH LEATHER TRIM AND INTEGRATED LIGHTING. 2. THE JET’S EXTERIOR IS PAINTED IN PHANTOM GRAY, RH’S SIGNATURE COLOR, WITH A CHAMPAGNE UNDERSIDE. 3. ONE OF TWO SHIPSHAPE BATHROOMS.

“We are inspired to do what hasn’t been done and to find out what could be.” —Gary Friedman

courtyard with 18-foot doors. And in Oxfordshire, RH is transforming a Grade I 1615 estate by architect Sir John Soane into a destination gallery, complete with an architecture and design library and a restaurant inside what was the orangerie. “What if nobody comes?” Friedman muses of that remote outpost. “In some way, I’m always uncomfortable with what we are doing, but that’s the only way to innovate.” The emotional impact of a space, he stresses, outweighs financial risk. “Whenever you do the obvious, you’re never gonna surprise and delight.” At a moment in which time and privacy are the most precious commodities, RH hopes to deliver a completely realized idea—an ecosystem of products, places, services, and spaces, rather than just an inventory of furnishings and fixtures. “Nobody has ever tried to make the climb that we are trying to make,” Friedman notes of the push ahead. “A lot of times people ask if we do research. We really don’t. We do what we love with people we love for people who love what we do.” In other words, the sky’s the limit. rh.com —SAM COCHRAN 3 58

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Some discounts, coverages, payment plans, and features are not available in all states, in all GEICO companies, or in all situations. Boat and PWC coverages are underwritten by GEICO Marine Insurance Company. Homeowners, renters, and condo coverages are written through non-affiliated insurance companies and are secured through the GEICO Insurance Agency, LLC. Motorcycle and ATV coverages are underwritten by GEICO Indemnity Company. GEICO is a registered service mark of Government Employees Insurance Company, Washington, DC 20076; a Berkshire Hathaway Inc. subsidiary. GEICO Gecko® image © 1999-2021. © 2021 GEICO 21_7 13276269

DISCOVERIES

DEBUT

Grounded Sensation

Stylesetter Athena Calderone unveils a swoon-inducing collection of handwoven carpets for Beni Rugs

felt like taking a risk,” says designer, author, and lifestyle guru Athena Calderone, recalling the hunt for a rug to furnish her Long Island home. At the time, she was craving something outside her go-to neutral palette. Looking through Instagram, her eye settled upon the rusty hue of a Beni Rugs flat weave. A few DMs later, Calderone had not only snagged the floor covering but set a collaboration into motion, the results of which are launching this fall. Titled Broken Symmetry, her debut collection for Beni includes a dozen high-pile rugs in warm, sun-faded hues—all handmade on vertical looms by Berber women in Morocco. “The yarns are hand-dyed and then washed, giving everything this element of imperfection and surprise,” says the designer. “I really leaned into that.” The partnership was a full-circle moment for Calderone, who credits a 2005 visit to Marrakech with an all-around relaxing of her celebrated personal style. The appreciation of texture and patina she developed there, mixed with cultural references to artist Agnes Martin and architect Luis Barragán, inspired loose checkerboards, simple geometrics, and subtle stripes, all of which complement the age-old artisanal processes. Says Calderone of her intuitive approach: “I would start with a pattern and then pull things away.” benirugs.com —HANNAH MARTIN 1. CALDERONE WITH A RUG FROM HER NEW COLLECTION FOR BENI RUGS IN MALLORCA. 2. DESIGNS FROM CALDERONE’S BROKEN SYMMETRY SERIES. 3. PERIPHERY RUG.

SIMON WATSON.

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DESIGN STOR IES 1

CHARLES EDWARDS INNOVATION AND HERITAGE

SINCE OPENING IN 1992, Charles Edwards has continually expanded its range of handmade light fixtures to fulfill any lighting requirement. However, the true heritage of this London-based company lies in the lanterns it first started making. The Charles Edwards design catalogue boasts an extensive range of reproduction styles, all of which can be reinterpreted to create a modern and elegant look. While many lantern designs are highly classical, there are also some eccentric

1. HANGING HEXAGONAL TREATY PORT LANTERN IN FARROW & BALL ‘LULWORTH BLUE’ GLOSS PAINT 2. CIRCLE CHANDELIER IN BRASS WITH OPAL GLASS 3. PINEAPPLE BRACKET LANTERN

styles. It is this desire to embrace the unusual and create a relationship between the past and present that gives the Charles Edwards collection its charm. Each piece bears the hallmarks of authenticity, quality, and craftsmanship.

IN VERDIGRIS WITH ANTIQUE GLASS 4. SILK DRUM SHADE

The design studio also accepts original commissions to create a completely

LIGHT IN NICKEL AND ORANGE SILK 5. HANGING BUTTERFLY

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GLOBE LANTERN IN ANTIQUE BRASS AND PAINT COMBINATION

King’s Road, London.

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The Iconic Home Returns With the Spotlight Shining on an All New Set of Designers This year’s creatives will showcase their imaginative designs throughout the virtual showhouse, offering invaluable insights on how to live both stylishly and sustainably.

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The Ritz-Carlton Residences, Tampa are not owned, developed or sold by The Ritz-Carlton Hotel Company, L.L.C. Tampa Bay Oaks Condo, LLC uses The Ritz-Carlton marks under license from The Ritz-Carlton Hotel Company, L.L.C. ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. This Condominium is developed by TAMPA BAY OAKS CONDO, LLC ("Developer") and this offering is made only by the Developer’s Prospectus for the Condominium. This offering is not directed to any resident of a jurisdiction in which this offering is prohibited by law. Developer, pursuant to license or marketing agreements with each, has a right to use the trade names, marks, and logos of: The Related Group and of Marriott International, Inc., both of which are Licensors only and neither of which is the Developer. Consult the Prospectus for all terms, conditions, and unit specifications and to learn what is included with purchase. This condominium is not oceanfront; the sight line of the tower depicted is conceptual and situated with frontage along Bayshore Boulevard in Tampa. This ad is summary in nature generally depicting The Ritz-Carlton Residences, Tampa and Developer’s contemplated features and amenities, all of which is subject to change or modification by Developer. The Ritz-Carlton® is the registered trademark of Marriott International, Inc. 2021© Tampa Bay Oaks, Condo, LLC with all rights reserved. The Ritz-Carlton Residences, Tampa are not owned, developed or sold by The Ritz-Carlton Hotel Company, L.L.C. or its affiliates (“Ritz-Carlton”). Tampa Bay Oaks Condo, LLC uses The Ritz-Carlton marks under a license from Marriott International, Inc. which has not confirmed the accuracy of any of the statements or representations made herein.

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DESIGN STOR IES 1

DONGHIA: CREATING TIMELESS BEAUTY FOR THE HOME 1. MANHATTAN SECTIONAL 2. ESHA ALTA LAMP IN GOLD DUST

Founded in 1968, Donghia is the premier lifestyle brand for home furnishings. Now, after decades of inspiring style, Donghia has joined the Kravet family of brands, and brings the home furnishings industry the very best of American design. Donghia is synonymous with chic sophistication rooted in exceptional luxury, setting the standard for modern elegance that lasts to this day. Offering furniture, fabric, wallcovering, lighting, mirrors and accessories, Donghia fuses modern American elegance with international style.

3. RUSSIAN ROULETTE WALLCOVERING IN BRONZE

Signature furniture frames, such as the iconic Manhattan Sofa, remain true to the

4. ORIGAMI COCKTAIL TABLE 5. JESTER IN BLUE, LOLLIPOP IN

Donghia lifestyle, as does its equally renowned foil wallcovering and Murano glass

BLUE, AND STARLIGHT IN NAVY, BELFAST IN CAMEL AND LORNA IN SILVER 6. CLASSIC FOILS: REFLECTOR IN ALUMINUM, NUGGET IN BRASS AND ENAMELLED IN GLASS BLACK

lighting collection. Specialty fabrics, like the newly debuted Barkcloth, usher in a new age of modern sensibility, paired perfectly with an extensive array of lush textures with exceptional qualities. Donghia.com.

