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THE INTERNATIONAL DESIGN AUTHORITY MARCH 2021

POWER PLAYERS SERENA WILLIAMS dazzles at home in florida

TADAO ANDO completes his paris masterpiece L.A. legend SUZANNE RHEINSTEIN dreams big JACQUES GRANGE reinvents french chic PLUS rising stars coast to coast

HERE FOR THE FUTURE Humanitarian Indira Scott in Christopher John Rogers

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CONTENTS march

A MONTECITO HOME TAKES IN THE SANTA YNEZ MOUNTAINS.

16 Editor’s Letter 18 Object Lesson

How Charlotte Perriand’s simple 1960s reading light became a dazzling insider favorite. BY HANNAH MARTIN

21 Discoveries

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POOLSIDE AT SERENA WILLIAMS’S FLORIDA RESIDENCE.

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FROM TOP: LAURA RESEN. LELANIE FOSTER.

AD visits designer Michelle R. Smith’s home... David Yurman’s Elements collection embraces the healing power of the circle... Our favorite accent pillows... Kelly Wearstler teams up with Farrow & Ball... A dream day in London... Glass sculptor Hugh Findletar’s fantastic creations... Zandra Rhodes’s collaboration with Savoir... A state-of-the-art museum honors Edvard Munch... Radnor, a mecca for artisanal treasures, settles into a Manhattan aerie... Botswana’s Xigera Safari Lodge... Ulla Johnson’s new showroom... and more!

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CONTENTS march

OLD WORLD MEETS NEW IN A PARIS MANSION.

AN L.A. DWELLING EVOKES AN ELABORATE TREEHOUSE.

80 Double Vision

84 Forward Thinking

Looking back to envision a hopeful future, Apparatus crafts its most ambitious collection yet. BY HANNAH MARTIN

86 Wild at Heart 56 Glam Slam

Serena Williams serves high glamour in a house designed in collaboration with her sister Venus. BY ELAINE WELTEROTH

64 Put a Ring on It

Inside a Paris mansion, Jacques Grange presides over an eyepopping marriage of past and present. BY MITCHELL OWENS

SERENA WILLIAMS IN GUCCI AND SERENA WILLIAMS JEWELRY. “GLAM SLAM,” PAGE 56. PHOTOGRAPHY BY LELANIE FOSTER. STYLED BY MIEKE TEN HAVE. FASHION STYLING BY KESHA MCLEOD.

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76 Play Time

Breakout Angeleno architect Jerome Byron steps into the spotlight with an experimental guesthouse in Los Feliz. BY HANNAH MARTIN

Charlap Hyman & Herrero channels the outré sensibility of its clients in a Los Angeles abode. BY MAYER RUS

98 Personal Best

With an assist from Bories & Shearron Architecture, doyenne of L.A. decorating Suzanne Rheinstein crafts a getaway in Montecito. BY MICHAEL BOODRO

110 Resources

The designers, architects, and products featured this month.

112 One to Watch

Megumi Shauna Arai’s handstitched textiles spark the imagination. BY HANNAH MARTIN

Tadao Ando, alongside François Pinault, reimagines Paris’s Bourse de Commerce as an extraordinary art space. BY DANA THOMAS

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DIY INSPIRATION FROM THE ISSUE

Making an Entrance

For her own home in Bellport, New York (page 21), interior designer Michelle R. Smith set the mood by lining the stair hall in Hamilton Weston’s Charlecote Trellis— a pretty, pared-back wallpaper that’s equal parts charm and sophistication. Looking to make a similarly polished statement? Here are some favorite patterns that sing just so.... 14

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editor’s letter

1. A TRIPPY WOODLANDTHEMED BEDROOM BY CHARLAP HYMAN & HERRERO IN AN L.A. HOUSE. 2. THE SALON IN A PARIS HOME DESIGNED BY JACQUES GRANGE. 3. SERENA WILLIAMS HOLDS COURT IN FLORIDA. 4. WILLIAMS’S WATERFRONT POOL. 5. WITH COVER STORY WRITER ELAINE WELTEROTH (IN BERET) AND MARIE SUTER AND PHILLIP PICARDI. 6. SUZANNE RHEINSTEIN’S MONTECITO, CALIFORNIA, GETAWAY.

