THE INTERNATIONAL DESIGN AUTHORITY AUGUST 2017
FAMILY AFFAIR
AT HOME WITH MIAMI’S MOST DARING COLLECTORS
ITALIAN RENAISSANCE MILAN’S CUTTING-EDGE DESIGN SCENE
COLOR YOUR WORLD BRILLIANT ROOMS, VIBRANT LIVING
CONTENTS august Features 48 TRUE BLUE
Pierre Sauvage, owner of Casa Lopez, Paris’s go-to purveyor of boho-chic housewares, brings his exuberant vision to a classic 18th-century apartment. By Joshua Levine
62 ARTISTIC TRIUMPH
At Jason and Michelle Rubell’s gallery-like house in Miami Beach, the family—and their collection of contemporary art—feels perfectly at home. By Sarah Thornton
74 ANNUAL RETURN
Every spring the wisteria pergolas in the private garden of one of England’s most stately houses put on a vibrant show. By Jane Garmey
80 MILAN RISING
Sizzling ideas and freewheeling creativity reignite the Italian city’s legendary design scene. By Hannah Martin
88 RISE & SHINE
Gloriously restored and thoughtfully modernized, Paris’s Hôtel de Crillon emerges from an epic renovation ready to face a new century. By Alexandra Marshall
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94 A FINE VINTAGE
Winemaker Noemi Marone Cinzano uncorks her new getaway—a laid-back Portuguese villa designed inside and out by decorator John Stefanidis.
A VIEW INTO THE CLOISTER GARDEN AT ENGLAND’S PETWORTH HOUSE.
By Dana Thomas (CONTINUED ON PAGE 8)
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ON THE COVER OLIVIA RUBELL IN HER PARENTS’ MIAMI BEACH HOME. ARTWORKS BY AARON CURRY AND SECUNDINO HERNÁNDEZ. “ARTISTIC TRIUMPH,” PAGE 62. PHOTOGRAPHY BY FRANÇOIS DISCHINGER. STYLED BY MICHAEL REYNOLDS.
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CONTENTS august Discoveries 21 TRAVELS: KYOTO CRUSH
In the wake of a striking exhibition and mega fashion show, Japan’s cultural capital is experiencing a riveting renaissance. By Jane Keltner de Valle
26 THINK PIECE: WATER WORKS
London-based lighting designer Michael Anastassiades finds inspiration in his native Cyprus. By Hannah Martin
28 WORLD OF: MILES REDD
The king of chromatic splendor opens a splashy new Manhattan office. By Mayer Rus
In Every Issue 14 OBJECT LESSON: POLAR VORTEX
Jean Royère’s biomorphic 1947 design is officially out of hibernation. By Hannah Martin 18 DEALER’S EYE: NICOLAUS BOSTON
The British majolica guru reflects on Victorian feats of clay. By Hannah Martin
108 RESOURCES
The designers, architects, and products featured this month. 110 LAST WORD: ROCK STEADY
Artist Richard Long brings conceptual land art to a storied English estate. By Sam Cochran
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OMBRELLINI DESSERT PLATE BY LA DOUBLEJ. $85 FOR SET OF TWO. BERGDORFGOODMAN.COM.
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THE RUBELL DAUGHTERS BENEATH A PETER HALLEY PAINTING IN THEIR FAMILY’S MIAMI BEACH HOME.
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FROM TOP: MATTHIEU SALVAING; COURTESY OF LADOUBLEJ.COM; FRANÇOIS DISCHINGER
A MARBLE BATH IN PIERRE SAUVAGE’S PARIS APARTMENT.
THE INTERNATIONAL DESIGN AUTHORITY VOLUME 74 NUMBER 8
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THE STORY BEHIND AN ICONIC DESIGN
MAI LINH/COURTESY OF DIMORE STUDIO
object lesson
Polar Vortex
Jean Royère’s biomorphic 1947 design is officıally out of hıbernation 14
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FOR A PARIS DUPLEX, DIMORE STUDIO DRESSED A JEAN ROYÈRE POLAR-BEAR SOFA IN PERSIMMON VELVET.
object lesson 2
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3 1. A POLAR-BEAR SUITE AT EMMANUEL DE BAYSER’S BERLIN HOME. 2. CHRISTIAN LOUBOUTIN’S PARIS PENTHOUSE. 3. ROYÈRE, CIRCA 1930. 4. A POLAR-BEAR SOFA AND CHAIR IN A MALIBU BEACH HOUSE BY JOHN LAUTNER. 5. A 1950S ARMCHAIR.
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1. MANOLO YLLERA; 2. SIMON WATSON; 3. JEAN THOLANCE/LES ARTS DÉCORATIFS, PARIS; 4. ROGER DAVIES; 5. JOHN LEI
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n 1947 the French designer Jean Royère redecorated his mother’s Paris apartment. The star of his grand redo? A rotund sofa called Boule, covered in a deliciously fuzzy velvet that would later inspire the design’s charming nickname, Ours Polaire—“polar bear.” The unusual shape—created with a wooden interior skeleton similar to those used in Louis XVI sofas—sent shock waves through Paris when Royère 4 displayed it in Art et Industrie’s exhibition “La Résidence Française.” But soon enough, the orders flew in. Two chair versions were commissioned for the office of the French Minister of Foreign Affairs in Helsinki; the Shah of Iran snapped up several for the dining room and bar of his daughter Shahnaz’s home in Tehran. Royère, who began his career in furniture-making at age 29, produced his designs on a much smaller scale than other industrial designers. In fact, French dealer Patrick Seguin, who, with Jacques Lacoste, has published two volumes on Royère, estimates there were only about 150 polar-bear pieces ever made. Their rarity is reflected in their skyrocketing price tags: These days, a set—two chairs and the sofa—goes for around $1 million; the sofa alone can cost a cool $600,000. Still, since the early 2000s the designs have been steadily lumbering into the living rooms of everyone from Larry Gagosian to Ellen DeGeneres. Kanye West has even gushed about the series on Twitter: “Royère doesn’t make a Polar bear bed but the Polar bear couch is my favorite piece of furniture we own.” The allure is simple, says French decorator François Catroux, who first saw the pieces in the South of France in the 1960s, then rediscovered them 15 years ago, when they returned to the market: “They’re unusual, they’re beautiful, they’re rare, and everyone looks so elegant and relaxed sitting on them.”—HANNAH MARTIN
dealer’s eye
WHERE ART MEETS COMMERCE
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1. A CIRCA-1875 GEORGE JONES LEAF DESSERT PLATE. 2. A CIRCA1870 MINTON CREAM PITCHER. 3. ONE OF ONLY TWO KNOWN CIRCA-1870 MINTON JAPONISM VASES. 4. A CIRCA-1875 CHESTNUTLEAF PITCHER BY JONES.
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Nicolaus Boston
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SPECIALTY: Majolica, relief-molded earthenware decorated with vivid lead glazes, mostly dating from 1850 to 1900. GENESIS: Herbert Minton and his art director, Leon Arnoux, debuted the ceramics at London’s 1851 Great Exhibition. LOOK FOR: Pieces that are sharply molded. “If it’s a bird or a squirrel, you want to see the feathers or the fur,” says eminent dealer Nicolaus Boston. NAMES TO KNOW: Minton, Copeland, Wedgwood, Royal Worcester, and George Jones, who embellished the underside of his designs with a green-and-brown mottled pattern. FABULOUS FIND: “On my way to a Bruce Springsteen show I found a Jones plate in a junk shop for £1,” Boston says. “Never seen another one—a nineinch plate with a big chestnut leaf in the middle. I held it under my arm the whole concert.” NEW OBSESSION: German manufacturer Hugo Lonitz “produced quality pieces in the Black Forest carving style that are hard to find.” RARA AVIS: One of the five-foot-tall peacocks that French animalia sculptor Paul Comolera modeled after birds at the Duke of Sutherland’s estate. “It’s the holy grail of majolica,” Boston explains. In 2010, another one of the faux fowl (there are only ten known examples) sold at Christie’s for more than $170,000. UP NEXT: Advising historian Susan Weber of New York City’s Bard Graduate Center on a majolica show that’s planned for 2020; +353-61-358-882. —HANNAH MARTIN
COURTESY OF NICOLAUS BOSTON (4)
The British majolica guru reflects on Victorian feats of clay
DISCOVERIES travels 1
1. VAN CLEEF & ARPELS BROOCH OF A FLYING BIRD CARRYING A 96.62-CARAT PEAR-SHAPED YELLOW DIAMOND, 1971–1972. THE BIRD CAN METAMORPHOSE INTO A PAIR OF WINGED EARRINGS. 2. SET IN A WONDROUS JAPANESE STROLLING GARDEN, KINKAKU-JI (THE GOLDEN PAVILION) IS A ZEN BUDDHIST TEMPLE, SO NAMED BECAUSE IT IS COVERED IN PURE GOLD LEAF.
