CONTENTS february
DAN WOOD AND AMALE ANDRAOS ATOP THE KEW GARDENS HILLS LIBRARY.
AN ART-FILLED CORNER OF BROOKE AND JULIAN METCALFE’S OXFORDSHIRE HOME.
Features 34 MODERN FAMILY
A couple and their seven children put down roots in a historic English manor. By Jane Keltner de Valle
48 DOMESTIC BLISS
Ricky Martin sets up house in Beverly Hills with artist Jwan Yosef and their twin sons. By Mayer Rus
56 BOLD CHOICE
Designer Muriel Brandolini gives a classic New York apartment a colorfully modern makeover. By Vicky Lowry
62 NAUGHTY BY NATURE
For Alexandre and Sofía Sanchez de Betak, a SoHo loft provides the perfect lab for creative living. By Mayer Rus
FOLLOW
@archdigest
74 MAGNIFICENT OBSESSION
In November 2000, sculptor Rachel Feinstein began a journey that changed her art—and her life. By Shax Riegler 76 ANGLO ATTITUDE
Kathryn Herman’s Connecticut demesne reflects her passion for classic British landscapes. By Mitchell Owens
82 PRIDE OF PLACE
A new generation of visionaries proves how design can make a difference in New York City.
EDITOR’S LETTER: DESIGN MAKING A DIFFERENCE
For this special issue, our editors shed a light on the design visionaries using their powers for good. From a smart landscape maestro transforming a decaying cemetery into a vibrant park to a starchitect bringing dignity to a public housing complex, these dreamers remind us that philanthropy is not at odds with beauty. We at AD have already begun our own efforts. In the December issue, we announced our partnership with New Story, a nonprofit that builds homes around the world for families in need—for a mere $6,500 each. One hundred percent of donations goes toward constructing these houses. We’ve been moved by the outpouring of support for the project thus far, from members of the AD100, the wider design community, and readers, who have all given generously. As this issue went to press, AD’s New Story campaign had raised over $156,000— enough for 24 homes! Learn more and contribute at archdigest.com/newstory. And to our community of socially conscious designers—we can’t wait to see what’s next.
By Sam Cochran
86 UNDER THE TUSCAN SUN
A former convent becomes a boho-chic family getaway for Jacaranda Caracciolo di Melito Falck. By Hamish Bowles
AMY ASTLEY Editor in Chief @amytastley
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FROM LEFT: RICARDO LABOUGLE; JEREMY LIEBMAN
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CONTENTS february Discoveries 19 MAKING AN IMPACT
28 IN THE LIGHT
After working under the radar for more than 50 years, Mary Corse emerges from the art-world shadows with back-to-back museum and gallery openings.
THIS LAMPSHADE IS MADE FROM UPCYCLED T-SHIRT FABRICS. ORALU SHADE BY ASHANTI DESIGN; $350. ASHANTIDESIGN.COM. FOR MORE PRODUCTS THAT MAKE AN IMPACT, TURN TO PAGE 19.
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INSIDE A COLORFUL NEW YORK CITY APARTMENT DESIGNED BY MURIEL BRANDOLINI.
By Sam Cochran
In Every Issue 12 OBJECT LESSON: PALACE REVOLUTION
The story behind Pierre Paulin’s avant-garde Alpha collection. By Hannah Martin 16 DEALER’S EYE: STELLA RUBIN
As quilts make a comeback, the D.C. dealer sheds light on the traditional craft. By Hannah Martin
94 RESOURCES
The designers, architects, and products featured this month. 96 LAST WORD: HOTBED OF CREATIVITY
The Smithsonian’s Renwick Gallery captures the ethos of Burning Man. By Sam Cochran
ON OUR COVERS RICKY MARTIN AND JWAN YOSEF, WITH MATTEO AND VALENTINO, IN THEIR BEVERLY HILLS HOME. MARTIN WEARS AN ARMANI SHIRT AND CANALI JOGGERS. YOSEF WEARS A LOUIS VUITTON SWEATER AND SHOES AND ARMANI TROUSERS. MATTEO AND VALENTINO WEAR ARMANI JUNIOR TROUSERS. SCULPTURE ON LEFT BY LARRY BELL. “DOMESTIC BLISS,” PAGE 48. PHOTOGRAPHY BY TREVOR TONDRO. STYLED BY MICHAEL REYNOLDS. FASHION STYLING BY DOUGLAS VANLANINGHAM.
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SOFÍA SANCHEZ DE BETAK, WEARING AN EQUIPMENT SHIRT, IN HER NEW YORK CITY LOFT. “NAUGHTY BY NATURE,” PAGE 62. PHOTOGRAPHY BY FRANÇOIS HALARD. STYLED BY MICHAEL BARGO. FASHION STYLING BY MARTI ARCUCCI.
FROM TOP: COURTESY OF ASHANTI DESIGN; CHRISTOPHER STURMAN; ON RICKY MARTIN COVER: © 2018 LARRY BELL/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
Designer Yinka Ilori gives new life to old furniture . . . Olafur Eliasson’s solar lanterns illuminate the globe . . . the World Monuments Fund protects architectural vestiges of the Civil Rights Movement . . . Dirk Vander Kooij transforms trash into treasure.
THE INTERNATIONAL DESIGN AUTHORITY VOLUME 75 NUMBER 2
EDITOR IN CHIEF
Amy Astley CREATIVE DIRECTOR David Sebbah EDITORIAL OPERATIONS DIRECTOR Diane Dragan EXECUTIVE EDITOR Shax Riegler EXECUTIVE DIRECTOR, DIGITAL Keith Pollock INTERIORS & GARDEN DIRECTOR Alison Levasseur STYLE DIRECTOR Jane Keltner de Valle FEATURES DIRECTOR Sam Cochran DECORATIVE ARTS EDITOR Mitchell Owens WEST COAST EDITOR Mayer Rus
FEATURES SENIOR DESIGN WRITER Hannah Martin DEPUTY EDITOR, DIGITAL Kristen Flanagan SPECIAL PROJECTS DIRECTOR, DIGITAL
Sydney Wasserman ENTERTAINMENT EDITOR, DIGITAL Carson Griffith DESIGN EDITOR, DIGITAL Amanda Sims EDITOR, DIGITAL David Foxley HOME EDITOR, DIGITAL Lindsey Mather DESIGN REPORTER, DIGITAL Hadley Keller ASSOCIATE EDITOR, DIGITAL Nick Mafi EDITORIAL ASSISTANTS Elizabeth Fazzare,
Katherine McGrath (Digital), Carly Olson ASSISTANT TO THE EDITOR IN CHIEF Annie Ballaine
MARKET MARKET DIRECTOR Parker Bowie Larson ASSOCIATE EDITOR, MARKET Kathryn Given ASSISTANT EDITOR, MARKET Madeline O’Malley COPY AND RESEARCH COPY DIRECTOR Joyce Rubin RESEARCH DIRECTOR Andrew Gillings COPY MANAGER Adriana Bürgi RESEARCH MANAGER Leslie Anne Wiggins ARCHDIGEST.COM SOCIAL MEDIA DIRECTOR Rachel Coleman SOCIAL MEDIA MANAGER Jessica Gatdula PRODUCT MANAGER Joseph Cera ANALYST, DIGITAL INTELLIGENCE Kevin Wu
ART AND PRODUCTION ART DIRECTOR Natalie Do ART PRODUCTION DIRECTOR Karrie Cornell EDITORIAL OPERATIONS ASSOCIATE Nick Traverse JUNIOR DESIGNER Megan Spengler PHOTO AND VIDEO PHOTO DIRECTOR Michael Shome EXECUTIVE PRODUCER, VIDEO Edecio Martinez SUPERVISING PRODUCER, VIDEO
Chauncey McDougal Tanton PRODUCER/WRITER, VIDEO Bailey Johnson PRODUCER/EDITOR, VIDEO Mark Stetson PHOTO EDITOR, DIGITAL Melissa Maria ASSOCIATE PHOTO EDITOR
Gabrielle Pilotti Langdon
EXECUTIVE DIRECTOR, PUBLIC RELATIONS
Erin Kaplan ENTERTAINMENT CONSULTANT
Nicole Vecchiarelli for Special Projects CONTRIBUTING EDITOR AT LARGE
Michael Reynolds CONTRIBUTING INTERNATIONAL PROJECTS EDITOR
Carlos Mota CONTRIBUTING STYLE EDITORS
Lawren Howell, Carolina Irving CONTRIBUTING EDITORS
Amanda Brooks, Gay Gassmann CONTRIBUTORS Fabiola Beracasa Beckman, Derek Blasberg, Peter Copping, Sarah Harrelson, Pippa Holt, Patricia Lansing, Colby Mugrabi, Carlos Souza EDITOR EMERITA Paige Rense Noland
ARTISTIC DIRECTOR
Anna Wintour
CHIEF BUSINESS OFFICER
Craig Kostelic VP REVENUE Jeff Barish VP REVENUE Beth Lusko-Gunderman VP REVENUE Jordana Pransky VP FINANCE & BUSINESS DEVELOPMENT Barbra Perlstein VP MARKETING Bree McKenney DIGITAL GENERAL MANAGER Eric Gillin EXECUTIVE STRATEGY DIRECTOR Hayley Russman SENIOR DIRECTOR, SALES OPERATIONS Mary Beth Dwyer
ADVERTISING NEW YORK SALES DIRECTORS Jeannie Livesay, Mark Lloyd, Bill Pittel, Melissa Goolnick Schwartz EXECUTIVE ACCOUNT DIRECTORS Nina B. Brogna, Francesca Coia, Catherine Dewling, Wendy Gardner Landau, Priya Nat, Kathryn Nave SENIOR ACCOUNT DIRECTOR Emily Harris ACCOUNT DIRECTORS Sarah Coyle, Katie Tomlinson, Colleen Tremont FINANCE & BUSINESS OPERATIONS SENIOR BUSINESS DIRECTOR Jennifer Crescitelli BUSINESS MANAGERS Jessica Reinhardt, Ting Wang BUSINESS ANALYSTS Luisa Almonte, Neil Shah DIGITAL SALES OPERATIONS MANAGER, SALES OPERATIONS Isabel Kierencew,
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Matthew Hare, Tom Heiss, Elena Korn, Lucas Santos MANAGERS, BRAND MARKETING Jackie Alabastro, Caroline Luppescu, Joshua McDonald, Natalie Merin, Jordan Schaefer, Arisara Srisethnil, Anne Woodard ASSOCIATES, BRAND MARKETING Marybeth Lawrence, Olivia Marder, Allison ReDavid DIRECTOR, EXPERIENCES Jeffrey C. Caldwell ASSOCIATE DIRECTORS, EXPERIENCES
Jennifer Mills, Josh Robertson ASSOCIATES, EXPERIENCES Jennifer Lanzarone, Eden Moscone
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CREATIVE SERVICES EXECUTIVE DIRECTOR, CREATIVE STRATEGY Charles Runnette ART DIRECTORS Tanya Deselm, Marissa Ehrhardt,
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object lesson
THE STORY BEHIND AN ICONIC DESIGN
LOUIS VUITTON ARTISTIC DIRECTOR NICOLAS GHESQUIÈRE HAS A PAIR OF ORIGINAL PIERRE PAULIN SOFAS IN HIS PARIS APARTMENT.
Palace Revolution How Georges Pompidou’s attempt to reinvigorate the French furniture industry rendered one of today’s most coveted design trophies—Pierre Paulin’s avant-garde Alpha collection 12
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object lesson
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1. A PUMPKIN SOFA—AN OFFSHOOT REDESIGNED BY PAULIN AND PRODUCED BY LIGNE ROSET IN THE 2000S—IN FLEUR DELESALLE’S PARIS HOME. 2. PUMPKIN CHAIR IN BLUE. 3. ALPHA CHAIR. 4. A MAGENTA PUMPKIN ELECTRIFIES DAVID OLIVIER’S MADRID APARTMENT.
