se td6h4d trt // MAGZUS.CLUB // by Derek Kolush

THE INTERNATIONAL DESIGN AUTHORITY JUNE 2021

AMERICAN BEAUTY MILA KUNIS + ASHTON KUTCHER farm fresh in L.A.

great design from the berkshıres to beverly hills

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CONTENTS june

A SERENE CORNER IN MILA KUNIS AND ASHTON KUTCHER’S L.A. RESIDENCE.

14 Editor’s Letter 16 Object Lesson

Gio Ponti’s 1950s round chair. BY HANNAH MARTIN

THE GRAND ENTRYWAY OF A FAMILY HOME IN OHIO DESIGNED BY REDD KAIHOI.

AD visits an artistic couple in their spirited Hudson Valley farmhouse... Carmen D’Apollonio breathes new life into clay and metal... Louis Vuitton launches lanterns for Objets Nomades... A lion-inspired Chanel jewelry collection... Outfitting the perfect guest room... Frank Gehry updates the Philadelphia Museum of Art... Cameron Welch collabs with design studio Konekt... Stylish outdoor sconces... And more!

36 Great Design: Hotels

From Brooklyn to Botswana, these design hot spots will welcome you in high style.

48 Into the Woods

Ashton Kutcher and Mila Kunis join forces with architect Howard Backen and designer Vicky Charles to craft their soulful Los Angeles home. BY MAYER RUS

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FROM TOP: DOUGLAS FRIEDMAN. RYAN KURTZ.

19 Discoveries

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A SPIRITED GETAWAY IN THE BERKSHIRES DESIGNED BY SACHS LINDORES.

A CHARMING STONE CARRIAGE HOUSE DESIGNED BY ARCHITECT DAVID ABELOW ON AN ESTATE IN UPSTATE NEW YORK.

58 Historic Perspective

70 House Blend

A West Village town house by architect Steven Harris and designer Julie Hillman harmoniously blends old and new. BY HANNAH MARTIN

80 Family Style

Sachs Lindores channels the youthful charm of their clients in a personality-filled Berkshires farmhouse. BY JANE KELTNER DE VALLE

FOLLOW @ARCHDIGEST MILA KUNIS (WEARING A SALVATORE FERRAGAMO OUTFIT, EARRINGS AND NECKLACE BY LOUIS VUITTON, A HOORSENBUHS RING, AND CONVERSE SNEAKERS) AND ASHTON KUTCHER (WEARING A SHIRT BY LIFE/AFTER/DENIM, A DOLCE & GABBANA T-SHIRT, LEVI’S JEANS, AND PAUL SMITH BOOTS) AT HOME IN L.A. “INTO THE WOODS,” PAGE 48. PHOTOGRAPHY BY DOUGLAS FRIEDMAN. STYLED BY MICHAEL REYNOLDS. FASHION STYLING BY ROB & MARIEL.

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

92 Great Rooms

Architect Peter Pennoyer and design firm Redd Kaihoi mastermind a majestic home for a young Ohio family. BY JANE KELTNER DE VALLE

102 Resources

The designers, architects, and products featured this month.

104 One to Watch

Designer Minjae Kim puts traditional Korean material to novel uses. BY HANNAH MARTIN

With verve and aplomb, Sheila Bridges sensitively updates a vintage country estate in upstate New York. BY CAMILLE OKHIO

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At their home in New York’s Hudson Valley (page 58), Mary Nelson Sinclair and Matty Cruise enlisted a fellow artist, their friend Happy Menocal, to create a one-of-a-kind mural for the guest room. Over the course of a weekend visit, the illustrator enlivened the walls with exuberant botanicals and, along the molding, a whimsical dotted border. The site-specific work is just one of many ways that paint helped to transform this 18th-century house from floor to ceiling....

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editor’s letter

It took a bit of coaxing to persuade our cover couple, Ashton Kutcher and Mila Kunis, to open the doors of their sustainable, solar-powered, cornfield-planted, six-acre Los Angeles property—cutely dubbed KuKu Farms—to AD. But once the determinedly private pair agreed, they really opened up about their painstaking process to West Coast Editor Mayer Rus, who describes them as “design-obsessed.” For their five-year passion project, a home that Kutcher imagined would “look like an old barn, something that had been here for decades, but also feel modern and relevant,” the Hollywood power duo chose two AD100 talents: architect Howard Backen and interior designer Vicky Charles. “Building a house from the ground up is no small thing. This was either going to make us or break us,” comments Kunis. Suffice to say, the contemporary farmhouse, a majestic but warm marvel of reclaimed wood, board-form concrete, and soaring swathes of glass, does not 5 disappoint. For an entirely different take on a new build, AD photographed a grand, traditional mansion outside Cleveland, created by AD100 architect Peter Pennoyer and decorated by AD100 designers Miles Redd and David Kaihoi of Redd Kaihoi— it is a triumph of formality that is still a lot of fun. The entire issue is, in fact, a celebration of American style, with stops at an eclectic family home in the bucolic Berkshires; an elegant equestrian estate in Westchester County, New York, with interiors conceived by AD100 designer Shelia Bridges; and finally a town house in New York City where yet another set of AD100 stars, designer Julie Hillman and architect Steven Harris, meld timeless classicism with contemporary cool. Made in the USA: going strong and looking better than ever!

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1. MILA KUNIS AND ASHTON KUTCHER CRACKING UP ON THEIR COVER SHOOT. 2. THE SUNROOM IN A GRAND CLEVELANDAREA ESTATE. 3. A COZY NOOK CREATED BY SHEILA BRIDGES FOR CLIENTS IN BEDFORD HILLS, NEW YORK. 4. A NEW YORK CITY KITCHEN BY DESIGNER JULIE HILLMAN, SHOWN WITH ME (5) AT DESIGN MIAMI.

AMY ASTLEY Editor in Chief @amyastley

1. DOUGLAS FRIEDMAN. 2. RYAN KURTZ. 3. FRANK FRANCES. 4. MANOLO YLLERA. 5. AMY ASTLEY.

“If the world around you isn’t in order, it’s hard to get your brain in order. When we’re in our home, the world just makes sense.” —Ashton Kutcher

object lesson

THE STORY BEHIND AN ICONIC DESIGN

Easy Does It

Gio Ponti’s 1950s Round chair—an iconic seat that blends form and function— is reissued by Molteni&C

alighted on the hilltop.” Completed in 1957, Villa Planchart, perched on a rise as he imagined, overlooking Caracas, is a Gesamtkunstwerk of Ponti’s innovative ideas for lighting, tableware, and, of course, furniture. “Simplicity in production, simplicity packaging” is how photographer and

the Round chair that Ponti used at Villa Planchart. It comprised just eight parts: a soap bar–shaped seat and back, two plywood uprights, and four metal legs. In 1957 the design, which Ponti also deployed in a contemporaneous Caracas residence, Villa Arreaza, was officially unveiled at the Milan Triennale, where it was dressed in Vipla, an economical faux leather. Most important, it was shown disassembled, underscoring Ponti’s belief in “technical coherence that is resolved in a stylistic coherence.” Soon the Italian-made chair—produced in those days by Cassina—starred in a slew of Ponti projects: the Italian Cultural Institute in Stockholm (1958), Alitalia’s New York offices (1960) and its passenger terminal in Milan (1960), and Sorrento’s fabulously sea-blue Hotel Parco dei Principi (1964). When production stopped in the mid-1960s, prices for originals skyrocketed—an example clad in ivory vinyl fetched more than $80,000 at Phillips last year. But nearly 70 years later, Molteni&C, which has worked with Gio Ponti Archives since 2012, is reissuing the endlessly adaptable seat, which Licitra, who oversees the archives, calls “inexpensive and elegant, simple and sophisticated, authoritative and youthful.” molteni.it —HANNAH MARTIN

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1. GIO PONTI’S ROUND CHAIR IN VILLA ARREAZA IN CARACAS. 2. A NEW ROUND CHAIR BY MOLTENI&C. 3. VILLA PLANCHART IN CARACAS. 4. PONTI’S ITALIAN CULTURAL INSTITUTE IN STOCKHOLM. 3 4

1. & 4. GIO PONTI ARCHIVES. 2. COURTESY OF MOLTENI&C. 3. JASON SCHMIDT.

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DISCOVERIES

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Greener Pastures

Artists Mary Nelson Sinclair and Matty Cruise update a Hudson Valley farmhouse for their creative family PHOTOGRAPHY BY GIEVES ANDERSON STYLED BY MIEKE TEN HAVE

SINCLAIR AND CRUISE WITH DAUGHTER MARY AUGUSTINE AT THEIR HOME IN UPSTATE NEW YORK; THE HOUSE IS PAINTED IN BENJAMIN MOORE’S WHITE DOVE.

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DISCOVERIES 1. A CORBIN CRUISE COCKTAIL TABLE AND, OVER THE MANTEL, A PAINTING BY SINCLAIR TAKE PRIDE OF PLACE IN THE LIVING ROOM; CUSTOM-MADE SOFA DESIGNED BY SINCLAIR’S MOTHER, MARY LOUISE SINCLAIR. 2. A LA CORNUE RANGE COMPLEMENTS THE KITCHEN’S WHITE COUNTRY CABINETRY; PENDANT LIGHTS BY THE FRENCH HOUSE. 3. THE COUPLE’S BEDROOM FEATURES AN ECLECTIC ARRAY OF TEXTILES.

n a bright morning in upstate New York, an engaging toddler named Mary Augustine Cruise is making eggs—over easy. Mid-flip, the frying pan clatters to the floor, though thankfully the yolks in question are of the wooden variety, as is the miniature stovetop. Her mother, painter Mary Nelson Sinclair, has meanwhile just pulled scones out of the life-size La Cornue oven, plating them on vintage faience dishes before hand-whipping cream to accompany them. Beside the farm table, Pippa, the family’s Yorkshire terrier, perches on a camelback loveseat, waiting patiently for any crumbs to fall. It was the kitchen that underwent the most dramatic transformation a few years back, when Sinclair and her

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husband, sculptor Matty Cruise, set about renovating their 18th-century Colonial farmhouse in a quiet hamlet of Columbia County. The layout was rearranged, accommodating a new scullery, a laundry area, and ultimately a full-time family of three. In what would prove to be a prescient pre-pandemic move, the couple fully relocated upstate in December 2019 after splitting their time in Brooklyn. The husband-and-wife artists both have backgrounds in design—Cruise having cut his teeth under AD100 talent Billy Cotton before branching out into metalwork on his own, Sinclair having worked at the studio of illustrator Happy Menocal. The couple called upon their former employers turned friends when renovating their house. Over the course of weekend visits, Menocal painted a guest room’s walls with blooming tendrils, while Cotton offered advice on the benefits of matching the white refrigerator to the English Country–style cabinetry. Sinclair’s mother, Mary Louise, herself a decorator, acted as design czar for the project, overseeing the restoration, sourcing key pieces like the dining room’s 19th-century Swedish kakelugn, and even personally upholstering the mattress for an ironwork campaign daybed in a floral Décors Barbares fabric.

