THE INTERNATIONAL DESIGN AUTHORITY DECEMBER 2017
ROBERT DOWNEYJR. HIS HAMPTONS HIDEAWAY
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HOLIDAY GIFTS YOU’LL WANT TO KEEP!
LIVING WITH ART COLLECTORS, CURATORS, AND ARTISTS BRING IT HOME
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INSIDE A LUIS LAPLACE– DESIGNED CHALET IN THE FRENCH ALPS.
Features 66 ARTISTS IN RESIDENCE
Brian Donnelly, a.k.a. KAWS, and Julia Chiang build a collection- and kid-friendly home in Brooklyn. By Gay Gassmann
80 HIGH ART
A standout trove finds a home in the French Alps thanks to designer Luis Laplace. By Dana Thomas 86 CALM, COOL, COLLECTED
Art-world insiders bring their assemblage of treasures home to Brussels. By Ian Phillips
96 OFF SCREEN
Robert Downey Jr. and his family take a break from the fast lane in a magical Hamptons compound. By Mayer Rus
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104 FULL IMMERSION
Iconoclastic curator and dealer Jeffrey Deitch’s home in Los Feliz (once Cary Grant’s) shows off his flair for installation. By Jeffrey Deitch
112 LEAVING HIS MARK
Architect Steven Holl prepares for the biggest year of his career—and many more milestones to come. By Fred A. Bernstein
116 MAKING HISTORY
With help from friends like design legend Jacques Grange, an urbane family breathes new life into a storied London house. By Angus Wilkie (CONTINUED ON PAGE 16)
ON THE COVER ON THE COVER (NEWSSTAND) ROBERT (SUBSCRIBERS) INSIDE DOWNEY JR., WEARING AN THE BROOKLYN HOME ETRO SUIT AND SHIRT AND OF KAWS. ARTWORKS TOD’S BOOTS, AND HIS WIFE, BY TOMOO GOKITA (LEFT) SUSAN DOWNEY, WEARING AND GEORGE CONDO. AN ETRO DRESS AND PRADA KAWS BFF PLUSH CHAIR SANDALS, AT THEIR HOUSE BY FERNANDO AND IN EAST HAMPTON. PRAYING- HUMBERTO CAMPANA. MANTIS SCULPTURE BY “ARTISTS IN RESIDENCE,” ANDRIUS PETKUS. “OFF PAGE 66. PHOTOGRAPHY SCREEN,” PAGE 96. PHOTOGBY JASON SCHMIDT. RAPHY BY FRANÇOIS STYLED BY MICHAEL DISCHINGER. STYLED BY REYNOLDS. MICHAEL REYNOLDS. FASHION STYLING BY JEANNE YANG. HAIR AND MAKEUP BY DAVY NEWKIRK.
FROM TOP: MATTHIEU SALVAING; NEWSSTAND COVER: © 2017 ANDRIUS PETKUS/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/LATGA-A, VILNIUS; SUBSCRIBERS’ COVER: © 2017 GEORGE CONDO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
CONTENTS december
CONTENTS december
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JAIPUR GRADUATED BRACELET BY MARCO BICEGO; $2,130. MARCOBICEGO.COM
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Discoveries 35 SHOPPING: PRESENT COMPANY
From a hostess gift to a grand gesture, these finds are sure to delight. Produced
ROBERT DOWNEY JR. (IN AN ETRO JACKET AND PANTS AND NIKE SNEAKERS) AND SUSAN DOWNEY (IN AN A.L.C. DRESS AND ISABEL MARANT BOOTS) AT THEIR EAST HAMPTON HOME. SCULPTURE BY ANDRIUS PETKUS.
by Parker Bowie Larson
38 AD VISITS: ALL AGES
Works iconic and new playfully coexist in one young family’s Brooklyn brownstone. By Jordan Hruska
In Every Issue 22 EDITOR’S LETTER
The Boglione clan expands their horticulture emporium to London’s Covent Garden. By Daisy Garnett
54 ART SCENE: SPACE ODYSSEY
Artist Tom Sachs brings his interstellar visions home with a new array of sculptural furniture. By Sam Cochran
56 GOOD WORKS: GROUND UP
Nonprofit New Story builds homes for those who need them most. By Carly Olson
By Amy Astley
24 OBJECT LESSON: HEART FELT
Marc Newson’s famous chair transmutes fabric into fiberglass. By Hannah Martin 32 THINK PIECE: BLANKET STATEMENT
For Hermès, Korean-French artist Seulgi Lee translates three ancient proverbs into covetable contemporary quilts. By Hannah Martin 124 RESOURCES
The designers, architects, and products featured this month. 126 LAST WORD: PLAYTIME
The Trust for Public Land transforms a concrete eyesore into a community haven. By Sam Cochran
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CORRECTION: The November 2017 table of contents omitted fashion credits for the newsstand cover. Julianne Moore wears a Bottega Veneta black-and-tan butterfly dress, Gianvito Rossi sandals, and Chopard rings. We regret the error.
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FROM TOP: FRANÇOIS DISCHINGER; COURTESY OF MARCO BICEGO; ALEXI LUBOMIRSKI
42 TRAVELS: GREEN THUMBS
THE INTERNATIONAL DESIGN AUTHORITY VOLUME 74 NUMBER 12
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editor’s letter
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Architecture changes lives: Please join AD in supporting New Story, an organization that builds affordable homes worldwide
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1. & 3. TWO IMAGES OF HOUSES IN HAITI CREATED BY NEW STORY. 2. VISITING ARTIST BRIAN DONNELLY (A.K.A. KAWS) AND HIS DAUGHTER SUNNY AT THEIR BROOKLYN HOME FOR OUR ART ISSUE. 4. THE L.A. LIVING ROOM OF ART MAJORDOMO JEFFREY DEITCH.
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We at AD are passionate about houses— but not only the dream ones that we scout and photograph for our pages. We believe that every human being deserves shelter, and it is truly painful to this team to consider the legions of homeless all over the world—a population that only grows exponentially in this time of seemingly daily natural disasters. So I take great pleasure and pride in announcing that AD is teaming up with New Story, an innovative San Francisco– based organization that constructs locally sourced, locally built homes for a very raisable $6,500 each in some of the poorest nations on Earth (“Ground Up,” page 56). AD100 professionals are already supporting this important and urgent mission, and we hope that our readers will visit ArchDigest.com/NewStory to learn more and join in. One hundred percent of donations go toward creating houses, and the technology behind New Story makes for a transparent and participatory process. We will keep you all posted on progress and on the families who settle in the dwellings we make together. Wishing all a wonderful holiday season, and please enjoy this, our annual art issue. We hope it inspires, transports, and challenges you, as art should!
AMY ASTLEY Editor in Chief @amytastley
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1. TOM DURANTE; 2. JASON SCHMIDT; 3. JOSH CHAROW 4. FRANÇOIS DISCHINGER
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THE STORY BEHIND AN ICONIC DESIGN
Heart Felt A LIMITED-EDITION COLORSPLASHED FELT CHAIR IN GIAMBATTISTA VALLI’S PARIS APARTMENT.
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Marc Newson’s famous chair transmutes fabric into fiberglass
FRANÇOIS HALARD
object lesson
object lesson A FLEET OF ORGONE CHAIRS HANGS AROUND THE POOL AT YVES GASTOU’S BIARRITZ HOME.
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Japanese manufacturer Idée produced a small batch in offwhite felt. But the design, called simply Felt, didn’t take off until Italian furniture giant Cappellini put a version into production. The difference? The new model was covered in sleek, colorful wool (“A much better idea,” Newson admits) and rendered a tad larger (Newson’s original had been scaled for the Japanese market). The cognoscenti were smitten. “It was a revolutionary redesign,” says art dealer Sean Kelly, who bought two in wicker. “But also supremely functional and comfortable.” Soon there was a Felt to suit every style: a small edition in aluminum, brilliant renditions in lacquered fiberglass (Cappellini still churns these out starting at $4,830 a pop), and wicker ones handwoven by artisans in Thailand. The only thing that’s felt about it now is its name. cappellini.it —HANNAH MARTIN
POLISHED-FIBERGLASS FELT CHAIR BY CAPPELLINI.
ART DEALER SEAN KELLY HAS TWO WICKER VERSIONS AT HIS HUDSON VALLEY HOME. FROM TOP: GIORGIO BARONI; FABRICE GOUSSET; WILLIAM WALDRON
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t was 1989, and Australian designer Marc Newson was contemplating the oeuvre of German artist Joseph Beuys—particularly the Fluxus star’s work in felt. The coarse, thick, utilitarian textile was simultaneously structured and pliable: Could it make a truly sculptural seat? Newson had just returned to Tokyo from Sydney, where he had completed his futuristic Orgone lounge (several surround antiques dealer Yves Gastou’s pool, above). One day he devised a spin-off, slicing off the back, bending it open, and allowing the chair’s flanks to curl down to the floor. “I wanted it to look like a folded piece of felt,” Newson says of the design, in which a thin, undulating shell of molded fiberglass was sandwiched between two thick layers of the Beuys favorite, handstitched around the edge, and propped up with a metal strut.
think piece
DESIGN ON THE EDGE
Blanket Statement Korean-French artist Seulgi Lee translates three ancient proverbs into covetable contemporary quilts for Hermès 32
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IN AN AGE-OLD CHINESE STORY, a praying mantis tries to stop a chariot with its arms. “It’s a fable of immoderate courage,” says Korean-French artist Seulgi Lee, who abstracted such dicta into vibrant quilts for her Blanket Project U in 2014. Now, working with Korean artisans who practice the traditional Nubi technique—long lines of stitches, separated by as little as half a centimeter—she has turned three of the designs into limitededition cashmere quilts for Hermès. Look closely and you can make out graphic renditions of that strong-willed mantis (shown), a pipe-smoking tiger, and a horse’s hindquarters. “I like to imagine that these proverbs can influence the dreams of people who use the blanket,” she says; $17,400. hermes.com —HANNAH MARTIN
P HOTOGRAP H BY I L A N R U B I N
DISCOVERIES
THE BEST IN SHOPPING, DESIGN, AND STYLE
EDITED BY JANE KELTNER DE VALLE AND SAM COCHRAN
Present Company From a last-minute hostess gift to a grand gesture, these unique finds will surprise and delight
A SELECTION OF ANTOINETTE POISSON’S HANDCRAFTED PAPIER-MÂCHÉ PIECES MARKS THE COMPANY’S FORAY INTO THE WORLD OF DECORATIVE TABLETOP ACCESSORIES. THE HAND-PAINTED DOMINO PAPERS THAT EMBELLISH THE URNS, PLATTERS, AND VASES ARE CREATED USING TRADITIONAL 18TH-CENTURY FRENCH TECHNIQUES; FROM $192 TO $382. JOHNDERIAN.COM; 800-677-3207.
PH OTO G R A PH BY ILA N RUBIN
AR C H DI G E S T. CO M
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DISCOVERIES shopping 1 2
3 1. BDDW HAND-PAINTED SIDE PLATE; $170. BDDW.COM 2. HARRY WINSTON THE NEW YORK COMPANION 18K– WHITE GOLD–AND– ONYX CLUTCH WITH TIMEPIECE CLASP; PRICE UPON REQUEST. HARRYWINSTON.COM
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3. JANUS ET CIE LARGE ARTISAN MATELASSE VASE IN GOLDEN MOSS. 8.25" W. X 10.25" H.; $452. JANUSETCIE.COM 4. BOTTEGA VENETA SATURN BOX IN STERLING SILVER WITH BOTSWANA AGATE STONE. 4.75" SQ. X 2.25" H.; $7,300. BOTTEGA VENETA.COM; 800-845-6790
5 4
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5. CALVIN KLEIN VINTAGE QUILTS CURATED BY RAF SIMONS; FROM $1,050. CALVINKLEIN.COM; 212-292-9000
7. CARTIER RÉSONANCES DE CARTIER EXCEPTIONAL CHESSBOARD; PRICE UPON REQUEST. CARTIER.COM
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8. FRÉDÉRIC MALLE LAGUNA B CANDLE IN BLUE; $200. BARNEYS.COM
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9. ARMANI/CASA JOLANDA FLOOR LAMP WITH GRAY MURANO-GLASS SHADE. 16.5" W. X 30.75" D. X 73.5" H.; $12,820. ARMANICASA.COM
P ROD U C ED BY PARK ER BOW I E L A R S O N
ALL IMAGES COURTESY OF RESPECTIVE COMPANIES
6. LOUIS VUITTON FASHION EYE: MOROCCO, BY VINCENT VAN DE WIJNGAARD; $62. LOUISVUITTON.COM
DISCOVERIES AD visits
IN THEIR BEDROOM, HADRIAN AND JOSEPH SLIGH CAMERON CLIMB ON COLORFUL BUILDING BLOCKS BY KATIE STOUT. FOR DETAILS SEE RESOURCES.