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1. VINCENT LEROUX; 2. LIGNE ROSET; 3. COURTESY OF ARCHIVES PAULIN; 4. RICARDO LABOUGLE
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hen Georges Pompidou and Jean Coural—head of the Mobilier National, an agency of the French Ministry of Culture—vowed to jump-start the nation’s suffering design industry in the late 1960s, they knew just what would get the world’s attention: a buzzy redo of the president’s Élysée Palace apartment by the young French talent Pierre Paulin. Paulin delivered. Plopped in his out-of-this-world rooms were sculptural sofas and chairs molded from strips of wood wrapped in foam and upholstered in leather. In no time, visiting dignitaries were ogling the French furnishings of the future. A testament to Paulin’s forward thinking, the series—known to most as Élysée—didn’t gain a cult following until the early 2000s, when it reemerged at New York gallery Demisch Danant. “People knew Paulin, but they didn’t know about the French production,” explains Suzanne Demisch. “They were hard to find, even then.” Louis Vuitton’s Nicolas Ghesquière snapped up some of the first pieces to resurface. “The sofa is a beautiful addition to my personal collection,” he says. The fashionable world soon followed suit. While the rare originals—put into a brief production by French manufacturer Alpha that ended around 1973—didn’t immediately invigorate the nation’s furniture industry, the renewed interest in the series has spawned some of the desired effect: Paulin democratized the design in 2007, when he devised an easier-tomanufacture version of the chair called Pumpkin for French maker Ligne Roset (ligne-roset.com). And just last year the Paulin estate reissued the designs (now called Alpha and available at gallery Ralph Pucci), following the original specifications and made-in-France mandate. As for a contemporary collaboration with France’s new first in command? 3 “We are in talks with [Emmanuel] Macron,” reveals Paulin’s son Benjamin. “I hope it will be a good ending.” ralph pucci.net —HANNAH MARTIN
dealer’s eye
WHERE ART MEETS COMMERCE
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Stella Rubin As quilts make a comeback, the D.C. dealer sheds light on the traditional craft
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SPECIALTY: Nineteenth- and early-
20th-century American quilts. STITCH IN TIME: The earliest date
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1. LONE STAR QUILT, CIRCA 1880. 2. CIRCA1880 FRIENDSHIP SAMPLER QUILT. 3. CIRCA-1890 ALPHABET QUILT. 4. FLORAL WREATH QUILT, 1860. 5. TRIP AROUND THE WORLD QUILT, CIRCA 1880.
STEVE GOLDBERG/COURTESY OF STELLA RUBIN (5)
back to the 1700s, but most American quilts were made between the 1850s and 1870s. QUILTING CAPITALS: Baltimore and Lancaster, Pennsylvania. “They were settled early by people who were wealthy enough to have the luxury of time,” Rubin says. EARLY ACQUISITION: An 18thcentury quilt made from blockprinted Indian palampores. Now it’s at the International Quilt Study Center & Museum in Nebraska. LOOK FOR: Circles and points. “It’s very difficult to get edges sharp. There’s a pattern heavy in both called New York Beauty that is very unusual.” RARE FIND: “This wreath quilt [see right] is one of the few pieces in my collection we’ve been able to trace back to the actual maker. We connected the signature to a mother and daughter in Vermont, which isn’t known for having a prevalence of quilters.” HUNTING: Baltimore album quilts, “which were created between 1845 and 1855 and are known for complex appliqué patterns.” POPULAR REQUEST: Patriotic quilts. “They were not made continuously—only at times of war or when a state was coming into the Union—so they’re hard to find.” stellarubinantiques.com —HANNAH MARTIN
DISCOVERIES
THE BEST IN CULTURE, DESIGN, AND STYLE
EDITED BY SAM COCHRAN
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1. VEERLE EVENS; 2. AND 3. DAN WEILL
Rescue Mission
The British-Nigerian designer Yinka Ilori gives new life to old furniture
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1. DESIGNER YINKA ILORI IN HIS LONDON STUDIO. 2. & 3. UPCYCLED CHAIRS FROM HIS 2017 PROJECT WITH RESTORATION STATION.
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DISCOVERIES
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Yinka Ilori can’t turn away a stray. “I see a chair by the road and hear it shouting, ‘Pick me up! There’s more in me!’ ” jokes the BritishNigerian designer, who began upcycling discarded seats while studying at London Metropolitan University. This past fall, he burst onto the scene at London Design Festival. Collaborating with Restoration Station, a not-for-profit that teaches recovering addicts to repair furniture, Ilori gave bright new futures to some broken-down chairs. Frames were restored, then painted in happy hues, and seats were covered in Dutch wax prints. Outside CitizenM hotel, meanwhile, Ilori created a playground of Technicolor slides and swings. That, too, is getting repurposed, having found a home among Bow Arts’ affordable studio spaces at Royal Albert Wharf. yinkailori.com —HANNAH MARTIN
1. & 2. MORE OF ILORI’S COLORFUL CHAIRS.
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3. OLAFUR ELIASSON AT WORK IN HIS COPENHAGEN STUDIO. 4. LITTLE SUN DIAMOND, THE NEWEST ADDITION TO HIS SERIES OF SOLAR LANTERNS. 5. A GROUP OF LITTLE SUN ORIGINALS.
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Bright Ideas
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1. AND 2. DAN WEILL; 4. KRISTIAN ROSÉN; 5. RASMUS WENG KARLSEN
IT’S BEEN NEARLY 15 YEARS since Olafur Eliasson’s career-catapulting installation The Weather Project, wherein the artist transformed Tate Modern’s Turbine Hall into its own radiant atmosphere, conjuring sun and sky. These days he continues to spread light, albeit on a global scale. Launched in 2012 with engineer Frederik Ottesen, his nonprofit Little Sun Foundation helps bring electricity to the billion-plus people living without it, distributing solar-powered LED lanterns and chargers throughout the world. This past September, the initiative launched its third device, the gemlike Little Sun Diamond (available through MoMA Design Store; momastore .org). For every device sold, another is made affordable to those in need, the impact of which is manifold. “The trickle-down effect is real,” Eliasson says, referring to the myriad educational, economic, and health effects. Access to light, he explains, allows students to study after sundown. Light improves safety, and the lamp reduces a household’s need to burn firewood or kerosene, ameliorating air quality and living conditions. Moreover, charging a lamp alerts people to their own footprint. “If you can show people what energy is, you can make them understand consumption,” says Eliasson. So far, he estimates, Little Sun has touched the lives of more than one million people, among them thousands of recent hurricane victims in Puerto Rico. Talk about lighting the way. littlesun.com —SAM COCHRAN
P ORT RAI T BY RASMUS WENG KARLSEN
DISCOVERIES
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1. THE BARBERSHOP AT BEN MOORE HOTEL IN MONTGOMERY, ALABAMA, A FAVORITE MEETING SPOT OF MARTIN LUTHER KING JR. AND HIS FELLOW ACTIVISTS. 2. DR. KING LEADING A MARCH FROM SELMA TO MONTGOMERY IN 1965.
Forward March
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he buildings are humble, functional. There are sturdy, redbrick churches and modest houses with deep porches beneath overhangs that ward off the heavy Southern heat. There’s even a barbershop, its row of seats where customers wait like a congregation kneeling before an altar. Seemingly unremarkable pieces of 20th-century America, these structures are in fact quite the contrary: extraordinary artifacts of the Civil Rights Movement, places where Martin Luther King Jr. preached, where Freedom Riders found shelter from mobs, and where social-justice activists huddled to strategize their nonviolent quest for human rights. More than a dozen such structures in Selma and Montgomery, Alabama, have now been placed on the 2018 World Monuments Watch, a biennial list of cultural sites at risk of decay or destruction. The World Monuments Fund (WMF), which administers the Watch, is most often associated with preserving places of undisputed beauty, like the Taj Mahal, or archaeological significance, such as Machu Picchu. Indeed, among the 24
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other places on the 2018 Watch are a 12th-century minaret in Mosul, Iraq, and the Jewish Quarter in Essaouira, Morocco. Joshua David, WMF’s president and CEO, says the Alabama locations fit into an evolving mission to recognize “places that reflect the most treasured human values. “We tend to know this part of American history through individuals—Martin Luther King, Rosa Parks—or particular actions, like the voting-rights march and bus boycott,” says David. “We have less of an understanding of the community in which they took place. To see the physical context of these lives and this movement is incredibly engaging and inspiring.” Valda Harris Montgomery, daughter of prominent local leader Dr. Richard H. Harris Jr., remembers when King,
1. WILLIAM ABRANOWICZ; 2. STEVE SCHAPIRO/CORBIS VIA GETTY IMAGES
The World Monuments Fund steps up to help protect Alabama’s architectural vestiges of the Civil Rights Movement
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DISCOVERIES PLASTIC ARTS
then the new pastor of the Dexter Avenue Baptist Church, moved into the parsonage just doors down from her childhood home in 1954, and when 33 Freedom Riders, protesting segregation on interstate buses, were attacked in 1961. “The National Guard brought them here to our home, all bloodied and beaten,” she says. “My family housed and fed them. My daddy was a pharmacist, so he could provide medicine.” The young activists stayed for several days, during which King and fellow leaders Ralph Abernathy, James Farmer, John Lewis, and Diane Nash gathered to pray and strategize, eventually deciding to continue with the dangerous mission. The house, the parsonage, and the church are now on the Watch list, as are other churches and houses, in addition to the Ben Moore Hotel, where black travelers found respite at a time when whites-only hotels turned them away. Several of the sites already have landmark status, but with government funding for preservation uncertain, community organizers hope that the Watch designation will help attract philanthropy. “These sites are very important not just to African-American history but to American history and the history of nonviolent social change,” says Andrea L. Taylor, president and CEO of the Birmingham Civil Rights Institute. The Alabama consortium’s nomination predated the August rally in Charlottesville, Virginia, that resulted in the death of a counterprotester. But as the nation delves deeper into a debate over the legitimacy of Confederate monuments, it is impossible to ignore the symbolism of the WMF’s memorializing sites where civil-rights crusaders lived and worked. “Even with all the victories of the Civil Rights Movement, the legacies of slavery and racism continue to play a definitive role,” David says. “We need to look at all of the sites related to this part of American history—its most troubling and inspirational hours.” —JULIE L. BELCOVE
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3. MELTINGPOT BISTRO TABLE. 4. CHANGING VASE. 5. MELTINGPOT SIDE TABLE. ALL AVAILABLE FROM THE FROZEN FOUNTAIN. FROZENFOUNTAIN.COM
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1. WILLIAM ABRANOWICZ; 2. THE GEORGE F. LANDEGGER COLLECTION OF ALABAMA PHOTOGRAPHS IN CAROL M. HIGHSMITH'S AMERICA, LIBRARY OF CONGRESS, PRINTS AND PHOTOGRAPHS DIVISION; 3., 4., AND 5. DIRK VANDER KOOIJ
1. MONTGOMERY’S DEXTER AVENUE KING MEMORIAL BAPTIST CHURCH. 2. BROWN CHAPEL A.M.E. CHURCH, IN SELMA.
“I want to create furniture without guilt,” says Dutch designer Dirk Vander Kooij, whose custom robots can squeeze thick strings of plastic into a chair, bench, or chandelier. The ingredients? Discarded refrigerators, garden chairs, CDs, and more. “Anyone can make a beautiful object out of bronze,” he notes. “The real challenge is to turn garbage into a museum piece.” dirkvanderkooij.com —H.M.