MODERN ELEGANCE

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Photography: Barry Grossman

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From editor-in-chief Amy Astley and Architectural Digest, AD at 100 celebrates the most incredible homes of the past century, showcasing the work of top designers and offering rare looks inside the private worlds of artists, celebrities, and other fascinating personalities. Marc Jacobs, Jennifer Aniston, Diana Vreeland, India Mahdavi, Peter Marino, Kelly Wearstler, Oscar Niemeyer, Axel Vervoordt, Frank Lloyd Wright, Elsie de Wolfe,

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FROM LEFT: ANTHONY COTSIFAS; JASON SCHMIDT; OBERTO GILI

A CENTURY OF STYLE

AN ICON, REIMAGINED Professional heritage, iconic aesthetics, and innovative performance unite in Wolf’s boldest and entirely revamped collection of Dual Fuel Ranges. On top, Wolf’s patented dual-stacked, sealed gas burners provide consistent high-to-low temperature control. Ranging all the way from 300 to 20,000 Btu, the burners are controlled by LED-backlit knobs that indicate use. Additionally, the spark-ignition system automatically reignites burners for improved consistency and safety. After cooking, cleanup is simple: the burner pans wipe clean. In addition to gas burners, the rangetop features several alternative configurations: the infrared griddle, the infrared charbroiler, and the French top. The redesigned griddle and double griddle offer greater cooking area and consistent edge-to-edge heat. Now adjustable, the infrared charbroiler provides even more control and cooking flexibility. Below, the electric convection oven features the pinnacle of dual convection technology. This system is the key to reliable cooking and baking with remarkable flavor development. Easily access a full menu of specialized oven modes from the full-color touchscreen: an intuitive, easy-to-read control hub that discreetly hides away when not in use. Among its 10 chef-tested modes is the new Gourmet Mode; like an autopilot for your oven, this setting ensures simplified and consistently delicious results, automatically cooking nearly 50 different menu items. See the full collection of Wolf Dual Fuel Ranges at subzero-wolf.com.

PACIFIC

Luis Laplace conjures a visionary escape on Mexico’s west coast TEXT BY

DANA THOMAS

PHOTOGRAPHY BY

FERNANDO MARROQUIN

STYLED BY

MARIANA ESTRADA

HEIGHTS

ON A CAPACIOUS TERRACE VINTAGE RATTAN-AND-METAL CHAIRS BY JOHN RISLEY FACE THE PACIFIC OCEAN; LAVA-STONE FOUNTAIN AND SIDE TABLE. FOR DETAILS SEE RESOURCES.

CUSTOM SOFAS IN A PIERRE FREY FABRIC LINE THE BAMBOO-CANOPIED PALAPA LIVING ROOM. LAPLACE DESIGNED THE PAROTA-WOOD-ANDLAVA-STONE COCKTAIL TABLES. RENÉ MARTIN LOUNGE CHAIRS; KARL SPRINGER OTTOMANS.

RIGHT CUSTOM TILES BY CERÁMICA SURO LINE A KITCHEN SINK AT ONE END OF THE PALAPA LIVING ROOM. TABLEWARE BY PERLA VALTIERRA; VASES BY ARTE ANANÅS. OPPOSITE WOVEN TULE CHAIRS BY TXT.URE FLANK A LAVA-STONE TABLE BY LAPLACE ON A TERRACE. THE ENORMOUS TERRACOTTA VESSELS WERE ALSO DESIGNED BY LAPLACE. LANDSCAPE ARCHITECTURE BY KATHRIN GRIMM.

That may be. But when Laplace surveyed the property, passionate cinephile, the Mexican movie executive knows the nestled in the 1970s resort enclave of Costa Careyes, he impact a dramatic setting can have on the senses. So when decided the only way forward was to tear down the existing he heard that a sprawling villa perched on a bluff overlooking compound. The client was taken aback, to put it mildly. “I was the Pacific Ocean in Mexico was for sale, he snapped it up. first opposed,” he recalls. “Then I understood that we could Then he called the Paris-based Argentinean AD100 architect arrive at a more personal and coherent project if we started Luis Laplace to create a family and business retreat that with a blank canvas.” Or, as Laplace explained it, a home would be theatrical as well as welcoming. “for what you need today.” The two men have a long history of working together: The requisites were Panavision large. As a major player in Laplace designed the executive’s apartments in Paris and New the film business, the client entertains lavishly and hosts VIP York City in addition to a handsome 18th-century building he guests regularly. Therefore, there was a checklist of musts: owns in the colonial town of Morelia, Mexico, which Laplace plenty of guest rooms, a gym, an annex to house staff, and, of converted into a café/bookshop/pied-à-terre. “I like Luis’s course, a state-of-the-art screening room. Overall, he wanted sense of aesthetics and the way he blends beautiful furniture a home that would be “timeless and well integrated into the and textiles with local materials and crafts,” the executive landscape of the Mexican Pacific coast.” says now. “We have similar visions.”

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LEFT AN ALEXANDER CALDER TAPESTRY HANGS IN THE PRIMARY BEDROOM. BRASS-AND-BAMBOO ARMCHAIR BY UBUNJI KIDOKORO; GRASSSEATED DESK CHAIR BY GEORGE NAKASHIMA WOODWORKERS. BELOW THE PRIMARY BEDROOM IS ARTFULLY OUTFITTED WITH A VINTAGE JOHN RISLEY CHAIR, ARTWORK BY JOAQUIM TENREIRO (ABOVE THE CUSTOM BED), AND A LARGE WOOD SCULPTURE BY DRAGOLJUB MILOSEVIC.

“You have whales pass in front of the house, and sea turtles,” Luis Laplace observes. “Usually, we put art in the center. But here, nature came first.”

A SITTING AREA AT ONE END OF THE MAIN LIVING ROOM OFFERS BREATHTAKING VIEWS. VINTAGE SOFA AND ARMCHAIRS; LAPLACEDESIGNED CEILING LIGHT AND COCKTAIL TABLE.

LAPLACE DESIGNED THE TERRACOTTA POTS AND LAVA-STONE FOUNTAIN. BOTTOM A GIO PONTI ARMCHAIR AND A SIKA-DESIGN RATTAN BENCH MINGLE WITH PIECES BY LAPLACE IN A GUEST BEDROOM.

LAPLACE, AN ARCHITECT known for conceiving homes to

showcase art—he’s a firm believer that form follows function— knew exactly how to fulfill that mandate: by designing enormous windows and sweeping open spaces to “focus on the spectacular nature and the sea. You have whales pass in front of the house, and sea turtles,” he says. “Usually, we put art in the center. But here, nature came first.” For building materials, Laplace went as natural, and as regional, as possible, so that the home would harmonize with its surroundings. He used parota, an amber-hued tropical wood that withstands humidity, for tables and other furnishings; lava stone for tabletops; straw for cabinetry finishing; and bamboo and straw for the palapa, a spectacular outdoor living room with a soaring, cathedral-like thatched canopy. Traditionally, palapas are made of straw, with concrete columns. But the client wanted bamboo supports to give the space a lighter, lusher atmosphere. To erect it, Laplace brought in a bamboo specialist, architect Simón Vélez of Bogotá, Colombia.

“I like Luis’s sense of aesthetics and the way he blends beautiful furniture and textiles with local materials and crafts,” the homeowner says.

CLOCKWISE FROM TOP CUSTOM COLORED TILES FROM CERÁMICA SURO ADD GRAPHIC PUNCH TO A BATH. A TRANQUIL GUEST ROOM. AN INVITING OUTDOOR SHOWER.

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ABOVE IN A GUEST ROOM CORNER, AN INGO MAURER PENDANT LIGHT DANGLES ABOVE A BANQUETTE FROM JF CHEN; VINTAGE ARMCHAIRS AND ROPE FLOOR LAMP. OPPOSITE TWO WOVEN TULE CHAIRS BY TXT.URE SIT NEXT TO THE POOL.

THE INTERIORS, centered around the owner’s contemporary

furniture and art collection, evoke “something that is clearly Mexican, but with international flavor,” Laplace explains. Think midcentury Acapulco, when the Hollywood elite would jet down to holiday in grand style. Laplace carried on the palapa’s bamboo theme with mod wall sconces, curvy ceiling fixtures, and retro bamboo-handled flatware by Alain Saint-Joanis, which mercifully, unlike vintage versions, is dishwasher-safe. Another recurring note is ceramic tile, produced in Guadalajara, in a bespoke palette of palmy greens, earthy browns, and ocean blues, inspired by the surrounding landscape. Laplace used the tile to tie the rooms together: on walls in the bedrooms, baths, and kitchen; for tabletop surfaces; to enrobe the bar. Building on this ceramic narrative, he added colorful modernist lamps that he and his partner, Christophe Comoy, purchased from galleries and antiques dealers in Paris and Los Angeles, and throughout Mexico, as well as a plethora

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of large terra-cotta jugs, jars, and other statement pieces, many of which Laplace—a former ceramist—drew up and had produced in Mexico. Laplace also commissioned regional carpenters to handcraft beds, tables, and chairs. Mexico’s artisans, he notes, “have incredible technique.” For a finishing touch, at the client’s request, Laplace created three water features, so the home would link to the ocean, like a river flowing to the sea. One, a low black-stone cylinder on the terrace, awash with smooth water, was a riff on the glass sculptures of American artist Roni Horn. Another, a stone canal, serenely pours into the infinity pool. As Laplace points out, “fountains are a recurrent element of Mexican architecture, and water is very soothing.” When the house was completed, the client christened it Casa Luz, he said, “because it is full of light, because you can see the most beautiful sunsets throughout the year, and because my daughter’s name means ‘light of dawn.’ ”

Overall, the owner wanted a home that would be, he declares, “timeless and well integrated into the landscape of the Mexican Pacific coast.”