All Ages Works iconic and new playfully coexist in one young family’s Brooklyn brownstone
W
e move things around all the time,” says curator and editor Alexandra Cunningham Cameron. “We’re constantly creating vignettes.” This should come as no surprise; she and her husband, artist Seth Cameron, have spent their careers cultivating their respective creative positions. During her decade-long affiliation with Design Miami, Alexandra has acquired pieces from the many designers she’s come to know, while Seth has amassed a wide-ranging collection of work by artist friends. It all comes together in the irreverent yet refined 2,400-square-foot 19th-century Brooklyn rowhouse they and their two young sons, Hadrian and Joseph Sligh, call home.
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Old houses, like little boys, can be difficult to tame, so the couple enlisted designer Adam Hyman of the firm Charlap Hyman & Herrero to help transform the house, with its grand built-ins, parquet floors, and elaborately carved mantelpieces, into a manse for a modern family. Over a year and a half they purged slapdash additions and partitions and restored the many original picturesque elements just enough. Egyptian Revival palm-leaf medallions and other baroque plasterwork were cleaned yet left broken or cracked to evoke the idea of ruin. “I suppose it’s a subversion—a reaction to the newness that pervades architecture and design in the U.S.,” says Alexandra. The home’s crumbling imperfections harmonize with the craquelure in a series of modeling clay– encrusted antiquities-inspired sculptures Seth made while working with the Bruce High Quality Foundation, the arts collective he helped found in 2004. Strewn across the parlor, these amphorae echo a pair of Chris Wolston’s rough-hewn terra-cotta chairs and strike a classical accord with an outsize Ionic column– shaped Capitello chair by radical Italian designers Studio 65. This communion takes place under artist
P HOTOGRAP HY BY FLOTO + WARNER
S T YLI NG BY M I C HA E L B A R G O
DISCOVERIES AD visits 1
1. IN THE MASTER BATH, A VINTAGE ISAMU NOGUCHI FLOOR LAMP STANDS BEHIND A MARCEL WANDERS CHAIR. 2. A STUDIO 65 COLUMN CHAISE LONGUE AND TERRA-COTTA PLANT CHAIRS BY CHRIS WOLSTON IN THE PARLOR. BRUCE HIGH QUALITY FOUNDATION URN SCULPTURE. 3. THE FAMILY IN THE KITCHEN. WENDELL CASTLE TABLE.
Nicola L.’s watchful Eye floor lamp—a piece that seems emblematic of the owners’ inquisitive dispositions. As the trio questioned decorating conventions, they made playful design choices. The master bedroom boasts an enormous triangular bed. (“You realize there’s a lot of space in a rectangular mattress that’s just not used,” notes Seth.) More lounge than washroom, the master bath features lip paintings by friend James English Leary, an Isamu Noguchi Akari lamp, and a rope chair by Marcel Wanders. Its hexagonal-tile floor was inspired by Cy Twombly’s Rome apartment. Even the kitchen draws on a wide range of design influences, including Newport mansions, the Villa Necchi Campiglio in Milan, and Soviet space-station interiors. Meals are prepped on a powder-blue 1950s range, a Wendell Castle table hosts games, and a revolving display of the boys’ own artwork—often in crayon or watercolor—hangs on white tile walls. The pervading spirit of fun evokes the idea of follies, claims Hyman. “We talked a lot about creating spaces that might not be so useful but that would provide special moments in the house.” —JORDAN HRUSKA 3 40
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HAIR AND MAKEUP BY MARY GUTHRIE FOR ARTISTS BY TIMOTHY PRIANO USING KÉRASTASE PARIS COUTURE STYLING AND LAB SERIES SKINCARE FOR MEN
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DISCOVERIES travels
THE CAREFULLY CURATED PETERSHAM NURSERIES COVENT GARDEN EXPANDS THE ORIGINAL RICHMOND SHOP WITH ADDITIONAL FOOD, DRINK, AND RUMORED PLANS FOR A FUTURE FURNITURE LINE. INTERIORS BY BIANCA MARTINELLI.
Green Thumbs The Boglione clan expands their beloved horticulture emporıum, fittingly, to London’s Covent Garden
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t was never one of London’s best-kept secrets— it’s too popular for that—but ever since it opened in 2004, Francesco and Gael Boglione’s Petersham Nurseries in Richmond felt like your own special find. The couple, who have cut a swath through London society since the 1970s—Gael is a former model from Australia, Francesco an Italian businessman—bought Petersham House in 1997 as a home to bring up their young family. Two years later they purchased the adjoining plant nursery to save it from developers. They weren’t growers then, or restaurateurs or shopkeepers, but they had a vision of transforming it into an extension of the way they lived: full of lovely things collected on travels, plants everywhere, and delicious food. Go, I’d tell friends visiting London. Take the District-line tube, then continue on foot, following the river Thames until the pavement turns to meadow. It takes ages to get there, but it’s worth it. In addition
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to looking at the plants and flowers and browsing the shop, you can try the Michelin-starred yet down-to-earth restaurant in the glasshouse that makes it a real destination. Still, it is a trek. Now, however, Gael, Francesco, and their children have brought the magic into town, transforming 16,000 square feet of Covent Garden into a gorgeous emporium dedicated to serving up life’s good things: food, wine, flowers, garden tools, textiles, fine furniture, and homewares. “We’re bringing the garden back to Covent Garden,” says Gael. It is massive. The shop, delicatessen, florist, and wine cellar all opened in July; two restaurants and a bar will follow in the spring. Rumor has it there are also plans to create lines of Petersham furniture, tableware, and linen. If it was once a slice of heaven hidden away down a country lane, Petersham is now a global lifestyle brand in the making. And yet nothing has been compromised. The Bogliones’
P HOTOGRAP HY BY J OONEY WO O DWA R D
DISCOVERIES travels 1
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If it was once a slice of heaven hidden away down a country lane, Petersham is now a global lifestyle brand in the makıng. 3
1. A SELECTION OF CERAMICS IN THE SHOP. 2. SWEET TREATS IN THE DELICATESSEN SIT ON HANDMADE WOODEN SHELVES FROM ITALY. 3. AN 18THCENTURY CHANDELIER HANGS ABOVE BOGLIONEFAMILY MEMBERS.
obsessive attention to detail and insistence on quality are evident everywhere you look. The Bogliones aren’t delegators. Lara, their eldest daughter and managing director of Petersham, has spearheaded the expansion, but the whole family have brought their own talents to the project. Anna, who runs a creative-event company, helps devise Petersham’s events program; Ruby goes on buying trips with Gael; son Harry, who has an organic farm in Devon, supplies the restaurants and delicatessen with vegetables, eggs, and meat; and Lara’s husband, Giovanni Mazzei, who comes from an Italian winemaking family, cofounded and runs the cellar. Between them and with the help of designer Bianca Martinelli, the family restored the site (a former mid-market men’s-suiting shop) to its original glory, peeling away layers to reveal three enormous domes. The deli’s wooden shelves were handcrafted near Florence. The potting bench, which consists of a series of cast-concrete cubes, was built by furnituremaker Duccio Maria Gambi. “Russian Constructivism meets Bauhaus, no?” remarks Francesco. Two of the domes are illuminated by vast early–18th century Genoese chandeliers. Abundance is key to the Petersham aesthetic. The naturalistic flower arrangements are huge; plants in outsize pots punctuate the space; tables groan with bounty. And yet nothing looks overdone. Petersham wears its elegance and discernment with ease. Go to stock your cellar, buy your dinner, or furnish your house. Pop in to get a bar of soap or make plans to eat there months in advance. It doesn’t matter why you go. You must just go. —DAISY GARNETT
DISCOVERIES art scene ARTIST TOM SACHS WITH A CHAIR OF HIS OWN DESIGN AT HIS NEW YORK STUDIO.
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Space Odyssey Artist Tom Sachs brings his interstellar visions home with a new array of sculptural furniture 54
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reatively speaking, artist Tom Sachs has often traveled to the moon and back. As part of his ongoing Space Program, he has revived NASA’s Apollo project, re-creating components from the lunar expeditions. He has simulated flights into Jupiter’s orbit. And he has staged missions to Mars, among other extraterrestrial adventures. These days, with a range of furniture in the works, Sachs finds himself absorbed in a more earthly realm. Encompassing both unique and limited editions, the pieces all riff on his signature bricolage technique, wherein Sachs puts everyday materials to extraordinary use. “Building with the limited resources available—that concept is in everything I do,” reflects Sachs. A side chair, for example, pairs a bent polycarbonate back and seat with a sculptural plywood frame. Circular cutouts and drill holes reduce the overall weight, a nod to spacecraft construction. “In the tradition of Calder, Tom is an artisanal artist who makes everything in his environment, from cup to walls,” says Salon 94’s Jeanne Greenberg Rohatyn, who will unveil a selection of Sachs’s pieces at Design Miami. “He has studied, tweaked, and signed every surface. Furniture is a natural outgrowth of this tendency.” Design, of course, is not uncharted terrain for Sachs. After studying architecture in London, he spent time working at Frank Gehry’s L.A. furniture studio. In the years since, he has found ample inspiration in everyday objects, conjuring everything from boom boxes to bar cabinets. His current traveling museum exhibition, now on view at the Nasher Sculpture Center in Dallas, reinvents the Japanese chanoyu tea ceremony. In the case of that tradition, of course, one can forgo a chair. tomsachs.org —SAM COCHRAN
P ORT RAI T BY EM I LI ANO G R A N A DO
DISCOVERIES good works
Ground Up
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San Francisco–based nonprofit New Story builds homes for those who need them most
hen an earthquake hit Haiti in 2010 it ravaged the nation, leveling cities and leaving more than two million homeless. The effects are still felt today, as tens of thousands live without permanent shelter. “Imagine spending night after night in a tent with no safety and no stability for almost eight straight years,” says Brett Hagler, cofounder of New Story, a nonprofit dedicated to building affordable homes for disaster victims around the world. Since launching in 2015, New Story has completed more than 700 houses not just in Haiti but also in Bolivia and El Salvador. In Haiti, each roughly 500-square-foot residence is designed according to Miami-Dade County building codes, and features two bedrooms, a communal area, a shower and latrine, and, in some areas, land on which to grow food. Solar panels generate electricity, and—for the newest—a water system collects and purifies rain. Amazingly, the cost per home comes to just about $6,500. Funded through donations, New Story uses all the money it raises to acquire land and fund construction. “Many people we hire are members of the local communities,” notes cofounder Alexandria Lafci.
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2 Maintaining those communities, she explains, is ultimately the goal. Rather than putting up one-off houses that might upset social networks, New Story plans clusters of homes and gives families full ownership to ensure roots that will last for generations. New Story is now collaborating with AD to fund and build its newest Haitian development, just half a mile from an existing post-disaster settlement, preventing further disruptions to family routines. “If you’re a single mother who relies on a friend to watch your child, you don’t want to lose that when you move,” Lafci says. “We’re not asking families to completely restart their lives.” What they do offer, however, are new beginnings. “It’s amazing to see kids move in,” Hagler reflects. “They’re so happy and proud to have a house because many of them have never had one.” newstorycharity.org —CARLY OLSON
1. IN MINOTERIE, HAITI, A ROW OF NEW STORY HOMES OVERLOOKS THE PORTAU-PRINCE BAY. 2. CHILDREN AT PLAY IN THEIR NEW COMMUNITY IN HAITI.
1. TOM DURANTE; 2. JOSH CHAROW
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SITTING PRETTY: SEATS BY JORIS LAARMAN, THE CAMPANA BROTHERS, AND GAETANO PESCE QUEUE UP BENEATH A PAINTING BY CRASH.
DECEMBER
ARTFUL LIVING PH OTO G R A PH BY JA SON SCHMIDT
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ARTISTS IN RESIDENCE Brian Donnelly, a.k.a. KAWS, and Julia Chiang build a collectionand kid-friendly home in Brooklyn TEXT BY
GAY GASSMANN
PHOTOGRAPHY BY
JASON SCHMIDT
STYLED BY
MICHAEL REYNOLDS
ABOVE BRIAN DONNELLY IN FRONT OF AN ETTORE SOTTSASS CABINET FILLED WITH SOME OF THE MANY PIECES IN HIS PERSONAL COLLECTION. OPPOSITE JULIA CHIANG, ON A BRONZE WENDELL CASTLE CHAIR AND OTTOMAN, RELAXES IN THE OPEN-AIR COURTYARD WITH SUNNY DONNELLY. PAIR OF CHAIRS BY FAYE TOOGOOD. FOR DETAILS SEE RESOURCES.
SUNNY LOOKS AT A PICTURE BOOK NEXT TO A CABINET BY GAETANO PESCE. ARTWORKS BY MIKE KELLEY, KEITH HARING, AND DONDI LINE THE WALLS. CHAIRS BY JORIS LAARMAN. LAMP BY GAETANO PESCE (AT LEFT). HAMBURGER LAMP BY UNDERCOVER. MOROCCAN WOOL RUG.