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1. IN THE NURSERY, A PAINTING BY SINCLAIR (MARYNELSON SINCLAIR.COM) ACCENTS BRUNSCHWIG & FILS BIRD AND THISTLE WALLPAPER. 2. CRUISE’S WORKSPACE SERVES AS HOME BASE FOR HIS LINE OF OXIDIZED FURNISHINGS, CORBIN CRUISE (CORBIN CRUISE.COM). 3. A MURAL BY HAPPY MENOCAL ENLIVENS A GUEST ROOM; SLIPPER CHAIRS IN LE MANACH FABRIC. 3

The house is an amalgam of objects from different generations, aesthetic and familial. Louis XV–style dining chairs from the Mississippi Delta home of Sinclair’s grandmother mingle beside a bar table draped with a peach-hued suzani from her mother’s house in Dallas that matches the blush wall color. In the living room, a pair of painted Regency tea tables—purchased by mother and daughter at the Battersea antiques fair in London—flank a Georgian-style box sofa clad in fuchsia linen. But perhaps the most personal touches are the couple’s own. Hanging in Mary Augustine’s nursery is one of Sinclair’s vibrant abstract oil paintings, the azure hues of which complement the Brunschwig & Fils Bird and Thistle wallpaper. Cruise made the living room’s patinated-brass cocktail table, part of his Corbin Cruise line of metal furniture and objets. The two work out of adjoining studios in the renovated grain barn just down the hill, past the goldenrod and artemisia, with views of the bean-shaped pond. Sinclair lays her canvases down on the concrete floor, while Cruise uses an accelerated oxidation technique to achieve a bright turquoise patina. They also collaborate on pieces for the Manhattan design shop KRB, with Sinclair painting a pointillist shagreen motif onto Corbin Cruise telephone tables and obelisks. In the late afternoon the couple retreat up the hill, foraging cherry tomatoes and runner beans from the raised vegetable beds that Cruise built last summer as ingredients for dinner. Sometimes Mary Augustine makes eggs that don’t end up on the floor. —CHLOE MALLE

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DISCOVERIES ART SCENE

Group Dynamic

Imbuing figurative forms with everyday function, Carmen D’Apollonio breathes new life into clay and metal

armen D’Apollonio often works solo, but she never gets lonely in her Los Angeles studio, where she’s surrounded by ceramic lamps and vessels in progress, many of them people-size. “They become a bit human,” she says of her inanimate companions—some of them anthropomorphic, others vaguely figurative. “They’re like a little family.” Soon she’ll bid the gang farewell as pieces big and small get boxed up and shipped out to New York City, where they’ll star in her first U.S. solo exhibition, “Don’t Wake the Snake,” opening July 15 at Friedman Benda gallery. D’Apollonio’s ceramics practice began eight years ago, when she signed up for an introductory course in traditional Japanese raku pottery in her native Switzerland. After relocating to L.A. in 2014, she landed a high-profile commission: The French fashion brand Céline requested three ceramic displays for an advertising campaign. She was still new to clay, but the polymath artist, who had designed film sets, cofounded the fashion brand Ikou Tschüss, and worked for the artist Urs Fischer, took the commission in stride. After all, she says, “I’ve always been very hand-crafty.” The work evolved naturally from there—a continuation of a process that, she insists, “is actually very simple.” First she draws her ideas; then she coils the clay into the desired form. “I don’t have any structure,” she notes of her entirely hand-built technique. “Whatever I want to do, I do.” She does stick to one idea: Everything has a function. “I love that the sculpture does something,” she says. “Everything you do, you can always put a shade on it. That’s the beauty of a lamp.” Her latest body of work elaborates on those core ideas— a nearly five-foot-tall piece enlarges her most-requested table lamp to human scale—while planters and lights in the shape of heads and dancers have been cast in bronze, a new medium for the artist. Their forms come to life through clever, conversational names like Just got a new haircut or Sorry I missed your call. “They’re my friends,” D’Apollonio says. “And they speak through their titles.” carmendapollonio.com —HANNAH MARTIN

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1 2

1. CARMEN D’APOLLONIO IN HER L.A. STUDIO WITH WORK FOR HER JULY SOLO SHOW AT FRIEDMAN BENDA (FRIEDMANBENDA.COM) 2. ONE OF HER SKETCHBOOKS, WHERE MUCH OF HER WORK BEGINS. 3. JUST GOT A NEW HAIRCUT CERAMIC LAMP.

PHOTOGRA PHY BY NOAH WEBB

DISCOVERIES

SPEAKING OF TRAVELING TREASURES....

At the turn of the 20th century, Mikhaïl and Ivan Abramovich Morozov were names to know on Moscow’s art scene, as the brothers assembled hundreds of works by the likes of Monet, Degas, Van Gogh, and Cézanne. The impressive trove—later divided among the Tretyakov Gallery, the Hermitage, and the Pushkin museum— has never left Russia since. But coming soon to Paris’s Fondation Louis Vuitton, “The Morozov Collection” will reunite some 200 works in one sweeping show, with Matisse’s Moroccan reveries and Picasso’s nightlife scenes displayed alongside paintings by such Russian greats as Repin and Serov. For any art lover, it will be an exhibition to remember. fondationlouisvuitton.fr

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Luxe Lights

Louis Vuitton’s swank take on the old-fashioned lantern

LES DEUX SALTIMBANQUES (1901), BY PABLO PICASSO.

apoléon Bonaparte missed out on being a Louis Vuitton client—the French leather-goods firm launched in 1854, long after the end of his reign—but the new lanterns in the brand’s Objets Nomades line of travel-inspired home products would have met with the emperor’s approval. Modeled after the honeycombs constructed by bees, the Bonaparte symbol, young Treviso-based product designers Giorgia Zanellato and Daniele Bortotto have tucked a rechargeable LED inside a mouth-blown glass vessel and then wrapped that illuminated core in an elegant network of openwork leather straps. As with previous Objets Nomades offerings, from a hammock by Atelier Oï to a mirror by Marcel Wanders, every element is handmade by European artisans. Zanellato/ Bortotto also built brand echoes into their glowing concept: The handle recalls those used on the firm’s legendary bags, as do the spherical brass feet affixed beneath the bases of the lanterns, which are available in two sizes and two color combos (red berry and pistachio). The light cast is fragmented and mysterious, a scattering of starry shapes that, the design duo explains, “gently illuminate precious moments.” louisvuitton.com —MITCHELL OWENS

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LA VUE DE LA FENÊTRE, TANGER (1912–13), BY HENRI MATISSE.

—MADELEINE LUCKEL

Q U E S T R O YA L F I N E A RT, L LC Important American Paintings

DISCOVERIES

DETAIL ORIENTED

Mighty Roars

Ablaze in diamonds, Chanel’s new fine-jewelry collection honors its founding fashion designer’s lifelong obsession with lions Coco Chanel’s Paris apartment, famously situated atop her atelier on rue Cambon, was crawling with cats. “I’m a Leo and, like him, I show my claws to protect myself, but, believe me, I suffer more by clawing than being clawed,” the Mademoiselle once said. Notoriously superstitious, she kept a multitude of feline talismans close at hand—from a crystal ball balanced on the backs of two lions to the carved-marble figurine that sat beside a gilded-framed portrait of yet another majestic cat. While the fascination endured, it only intensified after Chanel fled to Venice following the death of her lover Boy Capel. She found strength and inspiration in the City of the Lion, qualities that are celebrated in the house’s latest high-jewelry unveiling, Escale à Venise. (Shown are the Lion Secret earrings and ring, both crafted in 18-karat white gold and covered in diamonds.) Nowadays, couldn’t we all benefit from a little spiritual protection—particularly of the glittering variety? Prices upon request. chanel.com. —JANE KELTNER DE VALLE

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DISCOVERIES

ARCHITECTURE

Core Strength

A deft update by Frank Gehry reinvents the heart of the Philadelphia Museum of Art

he 72 steps to the Philadelphia Museum of Art may well rank among the most famous stairways of the past century. Charged by a sweaty Sly Stallone in the 1976 hit Rocky, this majestic ascent has long inspired visitors to make the climb to the hilltop 1928 landmark, an assemblage of Greek-temple forms in golden-hued limestone. But today it’s the building’s opposite side that is capturing the public’s imagination. Unveiled on May 7, the West entrance now ushers visitors through a sequence of spaces deftly reimagined by architect Frank Gehry. More than 15 years in the making, the Core Project, as this transformation is known, is the latest in a series of updates by the Pritzker Prize winner to the museum, originally designed by architects Horace Trumbauer and Julian Abele in collaboration with the firm Zantzinger, Borie, and Medary. Accessibility, flow, logic, subtlety—these principles all guided Gehry’s intervention. On a recent visit, the museum’s director

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vation is ADA compliant.) Inside, what had been a cramped atrium gives way to the soaring Lenfest Hall, from which visitors can then descend into a new public space, the Williams Forum, or else explore two new suites of galleries—what were office, restaurant, and retail spaces that now displays early American, modern, and contemporary treasures, including decorative arts, many of them native to Philadelphia. “The goal all along was to make this accessible inside and out, and to create a central path, restoring an axial logic to the Beaux Arts building,” notes Rub, explaining that most of the work is “like an iceberg, submerged beneath the surface.” Save for the subtle curves of the Forum’s stairwell or the swoop of the ceiling, he adds, “there aren’t many gestures that you can identify as quintessentially Gehry. Everything has a light touch.” The completion of the Core Project follows the 2019 unveiling of the Vaulted Walkway—loading docks that Gehry transformed into a gleaming corridor for visitors—and anticipates the forthcoming addition of galleries beneath the East Terrace, at the top of those famous steps. Rocky would be pumped. philamuseum.org —SAM COCHRAN 1. AS PART OF THE CORE PROJECT, STAIRS DESCEND FROM LENFEST HALL TO THE WILLIAMS FORUM. 2. LENFEST HALL. 3. 1808 CHAIR BY BENJAMIN HENRY LATROBE, ON VIEW IN THE NEW EARLY AMERICAN GALLERIES. 4. THE MUSEUM AT NIGHT.

INTERIORS: STEVE HALL © HALL + MERRICK PHOTOGRAPHERS. ALL OTHERS COURTESY OF PHILADELPHIA MUSEUM OF ART, 2021.

DISCOVERIES

FINISHING TOUCHES

RAIN OR SHINE Our favorite outdoor sconces are studies in

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Mind Meld

“They feel like something from an urban archaeological site,” says artist Cameron Welch of Relics, the new collection of mosaic-clad stools he created in collaboration with the design studio Konekt. “There’s something mythological about them, like they’ve had a life before you saw them.” Growing up in Indianapolis, Welch (now Brooklyn-based) was introduced to mosaic making by his grandmother, with whom he combined rocks, glass, ceramic, and concrete into an elaborate fireplace surround, among other household surfaces. Ever since, Welch has used this age-old medium to piece together thoughts about identity and cultural history, often in largescale panels and sculptures. With this latest collaboration—an update to Konekt’s Thing stools—he brings those ideas back to a domestic context. “I thought of the materials you often see in contemporary furniture and jumbled them up to create something new,” says Welch, who inlaid cowhide with glass, ceramic, and porcelain that was printed to resemble marble, all lightly showered in spray paint and skirted in horsehair. “Each time you look at one you see something different,” says Helena Sultan, who runs Konekt with her daughter Natasha. “He made these inanimate objects come alive.” konektfurniture.com —HANNAH MARTIN

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SEA GULL LIGHTING CRITTENDEN WALL SCONCE; $88. LUMENS.COM

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Ace Hotel Brooklyn BROOKLYN

Atelier Ace reunited with AD100 firm Roman and Williams on the hip hotel group’s latest stronghold, a ground-up building in downtown Brooklyn where industrial details blend with artisanal touches. From $289; acehotel.com

Camp Sarika CANYON POINT, UTAH

Glamping at Amangiri—what else is there to say? Flawlessly outfitted, the 10 canvas-topped pavilions at this extraordinary camp (a short drive from the main resort) are each an ode to the extraordinary desert surroundings. From $3,500; aman.com

Commodore Perry Estate AUSTIN

Transformed by the AD100 designer Ken Fulk, this historic Austin mansion (now an Auberge Resort) brims with color, pattern, and glamour galore, from the lemon-hued lounge chairs and umbrellas that ring the pool to the Pierre Frey fabric that cocoons the showstopper LaVerne suite. From $529; aubergeresorts.com

DumaTau

LINYANTI WILDLIFE RESERVE, BOTSWANA

Ready to travel? Us too. And we know just the rooms to book.... AD’s 2021 hotel awards survey the best new openings of the past year. From Brooklyn to Botswana, these design hot spots will welcome you in high style. 36

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This beloved Wilderness Safaris camp has been painstakingly updated with a satellite camp and a focus on wellness and sustainability. The new fitness center and spa features a lap pool that juts out over Osprey Lagoon, while solar energy keeps the tented accommodations all off the grid. From $1,762; wilderness-safaris.com

The Green O

GREENOUGH, MONTANA

An eagerly awaited offshoot to The Resort at Paws Up, this adultsonly glamping retreat features 12 cutting-edge “hauses,” each one a marvel of contemporary architecture. They’ve been designed and sited for maximal privacy and enjoyment of the 37,000-acre grounds, situated within the hills of the Blackfoot River Valley. From $2,100; thegreeno.com

PRODUCE D BY SAM COCH RA N

COURTESY OF THE COMPANY.