ICONIC 20TH-CENTURY DESIGNS, INCLUDING AKARI LANTERNS, BARCELONA CHAIRS, AND AN LC4 CHAISE LONGUE, MINGLE WITH OLDER PIECES LIKE A LARGE-SCALE EARLY-19TH-CENTURY UPHOLSTERED STOOL USED AS A COCKTAIL TABLE AND ANTIQUE TEXTILES AND PORCELAINS IN THE LONDON LIVING ROOM OF TOM GUINNESS AND TISH WEINSTOCK. FOR DETAILS SEE RESOURCES.

TEXT BY

MITCHELL OWENS

PHOTOGRAPHY BY

ALL IN

SIMON UPTON

STYLED BY

SARA MATHERS

Blending old and new, brutalism and trad, Rachel Chudley transforms a London mews house into a stylish, art-filled home for a young family

GUINNESS, WEINSTOCK, AND SON REUBEN IN THE ENTRANCE HALL. THE PORTRAIT OF LITTLE RICHARD IS BY MARK LECKEY. OPPOSITE AN ANTIQUE SUZANI FROM ROBERT KIME IS DRAPED OVER A CUSTOM SOFA IN THE MORNING ROOM. JAMB FIREPLACE SURROUND; ANTIQUE TAPESTRY.

MARK LECKEY.

hat makes projects special are the people living in them—but Tish and Tom are on a whole other level.” So says Rachel Chudley, a British interior decorator known for funkychic rooms that are full of surprises. The name-checked clients would be blue-blooded Londoners Tish Weinstock, a Vogue writer and beauty editor, and Tom Guinness, a model turned soulful fashion stylist. “Both have style with an edge,” Chudley continues, adding that the finished product, a house for the couple and their toddler son, Reuben, “walks the line between old and new and bad taste and good taste.” Before taste of any kind could be explored, there had to be a property to decorate, and the couple were keen on moving to one of London’s highly coveted mews. “They are quite idyllic, don’t have traffic—the streets dead-end—and are usually in pretty nice areas, because the buildings were the coach houses at the back of big town houses,” Guinness explains. The one that he and Weinstock, child-free at the time, settled on in Holland Park possessed a bland prefab appearance, though,

suggestive of a decades-old rebuild or renovation. Still, it did have a rear garden, an unusual feature in most mews. Architect Milan Nedelkovic of local firm Helm (with sage input from Weinstock’s stepfather, Jonathan Sykes, a property developer) stepped in to reimagine the house along more conventional lines, facing it with honey-colored brick, topping it with a mansard roof, and excavating a basement that now houses a multipurpose living room. “It actually looks closer to what it could have been,” Weinstock says, “but from the outside it’s quite deceptive.” One reason is that the rooms are suffused with sunlight— abundant natural light is another atypical mews characteristic— pouring through double-hung windows as well as a light well and strategic skylights. Another distinction is the idiosyncratic decor, which brings the subject back to personal preferences and parenting styles. “I get a bit of a kick out of the fact that we haven’t made our house into a massive nursery,” says Guinness, the youngest son of Lord Moyne and a grandson of Diana Mosley, the most beautiful of the legendary Mitford sisters. “Reuben has to learn to live with nice things.” (Indeed, they count themselves charmed by the crayon marks on one sofa.) Those nice things—only a couple of lamps have been toddler casualties so far—run the gamut of materials, periods,

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ABOVE BENTWOOD CHAIRS SURROUND A SUZANI-COVERED TABLE IN A TENTED ALCOVE OFF THE LIVING ROOM. ANTIQUE CRYSTAL SCONCES HANG ON THE MIRRORED WALL.

“I get a bit of a kick out of the fact that we haven’t made our house into a massive nursery,” says Tom Guinness. RIGHT VINTAGE CHAIRS WITH LAMBSKIN UPHOLSTERY SURROUND A ROSE UNIACKE DINING TABLE. THE LIGHT FIXTURE AND CHINA ARE FAMILY HEIRLOOMS. BELOW PENDANT LIGHTS BY SVEND AAGE HOLM-SØRENSEN HANG ABOVE THE KITCHEN’S MARBLE ISLAND. 1970s COUNTER STOOLS; APPLIANCES BY GAGGENAU AND MIELE.

and styles, from Art Nouveau bentwood chairs pulled up to a table dressed in a brilliant suzani to a skeletal custom-made iron bed set atop a vast 1970s sheepskin rug that Chudley rightly calls “ridiculously shaggy.” Light fixtures by Isamu Noguchi and Erik Höglund dangle from the ceilings, heirloom portraits hang in niches, and an ink-blue Chinese carpet bristling with trees and flying birds has been flung down on the dressing room’s pale plank floor. “TOM LEANS TOWARD brutalism, and Tish gravitates to tradi-

tional design that really isn’t in vogue right now,” Chudley says. “There were quite a few lively debates among the three of us.” One of those conversations was over a flowered chintz sofa that Weinstock had desired but that just seemed all wrong to her once it arrived. “We moved it around the house for about two months” until it finally found its happy spot, Chudley says. Which, to everyone’s surprise—at least until it was relocated yet again—was the basement living room, amid Le Corbusier chairs and black leather upholstery. “Bravery in style comes from combinations like that,” the designer observes. “That’s why this was such a creatively

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ABOVE THE BATHROOM FEATURES A CLASSICAL CARVED MARBLE BASIN FOUND ON 1STDIBS AND AN ANTIQUE MIRROR. LEFT VIBRANT COLE & SON WALLPAPER ANIMATES REUBEN’S ROOM. THE SLEIGH BED FROM PAMONO IS UPHOLSTERED WITH DEDAR FABRIC.

thrilling project for me. The sofa needed to be combined with something that had an edge so it didn’t look like some old-school object on display.” Helping with that blending is the plant-filled light well—mirrored to increase both the sunlight and the foliage—a grand old Turkish carpet, and an object that neither Guinness nor Weinstock ever felt that they would own: an antique wall-spanning tapestry depicting a pastoral scene populated by sheep. “WE’RE SO USED TO looking at screens and lights and dispos-

able images, and then you’re confronted with this 17th-century textile that’s been crafted over time, which I think is very alluring. You get lost in them,” says Guinness, whose taste in art otherwise leans to the contemporary; Mark Leckey’s 2003 portrait of Little Richard surveys the entrance hall. He also found himself hugely enjoying shopping at several antiquesrich auctions, including the estates of AD100 star Nicky Haslam and Picasso biographer John Richardson. “That got us through a sticky lockdown,” Weinstock says, noting that much of the decoration was executed while they were living on-site and caring for a newborn. “Like a lot of people

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confined to their houses and looking at the walls during the pandemic, we pored over interiors books and sale catalogs.” The forced domestic focus had another bright side. “Part of what I do as a writer is to respond to popular culture, but it’s nice to disengage from all that and think about other periods and aesthetic movements,” says Weinstock, an Oxford University art-history major. She recalls how she immersed herself in Guinness’s reference library of art, architecture, and design books during lockdown and found herself finally understanding, among other things, his attraction to the 1980s Memphis Group. As for Guinness, the stylist says, “I do something new every day in my work, so I’m not used to holding on to projects for so long, but I’ve really enjoyed that here. This has been about designing the way you want to live your life, what kind of person you want to be. It’s the externalization of self.” The best lesson? A lamp whose glass shade didn’t survive Reuben’s grasp now wears a paper replacement that turned out to be more complementary than either parent thought possible. “When something hasn’t worked out, why lament it?” Weinstock says. “Come up with a solution and move on.”