DONNELLY AND CHIANG WITH TWO H. C. WESTERMANN SCULPTURES. OPPOSITE THREE MARTIN WONG ARTWORKS HANG ABOVE THE BED. BLANKET BY CHRIS JOHANSON. SCULPTURES BY HAROSHI SIT ON A TWIST TABLE BY WENDELL CASTLE. SIDE TABLE BY FAYE TOOGOOD. EAMES LCW CHAIR.
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ike an impassioned docent, three-year-old Sunny Donnelly, with baby sister Lee in tow, leads the way around her family’s artfilled home in Brooklyn. From the living room, through bedrooms and outdoor spaces, and into one back room she calls the “Haring Room” (in reference to the large Keith Haring painting hanging there), Sunny points out everything of interest. The tour is very thorough, especially when we reach her bedroom, where she shows off her many beloved toys, books, and her own favorite work of art, a frog painting by Chris Martin. “She is very proud of her room and her art,” says Sunny’s mom. Mom is sculptor Julia Chiang, and Dad is artist Brian Donnelly, more famously known as KAWS. A veritable rock star in the art world, Donnelly has a devoted following (nearly 900K on Instagram) that reaches far beyond the rarefied confines of the contemporary art scene. A master at balancing
personal and commercial work, he has collaborated with brands like Disney, Lucasfilm, Uniqlo, and Jordan, music stars like Pharrell Williams and Kanye West, and design-world darlings the Campana Brothers. A 40-foot-tall balloon version of his cartoon-like Companion joined the Macy’s Thanksgiving Day Parade in 2012, and the following year he reimagined MTV’s iconic Moonman for the 30th anniversary of the Video Music Awards. Exhibited in museums from Texas to Shanghai, his work is sought out by collectors and worn by teenagers around the world. A few years ago, Donnelly had just completed an ambitious new working studio in another Brooklyn neighborhood with Japanese designer Masamichi Katayama of Wonderwall, when the triangle-shaped industrial building the family now calls home caught his eye. “I used to walk by here every once in a while,” says the artist. “I wasn’t looking for a place—though I always like to look—so it was a spontaneous purchase. And after completing my main studio, which was a ground-up project, I came into this wanting to just get in as quickly as possible.” Though he has had a long and fruitful working relationship with Katayama, with whom he created the OriginalFake store in Tokyo in 2006, this time he chose to forgo the services of an architect. Instead, he turned to good friend and contractor Jake Klotz to help make the best of the oddly shaped floors.
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AN ARRAY OF ARTWORKS COVERS A WALL IN THE LIVING ROOM. AN ETTORE SOTTSASS CABINET AND A PRATT CHAIR BY GAETANO PESCE HELP PARTITION THE SPACE. WYETH SOFA COVERED IN CUSTOM LINEN.
PILLOWS BY KAWS AND ALEXANDER GIRARD PILLOWS FROM MAHARAM. CHILD’S CHAIR BY GAETANO PESCE. KAWS BFF PLUSH CHAIR BY FERNANDO AND HUMBERTO CAMPANA.
THE FAMILY GATHERS IN THE LIGHT-FILLED DINING SPACE. EARTHENWARE SCULPTURE BY CHIANG. VINTAGE HANS WEGNER TABLE AND OAK-ANDLEATHER DINING CHAIRS. ALVAR AALTO CHILDREN’S TABLE SET FROM KINDER MODERN. ARTWORKS BY BARRY MCGEE (IN REAR) AND ALEX KATZ (AT RIGHT).
“When I come home,” says Donnelly, “it’s refreshing to focus on the work of other artists.”
“We made it work for us,” says the artist. “We have room, we have walls to hang art, and we love the indoor/outdoor space for the kids. The challenge has been to make the home feel ‘cozy,’ Sunny’s favorite word.” Donnelly acquired the entire building and divided it between the family living areas on one side and administrative offices and art storage on the other. His studio, where most of the art-making takes place, is just a short bike ride away. For Donnelly, who describes himself as “not very social,” time is mostly spent between there and the house, with trips to the park with Sunny. “I tend to live in a bit of a bubble between home and work.” For Chiang, whose studio is now in the building, “the most exciting part was that I would be able to work every day and still be right next to the kids.” One of the most surprising, and wonderful, things about visiting Donnelly at home is discovering his vast and varied collection of art, ranging from the 1950s to the present. He goes wide and deep, meaning he’s interested in many different artists and, in a few cases, has acquired dozens of works by
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the same artist. “I collect piece by piece,” he says of his method. “But then you get into it and you just start thinking about the missing pieces.” The fruit of his assemblage can be seen in every room of the house, where works by such art stars as Raymond Pettibon, George Condo, Mike Kelley, Alex Katz, and many more are on constant rotation. (In addition to works in storage, at any given time there are also several pieces out on loan to various exhibitions.) “I don’t buy art to put in specific places,” he explains. “I just collect what I love and hope to find a place for it to be visible.” Notably, with the exception of some plush toys like BFF, his own art is nowhere in sight. “I spend all day every day surrounded by my work,” he says. “When I come home, it’s refreshing to focus on other artists.” He also collects decorative arts and sculpture, and highlights include large and impressive works by architect/designer Gaetano Pesce and American artist H. C. Westermann. This is a family that truly lives with art, art that includes more than a few “jump on” pieces. What could be more cozy than that?
PREVIOUS SPREAD; © ALEX KATZ/LICENSED BY VAGA, NEW YORK, NY
“I don’t buy art to put in specific places. I just collect what I love and hope to find a place for it.”
A COLORFUL WORK BY TAKASHI MURAKAMI ENLIVENS SUNNY’S BEDROOM. BIRCH SPARROW CRIB BY OEUF WITH IKEA BED LINENS. OPPOSITE FROM LEFT, ARTWORKS BY CARROLL DUNHAM, H. C. WESTERMANN, AND DANA SCHUTZ. VINTAGE HENRY W. KLEIN WINGBACK CHAIR IN A WYETH FABRIC. MOROCCAN RUGS.
design notes
THE DETAILS THAT MAKE THE LOOK FLOWER BALL (3-D) LITHOGRAPH BY TAKASHI MURAKAMI FROM OBJECTS20C; $3,000. 1STDIBS.COM
MAKER CHAIR (DIAGONAL WOOD), BY JORIS LAARMAN, 2014. FRIEDMANBENDA.COM
CUP/EARTH, BY FAYE TOOGOOD, 2016. FRIEDMAN BENDA.COM
ARTWORKS BY TOMOO GOKITA (LEFT) AND GEORGE CONDO HANG ABOVE A KAWS BFF PLUSH CHAIR BY FERNANDO AND HUMBERTO CAMPANA. FAYE TOOGOOD SIDE TABLE. BFF TOY BY KAWS.
“
The idea was to bring warmth into this industrial building.”
CHILDRENS CHAIR BY GAETANO PESCE, 1998. PATRICKPARRISH.COM
VINTAGE MOROCCAN RUG; $4,600. WOVEN.IS
INTERIORS: JASON SCHMIDT; MAKER CHAIR: ADAM REICH/COURTESY OF FRIEDMAN BENDA AND JORIS LAARMAN; CUP/EARTH: ANGUS MILL/COURTESY OF FRIEDMAN BENDA AND FAYE TOOGOOD; CHILDRENS CHAIR BY CLEMENS KOIS/PATRICK PARRISH GALLERY; HAMBURGER LAMP: COURTESY OF END; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES
ARTEK STOOL E60 BY ALVAR AALTO; $310 EACH. VITRA .COM; 212-463-5750
“
Every project is a challenge—as you get into it, you make the best of the space you have.” EAMES MOLDEDPLYWOOD LOUNGE CHAIR; $930. DWR.COM
BFF, BY KAWS, 2017. STORE.MOMA.ORG
HAMBURGER LAMP BY UNDERCOVER, 2002. ENDCLOTHING.COM
BLANKET BY CHRIS JOHANSON FOR THE STANDARD; $340. STANDARDHOTELS.COM
KAWS X PEANUTS TOY; $40. UNIQLO.COM GENESIS SOFA WITH BRUSHED-BRASS BASE; $3,499. CRATEANDBARREL.COM
CHECKER SPLIT PILLOW BY ALEXANDER GIRARD FOR MAHARAM; $150. STORE. HERMANMILLER.COM
A BRUNO MATHSSON FOUR-SEATER BENCH SERVES AS A CATCHALL. KROKIG CLOTHES STAND FROM IKEA. ARTWORK BY BARRY MCGEE. AR C H DI G E S T. CO M
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A MAJESTIC SETTING FOR AN ART-FILLED CHALET. OPPOSITE BRESCIA VERDE MARINACE MARBLE WAINSCOTS THE POOL AREA; BRASS LIGHTS BY VIABIZZUNO. FOR DETAILS SEE RESOURCES.
art Displayed to perfection, a stand-out collection ямБnds a home in the French Alps thanks to architect Luis Laplace TEXT BY
DANA THOMAS
PHOTOGRAPHY BY
MATTHIEU SALVAING
LEFT IN THE DINING ROOM, AN ALEXANDER ROSS PAINTING HANGS BEHIND A LAPLACE TABLE AND VINTAGE CHARLOTTE PERRIAND CHAIRS; JONAH TAKAGI PENDANT. RIGHT THE MASTER BATH’S TUB IS BY THE WATER MONOPOLY, WITH WATERWORKS FITTINGS.
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here are houses built for the image they project outward. And there are those conceived to support the life inside. Argentinian architect Luis Laplace is of the second school. “I believe that form follows function, not beauty for the sake of it,” he explains one bright morning in his Paris studio. “I say I don’t know beauty. When I see that something works, then I see the beauty.” That was the approach Laplace used for the French Alps vacation home he created for art collectors who wanted the family getaway, he explains, to “be playful and used easily by everyone.” Hence the practical and memorably stylish rubber-paneled mudroom, where skis can be propped against the walls without a moment’s hesitation. At the same time, the chalet needed to accommodate the owners’ serious and, at times, monumental works of art. As always, this was Laplace’s starting point, a technique he has honed as one of the main architects for the Hauser & Wirth art galleries. “We never use art as a decoration,” he explains. “We design for its installation and rotation.” Laplace was thrilled to learn of the wife’s affinity for color as well as the designs of Belgian fashion star Dries Van Noten. “I love how Dries treats texture and color,” the architect says. And while Laplace confesses that “it’s hard to put art in an area of color” (the reason many collections are displayed amid neutral palettes), “it’s doable.” Here he chose watery blues, golden yellows, and burnt oranges, hues he describes as “calm,” especially when “you see the snow through the big windows.” The trickiest space to outfit with art, Laplace notes, was the glassenclosed indoor swimming pool. Then he remembered that the clients owned a video work by Swiss artist Pipilotti Rist. He decided to install the projector above the pool, with the water serving as the screen— it was a terrific idea, and one that Rist so loved that she came to help. “Now you can open the shutters and swim with the Alps,” Laplace observes. “Or you can close them, play her video, and swim in her universe.” He sits back and smiles. “It’s pretty cool.”
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“When I see that something works, then I see the beauty,� Laplace says.
“It’s hard to put art in an area of color,” the architect says. “But it’s doable.” ABOVE, FROM LEFT A JEAN PERZEL PENDANT HANGS IN THE ENTRANCE HALL. THE MUDROOM FEATURES A KONSTANTIN GRCIC BENCH AND CHESTNUTAND-RUBBER CLOSETS. RIGHT THE HOUSE IS MADE OF LARCHWOOD AND LOCAL GRANITE. OPPOSITE THE TV-ROOM CEILING HOSTS A NEON ARTWORK BY JASON RHOADES, WHOSE SOLO EXHIBITION IS NOW OPEN AT THE BRANT FOUNDATION; LAPLACE SOFA AND OTTOMANS; TAI PING CARPET.
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★ SEE THE POOL’S ART INSTALLATION AND MORE IMAGES AT ARCHDIGEST.COM.
Art-world insiders bring their decades-spanning assemblage of treasures home to Brussels
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© 2017 MAX ERNST, ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/ADAGP, PARIS; © 2017 ESTATE OF PABLO PICASSO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; OPPOSITE: © 2017 ALAIN JACQUET, ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/ADAGP, PARIS; © 2017 ADAM MCEWEN/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
calm, cool, collected PHOTOGRAPHY BY
IAN PHILLIPS SIMON WATSON STYLED BY SEBASTIAN SERGEANT
TEXT BY
AN ADAM MCEWEN SWING SCULPTURE AND A THOMAS DOWNING PAINTING HANG IN THE STAIRWELL OF STÉPHANIE BUSUTTIL AND SÉBASTIEN JANSSEN’S BRUSSELS HOUSE.