DISCOVERIES
N In the Light After working under the radar for more than 50 years, Mary Corse emerges from the art-world shadows with back-to-back museum and gallery openings 28
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estled in a canyon on the outskirts of Los Angeles, artist Mary Corse’s house and studio are a short drive—but a world away—from the city’s hustle and bustle. Cell service cuts out en route to her home, which is reached via a single-lane bridge and winding dirt road. Neighbors are few and far between, affording Corse ample room to paint in private. Which is what she’s been doing— quietly, steadily—for more than five decades, building an important body of work while innovating on pace with established pioneers of the Light and Space movement. This May, however, she will take an overdue step center stage, with a long-term installation at Dia:Beacon and a debut show at London’s Lisson Gallery, followed by her first solo museum survey at the Whitney in June. “Mary’s work eschews easy categorization,” says Alexis Lowry, an associate curator at Dia. “As early as 1966, she was making light-based work that was as advanced as anything by more recognizable figures like Doug Wheeler or James Turrell. But she was also radically different, using paint to harness light and make space within her paintings that extends beyond the physical.” The art world, Lowry notes, is only now giving Corse the attention she has long deserved. “A lot of Dia’s recent focus has been looking at work made by women in the sixties and seventies that has been underappreciated.” Born in Berkeley, California, Corse started painting at the age of five, finding teenage inspiration in the abstract work of Josef Albers, Hans Hofmann, and Willem de Kooning. In 1964, she moved to L.A. to study at the Chouinard Art Institute, now CalArts, where she began using white to express light while experimenting with abstract-shaped canvases. Early all-white paintings encased in Plexiglas (so as to create pockets of space) eventually gave way to illuminated boxes that employed
P HOTOGRAP HY BY J OÃO C A N Z I A N I
MAKEUP BY KAT THOMPSON FOR JK ARTISTS; EXTERIOR: FLYING STUDIO/COURTESY OF THE ARTIST AND KAYNE GRIFFIN CORCORAN, LOS ANGELES
THE FAÇADE OF MARY CORSE’S L.A. STUDIO FEATURES HER 2016 INSTALLATION UNTITLED (WHITE LIGHT BANDS). BELOW THE ARTIST.
DISCOVERIES fluorescent lights, then argon-filled neon tubes. Eager to do away with wires, she enrolled in physics classes, engineering her own high-frequency generators using Tesla coils. Her eureka moment came in 1968, when Corse observed reflective road markings and realized she could use the same glass microspheres found in highway paint. “I was able to put light in the painting, not just make a picture of light,” she recalls. Incorporating the prismatic material in bands and arches, she has since created nuanced abstract fields that shift depending on ambient light and the position of the viewer. “I want to express an experience, a moment of truth,” she says. “Perception needs to be in the painting.” The technique has arguably defined her practice ever since, sparking evolutions in primary colors and—using acrylic squares—black, as well as forays into ceramics. This past
“I was able to put light in the painting, not just make a picture of light.” —Mary Corse 1
1. A 2013 PAINTING IN HER STUDIO. 2. AN ARRAY OF BRUSHES, WHICH CORSE CUSTOMIZES. 3. CORSE’S HAND REACHING INTO A BUCKET OF HER SIGNATURE ACRYLIC SQUARES. 4. UNTITLED (DNA SERIES), 2017, INSTALLED AT L.A.’S KAYNE GRIFFIN CORCORAN GALLERY THIS PAST SEPTEMBER.
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4. FLYING STUDIO/COURTESY OF THE ARTIST AND KAYNE GRIFFIN CORCORAN, LOS ANGELES
September, her latest paintings debuted in New York and L.A., with simultaneous shows at Lehmann Maupin and Kayne Griffin Corcoran galleries. The latter exhibition featured a light box placed in a refrigerated room, one of several ambitious projects, long gestating, that she is now realizing. “The cold heightens your consciousness,” explains Corse, who also completed her first outdoor installation, a 2016 composition of bands on the exterior of her studio. “You can see the focused progression of her work,” says Lowry. “There is a vocabulary of forms and a means of applying paint that she is able to revisit, rethink, and reframe.” Underpinning Corse’s practice is a desire to escape the ego and the tyranny of relentless thought. “All my work is really about inner vision, about going inside yourself,” she notes. “For me, painting is about the human condition. I paint so I can experience that.” —SAM COCHRAN
TEXT BY
JANE KELTNER DE VALLE PHOTOGRAPHY BY
RICARDO LABOUGLE STYLED BY
CAROLINA IRVING
down roots in a historic English manor
MODERN FAMILY A couple and their seven children put
A CUSTOM TABLE ANCHORS THE DINING ROOM OF BROOKE AND JULIAN METCALFE’S OXFORDSHIRE HOME. A NEEDLEPOINT RUG LIES ATOP A SISAL CARPET THAT BROOKE PAINTED WITH STRIPES. 1920S PALM-TREE LAMPS FLANK A PAINTING BY ALBERT LOUDEN; FLOWERS AND GLASS VASES FROM FLOWERBX; TIFFANY & CO. PLATES. FOR DETAILS SEE RESOURCES.
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riter Brooke Metcalfe has decorated many beautiful homes over the years—in New York, Buenos Aires, London, and beyond—but when she met her future husband, Julian Metcalfe, ten years ago, her primary concern wasn’t restoring a crumbling palace to pristine condition. It was creating a sanctuary for what would be their own Brady Bunch: “We had seven children to make feel at home immediately,” she explains. The couple wanted a weekend place that wasn’t too far from their primary residence in London or the children’s boarding schools. And it had to be in a setting that wouldn’t feel too rural or desolate. “Neither of us rides horses or actually even owns a pair of Hunter boots,” quips Brooke. “So as much as we like to think we’re going to the country, it’s really a rather urban escape.” But a necessary one nonetheless, particularly for Julian, a cofounder of the fresh–fast food chains Pret A Manger and Itsu. “My husband is very involved in his work, and when we’re in London, every corner he turns he sees one of his shops,” Brooke continues. “So staying there on a weekend was not his idea of fun.” The Metcalfes had placed a bid on a property when Julian suggested an impromptu drive through the South Oxfordshire village of Great Haseley, where his grandmother—the alluring Baba Metcalfe,
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youngest daughter of George Curzon, former Viceroy of India, and a high-society heartbreaker par excellence—once had a weekend place. Among charming thatched cottages lay a stately 17th-century manor, right next to the parish church. As Brooke recounts, “We stood up on the wall, looked in, and thought, Oh, my God, it’s perfect. Imagine if it were for sale.” It wasn’t—but somehow a tour of the house was arranged. “It was just so beautiful, I couldn’t stand it,” Brooke says, giddy at the memory of the rooms’ perfect William and Mary proportions and elegant woodwork. “I thought, This is so nice, I’m going to die. And suddenly Julian said to me, ‘We have to have this.’ We put an offer in right then and there.” The house was turnkey ready, which left only the task of decorating. “Time was really important,” says Brooke. “We had to create bonds between our kids and our families. That was more important than anything, so we decorated the place in literally about four months.” They had the luck of starting with lovely light and good bones: high ceilings, original mantels and cornices. Beyond that, she says, “we threw out all rules. Because we both like an eclectic look, there was nothing we could do that would go wrong, because nothing had to fit any pattern or mood.” Off they went—pooling art and furniture from previous homes and scouring auctions, flea markets, and “maddeningly expensive” London shops. “There’s no law or rhyme or reason to it, which was
BROOKE ARRANGES HYDRANGEAS ON THE BOFFI KITCHEN ISLAND BENEATH DISCO BALLS. A MODEL OF THE TITANIC SITS ATOP THE CABINET; FLORENCE BROADHURST WALLPAPER COVERS THE REFRIGERATOR DOORS. OPPOSITE THE REAR OF THE 17TH-CENTURY HOUSE.
IN THE SITTING ROOM, GEORGE SMITH SOFAS, ONE UPHOLSTERED WITH PAKISTANI MARRIAGE QUILTS (LEFT) AND THE OTHER A BRUNSCHWIG & FILS VELVET, FACE AN OTTOMAN CLAD IN A JOSEF FRANK FABRIC. THE TRI-ARM FLOOR LAMP AND FLOWER LAMP ARE LONDON ANTIQUESMARKET FINDS; PAR PUZZLE ON BACK TABLE; PAINTINGS BY TADASHI KAWAMATA, AXEL KULLE, AND BILLY METCALFE.
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The gardens are severe, “but it means that we aren’t fussing over dead flowers,” Brooke explains. AN ANTONY GORMLEY SCULPTURE FACES THE POOL, WHICH IS FRAMED WITH SLATE. LANDSCAPE DESIGN BY CHRISTOPHER BRADLEY-HOLE.
“We threw out all rules,” Brooke says. “Nothing had to fit any pattern or mood.”
LEFT IN A GUEST ROOM, CUSTOM MIRRORS WRAPPED IN WALLPAPER FLANK A LINEN-COVERED FOUR-POSTER. VINTAGE CHESTS, JAPANESE LAMPS, AND NEEDLEPOINT RUG. ABOVE THE PARISH CHURCH RISES BEYOND THE POOL.
really liberating,” Brooke explains. “We’ve got disco balls in the kitchen and fake rhinoceros heads that come from the set of the original Jumanji. In the past, I studied things more,” she adds. “For my first New York apartment, I bought a mirrored dining table, and it took me a year to find the right chairs for it, so we sat on nothing until then.” With stints at Sotheby’s and Vogue and traveling in a glamorous circle of style cognoscenti, many of whom Brooke has documented in her Bright Young Things tomes about the homes of the chic and stylish—a third edition is on its way—she possesses a well-trained eye. There’s an artful insouciance in what she might call haphazardness. In the dining room, which is painted a pale blush, a dozen “nothing chairs” (her words) are draped with linen slipcovers of varying confectionary hues. When the family dogs urinated on the room’s sisal carpet, Brooke painted over the stains with chocolate-brown and hot-pink stripes. A faded needlepoint rug is layered on top, too, and the resulting effect is so dreamy, you can’t help wanting to thank the offending pups. The family-friendly nature of the house reflects the values that Brooke and Julian hold dear. With its
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ABOVE BLUE BRAZILIAN MARBLE AND SHEEPSKIN RUGS GLAMORIZE THE MASTER BATH. OPPOSITE BROOKE’S CHILDREN ISABEL, INES, AND MARINA LOUNGE ON THE SOFA BENEATH OIL PAINTINGS BY GRACE PAILTHORPE. WARREN PLATNER FOR KNOLL COFFEE TABLE.
squashy sofas, and oversize ottoman covered in vintage Josef Frank fabric, the sitting room is the perfect place to sit around a cozy fire with a book, play Legos, or work on a puzzle. Brooke is partial to the hand-carved thousand-plus-piece examples from Par Puzzles that date back to her own childhood and take months to finish. A painting by Billy Metcalfe, her stepson, hangs there alongside works by Tadashi Kawamata and Axel Kulle. Outside, the kids amuse themselves with soccer, biking, hide-and-seek, and capture the flag amid grounds that are green as far as the eye can see. The Metcalfes enlisted English landscape designer Christopher Bradley-Hole, who had worked on a restoration of the property for its previous owner. For his new clients he planted a dramatic allée of linden trees—not for nothing is one of Bradley-Hole’s books called The Minimalist Garden. “It’s quite severe and architectural,” Brooke admits of the paucity of blooms, “but it means that we aren’t fussing over dead flowers.” Now more time can be spent in the stone-edged lap pool, presided over by an Antony Gormley sculpture.
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Still, the heart of the Metcalfes’ home remains indoors. “Much of the weekend is based around meals,” Brooke explains, noting that she and the kids often gather in the kitchen, which acts as a test lab for concoctions for Julian’s culinary ventures. “We spend a lot of time in there watching him mix and make potions, whether it’s flavors for popcorns or yogurt-pot combinations or green smoothies.” (Having already swept London, Itsu opens its first New York outpost this spring.) As for the dining room, “it’s where we all sit, all ages, and everything is shared,” Brooke observes. “I think that’s really where the tying together of the family has happened, at the dining table.” She fondly recalls one Christmas morning when Julian and the children raced their new Segways around the table with the dogs chasing behind them. The Saturday after I visited Brooke, I receive an email with a picture of a finished puzzle, the same one that had lain in disarray on a table in the sitting room some months before, when AD had photographed the house. There was no body text. The subject line simply stated: Puzzle complete.
design notes
THE DETAILS THAT MAKE THE LOOK
IN A GUEST ROOM, WATERCOLOR BOTANICAL PRINTS ARE ECHOED IN JOSEF FRANK FLORAL PATTERNS.
WILDFLOWER BOTANICAL PRINT BY NAPA HOME & GARDEN; $320 FOR SET OF SIX. THEMINE.COM
AURA INTERIOR PAINT IN PINK FAIRY; $70. BENJAMINMOORE.COM
CABBAGE DESSERT PLATE IN GREEN BY BORDALLO PINHEIRO; $18. MICHAELCFINA.COM
JOSEF FRANK CITRUS GARDEN WALLPAPER IN PRIMARY; TO THE TRADE. FSCHUMACHER.COM
DANDY RED PITCHER; $313. STORE.NASON MORETTI.IT
ASTORIA FLAT MIRROR IN POLISHED CHROME; FROM $395. RH.COM
“
We both like an eclectic look,” says Brooke.
