SPECIAL TRAVEL EDITION
CHICAGO Is MY KIND of TOWN
THE ARCHITECTURE & DESIGN ISSUE
July 2018
NEW URBANISM PLACEMAKING IS an ART FORM
KHOURY & VOGT ARCHITECTS ARE LEADING the WAYon HIGHWAY 30-A in NORTHWEST FLORIDA
Linda Miller belongs to the Who’s Who in Luxury Real Estate, the most elite and comprehensive luxury real estate network in the world. It comprises a hand-selected group with properties in more than 70 countries that collectively sells over $300 billion in real estate annually showcased on the top portal for luxury properties online, LuxuryRealEstate.com. Luxury Real Estate has been named an industry leader by Forbes, The Webby Awards, Web Marketing Association, Maggie Awards, ADDY Awards, the Inc. 5000 List, and more. The Board of Regents is an exclusive network of the world’s most elite luxury real estate professionals and has a global collection of the finest real estate brokers in the world. With an exclusive membership of more than 500 firms with 130,000 professionals in more than 65 countries, it collectively sells over $200 BILLION in real estate annually, with an average sale of $2,450,000. In addition to the benefits provided by Who’s Who in Luxury Real Estate membership, Regents have access to elite tools and resources to command international business. The digital footprint for Regents is unparalleled, with prime placement for every agent and luxury listing on LuxuryRealEstate.com, as well as Regents.com.
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CELEBRATING 20 YEARS IN BUSINESS ON SCENIC HIGHWAY 30A! Linda Miller is the Broker of Rosemary Beach Realty, which topped Florida’s Scenic Highway 30A market in 2016 with $250 million in sales in a single office. With 19 years of sales experience, she has been the number one agent since 2015 with over $208 million in sales, and since 2016 has sold $163 million YTD on 30A. Miller brokered the largest sale ever on 30A, a Gulf-front home in Rosemary Beach for $12.5 million, and was the area’s number-one agent in listings in 2016 and 2017. Linda Miller has generated over $460 million in career sales. LindaMillerLuxury.com
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In this issue On the Cover
Husband-and-wife duo Erik Vogt and Marieanne Khoury-Vogt have made a name for themselves and their firm, Khoury & Vogt Architects, as master planners in New Urbanism. With iconic Northwest Florida projects under their collective belt, including Alys Beach and the soon-to-berealized Kaiya community, the pair, who originally met in Miami, have made a home for themselves and countless homes for others during their tenure on Scenic Highway 30-A. This indoor-outdoor lounge features elegant custom wood millwork fabricated to exacting specifications by E. F. San Juan of Youngstown, Florida. It is a stunning example of the serene, unique townscape found in Alys Beach, which you’ll see much more of in our feature story, “New Urbanism Placemaking Is an Art Form in Northwest Florida: Khoury & Vogt Architects Lead the Way,” by Tori Phelps. Photo by Jack Gardner, courtesy of Khoury & Vogt Architects
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PHOTOGRAPHER BROOKE HOLM, WHO GREW UP IN AUSTRALIA AND NOW LIVES IN NEW YORK CITY, USES HER EXACTING EYE AND CREATIVE SPIRIT TO CAPTURE ARCHITECTURE, INTERIOR DESIGN, NATURE, AND STILL LIFE SCENES AROUND THE WORLD.
FEATURE 26 New Urbanism Placemaking Is an Art Form in Northwest Florida: Khoury & Vogt Architects Lead the Way
C’EST LA VIE CURATED COLLECTION: SWEET SUMMERTIME 90 VISUAL PERSPECTIVES 95
LA MAISON 37
96 Brooke Holm Brings High Design and
38 Good Design Is in the Details: Creating
102 Finding Solace in Art: Poetry of the Soul
Beautiful Spaces
46 If the Walls Could Talk: The Curated NYC
High-Risk Environments into Focus
108 Dream Big! Break a Leg Theater Works
54 The Azure Gem of Rotterdam
INTROSPECTIONS 113
VOYAGER 61
114 The Architectonic Boom: The Art
62 My Kind of Town: Chicago in the Summer
118 The Romance of Outdoor Rooms
70 A Taste of Chicago: Living the Dream
of the Skyline
80 The Rebirth of a Landmark: An Architect
LA SCÈNE 122
86 Close to Home: The Art of Hospitality
AU REVOIR! 127
Inherits a Legacy
PUBLISHED BY
TheIdeaBoutique.com info@theideaboutique.com V I E MAGAZ INE . COM | 15
CREATIVE TEAM FOUNDER / EDITOR-IN-CHIEF LISA MARIE BURWELL Lisa@VIEmagazine.com
FOUNDER / PUBLISHER GERALD BURWELL Gerald@VIEmagazine.com
EDITORIAL MANAGING EDITOR JORDAN STAGGS Jordan@VIEmagazine.com
CHIEF COPY EDITOR MARGARET STEVENSON CONTRIBUTING WRITERS SALLIE W. BOYLES, MEL ANIE A. CISSONE, ANTHEA GERRIE, KELSEY OGLETREE, TORI PHELPS, SUZANNE POLL AK, NICHOL AS S. RACHEOTES, L AURETTE RYAN
ART AND PHOTOGRAPHY ART DIRECTOR TRACEY THOMAS Tracey@VIEmagazine.com
GRAPHIC DESIGNERS OLIVIA PIERCE HANNAH VERMILLION LUCY YOUNG
CONTRIBUTING PHOTOGRAPHERS JEAN ALLSOPP, BRETT BULTHUIS, BONITA R. CHESHIER, ELESI, F11PHOTO, COREY GAFFER, JACK GARDNER, STEPHEN HAMILTON, FRAZER HARRISON, ROB ’T HART, KEN HAYDEN, CHRISTIAN HINKLE, BROOKE HOLM, Z. JACOBS, SARA KERENS, BRENNA KNEISS, JEFF KRAVITZ, KURT LISCHK A, KEVIN MAZUR, ROMONA ROBBINS, JOHN SHEARER, ANTHONY TAHLIER, WILLIAM WALDRON, MATT WINKELMEYER, FILMMAGIC, GETT Y IMAGES, GRANT KESSLER PHOTOGRAPHY, JACQUELINE WARD IMAGES, JOHN MCMANUS PHOTOGRAPHY, SHUTTERSTOCK, WIREIMAGE
ADVERTISING, SALES, AND MARKETING DIGITAL MARKETING DIRECTOR MEGHN HILL BRANCH OFFICE MANAGER – IRELAND SHARON DUANE ASSISTANT TO THE EDITOR-IN-CHIEF ABIGAIL RYAN BRAND AMBASSADOR LISA MARIE BURWELL Lisa@VIEmagazine.com
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VIE is a registered trademark. All contents herein are Copyright © 2008–2018 Cornerstone Marketing and Advertising, Incorporated (Publisher). All rights reserved. No part of this periodical may be reproduced without written permission from the Publisher. VIE is a lifestyle magazine and is published twelve times annually on a monthly schedule. The opinions herein are not necessarily those of the Publisher. The Publisher and its advertisers will not be held responsible for any errors found in this publication. The Publisher is not liable for the accuracy of statements made by its advertisers. Ads that appear in this publication are not intended as offers where prohibited by state law. The Publisher is not responsible for photography or artwork submitted by freelance or outside contributors. The Publisher reserves the right to publish any letter addressed to the editor or the Publisher. VIE is a paid publication. Subscription rates: Printed magazine – One-year $29.95; Two-year $54.95. Subscriptions can be purchased online at www.VIEmagazine.com.
16 | JULY 2018
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Editor’s Note
THE BEAUTIFIERS
A
s a person who has a great appreciation for quality and craftsmanship, I am honored to be able to publish our annual Architecture & Design issue showcasing all things wonderful and lovely. The vanguards of fashion, dining, interior design, photography, art, and architecture featured within are extremely accomplished in their respective fields and are making the world more beautiful because they are in it! They are beautifiers, and the world needs them more than ever; the beauty they create helps to balance the chaos and add order to our lives. I have had the great privilege of living long enough that I can see the wake behind me, and I marvel at how accomplished some people are and what they can achieve—those with fierce determination, who do not take no for an answer and must make their mark in the world even if it kills or financially ruins them. These are the creatives, the beautifiers. To be one of them takes guts, time, talent, and energy. This is not about creating something pretty—it is about creating a sense of place and substance. It is about perseverance and craftsmanship. I’ve lived on Scenic Highway 30-A in Northwest Florida for twenty-five years, and on a few occasions have thought of it as “architectural nirvana.” The architects, interior designers, builders, and developers along this stretch of beach are like no others; they create magnificent homes, not to mention the New Urbanist towns of Seaside, Rosemary Beach, WaterColor, WaterSound, Alys Beach, and, debuting soon, Kaiya. There are pioneers and visionaries that have paved the way here. Robert and Daryl Davis’s Seaside was the first New Urbanism community, created with the founders of DPZ, husband-and-wife team Andrés Duany and Elizabeth Plater-Zyberk. Their vision of European town meets Nantucket, Charleston, and Savannah, complete with live-work spaces and a local grocer, was to be the antithesis of suburbia, where cars isolate people from a sense of community. The concept took off and grew into an anomaly that became an architect’s dream town. Residents and tourists alike embraced Seaside as their own special beach town. I’ve heard Duany say that Alys Beach was his favorite New Urbanist project, and by learning from past mistakes with other communities, he created his Sistine Chapel there. Enter another married architect duo, Erik Vogt and Marieanne Khoury-Vogt, the town architects of Alys Beach and Kaiya, which they are bringing to life with developer Jason Romair. Read all about them in Tori Phelps’s feature article “New Urbanism Placemaking Is an Art Form in Northwest Florida.” The Vogts continue to create beauty, and their attention to detail and perfection shine brightly. There is so much beauty in this issue, but what’s beyond beautiful is watching the captains of their own destiny create magic! I met Kevin Boehm twenty-five years ago when he lived at the beach and had a funky little wine bar called Indigo. He has since become a restaurant mogul with his partner, Rob Katz; they now lead the award-winning Boka Restaurant Group with twenty locations in Chicago.
VIE editor-in-chief Lisa Burwell Photo by Romona Robbins
Read all about it in “Living the Dream: A Taste of Chicago” by Jordan Staggs, and don’t miss our Chicago travel spotlight by Kelsey Ogletree. Make sure to read Melanie Cissone’s “If the Walls Could Talk,” expounding on how fashion designer Christian Siriano continues to break barriers and create beauty all around him! His newly opened atelier, The Curated near Fifth Avenue in New York City, was designed with a retro-glam reflection of the early-1900s townhouse it occupies; the end result is exquisite and makes other retail venues seem pale in comparison. At their core, the beautifiers possess an innate knowledge of beauty, and they continue to define and defend its purpose. They have a desire to create a legacy, and we’re all the better for that! To Life!
—Lisa Marie Founder/Editor-In-Chief
V I E MAGAZ INE . COM | 19
The Creatives
We collaborate with talented photographers, writers, and other creatives on a regular basis, and we’re continually inspired by how they pour their hearts and souls into their crafts. Follow these creatives on social media and don’t forget to check out our account, @viemagazine.
MATTHEW KELLEN Owner, Open House Contemporary @openhousecontemporary
FOR THIS ISSUE, WE ASKED THE CREATIVES: WHAT IS ONE DESIGN DETAIL OR AESTHETIC THAT YOU CAN’T LIVE WITHOUT IN YOUR HOME?
The detail I most love about my home is the integration of walnut and copper. The warm and functional nature of these two materials makes for a natural pairing. Without ornament or addition (save for a bit of butcher block oil), the materials are what they are and do what they do; the variance in material, tempered by their relationship in color—I could go on about what I love about the combination, but at the end of the day, it is just f***ing gorgeous.
IN ONE OF MY FAVORITE SITTING AREAS, I HAVE MY GRANDMOTHER’S ANTIQUE CHAIR NEXT TO AN ANTIQUE JAPANESE BLUE-AND-WHITE PORCELAIN LAMP SHINING LIGHT ON A LARGE PIECE OF CONTEMPORARY ART, SHOWCASING HOT PINK AND OTHER BOLD COLORS.
JESSICA HATHORN BRETT BULTHUIS Photographer, “Close to Home”
Artist, “Finding Solace in Art”
KELSEY OGLETREE
@brettbulthuis Writer, “Close to Home” and “My Kind of Town”
One design element I can’t live without is a good hardwood floor, especially in a chevron pattern. I feel the home starts from the ground up, and a beautiful hardwood anchors the aesthetic and sets the pace for the rest of the room. From there, the wood can easily be complemented with a vibrant rug or accent piece.
@gounearthed
I’m a sucker for wide crown molding and chair rail painted crisp white against light gray walls. I know it’s everywhere these days, but I love the way gray becomes a neutral canvas for displaying pops of color. In the summer, I love adding bright pink tulips in a variety of vases all over our home. Unfortunately my cat loves them, too, so I have to keep a close eye on him to prevent my decor from becoming his snack.
@jessicahathorn.art
I can’t live without antiques! I love shopping in old, dusty warehouse-style antique stores. I am always hoping to find a piece of history that is waiting to be brought back to life. I also enjoy mixing the old with the new. In one of my favorite sitting areas, I have my grandmother’s antique chair next to an antique Japanese blue-and-white porcelain lamp shining light on a large piece of contemporary art, showcasing hot pink and other bold colors.
V I E MAGAZ INE . COM | 21
JLLLLLLLLLLLLLLLLLLLLLLLK • CELEBRATING 25 YEARS IN THE BUSINESS OF MODERN •
La conversation
SUMMER OF LOVE WE LOVE TO COMMUNICATE AND INTERACT WITH OUR READERS! AND WE LOVE IT EVEN MORE WHEN THEY PROUDLY SHARE THEIR STORIES AND POSE WITH VIE FOR A CLOSE-UP! THAT’S WHAT IT’S ALL ABOUT: SHARING, LOVING, AND BUILDING RELATIONSHIPS. WE THANK YOU ALL SO MUCH AND WE APPRECIATE YOU!
@seaside_newtownoldways Pick up the latest copy of @viemagazine to read more about the pavilions of Seaside that make visitors and locals alike say, “I’m lucky to be here.”
@Susan Benton The VIE magazine team does it again with an incredible article sharing our sweet Caroline and new son-in-law, Joiner, on their wedding day! Thank you!! I’m also loving the new Tech Issue that hit the stands this week!
@FEED Projects Check out this VIE magazine interview with Lauren Bush Lauren for a sneaky peek at something very exciting!
@lisamburwell Fun night at @jmclaughlinny Sip & Shop to benefit @alaquaanimalrefuge with @viemagazine @aldenlagasse @lynndugas @emerilscoastal
@amyguidryartist Teaser article in @viemagazine featuring my painting Interconnect in their Couture issue, May 2018. Look for more in their upcoming Animal Issue.
LET’S TALK!
@zynsonline Get set, ready, travel. Learn about the future of travel facilitated by tech like flying cars and more. The latest issue @viemagazine has it all. Now available at Zyn’s, the magazines superstore in Greenwich, Fairfield County, CT.
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Send VIE your comments and photos on our social media channels or by emailing us at info@viemagazine.com. We’d love to hear your thoughts. They could end up in the next La conversation!
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V I E MAGAZ INE . COM | 23
NEW URBANISM PLACEMAKING Is an Art Form in Northwest Florida K h o u r y & Vo g t A r c h i t e c t s L e a d t h e Wa y
B y To r i P h e l p s P h o to g ra ph y c o u r te s y o f
K h o u r y & Vo g t A r c h i te c t s
26 | JULY 2018
F
irst came groundbreaking developments like Seaside and Rosemary Beach. Then a new line in the sand, so to speak, was drawn with the white-washed grandeur of Alys Beach. Every time a new community rises along Scenic Highway 30-A, Emerald Coast locals and visitors alike are awed at the creativity behind the new arrival. Surely they can’t top this effort, goes the collective thought. But apparently, nobody told Khoury & Vogt Architects. Marieanne Khoury-Vogt and Erik Vogt, the wifeand-husband architects who helm the eponymous firm, served as the Alys Beach town architects for more than a decade and still work as the consulting town architects. They’re renowned for their work in New Urbanism and, specifically, for their abilities to bring a master plan to life through thoughtful design, strict attention to detail, and fresh takes on traditional architecture. And soon they’ll have another body of work to point to: Kaiya, an in-theworks development adjacent to Alys Beach.