OPPOSITE IN THE SITTING ROOM, A JEAN ROYÈRE POLAR BEAR CHAIR NESTLES AMONG WORKS BY UGO RONDINONE, JEREMY DEPREZ, ALLAN MCCOLLUM, AND STEFAN RINCK. LAMP BY SERGE MOUILLE; EDWARD FIELDS RUG. FOR DETAILS SEE RESOURCES.
IN THE LIVING ROOM, 19TH-CENTURY JAPANESE GILDED-WOOD TEMPLE FLOWERS SIT ON TOP OF A LOUIS MAJORELLE ART NOUVEAU DESK. BRONZE BEAR-PAWS STOOL AND BLUE GLAZED CERAMIC VASE, BOTH BY ERIC CROES; CUSTOM SOFAS WEAR A FADINI BORGHI FABRIC. RUG BY NOBILIS.
LEFT BUSUTTIL AND JANSSEN, WITH SON EDOUARD, IN FRONT OF A BOOKCASE DESIGNED BY ALAIN DEMACHY. A PAINTING BY SEAN LANDERS HANGS ABOVE THE FIREPLACE; ANTIQUE PHILIP AND KELVIN LAVERNE COCKTAIL TABLE. OPPOSITE THE DINING ROOM BOASTS A BRONZE-BASED CÉSAR TABLE, A CÉSAR SCULPTURE IN THE CORNER, AND A PIECE BY URS FISCHER ATOP THE MANTEL. 1970S MCGUIRE BAMBOO CHAIRS.
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téphanie Busuttil and her husband, Sébastien Janssen, have something of a collecting habit. “We adore attending auctions and hunting for things wherever we travel,” she declares. “Within the decorative arts, we more or less like everything.” That “everything” stretches from silverware and crockery to rugs and furniture. They are equally passionate about fine art. He runs the wittily named Sorry We’re Closed contemporary gallery in the center of Brussels, while she was the longtime companion of the playful and provocative French artist César Baldaccini (better known simply by his first name), who passed away in 1998. César’s creations are almost everywhere you look in the Busuttil-Janssen household. The gooey-looking bronze-based dining table is part of his Expansion series; tiny bronze insects stand at attention in the master bedroom; and plaster sculptures populate numerous corners and tables. Meanwhile, the coffee table in the sitting room is actually a supersize bronze cast César made of playboy Gunther Sachs’s hand, encased in a plexiglass box for protection.
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Busuttil and César met in 1989, when she was 22 and he 46 years her senior. “He had so much intelligence, charm, and charisma that he seduced everyone,” she recalls. “But he was also extremely complex. He could be joyous and fun but was also racked by doubts and a fear of death.” Today she manages both his estate and a foundation that bears his name, whose offices occupy the ground floor of her Brussels house. In that capacity she is working with curators on the large César retrospective opening December 13 at the Centre Pompidou in Paris, which brings together more than 120 creations, including his most iconic—cars compressed into rectangular cuboids and a six-meter-high gilded-bronze thumb (the latter will be installed on the esplanade in front of the museum). Busuttil still maintains the apartment she shared with César in the French capital, which serves as a base when she’s working or sometimes just for weekend getaways. “It’s like our country house,” she quips. In Brussels, she wanted something distinctly urban. What she and Janssen found was a 7,000-square-foot townhouse dating from 1909 just off the elegant Avenue Louise. When they first visited, it was being rented out to students. “It was a little like The Aristocats—charming and very bohemian,” the wonderfully lively Busuttil recalls.
“We adore attending auctions and hunting for things wherever we travel,” Busuttil declares.
CLOCKWISE FROM TOP LEFT ART FILLS THE MASTER BEDROOM: FROM LEFT, PIECES BY BRENT WADDEN, PIERO GILARDI, STEFAN RINCK, AND ISAAC BREST; VLADIMIR KAGAN SOFA; FORTUNY PENDANT LAMP; CURTAINS OF A
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PIERRE FREY FABRIC. A KENNETH NOLAND PAINTING HANGS ABOVE A 1970S MAISON JANSEN TABLE IN THE DINING ROOM; SCULPTURE AND LAMP BOTH BY CÉSAR. A JEREMY DEPREZ PAINTING IS THE STAR OF ANOTHER BEDROOM.
© 2017 CALDER FOUNDATION, NEW YORK/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; FOLLOWING SPREAD: © 2017 ESTATE OF LOUISE NEVELSON/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
CLOCKWISE FROM TOP LEFT IN EDOUARD’S BEDROOM, AN ALEXANDER CALDER JUTE TAPESTRY HANGS ABOVE THE SCHWEITZER LINEN– DRESSED BED. A MIX OF EDOUARD’S DRAWINGS HANG AMONG WORKS BY LAVIER, TINGUELY, CÉSAR, BEN, TOBIAS, AND
CLAIRE FONTAINE. YELLOW RUG FROM IKEA. IN THE BROWN LACQUER– WALLED LIBRARY, A JOSH SPERLING PAINTING AND A PORTRAIT OF STÉPHANIE AND SÉBASTIEN BY ALEJANDRA HERNÁNDEZ HANG ABOVE A SOFA AND PILLOWS, BOTH WEARING LE MANACH FABRICS.
BUSUTTIL SITS ON A BILLY HAINES BOUDOIR CHAIR BENEATH A MOUNTED LOUISE NEVELSON SCULPTURE IN THE SITTING ROOM. PLASTER SIDE TABLE BY JOHN DICKINSON; BRONZE HAND SCULPTURE BY CÉSAR IN PLEXIGLASS CUBE.
The couple immediately fell for the lofty 14-foot ceilings and majestic staircase, which offer a striking contrast to the confined entry lobby at street level. “I like it when houses offer surprises,” notes Busuttil. In addition to a cellar for the archives of the César Foundation, it also had five bedrooms—perfect for them and their three children, with one to spare. “We spent only a quarter of an hour in the house before making an offer,” she continues. “It was as if it had been waiting for us.” Architecturally, it was a mishmash of styles, and the couple oversaw the renovation and decoration themselves. The staircase and entry have neoclassical details, both of which were kept. But an “ugly” panoramic fresco in the dining room was painted over, and the quintessentially French elements in the living room—wainscoting and a cornice ornately sculpted
“We spent only a quarter of an hour in the house before making an offer. It was as if it had been waiting for us.” with musical instruments—were discarded. One of the couple’s additions was a pair of pediment-topped bookcases, inspired by ones they’d spotted in photos of the late Oscar de la Renta’s beach house in the Dominican Republic. Busuttil and Janssen’s urge to simplify was largely dictated by their desire to showcase their different collections. They brought only a few pieces from the Paris flat. The rest of their finds are both beautifully curated and exquisitely refined. Busuttil admits to having more of a historical bent; hence the Liberty stools, the vintage bamboo dining chairs, and the intricate table in the master bedroom designed by French Art Nouveau cabinetmaker Gabriel Viardot. They also have deployed numerous iconic midcentury designs, including the bright-red Jean Royère armchair and the John Dickinson plaster table in the sitting room. The art reflects their distinct areas of interest, too. There are numerous works by the contemporary artists Janssen represents, sculptures by Eric Croes and Stefan Rinck, and paintings by Peter Schuyff and Eddie Martinez. One of his favorites, though not from his gallery, is a clown sailor by New York artist Sean Landers that hangs over the living room mantel. “It’s a little ‘off the wall’—which I like,” he says. “It brings a twist to this very classical interior.” Busuttil, meanwhile, has a love of the 1960s and 1970s. One of her favorite pieces is the heptagonal Kenneth Noland canvas in the dining room. “I always sit opposite it at the table,” she says. “Its rose color is beautiful when I’m having breakfast in the morning.” And while César’s creations generally stay firmly in place, the rest of the decor is constantly being added to. “We’re always excited by the next thing we’re going to buy,” admits Busuttil. “We seem to live in a world that’s becoming less and less material, but that’s not for us. We still have many yearnings to satisfy. The wish list is very, very long!”
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Off Screen THE DOWNEY FAMILY GATHERS IN THE MAHOGANY-AND-STEEL POOL CABANA, WHERE ROLL CHAIRS BY KETTAL JOIN A CUSTOM KELLY BEHUN STUDIO TABLE. ROBERT IS WEARING A SWEATER AND LOUNGE PANTS BY LOUIS VUITTON, AN
OMEGA WATCH, AND NIKE SNEAKERS; SUSAN WEARS A ZIMMERMANN DRESS; AND THEIR DAUGHTER, AVRI, IS IN A STELLA McCARTNEY KIDS DRESS. FASHION STYLING BY JEANNE YANG. FOR DETAILS SEE RESOURCES.
Robert Downey Jr. and his wife, producer Susan Downey, take a break from the fast lane in a magical Hamptons compound tailor-made for famıly fun TEXT BY MAYER
RUS
PHOTOGRAPHY BY
FRANÇOIS DISCHINGER
STYLED BY
MICHAEL REYNOLDS
CLOCKWISE FROM ABOVE ON THE COVERED PORCH, AN AXO CEILING LIGHT HANGS OVER SOFAS BY BLU DOT AND A COCKTAIL TABLE BY ARTERIORS. IN THE LIVING ROOM, ARTWORKS BY STAN YNRY (AT LEFT) AND OSGEMEOS (AT RIGHT); CERAMIC ARTIST PETER LANE CREATED THE FIREPLACE WALL. CUSTOM FOX-NAHEM ASSOC. SOFA COVERED IN FABRICS BY CLARENCE HOUSE (OUTER) AND TOYINE SELLERS (INNER). CUSTOM KITCHEN DESIGNED BY FOX-NAHEM ASSOC. FOR WOOD-MODE. PENDANT LIGHTS BY TOM DIXON.
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PREVIOUS SPREAD: HAIR AND MAKEUP BY DAVY NEWKIRK FOR THE WALL GROUP USING BAXTER OF CALIFORNIA
LEFT ART BY DAVID PALMER AND PEDRO FRIEDEBERG JOINS AN ILLUMINATED JEFF ZIMMERMAN SCULPTURE IN THE DINING ROOM; WENDELL CASTLE TABLE; SERGIO RODRIGUES CHAIRS. BELOW WALTER LAMB FOR BROWN JORDAN CHAISE LONGUES AND SIDE TABLES SIT POOLSIDE.
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he giant praying mantis in the forecourt might be the first clue that the Long Island home of actor Robert Downey Jr. and his wife, producer Susan Downey, is not your conventional Hamptons hideaway. Rearing up nearly 15 feet, the bright-green sculpture by Andrius Petkus strikes a delightfully surreal note amid the natural splendor of a compound boasting some of the most glorious trees on the South Fork. Of course, the windmill that rises beyond the mantis helps buoy the fairy-tale quality of the estate. The scene is part Hans Christian Andersen, part Alice in Wonderland, part Them!, and all Downey. “We wanted something we haven’t seen a million times,” the Iron Man star says, describing the property itself as well as the decorative ministrations of AD100 designer Joe Nahem and the team at New York City– based Fox-Nahem Associates. “We didn’t set out to do something conspicuously wacky. We just enjoy a bit of whimsy and fun. And we definitely don’t like boring,” he adds. The Downeys originally met Nahem two summers ago, when they rented the heavenly Amagansett country house the designer shares with his partner, Jeffrey Fields. “We immediately loved the aesthetic of the place,” Susan recalls. “When you step into a designer’s own home, it’s like cooking in a chef ’s own kitchen. You really get a sense of who they are.” The couple was so intrigued by the decor that they dialed up Nahem and Fields for a meeting. “We went to lunch, and by the end of the meal, we knew we loved these guys,” Robert says. One of the many auspicious auguries of a fruitful friendship was the realization that Joe, Jeff, and Robert all share the same birthday. Spooky. The Downeys said goodbye to Nahem and Fields that summer with a request that the designers alert them to any particularly enticing properties coming onto the market in the Hamptons. Several months later, Nahem found a place that more than fit the bill: a late–19th century windmill folly, originally constructed as a playhouse, that had been transformed into a full-fledged residence by way of structural additions grafted onto the building in the decades following its construction. Among the many attributes of the estate were its proximity to town coupled with the privacy of a secluded location, enchanting gardens conjured by landscape designer Joseph Tyree for the home’s previous owners, and those sublime trees that dot the lawns like masterpieces of sculpture. Nahem didn’t have much time to revel in the triumph of his matchmaking. As soon as his clients acquired the property, they gave their designer a mere six weeks to transform the home into a Downey-rific
IN THE MASTER BEDROOM, A SHEPARD FAIREY PORTRAIT OF THE OWNERS HANGS OVER THE MODLOFT BED. A WALL-SIZE WORK BY THOMAS DE LELIWA MAKES A STATEMENT BEHIND VINTAGE CHAISE LONGUES COVERED IN FISHMAN’S FABRICS VELVET; CUSTOM HENZEL STUDIO RUG IN FOREGROUND.
“We didn’t set out to do something conspicuously wacky,” Robert insists. “We just enjoy a bit of whimsy and fun.”