HOTEL CASTELLO DI RESCHIO.

PATRICK NAGGAR AVAILABLE EXCLUSIVELY THROUGH RALPH PUCCI INTERNATIONAL NEW YORK MIAMI LOS ANGELES WWW.RALPHPUCCI.NET

di Reschio UMBRIA

Restored by Benedikt and Nencia Bolza, this 1,000-year-old estate is now home to 36 extraordinary rooms. An impeccably appointed castle gives way to 3,700 acres of grounds, complete with olive groves, vineyards, and pools—bellissimo! From $900; reschio.com

THE RITZ-CARLTON MALDIVES, FARI ISLANDS.

Hôtel Les Deux Gares Kalesma Mykonos PARIS A madly colorful grace note to the 10th arrondissement, this new boutique hostelry hired British It-boy artist and designer Luke Edward Hall to electrify the 1890s premises. (It’s his first hotel commission.) Think leopardspot upholstery, candy-striped headboards, baths tiled in macaron shades, and a mirrored café painted glossy lipstick-red. From $155; hoteldeuxgares.com

Hotel Magdalena AUSTIN

PARADERO TODOS SANTOS.

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MYKONOS, GREECE

A contemporary twist on the Cycladic vernacular, this breathtaking complex comprises 25 suites and two villas, the rounded, whitewashed walls of which pop against the sea and sky. Collectible pieces by the likes of Rick Owens and Apparatus mingle with furnishings by local makers for a look that is both of the place and of the moment. From $1,430; kalesmamykonos.com

Life House Nantucket NANTUCKET, MASSACHUSETTS

Tapped by the Bunkhouse group, Texas AD100 architects Lake | Flato devised a network of four unique buildings—each constructed using sustainable mass timber. The 900-square-foot pool and sloping landscapes, planted with native species, pay homage to the area’s famous swimming holes. From $275; hotelmagdalena.com

Dating back some 200 years, this hilltop Federal-style mansion has been reimagined as an eclectic 21st-century inn, with bold paint colors, botanical motifs, and a mix of furnishings in rattan and raffia. Exotic objects and artworks call to mind souvenirs from far-flung travels, nodding to the home’s original sea-captain owner. From $239; lifehousehotels.com

Hotel The Mitsui Kyoto

The Maker

KYOTO, JAPAN

THE MAKER.

In the heart of the Pink City, a 19thcentury home has been transformed into a dazzling five-suite resort at the hands of The Gem Palace jeweler Siddharth Kasliwal, his business partner Abhishek Honawar, and designer Naina Shah, who enlisted expert Indian artisans for murals, embroidered headboards, and more. From $300; thejohrijaipur.com

A team of international design stars, André Fu among them, collaborated with Japanese artisans to create this Luxury Collection Hotel, opposite Nijō Castle on the grounds of what was an aristocratic home. The estate’s 300-year-old Kajiimiya Gate now welcomes guests to 161 rooms, traditional onsen, and modern luxuries of all kinds. From $850; hotelthemitsui.com

HUDSON, NEW YORK

Hand craftsmanship takes center stage at this aptly named 11-room getaway, tucked inside three historic buildings and showcasing custom-designed pieces by Hudson Valley artisans. The carriage-house lounge is as cozy as they come. From $475; themaker.com

Mayflower Inn & Spa WASHINGTON, CONNECTICUT

Entrusted by Auberge to refresh this Litchfield County gem, decorator Celerie Kemble delivered a heaping dose of preppy panache. (Picture wicker, Turkish rugs, and Sister Parish textiles.) The new decor, The Well spa, and chef April Bloomfield’s menus keeps locals and visitors coming back. From $1,159; aubergeresorts.com

THE MAKER: FRANCINE ZASLOW. PARADERO: YOSHIKO ITANI. ALL OTHERS COURTESY OF THE COMPANIES.

MAYFLOWER INN & SPA, AUBERGE RESORTS COLLECTION.

JAIPUR, INDIA

NoMad London LONDON

A historic courthouse and police station at the heart of Covent Garden now stands as a temple to comfort, craftsmanship, and culinary sophistication thanks to the Sydell Group and the AD100 firm Roman and Williams. Wow moments include the glass-topped atrium restaurant and the jewellike Fireplace Room, to name but a couple. From $625; thenomadhotel.com

One&Only Mandarina NAYARIT, MEXICO

Set along a rugged stretch of Pacific coastline, this 82-acre Eden comprises 105 freestanding guest villas and tree houses, each constructed so as to preserve the exuberant rain forest. The result is an idyllic merging of indoor and outdoor. From $1,210; oneandonlyresorts.com

One&Only Portonovi PORTONOVI, MONTENEGRO

The thought-leading hotel group just made its European debut on this pristine patch of the Adriatic coast. Topped with terra-cotta roofs and distinguished by colonnades, the handsome neoclassical buildings give way to rooms splashed with richly veined stone and glamorous pools. From $1,805; oneandonlyresorts.com

Paradero Todos Santos TODOS SANTOS, MEXICO

Nestled within a 160-acre farming community, this bohemian retreat is at one with the land. Low-slung structures of board-formed concrete open to the desert scenery—a view best savored, mezcal cocktail in hand, from private soaking tubs or the hotel’s half-moon-shaped pool. From $550; paraderohotels.com

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Fari Islands

FARI ISLANDS, MALDIVES

Brazilian modernism comes to this remote stretch of sand courtesy of the world-renowned São Paulo architect Marcio Kogan, who has devised 90 villas (both beachfront and overwater) as well as 20 studios, all of them stunning. Did we mention the James Turrell Skyspace on the grounds? From $1,950; patinahotels.com

SHIROIYA HOTEL. KALESMA MYKONOS.

The Ritz-Carlton Maldives, Fari Islands FARI ISLANDS, MALDIVES

Less is more on this breathtaking atoll, where 100 private villas offer bliss-inducing views of the water. Kerry Hill Architects took care to minimize its environmental impact, using prefabricated structures, solar panels, and natural cooling systems. From $1,500; ritzcarlton.com

Shiroiya Hotel MAEBASHI, JAPAN

To create this art-filled retreat, set on the site of a historic ryokan in a former center of silk manufacturing, architect Sou Fujimoto joined an existing industrial building with a daring green-roofed tower of his own design. Artworks by the likes of Lawrence Weiner and Tatsuo Miyajima, and concept rooms by Jasper Morrison and Michele De Lucchi, among others, make it truly one of a kind. From $250; shiroiya.com

Splendido Mare PORTOFINO, ITALY

When Belmond approached Festen to update this iconic property, the French design duo took inspiration from its port setting, incorporating rope, varnished wood, and other nautical nods. Mix in Loro Piana fabrics, local marble, and pieces by Buffa, Scarpa, and Ponti, and there you have it—la dolce vita. From $670; belmond.com

HÔTEL LES DEUX GARES.

Xigera Safari Lodge OKAVANGO DELTA, BOTSWANA

Part luxury safari, part arts incubator, this resort features commissions by contemporary South African talents on the order of Porky Hefer, Andile Dyalvane, and Adam Birch. After game drives, settle into any of the 12 individually designed suites or sleep beneath the stars in the baobab-like tree house. From $2,320; xigera.com

DUMATAU, WILDERNESS SAFARIS.

SHIROYA: KATSUMASA TANAKA. HÔTEL LES DEUX GARES: BENOÎT LINERO. ALL OTHERS COURTESY OF THE COMPANIES.

LENOX, MASSACHUSETTS

Equine meditation, beekeeping, probiotic facials, yoga, Pilates, paddleboarding—this resort and spa offers it all. Elegantly understated Clodagh-designed accommodations, divided among an interconnected series of contemporary barns and cottages, release any lingering stress. From $749; miravalberkshires.com

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Bayfront condos and villas available from $1.6MM Schedule your appointment today

Welcome to an oasis of sophistication TheResidencesTampa.com (813) 261-3864

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.

N AT U R A L LY S T U N N I N G An interior that embraces contemporary comfort and style. Part of a series of luxury furnished apartments showcased at Turnberry Ocean Club — now available. The Design Team at

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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,

abramsbooks.com/AD100

FROM LEFT: ANTHONY COTSIFAS; JASON SCHMIDT; OBERTO GILI

A CENTURY OF STYLE

INTO THE Ashton Kutcher and Mila Kunis take a five-year journey with architect Howard Backen and designer Vicky Charles to craft a soulful Los Angeles home at one with the land TEXT BY

MAYER RUS

PHOTOGRAPHY BY

DOUGLAS FRIEDMAN

STYLED BY

MICHAEL REYNOLDS

HAIR BY MARA ROSZAK AT A-FRAME AGENCY; MAKEUP BY MÉLANIE INGLESSIS AT FORWARD ARTISTS FOR ARMANI BEAUTY.

WOODS

MILA KUNIS, WEARING A DIOR DRESS, EARRINGS BY LOUIS VUITTON, AND A HOORSENBUHS RING, AND ASHTON KUTCHER, IN LEVI’S JEANS AND A VINTAGE T-SHIRT, AT EASE ON THE VERANDA. SOFA BY CISCO HOME. LANDSCAPE BY L.Z. DESIGN GROUP. FASHION STYLING BY ROB & MARIEL. FOR DETAILS SEE RESOURCES.

THE CLIENTS’ OWN CRYSTAL CHANDELIER CROWNS THE ENTERTAINMENT BARN, WHERE THE GLASS SLIDERS STRETCH 19 FEET TALL. THE CUSTOM SOFA IS COVERED IN PINDLER OUTDOOR FABRIC.

here’s surely some Beverly Hillbillies quip that pertains to the home that actors Ashton Kutcher and Mila Kunis have built on a glorious hilltop site perched above the storied Los Angeles enclave. After all, the highpowered Hollywood transplants— he’s from Iowa; she was born in Ukraine—dug a well on the property to irrigate the land, planted (and harvested) a field of corn during the COVID lockdown, and dubbed the place KuKu Farms. But while Jed, Granny, and the rest of the Clampetts embraced a far more traditional take on Beverly Hills splendor— the sprawling French Neoclassical mansion pictured in the series credits was designed by architect Sumner Spaulding in the early 1930s and renovated by the legendary designer Henri Samuel in the 1980s—Kutcher and Kunis approached their passion project from a decidedly more modest perspective. “We wanted a home, not an estate,” Kunis insists, describing the six-acre property that now accommodates a main house connected to a guesthouse/entertainment barn, as well as a freestanding barbecue pavilion, all arrayed along a central axis

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elaborately plotted to capture the beguiling views from, between, and through the various structures. “We wanted the house to look like an old barn, something that had been here for decades, that was then converted into a house. But it also had to feel modern and relevant,” Kutcher elaborates. The design-obsessed duo launched their five-year adventure by assembling independent Pinterest boards to flesh out their personal visions for the project. “Building a house from the ground up is no small thing. This was either going to make us or break us,” Kunis says of the potentially divisive undertaking. Happily, their aesthetic predilections seemed to dovetail neatly. “When we looked at each other’s boards, 90 percent of the images we selected were the same, and most of the houses we pinned were designed by Howard,” Kutcher recalls, referring to architect Howard Backen of the AD100 firm Backen & Gillam Architects. Backen, of course, is a master of the so-called modern farmhouse, renowned for his ability to coax a sense of poetry and a bright, contemporary spirit from distilled vernacular forms and rustic materials. The Kutcher/Kunis residence is a testament to his alchemical handling of reclaimed wood,

HECTOR FINCH PENDANTS ILLUMINATE THE SEBASTIAN COX KITCHEN BY DEVOL. FLOOR TILES BY TABARKA STUDIO, FIXTURES BY PERRIN & ROWE, AND LIGHT ABOVE BREAKFAST TABLE BY APPARATUS. BELOW THE PANTRY HAS SENECA TILES ON THE WALLS AND TABARKA STUDIO TILES ON THE FLOOR.

board-form concrete, and glass. “Howard is like a great software designer, someone who approaches design as an accentuation of function,” says Kutcher, who has broad experience in technology start-ups. “A software designer wants to get people where they want to be with the fewest clicks. Howard wants to get you where you want to be with the fewest doors and obstacles. He also knows that there are certain places where you want a barrier to mark a threshold and create a little friction,” Kutcher adds. For his part, Backen returns the compliment. “Ashton and Mila are two of the smartest, most inquisitive people we’ve ever worked with. We talked about everything from beam sizes to the details of the cross bracing to the junctures of the wood planks and concrete. These are not the kinds of conversations we have with every client,” says the architect. Stephanie Gerwin, Backen’s associate, seconds the notion. “They were out there with us, as genuine members of the design team, for every step of this long and complicated process,” she notes, emphasizing the couple’s commitment to creating a sustainable, nurturing home for themselves and their two young children, Wyatt and Dimitri. The house is entirely

SIGHT LINES EXTEND FROM THE BARBECUE PAVILION, ACROSS THE POOL, AND THROUGH THE MAIN HOUSE.