IN THE PRIMARY BEDROOM, A VINTAGE ERIK HÖGLUND CHANDELIER HANGS ABOVE THE BESPOKE BED, AND SHELL SHADE SCONCES FROM THE ENGLISH LAMP COMPANY HANG OVER VINTAGE SHELL BEDSIDE TABLES FOUND ON 1STDIBS. BED HANGING OF ROBERT KIME FABRIC.

The skeletal custom-made iron bed sits atop a vast 1970s sheepskin rug that designer Rachel Chudley rightly calls “ridiculously shaggy.”

design notes

THE DETAILS THAT MAKE THE LOOK

A PHOTOGRAPH BY JAMIE MORGAN PRESIDES OVER ONE END OF THE LIVING ROOM.

Tom leans toward brutalism, and Tish gravitates to traditional design, so there were quite a few lively debates among the three of us.” —Rachel Chudley

CINETICO AVORIO SCULPTURAL CHANDELIER BY SILVIO PIATTELLI; $5,280. ARTEMEST.COM

ANTIQUE SHIRVAN RUG; PRICE UPON REQUEST. WOVEN.IS

PRIORY SOFA IN CASPIAN WEAVE; PRICE UPON REQUEST. ROBERT KIME

CANE PARTITION; $2,900. INDUSTRYWEST.COM

ORILLO BRICK CUSHION; $160. ANDREW MARTIN.CO.UK

HOUSEWIVES GLASSES BY LA DOUBLEJ; $540 FOR A SET OF FOUR. MODAOPERANDI.COM

ANTICA KEY TASSEL; TO THE TRADE. HOULES.COM

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JAPANESE SCALLOPED IMARI PORCELAIN PLATE; $2,667 FOR A SET OF SIX. 1STDIBS.COM

PRODUCED BY MADELINE O’MALLEY

THALIA, MUSE OF COMEDY, SCULPTURE; $435. METMUSEUM.ORG UZBEK SUZANI; $1,300. SHOP-TAMAM.COM

BERRINGTON HANGING LANTERN; $4,864. JAMB.CO.UK

CIRCLE SHELL WALL SCONCE BY PAOLO MOSCHINO FOR NICHOLAS HASLAM; TO THE TRADE. NICHOLASHASLAM.COM

A MURANO GLASS MOBILE CHANDELIER HANGS IN A HALLWAY.

INTERIORS: SIMON UPTON. ART: JAMIE MORGAN. ALL OTHERS COURTESY OF THE COMPANIES.

OVAL TABLE; $5,495. ROSEUNIACKE.COM

SUZANI CHAIR; $2,400 FOR A PAIR. CREELANDGOW.COM

MONTPARNASSE BOUILLOTTE TABLE LAMP; TO THE TRADE. VAUGHAN DESIGNS.COM

FORNASETTI MALACHITE WALLPAPER, AN ITALIAN CARVED WOOD MIRROR, AND AN ONYX SINK CONJURE A SURREAL MOOD IN A POWDER ROOM.

Like a lot of people confined to their houses and looking at the walls during the pandemic, we pored over interiors books and sale catalogs.” —Tish Weinstock MAZANDARAN KILIM; TO THE TRADE. MARCPHILLIPSRUGS.COM

good

A GRAPHIC MURAL BY CAROLINE DENERVAUD DEFINES THE BAR AREA. PENDANT LIGHT BY INGO MAURER. RATTAN BAR, ARMCHAIRS, AND TABLE BY INDIA MAHDAVI, WHOSE WORK IS AVAILABLE IN THE U.S. THROUGH RALPH PUCCI INTERNATIONAL. OPPOSITE A GIANT MUSHROOM SCULPTURE BY CARSTEN HÖLLER STANDS IN THE JEAN MUS– DESIGNED GARDEN. FOR DETAILS SEE RESOURCES.

India Mahdavi brings her signature flair to a joyful, light-filled getaway in the South of France TEXT BY

SARAH MEDFORD

PHOTOGRAPHY BY

VINCENT LEROUX

vibes

A VINTAGE PLASTER-AND-ROPE LIGHT FIXTURE IS SUSPENDED ABOVE MAHDAVIDESIGNED TABLE AND CHAIRS. CIRCA 1950 ETTORE SOTTSASS ARMOIRES; FLOOR LAMP BY PIERRE MARIE; CERAMIC HEAD BY PABLO PICASSO.

ABOVE ITALIAN SCULPTOR GIUSEPPE DUCROT CRAFTED THE LIVING ROOM’S CERAMIC MANTELPIECE. A COCKTAIL TABLE BY GIANFRANCO FRATTINI STANDS BETWEEN TWO SOFAS BY MAHDAVI. 1950s ARMCHAIRS BY JOSÉ ZANINE CALDAS AND BUFFET BY T.H. ROBSJOHN-GIBBINGS.

ndia Mahdavi developed a traveler’s eye for place before she was a teenager, filing away mental images as she moved from her father’s homeland of Iran to the U.S., then Germany, and finally France with her parents and siblings. Settling into a family apartment in the French Riviera, she would wake up to dappled sunshine on green grass, white shutters against ochre walls, and the ultramarine haze of the sea a few miles away. “There is so much joy in the South of France,” recalls the AD100 designer, who is now based in Paris. There is also an artistic legacy that was inescapable to a visually minded child. Raoul Dufy, Marc Chagall, and Henri Matisse all lived in Mahdavi’s hometown of Vence at one point, and Matisse’s masterwork, the Chapelle du Rosaire, is there. “I’ve always been influenced by Matisse and how he approaches light through his vision of color,” she says. “It’s a quest for light, in fact.” Mahdavi had the opportunity to revisit this concept when she was approached by a family friend, a philanthropist based in the U.S., to redesign a holiday house he’d bought within easy reach of a helipad and a deepwater dock. The five-bedroom villa

sat among pencil cypresses and umbrella pines overlooking the sea; its new owner imagined spending time there with his children and entertaining friends around the pool. But the ’80s-era house had been stretched like an old bathing suit to accommodate new needs, to the point of becoming dysfunctional. Simplifying things and, wherever possible, opening up new interior views became Mahdavi’s brief. “In the beginning he didn’t want to be too bold,” the designer says of her client. “But the house was built in stages, not all at once. I told him we needed something strong to bring it together and give it character.” What Mahdavi had in mind were the lush, enveloping color and craftsmanship that have become her signature, especially in the boutique hotels and villas she’s designed along the Côte d’Azur. “The most beautiful thing in the south is how light is filtered through the trees and you get that vibration,” she explains. “That’s what I’m trying to translate into my work.” Not for her the anemic white villas made fashionable by Rory Cameron, Hubert de Givenchy, and their followers, whose ghostly influence persists to this day. Instead, Mahdavi says, she believes in “renewing the aesthetic of what you can find in the south—using varied materials and textures and graphic elements to bring in the light.”

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“The most beautiful thing in the South of France is how light is filtered through the trees and you get that vibration,” India Mahdavi explains. “That’s what I’m trying to translate into my work.”

A TAPESTRY BY LES CRAFTIES HANGS IN THE POOLHOUSE. YELLOW TABLE AND CHAIRS BY MAHDAVI; WHITE METAL TABLE BY MAHDAVI FOR MONOPRIX. OPPOSITE IN THE LIBRARY, A MAHDAVI SOFA

AND HANS WEGNER CHAIRS SURROUND AN ISAMU NOGUCHI COCKTAIL TABLE. PLASTER HANGING LIGHT BY PHILIPPE ANTHONIOZ; ROUND TABLE BY PAOLO BUFFA; RUG BY BARBRO NILSSON.

BELOW A BENCH AND TABLE BY MAHDAVI STAND IN FRONT OF A PAINTING BY SALVATORE EMBLEMA. RIGHT A MAHDAVI SOFA AND TITO AGNOLI CHAIRS SURROUND DIMORESTUDIO TABLES IN A LIVING ROOM. ON TERRACE, MAHDAVI-DESIGNED CHAIRS AND TABLE.