The duo has been partners in work and life for more than twenty years. Khoury-Vogt likes to say they met in high school; the kicker to the story is that it was a school at which they both taught, rather than attended. Meeting as actual high schoolers would have been exceedingly difficult, considering they were raised on different continents. Born in England and raised in Lebanon, KhouryVogt fled the country with her family in 1975 during its civil war. France opened its doors to them, she recalls with gratitude. They anticipated returning home within a few months, but the war continued to rage, ultimately lasting for decades. Khoury-Vogt’s parents eventually enrolled their children in French schools, though the family moved several more times as her father’s career took them to places like Abu Dhabi. She went back to Paris for high school and then college, where she studied architecture. KhouryVogt’s next move landed her at the University of Wisconsin–Milwaukee, where she graduated with master’s degrees in architecture and urban planning.
Opposite and below: The Crockett Residence in Alys Beach, Florida, features a Gulf-front infinity pool and charming view of the Gulf Green on its western side. Next page: The sleek white of its facade is carried through in the Crockett Residence’s kitchen, with an oversized island perfect for cooking and entertaining. Photos by Jean Allsopp
V I E MAGAZ INE . COM | 27
“NO MATTER HOW GRANDLY THEY MAY LIVE AT HOME, THEY LIKE BEING EXPOSED TO SOMETHING DISTINCTLY DIFFERENT FROM HOW THEY MAY LIVE AT HOME, SOMETHING MORE EXOTIC.” She ended up in Miami on a lark—the story involves her twin, two friends, a hat, the names of world cities written on scraps of paper, and a blind draw—but her education allowed her to find a job quickly. And, a couple of years later, she met her husband when both were supplementing their architecture work by teaching at a design and architecture charter high school. Vogt, the son of an architect, took the long way into the profession himself. The Connecticut native enrolled in NYU’s film school, believing he would enjoy the “world-building” aspect of production design. And he did. Just not enough to make it his career. After taking a year off to work and travel, he decided that following in his father’s footsteps wasn’t such a bad idea. Still interested in the idea of creating new realities for people, he opted for a then-pioneering program called New Urbanism offered by the University of Miami School of Architecture. That he did like enough to make his career. Architecture, of course, brought the couple together, but it wasn’t a given that they would couple up in business, too. Other things were on the docket, including a move to New Haven, Connecticut, where Vogt completed a two-year master of architecture program at Yale University. The decision to launch Khoury & Vogt Architects came only after they collaborated for an architecture competition that they won (though the design remained unbuilt), and it proved that they genuinely enjoyed working together. And with Miami being a hotbed of activity, where to locate the firm was a no-brainer. “The city was changing and growing so fast that any architect was assured of work,” says Khoury-Vogt.
Not that these two were just any architects; by then, each had eight years of experience. Their proven expertise and the area’s explosive demand meant that the newly minted business was steadily fielding residential design work. They also became a go-to recommendation when iconic Miami architectural firm DPZ—the master planners for Seaside, Rosemary, and Alys beach, as well as many other towns all over the world—couldn’t accommodate a potential client. During this period, Khoury & Vogt Architects landed a project in the Miami Design District (alongside another husband-wife firm) to execute a new walkable commercial section. That job set the stage for the direction of their firm, and Khoury & Vogt Architects soon became synonymous with New Urbanism. In the summer of 2003, things again took a lifechanging turn. During a six-week work trip to China, the couple received an email from DPZ cofounder Andrés Duany. He had just completed the design charrette for what would become Alys Beach and asked them to consider becoming the town architects. After learning the job involved a move to the Florida Panhandle, they politely declined, not wanting to leave Miami. But Duany persisted. “We met with him when we got back, and he said, in the way he does, ‘You need to take this job,’” she recalls affectionately. “He knew the opportunity was too good to pass up, and he was right!” So their family and their architecture firm both made a move to 30-A “for a few years.” Fifteen years later, they have no plans of moving back to Miami. As the full-time Alys Beach town architects for the vast majority of that time, their lives have been fairly consumed with the job of making DPZ’s master plan a reality. In doing so, they’ve overseen the development of the distinctive community, from shaping the public realm with civic amenities and parks, to houses, all the way down to streets and signage, according to Vogt.
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Reclaimed wood in a star pattern on the recessed sliding doors and an indoor-outdoor lounge make the Keliehor Residence in Alys Beach the ultimate luxury beach hangout. Photo by Ken Hayden Below: From the expansive floor-to-ceiling windows to the deep indoor-outdoor decks, the Crockett Residence was designed to take advantage of its sweeping views of the Gulf of Mexico and pristine white-sand beaches. Photos by Jean Allsopp
V I E MAGAZ INE . COM | 29
Naturally, the developer vetted their designs, but Khoury & Vogt Architects was given a long leash creatively. Khoury-Vogt points to the Moorish elements within Caliza, a centerpiece restaurant and pool complex, as an example of an outside-the-box idea that was embraced by the developers and, later, the public. She lists Mediterranean, Greek, Spanish, and Caribbean as additional influences to the Bermudan style that forms the basis of Alys Beach’s famed white townscape. “We enjoy hearing from people that they’ve never seen anything like Alys,” says Khoury-Vogt. “No matter how grandly they may live at home, they like being exposed to something distinctly different from how they may live at home, something more exotic.” The aesthetic of Kaiya, which Khoury & Vogt think of as a district or extension of Alys thanks to its proximity, will feel familiar. But rather than all-white masonry and roofs, the code for Kaiya allows wood accents as part of the walls, roofs, porches, and loggias. “Weathered wood will be brought in as a secondary material and finish, with cedar shingle roofs to differentiate from Alys’s white tile roofs,” Vogt explains. “The two are distinct but related.” One of the most significant differences between the developments, he says, is that Kaiya was conceived more like a resort than a town, with design, food, and culture at the forefront. Rather than a large town center, much of the activity will revolve around the Kaiya Club, an inn that will include a restaurant and lounge designed as a gathering spot for welcoming locals and guests alike. Everyone who buys into Kaiya will receive membership to the elite club, where residents will experience exceptional, concierge-style services for any need. Other projected landmarks for Kaiya, which became available to buyers in May, consist of an adventure store; a few commercial offerings on the north side; and The Strand, a long, narrow parcel on the south side that leads to the beach and a beach house with a pool for all members. The unique master plan was created by Mauricio Castro—the principal director of PLACE Alliance and a former DPZ architect—and builder-developer Jason Romair. Romair, who purchased the Kaiya 30 | JULY 2018
“WEATHERED WOOD WILL BE BROUGHT IN AS A SECONDARY MATERIAL AND FINISH, WITH CEDAR SHINGLE ROOFS TO DIFFERENTIATE FROM ALYS’S WHITE TILE ROOFS,” property four years ago, knew he was embarking on a once-in-a-lifetime opportunity to create a world-class resort in an area that supports remarkable concepts. In his pursuit of an architectural style that complemented Kaiya’s intended lifestyle, Romair invited Khoury & Vogt Architects to be part of a charrette process. He was already a fan of what they had accomplished at Alys Beach, so he wasn’t surprised when the ideas they tossed out immediately resonated. “As a builder and developer, there are times when you run across people who are exceptional,” Romair says. “As both designers and people, Erik and Marieanne are exceptional.” The partners’ vision aligned perfectly with Romair’s goal: a distinct look and feel in tune with 30-A’s existing New Urbanism. Romair invited them to design one house, and the firm’s involvement with Kaiya expanded from there.
Left: Kaiya, the latest Khoury & Vogt community project in Northwest Florida, will carry elements similar to Alys Beach but bring in new accent materials and a resort vibe that will make it unique. Kaiya broke ground in November 2016 in collaboration with Romair Construction. Opposite bottom: The Perch at Alys Beach, a private outdoor pavilion designed by Khoury & Vogt Architects, offers homeowners and guests a unique connection with nature. Furnishings by Summer Classics round out the stylish lounge and event space; their Club Woven chairs and sectional are UV resistant and guaranteed not to fade for five years. Photo courtesy of Summer Classics
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Those who know Khoury-Vogt and Vogt well might be surprised that they’re sticking around to help establish a brand-new development on 30-A. The two, who admit to preferring a big-city lifestyle, confess to their surprise at how easily they’ve adapted to living and working in Alys Beach. “It has been a wonderful surprise how much we’ve enjoyed living here,” Khoury-Vogt says. “And we’ve loved raising our daughters here.” The truth is that they’re able to thoroughly enjoy the laid-back beach vibe of their adopted home because frequent travel provides any metropolitan fix they need. A recent excursion to Japan, for example, satisfied their urban cravings while also providing a deep well of inspiration for current and future projects. The trip, which began with a Leaders of Design Council conference in Kyoto, allowed Khoury-Vogt and Vogt exclusive access to private homes, gardens, and public buildings. Afterward, the couple met up with friends to explore more of the country. Those explorations revealed far more than architectural gems; they uncovered a profoundly appealing lifestyle. “What struck me was the Japanese focus on mindfulness and quiet beauty,” Khoury-Vogt says. “It’s a comprehensive way of thinking, living, and creating that removes peripheral noise and allows one to be mindful, to be present, and to work and live with a quiet restraint that is enormously appealing.” That quiet restraint is particularly relevant to what Khoury & Vogt Architects are helping craft at Kaiya. In fact, they so loved a beautiful wooden fence at the ancient Ise Grand Shrine that they used this design as a source of inspiration for the enclosure around Kaiya’s parking court and sales center. Natural talent and hard work have taken the pair far, but they’re the first to admit that they couldn’t pull off their ambitious projects without a stellar team. The owners rave about their extraordinary staffers, including longtime project managers Jason Hill, Johnnson Montoya, and Ortal Shaya. It’s thanks to their impressive skill set that the firm juggles not only a full business schedule but 32 | JULY 2018
also charitable endeavors such as a pro bono design commission for Alaqua, a no-kill animal refuge. Khoury & Vogt Architects has helped shape the Emerald Coast enormously in the last decade and a half, and their impact shows no signs of diminishing. But now that Khoury-Vogt and Vogt are no longer technically town architects, they’re free to accept jobs much farther afield. Indeed, the two have headed up smaller projects in other states and completed design charrettes in Europe, and they’re open to doing more. Those who love 30-A and the couple’s contributions to it certainly hope their focus remains local. And perhaps their unexpected contentment with the area, not to mention their ongoing involvement with Kaiya, will help tether them. “It’s exciting to help establish a community that we think will be a great complement to Alys and Rosemary,” KhouryVogt says. “I’m really looking forward to seeing it take shape.” We are too.
K H O U R Y VO GT.C O M Tori Phelps has been a writer and editor for nearly twenty years. A publishing industry veteran and longtime VIE collaborator, Phelps lives with three kids, two cats, and one husband in Charleston, South Carolina.
Above: The Young Residence is another Alys Beach stunner, with high ceilings and vertical windows that draw the eye upward toward the rooftop, where a crow’s-nest lounge includes a fire pit, outdoor kitchen, and endless views. Photos by Kurt Lischka
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Designed by Historical Concepts, this 4-bedroom, 4.5-bath home features a private courtyard, complete with heated heated pool, pool, fountain fountain and and summer summer kitchen. kitchen.
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A5 44 SEVEN WELLS COURT A5 A5 ··· 44 44 SEVEN SEVEN WELLS WELLS COURT COURT
U6 42 SPICE BERRY ALLEY U6 U6 ··· 42 42 SPICE SPICE BERRY BERRY ALLEY ALLEY
This This 44 bedroom, bedroom, 4-bed 4-bed bunk bunk room, room, 4.5-bath 4.5-bath home is located east of Caliza home is located east of Caliza Pool Pool & & Restaurant, west west of of the the new new Fitness Fitness Center Center and and Restaurant, north of of Town Town Center. Center. north
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This This stunning stunning 2,619 2,619 square-foot square-foot home, home, designed designed by Architect T. S. Adams Architecture by Architect T. S. Adams Architecture Studio, Studio, isis located on on the the famed famed Arboleda Arboleda Park. Park. The The home home located features 33 very very generous generous bedrooms, bedrooms, 3.5 3.5 baths baths features plus a double-bunk room and a two-car garage. plus a double-bunk room and a two-car garage.
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Alys Alys Beach Properties, LLC, Licensed Real Estate Broker participation welcome. Equal Housing Opportunity. Alys Beach Beach Properties, Properties, LLC, LLC, Licensed Licensed Real Real Estate Estate Broker Broker participation participation welcome. welcome. Equal Equal Housing Housing Opportunity. Opportunity. This is not an offer or solicitation in CA, NY, NJ or any state where prohibited by law. ALYS BEACH is trademark of EBSCO Industries, Inc. © 2018 This This is is not not an an offer offer or or solicitation solicitation in in CA, CA, NY, NY, NJ NJ or or any any state state where where prohibited prohibited by by law. law. ALYS ALYS BEACH BEACH is is aaa trademark trademark of of EBSCO EBSCO Industries, Industries, Inc. Inc. © © 2018 2018
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La maison WHERE THE HEART IS
Crystal Block Vases, $195–$250 Williams-Sonoma.com
There’s something about fresh flowers that pulls a room together. No impeccably designed home is truly complete without a well-placed bouquet or other beautiful blossoms and greenery. What you place those petals in can make all the difference. We’re loving this ultramodern crystal vase and accessories collection from Williams Sonoma that shows off your blooms while keeping your space looking chic, airy, and open.
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Good Design Is
I N T H E D E TA I L S Creating Beautiful Spaces By S A L L I E W. B OY L E S
White painted brick is the perfect complement to colorful accents in this new construction home. Gorgeous lighting and proper placement of recessed can lights help create a bright and cheerful space with family in mind. Opposite: Pops of bright color and whimsical art liven up this kitchen design at the 1514 Home shop in Pensacola, Florida.
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ost would agree that good interior design synchronizes beauty and function for the benefit of those who live or work in the spaces provided. One inharmonious element can throw everything off, so details matter. In describing her aesthetic as “Elle Decor meets the beach,” designer Cheryl Kees Clendenon, the founder and owner of In Detail based in Pensacola, Florida, favors “a balance of color and neutrals, lots of texture and pattern, and amazing lighting and architectural details.”
Assessing her strengths, Clendenon, who graduated college with a fine arts degree, knew she had an aptitude for design as well as a strong business acumen. “When I needed gainful employment quickly,” she explains, “it made sense to parlay those skills and my sales abilities to open my firm.” Starting out as a consultant, she launched In Detail in 1999.
Offering why-didn’t-I-think-of-that tips, great visuals, and amusing commentary, In Detail’s website—InDetailInteriors.com—is a fabulous place to gather inspiration. “We are not a one-trick pony, for sure,” says Clendenon. No one, however, should look to her for the best shade of beige to paint the wall (“beige is ugly”) or what she deems a “mortuary-type of style”—i.e., “supertraditional with heavy, old-world swags on the window.”
Though now an industry influencer, she admits, “I really had not a single clue how I was going to make it all work, and actually be paid to boot, but having those two little girls depending on me was great motivation! And it worked. We built the firm slowly out of my home.”