Kyoto Crush
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1., 3., & 4. COURTESY OF VAN CLEEF & ARPELS; 2. RAM PRATAP SINGH
In the wake of a striking exhibition and mega fashion show, Japan’s cultural capital is experiencing a riveting renaissance 3
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n the span of 16 days this spring, Kyoto unwittingly hijacked Instagram. First, at the city’s National Museum of Modern Art, Van Cleef & Arpels debuted the exhibition “Mastery of an Art: Van Cleef & Arpels—High Jewelry and Japanese Crafts” (through August 6). Then Louis Vuitton touched down in the region, along with a flurry of celebrities, for its cruise show, an hour’s drive away at the I. M. Pei–designed Miho Museum. Around the same time, tastemakers such as Garance Doré and Sofía Sanchez de Betak toured nearby sites, leaving a trail of “like”-able posts in their wake. Kyoto, which in recent history has been something of a sleeping beauty—the quiet counterpoint to younger, cooler Tokyo—is at the epicenter once again. “In Kyoto there is nature, serenity, history,” says Nicolas Bos, the chief executive officer of Van Cleef & Arpels, admiring the onetime Japanese capital’s Zen gardens, Buddhist temples, imperial palaces, Shinto shrines, and ongoing tradition of craftsmanship. In Japan, the upper echelon of artisans command the title Living National Treasures, and their work—be it ceramics, maki-e (lacquerware), or yuzen (dyeing) —is as prized and valuable as any art form. Acclaimed Western curators such as Melanie Courbet and Adrian Sassoon highlight Kyoto-based talents among their international rosters. And it is through the lens of such timeless skill that
3. CLOISONNÉ PLATE WITH CHERRY BLOSSOMS AND BUTTERFLIES BY NAMIKAWA YASUYUKI, LATE 19TH CENTURY. 4. WALL HANGING WITH EMBROIDERED WISTERIA AND PEAFOWL, ARTISAN UNKNOWN, CIRCA 1905.
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DISCOVERIES travels
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CURATED KYOTO
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the current Van Cleef exhibition is focused, juxtaposing historic French jewels and accessories with exceptional Japanese decorative arts. “That universe of craftsmanship is expressed through pieces in a way that transcends the period and geographic origin,” says Bos. However, the visual influence of Japonism cannot be ignored. The jewelry house was founded during the Art Nouveau period, and the Far Eastern references so prevalent at that time became part of the firm’s heritage, from cloisonné enameling to representations of nature. “When you look at the early years of the archive,” says Bos, “the iconography, for instance butterflies, cherry blossoms, and chrysanthemums—things that were not Western motifs— these were really coming from that Japanese movement.” This cross-cultural fermentation was also the driving force behind Louis Vuitton creative director Nicolas Ghesquière’s most recent collection. Richly printed and embellished garments nod to samurai, ceremonial dress, Noh and Kabuki, and inked landscapes. Ghesquière, who has been coming to Japan for decades, is drawn to Kyoto as a place where modern life emerges from a peaceful green landscape: “I visited the Miho Museum a few years ago and was fascinated by Pei’s concept of the harmony between architecture and nature.” When Japanese architect Sou Fujimoto was approaching the design of the Van Cleef exhibition, in which layers of glass cases create an undulating infinity effect, he, too, had these extremes top of mind. “Kyoto has more than 1,000 years of tradition, but it’s not ruins; it’s not a museum,” he says. “It’s a place of life.” —JANE KELTNER DE VALLE
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SHOPS Creative director and event designer Alexandre de Betak and his fashion-consultant wife, Sofía, are so fond of Japanese ceramics that he designed a tatami room with built-in sake bar in their New York City loft and outfitted it with wares from Konishi Pottery Exporting Company near Kyoto. Les Ateliers Courbet’s Melanie Courbet works with several Kyoto artisans: Asahiyaki for pottery; Nakagawa Mokkougei for woodcrafts; Kanaami-Tsuji, which creates teaceremony accessories; Kaikado for tea caddies; and Hosoo for hand-dyed and woven silks.
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1. THE I. M. PEI– DESIGNED MIHO MUSEUM SERVED AS THE BACKDROP FOR THE LOUIS VUITTON CRUISE SHOW. 2. CERAMIC POT WITH ENAMEL AND GOLD DEPICTING FAMOUS KYOTO SCENES, BY HASEGAWA BIZAN IV, LATE-19TH/EARLY20TH CENTURY. 3. A WALKWAY WITH TORII (GATES) AT FUSHIMI INARI TAISHA.
RESTAURANTS Kōdai-ji, a temple set amid beautiful Zen gardens since 1606, is a splendid spot for a traditional Japanese tea ceremony. Okazaki Tsuruya’s formal Kaiseki meals have been served to presidents and royals. Nicolas Ghesquière has a yen for Takeshigero. The Betaks slurp soba noodles— and take in views of Arashiyama’s mountains and the Togetsu-kyō Bridge—at Arashiyama Yoshimura and its sister restaurant Matsugae. For drinks, the couple heads to the Gion geisha district’s stylish Midnight Cafe 528. Ghesquière’s after-party venue of choice? SurfDisco, a kitschy nightclub where the Black Madonna deejayed during the Louis Vuitton cruise festivities. HOTELS The new Four Seasons Hotel Kyoto overlooks an 800-year-old Japanese pond garden and delicately merges local style with Western luxury (fourseasons.com/kyoto).
1. COURTESY OF LOUIS VUITTON; 2. COURTESY OF VAN CLEEF & ARPELS; 3. WOLFGANG KAEHLER/GETTY IMAGES
SIGHTS Celebrated landscape architect Miranda Brooks calls the Shisen-dō garden, located at the Edo-period temple, one of her favorites in the world. Don’t miss the Hōshun-in temple and elegantly landscaped garden, and Shunkō-in, a 1590 temple where Confucian themes are painted on sliding doors. Head to the famed Nishiki Market to sample sushi-quality fish and stock up on miniature “sushi” candy.
DISCOVERIES think piece
Water Works
ON THE COAST OF CYPRUS is a freshwater pool called Fontana Amorosa. “They say it’s where Aphrodite went to find eternal love and youth,” explains Cypriot lighting designer Michael Anastassiades, whose latest collection—which debuted at Milan’s Nilufar gallery—is named for the mythical site. “I see them as a series of fountains and fireworks,” the dashing talent says of fixtures with names like Manneken-Pis, Wishing Well, and Bellagio. (Some of that work will soon appear at the Future Perfect in New York.) In Palm, shown here, spindly metal arms cascade into hand-blown orbs of light. Noteworthy is Anastassiades’ use of color—a first for the master of restraint. However, the crimson hue applied to the collection is no standard paint or powder coat, but a brass patina. Says Anastassiades: “I did not want color just for the sake of color.” nilufar.com —HANNAH MARTIN
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FROM TOP: DANIELE LODICE; HÉLÈNE BINET
London-based lighting designer Michael Anastassiades finds inspiration in his native Cyprus
DISCOVERIES world of Miles Redd The king of chromatic splendor opens a splashy new Manhattan office 1
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1. MILES REDD’S CUBIST FABRIC FOR SCHUMACHER COVERS A SOFA BY DENNIS BRACKEEN DESIGN GROUP. 2. REDD, RESPLENDENT. 3. & 5. TUMBLING BLOCKS WALL COVERING AND TAPE BY MILES REDD FOR SCHUMACHER. 4. THE TENTED VESTIBULE.
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P HOTOGRAP HY BY FRANÇOI S D I S C H I N G E R
GROOMING BY MARY GUTHRIE FOR ARTISTS BY TIMOTHY PRIANO; 1. & 3. COURTESY OF RESPECTIVE COMPANIES. 5. JOHN MANNO
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isitors to AD100 decorator Miles Redd’s new Manhattan office should prepare themselves for a serious jolt of extrastrength Redd-iness. The exhilarating 1,800-square-foot Chelsea work space— designed in collaboration with the architecture firm Bories & Shearron—functions as a three-dimensional calling card meant to demonstrate Redd’s adventurous decorative sensibility and to persuade his clients about the joys of living in glorious Technicolor. It is, in a word, a knockout. The fun begins, naturally, at the entrance, which opens to a tented vestibule of linen fabric printed with scenic branches and leaves, all outlined in black grosgrain ribbon. Two doors upholstered in black horsehair with lapis lazuli levers lead, respectively, to a coat closet and a dazzling powder room. The reverse of the bathroom door—sheathed in a Cubist-inspired collage of jewel-toned Prelle silk velvets with gold nailheads— is a tour de force of chromatic brilliance. The drama escalates in the main office area, which is enrobed in lettuce-green silk velvet and outfitted with a hyacinth-blue
DISCOVERIES world of 1
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1. & 2. PEACOCK FABRIC AND MADAME DE POMPADOUR WALL COVERING BY MILES REDD FOR SCHUMACHER. 3. A DOOR COLLAGE OF SILK VELVETS. 4. JANSEN-STYLE MARQUETRY DOORS TO THE CONFERENCE ROOM. 5. CUBIST TIN BY MILES REDD FOR LOUIS SHERRY CHOCOLATES.
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camelback sofa, a Venetian mirror from a Michael Taylor house in San Francisco, and a kaleidoscopic array of antiques and artworks, including a brooding Edwardian portrait of Consuelo Vanderbilt. “She had a miserable life,” Redd says of the American heiress. “I keep her there as a reminder for me not to have one.” At both ends of the studio, double doors of laser-cut marquetry with abstracted classical and modern motifs riff on designs from the Paris home of Maison Jansen president Pierre Delbée. The hits keep coming—in the men’s-shirting fabric that covers the walls of Redd’s personal office; in the luminous kitchen clad in eggshell-blue Formica framed in polished nickel; and in the pickled-oak and antiqued-mirror planes of the relatively restrained conference room. It’s a potentially cacophonous mix, but with characteristic aplomb, Redd makes the lyrical composition sing out in unison. milesredd.com fschumacher.com —MAYER RUS
1., 2., & 5. COURTESY OF RESPECTIVE COMPANIES
“This office is a showcase of ideas and a lesson in the luxury of organization.” —Miles Redd
MATTHIEU SALVAING
LOGO COLOR INSPIRED BY SHERWIN-WILLIAMS SW 6884 OBSTINATE ORANGE
ROOM WITH A VIEW A PAINTING OF THE MANHATTAN SKYLINE IS DISPLAYED ABOVE A MANTEL IN PARIS.