GOOD VIBRATIONS ARE EVERYWHERE inside the reimagined

villa, starting with tiled floors in a lattice pattern that run from the new double-height entry hall across the spacious living room, into the dining room and through arched doorways to the bedrooms beyond. “Terra-cotta, when you mix it with a little white, it takes on the feeling of shade,” Mahdavi observes. In the primary bath, broad pajama stripes of Moroccan zellige tile in green and white play off slatted blinds and wavering colored-glass doors—a collage that’s rapturously Matissean, nearly Dionysian. And then there’s the magic mushroom: Carsten Höller’s scaled-up sculpture of a polka-dotted Amanita muscaria rising out of the garden, one of many works on view from the homeowner’s thoughtfully assembled collection of contemporary art. A furniture lover, too, he allowed Mahdavi to cherry-pick from his storage holdings, which yielded worldly modernist pieces by José Zanine Caldas, Hans Wegner, Tito Agnoli, and

T.H. Robsjohn-Gibbings. She filled in with her own designs, including sociably rounded rattan tables and seating that reinforce the nostalgic flavor of the tile floors and thickened walls. In the dining room, a suite of her Cap Martin chairs with embroidered seats and backs surrounds a table of oceanic proportions, named Double Diagonale for its starfish-like base. The designer added a few vintage purchases, as well, from a pair of baby-blue armchairs by Emilio Terry in the entry hall to striped wood cabinets by Ettore Sottsass and a vaguely ecclesiastical midcentury bench with red velvet seats, from the Turin school, in the dining room.

“In the beginning he didn’t want to be too bold,” Mahdavi says of her client. “But the house was built in stages, not all at once. I told him we needed something strong to bring it together and give it character.”

Bringing the house together, as Mahdavi puts it, is a chromatic range distilled straight from nature—earth, grass, sea, sky, sun—and commissions from artisans who, she notes, “speak about the south in a different way” than she does. (Mahdavi’s own artisanal gifts will be on view this winter at the Musée des Arts Décoratifs in Paris, where she’s providing the scenography for a survey of popular French design.) Caroline Denervaud, a Swiss-born painter living in Paris, spent a week on a mural that beams the Mediterranean sunset up behind a chic rattan bar. Scenic tapestries in the poolhouse and screening room were sewn by the French duo Les Crafties,

and an audacious mantelpiece by Giuseppe Ducrot—a bolt of lemon ceramic lightning crackling right through the roof— descends from ceiling to floor. For Mahdavi, the only missed opportunity was a comfortable family kitchen at the heart of the house. The homeowner opted for a professional catering kitchen instead, and resisted the notion of having one of each. With a little hindsight, the designer says, it was nothing. Overall, the palette and the client could be classified as ecstatic. “He wanted light and color and freshness,” Mahdavi says. “I think that’s why he chose me.”

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LEFT A JACQUES GRANGE LAMP STANDS ATOP A MAHDAVI NIGHTSTAND. ABOVE EMILIO TERRY CHAIRS AND A DANIEL BUREN MURAL ADORN THE STAIR HALL. BELOW BRONZE-AND-JUTE CHAISE LONGUES BY KIPP STEWART ON A TERRACE; BOQA TABLE.

IN THE BATH, A VINTAGE SCANDINAVIAN LIGHT HANGS ABOVE A BESPOKE RATTAN-AND-MARBLE VANITY BY MAHDAVI. SCONCES BY JASPER MORRISON FOR FLOS.

Faith Blakeney

Los Angeles “I think of myself as a kind of design healer,” muses Blakeney. “My passion is helping people find beautiful ways of expressing their highest selves.” After studying architecture at UC Berkeley, she and her sister, Justina, of Jungalow fame, moved to Florence and opened a vintage clothing and furniture shop. Back in California, in 2010, Blakeney (photographed at an L.A. project) opened her own design studio, which now specializes in personality-driven Golden State residences. A downtown L.A. loft captures what she calls a “neo-Afroeclectic” aesthetic, while a 1930s Spanish-style house in Glendale channels a luxe Mediterranean spirit. She’s even collaborating with Nomadik Customs, an Oregon-based company that transforms Mercedes sprinter vans into mobile homes. Her playful projects prioritize handmade materials, good vibes, and sustainable vintage sourcing. Says the designer: “There’s a big energetic component to designing a space.” faithblakeney.com —HANNAH MARTIN PHOTOGRAPHY BY PHYLICIA J. L. MUNN

NEW AMERICAN 2O21 VOICES Coast to coast, a fresh crop of creative

talents is writing the next chapter in great interior design. Meet today’s emerging stars PRODUCED BY

ALISON LEVASSEUR

Bradley L. Bowers

New Orleans This rising star credits his creative calling to a childhood hobby. “I became obsessed,” Bowers recalls of origami and its endless shapes. That fascination would eventually lead him to the Savannah College of Art and Design, where he immersed himself in visual culture. “I wanted to learn about all the names I was unfamiliar with,” he recalls. Stumbling upon a jewelry collection by now hero Frank Gehry was a particular eye-opener. “I was like, wait, architects can do that? It kept me going. I realized titles are meaningless.” Today, Bowers is blurring boundaries himself. Based out of a former auto shop in Marigny/Bywater, his avant-garde practice recently conceived interiors for the sleek NYC speakeasy La Noxe (pictured), all the while designing everything from lanterns to earrings. Long gone are the papercrane days, but a love of discovery remains: “I want to explore as much as possible,” says Bowers. “It is the act of bringing something to life that intrigues me.” bradleybowers.com —SOPHIA HERRING PHOTOGRAPHY BY MEGHAN MARIN

Keia McSwain

Denver “I know it sounds weird, but I’m looking to make mistakes very early on,” says this creative dynamo. Healthy though that spirit of trial and error may be, we daresay the designer hasn’t made any missteps of late. In addition to juggling a robust decorating docket as the principal of Kimberly + Cameron Interiors, with residential projects from Boston to Richmond, McSwain serves as the president of the Black Interior Designers Network, a platform offering resources and business-development opportunities to the Black design community. In that role, she was the leading force behind The Iconic Home, a virtual show house organized by BIDN in partnership with AD that debuted this past November. (A second edition opens on September 27.) As that initiative and her own luxe interiors reveal, McSwain is committed to her profession—mind, body, and soul. “For me interior design is a way of life,” she says. “If there’s nothing meaningful in your home, that’s going to have an effect on your day, who you are, and the children you raise.” kimberlyandcameron.com —MADELEINE LUCKEL PHOTOGRAPHY BY DREW CARLSON

Los Angeles Lindsey Chan and Jerome Byron, the dynamic duo behind this just-launched firm, liken their work to art direction for interiors. “It’s very sitedriven, very context-driven,” says Byron, whose résumé includes time at Kéré Architecture and Skidmore, Owings & Merrill. (Chan previously worked for designer Anna Karlin.) “We try to tease out the special qualities of a place.” After they quietly joined forces last winter, word of their research-heavy approach spread in the L.A. area. On the boards is an update to one star’s Ojai compound; the restoration of a prominent film director’s landmark early-1900s John C. Austin residence in Sugar Hill; and the West Hollywood outpost of Bleach London salon, for which they commissioned WrinkleMX, a Mexico City fabricator, to carve backwash sink stations from black marble. “Our process is very collaborative,” says Chan. Case in point: the duo’s new Lincoln Heights studio, which includes a small exhibition space for vintage furniture as well as contemporary artists and makers. officeofbc.com —H.M. PHOTOGRAPHY BY LAUREN CREW

Darren Jett

New York City This wunderkind may have country roots, but he sure isn’t showing them. Raised in rural Tennessee, Jett cut his teeth in Manhattan, working for AD100 firms Rafael de Cárdenas Ltd. and ASH NYC. “My education was from Raf and Will [Cooper] and being in New York,” notes the designer, who launched Jett Projects in 2020 after a friend became a client. In the short time since, he has developed a style that is crisp, tailored, and always heavily researched— a bit ’70s (mirror, chrome, color) and a bit centuries-old (Biedermeier this, Gustavian that). Every project comes with a soundtrack, as he compiles songs to conjure the mood. “It’s all about atmosphere,” notes Jett, whose current undertakings range from a Brooklyn brownstone (shown) to a house in the Berkshires. “I have always been attracted to drama and theater, being transported.” jettprojects.com —SAM COCHRAN PHOTOGRAPHY BY SIMBARASHE CHA

Erick Garcia

Los Angeles Born in Mexico and raised in L.A., the man behind Maison Trouvaille has developed a reputation as the designer of choice for social media darlings, sharing his vision of quiet, casual luxury with YouTube and Instagram influencers on the order of hairstyling guru Jen Atkin and beauty maven Desi Perkins. “A home should be calm, beautiful, and user-friendly—a genuine refuge,” says Garcia, whose résumé includes stints with L.A. designers Gary Gibson and Joe Lucas. “I design spaces that feel like you’re on vacation,” he adds, emphasizing the inspiration he draws from sunkissed destinations like Mexico, Portugal, Morocco, and Vietnam. Garcia has parlayed his success among the influencer set into commissions for celebs of the more traditional variety, including basketball star Blake Griffin and power couple Justin and Hailey Bieber. Also in the works—a capsule collection of robes, slippers, and home accessories for the London brand Danse Lente, plus a home-makeover video series for AD. maisontrouvaille.com —MAYER RUS PHOTOGRAPHY BY PHYLICIA J. L. MUNN