“Building a house from the ground up is no small thing,” Kunis says. “This was either going to make us or break us.”

ABOVE THE PRIMARY BATH HAS A DRUMMONDS TUB, GEORGE SMITH OTTOMAN, CORAGGIO SHEERS, AND A SILVER THRONE CHAIR CUSTOM DESIGNED BY KUTCHER ON A TRIP TO INDIA.

RIGHT AN INTIMATE COURTYARD HAS VIEWS THROUGH THE HOUSE AND OUT TO THE PANORAMIC HILLTOP SITE.

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LEFT IN A STUDY JUST OFF THE PRIMARY BEDROOM, A GEORGE SMITH SOFA WITH CUSHIONS IN ZAK+FOX TEXTILES IS JOINED BY STAHL + BAND CHAIRS, A CISCO HOME TABLE, AND AN ALLIED MAKER SCONCE.

ABOVE LOOKING OUT ACROSS THE VOLUMINOUS ENTERTAINMENT BARN, A GUEST ROOM HAS A CISCO HOME BED AND OTTOMAN AND VAUGHAN LAMPS. RIGHT AN RH TEEN LAMP HANGS IN THE GUEST BUNK ROOM.

AT ONE END OF THE OPEN LIVING/DINING ROOM, A MATTHEW COX TABLE WITH STAHL + BAND CHAIRS RESTS ON AN ANTIQUE RUG FROM WOVEN. A DE LA ESPADA DESK WITH A VINTAGE LAMP FROM OBSOLETE SITS IN THE CORNER.

powered by photovoltaics, concealed from view above the expansive porch that stretches along one side of the main structure. In fact, the house’s solar array produces significantly more power than the property requires, although antiquated municipal codes don’t exactly encourage energy sharing— a situation the homeowners hope will change in the future. “Ashton and Mila are concerned about the quality of the soil, the purity of the food they eat and the water they drink. The ideals of sustainability and regenerative farming aren’t just abstract concepts to them,” Backen avers. THE HOUSE’S REFINED architectural vocabulary and rugged

materials palette provided a springboard for the work of AD100 interior designer Vicky Charles of Charles & Co., who joined the project just as she was exiting her post as global head of design for Soho House. “We were obsessed with Soho Farmhouse and other projects Vicky spearheaded. We loved the way she mixed fabrics, patterns, textures—really her whole aesthetic,” Kunis says. “Mila was pregnant with their first child when we began this journey. We spent months looking at materials and colors to find the right visual language. Our conversations were not just about the land and the architecture but also about the future of their family,” Charles recalls. “Over time, the design moved away from a traditional farmhouse aesthetic to

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something more contemporary. Wrought-iron chandeliers and big chesterfields were the wrong clothes for this body,” she adds. In addition to new, crisply tailored tables and plush, supercomfortable seating, Charles incorporated elements from her clients’ previous homes, notably a set of custom silver throne chairs that Kutcher commissioned on a trip to India and an extravagant 10-foot-long crystal chandelier that seemed completely antithetical to the architecture’s humble forms and timeworn materials. “I got this job because I promised I could make a home for those, shall we say, formidable pieces,” Charles jokes. Ultimately she placed a pair of chairs in the primary bath—thrones for the throne room—and installed the chandelier in the towering entertainment pavilion. “We thought it would be funny to have this incredibly opulent thing hanging in a barn. It kind of takes the piss out of the property,” Kunis says of the improbable crystal confection. Notwithstanding those notes of self-effacing levity, the soul of the Kutcher/Kunis residence remains tied to the meticulous planning and fanatical attention to detail that the homeowners and their designers lavished on every aspect of the project. “To feel tranquility in a space, everything needs to be in order,” Kutcher concludes. “If the world around you isn’t in order, it’s hard to get your brain in order. When we’re in our home, the world just makes sense.”

“We wanted the house to look like an old barn, something that had been here for decades, that was then converted into a house,” Kutcher notes.

MONTAUK SOFAS, A VAUGHAN STANDING LAMP, AND AN ANTIQUE RUG FROM WOVEN INHABIT THE LIVING ROOM, WHERE THE SEAMS OF BOARD-FORM CONCRETE WALLS ARE PERFECTLY ALIGNED WITH RECLAIMED-OAK FLOOR PLANKS.

A PRIVATE GARDEN FEATURES A FOUNTAIN. LANDSCAPE DESIGN BY REES ROBERTS + PARTNERS. OPPOSITE THE LIBRARY BANQUETTE WEARS A CLARENCE HOUSE PRINT. SIDE CHAIR UPHOLSTERED IN A CRÉATIONS MÉTAPHORES FABRIC WITH HOULÈS TRIM; ANTIQUE SWEDISH STOOL WITH A CHRISTOPHER HYLAND HORSEHAIR CUSHION. WINDOW SHADES OF A LORO PIANA WOOL; ANTIQUE PERSIAN MALAYER RUG. FOR DETAILS SEE RESOURCES.

HISTORIC PERSPECTIVE

With verve and aplomb, Sheila Bridges sensitively updates a vintage country estate in upstate New York TEXT BY

CAMILLE OKHIO

PHOTOGRAPHY BY

FRANK FRANCES

STYLED BY

MIEKE TEN HAVE

enaissance woman in the truest sense, interior designer Sheila Bridges has hosted a TV show, published two books, and created the now-iconic Harlem Toile pattern every socially aware aesthete loves. The AD100 talent talks fast— ideas whirling out of her mind and mouth—and it can be tough to keep up. Searingly quick-witted, she somehow manages to balance charm, warmth, and humor without sacrificing her exacting eye. As layered as her interiors, this gracious spirit has used design as an avenue for experimentation and discovery for the last 30 years. “One of the things I really try to do in my interiors is to not use the same thing twice,” she says. There’s certainly no fear of repetition in a recent large project she completed in Bedford Hills, New York. Set on 23

acres of verdant land, the Cotswolds-style estate was originally built in 1936 by architect Phelps Barnum as a country escape for avid equestrians, whose passion is shared by Bridges and the current owner. With architect David Abelow overseeing the comprehensive renovation (his third project for the clients), Bridges was tasked with creating cozy, livable spaces within the historic 8,000-square-foot house, all while staying true to its elegant original spirit and the Art Deco details that remained. Those details served as a decorative starting point for Bridges, who did a deep dive into the history of the house and the area in preparation for her work. “My process always starts with a lot of research and design reconnaissance,” the designer explains. “It’s about discovery and learning.”

JACOB COLLINS. RAINER GROSS.

IN THE LIVING ROOM, A GEORGE SMITH SOFA UPHOLSTERED IN A COLEFAX AND FOWLER PRINT WITH BORDER OF A SAMUEL & SONS VELVET SITS ACROSS FROM A BESPOKE SOFA IN A BRUNSCHWIG & FILS TEAL VELVET. CURTAINS OF A CLAREMONT LINEN PRINT. VINTAGE BRASS-FRAMED TABLES; STARK CARPET. ARTWORKS BY JACOB COLLINS (ABOVE MANTEL) AND RAINER GROSS. OPPOSITE DESIGNER SHEILA BRIDGES, WEARING A SKIRT OF FABRIC PRINTED WITH HER ICONIC HARLEM TOILE PATTERN.

Though large, “the home feels more like a cottage than a grand mansion,” says Abelow. Bridges enhanced the feeling of intimacy by creating an independent decorative narrative within each zone, taking cues from the 1930s features still sprinkled throughout. One of the many well-preserved gems in the house is the pine-paneled library. Here, we see Bridges’s characteristically lush and playful layering come most vividly to life. Comfortable seating and a considered apportioning of the space makes the most of the limited natural light. Bridges upholstered the bay window’s curving seat in a deliciously

wild Clarence House print, depicting a Tibetan-inspired repeating tiger motif. Roman shades in a slightly more subdued Loro Piana textile offer a soothing counterpoint to the cushy riot underneath. Nearby in the living room, the historical integrity was maintained by preserving the delicate plaster medallions that pepper the ceiling depicting Tudor roses with soft curling petals, as well as a heraldic crest and lion. Grander still is the formal dining room, where lively custom scenic wallpaper showing the Bedford Hills property in a fictional past time

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“My process always starts with a lot of research and design reconnaissance,”Bridges notes. “It’s about discovery and learning.”

ABOVE THE REAR FAÇADE OF THE 1936 HOUSE. LEFT THE PRIMARY BEDROOM IS SWATHED IN AN EMBROIDERED FROMENTAL SILK. CURTAINS OF A CHRISTOPHER HYLAND VELVET. DMITRIY & CO. BED IN HOLLY HUNT MOHAIR WITH A CHARLES H. BECKLEY MATTRESS; ANN-MORRIS SWING-ARM LAMPS; WOOL OUSHAK RUG. OPPOSITE THE BATH FEATURES A VANITY BY DRUMMONDS AND WATERWORKS FITTINGS. HUDSON VALLEY LIGHTING PENDANT.

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ABOVE A CUSTOM-PAINTED WALLPAPER BY GRACIE SETS A BUCOLIC MOOD IN THE DINING ROOM. OPPOSITE ARCHITECT DAVID ABELOW OVERSAW THE SENSITIVE UPDATE OF THE KITCHEN. A FINE PAINTS OF EUROPE GREEN COLORS THE CABINETS. PIERRE JEANNERET STOOLS PULL UP TO A CALACATTA MARBLE–TOPPED ISLAND. NEWPORT BRASS SINK FITTINGS; WOLF RANGE AND BEST HOOD; VINTAGE LIGHT FIXTURES FROM REJUVENATION.

covers the walls. The clients had commissioned a handpainted mural for a previous home, which Bridges took inspiration from. A top contender in the battle for the home’s best original detail is the dining room’s exquisite limestone mantel, carved with the Latin inscription Dum spiro, spero, meaning “While I breathe, I hope.” A close runner-up might just be the refrigerator—a 1930s “icebox” with countless compartments, which the homeowners had refurbished by a specialist in Maine. WHEN IT CAME to the main house’s five bedrooms, each of

which has its own bathroom, Bridges changed her usual approach. “Usually I come up with a scheme for the bedroom, and the bathroom flows from there,” she notes. “Here, I worked backward in a way, starting with the bathrooms because all of them were original.” The clients’ fastidiousness was such that even faucets and handles were sent out to be refurbished, rather than opting for contemporary replacements. In the bath off the green bedroom, original Art Deco tile frames the mirror. The asparagus green of the tile

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reappears in the quaint Farrow & Ball wallpaper depicting farmscapes (a subtle nod to the estate itself ) that covers the adjoining bedroom’s walls. “They love clean walls without a lot of art,” Bridges shares, referencing the fanciful wall coverings that proliferate through the house. “So the wallpaper serves as art itself.” Embroidered blossoms in a large-scale Fromental silk sprout on the walls of the primary suite, where a Dmitriy & Co. bed, richly upholstered in a Holly Hunt mohair, takes center stage. Through the sumptuous Christopher Hyland velvet curtains you can catch a glimpse of a majestic totem pole, originally erected on the grounds of a family property of the wife’s in Canada, now at home here. Outdoor space, not surprisingly, is a focal point for this country retreat. Leaded-glass French doors open off a separate family room into a “secret garden” designed by landscape designer David Kelly of Rees Roberts + Partners. Boxed in by tall hedges, the garden lends itself to contemplation, aided by the sounds of trickling water coming from the central fountain and its two adjoining pools. There is also a swimming

“One of the things I really try to do in my interiors is to not use the same thing twice.”