THE COLOR ISSUE AUGUST
AR C H DI G E S T. CO M
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TRUE BLUE
Pierre Sauvage, owner of Casa Lopez, Paris’s go-to purveyor of boho-chic housewares, brings his exuberant vision to a classic 18th-century apartment TEXT BY
JOSHUA LEVINE
PHOTOGRAPHY BY
MATTHIEU SALVAING
STYLED BY
CAROLINA IRVING
THE DINING ROOM’S 18TH-CENTURY PANELING— LIKE ALL THE APARTMENT’S BOISERIE—REQUIRED PAINSTAKING RESTORATION. SAUVAGE WORKED WITH DESIGNER FRANZ POTISEK ON THE RENOVATION. 19TH-CENTURY ENGLISH MAHOGANY TABLE; LOUIS XVI CHAIRS COVERED IN A SCHUMACHER FABRIC; RUG BY CASA LOPEZ. OPPOSITE IN THE SAME ROOM, A LOUIS XVI SOFA IS DRESSED IN A LELIÈVRE VELVET FROM SCALAMANDRÉ; CASA LOPEZ PILLOWS. FOR DETAILS SEE RESOURCES.
IN THE LIBRARY, A FAMILY PORTRAIT OVERLOOKS A VINTAGE SOFA AND A 1970S CHAIR, BOTH PIECES (AND CURTAINS) IN AN ALDECO COTTON VELVET FROM SCALAMANDRÉ. ON MANTEL, PAIR OF 1950S BRASS BOUILLOTTE LAMPS; CASA LOPEZ RUG.
THE KITCHEN’S HIGH-GLOSS BLUE-PAINTED GLASS CABINETRY WAS DESIGNED BY POTISEK. GAGGENAU OVEN; 18TH-CENTURY PIERRE DE BOURGOGNE–AND– BLACK BELGIAN MARBLE FLOOR. OPPOSITE SAUVAGE WITH URGO AND HIALTA, HIS TWO SHIH TZUS.
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ierre Sauvage is a floor guy. “I like classical structures and strong-looking floors, like you see in the work of David Hicks in the ’70s,” says Sauvage. The evidence is all around us in this grand, light-filled apartment on Paris’s rue de Varenne. Sauvage and his partner moved here three years ago from an apartment up the street that dated from a gaudier, more show-offy century. It was nice, says Sauvage, but it just wasn’t the century where his head was at. “We had no particular reason for moving,” says Sauvage with a small shrug. “The other place was very 19th century, which is quite comfortable for a country house but a little out of date for an apartment. The 18th century goes much better with contemporary style. And then we just had a coup de foudre for this place.” It’s not hard to see why. On this bright morning, the sun is streaming across the open courtyard through the necksnappingly tall windows and onto the almond-colored 18thcentury paneling with its fluted Corinthian pilasters. All the paneling in the 3,000-square-foot apartment is historically classified and had to be handled with kid gloves. Just cleaning and waxing it took the better part of a year. On the other hand, Sauvage had free rein with the floors, which he layered with bold rugs that anchor the rooms visually, à la Hicks: a brightblue geometric in the dining room, a leopard print in the library, and a riotous blue-and-red Smyrna floral in Sauvage’s bath. Almost all the rugs come from one place, Casa Lopez in Paris, for one simple reason: Sauvage bought the company shortly after moving into the new apartment. Buying Casa Lopez was something of a foregone conclusion for Sauvage. He had made his career in marketing and public relations for fashion and design clients, Casa Lopez among them. Bernard Magniant founded the company in 1983 to mine the rich design heritage of Spain, where most of Casa Lopez’s rugs are still made. (Magniant’s wife, legendary PR executive Véronique Lopez, handled press for the company, and Sauvage befriended the couple when he worked at her agency in the 1990s.) The company is small: Most of its sales come through three Paris stores—one on the Left Bank and two on the Right—but its fans know what they’re coming for. These are not rugs for the shy: Birds, pomegranates, arabesques, and other curlicues spill out with Latin exuberance. (Sauvage has since killed the pomegranates: “In Spain, people know it’s a pomegranate; in France, they call it an onion.”) “I always wanted to buy the company. I loved the Lopez taste, the vibrant colors, the mix of jute and wool, poor and
rich, and the fact that their prices weren’t too high—if you buy a Casa Lopez fluorescent green rug for ¤850, you don’t have to live with it your whole life,” says Sauvage. Much as he loved Casa Lopez’s splashy Mediterranean aesthetic, Sauvage didn’t purchase the company to serve as its caretaker. He has already added tableware and occasional furniture to Casa Lopez’s merchandise mix. Ultimately, he envisions it as a global brand devoted to l’art de vivre—the French idea of gracious living. “I know exactly where I want to take this brand and what I can do with it,” he says. A new collection of limited-edition rugs, for instance, comes directly from Sauvage’s love of books. Between 1941 and 1967, the prestigious French publisher Gallimard employed two artists, Paul Bonet and Mario Prassinos, to make geometric designs for its book covers. They’re charming, quirky things, and it’s easy to see why Sauvage cherished them and collected all 552 titles. “I always said those covers would make wonderful rugs,” he says, “so I went to Gallimard, and they said yes immediately.” If Sauvage spends much of his free time in the apartment’s library, he also likes to hang out in his bath (“I adore taking baths,” he admits). There’s a cushy 19th-century fauteuil for reading and a big tub facing a TV screen on the blue-lacquered wall. (Blue is the apartment’s dominant color. It’s Sauvage’s favorite color after olive green, but he used that color so exuberantly in his country house near Giverny that he imposed an informal moratorium on it here. Even so, a fair amount of green managed to sneak into the apartment anyway.) Sauvage carpeted the bath with the old beat-up Smyrna rug that he found at the Drouot auction house. He’s an inveterate chineur, which is what the French call people who love hunting around for stuff, and has been popping into Drouot regularly for years. (“There’s a bit of everything there, and the neighborhood restaurants are quite good.”) In the center of the bath, Sauvage and his decorator, Franz Potisek, cut a hole in the ceiling and surrounded it with a balustrade in the dressing room above. It’s an ingenious way to gain some height and tie the space visually to the upstairs level. Sauvage and Potisek have forged an instinctive working relationship over the years: Potisek had already designed an apartment and the Giverny country house for Sauvage, and their mutual confidence comes across in this apartment’s natural, unfussy feeling. I ask Sauvage whether he and Potisek ever disagreed about wall treatments—there are almost none in the whole apartment. He points down to the Casa Lopez rug in the dining room where we’re standing. It’s crawling with vivid geometric figures. “Oh, no, we both agreed. With things like that on the floor, you don’t need wallpaper.”
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“I like classical structures and strong-looking floors,” says Pierre Sauvage.
MORE OF SCALAMANDRÉ’S ALDECO VELVET COVERS THE LIVING-ROOM WALLS AND SOFAS. THE LOUIS XV BERGÈRE IS DRESSED IN A JIM THOMPSON WEAVE. POTISEK-DESIGNED LACQUER COCKTAIL TABLE. HIALTA NAPS ON THE LIBRARY’S LEOPARD-PRINT CARPET IN THE BACKGROUND.
THE BEDROOM’S POTISEK-DESIGNED FOUR-POSTER IS DRESSED IN BESPOKE FABRICS. A WILLIAM MONK PAINTING HANGS OVER THE 1920S VELVET-COVERED SOFA. OPPOSITE AN OCULUS IN THE CEILING OPENS THE MASTER BATH TO THE DRESSING ROOM ABOVE. JACOB DELAFON TUB; VOLEVATCH TUB FITTINGS AND TOWEL RACK.
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“The 18th century goes much better with contemporary style,� Sauvage notes.
A BRONZE–AND–ROCK CRYSTAL CHANDELIER BY HERVÉ VAN DER STRAETEN FOR RALPH PUCCI ILLUMINATES THE LOUIS XVI OAK-ANDMIRROR-PANELED SITTING ROOM. ON THE MANTELPIECE, KIM MOLTZER LAMPS FLANK A BUST OF HENRI II. JANSEN SOFAS; RED VELVET– CARREAUX PIQUÉ STOOLS; CASA LOPEZ RUG.
A 19TH-CENTURY BRASS-ANDGLASS PENDANT ILLUMINATES THE DRESSING ROOM.
DESIGN NOTES
With its strong lines and classic architecture, an 18th-century apartment in Paris is the perfect setting for the bold patterns and bright colors of contemporary design
POINTE DE DIAMANT CARAFE BY VISTA ALEGRE IN MINT GREEN; $103. CASALOPEZ.COM
LUSTRE BRANCHE BY HERVÉ VAN DER STRAETEN FOR RALPH PUCCI; $50,640. RALPHPUCCI.NET
RICHMOND RUG IN VINTAGE RED; $3,775 FOR 4' X 6'. RALPHLAURENHOME.COM
WYE TUB IN BLUE; FROM $9,450. DRUMMONDS-UK.COM
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I like 1970s style, but not the Plexı side of the ’70s. That’s not really my thing.”
JAY BLUE SW 6797 PAINT; FROM $32 PER GALLON. SHERWINWILLIAMS.COM
MASTERPIECE STONE IN AEGEAN BROWN; PRICE UPON REQUEST. WATERWORKS.COM 60
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GARENDON BRECHE MARBLE MANTEL; $25,200. JAMB.CO.UK
DESIGNER FRANZ POTISEK’S DESIGN FOR THE DRESSING ROOM’S PANELING.
JAZZ FABRIC IN NOIR AND GIROFLÉE BY LE MANACH; TO THE TRADE. PIERREFREY.COM
LINEN PLACE MAT IN RED BY LA GALLINA MATTA; $28 EACH. CASALOPEZ.COM
FAYE SETTEE IN BLUE; $1,610. BERNHARDT.COM
“ INTERIORS: MATTHIEU SALVAING; PAINT: PAUL ARMBRUSTER; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES. ALL PRICES SUBJECT TO CHANGE
I do prefer carpets with rather strong patterns,” says Sauvage.