Chroma

San Francisco It should come as no surprise that Chroma founders Leann Conquer and Alexis Tompkins aren’t afraid of a little color. It’s right there in the name. They first connected when their husbands, business partners themselves, set up the duo on a professional date. (At the time, Conquer was working for Nicole Hollis and Tompkins for Steven Volpe, both AD100 talents.) Since launching Chroma seven years ago, the partners (photographed at their space for the San Francisco Decorator Showcase) have built a body of work notable for its seductive, moody, slightly eccentric spirit. “A lot of California designers are inspired by the landscape. We want something a bit more layered, gritty, and unusual,” Conquer says of the firm’s sensibility. Tompkins adds, “We pull references from fashion, obscure things in contemporary culture, and the particular hobbies and fetishes of our clients.” Chroma’s current work includes renovations of midcentury houses in Santa Cruz and Atherton as well as contemporary new builds across the Bay Area. chromasf.com —M.R. PHOTOGRAPHY BY SAM FROST

Brandon Fontenot

Houston “Texas gives you a chance,” notes this Louisianaborn decorator. “It isn’t asking who you are, where you’re from. It’s a classic American-dream place.” The Lone Star State has certainly been good to Fontenot, a onetime biology student who pivoted to design in 2013, launching his own firm just two years later. Regional commissions (a beach house in Galveston, a midcentury home in Houston’s Memorial neighborhood) have now given way to jobs nationwide, with renovations under way in Brooklyn and Litchfield County, Connecticut, both for New York art dealers. Jacques Granges and Axel Vervoordt remain enduring influences, as revealed by nuanced, neutral rooms. (Fontenot is photographed at home.) So, too, does filmmaker Sofia Coppola, whose 2006 hit Marie Antoinette serves as inspiration for Fontenot’s colorful update to a historic Boston brownstone. In life as in decorating, he muses, “passion always wins.” brandonfontenot.co —S.C. PHOTOGRAPHY BY JACK THOMPSON

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THE AUDREY IRMAS PAVILION RISES THREE STORIES, JUST BELOW THE DOME LINE OF THE 1929 TEMPLE, IN DEFERENCE TO THE HISTORIC BUILDING. THREE INTERCONNECTED VOIDS (CIRCULAR, TRAPEZOIDAL, AND ARCHED) MARK THE MAJOR EVENT SPACES.

mitzvah

For the Wilshire Boulevard Temple’s new Audrey Irmas Pavilion in Los Angeles, OMA’s Shohei Shigematsu crafts an instant landmark that celebrates faith and fellowship TEXT BY

MAYER RUS

JASON O’REAR.

machine

JASON O’REAR.

resources to the surrounding community. The new building, rchitecturally speaking, containing event spaces, meeting rooms, offices, a mediumthe landmark Wilshire size chapel, and a variety of outdoor terraces, was conceived, Boulevard Temple, home first and foremost, as a place of gathering. to the oldest Jewish congre“The upside of the terrible downside of the COVID pandemic gation in Los Angeles, is is the pent-up demand to connect, to sing together, to pray a tough act to follow. Built together, and to put our arms around each other,” says WBT’s in 1929 and designed by architect Abram M. Edelman senior rabbi, Steve Leder. “In planning this building, we had to aspire to be as great as museums. We knew that only a singular, in a hybrid of Byzantine iconic building would excite and inspire people,” he adds. and Romanesque styles, the OMA, the Rotterdam-based Office for Metropolitan magnificent domed synaArchitecture, which had been a bridesmaid in earlier design gogue has all the exotic glamour of the great movie palaces of the era (think Grauman’s competitions for L.A.’s Broad museum and the reimagining of the Los Angeles County Museum of Art, ultimately won the Chinese Theatre). Beneath a coffered dome that nods to the Pantheon in Rome, the interior is lined with a cycle of dramatic WBT commission. Under the direction of partner Shohei Shigematsu and the OMA New York office, the firm produced figurative murals depicting key moments in Jewish history— a rare exception to Judaism’s traditional avoidance of figurative an ingenious scheme that deftly balances architectural brio synagogue art. Not surprisingly, the murals were commissioned and deference to the landmark temple. The Audrey Irmas Pavilion, as it came to be known, was named in honor of its by the Warner brothers and executed by artist and silent-film lead donor, who funded her $30 million donation with director Hugo Ballin. proceeds from the $70.5 million sale of a classic Cy Twombly In 2015, WBT launched an international design competiblackboard painting in 2015. tion, funded by the late Eli Broad, for a new structure on the “Event spaces are notoriously difficult. You have to build in congregation’s Erika J. Glazer Family Campus in Koreatown, which encompasses school buildings, recreation areas, and the so much flexibility that they typically become characterless Karsh Family Social Service Center, through which the temple and hermetic,” Shigematsu says, describing one of the project’s main challenges. “Here, the event spaces needed to maintain and local organizations work together to offer comprehensive

CLOCKWISE FROM ABOVE THE FIRST FLOOR ACCOMMODATES THE LARGEST OF THE EVENT VENUES, AN ARCHED EXPANSE THAT REFERS TO THE TEMPLE DOME. THE PAVILION TACTFULLY TILTS AWAY FROM THE ORIGINAL SYNAGOGUE AND TOWARD WILSHIRE BOULEVARD. THE TERRACE OFF THE CHAPEL OFFERS FRAMED VIEWS OF THE TEMPLE’S STAINED-GLASS WINDOWS AS WELL AS THE FLOOR BELOW.

their own integrity while acknowledging the old temple and the other buildings on the campus,” he adds. Shigematsu and his team took the basic structure of a box—the generic model for event spaces—and finessed it into a quasi-parallelogram, with façades that cant in response to the program’s various conceptual and functional imperatives. The pavilion leans away from the temple and the old school building in a show of reverence for the historic structures— a move that also opens up the existing courtyard to an influx of natural light. The south side of the pavilion tilts forward

to embrace the busy Wilshire Boulevard corridor, physically and symbolically reaching out to the community. “Much as the building engages the neighborhood, it also feels like it’s opening its arm to the future,” Rabbi Leder notes. The façade is clad in a field of rotated hexagonal panels, each housing a rectangular window, which underscores the dynamism of the architecture in a dazzling play of pattern and color alive to the movement of natural light. At night, the building glows like a perforated Moroccan lantern. Three interlocking event spaces, articulated as voids carved within the monolithic volume, offer a range of experiences. On the first floor, the grand ballroom, a sprawling, column-free expanse—the largest of the venues—features a dramatic vaulted ceiling of book-matched sassandra wood veneer and a floor of polished red concrete with exposed aggregate. The second level contains a trapezoidal chapel and outdoor terrace that frame views of the temple’s stained-glass windows in a gesture reminiscent of the perspectival compositions of Renaissance paintings. The third floor, occupied by Wallis Annenberg GenSpace, a community center for older adults founded by the prolific L.A. philanthropist, is laid out around a circular sunken garden that leads to a rooftop terrace. “We emphasized a sense of transparency and porosity through sight lines and apertures that connect the major interior spaces while forging bonds between the pavilion, the existing campus buildings, and the city beyond,” Shigematsu says of his instant L.A. landmark. “Connectivity is the heart of this project.”