INTERIORS: RICARDO LABOUGLE; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES
FREY DRESSER OF FAUX SHAGREEN AND CERUSED OAK; $4,200. MECOX.COM
SWATI PILLOW; $195. ABCHOME.COM
LARGE PARK AVENUE TOLE POTTED PLANT; $2,400. CREEL ANDGOW.COM
SMITH SOFA UPHOLSTERED IN AVIGNON IN MERLOT; $3,030. MGBWHOME.COM
“
I love the fact that it feels very comfortable but holds an aesthetic structure.”
PAR PUZZLES SIGNATURE SILHOUETTES; FROM $2,000 PER PUZZLE. PAR PUZZLES.COM
VINTAGE DISCO BALL; $2,200. 1STDIBS.COM
AN AXEL KULLE PAINTING IS DISPLAYED ON A REDUNDANT DOOR; A PAR PUZZLE IN PROGRESS ON A TABLE WITH A BRUNSCHWIG & FILS FABRIC TABLECLOTH.
PLATNER COFFEE TABLE BY WARREN PLATNER FOR KNOLL; $1,614. DWR.COM
1941-01C CHAIR IN POLAND PEONY; $2,170. LEE INDUSTRIES.COM
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DOMESTIC BLISS Globe-trotting superstar Ricky Martin trades in his nomadic existence to set up house in Beverly Hills with artist Jwan Yosef and their twin sons TEXT BY
MAYER RUS STYLED BY
PHOTOGRAPHY BY TREVOR TONDRO MICHAEL REYNOLDS
IN THE SUNLIT LIBRARY, A POUL KJÆRHOLM–STYLE DAYBED, ARMCHAIRS IN A KNOLLTEXTILES FABRIC WITH PILLOWS BY COMMUNE DESIGN, AND A VINTAGE RATTAN CHAIR. CANDLE BY BAOBAB COLLECTION ON KRAVET TABLE; RUG BY RH. FOR DETAILS SEE RESOURCES.
HAIR BY JOEY NIEVES FOR PHOTOGENICS ARMY; GROOMING BY MAITAL SABBAN FOR MS MANAGEMENT
“Even though the house had been greatly expanded over the years, we still wanted to respect its original vision,” Martin says.
ABOVE FURNITURE BY TEAK WAREHOUSE, CUSHIONED IN A SUNBRELLA FABRIC, SITS POOLSIDE. CONCRETE CYLINDERS BY RH. CANDLES BY BAOBAB COLLECTION. RIGHT THE PATH TO THE FRONT DOOR. OPPOSITE THE FAMILY GATHERS IN THE ENTRY. MARTIN WEARS A SHIRT, SWEATER, AND TROUSERS BY CANALI AND SHOES BY GIORGIO ARMANI; YOSEF IS IN A JIL SANDER SHIRT AND GIORGIO ARMANI TROUSERS; MATTEO (NEAR LEFT) AND VALENTINO BOTH WEAR ARMANI JUNIOR. FASHION STYLING BY DOUGLAS VANLANINGHAM.
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o say that the 40-something Ricky Martin maintains a boyish appeal may be the understatement of the year. The Puerto Rican superstar seized the spotlight as an angelic 12-year-old phenom in the boy band Menudo, beloved by teenyboppers and grandmothers alike. He has rarely been out of the public eye since. Fresh off a blockbuster 2017 residency at the Monte Carlo Resort and Casino in Las Vegas, Martin’s latest star turn has him portraying Gianni Versace’s boyfriend Antonio D’Amico in producer Ryan Murphy’s The Assassination of Gianni Versace: American Crime Story, on FX this January. Yet for all his success, Martin’s greatest joy lies in the happy home life he has built with fiancé Jwan Yosef, a Syrianborn Swedish artist, and their nine-year-old twins, Matteo and Valentino. The couple met two years ago in London, where Yosef was living at the time, and spent the next twelve months traveling the globe on Martin’s One World Tour. The children were with them for the entire ride. “Tino and Matteo were born on the road. They’re used to spending two weeks in one place and then moving on,” Martin says. “Our kids are stable when we are together. Wherever we happen to be, that’s home.”
Today, however, the family’s concept of home has an actual address, specifically in Beverly Hills. “We were considering living in London or New York City, but then we decided to rent in Los Angeles for a month, to get a feel for the vibe. L.A. totally caught us off guard—we loved it. By the end of the month, we knew we wanted to be here,” Yosef recalls. After a marathon three-day house-hunting expedition, the couple settled on the first place they had scouted, a serene, modernist residence with a surprising architectural pedigree. At the core of the 11,000-square-foot dwelling was a 3,000-square-foot home designed by acclaimed midcentury architect Gregory Ain for psychiatrist Fred Feldman and his wife, Elaine, in 1953. “Even though the house had been greatly expanded over the years, we still wanted to respect its original vision—the clean lines, the openness, and the sense of calm,” Martin says. With less than two months from purchase to move-in, the couple enlisted AD100 designer Nate Berkus, whom they had met through mutual friends, to facilitate the process. Fortunately for everyone involved, Martin and Yosef neither required nor desired a miraculous makeover. “We weren’t interested in a completely decorated home with a specific look done to the last detail. We wanted to get the basics covered so it would be comfortable for us and
LEFT A DAYBED BY BASSAMFELLOWS SITS ADJACENT TO AN EAMES CHAIR IN THE MASTER BEDROOM. CERAMIC VESSEL BY ERIC ROINESTAD FOR THE FUTURE PERFECT; SHAG RUG BY WOVEN. FAR LEFT ARTWORK BY KERRY SKARBAKKA HANGS ABOVE THE RH BED. FLOOR CUSHIONS BY ADAM POGUE FOR COMMUNE DESIGN; PENDANTS BY TOM DIXON.
the kids, but we left plenty of room for the house to grow and evolve in the years to come,” Yosef explains. Berkus seconds the notion. “Ricky and Jwan are both artists, and they have very particular ideas about how they want to live,” the designer observes. “Ultimately, I helped give them a solid, neutral foundation that they can cultivate together to make the home truly theirs. The sense of place is all about the future of their family.” The foundation that Berkus and his clients laid relies heavily on classic modern designs of the 20th century— including signature pieces by Ray and Charles Eames, Milo Baughman, and Hans Wegner—invigorated by an array of spruce contemporary furnishings by the likes of BassamFellows and Tom Dixon. The mix also encompasses a few sentimental favorites, among them the long wood dining table, an erstwhile desk that Martin acquired in 1996. “It was my first real piece of furniture, and it works perfectly here,” the singer says. “Jwan has impeccable taste, so I give him most of the credit for how good everything looks,” he adds. “My main concern was for comfort and practicality, and I think we’ve accomplished that.” One of the delights of moving into their new home was the ability to incorporate works from the couple’s nascent but growing art collection, which largely eschews the predictable
trophies of contemporary acquisition in favor of intriguing, lesser-known young artists’ creations. “I’m a young artist myself, and it’s fun to live with work created by my friends and fellow artists,” says Yosef, whose own compelling paintings and prints are displayed to great advantage on the crisp white walls. Meanwhile, Martin’s musical background is reflected in a series of black-and-white photographs of legendary singers on the order of Janis Joplin, David Bowie, John Lennon, Louis Armstrong, and Frank Sinatra. The idiosyncratic assemblage also includes a few bluechip pieces, such as a recently acquired sculpture by Larry Bell and a fantastic canvas by Cuban artist Wifredo Lam that Martin purchased in 1998, when he began collecting Latin American art in earnest. The home’s former yoga room has now been converted into an artist’s atelier for Yosef, and Martin has plans to build a recording studio on the property. As for Matteo and Valentino, the kids are looking forward to serious playtime in a tree house that has yet to be installed amid the branches of one of the gorgeous specimens that dot the estate. “There’s so much potential for crafting a vibrant, creative environment for our family,” Martin says. “You can never be sure what the future will bring, but I can’t wait to find out.”
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PREVIOUS SPREAD: © KERRY SKARBAKKA/COURTESY OF GALLERY FIFTY ONE, ANTWERP; CURRENT PAGE: © 2018 LAM/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/ADAGP, PARIS
CLOCKWISE FROM ABOVE BISTRO CHAIRS BY TEAK WAREHOUSE SURROUND A CUSTOM CONCRETE TABLE BY JAMES DE WULF. IN THE LIVING ROOM, A WIFREDO LAM PAINTING HANGS OVER A CHAISE LONGUE BY RH MODERN; FLOOR LAMP BY AERIN; STOOL BY NOIR. HANS WEGNER CHAIRS IN THE DINING ROOM; RUG BY WOVEN. A LAMP BY SCHOOLHOUSE ELECTRIC & SUPPLY CO. AND A GLASS SCULPTURE BY JOHN HOGAN FOR THE FUTURE PERFECT TOP A VINTAGE MAISON RAPHAEL CONSOLE IN THE ENTRY; PAINTING BY CORYDON COWANSAGE.
“We weren’t interested in a completely decorated home with a specific look done to the last detail,” Yosef explains.
ABOVE IN THE BOYS’ BEDROOM, A FLATWEAVE RUG BY RH COVERS THE FLOOR. BUNK BED BY RH TEEN; HANGING CHAIR BY PIER 1 IMPORTS WITH SHEEPSKIN THROW BY CB2.
★ EXCLUSIVE VIDEO: RICKY MARTIN AT HOME, ARCHDIGEST.COM.
BOLD CHOICE
Designer Muriel Brandolini gives a classic New York apartment a colorfully modern makeover TEXT BY
VICKY LOWRY
CHRISTOPHER STURMAN MICHAEL BARGO
PHOTOGRAPHY BY
STYLED BY
IN THE DEN, TWO GIANFRANCO FRATTINI ARMCHAIRS SIT ASTRIDE A WOOD-GRAIN COCKTAIL TABLE BY LUDWIG & DOMINIQUE. CHANDELIER BY GINO SARFATTI; ÉRIC GIZARD SOFA IN A SAHCO FABRIC; ARTWORKS BY SCOTT PETERMAN (LEFT) AND MILTON AVERY. FABRIC BORDER, IVORY #15 BY MURIEL BRANDOLINI FOR HOLLAND & SHERRY. FOR DETAILS SEE RESOURCES.