PIA IN VERMILION (TOP) AND LÉOPARD RUGS; FROM $425 FOR 5.5' X 8'. CASA LOPEZ.COM
THE DRESSING ROOM IS CLAD IN INCISED WALNUT PANELING.
GRASSHOPPER FLOOR LAMP BY ANTOINE PIALOUX; FROM $1,857. GALERIEDESLAMPES.COM
SAMUEL RUBELL WITH SCULPTURES (LEFT TO RIGHT) BY GUYTON\WALKER, HENRY TAYLOR, AND AARON CURRY, AND A MURAL-SIZE PAINTING BY NEO RAUCH, IN THE OPEN-AIR LIVING ROOM OF HIS FAMILY’S ART-FILLED MIAMI BEACH HOME. THE NEWLY CONSTRUCTED HOUSE WAS CONCEIVED BY DOMO ARCHITECTURE + DESIGN WITH INTERIORS BY AUSTIN HARRELSON. FOR DETAILS SEE RESOURCES.
ARTISTIC TRIUMPH At Jason and Michelle Rubell’s new, gallery-like house in Miami Beach, the family— and their forwardthinking collection of blue-chip contemporary art—all feel perfectly at home SARAH THORNTON FRANÇOIS DISCHINGER STYLED BY MICHAEL REYNOLDS TEXT BY
PHOTOGRAPHY BY
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ELLA AND OLIVIA ON THE POOL TERRACE. RH DOUBLE CHAISE LONGUES WITH CUSHIONS MADE OF A BLACK PERENNIALS ACRYLIC AND PILLOWS OF HOLLAND & SHERRY FABRIC. RH DINING TABLE; EAMES ARMCHAIRS; VIKING GAS GRILL.
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Now introduce a construction project—demolishing the old home, then building, finishing, furnishing, installing, and moving into a new 14,000-squarefoot house without disrupting the family routines as much as possible. Screenwriters would snigger at the prospect of tearful feuds and expensive fiascoes. But there were none. “It was a superfast, amazing adventure in which we collaborated with a team of dear friends. It wasn’t at all stressful,” says Michelle. “It was a great experience,” affirms Jason. “We made decisions at lightning speed,” notes Harrelson, “and never went back on them.” Knocking down their old Mediterranean-style home was the Rubells’ greatest anxiety. “It wasn’t our aesthetic, but we had 15 years of great memories there,” says Michelle. Seeing one of Todd’s recent constructions excited the kids—Samuel (age 16), Ella (14), and Olivia (12). They, in turn, gave their parents “the courage” (per Michelle) to build a contemporary home that welcomed large-scale art.
HAIR AND MAKEUP BY PAOLA ORLANDO FOR ARTISTS BY TIMOTHY PRIANO USING BUMBLE & BUMBLE AND CHANEL COSMETICS
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magine an HBO comedy set in Lakeview, an upscale neighborhood of Miami Beach. Jason Rubell, a tennisplaying dad who works in his family hotel and real estate business, has been fantasizing for years about building a house to accommodate select works from his family’s world-famous art collection. Michelle Rubell, a bubbly blond supermom and attorney, has known Kim Glaser, the wife of their contractor, Todd Michael Glaser, since preschool. Michelle refers to Kim as “family” and Todd as her “rock-star builder.” Their interior designer, Austin Harrelson, whose wife and three children hang out “every day” with the Rubells and their three kids, lives on the same street a few doors away. Harrelson likes to paddleboard to the Rubells’ via the canal that links their backyards. He describes it as “a nice commute.”
ABOVE A SIMPSON’S STOPPER GROWS IN THE ATRIUM BETWEEN THE ENTRY HALL AND LIVING ROOM. PAINTING BY PETER HALLEY; SCULPTURE BY AARON CURRY. OPPOSITE MICHELLE AND JASON RUBELL IN THE ENTRY HALL WITH AN ARTWORK BY LUCY DODD AND A SCULPTURE BY MARK HANDFORTH. WOOD-GRAINED CONCRETE WALLS; BLACK BASALT TILE FLOORING.
Todd introduced the Rubells to Robert Moehring and Francisco Llado Neuffer, principals of Domo Architecture + Design. The initial plans for the house were “very sculptural,” says Neuffer. “They hated it! They wanted a humble, clean entrance and simple geometry. When we understood that and made it a celebration of the art and the family, things went smooth and easy.” To make display adaptable, the house boasts high ceilings and expansive walls and has no columns or corridors. The ground floor’s 12-foot-tall floor-to-ceiling windows let in tons of natural light. These features give the house, as Jason puts it, “a nice sense of volume” and allow for, among other things, a sculpture garden in the living room. In accordance with art-world norms, the walls have museum reveals (no baseboards but a small gap at the bottom), and the ceilings are lined with gallerycaliber LED track lighting. One subtle design feature is the board-formed, surface-imprinted concrete that clads the outside
and some inside walls. “I was in love with the grain of the wood,” explains Jason, who had admired its use in Annabelle Selldorf ’s gallery buildings. The son of mega-collectors Don and Mera Rubell, Jason grew up in the art world, studied art history, and first showed his personal collection at the age of 22 at Duke University. Selldorf is the architect of the Rubell Family Collection’s new 100,000-square-foot museum, which is due to open in December 2018 in the Allapattah neighborhood of Miami. For the interior, the Rubells, with Harrelson’s help, opted to repeat a few basic materials: basalt volcanic stone tiles for the ground floor; white oak for the second floor; Calacatta and Carrara marble in the kitchen and bathrooms; and hardwearing, unpatterned wool rugs. “Everything had to be user-friendly and easy to maintain,” explains Harrelson. “The house is always full of kids and guests. I’ve never seen a house ridden so hard.”
ABOVE PORTRAITS OF MARILYN MONROE AND ELVIS PRESLEY BY KEITH HARING HANG IN THE MASTER BEDROOM. CUSTOM BED BY AUSTIN HARRELSON; LINENS BY SFERRA. LEFT ELLA ON THE TENNIS COURT PAINTED TRADEMARK U.S. OPEN BLUE AND GREEN. RIGHT IN THE LIBRARY, A 16-FOOT-LONG LACE PAINTING BY MARK FLOOD HANGS ABOVE A HARRELSON-DESIGNED SOFA AND COCKTAIL TABLE. FRANZ WEST SCULPTURE; VLADIMIR KAGAN CHAIRS IN A ROGERS & GOFFIGON LINEN; VINTAGE BUTTERFLY CHAIRS BY KNOLL.
Designer Austin Harrelson understood that, with art as the “star of the house,� design would assume a supporting role.
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OLIVIA LOUNGES IN A WORK BY AARON CURRY IN THE FAMILY ROOM. TWO HE XIANGYU CHAIRS FACE EACH OTHER ACROSS A CUSTOM WHITEOAK COCKTAIL TABLE. PAINTINGS BY OSCAR MURILLO (AT LEFT) AND SECUNDINO HERNÁNDEZ (AT RIGHT). RH SOFA SLIPCOVERED IN A ROGERS & GOFFIGON LINEN. JACQUES ADNET LAMP; RUG BY STARK.
The kids gave their parents “the courage” to build a contemporary home that welcomed large-scale art.
“Everything had to be user-friendly and easy to maintain,” explains Harrelson. “The house is always full of kids and guests.” Harrelson also understood that, with art as the “star of the house,” design would assume a supporting role. “You learn about your friends when you work with them,” says the designer. “Most high-end homeowners can’t help being a little show-offy. They like their neighbor’s marble toilet; they think they need one too. Jason and Michelle’s choices were the opposite—the least pretentious. It takes guts to build a house that is not as fancy as that of your neighbors.” Indeed, million-dollar art has the effect of redefining extravagance. While the house contains some highly collectible 1950s light fixtures by Angelo Lelli and a couple of classic sofas by Vladimir Kagan, it is not jam-packed with big-name designers. Michelle’s favorite part of the interior design is the furniture custom-made
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by Harrelson, particularly the sturdy white-oak dining and coffee tables, which are calmly and confidently neutral. Now fully ensconced, the Rubells are savoring the experience of living in a gallery. Jason, in particular, likes to “wake up and rethink the possible hangs,” as he puts it. At the moment, one of his favorite curatorial conversations is in the front hall where a rectilinear red, blue, and black painting by Peter Halley faces off with an expressionist trapezoid by Lucy Dodd and a candle-covered motorcycle by Mark Handforth. “It’s structure versus alchemy, different views on humanity,” says Jason. “The cool thing about art in the home is that the arrangement of the works can be more disjointed, more flexible, more hedonistic than a public show.”
LEFT ELLA STICKERED A WALL IN HER BEDROOM WITH VINYL DOTS. LI SHURUI ARTWORK; CUSTOM SOFA IN A CALVIN FABRICS LINEN BLEND; VINTAGE KNOLL PLYWOOD CHAIRS; ADRIAN PEARSALL SIDE TABLE; MIFFY BUNNY SCULPTURE; MODLOFT BED. RIGHT A PETER COFFIN SILHOUETTE SCULPTURE (AFTER JEFF KOONS’S BALLOON DOG) STANDS AT THE FRONT DOOR. BELOW IN THE LIVING ROOM, MUSEUM-QUALITY LED TRACK LIGHTS BY JUNO ILLUMINATE ARTWORKS BY CHRISTOPHER WOOL, STERLING RUBY, AND HENRY TAYLOR. VLADIMIR KAGAN SOFA; ADRIAN PEARSALL CHAIRS; VINTAGE RECLAIMED-CYPRESS TABLE; FLOOR LAMP BY JEAN ROYÈRE; RUG BY STARK.