Likewise, she says, “We love clients who know what they like but will respect the honesty and integrity we bring to the table when we may have alternate ideas. My old drama teacher in high school used to say you had to ‘have a willing suspension of disbelief ’ when approaching a play.” Similarly, Clendenon explains that she and her team are “storytellers” with a vision. “Keep an open mind and let us do our thing, but always with guidance and a huge amount of discovery into what our clients’ wants and needs really are.” Ironically, if not for an unexpected plot twist in her real-life story, Clendenon may not have discovered her immense passion and talent for the industry. As to her life before entering the interior design business, Clendenon says, “I had a powerful job as a sales manager and marketing professional for two large radio stations in San Diego.” She gave up her career to relocate to Florida’s Gulf Coast with her then husband. “My world was turned upside down,” she says of their unexpected divorce. “Working for myself was really not so much a choice but a necessity so I could be with my two small girls when they needed me.” V I E MAGAZ INE . COM | 39
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s the business grew, In Detail relocated to one small and then two larger rented offices before Clendenon purchased two buildings. Her decision to add a showroom prompted another move. “I finally bought the compound we’re in now,” she says. “Our retail showroom and design offices are housed in a converted 1910 Craftsman home, zoned commercial.” Ultimately, she’ll use the property’s original carriage house as a larger design center, which will be open to the public with an array of products. “This is a great success story for divorced moms everywhere,” she pronounces. “We grew slowly but determinedly.” Reflecting on what propelled her career, Clendenon says, “I think my marketing background helped me be an early adopter of changes in the way brands are marketed to consumers.” In turn, she received design awards, garnering recognition from numerous national magazines and other types of media. “But you have to work it,” Clendenon insists. “I am Johnny-onthe-spot when editors contact me and when brands want to work with us. You have to be.” She will not compromise her integrity. “I have to love the brand first, or I cannot do it,” Clendenon insists. “It’s mandatory that I already use the product. We have been lucky to partner with many great brands such as Silestone, DXV, Kohler, Brizo, and others along the way.”
This page and right: Bold colors and luxurious finishes stand out against a soft white palette in this quaint turn-of-the-century cottage remodel. Left: Fun chrome accents bring a sense of playfulness to this chic downtown condo remodel. 40 | JULY 2018
This open-concept greenhouse kitchen created by Cheryl Kees Clendenon in collaboration with Kohler, Silestone, and Benjamin Moore embodies utilitarian design with sink and faucet pairings that create a sense of flow and stability.
O Opposite: In Detail Interiors provided plan review prior to this home’s construction and worked with the owners through the design process all the way to final placement of art and accessories. 42 | JULY 2018
ne of her favorite collaborations resulted when the Cosentino Group, the makers of Silestone (a resilient, natural quartz compound that comes in numerous shades and textures for countertops and other hard-surface applications) selected Clendenon as one of their six 2015 Trendspotters. “As a Spain-based company at the forefront of global design, collaborations with leading designers across North America help us keep a constant pulse on the ever-changing design demands in key markets,” says Massimo Ballucchi, marketing director for Cosentino North America. “It’s also about lifestyle and the integral role Silestone surfacing plays in the heart of the home.” Challenged to envision a kitchen that exemplified superior design with the use of Silestone, Kohler, and Benjamin Moore products, Clendenon created a tranquil indoor/outdoor environment with functional zones in which to relish all the
many activities that transpire in such an active center of the home. Referring to her greenhouse kitchen as a “true live-in kitchen,” she incorporated edible potted plants as well as a prep area for canning fruits and vegetables. Other thoughtful features include wide aisles for aging in place, multiple sinks to accommodate extra helping hands, and different seating options on the island. Lower seating is ideal for young children and individuals in wheelchairs. “Cheryl’s kitchen shows us how both a multigenerational family and healthful living coexist—with unparalleled functionality, durability, and design,” says Massimo.
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“We work on many new homes from the ground up—bare dirt to the final accessorizing. We excel in this area because we are a full-service firm with all design capabilities in-house.” “I am still in awe of being selected from many incredible designers across the nation to be part of collaborations with these top-notch brands,” says Clendenon. “Kind of cool for Pensacola!” Indeed, Pensacola and Clendenon have been good for one another. With projects that range across the country, In Detail continues to generate about half of its business from the Gulf Coast region with projects of all sizes. “We work on many new homes from the ground up—bare dirt to the final accessorizing,” Clendenon says. “We excel in this area because we are a full-service firm with all design capabilities in-house. While typically not designing the entire structure of a home—although we have—we’re more revising and evaluating the plan for the client’s unique needs and the type of home desired. Of course, we do single rooms or rehabs of existing homes, too. In reality, a remodel is where a good design firm can be essential to a homeowner—to visualize and communicate what the owner may not have dreamt.”
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“We joke that we will create understanding in whatever way necessary— from samples to mockups, even skywriting, if that will help!” Communication is a big deal to Clendenon. “Most of our clients are busy professionals,” she says. “They want to trust who they are doing business with and know that we are a skillful team who can communicate and execute the design with a builder, a subcontractor, and the client, as well. These are the cornerstones of our success: good communication and processes. We joke that we will create understanding in whatever way necessary—from samples to mock-ups, even skywriting, if that will help! When we’ve finished, never has a client said to me, ‘I didn’t think it would look like that.’” Every finished product, of course, begins with an idea. “We have a million ideas,” Clendenon says. “No idea is bad, but some are just stepping stones to the next one that might be a winner.” To add the right touch or inspire a grand plan, many great items are found in In Detail’s retail design showroom, recently named one of the fifty Top Retail Stars in the country by Home Accents Today, a national trade magazine. Located at 1514 North Ninth Avenue in Pensacola, the store is open to the public from 9:00 a.m. to 5:00 p.m., Monday through Friday, and from 10:00 a.m. to 2:00 p.m. on Saturdays.
Inspired by family and healthy living, the greenhouse kitchen created by Clendenon with Kohler, Silestone, and Benjamin Moore provides a tranquil atmosphere that allows its occupants to truly be together.
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Readers can also reach In Detail directly by calling (850) 437-0636 or using the contact form on InDetailInteriors.com. Sallie W. Boyles works as a freelance journalist, ghostwriter, copywriter, and editor through Write Lady Inc., her Atlanta-based company. With an MBA in marketing, she marvels at the power of words, particularly in business and politics, but loves nothing more than relaying extraordinary personal stories that are believable only because they are true.
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If the
WALLS COULD TALK T
By Melanie A. Cissone
here’s a new kid on the block. The Fifty-Fourth Street block west of Fifth Avenue—a location once reserved for early twentiethcentury millionaires of the Rockefeller ilk—has welcomed fashion designer Christian Siriano and his multifaceted boutique, The Curated, to the area. The new concept store took up residence at 5 West Fifty-Fourth Street, a beautiful and storied limestone townhome, on April 17. A fierce and freewheeling young designer—a man who shoots for the moon—Siriano has most certainly landed on a star, literally. Located just steps from tony Fifth Avenue, The Curated is housed in the Starr residence, the former home of distinguished
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neurologist Dr. Moses Allen Starr. An authority on the brain, the reputable and well-published Starr was a professor of neurology at Columbia University and served as president of both the New York Neurological Society and the American Neurological Association. Saint Luke’s Hospital, which fronted Fifth Avenue from Fifty-Fourth to Fifty-Fifth Streets, moved uptown in 1896, and its massive edifice was demolished, making available some of the city’s finest lots. At a time when few buildings existed north of Madison Square, and with Starr’s impending wedding on June 7, 1898, to social registrant Alice Dunning, the doctor bought the lot and commissioned architect Robert H. Robertson to design a home. The couple moved in a year later.
The Curated, a new high-end atelier by New York fashion designer Christian Siriano, opened April 17, 2018, on West Fifty-Fourth Street in Manhattan. Photo by William Waldron
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Designer Christian Siriano Photo by William Waldron
Siriano says, “I wanted customers to feel like they are in a home, that they are dressing in a beautiful closet.” Fine art adorns the walls, a milliner’s tasteful headwear sits atop mannequins, and jewelry and accessories are on display; there is a wonderland of offerings at The Curated. It was a unique opportunity for Siriano to house a store and an atelier in one townhome. He adds, “I get to show the world all the things I love.” Veteran NYC broker Anita Grossberg led the charge in finding 5 West Fifty-Fourth Street for the designer. Siriano recalls, “I was looking for a new place when Anita cooed, ‘Let’s look at something different.’” And something different is exactly what she delivered when Siriano saw the manse for the first time. In more ways than one, it seemed the
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he Starr residence is described in the AIA Guide to New York City (2010) as “a modest town house (by Fifth Avenue Swath standards) with gracious fluted Ionic pilasters flanking its entry.” Compared to the neighboring 1900 McKim, Mead & White–designed University Club, which is described in the same reference guide as “a Florentine super-palazzo beyond the Medicis’ wildest dreams,” the Starr mansion is indeed modest but genuinely elegant. In an extensive remodel of the seven-story landmarked physician’s residence, Christian Siriano brightened the serious mood of the interiors by painting the dark wood paneling white. With the beautiful sweeping staircase carpeted in ballerina pink, the hand-picked retro light fixtures neatly hung, and the furniture 48 | JULY 2018
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“I wanted customers to feel like they are in a home, that they are dressing in a beautiful closet.”
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designer was meant to create in that space; it turned out that the wife of the building’s owner was both a fan and customer. The stunning nineteenth-century parquet and herringbone wood floors, the grand crown moldings, and the massive marble fireplace now serve as the backdrop for the couturier’s collections. Brightly colored gowns hang against white walls, and handchosen furniture and other displays showcase Siriano’s talents as a fashion designer, an interior decorator, and a curator of brands that complement his aesthetic, all celebrated alongside the unobtrusive grandeur of the building. The Curated is a feast for the senses. Currently featured at the boutique are Betto García’s hats and accessories, jewelry by Irene Lummertz and Stephanie Kantis, soaps and lotions by Tangent, and fine art by Ewa Budka and Rebecca Russo. By summer, customers will enjoy Siriano’s “psychedelic greenhouse” collection while noshing at Joye & Rose, an espresso bar and café. Far from clueless about what’s trending, a yet-to-be-named vegetarian restaurant curated by actress and animal rights activist Alicia Silverstone is anticipated on the rooftop by year’s end. Within a few years of the townhome’s 1899 completion, the north side of the street was populated by the families of business moguls, attorneys, publishers, and politicians, who had constructed neo-Renaissance, neo-Baroque, or Beaux-Arts mansions of their own. Neighbors included investment bankers Philip Lehman (whose father had founded the now-defunct Lehman Brothers), J. P. Morgan’s cousin and business partner James Junius Goodwin,
and financier and philanthropist John D. Rockefeller, Jr. By 1926, William Randolph Hearst had built the Warwick Hotel, a residential tower at 65 West Fifty-Fourth Street. The top floor belonged to actress Marion Davies, Hearst’s mistress. At one end of the fashionable block, where the Starr mansion is located, was the landed gentry. At the other end of the block, the Warwick held court for Broadway stage actors, Hollywood movie stars, musicians, and other celebrities of the 1920s and ’30s. Starr’s wife lived in the house he built for her for another ten years after his death in 1932. When Alice Dunning Starr died in 1942, the next-door neighbor’s son, Robert Lehman, purchased it. Lehman donated the use of the house to the US Government as a rest home for returning World War II veterans and named it Freedom House. Toward the end of the war, the Victory Clothing Collection for Overseas Relief, an initiative to collect and distribute garments to war-torn Europe and Asia, called Freedom House its home. President Harry S. Truman said in 1946, “This winter, more than three hundred million war victims throughout the world are paying the cost of victory in poverty, disease, cold, and hunger. I therefore urge every American to heed the appeal of the Victory Clothing Collection for Overseas Relief. The spare garments contributed by Americans last spring helped clothe twenty-five million men, women, and children in Europe, China, and the Philippines, and have made possible the start of their rehabilitation this winter.”
Above: In addition to beautiful clothing and accessories by Christian Siriano, The Curated currently carries luxury brands such as Universal Standard, Stephanie Kantis, Irene Lummertz, Objectifs, Rebecca Russo, Betto García, Tangent, Ewa Budka (whose art is pictured here), and more. Photo by Sara Kerens Opposite right: One step into The Curated will make shoppers feel as though they’ve left the bustling city and entered a serene, impeccably designed home where everything happens to be for sale. Photo by Sara Kerens
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Opposite page: The pristine limestone facade of the building once housed the private residence of Dr. Moses Allen Starr, the Victory Clothing Collection for Overseas Relief, the headquarters of Fabergé, and other distinguished occupants. Photo by Sara Kerens Right: Photo by Sara Kerens Below: A demure blush-pink carpet leads patrons from the front doors up the atelier’s curving stairwell to a second retail level, Siriano’s creative studio, and, eventually, a rooftop restaurant curated by actress Alicia Silverstone. Photo by William Waldron
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n 1948, 5 West Fifty-Fourth Street was sold to Fabergé Inc., the cosmetics and toiletries giant founded by Sam Rubin. Fabergé hit its stride in the early 1960s when George Barrie bought the company, made the townhome its headquarters (calling it Fabergé House), and began creating legendary celebrity-endorsed ad campaigns. Remember Brut by Fabergé? Or Babe? Silhouette, Siriano’s signature fragrance, would have fit right in with them.
Fabergé hired actor Cary Grant in 1968 as one of its first “creative consultants,” something akin to a brand ambassador in today’s lingo. Grant was offered $15,000 a year, stock options, a seat on the board of directors, and something special to sweeten the deal—Fabergé rented Marion Davies’s old apartment in the Warwick Hotel for him. The famously handsome actor took the deal, moved out of the Plaza Hotel, stayed on for twelve years, and kept an office at Fabergé House. Grant also inaugurated the annual Straw Hat Awards, an informal ceremony to recognize summer stock theatre and actors, the first of which was held at Fabergé House. Greek shipping magnate John S. Latsis bought the house in 1974 and restored it to its original glory. Latsis named 5 West Fifty-Fourth Street Petrola House, a name that stuck until The Curated arrived this year. Is it kismet that Christian Siriano would occupy the Starr residence? While the designer was busy building a business in the last ten years, the building was vacant. It’s almost as though 5 West Fifty-Fourth Street was waiting for Siriano and no
one else. His glamorous clothing seems to have been waiting to hang right where it is—on display in the beautiful setting that the millionaire’s mansion affords. It belongs there. Seeing his designs in The Curated is like admiring artwork hanging in a gallery. In 2008, at age twenty-two, Siriano became (and remains) the youngest winner of the popular series Project Runway. Recently he celebrated ten years in business by publishing his second book, Dresses to Dream About. Given his young age, Siriano’s business acumen is astonishingly equal to his design talent. He says, “I’m always interested in that side of things.” He credits licensing deals—like the one he has with Payless Shoes—with his having learned a lot about the business side of fashion. “I love to see what’s moving or whether I’ve priced a dress well. My mother was a teacher who pushed my sister and me to strive for more. She would say, ‘I can afford to buy you this, but if you want the other, you’ll have to earn the money yourself to get it.’” Magnanimous (with a dash of Energizer bunny) is the only way to think of Siriano. Not only did he dress seventeen women for the Academy Awards in March, but he has also been dressing women (and men) of all shapes, sizes, and skin tones—both celebrities and the models who walk his runways—
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“I was looking for a new place when Anita cooed, ‘Let’s look at something different.”
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for the past ten years. The most notable was SNL comedienne Leslie Jones who famously tweeted that no designer would dress her for her Ghostbusters film premiere. Emoji hands representing “Hey, over here” was Siriano’s response to her. A fan and a client now, Jones was a runway-show virgin when she sat flanked by Siriano’s musician husband, Brad Walsh, and actress Jackie Cruz in the front row at his Spring 2018 New York Fashion Week show. She could be
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Perhaps the people who walked the halls of 5 West Fifty-Fourth Street before him—or the building itself—will be some of his new muses.
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seen whooping and hollering like she was at a basketball game, bringing fun and joy to an event that would typically be considered somewhat sedate. Never at a loss for ideas, Siriano says, “The most random things can be inspiring to me.” Almost immediately upon finishing a collection, the designer is “on to the next thing.” Perhaps the people who walked the halls of 5 West Fifty-Fourth Street before him—or the building itself—will be some of his new muses. “Confused, without a clear conception,” was how author Russell Sturgis described the Starr residence in “The Art Gallery of the New York Streets,” an article published in The Architectural Record in 1900. Nothing could be further from the truth in the building’s iteration today. From its inception, Siriano has had a razor-sharp focus on The Curated’s intimate experiential direction—very necessary in the present-day retail environment. Add to it the designer’s joie de vivre, the creativity that flows from his old-school atelier, the boutique filled with exquisite fashion, accessories, art, and decor, and this special place will be a fountain from whence new stories will spring and assimilate into the 119-year-old walls. When he opened The Curated’s doors in April, Siriano invited the world into his universe. It is most certainly worth a visit.