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ABOVE A FABRIC BY HARLEQUIN COVERS AN OFFICE/GUEST BEDROOM. CORK BED BY CITY JOINERY; CUSTOM PILLOWS BY BRENDA COLLING IN HOLLAND & SHERRY CORDUROYS; RUG BY FEDORA DESIGN. LEFT ARTWORKS BY ALLAN MCCOLLUM HANG IN A FOYER. STAIR RUNNER (EXECUTED BY STUDIO FOUR NYC) AND RUG BY FEDORA DESIGN.
husband, has a strong collection of art, including works by Agnes Martin, Milton Avery, Fay Ray, and Caio Fonseca. “But we thought we could make it distinctive with Muriel.” Bold, eclectic interiors are the calling card of the designer, the daughter of a French-Venezuelan mother and a Vietnamese father. She was raised in Saigon and then on Martinique, studied fashion in Paris, and married a debonair Italian financier, Nuno Brandolini. She didn’t train to be a decorator, so she’s not beholden to some set formula about furniture placement or how high artworks should hang on a wall. She does, however, have a prescription for rooms lacking volume: “When a ceiling is low, if you don’t create busyness, you see misery.” One thing decorator and client do have in common is an allergy to beige, monochromatic interiors. “My husband and I like things to be interesting and energetic. We like furniture and design that make you think,” says the wife. In her office/ guest bedroom, one wall is covered in red felt, another in a
PREVIOUS SPREAD: FABRIC BORDER: COURTESY OF HOLLAND & SHERRY; ARTWORK: SCOTT PETERMAN, BAD WATER BASIN 1, 2005/COURTESY OF THE ARTIST AND JACKSON FINE ART
b
irds of a feather,” as the saying goes, “flock together.” But when opposites attract, the relationship can be downright electrifying. AD100 interior designer Muriel Brandolini—an ardent enthusiast of arresting colors and madcap patterns— couldn’t be more different in temperament from one of her longtime New York clients, a cerebral, business-minded woman who initially discovered Brandolini’s work in a magazine and picked up the telephone. “I’m a very analytical, linear thinker,” says the client, who asked the Manhattan-based decorator to revitalize an Upper West Side apartment she and her husband had bought a few years ago. “Muriel leads with passion and feeling. I wanted to ask questions, and she would just say, ‘It’s beautiful. I can’t tell you why it will work, but it will.’ ” The couple’s duplex apartment, on high floors in a handsome prewar redbrick building—boldface residents have included Harrison Ford and Georgina Bloomberg—boasted fantastic views and abundant light. Darkness, in fact, was the primary reason they vacated their previous Brandolinidesigned apartment, which they had shared with their children for 15 years. But the rooms in the new place generally were small (except for the sprawling second-story master bedroom), and the coffered ceilings throughout, while classically elegant, were low. The clients considered undertaking a major renovation—to take down some walls and better reconfigure the spaces—but ultimately chose a more cosmetic approach. “The interiors were very traditional and not really our style—we prefer things more modern,” explains the wife, who, with her
RIGHT A VLADIMIR KAGAN CHAISE JOINS A CONSOLE BY HERVÉ VAN DER STRAETEN IN A COLORFUL BEDROOM. ON WALLS, HAND-STITCH FABRIC BY QUADRILLE. BELOW BRANDOLINI TOOK INSPIRATION FROM SRI LANKAN CANDLESTICKS FOR THE DINING ROOM’S STRIPED COLUMNS. TABLE BY CITY JOINERY; CHAIRS BY ROLAND RAINER; DINNERWARE BY L’OBJET; NAPKINS BY SFERRA.
large leaf-pattern print, and the bedspread is a busy stripe. Matchy-matchy it is not. The husband’s office features three different corduroy wall coverings, and the moldings have three shades of paint, while a lemon-yellow quilted wall cocoons that massive master bedroom. And forget about making the dining room’s four decorative columns, installed by previous owners, disappear by, say, painting them the same bronze color as the walls. Inspired by wood candlesticks she had seen in Sri Lanka, Brandolini had each column
painstakingly hand-painted in stripes—every one a different width and hue. “If I didn’t go for it enough with color, she would say, ‘Go for it more,’ ” Brandolini recalls. For the couple’s first apartment collaboration, the designer took her client to Milan to scour the design boutiques and vintage shops. “She wanted to see every inch of the city,” Brandolini remembers. “She was always, ‘What’s next? What’s next?’ ” This time around the women dug deeper, visiting warehouses and garages in Milan and Turin that held furnishings from 1900 through the midcentury that would eventually get scooped up by dealers. They weren’t shopping for expensive pieces, just ones with good bones—such as 1960s floor lamps, a 1950s French desk—amid the broken chair legs and frayed fabrics. “They’re common things that come from the grandmother, or an uncle who has passed,” Brandolini says. “Italy is so secret. I go to these dark, out-of-the-way warehouses and I wonder if I’m not going to be murdered,” she observes with a laugh. But it was while simply walking on a street in Milan that the two women spied through the door of an architectural firm a 1960s light fixture made of various white-glass shapes dangling at different lengths. It was exactly what they wanted for the apartment’s central stairway. So they entered the office, Brandolini negotiated with the owner, and a week later it was on its way to New York. During the process the husband had few requests, just that the seating be comfortable and the apartment feel homey. “We wanted furniture that you could put coffee cups on—not precious or delicate—and Muriel totally embraced that,” says the wife. “I’m laughing,” she continues, “because my husband was not very involved, and the decor would have ended up 80 percent the same even if I wasn’t involved. This is how it works with Muriel. She immerses herself in a project and moves very quickly. Yet she is very deliberate. She trusts her eye, and we trusted it too.”
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MURIEL’S SPARK
Whatever the space, Brandolini brings her signature mıx of pattern and color
MURIEL BRANDOLINI. FABRIC BORDER, WHITE #27 BY MURIEL BRANDOLINI FOR HOLLAND & SHERRY.
A SOPHISTICATED PAIRING OF GEOMETRIC AND FLORAL IN A NEW YORK CITY HOME.
RIGHT IVORY #16 COTTON BY MURIEL BRANDOLINI FOR HOLLAND & SHERRY. TO THE TRADE. HOLLANDSHERRY.COM.
BELOW WHITE #22 COTTON BY MURIEL BRANDOLINI FOR HOLLAND & SHERRY.
ABOVE SILK MATKA #7 BY MURIEL BRANDOLINI FOR HOLLAND & SHERRY.
A BIRD SOARS ACROSS THE WALL OF A 51ST-FLOOR APARTMENT IN A MIDTOWN MANHATTAN HIGH-RISE.
CLOCKWISE FROM TOP LEFT: FERNANDO BENGOECHEA; BJÖRN WALLANDER; PIETER ESTERSOHN; BJÖRN WALLANDER; RAYMOND MEIER. FABRICS: COURTESY OF HOLLAND & SHERRY
IN THE KITCHEN OF BRANDOLINI’S MANHATTAN TOWNHOUSE, VINTAGE CZECH CHAIRS SURROUND A JEAN DUNAND TABLE. RANGE BY VIKING.
A RICH GREEN CEILING ENLIVENS THE LIVING ROOM OF BRANDOLINI’S HAMPTONS BEACH HOUSE.
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SOFÍA SANCHEZ DE BETAK, IN AN EQUIPMENT SHIRT, PEERS INTO THE MIRROR-PANELED LOUNGE OF THE HOME SHE SHARES WITH HER HUSBAND, ALEXANDRE. VINTAGE CABINET, TABLE, AND SOFA. OPPOSITE LINEN-COVERED SOFAS BY ALEXANDRE DE BETAK ENVELOP THE TATAMI ROOM. VINTAGE JAPANESE MONSTER FIGURINES ARE DISPLAYED THROUGHOUT THE SPACE. FASHION STYLING BY MARTI ARCUCCI. FOR DETAILS SEE RESOURCES.
HAIR BY COREY TUTTLE FOR HONEY ARTISTS USING ORIBE; MAKEUP BY TORU SAKANISHI FOR JOE MANAGEMENT USING CHANEL LES BEIGES
Naughty by Nature
For Alexandre and Sofía Sanchez de Betak, an old-school SoHo loft provides the perfect lab for creative living and unconventional style TEXT BY
MAYER RUS
PHOTOGRAPHY BY
FRANÇOIS HALARD
STYLED BY
MICHAEL BARGO
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Take one step inside the Manhattan loft of Alexandre de Betak and his wife, Sofía Sanchez de Betak, and you know you’re not in Kansas anymore. The epic social/ entertaining space at the heart of the home—“living room” doesn’t begin to describe it—feels like a set for a Pina Bausch performance or some outré production of an Ionesco or Pirandello play. Among the dramatis personae are postmodern chairs by Peter Shire and Marinus A. Vljim, freestanding chain lamps by artist Franz West, pyramidal light sculptures by André Cazenave, and a Louis Durot seat in the form of a woman’s upturned torso and legs. There’s also a Vespa parked by one of the columns and a swing hanging from the ceiling. The mise-en-scène is redolent of drama and possibility. Given the homeowners’ résumés, the eccentric milieu should come as no surprise. Alexandre built his reputation
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THE MASSIVE KITCHEN ISLAND WAS MADE TO ALEXANDRE’S EXACTING SPECIFICATIONS. SINK FITTINGS BY CHICAGO FAUCETS; ÉTIENNE FERMIGIER BARSTOOLS. SOFÍA WEARS A VALENTINO DRESS AND GOLDEN GOOSE SNEAKERS; ALEXANDRE WEARS A SAVE KHAKI UNITED SHIRT. OPPOSITE PHOTOGRAPHS ARE PINNED UP IN A CORRIDOR.
A VINTAGE THROW FROM PAULA RUBENSTEIN LTD. COVERS AN ALEXANDRE DE BETAK BED. PIERLUIGI GHIANDA CHAIR; STOOL BY LOUIS DUROT.
OPPOSITE A WELDED STEEL LAMP BY FRANZ WEST STANDS IN THE MAIN LIVING AREA. THE FLOORING IS WEATHERED BARN WOOD FROM CREATIVE FLOOR SOLUTIONS.
transgressing the boundaries between the worlds of fashion, art, and design. His namesake firm, Bureau Betak, has produced some of the most indelible fashion shows, events, and exhibitions of the past three decades—with the impresario himself taking on the roles of art director and designer. His Argentine-born wife, the former Sofía Sanchez Barrenechea, plotted her own trajectory through the beau monde as a high-profile art director, travel guru, and fashion maven. The couple’s 2014 wedding in Patagonia featured ushers sporting Darth Vader helmets and a giant blow-up of the Star Wars villain—a bit of cheeky pop culture to leaven the glamour of the bride’s Valentino couture gown and the resplendent natural beauty of the setting. Playfulness and humor are clearly essential parts of the de Betak program. Witness the tatami room in their Manhattan loft, which includes three types of sake on tap, a video projector, and a hydraulic table that rises mysteriously from the floor for casual dining. Or the proliferation of vintage Japanese toys throughout the home. “I have a big family of robots. They’re my little friends, my little monsters,” Alexandre says of his longtime collecting obsession. For more adult divertissements, there’s a handy stripper pole in a hidden, mirror-paneled lounge where guests retire for postprandial high jinks. “You can’t
build an apartment from scratch and not make a secret room,” Sofía explains matter-of-factly. The fun continues in the bedrooms of Alexandre’s two teenage sons, Amael and Aidyn. One room is tucked discreetly in a loft space above the mirrored bar; when the kids are in residence, the stripper pole becomes more of a fireman’s pole, perfect for fast escapes. The other bedroom is constructed of metal scaffolding, Erector Set–style, with platform beds and an integrated desk below. “This was my dream when I was a kid,” Alexandre muses. As for the child he and Sofía are expecting, he says they’ve considered setting up a baby tent in the middle of the loft. For gastronomic pleasures, Alexandre created the ultimate chef’s kitchen, centered on a monumental stainless-steel island that is the ne plus ultra of bespoke cookery. “The kitchen was custom fabricated, cabinet by cabinet, by a Chinese metalworking shop in Brooklyn. I spent a year with those guys, driving them nuts,” he recalls. Predictably, the couple enjoys entertaining, and the kitchen allows them to do so on a grand scale, whether that means cooking pasta for 100 for a book launch or making paella for a throng of fashion-forward guests. But for all of its sybaritic bells and whistles, the apartment hews more closely to the rough-and-ready SoHo artists’
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“The loft has a minimalist feel, raw but warm,” Alexandre says. LOUIS DUROT’S SCULPTURAL SAINT-SIÈGE CHAIR IS A FOCUS OF THE LIVING AREA, WHICH ALSO FEATURES A SUITE OF UPHOLSTERED ARMCHAIRS AND A SOFA FROM GALERIE BERGER. CASHMERE THROW BY GABRIELA HEARST ON SOFA; ANDRÉ CAZENAVE PYRAMID LAMPS.
CLOCKWISE FROM LEFT SOFÍA IN THE MAIN LIVING AREA, WEARING A LINGUA FRANCA SWEATER, RE/DONE JEANS, AND GOLDEN GOOSE SNEAKERS. ALEXANDRE WEARS A SAVE KHAKI UNITED SHIRT AND SAINT LAURENT JEANS. SAKE TAPS IN THE TATAMI ROOM. GAETANO PESCE CHAIRS AT A WORKTABLE IN THE MAIN ROOM. TUB BY DRUMMONDS.
dwellings of the 1960s and ’70s than it does to today’s socalled luxury lofts. The deliberately unfussy materials palette includes weathered floorboards reclaimed from an upstate New York barn; cabinetry of brushed oak with linen-backed copper grilles; and stainless steel for a dash of early-1980s hightech realness. Pipes and radiators are largely left exposed, as are the original wood columns and beams. The layout of the space has a similarly old-school loft vibe, particularly in the open-plan core, where one could easily picture the mandarins of Abstract Expressionism performing their alchemy on heroically scaled canvases. “We wanted to respect the history of this place and not try to make it something that it isn’t,” Alexandre says. “The huge room is incredibly versatile, not just for entertaining but also for mounting installations and playing around with different elements from the shows I design. It’s the kind of space that begs for creative experimentation.” Which brings us back to the swing dangling from the ceiling between the living and kitchen areas. For this whimsical amenity, Sofía has a perfectly rational explanation: “It’s very important to have a swing nearby when you feel like swinging.”