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GAME TH

EORY

Imbuing a newly built town house with a rich aura of history, Giancarlo Valle writes his own rules PHOTOGRAPHY BY

TEXT BY SAM COCHRAN STEPHEN KENT JOHNSON STYLED BY COLIN KING

STUDIO GIANCARLO VALLE CONCEIVED A CUSTOM BURLEDOAK TABLE AND SUITE OF MAHOGANY CHAIRS FOR THIS MANHATTAN DINING ROOM, WHICH IS PAINTED IN A FARROW & BALL PURPLE; VINTAGE PAAVO TYNELL LIGHTS, MYUNGJIN KIM SCULPTURES (ON TABLE) FROM SALON 94, CLAUDE CONOVER VESSEL FROM GALLERY DOBRINKA SALZMAN, AND WALL-MOUNTED PLATES BY STEPHEN BIRD. FOR DETAILS SEE RESOURCES.

rchitects delight in constraints. A sheer cliff, an enormous boulder, some mature trees— every challenge is an opportunity, every obstacle a eureka moment. (Just ask John Lautner, Oscar Niemeyer, and Lina Bo Bardi.) Where others might see cumbersome red tape in the form of setback requirements and height restrictions, architects see puzzling frameworks in which to work their creative magic. Enlisted by a creative couple to update their Manhattan town house, AD100 talent Giancarlo Valle found no such conditions to navigate. Recently constructed and lacking in character, the five-story downtown dwelling was just box rooms, white walls, and soulless developer details—an aesthetic vacuum, for all intents and purposes. And so, deprived of any natural jumping-off points, Valle created his own. “A project like this, it’s a blank canvas,” he reflects. “You almost have to create the game.” The result is a tapestry of tantalizing rooms that unfolds to dynamic and delightful effect—moment to moment, mood to mood. In some cases, the starting point was the palette, whether the dining room’s allover aubergine or the primary

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CREAMY MOROCCAN TILE SHEATHS THE HEARTH IN THE LIVING ROOM, WHICH IS ANCHORED BY A CUSTOM STUDIO GIANCARLO VALLE SOFA; LOUNGE CHAIRS BY GREEN RIVER PROJECT AND BODE, VINTAGE PHILIP AND KELVIN LAVERNE COCKTAIL TABLE, PAINTINGS BY MARTIN KIPPENBERGER (LEFT) AND ROBERT BITTENBENDER. OPPOSITE VALLE IN THE SPACE.

“A project like this, it’s a blank canvas. You almost have to create the game.” —Giancarlo Valle

ABOVE BESPOKE BRUSHED-OAK SHELVES AND SEATING IN THE LIBRARY; 1970s TABLE AND PIERRE CHAPO CHAIR FROM MAGEN H GALLERY. RIGHT NEW BALUSTRADES OF HANDAPPLIED CEMENT TRANSFORMED THE EXISTING STAIRCASE.

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ERNST YOHJI JAEGER.

CLOCKWISE FROM ABOVE IN THE PRIMARY BEDROOM, INGO MAURER TABLE LAMPS, 1970s PIERRE PAULIN CHAIRS, AND A CUSTOM BED DRESSED IN A JOHN DERIAN COVERLET; PAINTING BY ERNST YOHJI JAEGER. A BLUE PALETTE AND CUSTOM MILLWORK ENLIVEN ONE OF THE CHILDREN’S BEDROOMS. ROSY HUES DISTINGUISH THE OTHER.

bedroom’s enveloping navy. “The clients had strong opinions BUT THE FOUNDATIONS of every room are Valle’s own bespoke about color,” Valle notes. “Together we pushed it even further, designs, among them signature wavy-back barstools and, for building a story around these elemental bursts.” In other each of the two children’s rooms, sinuous shelving. The den, instances, a piece of furniture became the driving force. The just off the entry, reveals refined brushed-oak millwork and living room, for example, began with a J-shaped sofa in custom- a wraparound sofa upholstered in Dedar bouclé. In the dining dyed blue mohair whose gigantic form had to be brought in room, a showstopper table of burled oak can accommodate piece by piece. Valle mixed it with a Franz West chain-link floor upwards of 20 for weekly Shabbat dinners, its form pinching lamp, a Philip and Kelvin LaVerne cocktail table, and a pair at the center, with huge knots enlivening its surface. It is of lounge chairs commissioned from Green River Project and surrounded by playful hand-carved chairs, each bearing a Bode. Says Valle: “Every room and every detail had to be cutout in the form of an agave plant—a nod to the clients’ thirst solved on its own.” for tequila. The breakfast area’s new built-in corner cabinets, That case-by-case strategy could, in less experienced meanwhile, are an homage to Le Corbusier, inspired by those hands, have yielded a patchwork of dissonant vibes, more fun at the iconic Unité d’Habitation social housing complex house than dream house. But Valle deftly stitched the spaces in Marseille. together, using handcrafted details and custom creations as “The doorknob relates to the chair relates to the room,” exquisite common thread. Everywhere the mark of the artisan Valle notes of his own ambitious holistic approach, influenced is present. For the living room, Valle enlisted the Brooklynby design heroes like Corbu, Frank Lloyd Wright, and Josef based decorative finishers Kamp Studios to texture the walls Hoffmann. The last especially resonated for this project, with with fine plaster. Jordan McDonald, a Philadelphia ceramic subtle allusions to be found in the tilework’s simple grids and artist, collaborated on the richly patinated pulls that appear the dining room’s exacting wall trim and incorporated storage. on closet doors and bathroom vanities. Traditional Moroccan “We were looking a lot at the Vienna Secession, the architeczellige tile forms its own through line, wrapping hearths in the ture of 1920s Austria,” Valle explains. “There was always a living and dining rooms and sinks in powder rooms. Layers motif, always a theme, always personality behind the proporupon layers of sculpted cement, meanwhile, transformed what tions. That’s the way we treat projects. We consider things had been a blah staircase into a breathtaking centerpiece. top to bottom.”

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YULIA IOSILZON.

ABOVE IN THE BREAKFAST AREA, 1960s PIERRE CHAPO CHAIRS SURROUND AN ANTIQUE TRESTLE TABLE; PENDANTS BY NATALIE PAGE, PAINTING BY YULIA IOSILZON FROM CARVALHO PARK.

VALLE PAINTED THE EXISTING KITCHEN A FARROW & BALL GREEN AND ADDED EBONIZED CABINET PULLS; THE STUDIO GIANCARLO VALLE STOOLS ARE IN A ROSE TARLOW MELROSE HOUSE FOR PERENNIALS STRIPE, VESSEL BY KAZUNORI HAMANA FROM THE FUTURE PERFECT.

resources PACIFIC HEIGHTS

PAGES 76–87: Architecture and interior design by Laplace; luislaplace.com. Landscape architecture by Kathrin Grimm; aplenosol.mx. PAGES 76–77: John Risley armchairs; 1stdibs.com. Lava stone fountain and side table; luislaplace.com. PAGES 78–79: Sofa fabric; pierre frey.com. René Martin armchairs; maisonjaunestudio.com. Karl Springer ottomans; 1stdibs.com. PAGE 80: Woven tule chair; txt-ure .mx. Lava stone table and terra-cotta vessels; laplace.com. PAGE 81: Custom tiles by Luis Laplace fabricated by Cerámica Suro; ceramicasuro.com. Tableware; perlavaltierra.shop. Vases; arteananas.com. PAGE 82: In primary bedroom, brass and bamboo armchair by Ubunji Kidokoro; gallery-wa.com. Grass-seated desk chair in American black cherry by George Nakashima Woodworkers; nakashima woodworkers.com. Custom bed; laplace.com. John Risley lady chair; 1stdibs.com. PAGE 83: Vintage sofa, armchairs, bamboo and fabric ceiling light, and parota wood and lava stone cocktail table; laplace.com. PAGES 84–85: On terrace, terracotta pots and lava stone fountain; laplace.com. In guest room, Gio Ponti armchair; portuondo.fr. Rattan bench; sika-design.com. In bath and outdoor shower, custom tiles by Luis Laplace fabricated by Cerámica Suro; ceramicasuro.com. PAGE 86: Uchiwa rice-paper-andbamboo pendant light by Ingo Maurer; 1stdibs.com. Banquette; jfchen.com. PAGE 87: Woven tule chairs; txt-ure.mx.