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“Our previous experience with designers was sucky. We’d pretty much surrender to the will of the experts, then harbor a white-hot resentment.”
CLOCKWISE FROM FAR LEFT PAINTINGS BY ATI SEDGWICK (LEFT) AND PASCÓ THE GREAT (RIGHT) IN THE ENTRANCE HALL; PHILLIP JEFFRIES STRIPE WALLPAPER. A ROGAN GREGORY SCULPTURE SITS ON A TABLE BY LEO CAPOTE. RUG BY SACCO CARPET. CUSTOM PRATT & LARSON TILE COVERS AVRI’S BATHROOM. PORCELANOSA SINK WITH WATERWORKS FITTINGS. AN ANDRIUS PETKUS SCULPTURE RISES IN FRONT OF THE COTTAGE.
sanctuary keyed to the couple’s adventurous aesthetic tastes and the comfort of their children, five-yearold son Exton and three-year-old daughter Avri. (The actor has another son, 24-year-old Indio, with his ex-wife, Deborah Falconer.) “The schedule was insane,” Nahem recalls. “Robert and Susan spend a lot of the year on the road, so they’re very sensitive about their own homes feeling genuinely homey. We had less than two months to completely refurnish the entire house, down to the sheets, towels, and flatware, so they could enjoy it that Christmas.” Happily, once the holiday season was over, Nahem and his team were able to return to the home and begin the renovation in earnest. One of the biggest changes was the reconfiguration of the living room that lies just beyond the octagonal entry foyer at the base of the windmill. To give the transitional area a greater sense of place, the designer sunk the living room several feet and anchored it with a massive wraparound fireplace wall by ceramic artist Peter Lane. “Part of the joy of working with Joe is sharing his excitement about reaching out to these incredibly talented artisans,” Robert says. “These kinds of collaborations require a leap of faith, but that’s part of the fun. We enjoy the experimentation.” Another major component of the renovation involved rethinking the pool area to suit the Downeys’ vision of easy, breezy outdoor leisure. Rather than making the guesthouse do double duty as a swimming cabana, as it had in the previous scheme, Nahem
designed a freestanding poolside pavilion, in collaboration with Alveary Architecture, replete with a dining setup centered on a mosaic-topped table by Kelly Behun Studio, an outdoor living room and bar, and a television almost as large as the screens at the local multiplex. “We now spend the whole day out there, hanging out with the kids and our friends,” Susan states. “Plus, the old pool was dropped into the middle of the lawn, which made me crazy. I hated stepping out onto wet grass. Joe obliged me by installing a proper deck.” As for the interiors of the house itself, the mix represents an amiable consensus among the Downeys and their designer: pedigreed pieces and unpretentious off-the-rack staples, poppy colors and soothing neutrals, eccentric accents and discreet luxuries. It’s an idiosyncratic assemblage that speaks equally to the actor’s puckish spirit, his wife’s concerns for efficiency and ease, and Nahem’s finesse in crafting eminently livable homes with a touch of otherworldly magic. “Our previous experience with designers was sucky. We’d pretty much surrender to the will of the experts, then harbor a white-hot resentment,” Robert writes in his foreword to Fox-Nahem: The Design Vision of Joe Nahem, a dazzling monograph published by Abrams. “Mrs. Downey and I have enjoyed a remarkable collaboration with the entire Fox-Nahem team. We’ve been pushed out of our ‘comfort zone’ without losing our personal sense of style, taste, or dignity.” In other words, not sucky at all.
★ EXCLUSIVE VIDEO: ROBERT DOWNEY JR. AT HOME, ON ARCHDIGEST.COM.
THE PARTY ROOM IS CLAD IN RICHARD WOODS’S PAINTED WOOD-GRAIN PANELS. SCULPTURES INCLUDE TIM NOBLE AND SUE WEBSTER’S WALL PIECE GOLDEN SHOWERS (2000) AND SAMARA GOLDEN’S GHOST CAMERA (2012). GAETANO PESCE SOFA FOR MERITALIA. FOR DETAILS SEE RESOURCES.
TEXT BY
JEFFREY DEITCH
PHOTOGRAPHY BY
FRANÇOIS DISCHINGER
STYLED BY
MICHAEL REYNOLDS
As iconoclastic curator and dealer Jeffrey Deitch prepares to open a new Los Angeles gallery, his home in Los Feliz (once Cary Grant’s) shows off his flair for installation
FULL IMMERSION
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his house does not show very well,” the real-estate agent warned me as he opened the door to my future Los Angeles home. The rooms were filled with heavy furniture, and an atmosphere of gothic gloom pervaded the interior. Looking through one of the dirty, cracked windows that obscured the view, I was astonished to see a postcard-perfect vista of the Hollywood sign. The image was a New Yorker’s fantasy of L.A. allure. I immediately told the Realtor, “I’ll take it.” “You can’t take it yet. I have five more houses to show you,” he insisted. The agent was Barry Sloane, who, for the previous ten years, had been sending me brochures of historic Los Angeles properties that he was selling. I was sometimes tempted to inquire about these dream homes while enduring yet another New York winter. When I was offered the position of director of L.A.’s Museum of Contemporary Art in 2010, one of the first calls I made was to Barry. My knowledge of the city was mostly limited to the former artists’ neighborhood of Venice Beach, where few artists can afford to live anymore, and to Beverly Hills and Bel Air, where I would visit art collectors. I gave Barry only one requirement: proximity to a good running route. He suggested Los Feliz, a neighborhood I’d never heard of. It encompasses parts of Griffith Park, one of America’s largest urban parks, and is easily accessible to downtown, Hollywood, and the East Side neighborhoods where many artists now live. Before allowing me to commit, Barry drove me around the neighborhood, showing me an estate that formerly belonged to Madonna and another he described as the largest Craftsman house in America. But after a long career as an art dealer and curator, I have learned to trust my first impression in making aesthetic judgments. I could envision the house that “did not show well” emptied of its Addams Family furniture and transformed into my Hollywood fantasy. Built in 1929 by architect Wesley Eager for D. W. Pontius, the president of the Pacific Electric Railway Company, the house occupies a prominent hilltop site that takes in expansive views stretching from downtown to the Pacific Ocean, and it is perfectly positioned to take advantage of the afternoon light and the sunset over the Hollywood Hills. Its full size is not visible from the street because the structure is built into the hill, with four levels descending into the canyon below. The architectural style is Spanish Revival with Art Deco elements, the perfect fusion to evoke the Golden Age of Hollywood. Probably best known as having been a residence of Cary Grant and Randolph Scott in the 1930s, the home in fact gets a chapter in David Wallace’s book Dream Palaces of Hollywood’s Golden Age. One photograph shows Grant and Scott being served breakfast in the dining room by their manservant. The photo, which portrays its two stars as sophisticated bachelors, was probably staged by the studio’s publicity department. A more recent occupant was Chad Smith, the drummer of the Red Hot Chili Peppers. I kept the chandelier made with a Zildjian cymbal that he installed in the pantry, but I have yet to use some of his other rock-star amenities, like the wine refrigerator in the dressing room. I hadn’t had time to look for furniture when I hosted my first house party, celebrating Ryan Trecartin’s exhibition opening at MOCA. It did not matter that there was no place to sit—almost everyone ended up in the pool. And although there were no chairs and tables, I had already hung a selection
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THE LIVING ROOM CONTAINS A SPRAWLING CHRIS JOHANSON INSTALLATION WITH CHAIRS AND BENCHES BY JOHANSON AND CUSHIONS BY JOHANNA JACKSON. SOFAS BY GAETANO PESCE FOR MERITALIA. HAAS BROTHERS CANDLES SIT ON ISAMU NOGUCHI SIDE TABLES FROM DESIGN WITHIN REACH.
CLOCKWISE FROM RIGHT EMECO CHAIRS PULL UP TO URS FISCHER’S JEFFREY TABLE (2011) IN THE DINING ROOM; ON THE FAR WALL IS JORDAN WOLFSON’S UNTITLED (2014). THE 1929 HOUSE WAS DESIGNED BY ARCHITECT WESLEY EAGER. THE MASTER BEDROOM FEATURES ALEX ISRAEL’S MOVIE STAR MAPS MURAL (2014); BED BY DUX.
★ SEE MORE OF THE ART IN DEITCH’S HOME AT ARCHDIGEST.COM.
of domestically scaled artworks from my collection throughout the otherwise empty spaces. It was exciting to see some of these works that had been in storage for years, but the display looked too conventional. I decided to rethink the art and focus on what I had been known for in my galleries—inviting artists to create ambitious site-specific installations.
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I decided to focus on inviting artists to create ambitious site-specific installations.
y first project was the downstairs room that opens onto the swimming pool. It had originally been a garage and was not architecturally distinguished in any way. I had been inspired some years ago by Isabella and Detmar Blow’s lively house in London, with its stairway paneled in blue faux hardwood by Richard Woods and a light fountain by Tim Noble and Sue Webster. I brought Woods from London to transform the former garage into an immersive painting, with the blue waves of his painted panels reflecting the shimmering water in the pool. In the center of the most prominent wall, I installed another version of the Noble and Webster light sculpture. A WrongWoods sideboard by Established & Sons and a Tom Dixon light inspired by a mirror ball completed the room’s updated Swinging London aesthetic. It immediately became known as the party room, the venue for several legendary events such as Big Freedia’s exuberant bounce-music performance for the artist Swoon’s birthday party. Forty pairs of buttocks vibrating to the beat was an unforgettable image. The next project involved working with Chris Johanson to reconfigure the brilliant installation that he had created in the stairwell of the Whitney Museum’s former Breuer building for the 2002 Biennial exhibition. It is one of numerous ambitious sculptural works that I had acquired, hoping that I would eventually have a place to display them, but which unfortunately went straight to the warehouse and stayed there. We shipped all of the elements of the enormous work to Los Feliz and stacked them in the empty living room. Chris lived in the house’s guest apartment for two months, brilliantly distilling the work and adapting it to the space. His installation incorporates the interior architecture, including a mock-medieval stained-glass window. His painted wooden figures float into the adjoining conservatory. Chris and his wife, Johanna Jackson, also designed and built a set of furniture that extends the vision of the work into the center of the room. I had originally thought to complement the architecture with Spanish Revival furniture, and with the help of several specialist dealers, I filled the place with excellent examples of the style. It looked right at first, but just like the first hanging of the art, I realized that it was also too conventional for me. I was still not sure what direction to take with the furnishings when I attended a lecture by Gaetano Pesce at the Hammer Museum. Pesce’s lecture was like a theatrical performance. I was particularly struck by one of his strident comments: How could all of these architects and designers act as if Pop Art never happened? I came away from his talk very inspired and looked up his available furniture designs on the internet. I was amazed by the outrageous and inventive designs that could actually be purchased. I sold back most of the Spanish Revival furniture and decided to go all the way with Pesce. Gaetano was amazed himself when I told him that I had bought his combination Toucan, Bear, and Salmon sofa. He could not believe that someone had actually ordered it.
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LEFT JEFFREY DEITCH IN FRONT OF ALEX ISRAEL’S MURAL IN HIS BEDROOM. OPPOSITE CHRIS JOHANSON’S LIVINGROOM INSTALLATION SPILLS INTO THE CONSERVATORY WITH HANGING ELEMENTS ABOVE THE TABLE. PAWEL ALTHAMER’S SCULPTURE JEFFREY (2014) STANDS TO THE LEFT. CUSTOM TABLE AND CHAIRS BY FURTHUR.
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ceramic vases in the shape of nude figures for the pool area. Flowers grow from the figures’ heads like Carmen Miranda’s hats. Pawel Althamer made a life cast of my face in front of several hundred onlookers in the Union Square subway station in New York, and with rebar and ribbons of plastic, he sculpted a portrait of me running.
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n addition to the various commissions and installations, my home’s many rooms and alcoves provide plenty of wall space for some special works by artists who have been important inspirations. There is a dreamy self-portrait drawing by Andy Warhol and an insane self-portrait photo collage by Weegee. One of my favorite works by Man Ray, his Obstruction of 1920, hangs from the ceiling in what was once Cary Grant’s bedroom. An especially intriguing work is a 1953 painting by Warhol that prefigures his “Rorschach” inkblot images made 30 years later. The ample spaces here have also given me the opportunity to display works by some of the younger artists whom I am especially excited about, such as Sascha Braunig, Samara Golden, and Jamian Juliano-Villani. I try to add another new work every few months. I did not want the house to be just a house, but an art project as well, an extension of the experience that I try to create in my galleries. I always loved how the space where I worked in the 1970s also functioned as an artist clubhouse. In recent years, with the professionalization of the art world, most galleries are no longer conducive to that kind of discourse. In my home, I tried to create an artistic atmosphere that would be inviting but not intimidating, a place where friends could enjoy a stimulating art encounter and not worry about spilling wine on the rug. With my new gallery opening in Los Angeles next year, a short drive from Los Feliz, I am expecting that the house will become an extension of the program, a place to host intimate artist talks and performances. I have always been inspired by the Wagnerian concept of the Gesamtkunstwerk. As the house evolves, I hope that it will become my Hollywood version of a total work of art.