TheCuratedNYC.com New York City transplant to the Emerald Coast Melanie Cissone has been a freelance writer for twenty years. A patron of the arts, she is inspired by beautiful architecture and design and loves learning about people’s backgrounds, especially over a dry Italian red wine. 52 | JULY 2018
Above: A chic seating area flanks the secondfloor fireplace to create an intimate waiting space perfect for striking up a conversation or admiring Siriano’s book Dresses to Dream About. Photo by William Waldron Left: Joye & Rose, The Curated’s patio café, is a perfect summertime spot offering espresso, tea, sandwiches, and pastries. Photo by Sara Kerens
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RI E BY AN TH EA G ER
A R T, R O B ’T H Y B Y H R AP R DV P H OTO G O F MV Y S E T R COU
The Blue House in Rotterdam, designed by Winy Maas of MVRDV, was the architecture firm’s first completed project in its hometown.
WHEN GHISL AINE VAN DE K AMP WAS PREGNANT WITH HER SECOND SON, SHE AND HER HUSBAND REALIZED ONE HUGE ROOM ABOVE THEIR WORKSHOP IN ROT TERDAM, THE NETHERL ANDS, WAS NOT GOING TO CUT IT AS A FAMILY HOME MUCH LONGER. “Our eldest lived in a kind of indoor shed in the middle of the studio, my husband and I slept behind a curtain, we all shared one bathroom, and, with a new baby coming, we conceded we’d have to move to the suburbs for more space,” says Van de Kamp, the widow of the late, world-famous theatrical wig maker Sjoerd Didden. But the family is still living above the shop, thanks to having one of the world’s most visionary architects for a friend. Winy Maas, whose practice, MVRDV, is known for its vibrant, playful use of color, confesses to an obsession with using every available inch of urban space. He persuaded his friends that instead of moving out of the city, they could simply move up. So, while the studio remains the heart of the house, it now boasts sleeping arrangements comprising a trio of cornflower-blue toytown-like houses on the roof, accessed via separate spiral staircases. V I E MAGAZ INE . COM | 55
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ne contains a bedroom and a bathroom for Van de Kamp, the other a pair of bedrooms with en suite bathrooms and toy storage space for the boys.
Above: Not one staircase but two that curl around each other access separate spaces for the boys’ rooms in the rooftop extension. 56 | JULY 2018
Jan, the older of the two sons, is now grown. He breaks off from helping his mother braid a handmade wig to show me around the dazzling roof space (Van de Kamp has kept the wig business going since Didden’s death in 2015). As we ascend, Jan points out that he and his brother have their own private staircases, the two curling around each other in a playful double helix. But this was no mere architectural jest by Maas, who strongly felt that it was time for a family who had lived in the same room for so long to have their own spaces clearly delineated.
Upstairs, it’s all about color—acid-yellow patio furniture and a scarlet bathroom for Van de Kamp making for an eye-popping contrast with what’s surely one of the most startlingly vibrant blues on the Pantone chart. Is this shade, whimsically described by the architect as “a new heaven,” too bright to live with? “It was picked by Winy, and we never questioned him,” says Van de Kamp, who remembers the shock of coming home from giving birth to her second son and having to adapt rapidly to her new surroundings.
A vibrant shade of sky blue outside makes waking up here a joyous occasion even when skies are gray. Left: A playroom in the eaves was always part of the plan for the children.
WINY MA AS, WHOSE PRACTICE, MVRDV, IS KNOWN FOR ITS VIBRANT, PL AYFUL USE OF COLOR, CONFESSES TO AN OBSESSION WITH USING EVERY AVAIL ABLE INCH OF URBAN SPACE.
La maison
The bright blue parapet atop a drab early twentieth-century commercial building draws neighbors’ attention to something typical of quirky and forwardlooking Rotterdam. Below: Now that the sleeping quarters have moved upstairs, the studio where the whole family once slept has been liberated to create a serene, spacious living and dining area.
ut if the couple was shocked, it was in a good way; before his death, Didden spoke of the joyfulness he got from brushing his teeth in a new, bright-blue space that made him feel like every day was starting well. And, clearly, they were not worried about what the neighbors would think when a matching parapet was added, making this audacious extension—the first project that MVRDV realized in its hometown—visible from many vantage points in the city. Didden Village, or the Blue House as Rotterdammers have nicknamed it, is on view to the public once a year as part of Rotterdam Rooftop Days weekend. And it has persuaded other locals to make the most of their roofs, if only to create eco-friendly gardens. The environmentally minded city of Rotterdam, in turn, now gives subsidies for green spaces on rooftops.
VISIT MVRDV.NL TO SEE MORE PROJECTS. Anthea Gerrie is based in the UK but travels the world in search of stories. Her special interests are architecture and design, culture, food, and drink, as well as the best places to visit in the world’s great playgrounds. She is a regular contributor to the Daily Mail, the Independent, and Blueprint. 58 | JULY 2018
OXFORD MISSISSIPPI
Graduate Oxford Christian Horan Photography
estled among the rolling hills of Lafayette County, Oxford boasts a cultural richness like no other city in Mississippi. Oxford is known for its picturesque charm, literary inspiration and captivating uniqueness - and home to the University of Mississippi. Its historic downtown square provides appealing Old South architecture, a wide array of upscale boutiques and eateries, as well as one of the nation’s most renowned independent bookstores. Oxford has been named one of the top six retirement towns in America by Money Magazine. Immerse yourself in our town and see why Reader’s Digest proclaimed, “If Oxford didn’t exist, it would have to be invented.” As a multimillion-dollar producer, with over fifteen years of local experience, Oxford Property Group specializes in all areas of real estate from primary residences and second homes to commercial properties and property management.
To understand the world, you must first understand a place like Mississippi. -William Faulkner
W IL L G UE S T, BRO KE R ( 662) 832 3987 or ( 662) 238 3370 Wi l l @Oxf or dM S P r ope r ty. c om Oxf or dM S P r ope r ty. c om
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Visit KubusWoning.nl for more information on tours. Photo by Z. Jacobs / Shutterstock
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SEE THE WORLD
In the Dutch city of Rotterdam, it seems that unexpected architecture is becoming more expected. This port city near the North Sea is known for its maritime history museum and vintage ship exhibits, but its modern architecture has been making waves. One of the most well known examples is the set of Cube Houses, a nickname for the unique housing complex near the city center. Designed by architect Piet Blom and completed in 1984, the Cube Houses are currently available for rent by residents and one is open for public touring year-round through the Kijk-Kubus Museum-house.
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MY KIND OF TOWN
CHICAGO IN THE SUMMER
by KELSEY OGLETREE
The Chicago Architecture Foundation River Cruise is a staple for visitors who wish to learn about the city’s unique architectural history. Photo by Elesi / Shutterstock 62 | JULY 2018
C
hicago is known for its striking skyline, world-class restaurants, magnificent shopping, efficient public transportation, and, of course, less-than-gentle winters. But when May finally arrives, baseball season begins, the trees start to bloom, and the parkas get put away. Chicagoans forget all about the snow and ice and revel in those sun-soaked days, strolling down tree-lined streets, trading treadmill slogs for lakefront runs, and dining on patios wherever possible. Sure, Midwestern hospitality is present year-round, but during glorious summer, it’s out in full force—people are just happier—and for visitors, there’s no better time to enjoy the city.
DO Every city has two sides—the one the tourists see and the one the locals see—and Chicago is no different. However, one activity that’s a perennial favorite of both is the Chicago Architecture Foundation River
The Chicago River Riverwalk is the perfect spot for a stroll or taking in the sights of the city. Photo by Christian Hinkle / Shutterstock Below: One of the most iconic symbols of Chicago is the Cloud Gate sculpture, commonly known as the Bean, at Millennium Park. Photo by F11photo / Shutterstock
Cruise. Held aboard Chicago’s First Lady Cruises, it’s rated the number one tour in the city on TripAdvisor for a reason. What better way to spend ninety minutes on a beautiful day than cruising down the Chicago River in an open-air vessel complete with a full-service bar while getting an exciting history lesson from a knowledgeable guide? The cruise departs from Chicago’s Riverwalk at Michigan Avenue and Wacker Drive (look for the blue awnings). Plan to arrive early to get the best seats up front. Building buffs can learn more about the city’s architectural legacy at the expanded Chicago Architecture Center, a twenty-thousand-square-foot facility opening this summer above the dock where the river cruise begins. The main attraction of the center will be the twenty-six-foot Skyscape Gallery, along with a gallery exploring Chicago’s neighborhoods, a handson design studio, and a retail shop. V I E MAGAZ INE . COM | 63
Above: The LH Rooftop terrace restaurant at LondonHouse Chicago hotel is a must-stop for brunch or cocktails. Photo courtesy of LondonHouse Opposite top: Devereaux, the rooftop pool and lounge at the Viceroy Chicago hotel, is a 1970s-chic spot for drinks and views of Lake Michigan. Photo by Anthony Tahlier Opposite bottom: Mixologist Vlad Novikov pours a creative Cucumber Blossom cocktail at Z Bar. Photo by Grant Kessler Photography
Another way to see the city from the river, rain or shine, is aboard the glassenclosed Odyssey Chicago River Experience. The boat, which will debut this summer, will be available for brunch, lunch, dinner, and cocktail cruises.
EXPERIENCE Chicago offers hundreds of free events year-round, but perhaps the best variety occurs in summer. Millennium Park serves as a hub for many of them, such as the Millennium Park Summer Music Series at the Jay Pritzker Pavilion. Pack a picnic (or stop at nearby Pastoral Artisan Cheese, Bread & Wine on East Lake Street to pick up supplies or have them put together a basket for you) and choose a spot on the lawn to catch one of the free concerts taking place June through August. Before or after the music, pop into The Blackstone hotel on South Michigan Avenue for a cocktail in the 1960s-inspired lobby bar, Timothy’s Hutch. Every July, the free five-day Taste of Chicago in Grant Park is packed with people enjoying live music, family activities, and chef demonstrations in addition to the main attraction: Chicago-famous food. Sample the iconic dishes of the city (like deep-dish pizza, hot dogs, and Eli’s Cheesecake) in one stop and also try a lot of other tasty bites (think bread pudding, fried shrimp, dumplings, baked potato frites, and peach cobbler). When you’re ready to escape the crowds, head to the lakefront path and walk north to work off the indulgences while taking in peaceful views of the lake. The Chicago Air and Water Show, held each August, is the longest-running free show of its kind in the United States. This year’s sixtieth annual event will include the US Air Force Thunderbirds, the US Army Golden Knights, the US Navy
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Leap Frogs, and other military and civilian demonstration teams. People gather in droves, spreading out beach towels and picnic blankets along the lakefront between Lincoln Park and downtown to take in the dips, twists, and barrel rolls, but the best views (as well as the densest crowds) are at North Avenue. Even if you’re not an aerophile, the people watching, the sunshine, and the frozen lemonades make this a can’t-miss event.
BASK With twenty-six miles of shoreline, Chicago has a surprising number of beaches—most of which are free to visit. Perhaps the best known is Oak Street Beach, located off the Magnificent Mile, Chicago’s famous shopping district on Michigan Avenue. This beach is an easy walk from many downtown hotels and superb for people watching—it’s a magnet for the see-and-be-seen crowd. Oak Street Beach Food + Drink serves casual fare like chips and guacamole and margaritas. North Avenue Beach at North Avenue and Lake Shore Drive in Lincoln Park is another favorite hangout. It boasts the always-buzzing Castaways Bar & Grill that looks like a massive ship yet takes
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Fantastic views can be had on the twenty-second-floor LH Rooftop at LondonHouse Chicago, as evidenced by the frequent lines out the door. itself seriously as host for international volleyball tournaments like Volleywood ( July) and AVP Pro Beach Volleyball Championships (August). Lesser-known beaches like Loyola, Lane, Foster, Oakwood, and Osterman are more laid back and provide water activities like stand-up paddleboarding and kayaking. June visitors can catch one of Chicago’s newest music festivals, Mamby on the Beach, which takes place on Oakwood Beach. Traveling with a dog (or just love them)? Montrose Beach is one of only two public dog beaches in Chicago. A fenced-off section at one end lets pups run free without their leashes, while owners can kick back and relax with burgers and electric lemonades at The Dock at Montrose Beach. Not keen on swimming in the lake? Several pools around Chicago are great spots to dive right in. A well-kept secret is the one atop Viceroy Chicago, a hotel that opened in the Gold Coast neighborhood last year. On the eighteenth floor is Devereaux, a 1970s-themed rooftop bar with views of Lake Michigan, a tasty menu of snacks and cocktails, and, of course, a pool—open to the public as well as hotel guests.
IMBIBE Another way to take advantage of the river views—especially at sunset—without being on a boat is to find a perch at one of the city’s trendiest rooftop bars, many of which are at the finest hotels. Fantastic views can be had on the twenty-secondfloor LH Rooftop at LondonHouse Chicago, as evidenced by the frequent lines out the door. Brunch at LH means bottomless mimosas, Nutella crepes, and a variety of hearty, savory dishes. For dinner, LH will pack an American picnic basket for two with crave-worthy snacks like jamón serrano, potato salad, and fresh-baked bread. A new menu debuted in May at The Terrace (formerly known as Sixteen), the rooftop restaurant and bar on the east-facing sixteenth floor of Trump International Hotel & Tower Chicago. Both light bites and full-course meals (including ingredients sourced from the terrace garden on the same level) are available here from award-winning chef Nick Dostal. The hotel will debut its newly redesigned indoor dining room later this year. This June, the Peninsula Chicago added Z Bar, a rooftop space where mixologist Vlad Novikov creates chemistry-centric concoctions that incorporate luxe ingredients like gold leaf and caviar. While it doesn’t have river views, Z Bar is an ideal spot to grab an upscale cocktail on the Magnificent Mile. Another good option V I E MAGAZ INE . COM | 65
Riverwalk all the way to Lake Michigan.) In addition to serving as a convenient, scenic walkway for commuters who want to avoid traffic, the Riverwalk is a destination in itself, with a variety of spots to dine and imbibe. City Winery, a well-known concert venue and restaurant in the West Loop, opened an outpost offering cocktails and light bites on the Riverwalk last year. (The Schmear Plate, with spreads like romesco, tapenade, and tzatziki, is an optimal order with a round of bubbles.) Also try Tiny Tapp & Cafe (on the Riverwalk between the Clark and Dearborn Street bridges), which began operations last summer and this year will introduce an expanded wine program. The café portion also serves locally roasted coffee, ice cream, and pastries. For an afternoon pick-me-up, grab a cone from Frost Gelato as you walk the Riverwalk end to end. On the opposite side of the river is River Roast, an upscale restaurant serving contemporary American tavern fare from James Beard Award–winning chef
is Noyane, the seasonal rooftop at Conrad Chicago, which offers elevated izakaya pub-style cuisine and cocktails, plus lunch and weekend brunch. Further south, on Michigan Avenue, Cindy’s—first opened in 2016 on the thirteenth floor of Chicago Athletic Association Hotel—became an overnight sensation when guests discovered the allure of its unparalleled views of Lake Michigan and Millennium Park, not to mention its apothecary-style “evening potions.” Try the Friesling (frozen Riesling) or a selection of interesting mocktails, such as the Reanimator (made with activated charcoal, blueberry, and ginger), this summer.
S AV O R Unlike other great American cities like San Antonio and Savannah, Chicago didn’t develop its riverfront into a true attraction until recent years. In 2016, construction was completed on the Chicago Riverwalk, which stretches one and a quarter miles between Wacker Drive/Franklin Street and Lake Shore Drive. (This spring, Mayor Rahm Emanuel announced vague plans to extend the 66 | JULY 2018
Voyager Tony Mantuano and executive chef John Hogan alongside inventive cold-brew cocktails and a wide selection of Midwestern beers. Share the Adult Sundae Fundae, a dessert with Guinness ice cream, whiskey cherries, rum pineapple whipped cream, and bourbon butterscotch.
Left: Chicago Cut Steakhouse is a great stop for breakfast, lunch, or dinner with fantastic water views.