her house. Working with her sister Venus—and her design firm V Starr—the pair spent three years gut-renovating a sprawling waterfront Florida property, transforming it into Serena’s specific vision of nirvana, which includes a hidden karaoke bar, a private trophy room, and an unexpected, airy modern-art gallery where the living room used to be. “Serena is not formal,” Venus tells writer Elaine Welteroth. “She is fun-loving, she’s very free.” That independent spirit sets the tone for an issue brimming with confident owners living large and on their own terms. Describing the wishes of his Russian client, the new owner of an opulent, historic hôtel particulier in Paris, AD100 4 Hall of Fame design legend Jacques Grange says simply, “He wanted a palace, not a house.” Stateside, the newly inducted AD100 firm Charlap Hyman & Herrero fashioned a witty, maximalist playground for an L.A. couple who also used the word fun in their design brief. Of his Technicolor fantasy land, owner Yoram Heller notes, “This house gives people permission not to take things too seriously.” I teared up reading Michael Boodro’s 5 touching story of L.A. decorating doyenne Suzanne Rheinstein (recall her lovely, influential Los Angeles store Hollyhock) and the serenely beautiful, very personal Montecito getaway she has created expressly to suit herself, at this precise moment in her life. She too invoked fun. A word to live by.

AMY ASTLEY Editor in Chief @amyastley

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1. LAURE JOLIET. 2. FRANÇOIS HALARD. 3 & 4. LELANIE FOSTER. 5. AMY ASTLEY. 6. LAURA RESEN.

SUPERSTAR SWAGGER. Serena Williams has it, and so does

D I O R B O U T I Q U E S 8 0 0 .9 2 9. D I O R ( 3 4 67 ) D I O R . C O M

object lesson

THE STORY BEHIND AN ICONIC DESIGN

Open and Shut

How Charlotte Perriand’s simple 1960s reading light became a dazzling designer favorite

1. CHARLOTTE PERRIAND SCONCES ACCENT A NEW YORK CITY HOME DECORATED BY JULIE HILLMAN. 2. THE BATH IN A SÃO PAULO RESIDENCE BY ISAY WEINFELD. 3. CHARLOTTE PERRIAND’S APPLIQUE À VOLET PIVOTANT. 4. A CEILING FIXTURE COMPOSED OF PERRIAND SCONCES IN FASHION DESIGNER STEFANO PILATI’S PARIS HOME.

4 18

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1. MANOLO YLLERA. 2. NGOC MINH NGO. 3. COURTESY OF THE COMPANY. 4. BJÖRN WALLANDER.

n the midst of building her own chalet in the French Alps, in the early 1960s, the endlessly innovative designer Charlotte Perriand needed a small lamp for reading in bed that wouldn’t irritate her husband. She placed a wall-mounted bulb behind a simple aluminum shutter that could swivel to send light up or down, varying in brightness. The so-called applique à volet pivotant, or wall lamp with swivel shutter, is a perfect example of what Perriand’s daughter, Pernette Perriand-Barsac, calls “architect’s lighting, which plays with volumes and proportions as an architectural element to make space sing,” a 2 common theme in Perriand’s projects. It did, indeed, make the room sing. And not just her own. In the 1970s the appliques were installed in the living quarters of the Perrianddesigned ski resort Les Arcs in Savoie. And in the years to come, a modular system emerged (three different sizes and a range of colors) and was used en masse, to beautiful effect. Despite its utilitarian spirit and friendly price tag, Perriand’s applique, produced in small batches by engineer Steph Simon and a string of local artisans, didn’t find mass distribution until recently. In 2011, Italy’s Nemo Lighting began producing the fixture at an industrial scale (from $423). “It’s very seldom that an architect creates something for their own house that becomes so universal,” explains Nemo’s owner and CEO, Federico Palazzari, “that their own taste and way of thinking is aligned with the needs of the human being.” But Perriand’s design did just that, catching the eyes of tastemakers like the late Italian Vogue editor Franca Sozzani and fashion designer Stefano Pilati. AD100 talent Julie Hillman praises its versatility. “I’ve used 20 of a single color on a wall in one project and eight multicolored ones in another,” she explains. “The possibilities are unlimited.” nemolighting.com —HANNAH MARTIN

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DISCOVERIES

THE BEST IN SHOPPING, DESIGN, AND STYLE

EDITED BY SAM COCHRAN

DESIGNER MICHELLE R. SMITH WITH HER DOG, INGY, AT HOME IN BELLPORT, NEW YORK; THE LEAVES OF HER ANTIQUE CHARLES DUDOUYT TABLE OPEN TO CREATE A DOUBLE DESK WHENEVER HER TEAM COMES TO VISIT.