OPENING SPREAD: © TIM NOBLE AND SUE WEBSTER. ALL RIGHTS RESERVED, DACS, LONDON/ARS, NY 2017
I was still trying to find the right dining table when Urs Fischer surprised me with an extraordinary gift. Knowing about the history of the house, he created a table that collaged blow-ups of Robert Longo’s preparatory photographs of me from his 1980 Men in the Cities series with an image of Cary Grant being chased by a biplane from North by Northwest. On the other end of the table was an image of Vincent van Gogh’s gravestone. The table-as-artwork, with its Dadaistic juxtapositions, embodies the spirit of the home. A previous owner had taken down the walls of what had been the children’s bedrooms on the top floor of the house, transforming the entire floor into a loftlike master bedroom and spa. I was waiting for the right idea for the space when Alex Israel showed me an image of the mural painting he had created for his exhibition at Le Consortium in Dijon. It was a set of archetypal Los Angeles images composed around a valetparking sign, all painted directly on the wall. It was exactly what I wanted for the room. Alex had already sold Valet Parking, now installed at L.A.’s Marciano Art Foundation in an expanded version, but he was willing to create a similar work for me. The central image is a movie star–maps vending machine. He spent several months photographing palm trees, agave plants, benches at bus stops, and other images that define the visual experience of L.A. After carefully laying out the composition, he then spent two weeks with the last remaining full-time scenic painter from Warner Bros., rendering the imagery onto the walls. About 15 years ago, long before I thought that I would be buying a home in Los Angeles, I presented a provocative body of work with artist Kurt Kauper. It was a series of nude portraits of Cary Grant. The strongest work in the series showed him striding through his Los Feliz house, the same house that I now occupy. Kurt had tried to get access when he was painting the portrait, but had to rely on photographs to create the background. It was an uncanny coincidence. Fortunately, I was able to acquire a later version of the painting, and now a naked Cary Grant greets visitors. The two most recent artist commissions are by figurative sculptors. Ruby Neri created a pair of outrageous, oversize
LEAVING
HIS MARK With blockbuster projects nearing completion all across America, architect Steven Holl prepares for the biggest year of his career— and many more milestones to come TEXT BY
FRED A. BERNSTEIN JASON SCHMIDT
PHOTOGRAPHY BY
ARCHITECT STEVEN HOLL STANDS INSIDE THE EX OF IN HOUSE. LOCATED ON HIS OWN ESTATE IN UPSTATE NEW YORK, THE 2016 STRUCTURE SERVES AS ACCOMMODATIONS FOR BOTH GUESTS AND VISITING ARTISTS.
HOLL’S 2016 VISUAL ARTS BUILDING AT THE UNIVERSITY OF IOWA.
HUNTERS POINT COMMUNITY LIBRARY, UNDER CONSTRUCTION IN QUEENS.
“It’s a little building, but it’s got a big interior,” says Steven Holl, SKY BRIDGES CONNECT THE TOWERS AT LINKED HYBRID, A 2009 MIXEDUSE COMPLEX IN BEIJING.
motioning toward a new public library rising near the East River in Queens. Scheduled to open this spring, the concrete structure is distinguished by irregularly shaped windows up to 60 feet high, like Matisse scissor-cuts on a vast scale. But Holl is right: The building is even more dramatic inside, where a series of balconies climb up and over a central atrium, creating separate spaces for adults, children, and teens. On each level, Holl’s carefully placed windows frame startlingly different views of New York City architecture. “There’s Louis Kahn; there’s Oscar Niemeyer and Le Corbusier,” he says, pointing first to Four Freedoms Park, then the United Nations. “It’s hard to imagine a more exciting site for a young architect like myself,” jokes Holl, who is 69 but claims he had his birth certificate changed to make him ten years younger. Every architect would like to join that pantheon of greats. And Holl just might. By this spring, he will have opened four new buildings in the span of less than a year: the Queens library, the Institute for Contemporary Art (ICA) on the campus of Richmond’s Virginia Commonwealth University, a sprawling arts complex at Princeton University, and a Maggie’s
FROM TOP: IWAN BAAN; COURTESY OF STEVEN HOLL; COURTESY OF STEVEN HOLL ARCHITECTS; IWAN BAAN. OPPOSITE: JASON SCHMIDT
A WATERCOLOR STUDY FOR HIS MAGGIE’S CENTRE CANCERTREATMENT FACILITY IN LONDON.
BIRCH PLYWOOD LINES THE WALLS OF THE EX OF IN HOUSE, WHICH FEATURES A SPHERICAL SPACE AND SCULPTURAL WINDOW CUTOUTS.
Centre for cancer patients in London. And he will have seen significant progress on several other projects, including expansions to the Museum of Fine Arts, Houston—where he is “softening” the stoneand-steel campus with walls of alabaster-like glass— and the Kennedy Center in Washington, D.C. Rather than add directly to the Kennedy Center’s boxy 1970s building, Holl designed several pavilions separate from the main structure but connected to it underground. The strategy is similar to one he followed at the Nelson-Atkins Museum of Art in Kansas City, Missouri, where his 2007 addition consists of several translucent volumes that emerge from the lawn alongside the museum’s original Beaux Arts building. At night, the crystalline structures glow seductively, like lanterns. Asked to name his favorite building material, Holl answers, “Light.” Altogether Holl and his partners, Chris McVoy and Noah Yaffe, have 13 projects in the works, a number that amazes Holl, who has known plenty of lean years. Born in Bremerton, Washington, he studied at the University of Washington and the Architectural Association in London before moving
to New York in 1977. Throughout the 1980s, he was considered a paper architect—a draftsman, theorist, and teacher who didn’t get to build—all the while living above his office, in a space with no hot water. Then, in 1993, working with the late artist Vito Acconci, he completed the façade of Manhattan’s Storefront for Art and Architecture, a contraption that morphs from two dimensions into three, with irregularly shaped cutouts pivoting into doors, shelves, and benches. His first major project, Helsinki’s Kiasma museum, opened in 1998, followed by, among other blockbusters, a 2002 dormitory at MIT, a 2005 watertreatment plant in Connecticut, and the 2009 Linked Hybrid development in Beijing, where his firm has a satellite office. “Every building has an idea,” says Holl. “It’s not just about fulfilling the program.” Unlike most architects, he primarily designs not with pen or pencil but with watercolors. (He calls his paintings “my secret weapon, a way to get the intuition and emotion into the architecture.”) And whereas some of his professional peers have abandoned private residential work, he continues to design experimental houses, including the recently finished Wrinkled Planar Villa, with craglike forms inspired by ice on the neighboring river and textured concrete walls that echo striated cliffs in the distance. These days, his mornings include, in addition to painting, spending time with his wife, Dimitra Tsachrelia, and their one-year-old daughter, Io, Holl’s first child. Most weekends, they escape to their estate in Rhinebeck, New York, where Holl recently added a new guesthouse, dubbed Ex of In, that explores complex geometries as well as his own seven-point manifesto. As it asserts, “The thing containing is not the thing contained.” Indeed, for Holl, the container is as much of a priority as a building’s contents. Lisa Freiman, the director of the ICA, notes that the museum’s topfloor gallery will have 33-foot-tall ceilings and two glass walls, making it challenging to show some kinds of art. But, she says, it is “pushing us to be more creative. We’re even commissioning new works in response to the architecture. That’s probably what Steven was hoping for.” As is true of all Holl’s work, the ICA feels like a sculpture—as if it were carved or molded rather than constructed. And none of Holl’s buildings try to blend in with their surroundings. The Queens library even benefits from its backdrop, a series of bland, gridded apartment towers. In their company, Holl’s architecture is not just remarkable but necessary. As he says, “This little building means a lot to this place.” The library’s only drawback may be that it’s not big enough, since it will serve, in addition to adults, children, and teenagers, a fourth constituency— architecture buffs. Says Jimmy Van Bramer, the majority leader of the New York City Council, who helped secure the building’s $38 million funding: “People from all over the world are going to flock to it. It’s going to be a landmark from the day it opens.”
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MAKING HISTORY
With help from friends like design legend Jacques Grange, an urbane family breathes new life into a storied London house ANGUS WILKIE MIGUEL FLORES-VIANNA STYLED BY SARA MATHERS TEXT BY
ABOVE IN THE LIVING ROOM, A SILKSCREEN BY JEAN-MICHEL BASQUIAT HANGS ABOVE A CUSTOM-MADE SOFA BY JACQUES GRANGE. COCKTAIL TABLE AND CLOUD TABLE LAMP BY GUY DE ROUGEMONT; GNOME SIDE TABLES BY PHILIPPE STARCK FOR KARTELL. OPPOSITE MOSAICS CREATED BY BORIS ANREP IN THE EARLY 20TH CENTURY COVER THE FLOOR AND WALLS OF THE ENTRANCE HALL. FOR DETAILS SEE RESOURCES.
© THE ESTATE OF JEAN-MICHEL BASQUIAT/ADAGP, PARIS/ARS, NEW YORK, 2017
PHOTOGRAPHY BY
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ooking good at 100 is quite an achievement. A stone’s throw from the King’s Road in Chelsea, a Grade II–listed London townhouse (lead drainpipe distinctly dated 1914) is home to a worldly and cultured family of four. Captivated by the breadth of its elegant façade—echoed in the grandeur of the interior spaces—the perspicacious owners enlisted their trusted decorator Jacques Grange, with whom they had completed two previous projects, to collaborate on a sensitive renovation. Untouched for decades, the interior was not in the best of shape; yet ghostly elements of former decorative schemes tantalized the team. A Grade II listing recognizes a property’s historical and architectural significance as being “of special interest.” It’s a warrant of distinction with strings attached: The Historic England council must be consulted on every proposed alteration, inside and out. No strangers to order, this unflappable couple embraced the challenge: “Our vision was to reveal its illustrious past while creating a newly livable London townhouse.” Ethel Sands, an American-born artist, was the first owner. Hostess to a coterie of cultural neighbors—
including members of the Bloomsbury set, artist Walter Sickert, and writer Henry James—Sands also had decorating genius. She commissioned the Russian artist Boris Anrep (1883–1969) to create in her entrance hall a vibrantly colored mosaic floor bedecked with Byzantine figures gleaming in hues of blue, green, and gold. Completed in 1917, the avant-garde gesture delighted her illustrious guests. The unexpected explosion of color remains as charming today as a century ago. In 1920, Anrep complemented the stone paving underfoot with murals of glinting glass tesserae highlighted by mother-of-pearl. Interspersed along the plaster walls, a medley of tiled vignettes features garden shrubs, trees, trelliswork, door surrounds, balconies, and a fountain animated by portraits of Sands’s fellow revelers Dora Carrington, Lytton
ABOVE TWO PAINTINGS BY AARON MORSE HANG BETWEEN THE LIVING ROOM’S WINDOWS. CUSTOM TUFTED SOFA AND ARMCHAIR. COCKTAIL TABLE BY JAMES MONT. OPPOSITE A VIEW OF THE GARDEN. VINTAGE TABLE AND CHAIRS.
Strachey, and Virginia Woolf. Partially obscured by a mid–20th century whitewash, these delightful murals were brought to light by the current owners. “The entry is the artistic soul of the house, a completely inspiring fantasy,” notes Grange. The couple’s edict to Grange vis-à-vis Grade II limitations proved complex. The goal was to maximize volume and bring in light. On the entry level, a square room (and former study) was transformed for cozy dining. Two windows on the street and a pair of tall glass-fronted cabinets designed by Grange that flank a Grange-designed basket-weave ceramic fireplace create a symmetrical setting for a centrally placed oak round table and upholstered chairs. A colored-glass mirror, contemporary photos, wallpaper printed with a motif resembling sheaves of wheat, and a 19th-century French iron chandelier
complete the backdrop. Throughout the house, the owners aimed to capture a sense of its English Arts and Crafts roots: William Morris furniture was sourced at a Brighton antiques store; bedrooms are loosely inspired by Charles Rennie Mackintosh; and exaggerated floral wallpaper in the master suite is a nod to English chintz. A century ago, the original kitchen and servants’ rooms occupied the garden level. A groaning dumbwaiter transported food to an octagonal dining room one flight up. Grange transformed the latter space into a large eat-in kitchen flooded with light from the garden behind. A pharmacy in Milan inspired its fluted oak cabinetry and harlequin-patterned walls. The former kitchen quarters now house two splendidly appointed guest rooms (full disclosure, I’m a frequent guest).