Every spring the magniďŹ cent wisteria pergolas in the private garden of one of England’s most stately houses put on a vibrant, heady, efflorescent show
ANNUAL
THE CLOISTER GARDEN AT ENGLAND’S PETWORTH HOUSE FEATURES TWO 120-FOOT-LONG PERGOLAS LADEN WITH WISTERIA. A LONG BORDER ON EITHER SIDE OF THE PERGOLAS IS PLANTED WITH A VARIETY OF PERENNIALS, INCLUDING CAMASSIA, WHICH BLOOMS IN TANDEM WITH THE WISTERIA. FOR DETAILS SEE RESOURCES. TEXT BY
JANE GARMEY PHOTOGRAPHY BY
TIM BROTHERTON
RETURN
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ot everyone has the opportunity or, as some might see it, the challenge of creating a garden literally just over the wall from a 700-acre park designed in the mid-18th-century by Capability Brown, a giant of landscape design. But this is what faced Caroline Egremont in 1978, after she married novelist and biographer Max Egremont and moved to his family home, Petworth, an imposing 17th-century mansion in West Sussex. Lord and Lady Egremont live at the south end—the rest of the house being open to the public—yet when she arrived, the private garden consisted of a dismayingly large lawn with “the feel of a well-kept golf course” that led to a huge, six-acre walled kitchen garden dating back to the 1600s. In Victorian times, growing fruit and vegetables was a huge operation at Petworth, but by the 1970s most of the garden had been turned into a grassed-in paddock. (It also sheltered a dilapidated tennis court.) But Egremont—now a garden designer in her own right—was charmed by its 12-foot-high mellow brick walls. “I was suddenly in a different world,” she recalls. “It was warmer, more intimate, and I knew this was where I wanted to make a garden.” It took her many years, but Egremont created a series of garden rooms within the walls, each with its own distinct atmosphere. She also transformed the dauntingly rigid golf course–like approach into a nonchalant meadow, planted with thousands of bulbs and intersected by meandering mown-grass paths. The dramatic Cloister Garden, outfitted with two magnificent, resplendent pergolas (120 feet long, 10 feet high, and 13 feet wide), now occupies the site of the old tennis court. (“We had played enough tennis,” Egremont quips.) Running north to south, the pergolas are planted with Wisteria floribunda ‘Alba,’ chosen because the flower panicles open gradually down the stem. From early May to early June, the blooms are breathtaking; they are then followed by a lavish display of hanging seed pods. To heighten the impact, the wisteria is underplanted with cream camassia, which flowers at the same time to showstopping effect. Egremont attributes her inspiration for the pergolas to a long hornbeam tunnel she once saw at Nancy Lancaster’s garden at Haseley Court, which she loved but thought “might be a bit gloomy” given the length of her plot. She also remembered how beautiful the wisteria is at La Foce, Iris Origo’s garden in Tuscany, and decided this would be a better choice. Garden designer John Brookes, with whom Egremont studied and worked for three years, convinced her that gravel enables one to walk around plants and enjoy them from all sides. This prompted her to make a gravel garden in the center, where verbascum, lavender, iris, cistus, agapanthus, yucca, rosemary, and Gallica roses are loosely planted around an octagonal spring-fed pool. Capability Brown’s genius lay in transforming gardens into landscapes. How fitting that more than two centuries later, next door to one of his greatest surviving creations, Egremont has worked her own transformation, breathing new life and bringing great style into an abandoned kitchen garden.
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IT TOOK 14 YEARS TO TRAIN TRACHELOSPERMUM ASIATICUM— A SCENTED FLOWERING JASMINE—INTO THE MASSIVE EVERGREEN COLUMNS FLANKING THE PERGOLAS’ SQUARE OPENINGS.
AN OCTAGONAL SPRING-FED POND SITS IN THE CENTER OF THE GRAVEL GARDEN, IN WHICH LAVENDER AND SELF-SEEDING VERBASCUM GROW. THE GARDEN’S OTHER PLANTINGS INCLUDE ROSEMARY, CISTUS, YUCCA, AGAPANTHUS, AND GALLICA ROSES.
“I was suddenly in a different world,” Egremont recalls. “And I knew this was where I wanted to make a garden.”
TEXT BY
HANNAH MARTIN NACHO ALEGRE
PHOTOGRAPHY BY
MILAN
Sizzling ideas and freewheeling creativity reignite the Italian city’s legendary design scene
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LIGHT: SIMONE FIORINI; PLATE: COURTESY OF LADOUBLEJ.COM
rising
j. j. martin
derek castiglioni
dimore studio
THE VIVACIOUS AMERICAN EXPAT, LONG KNOWN AS A DESIGN REPORTER PAR EXCELLENCE, ALSO HEADS LA DOUBLEJ, HER CULT-FAVORITE LINE OF MAXIMALIST CLOTHING AND TABLEWARE (PLATE OPPOSITE).
MILAN’S GO-TO GARDEN GUY GOT HIS START POTTING PLANTS FOR THE SHOPS OF FASHION BRANDS LIKE DOLCE & GABBANA AND STELLA McCARTNEY. TODAY HIS GREEN THUMB IS FELT HERE, THERE, AND EVERYWHERE.
BRITT MORAN (SECOND FROM LEFT) AND EMILIANO SALCI (FAR RIGHT) ARE HAILED FOR HEAVENLY INTERIOR AND FURNISHING DESIGNS (LIGHT OPPOSITE LEFT) THAT GIVE 1950S MILANESE FLAIR A CONTEMPORARY TWIST.
ilan is reawakening,” says Derek Castiglioni over a Sunday lunch in early April. The city’s fashionable young garden designer is taking in the view from Ceresio 7, the rooftop restaurant of menswear label Dsquared2 and the latest Milan hot spot devised by several of the city’s leading design talents. His pals at Storage Associati masterminded the architecture, friends Britt Moran and Emiliano Salci of Dimore Studio created the decor, and Castiglioni handled the plantings. “This is a city that is constantly changing,” he continues. “And right now you can breathe the enthusiasm.” New construction has changed the skyline. Generali Tower, one of Dame Zaha Hadid’s last works, twists to the heavens alongside Arata Isozaki and Andrea Maffei’s Allianz Tower, and Daniel Libeskind’s leaning tower (Milanese call it Il Curvo)
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ON ALL SUBJECTS: HAIR BY CHIARA BUSSEI AND DANIELA MAGGINETTI FOR CLOSE UP MILANO; MAKEUP BY RAFFAELLA TOMAIUOLO FOR CLOSE UP MILANO. SCREEN: COURTESY OF OSANNA AND MADINA VISCONTI DI MODRONE; POUF: COURTESY OF ATELIER BIAGETTI; INTERIOR: COURTESY OF CLS ARCHITETTI
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is going up nearby. Tourists and natives alike flood into new museums, from Rem Koolhaas’s Fondazione Prada to David Chipperfield’s Museo delle Culture. Then there are the masses who have just arrived for Salone del Mobile, the sprawling furniture fair that this year drew thousands of attendees from 165 countries to see the latest, the greatest, and the most head-spinning creations. The industrial backbone of numerous furniture manufacturers, Milan has always been a hotbed for design. It’s here that architect Gio Ponti conjured up the Superleggera chair for Cassina in 1957; that designer Ettore Sottsass and his crew introduced his radical Memphis home furnishings in 1981; and that Salone del Mobile has taken place since 1961. As Italy’s economy suffered through the early 2000s, though, the city’s aesthetic output felt the effects: Production slowed; the eyes of editors and collectors traveled elsewhere. But, jump-started by Expo 2015, the Italian design capital has experienced the beginnings of an economic upswing. “Milan is going through a very good moment,” says Domenico Raimondo, a specialist in Italian design at Phillips auction house. “The social fabric of Italy had been impoverished at the deepest level, but finally it is blossoming back.” Later that night, the feeling Castiglioni spoke of comes to life in a wisteria-covered courtyard off
osanna & madina visconti di modrone DAUGHTER MADINA DOES JEWELRY WHILE MOTHER OSANNA MAKES FURNITURE, LIKE THE SCREEN ABOVE.
atelier biagetti HUSBAND-AND-WIFE FURNITURE CREATORS ALBERTO BIAGETTI AND LAURA BALDASSARI MEDITATE ON CONCEPTS LIKE THE BODY, SEX, AND MONEY. THE POUF BELOW IS FROM THE BODY BUILDING SERIES.
massimiliano locatelli AT HIS 16TH-CENTURY CHURCH TURNED OFFICE, THE CLS ARCHITETTI PRINCIPAL (FAR LEFT) ALSO DESIGNS FURNITURE AND ACCESSORIES WITH EQUAL GRAVITAS.
cristina celestino
“Milan has fertile soil for design,” says Barbara Ghidoni. “It’s a city that makes room for newness more naturally than others.” Piazza Arcole. Glitterati from near and far try on patterned frocks in J. J. Martin’s fizzy showroom, open to launch her new maximalist line of ceramic plates and table linens. Next door, irreverent designers Alberto Biagetti and Laura Baldassari unveil God, a tongue-in-cheek furniture collection masterminded by cutting-edge curator Maria Cristina Didero. Across town on Via della Spiga, Nina Yashar— her Nilufar gallery is a cornerstone of Milan’s design movement—debuts lighting with London talent Michael Anastassiades. Along the cobbled streets of the Brera neighborhood, public installations are mounted, window displays artfully assembled, and riffs on Gaetano Pesce’s La Mamma chairs plopped right on the sidewalk. As the design scene morphs and expands, so have ideas about how to present it: While the industrial design at Salone del Mobile remains consequential, it’s the Fuorisalone—the sprawl of public events surrounding the actual fair—that has everyone talking, in large part because many of today’s standout talents are choosing to represent their work in their own showrooms or galleries. Dimore Gallery annually reincarnates its Via Solferino location, mixing its latest furnishings with bold-faced works of design history. “Design has broadened its boundaries,” explains Dimore Studio’s Moran. “Everything that surrounds us has become synonymous with design.”