ABOVE A FARROW & BALL WALLPAPER WRAPS ONE OF THE GUEST ROOMS. CIRCA 1890 FRENCH BED; ALT FOR LIVING PILLOWS; VINTAGE JANSEN BEDSIDE TABLES; ANN-MORRIS SWING-ARM

LAMPS; STARK CARPET. LEFT A GUEST BATH’S GREEN TILE, SINK, TUB, AND FITTINGS ARE ORIGINAL TO THE HOUSE. HINES & CO. WALLPAPER; SCHOOLHOUSE LIGHT FIXTURE.

pool and poolhouse, from which you can glimpse breathtaking views of the sweeping acreage. Other outbuildings include a new wood barn by Abelow and a historic stone stable with an addition housing a gym and squash court by the architect. NOSTALGIA AND A RESPECT for history are as present in this

home as they are in the rest of Bridges’s practice. Unique in its restraint, this project rounds out her richly varied oeuvre, which is defined by her deployment of often surprising color combinations and a fearless blending of periods and prints. The designer’s adaptability has made her uniquely suited to the challenges a pandemic-ravaged year has wrought, but this skill at managing change did not come easy. She’s faced more than her fair share of adversity in a field where not many people look like her, and she has traversed this rugged terrain with grace and acumen. “My business closely follows the economy,” she observes. “That’s why I’ve had such a diverse career—why I was on television, why I wrote a book, and why I was a contributor on NBC. I had to diversify in a way that would allow me to survive.” Bridges’s hard-won understanding of how the past connects to the present—both on a personal level and in the world at large—helps her envision spaces rich in meaning and intimate in feeling. That insight can be felt in this and all of Bridges’s other projects, proving that there are indeed countless ways to achieve and see beauty.

SIGURSOL (LEFT) AND KORKI, A PAIR OF ICELANDIC HORSES, GRAZE OUTSIDE THE PROPERTY’S HISTORIC STONE STABLE.

design notes

THE DETAILS THAT MAKE THE LOOK

A PAINTING BY TRACY GRAYSON HANGS OVER A DMITRY & CO. SOFA IN THE LIVING ROOM. 1940s ITALIAN CHANDELIER.

VINTAGE PENDANT BY ABOLITE; $900. REJUVENATION.COM

TREE OF LIFE LINEN BY CLAREMONT FURNISHING FABRICS; TO THE TRADE. WARNERTEXTILE ARCHIVE.CO.UK TIBET FABRIC; TO THE TRADE. CLARENCE HOUSE.COM

POMPEII AMPHORA VASE BY FASANO CERAMICHE; $298. THEARK ELEMENTS.COM

THE ALBEMARLE MANTEL; $15,300. CHESNEYS.COM

EMPIRE-PERIOD MAHOGANY COMMODE; $6,658. JULIABOSTON.COM

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INTERIORS: FRANK FRANCES; ART, TRACY GRAYSON. ALL OTHERS COURTESY OF THE COMPANIES.

I love pattern play; I love color; to me the more multilayered an interior is, the more interesting, the more successful it is.” —Sheila Bridges

FOOTMAN’S CHAIR; $2,880. JAMB.CO.UK

PORRINGER BY SHEILA BRIDGES FOR THE SHADE STORE; PRICE UPON REQUEST. THESHADESTORE.COM

PRODUCE D BY MAD ELINE O’MA LL EY

A 1940s PEAR-WOOD DESK BY CARLO DE CARLI STANDS IN THE DRESSING ROOM.

SALVAGED-WOOD X-BASE RECTANGULAR DINING TABLE BY TIMOTHY OULTON FOR RH; $3,625. RH.COM MALABAR COTTON BY COLEFAX & FOWLER; TO THE TRADE. COWTAN.COM MANNING SISAL; TO THE TRADE. STARKCARPET.COM

BOTERO VASE BY MALAIKA; $65. MODA OPERANDI.COM

If you have a respect for history, that can help establish a direction.” BOSTON LIBRARY LIGHT BY CHAPMAN & MYERS FOR VISUAL COMFORT; $549. CIRCA LIGHTING.COM

ATLANTA SOFA; PRICE UPON REQUEST. ORIORFURNITURE.COM

SKIRTED STORAGE OTTOMAN AND THROW PILLOW IN HARLEM TOILE DE JOUY BY SHEILA BRIDGES FOR THE INSIDE; $349 AND $69 RESPECTIVELY. THEINSIDE.COM

REGENCY-STYLE CHAIRS SURROUND A CUSTOM OAK DINING TABLE BY HASKELL STUDIO.

IN THE LIVING ROOM OF THIS NEW YORK TOWN HOUSE, A REGENCY-STYLE MANTEL AND AN ANTIQUE STUDDED BUFFET MINGLE WITH A 1902 MOSQUE CHAIR BY CARLO BUGATTI, A MIRROR BY MISHA KAHN, A CIRCA 1960 MASK BY JACQUES SAGAN, AND A COCKTAIL TABLE BY ADO CHALE. THE PAINTING TO THE LEFT OF THE FIREPLACE IS BY FRIEDRICH KUNATH.

FRIEDRICH KUNATH.

HOUSE BLE

In this West Village town house, architect Steven Harris and designer Julie Hillman create a spirited harmony of old and new TEXT BY

HANNAH MARTIN

PHOTOGRAPHY BY

MANOLO YLLERA

trolling the shady, brownstonelined streets of the West Village, every now and then you get a peep at what exists behind those stately, centuries-old façades. Maybe it’s the glowing sphere of a Noguchi lantern, lit up at night. Or a cozy library lined in books. But a glimpse inside one of the neighborhood’s historic 1830s town houses just might stop you in your tracks. Picture this: a bronze, balloon-like Misha Kahn mirror, a plywood-andalabaster daybed by Rick Owens, a fringed chair by the Italian Art Nouveau master Carlo Bugatti, and perhaps, amid it all, a teenage kid headed upstairs to do homework.

“I mean, Bugatti?” gushes AD100 interior designer Julie Hillman, who met her aesthetic match in this up-for-anything client. “Very few people even understand Bugatti, much less will put Bugatti with an antique fireplace, a Misha Kahn mirror, and a French country studded cabinet. But that’s who she is. The more experimental we got, the more the client liked it.” After raising their three kids in an apartment on the Upper East Side, the clients—a family of five—sensed a kind of gravitational pull downtown. “We just felt the energy of the city,” recalls the wife. Her husband was nostalgic for his salad days, when, as a graduate student at NYU, he spent hours playing chess in Washington Square Park. Every weekend the family found themselves heading toward those

CHRIS OFILI. MATT CONNORS. MICHAEL KREBBER. WILL BOONE.

BELOW IN THE ENTRY, A CIRCA 1911 ARMCHAIR BY HANS GÜNTHER REINSTEIN SITS WITH ART BY (CLOCKWISE FROM TOP RIGHT) CHRIS OFILI, MATT CONNORS, MICHAEL KREBBER, AND WILL BOONE. RIGHT THE CALACATTA ICE–CLAD KITCHEN IS TEMPERED WITH A WOOD DINING TABLE FROM TUCKER ROBBINS, A BODY BUDDIES BREAST BOWL BY BNAG, AND LIGHTING BY ATELIER VAN LIESHOUT. ALL FITTINGS ARE BY DORNBRACHT.

lower Manhattan blocks, beloved for their bustling bric-a-brac of shops, restaurants, and charming old homes. When they settled on a 19th-century Greek Revival town house, complete with an erstwhile musical composer’s studio overlooking a 90-year-old sycamore tree out back in the garden (Rees Roberts + Partners would later revamp that space), they tapped AD100 architect Steven Harris to recalibrate the floor plan. He and his team knew the house well—after all, they had been consistently working with its different owners over the past 25 years. For this family, Harris explains, “we took advantage of every square inch available, redeploying bits of space here and there.” An addition on the back of the house allowed the kitchen and main bedroom to extend over the garden, under which they carved out a basement space for a

music room and gym. Somewhere along the line a homeowner had scrapped the front stoop, meaning visitors entered at the garden level; Harris kept it this way, making the south-facing parlor-floor living room, with its tall ceilings and gracious scale, “the best room in the house.” But while the architecture prioritized function and maximizing space within the nearly 200-year-old structure, the interiors were far more fantastical, highlighting the homeowners’ art collection and developing taste for bespoke design, none of which were sacrificed for that more conventional notion of “a family home.” “Some clients might say, Well, let’s do collectible design in the formal living spaces,” explains Hillman. “With this client, we did it in every single room.” As a result, the home reads like

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JENNIFER GUIDI. JOHN ARMLEDER.

IN THE DINING ROOM-SLASH-LIBRARY, A NACHO CARBONELL CHANDELIER CROWNS A CUSTOM DINING TABLE WITH BRONZE BASES BY ERIC SCHMITT AND VINTAGE CHAIRS BY AXEL EINAR HJORTH AND PIERRE JEANNERET. A SNAKE SCULPTURE BY JENNIFER GUIDI AND PAINTING BY JOHN ARMLEDER.

CLOCKWISE FROM RIGHT AN ERIC CROES BENCH IN THE VENETIAN PLASTERENCASED MUDROOM. IN THE DAUGHTER’S BEDROOM, A CUSTOM BED IS FLANKED BY DOUG JOHNSTON PENDANTS. THE SPIRAL STAIRCASE IS ACCENTED WITH A BRASS HANDRAIL AND BESPOKE LIGHTS BY ROGAN GREGORY NESTLED INTO THE WALLS.

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“The more experimental we got, the more the client liked it.” —Julie Hillman

ABOVE AN AFRA AND TOBIA SCARPA FLOOR LAMP, CAMPANA BROTHERS ARMCHAIR, AND WENDELL CASTLE COCKTAIL TABLE IN THE LIVING ROOM. PAINTINGS BY GÜNTHER

FÖRG (OVER THE CUSTOM SOFA) AND JOSH SMITH. RIGHT AN ALABASTER PENDANT BY BRUNO MOINARD ÉDITIONS AND MIRROR BY LIND + ALMOND IN THE POWDER ROOM.

ABOVE THE MARBLE-CLAD MAIN BATH FEATURES A MIRROR BY EILEEN GRAY, A PENDANT BY DAVID WISEMAN, AND A HORSEHAIR STOOL BY J. M. SZYMANSKI. FITTINGS ARE BY FANTINI RUBINETTI. OPPOSITE PAINTED A HIGH-GLOSS BENJAMIN MOORE BLUE, THE HOMEWORK ROOM IS ACCENTED WITH CHARLOTTE PERRIAND SCONCES AND A SHAGGY RUG BY SWISS ARTIST CHRISTOPH HEFTI.

a roster of today’s top design stars: a fluffy Campana Brothers chair in the living room, a sculptural Nacho Carbonell fixture above the dining table, a hulking Haas Brothers fireplace in the main bedroom. When tasked with lighting the spiral staircase, Hillman commissioned sculptor Rogan Gregory to carve out glowing, site-specific niches in the walls. And even in the mudroom, elegantly coated in matte-black Venetian plaster, a solid bronze bench by Eric Croes was a perfect fit for the petite entry.