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LEFT THE MORNING ROOM RETAINS ITS ORIGINAL PINE PANELING. BRIDGE TABLE BY JACQUES GRANGE; JEAN-MICHEL FRANK CLUB CHAIR. BELOW A TABLESCAPE INCLUDES A LINE VAUTRIN BRONZEAND-ENAMEL BOX.
OPPOSITE A TOM WESSELMANN PAINTING IS DISPLAYED ON A CUSTOM BOOKCASE IN THE LIVING ROOM. CLAUDE LALANNE MIRROR; PAAVO TYNELL FLOOR LAMP.
The effect is grandeur without ostentation, an old structure injected with modern sensibilities. On the second floor, the heroically scaled rectangular living room spans the width of the house. Grange raised the door frames to maximize verticality and echo the seemingly elongated windows that unexpectedly cut into the ceiling’s coved cornice. Two pairs of matching bookcases face each other from opposing walls while a panoply of furnishings and art creates a convivial mix. A Jean-Michel Basquiat silkscreen is reflected by a sculptural overmantel by Claude Lalanne; a mirrored artwork by Michelangelo Pistoletto floats above a Regency ebony cabinet; and a Tom Wesselmann female nude (cleverly framed by strips of beach fencing, a souvenir of the family’s seaside summer retreat) surveys a beguiling array of upholstered furniture, none matching, all custom-made in Paris. The effect is grandeur without ostentation, an old structure injected with modern sensibilities. In the adjacent octagonal morning room overlooking the garden, the knotty-pine French boiserie is original. The spacious master suite on the floor above has striated marble bathrooms that are signature Grange, with an oak-paneled dressing room in between.
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Bedecked in Bohemian attire, the eminently elegant hostess often entertains in the evenings sitting cross-legged on the floor. Artistic friends are plentiful and their talents often put to use; Ethel Sands would have approved. The owners commissioned garden designer Miranda Brooks to create “something blowsy and wild” in the back. Viewed from above, its bucolic borders and exotic palm appear duly untamed. Brooks is also credited for her savvy advice to “invite London’s gray light in; don’t fight it,” by painting the living-room walls pale slate-blue. And in an ebullient spirit of reinvention, the couple recently asked another friend (and frequent guest), legendary decorator Muriel Brandolini, for a few suggestions. A doyenne of color and imaginative gusto, Brandolini designed a luxe pouf for the entrance hall, ramped up the children’s bedrooms, added a zany carpet to the master suite, and tweaked some lighting. “There’s a lot of history here,” says the lady of the house. “It was fun bringing it back to life— and starting a new chapter—with the help of our talented friends.”
design notes
THE DETAILS THAT MAKE THE LOOK
ÉTÉ MOSCOVITE LINEN BY DÉCORS BARBARES; TO THE TRADE. JOHNROSSELLI.COM
“
I like to take risks,” Grange once noted. “I don’t want to stay with established taste.”
MIROIR, BY CLAUDE LALANNE, 2013. BENBROWN FINEARTS.COM
RECTANGULAR EYE VASE; FROM $750. BACCARAT.COM
HUDSON NIGHTSTAND BY RITA KONIG; $2,750. THELACQUER COMPANY.COM
OXFORD ARMCHAIR BY RAGNAR HELSÉN UPHOLSTERED IN ARALIA FABRIC BY JOSEF FRANK; FROM $2,431. SVENSKTTENN.SE
GUNNERA BRONZE SCONCE; $6,713. KIMMOLTZER.FR ARTFULLY MISMATCHED UPHOLSTERED FURNITURE IN THE MORNING ROOM.
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RIVIERA SIDE CHAIR; $228. SERENA ANDLILY.COM
VINTAGE MÄRTA MÅÅS-FJETTERSTRÖM SWEDISH RUG BY BARBRO NILSSON FROM MANSOUR; $28,125. 1STDIBS.COM BISTRO CHAIRS FLANK A JEAN ROYÈRE DINING TABLE IN THE KITCHEN.
RIEN PENDANT BY ASTIER DE VILLATTE; $420. ABCHOME.COM
INTERIORS: MIGUEL FLORES-VIANNA; MIROIR: © CLAUDE LALANNE, 2017. COURTESY OF BEN BROWN FINE ARTS, LONDON; COFFEE TABLE: COURTESY OF GALERIE PATRICK SEGUIN & GALERIE JACQUES LACOSTE; MOUTON DE LAINE: © SOTHEBY’S/ART DIGITAL STUDIO; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES
KENSINGTON SOFA IN CAMEL VINTAGE VELVET; FROM $3,495. RH.COM
“
I don’t select things for a spot just because I like them but because it’s the right place for them.” TRÈFLE COFFEE TABLE BY JEAN ROYÈRE, C. 1950. PATRICKSEGUIN.COM
CRYSTAL MATCH STRIKER BY LUCY COPE LTD.; FROM $500. KRBNYC.COM MOUTON DE LAINE, BY FRANÇOIS-XAVIER LALANNE, 1965. SOTHEBYS.COM
VINTAGE GILT BRONZE TRONCO VASE BY GABRIELLA CRESPI FROM OSUNA ART & ANTIQUES; $4,500. 1STDIBS.COM
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. AD VISITS: ALL AGES PAGES 38–40: Interiors by Charlap Hyman & Herrero; ch-herrero.com. Architecture by David Bers Architecture; davidbers.com. PAGE 38: Clay chair by Maarten Baas from Carpenters Workshop Gallery; carpentersworkshopgallery.com. Vintage Bessarabian rug from Bukowskis; bukowskis.com. On walls, custom-mixed paint by Sherwin-Williams; sherwin-williams.com. PAGE 40: In master bath, Isamu Noguchi Akari floor lamp; shop.noguchi.org. Knottedrope chair by Marcel Wanders from Cappellini; cappellini.it. Shower fittings by Sunrise Specialty; sunrisespecialty.com. Leopard rug by Orley Shabahang; orleyshabahang.com. Encaustic tile flooring from Villa Lagoon Tile; villalagoontile.com. In parlor, Capitello chaise longue by Studio 65 from 1stdibs; 1stdibs.com. Terra-cotta Plant Chairs by Chris Wolston from Patrick Parrish Gallery; patrickparrish.com. In kitchen, table by Wendell Castle; wendellcastlecollection .com. White Scrap Poly rubber chair by Max Lamb; maxlamb.org. Vintage Joe Colombo model 4867 plastic chair from 1stdibs; 1stdibs .com. Custom stainless-steel countertop and sink by Peter Chang of Bowery Restaurant Supply; 212-254-9720. Sink fittings by Dornbracht; dornbracht.com. ARTISTS IN RESIDENCE PAGE 66: From Where it Came chair and ottoman by Wendell Castle, and pair of Faye Toogood Roly Poly chairs, all from Friedman Benda; friedmanbenda.com. PAGE 67: Ettore Sottsass cabinet from the Gallery Mourmans; thegallerymourmans.com. PAGES 68–69: Do You Still Love Me? cabinet by Gaetano Pesce from Salon 94; salon94.com. Maker chairs by Joris Laarman, and Massada lamp by Gaetano Pesce, both from Friedman Benda; friedmanbenda.com. Hans Wegner Bar bench from Wyeth; wyeth.nyc. PAGE 71: On bed, All People are Multidimensional woolcotton blanket by Chris Johanson for the Standard Hotel; standardhotels.com. Vintage Twist table, in walnut, by Wendell Castle, and Cup/Earth side table by Faye Toogood, both from Friedman Benda; friedmanbenda.com. Charles and Ray Eames LCW chair by Herman Miller; hermanmiller.com. PAGES 72–73: Ettore Sottsass Partition cabinet from the Gallery Mourmans; thegallerymourmans .com. Pratt chair by Gaetano Pesce from Friedman Benda; friedmanbenda.com. Sofa by Wyeth; wyeth.nyc. OriginalFake Companion pillows by KAWS; kawsone.com. Alexander Girard Checker and Checker Split cottonpolyester pillows, both in black/white, from Maharam (T); maharam.com. Crosby child’s chair by Gaetano Pesce from Wright; wright20.com. KAWS BFF Plush chair by Fernando and Humberto Campana and Cup/ Moon (prototype) side table by Faye Toogood, both from Friedman Benda. Color Reform Spectrum wool rug, in silver, from ABC Carpet & Home; abchome.com. PAGES 74–75: Vintage Hans Wegner dining table and chairs from Wyeth; wyeth.nyc. Alvar Aalto Children’s Set table and stools from Kinder Modern; kindermodern.com. Krokig clothes stand by IKEA; ikea.com. PAGE 76: Wingback chair covered in boucle wool, in charcoal, by Wyeth; wyeth.nyc. PAGE 77: Sparrow crib, in birch, by Oeuf; oeufnyc.com. On bed, linens by IKEA; ikea.com. Rug by West Elm; westelm.com. HIGH ART PAGES 80–85: Architecture and interiors by Laplace; luislaplace.com. PAGE 80: Candela di Vals lighting, in natural brass, by Peter Zumthor from Viabizzuno: viabizzuno .com. PAGES 82–83: In dining room, custom banquette and FL137 dining table, both by Laplace Bespoke; luislaplace.com. Silk Road pendant by Jonah Takagi; ateliertakagi.com. Curtains of Sibelius rayon by Jim Thompson (T); jimthompsonfabrics.com. In master bath, Bateau tub by the Water Monopoly; thewatermonopoly.com. Henry fittings, in brass, by Waterworks; waterworks.com. Tube wall light, in satin brass, by Michael Anastassiades; michaelanastassiades.com. CT09 Enoki side table, in Carrara marble and steel, by Philipp Mainzer for e15; e15.com. Curtains of Indiana linen-viscose by Jim
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Thompson (T). PAGE 84: In entrance hall, metal-and-opaque glass pendant by Jean Perzel from 1stdibs; 1stdibs.com. In mudroom, Traffic Bench by Konstantin Grcic from Herman Miller; hermanmiller.com. PAGE 85: Sofa by Laplace Bespoke; luislaplace.com, with cushions of Telluride linen-viscose, in fennel, by Mark Alexander (T); markalexander.com. Pillows of St Germain velvet, in vizir, by Métaphores (T); creationsmetaphores.com. On FL105 ottoman by Laplace Bespoke, St Germain velvet, in brique, by Métaphores (T). Rug by Tai Ping (T); houseoftaiping.com. CALM, COOL, COLLECTED PAGE 86: In sitting room, Serge Mouille one-arm floor lamp from Design Within Reach; dwr.com. Custom rug by Edward Fields (T); houseoftaiping.com. PAGES 88–89: Bear-paws stool and blue ceramic vase by Eric Croes; sorrywereclosed.com. Tangier rug in ivory by Nobilis (T); nobilis.fr. On sofas, Sforza velvet, in Visone, by Fadini Borghi for Pierre Frey (T); pierrefrey.com. PAGE 92: In the master bedroom, Silk Proibita pendant by Fortuny; fortunyshop.com. Curtains of fabric by Pierre Frey (T) (with vintage trim); pierrefrey.com. PAGE 93: In Edouard’s room, on bed, Hampton Court, Petals, and Sienne Scallops bedding, all by Schweitzer Linen; schweitzerlinen.com. Stockholm rug, in yellow, from IKEA; ikea.com. In library, sofa in Behazin fabric, with cushions of Jazz, Toile Africaine, and Atlantide fabrics, all by Le Manach from Pierre Frey (T); pierrefrey.com. PAGES 94–95: Sofa by Chahan Minassian; chahan.com. OFF SCREEN PAGES 96–103: Interiors by Fox-Nahem Associates; foxnahem.com. Pool cabana by Fox-Nahem Associates and Alveary Architecture; alveary.net. Landscape design by Joseph W. Tyree Landscape Design; josephwtyree.com. PAGES 96–97: Roll chairs in Arctic acrylic, by Kettal; kettal.com, Custom table by Kelly Behun Studio; kellybehun.com. Custom pillows of Zig Zag acrylic, in aquamarine, by Dedon; dedon.de. Custom pillows by Dessin Fournir (T); dessinfournir.com, of Sunbrella Portofino Terrace acrylic, in ivory, by Classic Cloth (T); dessinfournir.com. On Robert Downey Jr., cable-knit V-neck sweater and lounge pants, both by Louis Vuitton; louisvuitton.com. PAGES 98–99: On covered porch, Muse 60 ceiling light, in multicolor, by Axo Light from Ylighting; ylighting.com. Grotto sofas, in cement, by Blu Dot; bludot.com. Jacob cocktail table by Arteriors; arteriorshome .com. Sungar armchairs by Stilnovo; stilnovousa.com. Driftwood end table by Ibolili; ibolili.com. Catalina Blacktop rug by Colonial Mills from Wayfair; wayfair.com. Terrariums from Homenature; homenature .com. In living room, custom sofa by FoxNahem Associates; foxnahem.com, in Nubuck polyester, in sepia, (outer) by Clarence House (T); clarencehouse.com; and custom fabric (inner) by Toyine Sellers; toyinesellers.com. Custom fireplace by Peter Lane; peterlaneclay .com. Guaratuba table by Carlos Motta from Piasa; piasa.fr. Sphere lights (at right) by Elizabeth Dow; elizabethdow.com. Walnut flooring by Bolefloor (T); bolefloor.com. In dining room, the Black Edition Big table by Wendell Castle and Cantu high-back chairs by Sergio Rodrigues, both from R & Co.; r-and-company.com. On walls, Fausel Biskamp cork-blend wall covering by New Wall for Donghia (T); donghia.com. Vintage consoles from Gustavo Olivieri; gustavoolivieriantiques.com. Walnut flooring by Bolefloor (T). In pool area, Walter Lamb for Brown Jordan chaise longues and side tables from Design Within Reach; dwr.com. Pod hanging chair by CB2; cb2.com. Pietro Wicker bar chairs by Teak Warehouse; teakwarehouse.com. Planters by Elizabeth Dow. In kitchen, Melt mini pendants, in silver and copper, by Tom Dixon; tomdixon.net. Custom banquette by Fox-Nahem Associates; in City leather, in cashmere, by Studioart (T); studioart.it; and Picnic olefin, in fuchsia, by Mokum from Donghia (T). Custom dining table by Fox-Nahem Associates. Tudor dining chairs by Jaime Hayon; hayonstudio.com. White oak island by Wood-mode; wood-mode .com. Countertop of enameled lava stone from MGO; mgostoneclassics.com. Barstools by Jacques Jarrige from Valerie Goodman Gallery; valeriegoodmangallery.com. Henry sink fittings, in black powder coat, by Waterworks; waterworks.com. Custom hanging shelf by Fox-Nahem Associates. Custom Roman shades of Shimmer Way