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“We wanted to respect the history of this place and not try to make it something that it isn’t,” Alexandre says.
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design notes
THE DETAILS THAT MAKE THE LOOK
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I found the French sofa in the bedroom on Instagram. I’d much rather look at furniture than see what people ate that morning,” notes Alexandre.
SOFÍA’S WALK-IN WAS DESIGNED BY CALIFORNIA CLOSETS. JAPANESE PORCELAIN VASE BY OEO STUDIO; $950. ATELIERCOURBET.COM
CHAIR BY MARINUS A. VLJIM. BIKSADY.COM
ALEXANDRE’S RUNWAY DESIGN FOR CHRISTIAN DIOR FALL/WINTER 2013 IN FASHION SHOW REVOLUTION.
VINYL WARS SOFUBI GODZILLA; $83. TOYWIZ.COM
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BETAK: FASHION SHOW REVOLUTION, BY ALEXANDRE DE BETAK AND SALLY SINGER; $100. PHAIDON.COM
INTERIORS: FRANÇOIS HALARD; DINNER PARTY: PABLO FRISK; BOOK SPREADS: GABRIELLE PILOTTI LANGDON; BETAK BOOK: MARTIN HOLTKAMP FOR BUREAU BETAK/COURTESY OF PHAIDON; SAINT-SIÈGE CHAIR: COURTESY OF CORNETTE DE SAINT CYR; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES
BROADWAY CHAIR BY GAETANO PESCE FOR BERNINI; PRICE UPON REQUEST. 1STDIBS.COM
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I’m a travel freak. Every trip I take expands my view of the world and feeds my soul,” says Sofía. TUFTY-TIME MODULAR SEATING BY PATRICIA URQUIOLA FOR B&B ITALIA; $11,795. BEBITALIA.COM
MÉRIDA, MEXICO, PICTURED IN TRAVELS WITH CHUFY.
ILLUMINATE WORLD GLOBE; $99. LANDOFNOD.COM
MAGDALENE SECRETARY WITH CHINOISERIES; $22,350. RALPH LAURENHOME.COM
EBONY GEOMETRIC OBJECT BY MARK D. SIKES FOR HENREDON; SET OF FOUR SHAPES FOR $735. HENREDON.COM
TRAVELS WITH CHUFY: CONFIDENTIAL DESTINATIONS, BY SOFÍA SANCHEZ DE BETAK; $50. ASSOULINE.COM
SAINT-SIÈGE CHAIR BY LOUIS DUROT. CORNETTE DESAINTCYR.FR
FRIENDS GATHER OVER DINNER TO CELEBRATE SOFÍA’S BOOK LAUNCH AND CLOTHING LINE.
TWIST HIGHBALL GLASS BY NOUVEL STUDIO; $34. BARNEYS.COM
A PARTY-READY TABLESCAPE IN THE LIVING AREA.
MAGNIFICENT
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ike a character in a fairy tale, during a 2000 trip artist Rachel Feinstein fell under the spell of Bavaria’s picturesque towns, sublime landscapes, fantastical castles, and rococo churches. Further enchantment ensued in Munich at Nymphenburg, the legendary porcelain factory on the grounds of the royal family’s onceupon-a-time summer palace. There she succumbed to her own maladie de porcelaine, the fabled “porcelain sickness” that possessed so many aesthetes in the 18th century. Feinstein, whose work has included architectural stage flats, period room–inspired installations, and immersive environments, found herself drawn to the exuberant figurines modeled by Franz Anton Bustelli in the 1750s. But rather than the graceful, colorful characters themselves, the swelling, curvaceous pedestals upon which they stood were what moved her. “What’s so fabulous is how one curve gives into another,” notes Feinstein, who envisioned replicating Bustelli’s organic forms at life size. “They practically killed me, because every time I would get something perfect from one side, I’d go to the other side and find it didn’t look right and have to fix the whole thing. I became obsessed with getting it perfect.”
So much so that she had her first attempts—fabricated in foam for a 2014 fashion portfolio in Garage, the biannual art-and-fashion magazine—destroyed. “The big question for me was, How can they really be like ceramic?” The problem of fabrication continued to haunt Feinstein until one day this past July, while working in her Maine studio, she suddenly thought, Why can’t I just do them the way Nymphenburg does? and shot off a note to the factory’s general email address. Even though Nymphenburg has a record of collaborating with contemporary artists, she was still surprised when a response came that same night. “I nearly fell off my seat,” she recalls. By summer’s end she had shipped her models to Germany, and she made her first working trip in September. Crafting and firing such large-scale ceramic pieces presents many technical issues. Feinstein credits Ingrid Harding, a Kentucky native who now heads the production department at Nymphenburg, for committing to the vision. While four of these pieces will be on view this month at Gagosian Gallery in Los Angeles, Feinstein has big plans for further work, including a piece that will measure some 12 by 15 feet: “As long as Ingrid is into it, I have tons of crazy ideas.”
OBSESSION
In November 2000, sculptor Rachel Feinstein began a journey that changed her art—and her life
FAR RIGHT: SORIN MORAR/PORZELLAN MANUFAKTUR NYMPHENBURG
TEXT BY
SHAX RIEGLER
PHOTOGRAPHY BY
MARKUS JANS
LEFT THE ARTIST WORKING AT NYMPHENBURG. BELOW OTTAVIO, GLAZED AND AWAITING SHIPMENT TO THE GAGOSIAN GALLERY IN LOS ANGELES, WHERE IT’S ON VIEW THROUGH FEBRUARY 17.
OPPOSITE RACHEL FEINSTEIN IN NYMPHENBURG WITH THE PIECE CALLED OTTAVIO AFTER IT EMERGED FROM ITS FIRST FIRING IN THE KILN. BELOW SHE SHAPES A PAIR OF SHOES ALONGSIDE ONE OF FRANZ ANTON BUSTELLI’S COMMEDIA DELL’ARTE FIGURES, WHICH INSPIRED THE PROJECT.
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ROOM WITH A VIEW KATHRYN HERMAN’S BEDROOM OVERLOOKS A DRAMATIC GARDEN ROOM HOSTING COLORTHEME PERENNIALS. FOR DETAILS SEE RESOURCES.
A NGLO ATTITUDE
Garden star Kathryn Herman’s Connecticut demesne reflects her passion for classic British landscapes TEXT BY
MITCHELL OWENS
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early two decades ago, Kathryn Herman—a high-flying American landscape designer with round-the-world clients—spent a transformative week in England’s Somerset County, taking in the genius of husband-and-wife horticulturalists Sandra and Nori Pope, creators of the acclaimed gardens at Hadspen House. “They are colorists, and I was hugely impressed by the subtle gradations they had established,” Herman recalls. “And I said, that’s what I’m going to do for myself when I get the opportunity.” The Popes had transformed 18th-century Hadspen House’s huge, dilapidated potager into dynamic color-themed gardens that bedazzled novelist and gardener Jamaica Kincaid, who once wrote, “Nothing matched in a way that I understood.” But after the Popes decamped to their native Canada in 2005, their landlord bulldozed the couple’s Arcadia to make way for a new garden—which, ironically, was never planted. Hadspen’s glories may be gone, but an echo can be found at Herman’s Connecticut residence, the remodeled groom’s cottage of a 1920s estate. There the designer has installed “a garden that is as true to an English-style garden as I can make it.” That would be a 114-foot-long garden room, packed with perennials and backed by mature trees, among them the pepperidge trees that gave the property—and original owners Margaret and Henry Rudkin’s famous bread business—its name. “A garden room is a wonderful thing—it’s embracing, it’s structure,” says Herman, who tours English gardens every year with James Doyle, her coprincipal at Doyle Herman Design Associates, for ideas. “And if you don’t have structure, what do
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you have?” A tall beech hedge defines Herman’s garden room, which has been subdivided by flying buttresses, also of beech, into compartments that shelter flower beds. The dense greenery, sheared once a year to keep it tidy, recalls similarly architectonic enclosures at Staffordshire’s Biddulph Grange and Warwickshire’s Coughton Court. Referencing the Popes’ thematic plantings, eight of Herman’s compartments are each dedicated to a single color: white, pink, purple, blue, yellow, chartreuse, apricot, and black (really dark maroon). Here froth leopard lilies, Buckeye Belle peonies, Gold Bullion cornflowers, and much more: 150 different varieties and counting. “As new plants strike my fancy,” Herman says, “I work them in.” The two remaining compartments are “still moments,” she says, “filled with one really large boxwood surrounded by Alchemilla mollis.” The perennial garden was planned to be the first thing that Herman and her financier husband, Ron, would see every morning from their second-floor bedroom. “I don’t have to walk through it to enjoy it,” the designer explains. The garden room is also on axis with the living room’s bay window, which frames another entrancing view. “I think hard about the inside and the outside,” Herman says. “It’s important to make a connection between them.” Though the garden’s polychrome delights last but from spring to fall, Herman notes that its cold-weather countenance, when the beech leaves turn a fawn color and hang on nearly all winter, pleases too. “After all the perennials fade away, what’s left is the structure—beech hedge and rounded boxwood,” she says. “No matter what, it’s a really pretty garden.”
OPENING SPREAD: KATHRYN HERMAN; THIS PAGE: NEIL LANDINO JR.; OPPOSITE PAGE: KATHRYN HERMAN; FOLLOWING SPREAD: NEIL LANDINO JR.
ABOVE THE HERMANS’ HOUSE IS A FORMER GROOM’S COTTAGE AT CONNECTICUT’S LEGENDARY PEPPERIDGE FARM. OPPOSITE A STONE WALL, GARLANDED WITH CHINESE WISTERIA, ENCLOSES THE DISCREET SWIMMING POOL.
“A garden room is structure,” Herman says. “And if you don’t have structure, what do you have?”
THE GARDEN’S FLORAL COMPARTMENTS ARE SEPARATED BY FLYING BUTTRESSES OF SHAPED BEECH.
PRIDE OF PLACE
A new generation of architecture and landscape visionaries is showing how design can make a difference in New York City— one library, one park, and one housing complex at a time. Meet today’s public defenders. TEXT BY
SAM COCHRAN
Charged with protecting ten miles of Manhattan’s waterfront in the aftermath of Hurricane Sandy, AD100 architect Ingels (right) has envisioned a ribbon of community and cultural spaces that would both engage the public and withstand future floods. Nicknamed the Dryline, his forthcoming park—winner of the local Rebuild by Design competition— will combine a raised landscape of protective berms and resilient plants with recreational features such as skate parks, undulating double benches, and winding bicycle paths. In the event of rising waters, art walls deploy as shutters, serving as an emergency barrier. Rain or shine, the Dryline promises to do the city proud.
WORKac —KEW GARDENS HILLS LIBRARY As part of New York’s Design and Construction Excellence program—an initiative to improve public architecture— Amale Andraos and Dan Wood (above) recently completed a sculptural update and extension to this Queens public library, attracting some 2,000 visitors to its opening this past September. Topped by a sloping green roof and clad with a rippling GRFC façade, a faceted envelope now frames the library’s original footprint, creating light-filled reading rooms for adults, children, and teens. “Libraries are places where everyone feels at home,” says Wood, noting that the building has become a beloved gathering spot for the neighborhood’s diverse population— including immigrants and youth who can now make use of the branch’s English-language courses, tax-preparation seminars, and after-school programming. “It’s not a given that a city would show this interest in design,” says Andraos. Adds Wood, “What they found is that it doesn’t cost much more to build something good.”