One thing

the client had specially requested was a dramatic entryway. And just past the mudroom, Hillman delivered: a soaring gallery with a graphic marble floor that offers a taste of her clients’ expansive art collection—an eyepopping sculpture by Matt Connors; paintings by Michael Krebber, Chris Ofili, and Will Boone—assembled with the help of Jodi Dady and Maureen Mahony of Mahony Dady Art Advisory. Around the house, more of that blue-chip art and design mixes effortlessly with custom-made upholstered pieces and lots and lots of high-impact marble. The client was involved

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in all of it—“I had her go to the upholsterer,” explains Hillman. “We wanted her to sit on everything to know exactly what she was getting.” The same went for the stone yard where Hillman and her client went for gutsy specimens, like the kitchen’s Calacatta Ice island, which Hillman softened with a raw-edge wood table from Tucker Robbins. Somehow the spaces never get too precious. Upstairs, when Hillman noticed the way the eye was drawn to the small anteroom at the end of the hall, she gave it a coat of blue lacquer and turned it into a homework room—complete with Charlotte Perriand sconces and a shaggy rug by Swiss textile designer Christoph Hefti. On the ground level, around a sitespecific, Jean-Michel Frank–inspired plaster fireplace, the family gathers to hang out and watch TV. And below that, in the basement, the husband holes up in his ultimate man cave: a soundproofed music room. “It’s like a wine cellar, but for guitars,” dishes Hillman. As New York emerges from the global pandemic that shuttered restaurants and bars for more than a year, this family can’t believe their luck to have a town house at the center of it all. Now, the client reports, “we want all our friends to move downtown.”

family style

Architecture and design firm Sachs Lindores channels the youthful charm of their clients in a Berkshires farmhouse layered with personality TEXT BY JANE KELTNER DE VALLE PHOTOGRAPHY BY STEPHEN KENT JOHNSON STYLED BY MICHAEL REYNOLDS

JED, VICTORIA, AND OTIS CAIRO WITH DOG CLEO OUTSIDE THEIR BERKSHIRES HOME.

FAMILY-ROOM SOFAS BY JOHN DERIAN AND OLE WANSCHER JOIN AN OTTOMAN CLAD IN AN ANTIQUE KILIM. SVENSKT TENN WALLPAPER. OPPOSITE WINDSOR CHAIRS CUSHIONED IN A CLAREMONT FABRIC IN THE DINING ROOM. VINTAGE ANDERS PEHRSON PENDANT. BJØRN WIINBLAD LAMP.

oung couple seeks retreat from city life. It’s a tale as old as Manhattan. Four years ago, when Victoria and Jed Cairo bought a weekend house in the nearby Massachusetts Berkshires, they were newly engaged and pictured a place where friends and family would come for rollicking weekends filled with nature walks, bonfires, and libations. Of course, as the saying goes, you plan and God laughs. First came marriage; then they discovered they had a child on the way—son Otis is now 20 months. Then in March 2020, just as the pandemic was circling overhead, they packed their car for what they imagined would be a week or two of solitude in the country. Fourteen months later, they haven’t left. “Before this, we’d always joke about what it would be like to live here full-time,” says Victoria. “Now we’re getting to see.” The house is where Otis has learned to sit, crawl, walk, and talk. His first foods were eggs and vegetables from a farmstand down the road. “The other day, he was picking flowers in the grass, watching bees buzz around, and a butterfly landed on a nearby plant. I realized those are experiences he never would have had in the city.” It’s not a forever move, the couple say, but it is one that makes sense at a moment in time when

they’re lucky enough not to have anything pinning them down. Jed’s career as cofounder of an investment firm offers him geographic flexibility, Victoria had already stepped back from her work as a journalist to focus on family and study to practice as a doula, and Otis isn’t yet school age. The Cairos first became acquainted with the bucolic area renting Airbnbs in the early days of dating. They had tested out the Catskills and Hudson Valley but fell in love with the Berkshires for its natural beauty, flourishing food scene, and cultural offerings. During long weekends playing house in other people’s homes, they eventually began looking at properties “just for fun,” Victoria explains. “Jed browses Zillow the way the rest of us look at Instagram.” They knew they wanted a place of their own eventually, and “we’d see these beautifully restored 18th- and 19th-century farmhouses, but they’d be right along major highways.” They wanted peace and quiet, not the sounds of cars whizzing by. Their current home was the last they saw on one particular day of window shopping. The listing had looked dark, dingy, and small, and they almost skipped it. Then they drove down the dirt road leading to the property, and before their eyes lay a charming 1870s farmhouse with two original barns and a chicken coop, flowers blooming all around. It needed work, though—and as they started compiling mood boards, their imaginations kept returning to a particular

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OPPOSITE THE CAIROS WILL BE A FAMILY OF FOUR IN THE NEAR FUTURE. LANDSCAPE DESIGN BY OLD FARM NURSERY. RIGHT MATHIEU MATÉGOT PENDANTS LIGHT THE KITCHEN ISLAND. CAROLINA IRVING & DAUGHTERS PLATTER, PIERRE CHAPO STOOL, VIKING RANGE.

guesthouse they had stayed in a year and a half prior. It was furnished with an eclectic mix of antiques and good art. They dug up the listing and discovered that it belonged to Daniel Sachs and Kevin Lindores, the designer-and-architect couple whose practice counts superstar photographers Inez van Lamsweerde and Vinoodh Matadin among its clients. “We were like, they’re never going to take on our small project,” Victoria said. The couple had the naive idea that they would simply redo the kitchen and bathrooms and slap some white paint on the walls. Once they started doing site visits, explains Victoria, “we were like, ‘If only there was one more bathroom upstairs, or we opened a wall here.’ ” THEIR SMALL PROJECT quickly morphed into a substantial

one. “The house was charming, intimate, and sweet,” notes Sachs, “but not well thought out in terms of living spaces.” The cramped kitchen had a chimney going through it. Three of the four bedrooms shared one bath. The first thing they did was knock out the chimney and expand the kitchen (“We learned a lot about fire codes,” quips Victoria). They enlarged the small screened porch to create a gracious space for lounging and entertaining, added window seats throughout,

and moved the staircase four inches to allow enough space for a second corridor. One of the most dramatic transformations came by way of turning an oversized garage into a lofty family room. Victoria recalls the moment Lindores “climbed up in the gross, bee-infested crawl space and noticed there was this amazing roof up there. He was like, ‘This could be a much cooler space.’ ” The tongue-in-groove paneling now wrapping the pitched ceiling is echoed throughout the house, “unifying rooms that were disparate in the way they looked and felt,” says Lindores. “The house had a rustic feel, and we decided to make it more of a proud house. We gave it more authority,” adds Sachs. Just as the roofing was about to start, Jed proposed adding dormer windows to the second floor and reshuffling that level’s layout to allow for the addition of a second bath. “It was really smart,” Lindores says. “The construction process took two years,” says Victoria. “I would say we were definitely first-time renovators in the way we approached it.” The decorating unfolded in a similar fashion. Victoria initially had visions of zen minimalism, “but then I’d end up choosing something extremely exuberant,” she says. Finally, Sachs told her, “I know you say you want something white

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LEFT THE PRIMARY BATH IS OUTFITTED WITH LES INDIENNES– WRAPPED WALLS, DRUMMONDS TUB AND FITTINGS, AND A FRITS HENNINGSEN TABLE. ABOVE A LEE JOFA WALL COVERING IN A GUEST BATH. RH CEILING LIGHT, JACQUES ADNET MIRROR, SCHOOLHOUSE SCONCES.

A SVENSKT TENN WALLPAPER BLOOMS IN A BEDROOM. PIERRE FREY FABRIC CUSHIONS THE WINDOW SEAT. VAUGHAN SCONCE, CHELSEA TEXTILES CHAIR.

LEFT JED ON A MEXA IXTAPA LOUNGE CHAIR. CLÉ TILES COVER THE FLOOR, TOPPED WITH A CHARLAP HYMAN & HERRERO RUG. FRANCO ALBINI OTTOMAN BY SIKA-DESIGN AND TINE K HOME SOFA COVERED IN A KRAVET FABRIC. CROFT HOUSE COCKTAIL TABLE. BELOW IN THE LIVING ROOM, JOHN DERIAN CHAIRS BOOKEND A GEORGE NAKASHIMA COCKTAIL TABLE. THE MANTEL HOSTS A MEXICAN BULL MASK AND RENÉ BUTHAUD VASE, WITH A JEAN-MICHEL SCHMITT ARTWORK ABOVE.

“We spend a lot of time reading,” Victoria Cairo says. “I leave the screens open and let the breeze come in.”

and spare, but everything you’re sending me is color, print, and tchotchkes. I think maybe that’s what you actually want.” The lively Josef Frank printed fabric that wraps the couple’s headboard was originally set against dark-gray walls, but the juxtaposition didn’t feel right. Sachs suggested continuing the pattern on the wall behind the bed, “totally changing the vibe,” she says. “It was funny because every time we did a design meeting, we’d be like, ‘Is it going to be too much? And once we’d settled on a plan, we were like, ‘Actually, how can we make it a little crazier?’ ” The high-low mix of furnishings, from American antiques to Danish Modern, sets a relaxed yet stylish tone. “Antiquing makes it sound like we’re doing only the finest, but in the end it’s a great way to have an edited group of objects,” says Sachs. “It’s not a house that has a lot of name-brand items in it. It’s more a house that’s young, charming, and a reflection of the client.” The Cairos most recently enlisted Sachs Lindores to transform one of the small barns on the property into a studio apartment. They will also install a swimming pool, nestling it amid a romantic field of wildflowers, and renovate the big barn into a poolhouse with guest accommodations and a great room. “As we were starting to wrap up, it turned out we were having another baby,” says Victoria. With that second child due any day now (she’s planning a home birth), “suddenly our fourbedroom house doesn’t seem that big. We didn’t realize when we bought this place how fast you can fill it up when you start building a family.”

“We decided to make it more of a proud house,” says designer Daniel Sachs. “We gave it more authority.”

ABOVE THE PRIMARY BEDROOM FEATURES A JOSEF FRANK PRINT. CHELSEA TEXTILES BEDSIDE TABLES, DCW ÉDITIONS SCONCES. OPPOSITE A CUSTOM FIREPLACE BY MALM FIREPLACES, A JACOB HERMANN CHAIR IN A JOSEF FRANK FABRIC, GREEN VASE PLANTS FROM JOHN DERIAN, BENI OURAIN RUG.

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design notes

THE DETAILS THAT MAKE THE LOOK

A PURPLE-CUSHIONED WINDOW SEAT LINES ONE SIDE OF THE FAMILY ROOM.

CARRICK LEAF WALL LIGHT; TO THE TRADE. VAUGHAN DESIGNS.COM

2043 PENDANT; FROM $3,554. PERZEL.COM

SAGOTRÄDET WALLPAPER BY JOSEF FRANK FOR SVENSKT TENN; $150. SVENSKTTENN.SE

MOROCCAN VASE; $75. HAY.COM

MALIK RUG BY JUSTINA BLAKENEY FOR LOLOI; FROM $299. LOLOIRUGS.COM

FLEUR DE STEPPES COTTON BY DÉCORS BARBARES; TO THE TRADE. JOHNROSSELLI.COM

BROOK SOFA BY JOHN DERIAN FOR CISCO BROTHERS; $7,805. JOHNDERIAN.COM

In the end, all the crazy colors, patterns, and decorative items are the things that bring us the most joy. They make the house come alive.” —Victoria Cairo 90

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OTTOMAN BY FRANCO ALBINI FOR SIKA DESIGN; $745. SIKADESIGNUSA.COM

PRODUCE D BY MA DELINE O’MAL LEY

PETAL CHAIR; $1,752. CHELSEATEXTILES.COM

MILO BAUGHMANN’S “SCOOP” ROCKING CHAIR STANDS IN OTIS’S ROOM.