ALL IN

PAGES 88–97: Interior design by Rachel Chudley; rachelchudley.com. Architecture by Helm; helmprojects .co.uk. Paint color consulting by Donald Kaufman; donaldkaufman color.com. PAGES 88–89: Akari lanterns by Isamu Noguchi; shop.noguchi.org. Barcelona chairs by Mies van der Rohe and LC4 chaise longue by Charlotte Perriand in collaboration

with Pierre Jeanneret and Le Corbusier; 1stdibs.com. Centre stool; antiques-atlas.com, upholstered in velvet; rose uniacke.com. PAGE 91: On sofa, antique suzani; robertkime.com. Fireplace surround; jamb.co.uk. PAGES 92–93: In tented area, bentwood dining chairs; pomono .com. Crystal sconces; arrowsmith antiquesandrestoration.com. In dining room, oval table in Natural Oak; roseuniacke.com. In kitchen, pendants by Svend Aage HolmSørensen; 1stdibs.com. Appliances; gaggenau.com; mieleusa.com. PAGE 94: In child’s bedroom, Marquee Stripe wallpaper by Cole & Son; kravet.com. In bath, vintage marble basin; 1stdibs.com. PAGE 95: In primary bedroom, chandelier by Erik Höglund; 1stdibs.com. Shell shade sconces; englishlampcompany.com. Bed hanging fabric; robertkime.com. PAGES 98–107: Architecture and

interior design by India Mahdavi; india-mahdavi.com. Landscape design by Jean Mus; jeanmus.fr. PAGE 98: Mural; carolinedenervaud .com. Uchiwa rice paper and bamboo pendant light by Ingo Maurer; 1stdibs.com. Henri bar, Cap Martin lounge chairs, and Week End nest tables by India Mahdavi; ralphpucci.net. PAGE 100: Double Diagonale table and Cap Martin side chairs by India Mahdavi; ralphpucci.net. Floor lamp; pierremariegalerie.com. PAGE 101: Ceramic mantelpiece; giuseppeducrot.it. Jet Lag sofas by India Mahdavi; ralphpucci.net. José Zanine Caldas armchairs; r-and-company.com. Gianfranco Frattini table and T.H. RobsjohnGibbings buffet; 1stdibs.com. PAGE 102: Oedipe sofa by India Mahdavi; ralphpucci.net. Hans Wegner Model JH 512 armchairs, Isamu Noguchi table, Paolo Buffa table, and Barbro Nilsson rug; 1stdibs.com. Philippe Anthonioz light fixture; dutko.com. PAGE 103: Tapestry; lescrafties.com. Vanilla table and Cap Martin side chairs by India Mahdavi; ralphpucci.net. PAGES 104–05: In hallway, Henri table and bench by India Mahdavi; ralphpucci.net. In living room, Gatsby sofa by India Mahdavi; ralphpucci .net. Tito Agnoli chairs; 1stdibs.com. Cocktail tables; dimoremilano.com. On terrace, Cap Martin lounge chairs and Week End table by India Mahdavi; ralphpucci.net.

VOLUME 78, NO. 9. ARCHITECTURAL DIGEST (ISSN 0003-8520) is published

monthly except for combined July/August issues by Condé Nast, which is a division of Advance Magazine Publishers Inc. PRINCIPAL OFFICE: Condé Nast, 1 World Trade Center, New York, NY 10007. Roger Lynch, Chief Executive Officer; Pamela Drucker Mann, Global Chief Revenue Officer & President, U.S. Revenue; Jackie Marks, Chief Financial Officer. Periodicals postage paid at New York, NY, and at additional mailing offices. Canada Post Publications Mail Agreement No. 40644503. Canadian Goods and Services Tax Registration No. 123242885-RT0001. POSTMASTER: Send all UAA to CFS. (See DMM 507.1.5.2); NON-POSTAL AND MILITARY FACILITIES: Send address corrections to ARCHITECTURAL DIGEST, P.O. Box 37617, Boone, IA 37617-0617.

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A PATTERNED CORNER IN A LONDON MEWS HOUSE.

GOOD VIBES

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PAGE 106: In guest room, Jacques Grange lamp; galeriedupassage.com. Scott nightstand by India Mahdavi; ralphpucci.net. In stair hall, Emilio Terry chairs; galeriedupassage.com. On terrace, chaise longues by Kipp Stewart; 1stdibs.com. Table; boqa.fr. PAGE 107: In bath, Glo-Ball wall sconces by Jasper Morrison; usa.flos.com.

GAME THEORY

PAGES 118–25: Architecture and

interior design by Studio Giancarlo Valle; giancarlovalle.com. PAGES 118–19: In dining room, Custom burl oak dining table and dining chairs; giancarlovalle.com. wall paint; farrow-ball.com. Vintage Wicker lights by Paavo Tynell; 1stdibs.com. Sculpture by MyungJin Kim; salon94.com. Ceramic pot by Claude Conover; dobrinkasalzman .com. Wall-mounted plates; stephenbird.net.

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PAGES 120–21: In living room,

custom sofa; giancarlovalle.com. Lounge chairs; greenriverproject llc.com; with bodenewyork.com. Vintage Philip and Kelvin LaVerne cocktail table; 1stdibs.com. Plasterwork; kampstudios.com. PAGES 122–23: In library, S34 chair by Pierre Chapo; magenxxcentury.com. In primary bedroom, Lampampe table lamps; ingo-maurer.com. F598 Groovy Lounge Chairs by Pierre Paulin; artifort.com. Custom coverlet; johnderian.com. PAGE 124: Pierre Chapo S24 Dining chairs; 1stdibs.com. Pendant lights; nataliepage.com. Painting by Yulia Iosilzon; carvalhopark.com. PAGE 125: Wall paint; farrow-ball.com. Custom stools; giancarlovalle.com. On stools, Tatton Stripe fabric by Rose Tarlow Melrose House for Perennials; perennialsfabrics.com. Ceramic vessel by Kazunori Hamana; thefutureperfect.com.

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SIMON UPTON.

All products have been identified by the designer of each residence. Items similar to vintage and antique pieces shown are often available from the dealers listed. Contact information was up to date at time of publication.

A MUST-SEE THIS FALL

On view from September 10, 2021–February 20, 2022. Tickets Available on brooklynmuseum.org. MEMBERS SEE IT FREE!

ON VIEW SEPTEMBER 10 2021 FEBRUARY 20 2022

TICKETS AVAILABLE AT BROOKLYNMUSEUM.ORG

CHRISTIAN DIOR DESIGNER OF DREAMS

The Brooklyn Museum presentation of the Christian Dior: Designer of Dreams exhibition is curated by Florence Muller, Avenir Foundation Curator of Textile Art and Fashion at the Denver Art Museum, in collaboration with Matthew Yokobosky, Senior Curator of Fashion and Material Culture, Brooklyn Museum. The exhibition opens with a journey through time and space—Paris to New York. The House’s multiple sources of inspiration—from Versailles to the splendor of flowers—are on display. Visitors may also discover dresses that have graced the most dazzling actresses, from Grace Kelly to Jennifer Lawrence.

THE DIAMOND MAJESTY FROM VISPRING The Diamond Majesty from Vispring is the British heritage brand's most luxurious mattress, offering unrivaled comfort and the ultimate in restful sleep. Applying 120 years of mattress-making expertise, Vispring created the Diamond Majesty using only the finest natural materials, including Royal Alpaca fleece wool. For more information, visit www.vispring.com.

DISCOVER PARISH CONSERVATORIES Parish Conservatories specializes in designing and building exquisite glass houses and skylights. Whether you are looking to add a garden room (with or without plants), a kitchen extension, or simply a space for meditation and relaxation at the end of a long day, our designers will work with you or your architect to help you realize that dream. On a larger scale, our conservatories are a perfect addition for hotels, inns, and resorts that are looking to create a romantic setting for weddings and events with the illusion of being outdoors while never worrying about the weather. To request more information, please visit parishconservatories.com or call 800-761-9183.

one to watch

Maryam Turkey

On the 28th floor of 4 World Trade Center, there is a constant play of light as sun bounces off the surrounding Manhattan glass towers and Hudson River. “I’ve really developed a relationship with these buildings,” says artist Maryam Turkey, whose latest creations reveal the influence of those shadows and reflections. Working out of the space as part of the Silver Art Projects residency program for the past year, the Pratt graduate, who came to the U.S. from Iraq as a refugee in 2009, has drawn connections between the countries she’s called home. The loosely architectural forms of her latest mirrors, lamps, and tables are

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all coated in a tactile brew of paper pulp, plaster, and resin inspired by the earth structures she grew up around in Baghdad. A trio of stools titled Oikos—“home” in Arabic—nods to the simple houses she sketched obsessively as a child. (“A square with a little square inside of it,” she muses.) Standing silhouetted against a backdrop of slick Tribeca towers, meanwhile, are models for new lamps, at this point just Styrofoam slabs held together by wooden coffee stirrers. The final versions, debuting this October in a group show at Carpenters Workshop Gallery in Manhattan, will incorporate brass rods as structural supports for textural shades. “They’re going to look both destroyed and also under construction,” explains Turkey, capturing a tension all too familiar to her old home and her new one. maryamturkey.com —HANNAH MARTIN

PHOTOGRA PHY BY SIMBARASH E CHA

From the first toast to the final bite, savor every moment with Sub-Zero refrigeration, Wolf cooking, and Cove dishwashing. Complete your kitchen with thoughtfully designed, innovative appliances crafted to last for decades of delicious, memorable meals.