For an upscale dinner on the water, try Chicago Cut Steakhouse, which also has views of the river, owing to its prime location on LaSalle Street. Order a nice bottle from the iPad wine list and Lobsterscargot as an appetizer, then consider splitting an entrée, as you’ll want to save room for the dessert cart. An insider tip: Chicago Cut is also open for breakfast.
Photo by Stephen Hamilton Opposite top: Cindy’s on Michigan Avenue is another great stop for drinks on the terrace—try their unique apothecarystyle “evening potions.”
TONE
Photo courtesy of Cindy’s Rooftop
Face it: you’re going to do a lot of eating on a trip to Chicago. But as widespread as the city’s incredible restaurants are, so are its options for invigorating workouts. On Saturday mornings from June through August, Millennium Park offers four free workouts on the Great Lawn, including Pilates, yoga, strength training, and Zumba, plus weekday yoga on Tuesdays
Opposite bottom: Great wine is not in short supply in Chicago, but City Winery is the place to be for all things vino and great live music. Photo by Corey Gaffer
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You can’t beat a sunny morning spent on its expansive patio with an iced latte and a freshbaked raspberry scone, and the gorgeous historic homes around the neighborhood are fun to explore on foot too. and Thursdays. Equinox holds Tuesday and Saturday morning sweat sessions at Shore Club on North Avenue Beach ($10 for Equinox members, $20 for nonmembers) that range from cardio kickboxing to HIIT. At the Field Museum, anyone can join the free hour-long, family-friendly classes in Fitness at the Field, taught by Fitness Formula Club instructors on Sundays in July and August. The Park at Wrigley, which opened last year in front of Wrigley Field, offers free classes on the grass on select mornings throughout the summer, and various hotels offer fitness programs as well, including yoga sessions on the rooftop at Loews Chicago and HIIT-style classes at Chicago Athletic Association Hotel.
SIP When it comes to starting your morning on the right note, Chicago’s coffee scene does not disappoint. Local brands like Intelligentsia (six locations) and Dollop (eleven locations) are both solid choices for a strong, quality cup of joe. But venture beyond downtown to find memorable handcrafted drinks that are as Instagrammable as they are delicious. Above: Hit Colectivo
Get the incredible glitter latte and a pastry by Bittersweet bakery at Passion House Coffee Roasters in Logan Square, or try the not-too-sweet toasted marshmallow iced latte at Coffee Joint in Irving Park. If you need to get some work done, both are great spots for setting up shop at a table for a few hours. In the West Loop, Japanese barista Hiroshi Sawada is world renowned for his coffee art, and his matcha lattes are somewhat of a legend in the city. Wisconsin import Colectivo opened its first Chicago café in Lincoln Park last year. You can’t beat a sunny morning spent on its expansive patio with an iced latte and a fresh-baked raspberry scone, and the gorgeous historic homes around the neighborhood are fun to explore on foot too. Of course, any Chicagoan knows a cup of coffee is only as good as the local doughnut it’s paired with. Stan’s Donuts, Firecakes, Dinkel’s, and Doughnut Vault are all worthy choices, but the buttermilk old-fashioned and Michigan apple fritter from Do-Rite Donuts & Coffee truly take the cake.
Learn more and plan your trip at ChooseChicago.com. 68 | JULY 2018
Coffee at Lincoln Park for a buzzy outdoor meeting spot. Photo courtesy of Colectivo
Left: If you’re craving
something sweet, doughnuts are the way to go in Chicago! Stan’s Donuts has three locations to help you get your fix. Photo courtesy of Stan’s Donuts
Opposite: The impressive lobby of The Langham, Chicago hotel. Check out more on this historic building in “The Rebirth of a Landmark” in this issue of VIE.
Photo courtesy of Choose Chicago
W H E R E T O S TAY Looking for a shiny new hotel room? Consider one of these recently opened (or coming soon) properties:
You also can’t go wrong with some of the city’s classic, classy hotels:
H OT E L Z AC H ARY
THE PEN INSULA CHICA G O
Opened this spring across the street from Wrigley Field, this boutique property has a brilliant lobby/restaurant/bar level that pays homage to Zachary Taylor Davis, the architect of Wrigley Field. HotelZachary.com
T H E W H E E L HO USE H O T E L Baseball fans can also get a front-row seat to the Chicago Cubs by staying at this twenty-one-room hotel, which opened in late spring right in the middle of the action on Clark Street. WheelhouseHotel.com
MO X Y C H I C AGO New this summer, Moxy is as much a social scene as it is a hotel, with a buzzing lobby that’s an urban coffeehouse by day and a craft cocktail bar by night—and a complimentary signature cocktail for each guest. Moxy-Hotels.Marriott.com
S T. J A N E Replacing the former Hard Rock Hotel on Michigan Avenue this summer, this arts-and-culture-focused hotel will have an eclectic style and multiple drinking and dining outlets. StJaneHotel.com
SOPHY
One of ten Peninsulas in the world, this Japaneseowned hotel off the Magnificent Mile has impeccable style, high-tech guest rooms, lovely afternoon tea service, and a luxury spa. Chicago.Peninsula.com
THE LA NG HA M, CHICA G O Don’t let the office-building facade fool you: this luxury property (which has its lobby on the second floor) is one of the city’s best, from the service to the elegant touches of Langham pink and the elevated cuisine at Travelle Kitchen + Bar. LanghamHotels.com/Chicago
SOFITEL CHICA G O MA G NIFICENT MILE Francophiles will appreciate this European brand’s subtle nods to French culture, including the seasonal tasting menus at Café des Architectes and the Parisborn bartenders at Le Bar. Sofitel-Chicago.com
By late summer, the neighborhood of Hyde Park (near the site of the future Barack Obama Presidential Center) will get a luxury lifestyle hotel and restaurant, the first of its kind for the area. SophyHotel.com V I E MAGAZ INE . COM | 69
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A Taste of
CHICAGO
LIVING THE DREAM
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LIVING THE DREAM
BY JORDAN STAGGS Photography courtesy of Boka Restaurant Group
Some careers are painstakingly pursued and mapped out. Other life paths may take time to come into focus. Some stem from aha moments, others from necessity. For Kevin Boehm, the catalyst for finding his niche was a serendipitous visit to a tiny coastal town called Seaside on Scenic Highway 30-A in Northwest Florida. It has been twenty-seven years since Boehm decided to take a break from the University of Illinois and make that fateful trip to the coast; today he is known throughout the culinary industry for opening twenty-four restaurants. Along with his business partner, Rob Katz, and the rest of their team at the Boka Restaurant Group, Boehm is fresh off his third consecutive year as a top-five finalist for the James Beard Award for Outstanding Restaurateur. The group’s portfolio currently includes restaurants and bars in the Chicago metro area; among the many accolades earned by their restaurants and chefs are Michelin stars, James Beard Awards and nominations, spots on Food & Wine magazine’s Best New Chefs list, and even an Iron Chef award. How does one venture from being a college dropout to having a dream job? We asked Boehm about it: VIE: How did you end up getting your restaurant career started in Seaside, Florida, all the way from Illinois?
KEVIN BOEHM: I took a break from school in 1991 and decided to spend some time in Panama City, Florida. I was introduced to Seaside by my girlfriend at the time, Theresa, and we decided to open a little restaurant in Seagrove Beach called Lazy Daze Café. Our third day of being open, the oven blew up in my face and caught my hair on fire! In 1995, I opened Indigo Wine Bar in Blue Mountain Beach with my partner, Jeff, before selling it a couple of years later. I loved my time in Seaside. Ollie from the Red Bar and I became good friends back in 1993. I helped wallpaper the posters on the ceiling the night before opening. I still visit with my family there and always have a sense of home when I drive on 30-A.
Above: Whimsical art and greenery on the walls at Boka, the restaurant group’s eponymous flagship eatery Opposite: Delicious clams at Balena, Boka’s Italian oasis on Halsted Street. Balena is closed for remodeling and hopes to reopen this year.
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“I THINK THESE DAYS, MY PASSION FOR FOOD, HOSPITALITY, AND DESIGN ARE ALL EQUAL. GREAT RESTAURANTS ARE AN ALCHEMY OF ALL THREE.” VIE: What is it that you love about the restaurant business? KB: It’s been an evolution over the years. I think these days, my passion for food, hospitality, and design are all equal. Great restaurants are an alchemy of all three. I love throwing a party, taking care of guests, and seeing people spend some of the most important moments of their lives in our spaces. VIE: You’ve partnered with Rob Katz since 2002. What makes you such a great team? KB: First of all, beyond partnership, we are best buddies. Secondly, we agree most of the time. Lastly, we push each other. We are both competitive and want the restaurants to be the best. VIE: What is a typical day like overseeing nearly twenty restaurants? What is the biggest challenge? KB: Every day is different. With nineteen different entities and twenty-two hundred employees, it’s always an adventure. From design meetings to construction, P&L meetings, insurance, legal, development, and even just walking dining rooms, it’s always moving at a breakneck pace.
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Left: The tavern at Swift & Sons, created by Boka Restaurant Group with the awardwinning design firm AvroKO Opposite top: Menu items at Boka echo its sophisticated-chic vibe with a hint of fun, like the braised Spanish octopus with fennel, horseradish, and burnt hazelnut. Opposite bottom: The proprietors of Boka Restaurant Group believe in the power of good design to round out a wonderful dining experience. V I E MAGAZ INE . COM | 73
Voyager “SITTING AT A TABLE WITH ALL OF THEM AND DEVELOPING THE CRITICAL AND CREATIVE PATH IS OFTEN SPIRITED AND ALWAYS INSPIRING.” VIE: Where do you find inspiration when opening a new restaurant? KB: Our core group of corporate executives and our six chef partners are some of the most brilliant food and hospitality minds in the world. Sitting at a table with all of them and developing the critical and creative path is often spirited and always inspiring. VIE: When designing a restaurant, do you work directly with architects and builders from the
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beginning? How do layout and design affect the dining experience for patrons? KB: We have worked with some of the most famous designers in the world, including the multiple James Beard Award– and Hospitality Design Award– winning group AvroKO. In every project they do, there is a historical narrative that the design always goes back to. At Momotaro, it’s the economic miracle in Japan after World War II, and our back bar is a replica of the old Tokyo Stock Exchange. At Somerset, the dining room mimics 1950s–60s high society and country club culture. This attention to detail keeps the designs original and prevents AvroKO from repeating their work. Rob and I are heavily involved in the design process from beginning to end.
Left: An enticing array of cocktails at the J. Parker, Boka’s rooftop lounge at the Hotel Lincoln Opposite top: Kevin Boehm (right) with friend and fellow restaurateur Ollie Petit of the Red Bar in Grayton Beach, Florida Opposite bottom: Cozy and luxurious booths at Boka invite intimate conversation and an unforgettable evening.
Voyager “ROB AND I HAVE BEEN ONE OF THE FIVE FINALISTS FOR OUTSTANDING RESTAURATEUR AT THE JAMES BEARD AWARDS FOR THREE STRAIGHT YEARS. FOR A SMALL-TOWN KID, GETTING THAT HONOR MEANT THE WORLD TO ME.” In this ADD world we live in now, I think design is more important than ever. Creating layers of design keeps people interested. If you just realize during your eighth visit that the Japanese pay phone at Momotaro will speak to you in Japanese if you pick it up, then we are doing our jobs! VIE: What do you consider your greatest business accomplishment to date? KB: Rob and I have been one of the five finalists for Outstanding Restaurateur at the James Beard Awards for three straight years. For a small-town kid, getting that honor meant the world to me. It’s
a long way from having my hair on fire at a six-table restaurant in 1993! VIE: You and your wife have three children—are they all foodies thanks to you? KB: Sofia (14), Lola (10), and Luca (4) are all foodies! They have been eating sushi all their lives and visit all the restaurants on a consistent basis.
Visit BokaGrp.com to learn more and see all of Boka Restaurant Group’s incredible Chicago eateries.
Left: Beautifully plated Aburi Buri appetizer at Momotaro, Boka’s chic Japanese restaurant and sushi bar in the West Loop Opposite: Boka Restaurant Group founders Kevin Boehm and Rob Katz V I E MAGAZ INE . COM | 77
ROSLEAGUE MANOR
Resting on the quiet shores of Ballinakill Bay, and beautifully secluded within 30 acres of its own private woodland, Rosleague Manor in Connemara is one of Ireland’s finest regency hotels. Member of Ireland’s Blue Book Awarded No.9 in Top 25 Small Hotels in Ireland on TripAdvisor CALL OR VISIT OUR WEBSITE TO BOOK AND EXPERIENCE IRELAND TODAY. info@rosleague.com • (+353) 095-41101 • Rosleague.com • Connemara, Co. Galway, Ireland
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the rebirth of a
AN ARCHITECT INHERITS A LEGACY
BY ANTHEA GERRIE | PHOTOGRAPHY COURTESY OF THE LANGHAM HOTEL
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hen Langham Hotels had the audacious idea of transforming Chicago’s bare-bones IBM headquarters into a sumptuous five-star hotel, they knew they would have to call in Dirk Lohan. The well-known city architect also happened to be the grandson of Mies van der Rohe, the legendary— and legendarily uncompromising—Bauhaus veteran who designed the building, harnessing his philosophy of “less is more” to the max. Since Lohan had worked with his grandfather on the construction in 1969, he was seen as a vital link and arguably the sole bridge between the king of austere lines and a hospitality group bent on all the embellishment a luxury hotel demands. Not that the collaboration was a marriage made in heaven; Lohan inherited his grandfather’s belief in the elegance of economy—not quite what the developers were after. While perhaps not an obvious bedfellow, the well-connected architect played a critical role in getting the new pleasure palace through the Landmarks Commission, which had listed the building, severely restricting modifications, just one year before it was conceived as The Langham, Chicago. Would his grandfather have turned in his grave at the result? Lohan, dapper and impeccably turned out in a checked tweed suit with a yellow silk pocket handkerchief, is circumspect when we meet on the site. “I’m not opposed to color or comfort, but I did feel the design of the hotel should relate more to Mies’s architecture,” he says as we consider the two very different public faces of the hotel. First, there is the entrance lobby, which is all Lohan— and more than a bit Mies as well. “This is my bling,” Lohan says proudly of the floor-to-ceiling bronze beaded curtain that brings warmth and a restrained glamour to the street-level space. It’s
complemented by previously unseen seating that Mies designed for his own family but never put into mass production—a signature touch only family could offer. This minimalist luxury hardly prepares visitors for what awaits in the double-height reception hall two floors above, which is awash in multicolored glass balloons and a glitzy mirror-glass frieze. “This area is not very Mies,” demurs Lohan with wry understatement, admitting he was one of many who were skeptical that the fifty-two-story building, Mies’s last, could ever be converted into a hotel. Luxury was, after all, absent from the outset in a building inspired by the maestro’s masterpiece, the iconic Seagram Building in New York City—but considerably pared back in its execution, with IBM cutting corners by substituting cheaper brown aluminum for the bronze cladding that dazzled Park Avenue in the original. However, at eighty years old, Mies was still innovating with his groundbreaking use of energy-saving elements. “This was one of the first really green buildings,” says Lohan, who assisted his grandfather with the project just after arriving in the States from Germany. “The design vocabulary was already in place, but what was truly innovative was the technology.” Sadly, Mies died before it was completed.
This minimalist luxury hardly prepares visitors for what awaits in the double-height reception hall two floors above, which is awash in multicolored glass balloons and a glitzy mirror-glass frieze.
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ome aspects of the design did work positively for the conversion to a hotel, Lohan points out. “The forty-foot distance between the windows and the core allowed for really large hotel rooms on all sides of the building.” And Mies’s beloved travertine proved to be a luxurious as well as a functional finish when used on a lavish scale.