RED YORK STRIPE COTTON; $204 PER YARD. FERMOIE.COM MIDCENTURY CERAMIC PITCHER BY STIG LINDBERG; $895. 1STDIBS.COM

We kept laughing about how crazy everything looked when we would lay it all out on the table, but when we actually put things together in these rooms, they have a certain calmness.”—Daniel Sachs

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

KATSINA HANDWOVEN PILLOW; $650. NZURITEXTILES.COM

ORCHA LINEN; TO THE TRADE. PETERDUNHAM TEXTILES.COM

A GLIMPSE INTO A GUEST BEDROOM.

NATURAL SHEEPSKIN RUG; $995. RH.COM

TUCKER DINING CHAIR; $198. SERENAANDLILY.COM

IN THE LIVING ROOM A SULTANABAD CARPET FROM BAZAR ORIENTAL RUGS LAYS THE GROUNDWORK FOR CUSTOM TUFTED SOFAS DRESSED IN A SCHUMACHER SILK VELVET; ANTIQUE CHAIRS COVERED IN BRUNSCHWIG & FILS’ LE LAC. FOR DETAILS SEE RESOURCES.

Architect Peter Pennoyer and decorators Miles Redd and David Kaihoi mastermind a majestic home for a young Ohio family

TEXT BY

JANE KELTNER DE VALLE

PHOTOGRAPHY BY

RYAN KURTZ

STYLED BY

JESSIE CUNDIFF

GREAT ROOMS

WILLIAM STUART THORNTON.

THE FAMILY GATHERS; A BLACK FOREST BEAR CHAIR HOSTS THE SON. OPPOSITE RUSSIAN NEOCLASSICAL CHAIRS CUSHIONED IN A CLARENCE HOUSE COTTON VELVET SURROUND A CUSTOM FAUX PORPHYRY-TOP DINING TABLE FABRICATED BY AGUSTIN HURTADO. CUSTOM DE GOURNAY “EARLY VIEWS OF INDIA” WALL COVERING.

onventional wisdom tells you to always take the call. So when a young couple from Cleveland dialed the Redd Kaihoi office asking to speak with Miles Redd, that is exactly what the AD100 superstar did. “They just gave the phone right to him,” marvels the client, who told Redd she and her husband were looking to design their forever home. Redd explained that a project of this scope was like a marriage, and suggested they meet in person. Cocktails in the Renzo Mongiardino– designed tearoom at The Carlyle in Manhattan confirmed immediate chemistry. As the clients exited, the wife recalls, “My husband, who is very analytical, turned to me and said, ‘Well, that’s done!’ ” The couple had found their decorator. The only problem: There was no house to decorate. The 29 acres they had purchased boasted picturesque ponds, horse trails, and a ravine—all of which would inspire landscape architect Edmund Hollander—but no structure. Combing the AD100 list, they whittled it down to “the few architects who are capable of doing traditional,” notes the wife. Classicist Peter Pennoyer’s cerebral approach caught their eye. When the husband phoned the architect and asked if he had ever

worked in Cleveland, Pennoyer said, “Tell me what street you’re on.” Serendipitously, the architect was knee-deep in a project on the abutting property. Fate had spoken. “In terms of style, they were really trusting. They challenged us to do something special. They didn’t say, ‘Here’s a picture of a house I like. Do this.’ ” Pennoyer channeled the Arts and Crafts vocabulary of early-20th-century architects such as Britain’s C.F.A. Voysey and Sir Edwin Lutyens and America’s Harrie T. Lindeberg. The whitewashed brick façade has symmetry at the center, then spreads out in the style of a rambling country estate with gabled and turret-like roofs. “I think it’s really important to look at precedents and context but also to actually draw it yourself and not just rely on a pattern-book approach,” says Pennoyer. “That is what gives a sense of timelessness—the way you treat the materials, how the windows are set in the walls. It’s something you don’t notice when it’s done right.” For the clients, multigeneration Clevelanders, working with local artisans was a significant detail: “The home is a real testament to the craftsmanship and trades right here in our hometown,” the husband exults. If the couple were somewhat agnostic when it came to the exterior architecture, the inside of the house was another matter.

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THE HOUSE’S REAR FAÇADE, OVERLOOKING LUSH GREENERY AND A POND. HOLLANDER DESIGN LANDSCAPE ARCHITECTS ENVISIONED THE BUCOLIC GROUNDS.

“They were interested in traditional architecture but something that would really command the landscape, have beautiful views, and seem appropriate to the area.” —Peter Pennoyer

ABOVE THE POWDER ROOM IS TENTED IN IKSEL-DECORATIVE ARTS’ KUBILAI’S TENT WALL COVERING WITH SCONCES FROM CIRCA LIGHTING. ABOVE RIGHT IN THE BREAKFAST NOOK, SERENA & LILY CHAIRS SURROUND A SAARINEN TABLE. THE BANQUETTE IS UPHOLSTERED IN A BRENTANO FABRIC.

“They were organized about their wish list and thoughtful about how they wanted to live in a room, which I think really helped both Miles and me,” Pennoyer says. “It’s great to see young people have that confidence.” Among their mandates were a first floor that would house their personal suite plus the majority of living and entertaining spaces, “so when the kids are in college we can kind of shut down the upstairs,” the wife explains, adding, with a laugh, “We’re planners” when it is pointed out that their children, a daughter and a son, are eight and four. “WE HAD LIVED in an open floor plan before, and it wasn’t for

us,” the wife continues, so Pennoyer responded with an enfilade that spans the ground floor, and a promenade that “creates this experience of walking from room to room that’s really special.” At the top of the main staircase, for instance, there’s a bridgelike hall overlooking the double-height living room. “It’s that getting from the front door to your bedroom door or your children’s where you exploit the various vantage points.”

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“Miles and David have this amazing ability to borrow from the past but keep it modern and fresh,” the wife says.

LEFT THE FAMILY ROOM FEATURES A BAR CANOPIED WITH A CHINA SEAS STRIPE; BALLARD DESIGNS STOOLS, MILES REDD FOR BALLARD DESIGNS DINING CHAIRS AROUND A TABLE FROM ORGANIC MODERNISM, FAUX-BOIS WALLS BY PRO FAUX. ABOVE A CUSTOM FLOOR FROM GLOBUS CORK PAVES THE BUTLER’S PANTRY, WHICH IS PAINTED IN BENJAMIN MOORE’S HIGH GLOSS CHROME GREEN.

Having the architect and designer in place from the beginning also allowed for creative cross-pollination. “We worked very closely with Miles and David [Kaihoi, his business partner] to set it up for their decoration,” says Pennoyer. Amazingly, it was also the first time he and Redd had worked together. “To me it was such a logical pairing,” says the client. “Peter’s proportions allow Miles’s decorating to shine, and Miles’s colors highlight Peter’s architecture.” In the living room, Redd Kaihoi tempered the 20-foot coffered ceiling with glossy taxicab-yellow walls to “make the space more playful.” Mossy velvet sofas wrap the walls, and tall potted palm trees evoke what Redd calls “an Edwardianconservatory feel—you need height.” No small task when it came to filling the wall space. “You have to hang things so it doesn’t feel empty and bare,” Redd explains, “but if you only do pictures it can get pricey. Blue-and-white jars on brackets created relief and dimension without breaking the budget.” HAVING THE BENEFIT of “a very focused three years of shopping

the auctions,” notes Kaihoi, served them well. “We could afford to be patient and wait for the right things to come along,” the wife adds. Among those was a series of eight-foot-tall 1920s polychrome panels that were plucked from a Dorothy Draper project in Dallas and placed in the entrance hall. “That was our hallway moment,” Kaihoi says, adding that the brilliant blue paint chosen for the chinoiserie staircase followed from there. As for the limestone-look block wall covering that

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wraps the space, Redd says, “We thought that real limestone would feel too embassy-esque.” Evocative wallpapers set the scene throughout. The de Gournay Indian sequence in the formal dining room is a wink to Nancy Lancaster’s famous Tobacco Bedroom, while the red-and-white family room, with a canopied bar, echoes redaccented interiors at the Duke and Duchess of Windsor’s country house. “It was about making a fantasy room that still works with the formality of the rest of the house,” says Redd. That kind of gallant irreverence was exactly what attracted the clients to Redd Kaihoi in the first place, says the wife. “We have a ton of antiques, but it doesn’t feel like we’re living in an old English manor. I feel like they got us. I remember saying when we first interviewed Miles that I have all these disparate visions of what I like in my head, and I need someone to get in there and make it all feel cohesive. He did that. He almost knows us better than we know ourselves in that sense.” Of course, not everything could have been predicted. The pandemic that set in shortly after the home was completed means entertaining has been on hold, though the couple happily report that each room is used and enjoyed. “It’s a testament to how inviting the decor is,” says the wife. “Whenever I can’t find our daughter, she’s in that two-story living room curled up in the corner of a sofa reading or on her iPad. The room I thought would be the most intimidating is the one she gravitates toward.”

AN IKSEL-DECORATIVE ARTS WALL COVERING TRANSFORMS THE PRIMARY BEDROOM INTO A VIRTUAL GARDEN. THE CUSTOM DOMED CANOPY IS UPHOLSTERED IN A SAISILKS SILK TAFFETA AND BROWN LEATHER FROM GLOBAL LEATHERS; GLASS-BEADED FRINGE FROM SAMUEL & SONS. OPPOSITE A VIEW OF THE LANDSCAPE.

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

INTO THE WOODS PAGES 48–57: Architecture by Backen & Gillam Architects; bgarch.com. Interior design by Charles and Co.; charlesandco.com. Landscape design by L.Z. Design Group; lzdesigngroupinc.com. PAGES 48–49: Sofa; ciscohome.net. PAGE 50: Custom sofa in Pindler outdoor fabric; pindler.com. PAGE 51: Sebastian Cox Kitchen by deVOL; devolkitchens.co.uk. Tim pendants; hectorfinch.com. Perrin & Rowe sink fittings; houseofrohl.com. Pendant above table; apparatusstudio.com. Floor tiles; tabarkastudio.com. In pantry, tile on walls; senecatiles.com. Floor tile by Tabarka Studio. PAGE 54: In primary bath, Tay cast iron skirted bathtub; drummonds-uk.com. Soho ottoman; georgesmith.com. Window sheers; coraggio.com. Custom silver throne chair purchased in India. In primary bedroom’s sitting area, George Smith sofa with cushions in Zak+Fox textiles; zakandfox.com. T chairs; stahlandband.com. Custom table; ciscohome.net. Sconce; alliedmaker.com. PAGE 55: In guest room, bed and ottoman; ciscohome.net. Bedside lamps; vaughandesigns.com. In guest bunk room, Avril tiered pendant light; rhteen.com. PAGE 56: Dining table; matthewcox.com. Campaign dining chairs; stahlandband.com. Antique rug; woven.is. Drape desk (in corner); delaespada.com. Vintage desk lamp; obsoleteinc.com. PAGE 57: In living room, Jill sofas; montauksofa.com. Standing lamp; vaughandesigns.com. Antique rug; woven.is. HISTORIC PERSPECTIVE PAGES 58–69: Interior design by Sheila Bridges; sheilabridges.com. Architectural and interior renovation by Abelow Sherman Architects; abelowsherman.com. Landscape design by Rees Roberts + Partners; reesroberts.com. PAGE 58: Fountain designed by David Kelly; reesroberts.com. PAGE 59: On banquette, Tibet fabric in Charcoal; clarencehouse.com. On side chair, Nircel in Rouge; metaphores.com, with trim; houles.com. 1830s Swedish birch stool; evergreenantiques.com, in blue/gray horsehair; christopherhyland .com. Window shades of Ginevra wool; loropiana.com. Circa 1900 Persian Malyayer wool rug; dorisleslieblau.com. PAGE 60: Harlem Toile de Jouy fabric; sheilabridges.com PAGE 61: In living room, sofa; georgesmith .com, in Malabar cotton blend in Green by Colefax and Fowler; cowtan.com, and Sloane Velvet Border; samuelandsons.com. Custom sofa in La Pagode Velvet viscoselinen in Teal by Brunschwig & Fils; kravet.com. Curtains of Tree of Life fabric; claremontfurnishing.com. Vintage brass and rose mirror side tables (as cocktail tables); 1stdibs.com.