linen-blend, in white gold, by Great Plains (T); hollyhunt.com. Marvelous wood flooring, in blue wave, by Snedker Studio; snedkerstudio.dk. PAGES 100–01: Chelsea platform bed by Modloft from All Modern; allmodern.com. Bed linens by John Robshaw from ABC Carpet & Home; abchome.com. Vintage table lamps from Gauchet Fine Art; gauchetfineart.com. Rasta pouf, in light gray, by Arcade Avec from ABC Carpet & Home. Under bed, Aura rug, in sorbet, by Lulu & Georgia; luluandgeorgia.com. On vintage chaise longues, Vivaldi velvet, in earth, by Fishman’s Fabrics from Full Circle Modern; fullcirclemodern.com. Custom Diamond Earth rug, in lomma carlalid, by Henzel Studio; byhenzel.com. PAGES 102–03: In entrance hall, on walls, Longitude wallpaper, in magnetic fields, by Phillip Jeffries from Holly Hunt (T); hollyhunt.com. Mesa Picareta table by Léo Capote from Piasa; piasa.fr. Rug by Sacco Carpet (T); saccocarpet.com. Vintage benches from Five Finger Furnishings; fivefingerfurnishings.com. Custom chandelier by Bourgeois Bohème; bobointeriors.com. In bathroom, custom Multi-Size Dots Random Netted ceramic tile, in white gloss, black gloss, purple gloss, and light purple gloss, and custom Field Decorative ceramic tile, in light purple gloss, by Pratt & Larson from Artistic Tile; artistictile.com. Pure Line wall-mount sink by Porcelanosa; porcelanosa-usa.com. Ludlow sink fittings and towel rack, in chrome, by Waterworks; waterworks.com. Pharmacy wall-mount medicine cabinet by RH; rh.com. Keaton floral vanity light, in burnished silver leaf and mirror, by Kate Spade from Circa Lighting; circalighting.com. Bellwether tub by Kohler; kohler.com. Shower curtain of Tassel cotton, in black, by Echelon Home; echelonhome.com. FULL IMMERSION PAGES 104–05: Painted wood-grain panels by Richard Woods; richardwoodsstudio.com. Golden Showers neon sculpture by Tim Noble and Sue Webster of Guy Hepner gallery; guyhepner.com. Ghost Camera by Samara Golden; samaragolden.com. Salmon, Toucan, and Bear sofa by Gaetano Pesce for Meritalia; +39-031-743100. Mirror ball pendant light by Tom Dixon; tomdixon.net. PAGES 106–07: Installation by Chris Johanson; chrisjohanson .com. Chris Johanson wood chairs and benches with cushions by Johanna Jackson; johannajackson.com. La Michetta and Montanera sofas by Gaetano Pesce for Meritalia; +39-031-743100. Isamu Noguchi Prismatic side tables by Vitra from Design Within Reach; dwr.com. Hematite candles by the Haas Brothers; thehaasbrothers.com. PAGES 108–09: In dining room, Navy chairs by Emeco; emeco.net. Custom table by Urs Fischer; ursfischer.com. In bedroom, wall mural by Alex Israel of Gagosian Gallery; gagosian.com. Bed by Dux; duxiana.com. PAGE 110: Mural by Alex Israel of Gagosian Gallery; gagosian.com. PAGE 111: Hanging installation by Chris Johanson; chrisjohanson.com. Custom mosaic table and wrought-iron chairs with cushions by Furthur; furthurla.com. MAKING HISTORY PAGES 116–123: Interiors by Jacques Grange; +33-1-55-80-75-40. Landscape design by Miranda Brooks Landscape Design; mirandabrooks.com. PAGE 116: Custom-made sofa by Jacques Grange; +33-1-55-80-75-40; in Point de Tours fabric, in vert pres, by Le Manach from Pierre Frey (T); pierrefrey.com. On sofa, pillows of fabric from Joss Graham; jossgraham.com. Cocktail table and cloud table lamp by Guy de Rougemont from Galerie du Passage; galeriedupassage.com. Gnome side tables by Philippe Starck from Kartell; shopkartell.com. Rug from Beauvais Carpets (T); beauvaiscarpets.com. Mouton de Laine by François-Xavier Lalanne, similar from Sotheby’s; sothebys.com. PAGE 117: Gunnera bronze chandelier by Kim Moltzer; kimmoltzer.fr. Custom-made borne of silk velvet by Muriel Brandolini; murielbrandolini .com. PAGES 118–19: In living room, on chair, Été Moscovite linen by Décors Barbares from John Rosselli & Assoc. (T); johnrosselli.com. PAGE 120: In morning room, bridge table by Jacques Grange; +33-1-55-80-75-40. Vintage leather-and-metal club chair from Sigmar; sigmarlondon.com. On table, Line Vautrin bronze-and-enamel cigarette box from 1stdibs; 1stdibs.com. Eyeglasses by See; seeeyewear.com. PAGE 121: Custom-made bookcases and chair (to right of fireplace) by Jacques Grange; +33-1-55-80-75-40. Miroir, 2013, by Claude Lalanne, from Ben Brown Fine Arts; benbrownfinearts.com.
ARCHITECTURAL DIGEST ‘Statement Required by 39 U.S.C. 3685 showing the Ownership, Management and Circulation of ARCHITECTURAL DIGEST, published monthly (12 issues) for October 1, 2017. Publication No. 0505-350. Annual subscription price $39.95. 1. Location of known office of Publication is One World Trade Center, New York, NY 10007. 2. Location of the Headquarters or General Business Offices of the Publisher is One World Trade Center, New York, NY 10007. 3. The names and addresses of the Publisher, Editor and Managing Editor are: Publisher, Giulio Capua, One World Trade Center, New York, NY 10007. Editor, Amy Astley, One World Trade Center, New York, NY 10007 and Managing Editor, Diane Dragan, One World Trade Center, New York, NY 10007. 4. The owner is: Advance Magazine Publishers Inc., published through its Condé Nast division, One World Trade Center, New York, NY 10007. Stockholder: Directly or indirectly through intermediate corporations to the ultimate corporate parent, Advance Publications, Inc., 950 Fingerboard Road, Staten Island, New York 10305. 5. Known bondholders, mortgagees and other security holders owning or holding 1 percent or more of total amount of bonds, mortgages or other securities are: None. 6. Extent and nature of circulation Average No. Copies Single Issue each issue during nearest to preceding 12 months filing date a. Total No. Copies 868,699 b. Paid Circulation (1) Mailed Outside-County Paid 590,902 Subscriptions Stated on PS Form 3541 (2) Mailed In-County Paid 0 Subscriptions Stated on PS Form 3541 (3) Paid Distribution Outside the 53,055 Mails Including Sales Through Dealers and Carriers, Street Vendors, Counter Sales, and Other Paid Distribution Outside USPS® (4) Paid Distribution by Other 0 Classes of Mail Through the USPS c. Total Paid Distribution 643,956 d. Free or Nominal Rate Distribution (1) Free or Nominal Rate 114,437 Outside-County Copies included on PS Form 3541 (2) Free or Nominal Rate 0 In-County Copies included on PS Form 3541 (3) Free or Nominal Rate Copies 0 Mailed at Other Classes Through the USPS (4) Free or Nominal Rate 23,090 Distribution Outside the Mail e. Total Free or Nominal Rate 137,526 Distribution f. Total Distribution 781,483 g. Copies not Distributed 87,216 h. Total 868,699 i. Percent Paid 82.40% j. Paid Electronic Copies 47,879 k. Total Paid Print Copies 691,835 (line 15c) +Paid Electronic Copies l. Total Print Distribution 829,362 (Line 15f) + Paid Electronic Copies m. Percent Paid 83.42% (Both Print & Electronic Copies)
859,618 588,574
0
54,400
0
642,973 117,220
0 0 22,703 139,923 782,896 76,722 859,618 82.13% 46,301 689,274 829,197 83.13%
7. I certify that all information furnished on this form is true and complete. (Signed) David Geithner, Vice President and Treasurer
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. 12. ARCHITECTURAL DIGEST (ISSN 0003-8520) 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. FOR SUBSCRIPTIONS, ADDRESS CHANGES, ADJUSTMENTS, OR BACK ISSUE INQUIRIES: Please write to ARCHITECTURAL DIGEST, P.O. Box 37641, Boone, IA 50037-0641, call 800-365-8032, or email subscriptions@archdigest.com. Please give both new address and old address as printed on most recent label. Subscribers: If the Post Office alerts us that your magazine is undeliverable, we have no further obligation unless we receive a corrected address within one year. If during your subscription term or up to one year after the magazine becomes undeliverable, you are ever dissatisfied with your subscription, let us know. You will receive a full refund on all unmailed issues. First copy of new subscription will be mailed within four weeks after receipt of order. Address all editorial, business, and production correspondence to ARCHITECTURAL DIGEST, 1 World Trade Center, New York, NY 10007. FOR REPRINTS: Please email reprints@condenast.com or call Wright’s Media, 877-652-5295. For reuse permissions, please email contentlicensing@condenast.com or call 800-897-8666. Visit us online at archdigest.com. TO SUBSCRIBE TO OTHER CONDÉ NAST MAGAZINES: Visit condenastdigital.com. Occasionally we make our subscriber list available to carefully screened companies that offer products and services that we believe would interest our readers. If you do not want to receive these offers and/or information, please advise us at P.O. Box 37641, Boone, IA 50037-0641 or call 800-365-8032. ARCHITECTURAL DIGEST IS NOT RESPONSIBLE FOR THE RETURN OR LOSS OF, OR FOR DAMAGE OR ANY OTHER INJURY TO, UNSOLICITED MANUSCRIPTS, UNSOLICITED ARTWORK (INCLUDING, BUT NOT LIMITED TO, DRAWINGS AND PHOTOGRAPHS), OR ANY OTHER UNSOLICITED MATERIALS REGARDLESS OF MEDIA IN WHICH IT IS SUBMITTED. THOSE SUBMITTING MANUSCRIPTS, PHOTOGRAPHS, ARTWORK, OR OTHER MATERIALS FOR CONSIDERATION SHOULD NOT SEND ORIGINALS UNLESS SPECIFICALLY REQUESTED TO DO SO BY ARCHITECTURAL DIGEST IN WRITING. MANUSCRIPTS, PHOTOGRAPHS, AND OTHER MATERIALS SUBMITTED WILL NOT BE RETURNED.
last word
In the Bronx, what was long a bare stretch of asphalt has been transformed into a tapestry of color thanks to the Trust for Public Land, which worked closely with students and landscape architects at Studio HIP to design a new playground for a trio of local middle and elementary schools. Whimsical paintings add life underfoot; vibrant equipment and athletic facilities invite games of all kinds; and freshly planted greenery and porous pavers collect runoff storm water—to name some of several environmentally conscious features.
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Unveiled this past September, the project marks the latest such transformation by the Trust, which has created nearly 200 playgrounds for New York City public schools over the past two decades, all the while launching similar programs nationwide. (Next up are Los Angeles and San Francisco.) Outside school hours, each park is open to the community at large, with the thought that no matter who you are, a playground should never be more than a ten-minute walk away. tpl.org —SAM COCHRAN
TIMOTHY SCHENCK
Playtime