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luca cipelletti BEST KNOWN FOR CONVERTING A MEDIEVAL CASTLE INTO AN ENVIRONMENTAL EXPERIMENT CALLED MUSEO DELLA MERDA, SHOWN ABOVE, CIPELLETTI (OPPOSITE, MIDDLE RIGHT) BRINGS OLD STRUCTURES INTO THE PRESENT.
BOWL: COURTESY OF PAOLA C. INTERIORS (FROM TOP): ALBERTO STARDA; HENRIK BLOMQVIST; HELENIO BARBETTA/COURTESY OF STORAGE ASSOCIATI
WITHIN THE PAST YEAR ALONE THE IN-DEMAND TALENT HAS SCORED COLLABORATIONS WITH FENDI, THE HISTORIC TERRA-COTTA PRODUCER FORNACE BRIONI, AND THE TABLEWARE GIANT PAOLA C. (BOWL AT RIGHT).
quincoces-dragò & partners AFTER WORKING UNDER ARCHITECT PIERO LISSONI, FANNY BAUER GRUNG (BELOW, FRONT LEFT) AND DAVID LOPEZ QUINCOCES (BELOW, BACK RIGHT) NOW RUN SIX GALLERY (RIGHT), WHERE THEY SHOW VINTAGE AND CONTEMPORARY DESIGN.
storage associati ARCHITECTS BARBARA GHIDONI (MIDDLE LEFT), MARCO DONATI (FRONT RIGHT), AND MICHELE PASINI (REAR LEFT) MADE WAVES WITH DSQUARED2’S HEADQUARTERS, WHICH FEATURES A GOLDEN GYM (BELOW).
“We all know Milan is the capital of design,” gallerist Nina Yashar says. “But over the last few years, Salone del Mobile and the Fuorisalone have given it the attention it deserves.”
TABLE: COURTESY OF DAVID/NICOLAS; INTERIOR: MATTIA LOTTI
The aristocratic mother-daughter duo Osanna and Madina Visconti di Modrone shows its handcrafted bronze furnishings and jewelry at a shimmering private atelier on Via Santa Marta. And what more breathtaking environment to experience Massimiliano Locatelli’s inventive furniture designs than the fresco-covered 16th-century church that houses his firm, CLS Architetti? Galleries like Nilufar—whose sprawling Depot location has become a mecca for any design lover— have also allowed young designers to explore eyecatching limited-edition productions. Smaller-scale riffs on the concept are picking up across the city at new galleries, like the just-opened Six Gallery, where the designer couple David Lopez Quincoces and Fanny Bauer Grung of Quincoces-Dragò & Partners will mix contemporary design collaborations (right now they’re working with the Viscontis) with vintage works from heavy hitters like Gabriella Crespi and Pierre Jeanneret. Even fashion brands like COS and Louis Vuitton have joined the conversation, partnering with members of the design community to create Instagram-worthy installations. “Cities have ebbs and flows,” says Design Miami executive director Rodman Primack. “But there is something in the air right now in Milan. You come here and you walk away with ideas about what’s to come.”
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nina yashar AT THE GARGANTUAN NILUFAR DEPOT (OPPOSITE; THE MILANESE AFFECTIONATELY CALL IT “HOME DEPOT”), THE DEALER BLENDS VINTAGE AND ANTIQUE OFFERINGS ALONGSIDE WORKS BY CONTEMPORARY TALENTS, LIKE THE TABLE (OPPOSITE TOP) BY BEIRUT-BASED WUNDERKINDER DAVID/NICOLAS.
ALL PORTRAITS TAKEN AT SIX.
RISE & SHINE
Gloriously restored and thoughtfully modernized, Paris’s Hôtel de Crillon emerges from an epic renovation ready to face a new century TEXT BY
ALEXANDRA MARSHALL MATTHIEU SALVAING
PHOTOGRAPHY BY
A TRIO OF 18TH-CENTURYINSPIRED PENDANTS HANGS ABOVE THE HÔTEL DE CRILLON’S RESTORED GRAND STAIRCASE. OPPOSITE ADDED DURING RENOVATION, A DRAMATIC CLOUDSCAPE ADORNS THE LANDMARKED CEILING OF LES AMBASSADEURS BAR.
f CARVED FROM A SINGLE BLOCK OF RARE ARABESCATO FANTASTICO MARBLE, THE TUB IN ONE OF THE SUITES DESIGNED BY KARL LAGERFELD TAKES ITS SHAPE FROM FOUNTAINS AT THE VATICAN.
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or all its gilded pomp and grand guests, the Hôtel de Crillon had started to feel like a museum by 2010, when the 18th-century property was acquired by a member of the Saudi royal family. Two years later it was announced the Crillon would close for an upgrade, which its competitors the Ritz Paris and Hôtel Plaza Athénée also did. If the decision wasn’t a surprise, the results—just unveiled—are. Unlike that of its competition, which hewed closer to preservation, the aesthetic here has gone from preserved-in-amber ancien régime to a streamlined opulence that feels very of the moment. When she was selected by the owner to direct the renovation, Aline d’Amman, of the Lebanon- and Paris-based firm Culture in Architecture, wasn’t a boldfaced name in the design world beyond the Middle East. The Crillon project will rightly change that. The stakes are always high for a historic property with sentimental value, and this one is a Louis XV jewel whose front half, dating back to 1753, was designed by the Petit Trianon’s builder, Ange-Jacques Gabriel. Empowered by Sonia Cheng, the CEO of Rosewood Hotels & Resorts, which manages the Crillon, d’Amman wasn’t afraid to break eggs or, where she could, walls. (A staircase in a 19th-century section and some salons in Gabriel’s portions are landmarked.) “The marble, the mirrors, and the heritage rooms are still intact, but the vibe now is different,” the designer says. To help her execute the overhaul, d’Amman engaged four interior designers: Tristan Auer, Chahan Minassian, Cyril Vergniol, and the protean Karl Lagerfeld. Auer, whose other hospitality credits include the Cotton House on Mustique and most of Paris’s Les Bains, took on much of the ground floor, which he has streamlined and completely reordered.
ABOVE LEFT A CHANDELIER BATHES THE HORSESHOE BAR AT LES AMBASSADEURS IN A GOLDEN GLOW. ABOVE RIGHT THE LIVING ROOM IN THE DUC DE CRILLON SUITE, OVERSEEN BY ALINE D’AMMAN, SHOWCASES THE RESTORED HAND-PAINTED WALLS.
Check-in now takes place in an intimate space just off the Place de la Concorde, furnished with cognac leather easy chairs—“the kind of thing you’d see in a comfortable home,” says d’Amman. To put a new focus on the concierge, the former reception area has been turned into a lounge space for activity planning. Auer added a private cigar lounge with reservable humidors and, to further the Crillon’s goal of bringing in locals, designed publicly accessible services such as a more casual brasserie and a men’s grooming area. Indulgent details abound: In the women’s hair salon, haute couture artisan Eric Charles-Donatien spent 350 hours hand-cutting, gilttipping, and affixing metal and rooster feathers for a jungly-looking alcove of less than ten square feet. Though Auer has a track record in hotels, Minassian works mostly on private homes—a plus for d’Amman, who feels that the formality of the traditional five-star experience needs
renovation, too. “We wanted a more residential approach,” she explains. Minassian took the stiffness out of spaces like the high rococo salon that once housed the restaurant Les Ambassadeurs, turning it into an enveloping cocktail bar with low-slung tubular sofas in shimmering gray crushed velvet and tables inlaid with slices of semiprecious minerals. For a little rock and roll, Minassian draped silver chains over a string of original chandeliers, and slung a brutalist chandelier over the new horseshoe bar. Minassian gave his other areas a jewel-box effect, from embedding mica in the paneling in the Jardin d’Hiver tearoom to the gold-flecked celadon wall he commissioned from ceramist Peter Lane for the pool. Purpose built, the latter space avoids the cellar-like feeling of other subterranean swimming pools thanks to a skylight that shines down from garden designer Louis Benech’s ground-level Gabriel courtyard.
In his 114 guest rooms, Vergniol updated the 18th-century shell with contemporary references such as 1950s armchairs upholstered in fruit-toned silk and a liberal use of marble. Each room is dotted with original artworks, many of them prints from the pre-renovation era now cheekily retouched by various artists. For a year d’Amman had included Lagerfeld in her pitch without having secured his consent. “I knew the hotel would need an intense link to the 18th century but also a display of French art de vivre and innovation,” she says. “He was the only one who could materialize that bridge.” But how could she get him on board? “I wrote a hand-drafted letter explaining the mission,” she recalls. “Twenty-four hours after he got it, he called and said, ‘I wanted to thank you; this is an elegant letter. No one does this anymore.’ ” His agreement came soon after. D’Amman entrusted Lagerfeld with two generous Grands Appartements in
RIGHT THE CANOPY IN ONE OF THE SUITES DESIGNED BY KARL LAGERFELD FEATURES A SPECIALLY RE-CREATED TEXTILE USED BY LOUIS XVI. BELOW LEFT THE TERRACE OF THE BERNSTEIN SUITE TAKES IN VIEWS OF THE EIFFEL TOWER. BELOW RIGHT AND OPPOSITE GRAPHIC MARBLE AND WARM WOOD ENVELOP THE TRISTAN AUER–DESIGNED MEN’S GROOMING AREA.
“I knew the hotel would need an intense link to the 18th century but also a display of French art de vivre and innovation,” says designer Aline d’Amman.