PAGE 62: In bath, Double Lowther

Vanity Basin Suite; drummonds-uk.com. Astoria low profile cross handle faucets in polished nickel; waterworks.com. Columbia Pendant with honeycomb pattern glass shade; hudsonvalleylighting .hvlgroup.com PAGE 63: In bedroom, on walls, Silk wallcovering; fromental.co.uk. Curtains of Renaissance Velvet in Beige; christopher hyland.com. Brampton bed; dmitryco.com, in mohair; hollyhunt.com. Mattress; chbeckley.com. Unlacquered brass swingarm lamps; annmorrislighting.com. Wool Oushak rug; creativetouchrugs.com. PAGE 64: Custom scenic wallpaper; graciestudio.com. PAGE 65: Kitchen cabinets in E12-39; finepaintsofeurope.com. Pierre Jeanneret stools; huntmodern.com. Chesterfield series faucet; newportbrass.com. 60" Duel Fuel Range; subzero-wolf.com. Classico range hood; bestrangehoods.com. Vintage light fixtures; rejuvenation.com. PAGE 66: In bedroom, Gable wallpaper; farrow-ball.com. Circa 1890 French Second Empire bed; 1stdibs.com. Pillows; altforliving.com. Vintage Jansen side tables; kamelotauctions.com. Swing-arm lamps; annmorrislighting.com. Babel wool and silk rug in Ivory; starkcarpet.com In bath, Sweetheart Rose wallpaper in Green; hinescompany.com. Davis Double Sconce; schoolhouse.com.

HOUSE BLEND PAGES 70–79: Architectural Renovation by Steven Harris; stevenharrisarchitects.com. Interior design by Julie Hillman Design, juliehillman.com. PAGES 70–71: In living room, custom settee; juliehillman.com. Venetian rug from Fort Street Studio; fortstreetstudio.com. Low table by Ado Chale, 1stdibs.com. Mirror by Misha Kahn; friedmanbenda .com. Daybed by Rick Owens; carpenters workshopgallery.com, in Perle Leather Nubuck; loropiana.com. PAGE 72: In entrance hall, armchair by Hans Günther Reinstein and pendant light by Eric Schmitt; 1stdibs.com. Console by François Cante-Pacos; galerieyvesgastou .com. Java table lamp by Mathieu Matégot; 1stdibs.com PAGE 73: In kitchen, cross-section dining table; tuckerrobbins.com. Atelier Van Lieshout light fixtures; carpenters workshopgallery.com. PAGES 74–75: In dining room, silk wool rug by Beauvais; beauvaiscarpets.com. Round Chandelier 3 by Nacho Carbonell; carpentersworkshopgallery.com. Custom dining table top; lidostone.com; with bronze bases; ericschmitt.com. Vintage Pierre Jeanneret armchair and Love dining chairs by Axel Einar Hjorth; 1stdibs.com PAGE 76: In stairwell, custom wall lights by Rogan Gregory; r-and-company.com. In mudroom, Pattes Papillon Bench by Eric Croes; sorrywereclosed.com. Matte black venetian plaster; rgravesand company.com. Marble Piedra light; 1stdibs.com. In daughter’s room, pendant lights; dougjohnston.net.

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PAGE 77: In living room, Stormy Nights coffee table by Wendell Castle, Bolotas Armchair by Fernando and Humberto Campana, and Tobia Scarpa floor lamp; 1stdibs.com. Custom sofa; juliehillman.com, in silk velvet in Fog; nancycorzine.com. Natural ash ceramic sculpture by Shozo Michiwaka; pierremariegiraud.com. In powder room, alabaster pendant by Bruno Moinard Éditions, brunomoinard editions.com. Mirror by Lind and Almond; lindandalmond.co. PAGE 78: In bathroom, Satellite mirror by Eileen Gray; eileengray.co.uk. Small glacier pendant by David Wiseman; dwiseman.com. Custom horsehair stool; jmszymanski.com. Tub and sink fixtures; fantiniusa.com. PAGE 79: In study, Jute Soumak rug; lawrenceoflabrea.com. Insect rug by Christoph Hefti; maniera.be.

FAMILY STYLE PAGES 80–91: Interior design by Sachs Lindores; sachslindores.com. Landscape design by Old Farm Nursery; oldfarmnursery.com. PAGE 82: In family room, Josef Frank wallpaper; svensktenn.se. Area rug; blackstonecarpets.com. Chandelier by Jørn Utzon; 1stdibs.com. Fabric on Ole Wanscher sofa; clarencehouse.com. Brooks sofa; johnderian.com. Royère pouf; 1stdibs.com. Upholstery; edinburghimports.com. Franco Albini wicker ottoman; sikadesignusa.com. Danish easy chair in Rogers & Goffigon fabric; rogersandgoffigon.com. Vintage slab stand table; pookandpook.com. PAGE 83: In dining room, 1960s Anders Pehrson ceiling pendant; 1stdibs.com. Custom table and console; sachslindores .com. 18th Century Windsor chairs with Claremont fabric cushions; claremont furnishing.com. Stoneware lamp by Bjørn Wiinblad; bjornwiinblad–denmark.com. PAGE 85: In kitchen, Shaws Original Lancaster sink; houseofrohl.com. Homophone pendant lights by Mathieu Matégot and vintage stool; 1stdibs.com. Otomi Rabbit cement tile; growhouse grow.com. Faucet; newportbrass.com. Range; viking.com. PAGE 86: In bedroom, fabric for pillow on petal chairs; chelseatextiles.com. Fabric on banquette and pillows; pierrefrey.com. Stripe blanket; brahmsmount.com. Sconces; vaughandesigns.com. Custom headboard slipcover; osborneandlittle.com. In primary bathroom, Tamar cast iron skirted tub and Mull classic bath & shower mixer, drummonds-uk.com. Frits Henningsen mahogany table; 1stdibs.com. Custom ceiling light; sachslindores.com. Shearling rug; celticandco.com. In guest bath, Savuti wallpaper by Lee Jofa; kravet.com. Ceiling fixture; rh.com. Jacques Adnet mirror; 1stdibs.com. Syre wall-mounted vanity basin; drummonds-uk.com. PAGE 87: On screened porch, Franco Albini ottoman and Nana Ditzel Madame chair; sikadesignusa.com. Serpiente rug by Charlap Hyman & Herrero; patterson flynnmartin.com. Satellite pendant by Mathieu Matégot; 1stdibs.com. Tiles; cletile.com. Sofa; tinek.com, in fabric; kravet.com. Cocktail table; crofthouse.com. In living room, George Nakashima cocktail table and Tommi Parzinger chairs in Prelle

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fabric; 1stdibs.com. Beni M’Guid carpet; breuckelenberber.com. Rounded armchairs; johnderian.com, in Peter Dunham fabric; peterdunham.com. Pillow fabric; pierrefrey. com. PAGES 88–89: In primary bedroom, custom brass fireplace; malmfireplaces .com. Beni Ourain rug; benisouk.com. Custom table; sachslindores.com. Jacob Hermann chair; 1stdibs.com. In Josef Frank fabric; svenskttenn.se. Plants by Green Vase; johnderian.com. Bedside tables; chelseaeditions.com. Duvet cover; hawkinsnewyork.com. Shearling; celticandco.com.

GREAT ROOMS PAGES 92–101: Architecture by Peter Pennoyer Architects; ppapc.com. Interior design by Redd Kaihoi, reddkahoi.com. Landscape design by Hollander Design Landscape Architects; hollanderdesign. com. PAGES 92–93: In living room, carpet; metropolitancarpet.com. Upholstery by Fine Arts Furniture, fineartsfurn.com. On tufted sofa, fabric; fschumacher.com. On chairs, Le Lac by Brunschwig & Fils; kravet.com. Curtains by David Haag; davidhaag.com, in fabric; quadrillefabrics .com. with trim; samuelandsons.com. PAGE 95: In dining room, Early Views of India wall covering; degournay.com. Custom dining table by Agustin Hurtado; instagram.com/changobrooklyn. Custom curtains by David Haag; davidhaag.com, in Lynn striped taffeta by Brunschwig & Fils; kravet.com. On side chairs, Tigre silk velvet; clarencehouse.com. Astral sisal carpet; watsoncarpet.com. PAGE 98: In powder room, Kubilai’s Tent wall covering; iksel.com. Custom cabinetry; ppapc.com. Sconce shades; reddkahoi.com. In breakfast nook, custom banquette in Essence in Fresh Water; brentanofabrics.com. Riviera side chairs; serenaandlily.com. Lippa table; lexmod .com. Privacy panels in Saisilks Matka Silk fabric; saisilksny.com, fabricated by Woodrich; woodrichfurniture.com. Walls painted in Atrium White; benjaminmoore .com. In family room, custom curtains by David Haag; davidhaag.com, in Chapelle Stripe by China Seas; quadrillefabrics.com. Miles Redd for Ballard Designs dining chairs; ballarddesigns.com, in Venetian silk velvet; fschumacher.com. Black marble table; organicmodernism.com. Arc floor lamp; westelm.com, with custom lampshade; bhonbhon.com. PAGE 99: In butler’s pantry, Globus cork flooring in Lemon; corkfloor.com. On cabinets, high gloss Chrome Green paint; benjaminmoore.com. PAGE 101: In primary bedroom, custom canopy bed fabricated by Fine Arts Furniture; fineartsfurn.com, in silk taffeta; saisilks.com, and leather; globalleathers .com, with beaded fringe; samuelandsons .com. Imperial Garden wall covering; iksel.com. Curtains; davidhaag.com, in silk taffeta; saisilksny.com, with tassels; samuelandsons.com. Matelasse coverlet; williams-sonoma.com. Art Deco bedside lamps; lereboursantiques.com. Custom silk lampshades; reddkaihoi.com.

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one to watch

Minjae Kim

“They’re all one-liners in a way,” says designer Minjae Kim, referring to the quirky and totally bespoke furnishings that fill his live-work space in Ridgewood, Queens. A lacquered floor lamp sports a gauzy, skirtlike shade, while a petite fiberglass seat stands on a small podium, as if trying to gain an inch or two. All around are wooden chairs in various states, some with humorous designs drawn on in marker, waiting to be carved, others cut and stained. For the past three years, Kim, who grew up in Seoul and got his master’s in architecture at Columbia University, has honed his eye working for the AD100 design firm Studio Giancarlo Valle. But on the side, and more and more so during the pandemic, he has put his own spin on traditional Korean materials and techniques, like wood carving and lacquering, working with simple, store-bought supplies to create his own

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kind of contemporary folk art. When Kim learned that fiberglass, so often fetishized in architecture school, came in fabric, he was intrigued. It could, he discovered, be draped over a frame, quilted on a sewing machine, or bunched around a light source, then painted with resin to sturdily maintain its form. The results of those experiments—among them an anthropomorphic perch inspired by Freud’s armchair—will star in his first solo show, opening July 10 at the Los Angeles gallery Marta. “I’ve been imagining all these characters,” Kim says of the new work, “and how they would occupy a room.” minjae.kim —HANNAH MARTIN

PHOTOGRA PHY BY SE AN PRE SSLE Y

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