Previous page left: The ground-floor lobby at The Langham, Chicago was designed by Dirk Lohan, grandson of the building’s original architect, Mies van der Rohe. Floor-to-ceiling bronze beaded curtains and golden light make the space a luxurious sight from street level. Previous page right: Luxury continues in every guest room, suite, dining space, and common area of the hotel, balancing Mies’s impeccable design and the Langham’s reputation for decadence. 82 | JULY 2018
While Lohan has designed several hotels and also quite a few other iconic buildings in Chicago, he was only invited to get his hands on the lobby of The Langham, where his task was to differentiate the hotel’s space from the lobby that serves the other 75 percent of the building, which is leased to offices. The reception area was the work of London-based designers at Richmond International, whose principal, Fiona Thompson, defends their decision to take a relentlessly contemporary approach to the decor. “We felt it was necessary to relate to Chicago as well as to the building and respect the wishes of the Hong Kong–based owners to create a luxury hotel that was neither midcentury modern nor classical,” she says. Thompson feels the frieze of faceted mirror glass around the back of the reception area is not at odds with the building. Virtually all that remained as reference points of the original ground-floor lobby interior were the travertine and walnut (the various corporations that moved into the building after IBM
gutted it). “So, we used those copiously,” she explains, “and we used real bronze in some of the ironmongery.” Lohan is well aware that his help was sought principally to get a tricky modification of the exterior past the Landmarks Commission, with whom he has some influence. “A canopy was needed so you can see the hotel entrance from the street,” he explains of the bronze awning fitted with starburst
“We felt it was necessary to relate to Chicago as well as to the building and respect the wishes of the Hong Kong–based owners to create a luxury hotel that was neither midcentury modern nor classical.” pinhead lights, which offered an elegant solution—especially when compared with the twenty-foot-high letters spelling out the Trump name on the hotel opposite this one. “When your front door is opposite that huge building with its huge canopy, you have to make at least a little bit of a statement,” says Lohan. He is lucky enough to live in another of his grandfather’s Chicago landmarks— the penthouse in one of Mies’s very few residential buildings. “860–880 Lake Shore Drive comprises the original steel-and-glass buildings that started this whole movement,” Lohan says, waving his hands towards the Miesian ocean of monoliths on the skyline. Ironically, Mies chose not to live in his residential tour de force, despite being given an apartment by the developer. “His excuse was he didn’t want to ride the elevator and be stuck listening to residents complaining about their plumbing,” explains the grandson drily.
Left and opposite top: Floor-to-ceiling windows in guest rooms and suites showcases the wonders of the city’s skyline and the Chicago River. The buildings from 860–880 Lake Shore Drive represent some of the iconic structures designed by Mies. Opposite bottom: Travelle Kitchen + Bar features interiors by David Rockwell, showcasing the pure lines of Mies’s modern architecture and paying tribute to his industrialage aesthetic with wood and metal finishes.
Voyager
fter half a century in the US, Lohan retains a strong German accent, although he has become fluent in the language of his adopted country—more so than his grandfather did. “Mies resisted fleeing Nazi Germany when he was first invited, years earlier, because he didn’t speak English,” he laughs. Lohan joined the family firm in 1962 and also worked with Mies on the New National Gallery in Berlin and the Toronto Dominion Centre out of his new home in Chicago. He designed several important buildings in the Chicago area, including McDonald’s former headquarters in the suburb of Oak Brook and additions to Shedd Aquarium and the Adler Planetarium.
Above: Relax at the bar at Travelle and enjoy the view. Above right: Sleek lines and modern luxury are reflected in every detail of the hotel. Right: Though there’s plenty to see from your window, be sure to ask the hotel concierge about booking a Chicago architecture tour so you can embrace even more of the city’s historic landmarks. 84 | JULY 2018
As he bids good-bye in the glitzy reception he had no part in designing, Lohan offers a diplomatic remark that distinguishes him from his grandfather, who was fiercely blunt with clients and often ignored those with whom he had creative differences. “Overall, I would give this hotel a very high rating,” says Lohan. “Sure, it’s glitzy, and there are too many mirrors, but the owners have spent money. It’s quality—and you have to give them credit for taking on the difficulties of dealing with a landmark building.”
LanghamHotels.com Anthea Gerrie is based in the UK but travels the world in search of stories. Her special interests are architecture and design, culture, food, and drink, as well as the best places to visit in the world’s great playgrounds. She is a regular contributor to the Daily Mail, the Independent, and Blueprint.
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HOME CLOSE TO
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By Kelsey Ogletree
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HOSPITALITY
P h o t o g r a p h y b y B r e t t B u lt h u i s
hen you first meet Matthew Kellen—a tall, broad-shouldered guy who looks perfectly comfortable clad in boots, jeans, a navy-checked flannel shirt, and a beanie—you might not guess he has a degree in painting and a master’s in ceramics. Though he defies the artist stereotype, step into one of his homes and you’ll see he’s a master of his craft. Kellen is the owner of Open House Contemporary, a collection of three loft-style luxury condos he rents through Airbnb in Chicago’s River West neighborhood. The area is popular with young professionals, close to public transportation, and within walking distance of Chicago’s major attractions. Once you’re here, you may never want to leave. Open House Contemporary, or OHC, has become an attraction in itself. Each unit features three bedrooms, but more than a place to sleep, each one doubles as an art gallery. Kellen’s vision is to bring together a diverse collection of contemporary artworks in a residential setting so that art is front and center in the lives of his guests. “I found there was a lot of interest from artists either to have people live with their work or to show work in a residential space,” says Kellen. “A lot of artists
This page and opposite: Carpenter Matthew Kellen (below) started his business with one condo rental in Chicago and has since grown Open House Contemporary into a residential art gallery with three unique rental units.
have taken this concept and said, ‘I can play with that,’ and even made spacespecific works for us.” In 2011, Kellen bought his first condo in the building at 740 North Ogden Avenue as a place to live. Born and raised in the Chicago suburb of Arlington Heights, he moved to the city after college with his painting degree (“a disaster in terms of getting a real job,” he says), taking random jobs at bars and touring with bands. Eventually, he got a great job with a large-scale printing lab, where he worked until the Great Recession hit. From there, he fell into general contracting with a design bent when friends of friends needed help redoing their home. That business, known as Matthew Kellen Creative, became a career that proved lucrative, albeit risky, and fun for him. When a friend introduced Kellen to Airbnb around 2013, he decided to give it a shot. He took some photos of his condo and put it up as a listing, and within twenty-four hours, he had his first booking—within a week, he had many more. He’d leave town or stay at a hotel during the nights it was rented and still turn a profit. “It was nuts,” he says. “I kept raising the price. But I thought, I can’t just never have a place to live.” V I E MAGAZ INE . COM | 87
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hen the woman who lived below him put her condo up for sale, he purchased it and started renting two places, shuffling between them when he had guests. A year later, another neighbor sold his home to Kellen on a ten-minute conversation and a handshake. About that time, Kellen had begun thinking about opening an art gallery. Realizing it was a tough business to survive in, he contemplated how he could make it work without it being a drain on his resources. Above and opposite top: Along with contemporary decor and beautifully crafted wood details by Kellen, each unit at OHC has its own record player. Kellen likes to make sure his guests’ favorite albums are in the room when they check in. Opposite bottom:
Currently on display at OHC through September is Infinite Games 50/50, a mixed media art installation created by fifty artists using materials discarded from local schools. 88 | JULY 2018
“I have these beautiful apartments; why don’t I do this here?” Kellen recalls thinking. Soon after, Kellen was drawing on his contacts with the Museum of Contemporary Art Chicago (where he’d worked for a bit) and talking to his artist network, and OHC began to form. While he wasn’t the first person to come up with the concept of a residential art gallery, Kellen is a relative pioneer of doing it at this level and scale. OHC has been fully operational as a home rental and art gallery for four years now.
Kelle n aims to make OHC a place w here all t he t hing s he loves — t r avel, foo d, music, and ar t— c an inter s ec t.
The gallery changes every six to twelve months. On display at OHC through September is Infinite Games 50/50, a thought-provoking collection with political undertones. The backstory: In 2013, the city of Chicago closed fifty public schools, many in low-income neighborhoods, citing decreased enrollment and budget concerns. Local artist John Preus gained access to six semi truckloads of materials—desks, tables, chairs, bookshelves—discarded from the schools and invited fifty artists, designers, and architects to create pieces of art from the materials. Their resulting creations are wide ranging in method and content, yet all are poignant. Taking in an exhibition like Infinite Games 50/50 in a residential setting is vastly different from seeing it in a gallery—and that’s precisely the point of OHC. “If you have a piece in a traditional gallery and somebody spends five minutes in front of it, that’s an incredibly long time,” says Kellen. “If you’re sitting here talking to your friend and a piece is just in the background the whole time, it starts to come into your brain more.”
Not all OHC exhibitions are controversial. Kellen aims to make OHC a place where all the things he loves—travel, food, music, and art—can intersect. The next exhibition will be a partnership with Joan of Arc, a local Indie rock band that’s been around since 1995. Band members will create work for the show, and Kellen will incorporate musical elements into OHC’s yearly schedule, including regular concert series. Kellen doesn’t like to put his own art on display, but his handiwork as a carpenter can be seen in details throughout each condo. For example, in the penthouse unit, a kitchen island made from reclaimed wood is lit from within, creating a magical vibe at night when light shines through the natural imperfections of the wood. Each condo also has a steam shower and, in lieu of a living room TV, a record player. Kellen likes to ask guests about their favorite albums before they arrive and adds them to the collection in their unit. Because of the somewhat delicate nature of some of the art pieces, Kellen takes care to communicate to guests exactly what they’re getting into, and he asks the same from them—wild bachelorette parties, for example, might do well to find a different host. Over the years, though, he’s found that going the extra mile to make guests feel welcome goes a long way. “If you develop a rapport, people are more likely to respect the space,” he says. And if anything ever does go wrong, Kellen is not more than an elevator ride away. He and his girlfriend, Ingrid, now reside on the rooftop of the building in their own 220-square-foot “tiny house”—a former gym that Kellen converted into a living space. It’s home to a tiny kitchenette, a surprisingly spacious bathroom, a Murphy bed in the living room, and, of course, a record player—wired with speakers on the outdoor portion of the rooftop, perfect for hosting parties. Living in a tiny house atop a building he rents by the day or the week isn’t necessarily what Kellen thought he might be doing a decade ago. But after experiencing the space and witnessing his enthusiasm for OHC, it seems like he’s right where he belongs. “I’m creating this giant, five-thousand-square-foot installation comprising three floors in collaboration with fifty artists, and I get to show it to thirty people a week—and they get a really intimate experience of living with it,” says Kellen. “In a lot of ways, I feel like this totally makes sense.”
For more information on Open House Contemporary or to book a stay, visit OHC-BnB.com. V I E MAGAZ INE . COM | 89
C’est la vie
SWEET SUMMERTIME
Things are heating up—literally—and everything from our wardrobes to our hobbies will reflect that in the next few months. Summertime is a celebration of life. We spend more time outdoors, having fun with friends and family, splashing in the pool or the waves, and traveling to and fro, whether for summer holidays or simply for a backyard barbecue. We hope this C’est la VIE Curated Collection inspires you with its bright colors, summery styles, and home decor.
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Golden Hour
Gold Gaia’s Ark Bag $548 – cultgaia.com 90 | JULY 2018
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Open Book
Girls in the Windows: And Other Stories by Ormond Gigli $65 – powerhousebooks.com
Let’s Get Lit
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Contemporary Geometric Modern LED Linear Chandelier, Alpine V Light Fixture $9,900 – 1stdibs.com
Rosy Disposition
4
Possession 18-Karat Rose Gold and Diamond Cuff by Piaget $10,300 – net-a-porter.com
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Hip Lips
Contain Yourself
Cher Jo’klé Long Lasting Matte Liquid Lipstick $18 – cherjokle.net
Dual Bud Vase in Carrara Marble/Gold $150 – annanewyork.com
Slide on Over
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Made in the Shade
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Single Cantilever Umbrella with Tilt Option tuuci.com
Velvet Slide with Sylvie Bow $940 – gucci.com
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Simply Marble-ous!
Fly Away Round-Frame Acetate Sunglasses by Lucy Folk $350 – net-a-porter.com
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C’est la vie
Always Smile at This Crocodile The Candler Crocodile Belt $295 – blairsbelts.com 92 | JULY 2018
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FEATURED ON
THE ART OF LIFE DESIGNED 11974 US HIGHWAY 98 WEST MIRAMAR BEACH, FL 32550 | (850) 837-5157 | W W W.SUGARBEACHINTERIORS.COM
Visual Perspectives
Visual Perspectives THE EYE OF THE BEHOLDER
May Getaway by Teil Duncan Acrylic on birch wood panel, 36 × 48 in. See more at TeilDuncan.com
For Charleston, South Carolina–based artist Teil Duncan, a day at work could also mean a day at the beach. Her beautiful acrylic paintings often depict coastal scenes, nature, and abstract figures. May Getaway, the beach scene pictured here, is a colorful welcome to summer with fun umbrellas and a crowd of beachgoers ready to greet the sun, sand, and waves.
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Brooke Holm BRINGS HIGH DESIGN & HIGH-RISK ENVIRONMENTS INTO FOCUS
B y To r i P h e l p s P h o t o g ra p h y c o u r t e s y o f B ro o k e Ho l m
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Photography is a five-senses experience for Brooke Holm.
Her sentences are peppered with descriptions of “tasty” light, “crispy” shots, and landscapes that “feed” her. She doesn’t just take pictures of gorgeous architecture and jaw-dropping natural phenomena; she captures visuals that viewers can practically smell, taste, and feel—and that commercial clients and private collectors hungrily seek out. Perhaps Holm’s ability to present one perfect, complete moment is a subconscious response to a life that has, in many ways, been divided in two. Born in California to an American father and an Australian mother, she and her three sisters moved with their mother to Brisbane when Holm was ten. She spent the next twenty years in Australia, raised in a blended family of eight kids who spent more time around campfires than inside art galleries.
Grand curving staircase at the Art Institute of Chicago
Holm didn’t discover her love for photography until a serendipitous assignment at her first postuniversity job. Serving mostly as a fetch-and-carry underling at an ad agency, she one day had a camera unexpectedly thrust into her hand and was asked to take photos of a billboard. The fact that the pictures were in focus was enough to turn Holm into the agency’s go-to photographer, starting with small assignments but working up to campaigns and client work. V I E MAGAZ INE . COM | 97
Visual Perspectives
Her ability to take what she’s given—whether lots of “tasty” natural light or a moodier space—and turn it into photographic gold made her bankable.
Holm’s collection Mineral Matter explores the interplay of Iceland’s dynamic river deltas.
Holm’s Arctic series explores the northernmost region of the world in Svalbard, Norway.
Salt & Sky brings landscapes and linear compositions together in a series depicting salt fields in Western Australia.
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For the first time, she’d found something she couldn’t get enough of. And, in a happy twist of fate, Holm seemed to have an innate talent for it. Armed with technical skills from a photography course and a portfolio built during her three years with the ad agency, she moved to Melbourne and landed a full-time photography job. Soon, however, she had enough private clients that she was able to quit and focus on freelance projects involving still life, interiors, and architecture. Thanks to a fascination with straight lines and interesting contrasts, as well as a penchant for extremely high-resolution shots, Holm developed a look that resonated with clients. Her ability to take what she’s given—whether lots of “tasty” natural light or a moodier space—and turn it into photographic gold made her bankable. “I shoot with my gut,” she says of her technique. “I know I’m onto something when I get a visceral reaction while taking a photo; I can sense when it’s the right one.”
That rediscovery brought a focus to her artistic expression, inspiring her to delve into the human– nature relationship and showcase both its strength and its destructive power. She’s particularly interested in the subject as it relates to climate change. Through breathtaking photos, Holm’s last three exhibits have tackled the question of what we stand to lose if our actions become irreversible. A trip to Svalbard, a Norwegian archipelago in the Arctic Ocean, cemented her decision to speak up for things that matter—like the fragile earth she found there. Among the utter splendor of the terrain, Holm felt a lingering sadness at how quickly humans were impacting it and, in the process, killing off species that will never exist again. She turned that distress into a mission to share the intensity of our planet’s landscapes with audiences who largely spend their lives in the concrete jungle without ever seeing a real one.
In 2016, she also sensed that it was time to transfer her home base from Melbourne to New York City, a move made easier by the fact that she enjoys dual citizenship. Holm appreciates her new city’s relative proximity to the rest of the world (at least as compared with Australia), and she’s fallen in love with the creative vibe and collaborative energy of NYC, as well as the ease of collaborating with clients like Google and Architectural Digest.