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Gabriel’s Concorde-facing section, and another deluxe room that he dedicated to his Birman mascot, Choupette. Where Choupette’s room is done in bold black and white stripes with carpets inspired by cat scratches, the suites are serene, in gray, eggshell, peach, and mauve. The lightly textured, delicately gray walls, which, for Lagerfeld, echo “the silvery light of Paris,” are composed of nine painstakingly applied layers with flashes of iridescent mother-of-pearl in the depths. He incorporated period objects like massive 17th-century marble fountains turned into bathroom sinks and pale furniture of his own design that echoes but doesn’t imitate the historical referents. Lagerfeld has a sentimental attachment to the Crillon. (Among his collected treasures is an antique paper model of Gabriel’s original structure.) “Gabriel’s design is beautifully balanced,” he says. “The same kind of buildings done by rich bankers in the 19th century don’t have that lightness. When I was young, I’d come to Paris as a schoolboy,” he recalls. “During the late afternoon I’d sit on the terraces of the Tuileries, look at the Crillon, and say, ‘I’d love to stay there one day.’ ”
Winemaker Noemi Marone Cinzano uncorks her new getaway—a laid-back Portuguese villa designed inside and out by decorator John Stefanidis TEXT BY
DANA THOMAS MIGUEL FLORES-VIANNA
PHOTOGRAPHY BY
A Fine
AN ANTIQUE CARVED ALLIGATOR BENCH FROM BRAZIL STANDS GUARD ON THE VERANDA OF WINEMAKER NOEMI MARONE CINZANO’S HOUSE IN PORTUGAL. RATTAN FURNITURE BY BONACINA 1889; TRADITIONAL SPANISH WOVEN-GRASS BLINDS. FOR DETAILS SEE RESOURCES.
Vintage
ABOVE GRAPEVINES FLANK A PATH. OPPOSITE AN ALDO MONDINO PORTRAIT OF LORD BYRON OVERLOOKS THE DRAWING ROOM, WHERE PANELS OF FABRIC FROM TISSUS D’HÉLÈNE HANG FROM THE RAFTERS; STEFANIDIS DESIGNED THE MANTEL, TABLES, AND SOFA.
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n
oemi Marone Cinzano wasn’t looking to fall in love. She was simply exploring, and her curiosity led her to a most beautiful place: a secluded stretch of pristine marsh and groves tucked behind the dunes of an impossibly long beach on Portugal’s Tróia Peninsula. That the 50 acres sat next to the latest retreat of her friend Christian Louboutin, the French shoe designer, made it that much more alluring. Cinzano, the very blond, very tan heiress and former head of the famed Italian vermouth brand, already had a deeply satisfying home: an estate and vineyard in Argentina, where she produces Bodega Noemía de Patagonia, an award-winning biodynamic Malbec. But she liked the idea of having a foothold in Europe again, to be closer to her two grown children by her former husband, Count Gelasio Gaetani d’Aragona Lovatelli, a writer who happens to be a noted vintner himself. And, despite the Portuguese property’s proximity to the jet-set resort of Comporta, she found it wonderfully discreet, she says, “like a little secret.” Cinzano bought the parcel, knocked down its existing nondescript 1980s building, and called on a longtime chum, the revered London-based designer John Stefanidis, to conjure a new haven that would embody both where she has been and where she is going. Stefanidis—an elegant Egyptian-born Greek known for his splendid decors and whose clients have included Westminsters and Rothschilds—first worked with Cinzano in the early 1990s on her former home in London, a handsome Regency house called Broom Villa. “John has a very Mediterranean style, and he likes light,” Cinzano explains over breakfast at the Berkeley hotel, just off Hyde Park. “I love light too.” As for Stefanidis, he was more than pleased to take the assignment. “Noemi is heaven, and so chic,” he effuses, as he gently strokes his pug Billie in the comfortable drawing room of his mews house in posh Belgravia. “And she knows how to make a very nice atmosphere. Italians have lovely lives. They have a gift.” Talent runs in his client’s family, too: Cinzano’s brother Enrico cofounded Project Alabama, the American artisanal fashion house, before moving on to become an admired designer of industrialstrength furniture, and their great-great-grandfather Giovanni Agnelli was the creator of Fiat.
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ONE OF THE OWNER’S 14 DOGS, FUBÀ, A RHODESIAN RIDGEBACK, NAPS IN THE DRAWING ROOM, WHICH OVERLOOKS THE PROPERTY’S LAGOON. STEFANIDIS DRESSED A SOFA (AT LEFT) IN AN EGYPTIAN FABRIC FOUND IN CAIRO AND AN ARMCHAIR IN A CLAREMONT STRIPE.
ABOVE A CEMENT ISLAND IN A CARIBBEAN BLUE ANCHORS THE KITCHEN, WHICH STEFANIDIS FLOORED WITH PINK CEMENT. OPPOSITE THE PANTRY’S SHELVES ARE CONCEALED BEHIND CURTAINS MADE OF A TOILE DE JOUY FROM TISSUS D’HÉLÈNE.
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“Yes, I like pink,� Cinzano says, laughing, of the multitude of rosy hues.
RIGHT CUSTOM-PRINTED CURTAINS BY GAIA FRANCHETTI HANG AT THE WINDOWS IN THE MASTER BATH. OPPOSITE AN ALEJO VIDAL-QUADRAS CHILDHOOD PORTRAIT OF CINZANO IS DISPLAYED IN HER BEDROOM; JOHN STEFANIDIS VOILE HANGINGS; PORTUGUESE CARPET.
Cinzano explained to Stefanidis that she wanted to use the Portugal residence year-round, and that it would serve more as a getaway than a place to entertain. “A selfish house,” she told him. “Two guest rooms” and no more. He hand-drew plans for a ground floor with easy-flowing spaces, a small second-floor perch for a den and guest room, and an inviting veranda overlooking the property’s serene lagoon, the dunes, and, in the distance, the Atlantic. “It’s so quiet and inspiring,” Cinzano says. “I have a friend who wants to write a book there.” The palette revolves around her signature hues. “Yes, I like pink,” she says with a laugh as she runs an emerald-laden hand over her pale-rose linen blouse and fiddles with a walnut-size Colombian natural-emerald pendant. “And green.” The kitchen floor is raspberry cement, a guest room is accented with geranium, the veranda’s dining chairs are flamingo, the dining tabletop is painted grass green, and the entrance hall is inlaid with shimmering Brazilian emerald dust. “My daughter says it’s very bling-bling,” Cinzano confesses. Since Cinzano sold Broom Villa a few years back and put its contents in storage, she had a fair amount of furnishings and art for the new house, including a pair of regal 19th-century desks, one French and the other Spanish—“from my grandmother,” she says—and a bold Aldo Mondino portrait of Lord Byron, which looms over the fireplace. “She brought in the past, as it were,” Stefanidis observes. Cinzano and Stefanidis then filled in with creations by her friends, such as London-based fashion turned interior designer Rifat Özbek’s Turkish fabrics in the library that Cinzano calls “Rifat’s room,” designer Ashley Hicks’s coral-shaped door handles, and artist Beatrice Caracciolo’s ethereal painting of a female nude. Stefanidis produced several one-of-a-kind pieces as well, including, for the drawing room, end tables inset with antique compasses and a coffee table with a poetic marquetry of the wind and shooting stars devised in mother-ofpearl and lapis lazuli. “To reflect the romance of the place,” he explains. French garden designer Louis Benech, a Cinzano friend who also vacations in the region, helped lay out the grounds, and Spanish landscaper Fernando Martos completed the plantings, including an orangeand-lemon grove, a kitchen garden, and 15,000
Cinzano calls her Portuguese getaway “a selfish house” because it purposely has only two guest bedrooms.
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parasol pines. “Portugal is one of the biggest producers of pine nuts,” Cinzano notes. She has a small vineyard here, too. But “when the grapes are ripe, the birds come, and they are protected, because it is a migratory route,” she says. “I don’t know if I’ll ever be able to make wine.” Alongside the lagoon, Cinzano has built what she calls “the pagoda,” an open-air pavilion where she sits with her pack of dogs—14 at last count—and watches the sun set over the ocean. “The other day I saw a big pink cloud in the distance,” she recalls. She pauses as the memory flickered by again in her mind. “It was millions of flamingos, flying,” she says, smiling. “Amazing, really.”
ABOVE PINK-PAINTED STEFANIDIS CHAIRS JOIN ONE OF HIS TABLES IN THE LAGOON-SIDE PAVILION. OPPOSITE STEFANIDIS DESIGNED THE LIBRARY’S OTTOMAN-STYLE CHIMNEYPIECE; DECORATIVE PAINTING BY TONY ALCOCK.
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“
It has lots of flamingos— and not too many mosquitoes,” Stefanidis says with a smıle.
THE DINING ROOM OPENS TO ROWS OF GRAPEVINES.
CORAL CHANDELIER; $5,472. ORIEL HARWOOD.CO.UK
CORNISH PLAIN STORAGE JAR IN BLUE; $71. CORNISH WARE.CO.UK ARTIST TONY ALCOCK PAINTED THE LIBRARY CEILING. BORA TUMBLER BY CARLO MORETTI; $170. NESTCASA.COM
PAULINA COTTON IN PINK AND NAVY BY JOHN STEFANIDIS; TO THE TRADE. TISSUSDHELENE.CO.UK
DESIGN NOTES
John Stefanidis’s formula for Noemi Marone Cinzano’s home? Succulent colors, punchy patterns, and loads of light
COTTON-SILK CUSHION; $220. YASTIKBYRIFATOZBEK.COM TWO-SEATER CHAUFFEUSE BY DU LONG ET DU LÉ; $1,803. PENTREATHHALL.COM
WATERMELON SALAD BOWL BY BORDALLO PINHEIRO; $69. AMUSESPOT.COM
IKAT 4 RUG; $6,372 FOR 6' X 9'. LUKEIRWIN.COM
INTERIORS: MIGUEL FLORES-VIANNA; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES. ALL PRICES SUBJECT TO CHANGE
1930S CLASSIC YACHT; $175. AUTHENTIC MODELS.COM
“
Here, I want to enjoy the countryside, not spend time chitchatting,” Cinzano explains.