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THIS PAGE: JEREMY LIEBMAN; OPPOSITE PAGE: GREGORY HARRIS/TRUNK ARCHIVE
BIG–Bjarke Ingels Group —DRYLINE
Thanks to Thomas Woltz (above), what was once a cemetery on the outskirts of the Brooklyn Navy Yard now serves as a verdant park along the Brooklyn waterfront’s network of bike paths. “Because this was sacred land, one of the stipulations was to not disturb the ground—no heroics of earthmoving,” says Woltz, who was enlisted by the Brooklyn Greenway Initiative and collaborated with Marvel Architects. “Restrictions lead to innovation.” Studying the ecological and cultural histories of the site, he tailored his scheme to achieve maximum fecundity. Added cherry trees nod to a long-gone orchard; an elevated timber walkway echoes the sinuous creek that once rippled through wetlands; and grasses and pollinator plants draw bees, birds, and bats from the neighborhood, this lush meadow changing season to season. “What we commemorate is the human condition, these cycles of life and death,” says Woltz. “People have really responded to this tiny, low-budget park. It slows down your heart rate. It calms you.”
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THIS PAGE: JEREMY LIEBMAN; OPPOSITE PAGE: CLOCKWISE FROM TOP: IWAN BAAN; JOHN MOORE, CIRCULAR SPACE PHOTOGRAPHY; RANDY RUBIN; JASON SCHMIDT
Nelson Byrd Woltz —NAVAL CEMETERY LANDSCAPE
Adjaye Associates —SUGAR HILL PROJECT As one of the most sought-after architects of his generation, AD100 honoree Sir David Adjaye (below) has designed homes for the likes of art stars and celebrities. But in the case of this 2015 complex, he created shelter for some of New York’s poorest and most vulnerable citizens. Distinguished by sculptural setbacks, daring cantilevers, and concrete façade panels embossed with floral patterns, Sugar Hill comprises 124 subsidized apartments, with irregular windows that frame sweeping city views. “My primary consideration has been dignity,” Adjaye says of public housing. “Too often, generic design has created isolating and dehumanizing environments.” In a further departure, the project features a range of public programming, with a children’s museum and an early-childhood center. “The hope is that it can provide a model for a more integrated approach,” explains Adjaye.
FOR THE GREATER GOOD
Just three of the many more local additions having an impact Cornell Tech Campus, Architecture by HANDEL ARCHITECTS, MORPHOSIS, and WEISS/MANFREDI Master Plan by SKIDMORE, OWINGS & MERRILL Landscape Design by JAMES CORNER FIELD OPERATIONS
At the graduate school’s new eco-friendly campus on Roosevelt Island, unveiled this past September, buildings not only support one another, they bolster the city at large. More than 2,000 photovoltaic panels crown the Morphosisdesigned academic center (above) and Weiss/Manfredi– designed innovation hub, with power generated from both channeled toward the center, helping the building reach its ambitious net-zero goal. A residential tower by Handel Architects, meanwhile, boasts ultralow energy consumption. The goal for the campus is to help reestablish New York as a center of the tech industry, melding entrepreneurship and academia on this green (in every sense) stretch of city. — Cary Leeds Center for Tennis & Learning, Architecture by GLUCK+ Tennis lovers of all backgrounds converge at this socially conscious Bronx complex, comprising 22 courts and a glass-and-steel clubhouse. Terraced into the earth, the center operates as the flagship for New York Junior Tennis & Learning— a nonprofit offering free lessons and tutoring to
underserved youth. On any given day, these kids can be found practicing their backhand or perfecting their footwork alongside other members of the local community. In the center’s first year alone, some 7,000 children and 1,000 adults used the facility, with 6,000 hours of court time provided to youth in need. Now that’s what we call a strong serve. — New York City AIDS Memorial, Architecture by STUDIO AI ARCHITECTS Only a couple of years ago, there was no permanent tribute to AIDS victims, caregivers, and activists in New York, a city that has lost more than 100,000 people to the disease and which birthed the activist movement. This memorial filled that void. Completed in December 2016,
the striking steel canopy welcomes visitors to St. Vincent’s Triangle, opposite what was the hospital with Manhattan’s first AIDS ward. An installation of pavers by artist Jenny Holzer, meanwhile, reveals the engraved words of Walt Whitman’s beloved poem “Song of Myself.” All offer a vivid reminder not just of the toll taken by the epidemic, but also the work still to be done.
convent becomes a boho-chic family getaway for Jacaranda Caracciolo di Melito Falck and her rollicking clan HAMISH BOWLES FRANÇOIS HALARD
TEXT AND STYLING BY PHOTOGRAPHY BY
PRODUCED BY ANTONIO MONFREDO
UNDER THE TUSCAN SUN A pink-walled former
JACARANDA CARACCIOLO DI MELITO FALCK’S HOUSE WAS DECORATED WITH TOMMASO ZIFFER. MADELINE WEINRIB RUGS, CUSHIONS OF GREEN DEDAR VELVET. OPPOSITE PINK ROSES TUMBLE OVER A STONE WALL. FOR DETAILS SEE RESOURCES.
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alling between Florence to the north and Rome to the south, Maremma was once an impoverished hinterland, its Tuscan hills rolling down to malarial marshes. Mussolini may have had the swampland drained, but in the postwar period it was the country’s left-wing intelligentsia who discovered the humble houses, ripe for conversion, in the medieval hilltop town of Capalbio. An old convent crowning a nearby hill assumes special architectural prominence among the modest farmsteads. Circled by groves of towering pines and citrus and olive trees, it caught the eye of a noble Italian couple (he was married, but not to her) who used it as their love nest after World War II. Then in 1960 it was acquired as a holiday retreat—the area is now considered the Hamptons of Rome—by Don Filippo Caracciolo, eighth Prince of Castagneto and third Duke of Melito. Today the terra-cotta-pink former convent makes a convivial setting for Don Filippo’s granddaughter Jacaranda Caracciolo di Melito Falck, a dynamic journalist, television producer, and philanthropist, and her children, Alessandro, Sofia, and India Borghese. Jacaranda grew up in a “very cozy” Milanese house that her mother, Anna Cataldi, an associate producer of the movie Out of Africa, decorated with Renzo Mongiardino, layered with treasures brought back from India and Africa, where Jacaranda spent much of her childhood. When she married a Borghese prince and moved to Rome, she began to spend more time at the old convent, which she eventually inherited.
HAIR BY RICCARDO MONTELEONE FOR MASSIMO SERINI USING WELLA; MAKEUP BY RAMONA SCANCELLA FOR MASSIMO SERINI USING ARMANI
CLOCKWISE FROM FAR LEFT STUART BARFOOT DESIGNED THE GARDENS. JACARANDA, AT RIGHT IN MISSONI, STROLLS WITH HER CHILDREN ALESSANDRO AND INDIA, WHO WEARS PHILOSOPHY DI LORENZO SERAFINI. IN ALESSANDRO’S BATH, AN IKAT PRINT BY SWAVELLE/MILL CREEK FABRICS CURTAINS THE DEVON&DEVON TUB; CEMENT WALL TILES BY MOSAIC DEL SUR. IN A LIVING ROOM, BESPOKE SOFAS WEAR WILLIAM YEOWARD FOR DESIGNERS GUILD FABRICS. MARIO SCHIFANO PAINTING, MADELINE WEINRIB RUG.
“I like the buzz of the farm,” says Jacaranda, who claims to be practically self-sufficient. AR C H DI G E S T. CO M
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Jacaranda’s style owes something to the unpretentious chic of her American grandmother.
A PORTRAIT OF JACARANDA’S GRANDMOTHER SURVEYS THE LIBRARY. TOM DIXON PENDANT LIGHT, TERRA-COTTA SCULPTURE BY NIKI DE SAINT PHALLE. OPPOSITE DACHSHUNDS ARTÙ AND NIKI STAND GUARD IN THE DINING ROOM, WHERE A MADELEINE CASTAING BY BRUNSCHWIG & FILS WALLPAPER BORDER CREATES A FRAME. ENGLISH REGENCY DINING TABLE AND CHAIRS, VOCATURI SCONCE.
LEFT A GUCCI DRESS IS LAID ON AN ITALIAN EMPIRE BED OUTFITTED WITH ADA GIOVANNELLI LINENS. ANTIQUE ITALIAN ARMCHAIRS ARE CUSHIONED WITH A VINTAGE PRINTED COTTON; TUSCAN EMPIRE COMMODES. OPPOSITE IN A SALON, A BENCH AND ARMCHAIRS ARE DRESSED IN A MANUEL CANOVAS VELVET. DOGS LOUNGE AMONG SILK CUSHIONS. MOROCCAN BRASS PENDANT, NEAPOLITAN TILE FLOOR.
When it came to fabrics, “the funkier, the better,” Jacaranda says.
“I like the buzz of the farm,” the indefatigable Jacaranda explains—she claims to be practically self-sufficient and is cofounder of Wellbeing by Giaca, an organic-supplement company—but a path on the property leads to a wonderland that’s far from rustic. In 1979 her father, Carlo, and uncle Nicola gave the feminist artist Niki de Saint Phalle the land on which to realize a Tarot-inspired sculpture garden. (Its writhing wonders inspired Maria Grazia Chiuri’s spring 2018 Dior collection.) Jacaranda is continuing the family’s cultural philanthropy: Last July she brought Ilya and Emilia Kabakov’s itinerant Ship of Tolerance sculpture, which has life-size sails painted by local schoolchildren, to Maremma. “We want to keep our hearts open to those who need to migrate now,” she says. Urbane Roman decorator Tommaso Ziffer helped with the house, although the interventions are minimal. For inspiration, Jacaranda assembled favorite images on a Pinterest board— stripes, toiles de Jouy, and the daintily high-style interiors of the decorator Madeleine Castaing, who also celebrated the unusual greens and blues in which Jacaranda delights. Artists transformed the drawing room’s whitewashed walls with a eucalyptus wash and painted the library arsenic-green. The latter spot is filled with old bound volumes of the innovative leftist newspaper La Repubblica and the weekly magazine L’Espresso, both cofounded by Jacaranda’s father and famed for their powerful graphics. The house also owes something to the style of her American grandmother Margaret Clarke (born to a mayor of Peoria, Illinois), whose meltingly pretty debutante portrait hangs in the library. The Midwestern princess’s taste for unpretentious
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comfort was instilled in Jacaranda’s aunt Marella Agnelli, who deflated the splendor of her own world-class artworks by hanging them in roomscapes of wicker furniture and sprigged cotton. Similarly, Jacaranda and Ziffer sleuthed kinetic upholstery fabrics (“the funkier, the better!” she declares) to dress the commodious sofas and armchairs that came with the house. The most dramatic change, Jacaranda confesses, is the garden. “It was fantastic but very claustrophobic,” she recalls. “My father didn’t like to eat outside. A little bit of outside air to have a drink, perhaps, and then he’d repair inside to play chess and watch videos.” Visitors bemoaned the want of a view, so Jacaranda fearlessly toppled stone walls and axed shadowing trees. “The first few months, it looked like a lunar landscape,” she recalls. “I thought I had made the biggest mistake on Earth.” Today the house commands a scintillating vista down the hill to a World Wildlife Fund nature reserve and the azure waters of the Tyrrhenian Sea. (It’s not all sunbathing, though— a hip nightclub is being planned that will be a locus for the region’s social life.) The refreshed garden, meanwhile, created with landscape designer Stuart Barfoot, is already a mass of crimson and blush-white roses. “This open space changed our life,” says Jacaranda, surveying her bucolic domain. “Because we have so many in the house in summer, we always plan lunch and dinner for 25.” In the balmy heat of high summer, essential protection is provided by a new pergola, tumbling with white wisteria and shaded by— what else?—a jacaranda tree, its spreading branches engulfed by a cloud of flamboyant purple blossoms.