This need to present nature as a tangible reality rather than an abstract concept has taken on new weight since her move to a country with far fewer environmental safeguards than most. And she intends to use her platform as an artist to make what difference she can. “If enough people can be inspired, we can start changing the way governments run countries and relinquish habits that have brought us to the situation we’re in,” Holm says. “Hopefully, by that point, it’s not too late.”
While her relocation has brought about commercial opportunities, it’s also reconnected Holm with the land that ignited her art photography. “When I was able to travel back to the US to visit family, I found myself obsessing over landscapes—mountains, deserts, forests,” she recalls. “I’d always had a very strong connection to nature growing up, but there was a point where my childhood was upended, and I fell out of touch with nature for a while.”
The photos she uses for this ambitious undertaking are large—as big as possible—so they transport the viewer into the scene. They’re also more abstract than typical landscape images. Her overriding aesthetic of close-up detail and simple lines and shapes are still at play in her artistic work, but she often shoots from an aerial vantage point to showcase a perspective to which not many are privy. The result is nature with a pronounced architectural sensibility.
At the heart of Holm’s commercial and artistic efforts is an insatiable curiosity about the world. She loves that being a professional photographer means that no two days are the same; heck, they might not even take place on the same continent. Trying to pin her down for a conversation is tough when she’s jetting off to Africa to photograph in the world’s oldest desert, which comes on the heels of a trip to Milan’s design week. Holm spends up to a quarter of the year on the road, taking off whenever she feels the “itchy feet” that signal she’s been in one spot too long. Exploring far-flung corners pacifies her wanderlust while also exposing her to diverse cultures, architecture, and environments—all of which fuel her creativity. Happier not planning things like which city she’ll live in next or whether she’ll eventually add watercolor, children’s books, or even Claymation to her artistic repertoire, Holm is content to focus on the near future. After her trip to Africa, she’ll turn her attention to collaborations with designers and art directors and then prep for a return trip to Svalbard next summer onboard a boat full of scientists and fellow artists. Having built her career to the point where there is no “have to,” Holm concedes that she could give up her commercial work to fully prioritize her artwork.
Sean Connolly at Dubai Opera, winner of Frame Awards Restaurant of the Year 2018, designed by Alexander & Co. and Tribe Studio Architects Right: A shot from It’s Beautiful Here, Holm’s book collaboration with Megan Morton
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Visual Perspectives But she won’t. The truth is that she’s also passionate about architecture and design and has learned that the two halves must coexist. The yin and yang of cultivated spaces and uncultivated lands inspire her in a way she might not wholly understand, but she acknowledges and bows to that inspiration. “There’s a correlation between interior and exterior spaces that fascinates me,” she muses of the dichotomy. “My surroundings are important to me, clearly; I see and notice everything.” And then she brings those details to the rest of the world. Lucky us.
BrookeHolm.com Tori Phelps has been a writer and editor for nearly twenty years. A publishing industry veteran and longtime VIE collaborator, Phelps lives with three kids, two cats, and one husband in Charleston, South Carolina.
Award-winning design created with trusting clients and a collaborative studio.
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POETRY OF THE SOUL BY J O R DA N S T AG G S P H O T O G R A P H Y BY J A C Q U E L I N E WA R D I M AG E S
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Visual Perspectives
wrote poetry in high school,” says Jessica Hathorn. She wrote little poems and short stories, even as little as a line or a sentence, as a creative outlet for her constant musings. To this day, Jessica always carries a notebook to jot down ideas and, as she describes it, “just to get my thoughts out of my head.” And although she left her writing behind and moved into a business career—including advertising sales, being a regional sales manager for Marriott, and most recently, becoming the director of sales for Hyatt Place Sandestin at Grand Boulevard, which will open this year—Hathorn has always found solace in art. Her artistic career took a turn from poetry in college, when she began salvaging and painting old furniture, giving it new life and giving her student income a boost. “I refinished my grandmother’s antique chair that my aunt had painted purple in the 1970s.” She recalls this as the project that led her into a love of painting and, to an extent, interior design. It wasn’t until around 2010 that she turned her paintbrush onto canvas instead. Hathorn found that painting, like poetry, was a way to express her emotions and get her thoughts out into the world, freeing her mind from jumbled ideas. Many of her paintings are inspired by nature or things she would see along the coast of Northwest Florida, where she lived for several years before moving to Birmingham, Alabama, two years ago. The beaches and natural surroundings along Scenic Highway 30-A, especially, have been the subjects of some of her works. “I get lost in watching little sandpipers and the waves,” she explains. “Then, being in Birmingham is a different experience, but still inspiring. I get to be under the trees, looking up at the leaves, instead of looking out at nature from a distance at the beach.” In particular, Hathorn has done painting and sketching exhibitions at the Birmingham Botanical Gardens, where the everchanging surroundings bring serenity and a sense of new life.
Opposite: Artist Jessica Hathorn Left: Close Enough to Touch, oil and acrylic
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Right: Let’s Get Carried Away, acrylic on canvas Opposite left: Hathorn’s art is often inspired by her surroundings, such as the Birmingham Botanical Gardens where she has held painting exhibitions Photo by Bonita R. Cheshier Opposite right: Your Eyes Pressed Against Mine, oil and acrylic
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er rebirth as a painter might have occurred after she turned forty, but it’s clear art has always been in Hathorn’s soul. Much like the short lines and poems she would pen as a teenager, the titles of her paintings now reflect her thoughts. “My paintings are about life and emotions,” she says. “The titles have become like my poetry, and sometimes they change, even after I’m done working for a while—almost like they’re alive. I might come back and change something. I never feel like a painting is done until it sells.”
“I had to get used to parting with the paintings,” Hathorn says with a laugh. “At first I would think, ‘Oh, I’ll never see it again,’ but now I feel like it’s okay because I’m giving a gift to someone—they related in some way to my art and now we’re connected.” That connection is the reason Hathorn prefers to sell her art in person, rather than setting up an online store. “I want my art to find its forever home. It’s like selling a puppy.”
Her first sale, back around 2012, was to friend and colleague Tania Koehler from Howard Hospitality, who Hathorn says “discovered” her. Koehler, whose father is an artist, had come to Hathorn’s house one day and spotted two paintings the latter had been working on in the kitchen. When she expressed interest in buying them, Hathorn was surprised, to say the least. But the idea of making art for others was a welcome one—although she admits it was difficult at first to let her works go.
She has amassed several collectors over the past few years, and her work has been shown in galleries and interior design showrooms in Birmingham, along 30-A, in Atlanta, and more. Currently it can be found at Arceneaux Gallery in Homewood, Alabama, East End Gallery in Inlet Beach, Florida, and Haus of
Visual Perspectives She has amassed several collectors over the past few years, and her work has been shown in galleries and interior design showrooms in Birmingham, along 30-A, in Atlanta, and more. Abood Design & Decor in Seacrest Beach, Florida. Hathorn will also exhibit at the Birmingham Botanical Gardens September 1–October 31 and at the Moss Rock Festival in Hoover, Alabama, November 3–4. When it comes to her style, Hathorn is always evolving. “I have a hard time staying confined to one genre,” she admits. Her medium can switch from acrylic paints to charcoal to pen and ink on any given day. “Lately I’ve been working with broader strokes of paint on canvas. I feel they’re a bit more fun, almost like I’m dancing around.” From that first sale to Koehler at her home until now, Hathorn’s support system has included many artist friends, gallerists, and collectors along the way. She credits Forstall Art Center in Birmingham as being some of her biggest supporters and always willing to help when she wants to try a new tool or technique. “The owners, Phillip and Annette, are great. I love talking with them. All their employees are artists, most with fine arts degrees, so they really are experts at what they do.”
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An inspirational trip to Art Basel in Miami with her friend and fellow artist Maxine Orange also instilled in Hathorn a desire to try new things and explore new ways to create. “I’m still discovering and always looking for something new,” she says. “People tell me, ‘I didn’t know you could paint,’ and sometimes I’m like, ‘I didn’t know either!’”
Togetherness, acrylic on canvas
Hathorn’s joy in creating and expressing herself, especially through hard times and times of change in her life, have kept her grounded and given her a desire to help others find the same soul-lifting peacefulness. She loves supporting other artists and creative entrepreneurs and says promoting each other is the key to success for those in her field. “I’m not in it for financial gain—that’s not why I was slapping paint on canvas in my kitchen six years ago.” Through sharing her art and promoting that of others, Hathorn proves that everyone—even those who might not know it—has a little bit of art in his or her soul.
See more works by Jessica Hathorn and learn about exhibits and purchasing opportunities at JessicaHathorn.com, on Facebook at Jessica Hathorn Art, or on Instagram at @jessicahathorn.art.
Tom King Central Square Records Seaside, Florida
Visual Perspectives
By Laurette Ryan
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Photography courtesy of Break a Leg Theater Works
DREAM
BIG! 108 | JULY 2018
As children, some of us dreamed of being star athletes, astronauts, great chefs, or even Broadway actors and movie stars. Imagine having one-on-one time at that tender age in your life with those who shared your dream and had actually accomplished it. What would that have been worth? Would it have led you to believe that no dream is too big, that the possibilities are endless?
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he children, wide-eyed, excited, and nervous, sit on folding chairs in the basement of a historic church. The Spire in Plymouth, Massachusetts, has been renovated into an acoustically and architecturally beautiful performing arts venue. The children are coached and mentored by Elizabeth Stanley, a Broadway and film actor with numerous noteworthy accomplishments in the theater. Each child brings a song or a monologue, and Stanley coaches them in a nurturing but effective way. After just fifteen minutes, the difference in each child’s presentation is astonishing. This is an example of the master classes led by working Broadway, film, or television actors and presented by a small but growing nonprofit called Break a Leg Theater Works, the brainchild of Kyle Wrentz and Healy Sammis. Several times a year, they produce a variety-style show with a featured professional guest star alongside excited and talented young performers. For the children of Break a Leg, this is an opportunity to see how these performers work and to get direct feedback from them. But as Wrentz says, “Honestly, the best part is seeing them onstage performing with these Broadway stars. The kids get such a kick out of it, and it’s a memory they’ll cherish for the rest of their lives.” The children in this particular workshop would be performing onstage at the Spire with Stanley the next day. The show they presented, Rise Up! A Cabaret, comprises songs of inspiration.
Sammis and Wrentz met in the mid-1980s when the latter was in fourth grade and Sammis was in third. Their hometown had just started a new theater program, and they met on the first day of rehearsal. The show was Free to Be . . . You and Me. They’ve been friends ever since, through community theater and the high school drama department. They set out during many weekends and spent whatever money they had on train tickets to New York City, where they would stand outside Broadway theaters and sneak into shows during intermission. They waited for hours outside the stage doors to get autographs on their Playbills. During their college years, Wrentz and Sammis worked together to run the music program of a local summer camp in Connecticut. It’s clear their friendship evolved through music, theater, and teamwork; this might be where the dream for Break a Leg began. Years later, they were both at crossroads in their lives. Sammis had just returned to the US after spending a year working in Toronto, and Wrentz was finishing his long stint in The Lion King on Broadway. They wanted to do something new and impactful with their lives. It had always been a dream, a pipe dream they would say, to run their own children’s theater. They took that seed of an idea and met with the owner of a small studio to see what they could make happen in the space. They decided to do A Night of Broadway during which students could sing solos and perform small group numbers. They also brought in a couple of Wrentz’s friends from Broadway to guest star in the show, knowing that if the students in the area were anything like they were when growing up, they’d love to have an opportunity to meet and perform with Broadway stars. That was three years ago. When asked how it felt to have this dream come true and how they saw it growing, Healy said, “After A Night of Broadway, we continued putting on cabaret performances with various themes. We found that being able to create a show around the talent proved to be a wonderful formula. We were able to find songs that fit our students’ vocal abilities and personalities while offering a broad repertoire to our show-goers. Kyle was able to network with his Broadway colleagues to find guest artists that fit our aesthetic and who were eager to give back to the community. In addition to the cabarets, we began to offer regular theater classes, as well as one-time master classes with special guest artists. Our students now have a safe V I E MAGAZ INE . COM | 109
Visual Perspectives
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Our students have proved that they are capable of quite difficult material; they actually thrive when given a challenge because it keeps them engaged.
Above: L. Steven Taylor of Broadway’s The Lion King on stage with a student during a performance of Break a Leg’s Rise Up! A Cabaret this past February. Opposite: Break a Leg Theater Works teaches children ages eight through eighteen performance skills and confidence through master classes and summer camps featuring professional actors, singers, and dancers.
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and fun environment in which they can explore their love of theater, expand their repertoires, and gain exclusive insights from professionals in the business.”
Sammis says she was deeply invested in starting this project. “Theater was my first big passion in life. When I was growing up, I spent every week looking forward to Saturday, which was when my community youth theater program held weekly rehearsals. I used to be painfully shy, but having a structured, safe, and creative space to be with other kids who shared the same passion helped me break through a lot of personal barriers.”
The master class with professionals is one of the unique aspects of this theater group. “I think humanizing these Broadway actors in the eyes of the kids is just invaluable,” Wrentz says. “Once our students spend a little time with our guest artists and learn their stories—the ups and downs of their lives and their careers—it makes them relax. Then, when they see how generous and giving our guest artists are both offstage and on, it sets an example for our students. It motivates them to emulate the same qualities with each other and within our company.”
Wrentz agrees. “My life was forever changed when I stepped into the theater program I grew up in,” he says. “I was in fourth grade, and I remember being nervous about going, but after the first time, I never looked back. I would never have had such amazing opportunities as a professional actor, or in life in general, if I hadn’t been exposed to the theater. It made me a more confident and inquisitive person. Seeing our students achieve benchmarks every year and standing taller literally and figuratively is just heartwarming. I hope that our students have learned from our program that no dream is too big and that the possibilities are endless. This isn’t about all of them becoming huge stars on Broadway or in film; it’s about them knowing that they are enough already. It’s about letting them see that they matter and have something special to contribute to the world.”
Though very busy with their lives (Wrentz commutes to Plymouth most weekends from New York, where he is a project manager for the chancellor of New York City Schools, and Sammis homeschools her son who has learning disabilities), they seem to have unending energy and passion for guiding the children and creating magical opportunities for them. Field trips into Boston to see award-winning shows and have question-and-answer sessions with cast members are regular offerings from Break a Leg, as is private coaching for auditions for college or theater work.
Whether through a master dance class with Thayne Jasperson (whose credits include Hamilton, Matilda, and Newsies), an acting-for-TV workshop with Daniel Hall of The Young and the Restless, or any of the other classes led by talented performers who contribute to Break a Leg, the children from many small towns south of Boston have their lives enriched and their dreams nurtured.
W
rentz adds, “I think one of the main ways our company has evolved is with the repertoire we assign our students. With every show we do, the material seems to get more complex and layered. We did music from Natasha, Pierre & The Great Comet of 1812 in our last show. It was so beautiful to see our cast of sixty-two students, ages eight through eighteen, singing ‘Dust and Ashes.’ Our students have proved that they are capable of quite difficult material; they actually thrive when given a challenge because it keeps them engaged.”
Valuable life lessons are learned. Derrick Davis, who starred as the Phantom in the twenty-fifth anniversary North American tour of The Phantom of the Opera, shared some of the thoughts he lives by with the children: “Number one—get used to doing things that make you uncomfortable. Two—learn to let others’ opinions register in your head and not your heart. And three—learn something every day, positive or negative—no time is wasted.” Wrentz’s encouragement that no dream is too big and that the possibilities are endless is a message perfectly illustrated by the existence and the dedication of Break a Leg Theater Works.
BreakALegTheater.com Laurette Ryan is a professional in the health and wellness industry and has been a national fitness presenter for over thirty years. She is the author of four books on fitness, self-improvement, and life coaching. She is also the mother of four amazing children.