1925/6 RATTAN LOUNGE CHAIR BY MARIO BONACINA; PRICE UPON REQUEST. BONACINA1889.IT
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resources Items pictured but not listed here are not sourceable. Items similar to vintage and antique pieces shown are often available from the dealers listed. (T) means the item is available only to the trade. TRUE BLUE PAGES 48–61: Pierre Sauvage of Casa Lopez; casalopez.com. Architecture and interiors by Franz Potisek; franzpotisek.com. PAGE 48: On sofa, Apollon velvet, in écureuil, by Lelièvre for Scalamandré (T); scalamandre .com; with pillows by Casa Lopez; casalopez.com. Nickel floor lamp by Chehoma; chehoma.com. On walls, Bleu de Chine paint by Seigneurie; seigneurie.com. PAGE 49: On dining chairs, Bristol Weave viscose-nylon, in espresso, by Schumacher (T); fschumacher.com. Terre Mélee plates, linen place mats, and Pia rug by Casa Lopez; casalopez.com. PAGES 50–51: Vintage sofa from Arthur Bruet; +33-6-1323-7417. Sofa and chair upholstered in, and curtains of, Siege cotton velvet by Aldeco for Scalamandré (T); scalamandre.com. Custom-made iron-and-oak ladder by Franz Potisek; franzpotisek.com. Rug by Casa Lopez; casalopez.com. PAGE 52: Custom-made cabinetry by Franz Potisek; franzpotisek.com. Oven by Gaggenau; gaggenau.com. PAGES 54–55: On walls and sofas, Siege cotton velvet by Aldeco for Scalamandré (T); scalamandre .com. On bergère, Makut viscoseblend by Jim Thompson (T); jimthompsonfabrics.com. Custom-made cocktail table by Franz Potisek; franzpotisek.com. Rug by Casa Lopez; casalopez .com. Brass floor lamps (flanking sofa) by Galerie des Lampes; galeriedeslampes.com. PAGE 56: Custom-made fourposter and bed fabrics by Franz
Potisek; franzpotisek.com. On vintage sofa, Prince Igor velvet by Verel de Belval for Brunschwig & Fils (T); brunschwig.com. PAGE 57: Cleo cast-iron tub by Jacob Delafon; jacobdelafon.fr. Tub fittings and towel rack by Volevatch; volevatch.com. PAGES 58–59: Lustre Branche chandelier by Hervé van der Straeten for Ralph Pucci; ralphpucci.net. On mantel, bronze lamps by Kim Moltzer; kimmoltzer.fr. On sofas, Vilano wool blend by Bisson Bruneel (T); bisson-bruneel.com. Custom-made red stools by Yannick Lesbats; +33-1-4355-3460; covered in Prince Igor velvet by Verel de Belval for Brunschwig & Fils (T); brunschwig.com. Rug by Casa Lopez; casalopez.com. ARTISTIC TRIUMPH PAGES 62–73: Interiors by Austin Harrelson; austinharrelson .com. Architecture by Domo Architecture + Design; domodesignstudio.com. Contracting by Todd Michael Glaser; toddmichaelglaser.com. Landscape design by Christopher Cawley Landscape Architecture; christophercawley.com. PAGES 64–65: Double chaise longues by RH; cushioned in outdoor fabric by Perennials; rh.com. Pillows of Saranac Sunbrella acrylic by Holland & Sherry (T); hollandsherry.com. Aegean dining table by RH. Eames molded-plastic chairs from Design Within Reach; dwr.com. Gas grill by Viking; viking.com. PAGES 68–69: In bedroom, custom-made bed with floating side tables, in white oak, by Austin Harrelson; austinharrelson.com. Bed linens by Sferra; sferra.com. Tennis court by Fast-Dry Courts; fast-dry.com. In library, custom-made sofa and white-oak cocktail table by Austin Harrelson. Sofa covered in Rituels linen by Casamance (T); casamance.com. On vintage armchairs, Skye linen, in boulder,
ARCHITECTURAL DIGEST AND AD ARE REGISTERED TRADEMARKS OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT © 2017 CONDÉ NAST. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 74, NO. 8. ARCHITECTURAL DIGEST (ISSN 00038520) is published monthly by Condé Nast, which is a division of Advance Magazine Publishers Inc. PRINCIPAL OFFICE: Condé Nast, 1 World Trade Center, New York, NY 10007. S. I. Newhouse, Jr., Chairman Emeritus; Robert A. Sauerberg, Jr., President and Chief Executive Officer; David E. Geithner, Chief Financial Officer; James M. Norton, Chief Business Officer, President of Revenue. Periodicals postage paid at New York, NY, and at additional mailing offices. Canada Post Publications Mail Agreement No. 40644503. Canadian Goods and Services Tax Registration No. 123242885-RT0001. POSTMASTER: Send all UAA to CFS. (See DMM 507.1.5.2); NON-POSTAL AND MILITARY FACILITIES: Send address corrections to ARCHITECTURAL DIGEST, P.O. Box 37641, Boone, IA 50037-0641.
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by Rogers & Goffigon (T); rogersandgoffigon.com. Vintage Italian side table from Michel Contessa Antiques; michelcontessa.com. Curtains of Stonewash linen, in natural, by John Saladino (T); saladinostyle .com. Rug by Stark (T); starkcarpet .com. PAGES 70–71: Belgian Track Arm Slipcovered sofa by RH; rh.com; upholstered in Dimity linen, in limewash, by Rogers & Goffigon (T); rogersandgoffigon.com. Custommade white-oak cocktail table by Austin Harrelson; austinharrelson .com. Rug by Stark (T); starkcarpet .com. PAGES 72–73: In bedroom, on sofa, Luminous Linen linenblend, in bright white, by Calvin Fabrics (T); calvinfabrics.com. White throw pillows of Rough ’n Rowdy fabric, in blanca, by Perennials (T); perennialsfabrics .com. Plaster tree-stump cocktail table from Stripe Vintage Modern; stripevintagemodern.com. Worth bed, in walnut, by Modloft; modloft.com. At entrance, Magis Spun chair by Thomas Heatherwick; hermanmiller.com. In living room, track lighting by Juno; acuitybrands.com. Free Form Curved sofa by Vladimir Kagan from Holly Hunt (T); hollyhunt.com. Sofa covered in Saratoga linen-blend, in oyster, by Theo (T); theodecor.com. On armchairs, Vilroy fabric, in marble, by Norbar Fabrics (T); norbarfabrics.com. Vintage Jean Royère floor lamp from Michel Contessa Antiques; michelcontessa.com. Rug by Stark (T); starkcarpet.com. ANNUAL RETURN PAGES 74–79: Petworth; nationaltrust.org.uk/ petworth-house-and-park. (Please note: Petworth House and Petworth Park, the 700-acre park designed by Capability Brown, are part of the National Trust’s tour, but the private garden seen in our pages is not.)
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A FINE VINTAGE PAGES 94–107: Noemi Marone Cinzano of Bodega Noemía de Patagonia; bodeganoemia.com. Interiors by John Stefanidis Brands Ltd.; johnstefanidis.com. Landscape design by Agence Louis Benech; louisbenech.com; and Fernando Martos; fernandomartos.com. PAGES 94–95: Rattan outdoor furniture by Bonacina 1889; bonacina1889.it. Table lamp (at right) by John Stefanidis; johnstefanidis.com. PAGE 97: Hanging fabrics from Tissus d’Hélène (T); tissusdhelene.co.uk. Custom-made sofa, mantel, cocktail table, and side table (with working compass) by John Stefanidis; johnstefanidis.com. Doble armless chairs by John Stefanidis for Made; made.com. Rush-matting rug from Sinclair Till; sinclairtill.co.uk. PAGES 98–99: On armchair, red stripe fabric by Claremont (T); claremontfurnishing.com. PAGE 100: Custom-made cabinetry by Nuno Carvalho; +351-265-497-214. PAGE 101: Curtains of La Leçon de Danse cotton, in brun/rose, by Toiles de Jouy l’Authentique from Tissus d’Hélène (T); tissusdhelene .co.uk. PAGE 102: Custom-made print curtains (from a botanical sketch by Leonardo da Vinci) by Gaia Franchetti for Indoroman; indoroman.com. Custom-made mirror and vanity by John Stefanidis; johnstefanidis.com; fabricated by Nuno Carvalho; +351265-497-214. PAGE 103: Four-poster by John Stefanidis; johnstefanidis .com; with bed curtains of voile fabric by John Stefanidis from Tissus d’Hélène (T); tissusdhelene .co.uk. PAGE 104: Ottoman-style chimneypiece by John Stefanidis; johnstefanidis.com. On armchair, print fabric by Yastik by Rifat Özbek; yastikbyrifatozbek.com. On slipper chair, fabric by Claremont (T); claremontfurnishing.com. Custommade rug by Luke Irwin; lukeirwin .com. PAGE 105: Custom-made chairs and Patmos table by John Stefanidis; johnstefanidis.com.
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last word
For the past five decades, Turner Prize–winner Richard Long has been on the go—traveling to the far corners of the world to create works of land art that are meditations on the body’s movement through nature. Recently, his perambulations led him to Houghton Hall, the English estate designed for Sir Robert Walpole, Great Britain’s first prime minister, in the early 18th century. The results of Long’s solitary walks on the grounds appear in “Earth Sky,” a solo exhibition on view through October 26 (houghtonhall.com). Outside, he’s gathered pieces of Cornish slate into a monumental spiral; arranged tree stumps found on the property into a circle, their roots up; and amassed hunks of carstone into a nearly 100-yardlong line, among other spellbinding feats. The exhibition continues inside, where small-scale works are joined by a compass-shaped installation of slate and flint. Would Walpole, a legendary art lover, approve? We think so. —SAM COCHRAN
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Rock Steady