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. MODERN FAMILY PAGES 34–47: Landscape design by Bradley-Hole Schoenaich Landscape; bhsla.co.uk. PAGES 34–35: On chairs, various linens from the Cloth Shop; theclothshop.net. Flowers and vases from Flowerbx; flowerbx.com. PAGE 37: Xila kitchen by Boffi; boffi.com. PAGES 38–39: On walls, (similar) Grasscloth wallpaper, in wheat, by Hinson & Co. from Donghia (T); donghia.com. On ottoman, (similar) Josef Frank Exotic Butterfly fabric by Schumacher (T); fschumacher.com. 2-seater Standard Arm Signature sofa by George Smith (T) (at left); george smith.com. On 3-seater Standard Arm Signature sofa by George Smith (T) (at right), Lubeck cotton velvet, in eggplant, by Brunschwig & Fils (T); brunschwig.com. Wooden jigsaw puzzle by Par Puzzles; parpuzzles .com. PAGES 42–43: Bed curtain and canopy of linen from the Cloth Shop; theclothshop.net. Bedding from Monogrammed Linen Shop; monogrammedlinenshop.com. PAGE 44: New Zealand sheepskin rug, in ivory, from the Conran Shop; conranshop.co.uk. PAGE 45: Stella Corner sofa by Sofa.com; sofa.com. Warren Platner coffee table by Knoll; knoll.com. DOMESTIC BLISS PAGES 48–55: Interiors by Nate Berkus Assoc.; nateberkus.com. Architecture by Core Development Group; coredgroup.com. Custom curtains throughout by Interior Specialties Group (T); interiorspec .com. PAGES 48–49: Poul Kjærholm– style PK80 daybed from Modern Classics Furniture; modernclassics .com. On armchairs, Cato wool-blend, in ivory, by KnollTextiles; knoll.com. Japanese Sakiori lumbar pillows by Commune Design; communedesign .com. Aurum candle by Baobab Collection; baobabcollection.com. Set of three Viva brushed brass tables by Kravet (T); kravet.com. Jute rug and Charlton floor lamp, both by RH; rh.com. Kreten side tables by Isaac Friedman-Heiman from Souda; soudasouda.com. PAGE 50: Pendant Leaner mirror by RH; rh.com. Raw concrete bench by Teak Warehouse; teakwarehouse.com. PAGE 51: In pool area, Kuba teak sun loungers (in foreground) and armless club chairs
(in background) by Teak Warehouse; teakwarehouse.com; all in acrylic fabric, in white, by Sunbrella; sunbrella.com. Cast concrete cylinders by RH; rh.com. Platinum candle by Baobab Collection; baobabcollection .com. PAGES 52–53: In master bedroom, Sullivan platform bed by RH; rh.com. Floor cushions by Adam Pogue for Commune Design; communedesign.com. Melt copper pendant lights by Tom Dixon; tomdixon.net. Reclaimed Russian Oak Closed nightstands and Milo Baughman Model #3418 chair, both by RH. Dunne stool by Kravet (T); kravet.com. Cuir de Russie candle by Baobab Collection; baobabcollection .com. Chunky braided wool rug by RH. In master-bedroom sitting area, CB-457 Geometric daybed by BassamFellows; bassamfellows.com. Charles and Ray Eames Molded Plywood Lounge chair by Herman Miller; hermanmiller.com. Ceramic vessel by Eric Roinestad for the Future Perfect; thefutureperfect.com. Shag wool rug by Woven (T); woven .is. Cowhide Fino rug by RH. PAGE 54: In outdoor dining area, Bistro Modern dining chairs by Teak Warehouse; teakwarehouse.com. Custom concrete table by James De Wulf; jamesdewulf.com. In living room, Royce Fabric Chaise, in bisque, by RH Modern; rhmodern.com. Clarkson floor lamp by Aerin from Circa Lighting; circalighting.com. Full polished fossil stool by Noir; noirfurniturela.com. Cowhide rug by Gaucho Cowhide Rugs; gaucho cowhides.com. In dining room, Hans Wegner Wishbone chairs for Carl Hansen & Son from Design Within Reach; dwr.com. Tulu wool rug by Woven (T); woven.is. Katy pendant lighting by Light Cookie from Etsy; etsy.com. In entry, Matter lamp by Schoolhouse Electric & Supply Co.; schoolhouse.com. Glass sculpture by John Hogan for the Future Perfect; thefutureperfect.com. Vintage Maison Raphael console from 1stdibs; 1stdibs .com. PAGE 55: Pinstripe Flatweave rug, in blue/ivory, by RH; rh.com. Callum bunk bed by RH Teen; rhteen .com. Willow Swingasan hanging chair by Pier 1 Imports; pier1.com. Icelandic sheepskin throw by CB2; cb2.com. Natalia side table by CFC; customfurniturela.com. Helix Acacia bookcase by CB2. BOLD CHOICE PAGES 56–61: Interiors by Muriel Brandolini; murielbrandolini.com. Architecture by Labo Design Studio; labodesignstudio.com. PAGES 56–57: Tranche cocktail table by Ludwig & Dominique; ludwigetdominique.com. Gino Sarfatti for Arteluce 2042/6
ARCHITECTURAL DIGEST AND AD ARE REGISTERED TRADEMARKS OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT © 2018 CONDÉ NAST. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A.
VOLUME 75, NO. 2. ARCHITECTURAL DIGEST (ISSN 0003-8520) is published 11 times a year 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; Pamela Drucker Mann, Chief Revenue & Marketing Officer. Periodicals postage paid at New York, NY, and at additional mailing offices. Canada Post Publications Mail Agreement No. 40644503. Canadian Goods and Services Tax Registration No. 123242885-RT0001. POSTMASTER: Send all UAA to CFS. (See DMM 507.1.5.2); NON-POSTAL AND MILITARY FACILITIES: Send address corrections to ARCHITECTURAL DIGEST, P.O. Box 37641, Boone, IA 50037-0641.
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chandelier from Galerie Kreo; galeriekreo.com. Sofa by Éric Gizard; ericgizard.com; in Giorgio viscose velvet, in yellow ochre, by Sacho from Donghia (T); donghia.com. PAGE 58: In office/guest bedroom, on walls, Zosa cotton, in chalk stone leaf, by Harlequin from Style Library (T); stylelibrary.com. On custom cork bed by City Joinery; cityjoinery.com; Compartment cotton, in 466154–002 golden, by Maharam (T); maharam .com. Custom pillows by Brenda Colling; brendacolling.com; in corduroys by Holland & Sherry (T); hollandsherry.com. Rug by Fedora Design; fedoradesign.com. In foyer, rug and custom stair runner by Fedora Design. Runner fabricated by Studio Four NYC; studiofournyc .com. PAGE 59: In bedroom, Erica chaise by Vladimir Kagan from Holly Hunt (T); hollyhunt.com. Propogation console by Hervé Van der Straeten from Ralph Pucci; ralphpucci.net. On walls, patterned Adobe Handstitch Sunbrella acrylic, in navy ecru, by Quadrille (T); quadrillefabrics.com. Carpet by Studio Four NYC; studiofournyc.com. In dining room, Roland Rainer dining chairs from 1stdibs; 1stdibs.com. Custom table by City Joinery; city joinery.com. Dinnerware by L’Objet; l-objet.com. Napkins by Sferra; sferra .com. On walls, Mechanism fabric, in bronze, by Maharam (T); maharam.com. NAUGHTY BY NATURE PAGES 62–73: Custom pieces throughout by Alexandre de Betak. PAGE 62: Vintage ceiling lights from Off the Wall Antiques; offthewallantiques.com. Pole by Platinum Stages; platinumstages.com. On walls, mirrors by Olde Good Things; ogtstore.com. On table, lights from Canal Lighting and Parts; 212-343-0218. PAGE 63: Custom sofas fabricated by Tania Kovalenko; taniakovalenkoltd.com; in fabric by Gray Lines Linen; graylinelinen.com. Custom tatami mats by Miya Shoji; miyashoji.com. PAGES 64–65: In kitchen, sink fittings by Chicago Faucets; chicagofaucets.com. Étienne Fermigier for Mirima barstools from Pamono; pamono.com. Pendant light from Galerie Meubles et Lumières; meublesetlumieres.com. PAGE 66: On bed, vintage throw from Paula Rubenstein Ltd.; paularubenstein.com. Curtains of fabric by Gray Lines Linen; graylinelinen.com; fabricated by Tania Kovalenko; taniakovalenkoltd.com. PAGE 67: Floor lamp by Franz West from 1stdibs; 1stdibs.com. Flooring from Creative Floor Solutions; creativefloorsolutions.com. Velvet armchairs from Galerie Berger;
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.
+33-3-8022-0979. PAGES 68–69: Armchairs and sofa from Galerie Berger; +33-3-8022-0979. Cashmere throw by Gabriela Hearst; gabriela hearst.com. Vintage stool from Paula Rubenstein Ltd.; paularubenstein .com. PAGE 70: In bath, cast-iron skirted bathtub and towel rack by Drummonds; drummonds-uk.com. Tub filler by Lefroy Brooks; lefroybrooks.com. Vintage mirror and stools from Paula Rubenstein Ltd.; paularubenstein.com. PAGE 71: In main room, Broadway chairs by Gaetano Pesce from 1stdibs; 1stdibs.com. Crane lamp by Curtis Jeré from 1stdibs. ANGLO ATTITUDE PAGES 76–81: Landscape design by Doyle Herman Design Assoc.; dhda.com. UNDER THE TUSCAN SUN PAGES 86–93: Architecture and interiors by Tommaso Ziffer; tommasoziffer.it. Landscape design by Stuart Barfoot Garden and Landscape Design; stuartbarfoot.com. PAGES 86–87: On chairs, pillows of Romeo & Giulietta silk velvet, in pino, by Dedar (T); dedar.com. Brooke Tibetan rugs by Madeline Weinrib; madelineweinrib.com. PAGES 88–89: In living room, on sofas (similar, left to right), Bude fabric, in ink, and Elena Denim fabric by William Yeoward for Designers Guild (T); designersguild.com. Mandala Tibetan carpet, in blue, by Madeline Weinrib; madelineweinrib.com. Lampshade by L.A.R.; paralumi.it. In Alessandro’s bathroom, shower curtain of Atoosa fabric, in dark denim, by Swavelle/ Mill Creek Fabrics (T); swavelle hospitality.com. On walls, 10593 tiles, in white, dark gray, camel, and brown, by Mosaic del Sur; mosaicdelsur.com. Draycott tub by Devon&Devon; devon-devon.com. Tub filler by Ponsi; ponsi.it. Shower enclosure ring by Hudson Reed; hudsonreed.com. Terra-cotta floor tiles by Fornace Biritognolo; fornacebiritognolo.it. PAGE 90: Wall finish by Philippe Gandon; +39-3-4838-11848. Lola Montez wallpaper border, in emerald/ blue, by Madeleine Castaing from Brunschwig & Fils (T); brunschwig .com. Sconce by Vocaturi; vocaturi artedelferro.it. PAGE 91: Copper Shade pendant light by Tom Dixon; tomdixon.net. On walls, paint finish by Picta Lab; pictalab.com. PAGE 92: Bedding by Ada Giovannelli; adagiovannelli.com. Lampshades by L.A.R.; paralumi.it. PAGE 93: Lampshade by L.A.R.; paralumi.it. On bench and armchairs, (similar) Texas cotton blend, in cardinal, by Manuel Canovas (T); cowtan.com.
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last word
Every August, some 70,000 creative souls descend upon Nevada’s Black Rock Desert for Burning Man, a weeklong festival of self-expression, total inclusion, and communal living. Radical dwellings and infrastructure appear out of nowhere only to then be completely disassembled, vanishing without a trace. Those of us who have never had the pleasure—or perhaps courage—to go will soon have the opportunity to live vicariously at the Smithsonian American Art Museum’s Renwick Gallery in Washington, D.C. Opening on March 30, its new exhibition “No Spectators: The Art of Burning Man” captures the experimental ethos through three stories of archival photographs, ephemera, jewelry, and costumes, as well as installations by the likes of Leo Villareal, Christopher Schardt, and Michael Garlington and Natalia Bertotti. (Pictured is Totem of Confessions, Garlington and Bertotti’s 2015 chapel of paper, plaster, and wood.) Seasoned Burners, meanwhile, can expect to find the same free spirit—just none of the dust. Through September 16; americanart.si.edu —SAM COCHRAN
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SCOTT LONDON
Hotbed of Creativity