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Introspections
Introspections THINK DEEPER
Golden Hour by Cécile van Hanja – CecilevanHanja.com Prints available online at SaatchiArt.com
In artist Cécile van Hanja’s Golden Hour, acrylics and oil on canvas convey the magical time just after sunrise or before sunset that photographers often claim is the best for natural lighting. Her painting of the Kaufmann Desert House in Palm Springs, California, also exhibits a prime example of the city’s renowned architecture, pictured in a neon cavalcade of color and clean lines. Designed by Richard J. Neutra and completed in 1946, the residence has been called one of America’s most important examples of International Style architecture.
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Introspections
THE ARCHITECTONIC
the art of the skyline
BY NICHOLAS S. RACHEOTES Illustrations by Lucy Young
IT’S HIGH TIME AN ARTICLE BEGAN WITH A FIVE-SYLLABLE WORD IN THE TITLE. WHY BOOM, THOUGH, WHEN NO JET IS BREAKING THE SOUND BARRIER AND RATTLING THE DISHES IN HOUSES UNFORTUNATE ENOUGH TO BE ON THE FLIGHT PATH? The explanation for boom lies elsewhere, so get ready for a reach. The universe is 13.8 billion years old, according to the calculations of the latest big bang gang, but humans have only been blanketing it with megalopolises and urban skyscrapers for a century and a half.
pins that try to deflate the sky in New York City, Chicago, or Shanghai? Are we awestruck by Dubai’s Burj Khalifa or the eventual Jeddah Tower in Saudi Arabia? All those sound to me like a long elevator ride with little prospect of spiritual uplift.
Now, let’s play a mind game in which there are no losers: imagine living on a comet that returns within sight of the earth every so (or not so) often. Up until the nineteenth century, we would have seen a certain number of walled cities, fortresses, and palaces built to show the power and personality of kings and emperors. Of course, there were other magnificent structures erected over many generations by persons who wished to “do something beautiful for God,” in the words of Mother Teresa. Solomon’s Temple in Jerusalem, Hagia Sophia in Constantinople, Sultan Ahmed’s Blue Mosque in Istanbul, Saint Peter’s in Rome, and Chartres Cathedral outside Paris were such timeless examples of design and symbols of faith that they became places of pilgrimage. Would we say the same about the temporary multimillion-dollar
The concept that we like to apply to such tributes to human engineering and hubris is “iconic”; however, that term has been used with such elasticity as to be stretched thin enough to read a newspaper through, if anyone still reads newspapers. The twin towers in New York and Solomon’s Temple in Jerusalem were iconic because they were tragically destroyed. The Empire State Building is iconic because King Kong swatted airplanes from its spire. In the nearly obsolete but revered libraries of our major universities, we find cubicles where the world’s greatest ideas were birthed and where they later expired from disuse. Instead, the nebulosity of the web and the cloud, given added life by the wide-open spaces and conversation pits of think-tank construction, mean the dwarfing of the solitary thinker’s stature. We now float in what appear to be new spaces. Are these as impermanent as the notions they spawn?
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Introspections
A
basic question eats at the foundation of every skyline: what are you communicating? The bells from the many churches of Moscow were proclanging, “This is as close on earth as you will get to the sound of heaven.” We may remember what George Orwell was putting in the intoxicated memory of Winston Smith in Nineteen Eighty-Four: “Oranges and lemons say the bells of Saint Clement’s.” We might even listen with a measure of reverence to how Pete Seeger played this idea into the prolabor anthem “The Bells of Rhymney.” Today, the buildings are silent, permitting us to speak for them. It’s a shoe! No, it’s a boat! No, it’s the New Balance headquarters in what is lovingly but somewhat misleadingly termed Brighton Landing, near but not on the Charles River. Now beauty, if such it is, is in the eye of the financial backer. What would John Hancock have said should he have beheld the tower bearing his name covered with plywood because the designers had not reckoned on those mighty winds in Boston’s Back Bay creating an effect that caused the first generation of windows in the tower to fall like snowflakes in a nor’easter? Eventually, the problem was corrected, but not before liberal and illiberal doses of scorn were heaped upon architects I. M. Pei and Roy Barris. Let’s go back to our comet for a moment. What would we make of the race for inner and outer space? Do we ponder iconic Saint Paul’s Cathedral resisting the German blitz on London and think how mighty are the works of humanity when consecrated to the worship of its gods? Do we wonder whether the new
deities—banking, insurance, and multinational corporations—have the same power to endure and inspire feats of design? Would we elevate Marcel Breuer, Walter Gropius, and their student Philip Johnson to the heights enjoyed by those who built the Parthenon, the Taj Mahal, or Angkor Wat? Might we comet riders dismiss the modernist and postmodern architects of the present and prior centuries as having forsaken the strength of marble and travertine for the impermanent materials of today? Among our generation’s answer to the Athenian architects Ictinus and Callicrates are Philip Johnson and Frank Gehry. Under the discerning eye of their supervisor, the sculptor Phidias, the ancients made buildings that defied time but could not withstand the shells of the Venetian fleet that fell on the Acropolis. Johnson may have thought of design in sculptural terms. He actually lived in a glass house of his own design in New Canaan, Connecticut. (Presumably, the only stones he threw were verbal.) With various partners, he poured his creativity into his projects: the bronze-and-glass Seagram Building, the twice rechristened 550 Madison Avenue, the Lipstick Building, and Lincoln Center in New York; Pennzoil Place in Houston; the Crystal Cathedral in California, and so many others. Johnson said, “We still have a monumental architecture. To me, the drive for monumentality is as inbred as the desire for food and sex, regardless of how we denigrate it.” What would Mother Teresa have made of that? As for Gehry, his Guggenheim Museum in Bilbao, Spain, attracted worldwide attention. Not only in Europe, but also from the campus of MIT to the Walt Disney Concert Hall in Los Angeles, his buildings are both original and occasionally controversial. As with the temples of Greece and Rome, they have obvious sculptural components.
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From our comet, we might consider Martin Luther’s contention that a pope of conscience would prefer that Saint Peter’s burn to the ground rather than be “built up of the skin, flesh, and bones of his lambs.” However, when we look deeper into the competition among corporations, cities, and nations for their pieces of the sky, we learn of the tax breaks and zoning exemptions that make us taxpayers the real sponsors of monumentality. In a sense, a skyline is a work of art. The people whose neighborhoods were destroyed to produce it are real. A design may adroitly combine nostalgia and innovation; nevertheless, those who work, live, study, or worship in the building must function, be contented, and even be inspired. The obvious thing would be to do what is common in writing on architecture and give the last lines to Percy Bysshe Shelley and his poem “Ozymandias.”
I MET A TRAVELER FROM AN ANTIQUE LAND, WHO SAID—“TWO VAST AND TRUNKLESS LEGS OF STONE STAND IN THE DESERT. . . . NEAR THEM, ON THE SAND, HALF SUNK A SHATTERED VISAGE LIES, WHOSE FROWN, AND WRINKLED LIP, AND SNEER OF COLD COMMAND, TELL THAT ITS SCULPTOR WELL THOSE PASSIONS READ WHICH YET SURVIVE, STAMPED ON THESE LIFELESS THINGS, THE HAND THAT MOCKED THEM, AND THE HEART THAT FED; AND ON THE PEDESTAL, THESE WORDS APPEAR: MY NAME IS OZYMANDIAS, KING OF KINGS; LOOK ON MY WORKS, YE MIGHTY, AND DESPAIR! NOTHING BESIDE REMAINS. ROUND THE DECAY OF THAT COLOSSAL WRECK, BOUNDLESS AND BARE THE LONE AND LEVEL SANDS STRETCH FAR AWAY.”
What we know is that “the lone and level sands” are just as likely to sprout with the lavish architectural dream of a self-styled mighty king as an urban landscape is to burst into brick, steel, and glass at the behest of an ambitious CEO and captivated board of directors. Sad to say, Philip Johnson is no longer with us, but we can fashion our dialogue around what he might see in a crystal ball of his own making. Once upon an earlier century, Louis Sullivan and the Chicago School erected tall buildings in a single bound. William Randolph Hearst and Joseph Pulitzer published dailies that were yellow and read all over. Will the challenges of a never-certain future mean that the towers scraping the sky at city center may, like the newspaper of the recent past, be flirting with obsolescence? The future of design may lie with the inner space of a renewed cottage industry. There, work will be “put out” to skilled artists, bankers, corporate moguls, and educators who join one another in secure clouds of information and shape the brave new atomized world. There will be no time wasted in long commutes and hunts for parking, no dressing for success, no water-cooler gossip, few opportunities for personally intimidating coworkers and subordinates, and no productive quietude in an environment that each worker has customized to their specifications. In this return to the preindustrial world, many of us will be working at home as we cultivate the ideas that robots apply in production centers specially designed for them. The air will be clean, and the only sounds one might hear are the church bells or the calls to prayer from the minarets of emerging states, reminding us of what seems to last.
Nick Racheotes is a product of Boston public schools, Brandeis University, and Boston College, from which he holds a PhD in history. Since he retired from teaching at Framingham State University, Nick and his wife, Pat, divide their time between Boston, Cape Cod, and the Western world.
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Introspections
This charming screened back porch on Daufuskie Island near Hilton Head, South Carolina, embodies the peace, relaxation, and connection with nature that outdoor rooms can provide. Designed by Group3 Architecture Photo by John McManus Photography
hen I was a child, I napped on terraces in Tripoli and Benghazi overlooking the Mediterranean Sea. The North African sun burned my fair skin during afternoon siestas, but what seeped into my soul were the calls to prayer bellowing from the mosques spread out over the Libyan cities. Those chants that filled the air are like part of my DNA. Now the church bells in Charleston, South Carolina, ringing all day on Sundays and intermittently throughout the week, punctuate my porch sit-ins.
is the Holy City. The bells fill outdoor rooms with music, order, and grace.
Long before I moved to Charleston, I lived in and loved our African outdoor rooms. In Enugu, Nigeria, the upstairs square terrace became an astronomy lab. We looked through my father’s telescope and listened to him explain the vast black sky—the names of the stars, the solar system, the movement of the comets— before the civil war began and we left my father and the country, before bombs reduced our home to rubble.
On a windy winter afternoon, there is no better place to sit than on the terrace with a loved one, wrapped in blankets while sipping smoky Hu-Kwa tea sweetened with honey from the bees in the backyard. In summer, the porch ceiling fan whirls full speed, and ice buckets stay filled with large cubes for the five o’clock cocktail hour, when bourbon and drops of bitters aid in watching the sun set and the moon rise.
Our piazza in Accra, Ghana, spanned the back of a doughnut-shaped prefabricated house on stilts. The piazza was our party space, our movie theater, and our newsroom. My father, a spy by day and a music master by night, recorded reel-to-reel tapes with songs that made diplomats and other dignitaries whip their hips, rocking their scotches and martinis and turning the terrace into a jungle nightclub. When we were lucky, the American embassy received year-old movies, which we projected onto the side wall. The most surprising moment on that terrace came the night we gathered around a transistor radio and heard “one small step for man, one giant leap for mankind” as Neil Armstrong walked on the moon.
Communication is different on porches, upstairs and down. Why? Spaces affect people’s behavior. On a ground-floor porch, one converses with neighbors across the garden, or possibly one meets a passing stranger who might transform her life. Elevated porches are a different environment: exotic, hidden, and perfect for private, uninterrupted conversations—honest, vulnerable, and open—a place to forge a deep connection. They make the perfect nest for daydreaming on
Now the daily rhythm of church bells in Charleston seeps into my soul. One bell tower starts ringing, then, seconds later, a different church peals its sound across the sky. No wonder Charleston’s nickname
Charleston’s single and double porches have long been synonymous with hospitality to the tune of those bells. We entertain on our piazzas all year long because the temperate climate offers a type of living not available in many urban environments. These are special spaces that allow us to watch clouds moving across the sky or birds flying in formation, all while protecting us from a sudden rainstorm or the blazing sun.
These are special spaces that allow us to watch clouds moving across the sky or birds flying in formation, all while protecting us from a sudden rainstorm or the blazing sun.
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Outdoor rooms and fresh air make people looser and able to talk more freely, telling truths more comfortably. People behave and think a certain way in an interior room and often say what they’ve said before. Four interior walls may hem one in psychologically. Outside, it’s easier to say things you have never said, perhaps even startling yourself. Spending a good portion of the day on a porch can make you feel differently too. Porch life is less chaotic. Fresh air calms, and though you might sit on the porch all day, you won’t feel cooped up. The porch becomes your cozy little outdoor cocoon, a safe sanctuary. Nap on a terrace, drink on a porch, or hang out in a garden and the music of the outdoor room becomes part of your inner vibe. Decades after living in Libya, hearing a Muslim chant still calms me instantly, but it also reminds me of the shortness of life. The moments
always cast a long shadow of those who went before and those who are not even born. The chants and bells will continue. Old houses, even decaying ones, last longer than human life. The sounds connect us to the past and the future but are of the moment. These sounds have been the music of outdoor rooms in Benghazi, Tripoli, and Charleston for hundreds of years and will keep ringing long after we are gone.
Suzanne Pollak, a mentor and lecturer in the fields of home, hearth, and hospitality, is the founder and dean of the Charleston Academy of Domestic Pursuits. She is the coauthor of Entertaining for Dummies, The Pat Conroy Cookbook, and The Charleston Academy of Domestic Pursuits: A Handbook of Etiquette with Recipes. Born into a diplomatic family, Pollak was raised in Africa, where her parents hosted multiple parties every week. Her South Carolina homes have been featured in the Wall Street Journal “Mansion” section and Town & Country magazine.
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a Sunday while listening to church bells ring continuously for half an hour, sounding out hymnal refrains at the opening and closing of a service.
BILLBOARD MUSIC AWARDS 2018 The 2018 Billboard Music Awards, hosted by Kelly Clarkson, was an emotional and celebratory night of one-of-a-kind musical performances and touching moments, all to honor the year’s best in music. The awards program aired live on both coasts from the MGM Grand Garden Arena in Las Vegas on Sunday, May 20. Kendrick Lamar and Ed Sheeran were the night’s biggest winners, receiving six awards each.
Demi Lovato Photo by Kevin Mazur / WireImage 122 | JULY 2018
Luis Fonsi
Jennifer Lopez
Photo by Frazer Harrison / Getty Images
Camila Cabello Photo by John Shearer / Getty Images
Photo by Kevin Mazur / WireImage
Debra Messing
Ciara
Taylor Swift
Photo by Kevin Mazur / WireImage
Photo by Jeff Kravitz / FilmMagic
Cheryl James, Kelly Clarkson, Sandra Denton, and DJ Spinderella Photo by Kevin Mazur / WireImage
Nick Jonas Photo by Matt Winkelmeyer / Getty Images
Tip “T.I.” Harris (left) and French Montana (right) Photo by Jeff Kravitz / FilmMagic V I E MAGAZ INE . COM | 123
Melita Hudson and Jordan Staggs
Abigail Ryan and Alden Easter
DG + VIE 2018
Mitch and Judy Krenk with Carrie and Mike Jansen
It was a disco dance party like no other at the 2018 Digital Graffiti Festival in Alys Beach, Florida, on May 19. VIE hosted The Age of Aquarius, a preparty to the main event, at Fonville Press. The soiree was complete with a pink carpet, prosecco in disco-ball cups, a beautiful floral wall from Flowers by Milk & Honey, music and games by JAMM Entertainment, and the Digital Graffiti winners’ announcements presented by curator Brett Phares. Photography by Brenna Kneiss
The curators and artists of Digital Graffiti 2018
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Renee and Jim Ryan
Ann Delaney, Rachel Ridley, Julia Kate Mace, and Alyssa Walker
La scène
Jordan Staggs, Meghn Hill, Abigail Ryan, Christy Milliken, Lisa Burwell, Tracey Thomas, Olivia Pierce, and Hannah Vermillion
Kelsey Schneider, Brandie Garner, Ashley O’Brien, and Jordan Rutherford
Charlie and Carol Watling
Shelby Boston, Brenna Kneiss, and Meghan Ryan
Ken Johnson and Andi Zack-Johnson
Biko and Precious Freeman
Julia Kate Mace, Angie Rigsby, and Belinda Bellew
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THE ARCHITECTURE & DESIGN ISSUE
July 2018
NEW URBANISM PLACEMAKING IS an ART FORM
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