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Leaving Her Mark

At home on Long Island, designer Michelle R. Smith flouts convention with personality and poise P HOTOGRAPHY BY N GOC MI NH NGO

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DISCOVERIES

overing up a window, forgoing proper kitchen cabinetry, painting shutters to match the clapboard façades.… Such notions are, to the pearl-clutching decorati, anathema. But designer Michelle R. Smith has never been one to abide by convention. Case in point: the 1857 house that she recently transformed in Bellport, New York, a charm-filled village on the south shore of Long Island. Over a matter of weeks, this rising star updated the Greek Revival residence into an eclectic nest for her young family, cleverly challenging the rules of good taste along the way. The four-bedroom property, though historic, had languished on the market on account of its formal interiors and outdated systems. “There was no air-conditioning, no laundry room,” she recalls. “It seemed overwhelming to a lot of people, but I was like, ‘This is the perfect project.’ ” After buying the home in late 2018, she set about tweaking the layout—adapting the kitchen as a laundry room, carving out a second upstairs bathroom, and reimagining what had been a music room as an eat-in kitchen, with freestanding worktables in lieu of cabinetry. At its center, Børge Mogensen chairs pull up to a farm table, with unexpectedly industrial fixtures shining overhead, among them a vintage pendant for film lighting. But a Nancy Meyers movie set this is not. “I don’t like a kitchen that screams kitchen,” muses Smith, noting that a pantry and open shelving in an adjacent hallway provide ample storage. “That doesn’t work with a lot of clients, but it works for me.” Throughout the house, she relished that freedom. To add closets to a bedroom, she covered over a window with wallpapered doors. Against others’ advice, she painted the shutters in the same white as the façade. And whereas purists might have torn down an awkward addition, she thought jackpot—a playroom for her two-year-old son, Bash. “It’s really nice to not have to be so precious about things.”

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1. BRUNO WIDMANN PAINTINGS HANG ABOVE THE LIVING ROOM’S SOFA, AN AUCTION FIND; SHEER CURTAINS OF B&J FABRIC. 2. SMITH AND INGY WITH HER SON, BASH, BY THE ORIGINAL FRONT DOOR. 3. THE KITCHEN FEATURES STANDING WORK TABLES IN PLACE OF CABINETRY; VINTAGE PENDANT. 3

T H E V I C TO R I A H AG A N CO L L EC T I O N AVA I L A B L E F O R R O M A N S H A D E S A N D D R A P E R Y E XC L U S I V E LY AT T H E S H A D E S TO R E S H O W R O O M S N AT I O N W I D E

T H E S H A D E S TO R E .C O M

8 0 0 . 7 5 4 .1 4 5 5

DISCOVERIES That carefree vibe radiates throughout the rooms, which eschew trends in favor of comfortable furnishings, all but a handful of them repurposed from her previous house in Sag Harbor. “I barely had a mood board,” she recalls. “I would just throw things on the trays in our office.” Those included client castoffs like the Charlecote Trellis wallpaper by Hamilton Weston that lines the stair hall. Fabrics run the gamut from fine (elegantly wrinkled Christian Fischbacher silk for curtains) to fuss-free (pleasantly affordable finds from B&J for sheers and a bedspread). And artwork tends toward the abstract and inexpensive, with a $10 anonymous painting from a frame shop joining several auction finds. In many ways, her style is a study in second chances and defied expectations. By her own admission, she is “not a pillow person.” She’s vehemently “anti–recessed lighting.” And she forgoes down comforters, which she finds look messy, in favor of crisply tailored coverlets. “I’m trying to bring people back to dressing the bed. It’s often the most square footage in the room, and yet everybody waits until the very last minute to design it.” Meanwhile, traces of her Louisiana roots remain, among them an affinity for screened porches and a fish that she caught on a trip to Costa Rica—proof that you can take the girl out of the bayou but not the bayou out of the girl. Home, thankfully, is where you can keep things spontaneous, surprising, and personal. Says Smith: “The great thing about doing your own house is you don’t have to wait for an answer from anyone else.” —SAM COCHRAN

1. COLEFAX AND FOWLER WALLPAPER LINES A BEDROOM WHERE SMITH BOLDLY COVERED A WINDOW WITH CLOSETS. 2. THE SCREENED PORCH NODS TO HER LOUISIANA ROOTS.

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3. IN BASH’S ROOM, VINTAGE SCONCES ACCENT BUILT-IN BUNK BEDS; CURTAINS OF HOLLAND & SHERRY FABRIC.

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DISCOVERIES

DETAIL ORIENTED

You Spin Me Round

David Yurman embraces the healing power of the circle “The circle is a powerful symbol of unity, a line that never ends, so we decided going forward that it would become our messenger, carrying our vision of inclusivity, wholeness, and hope,” says jewelry designer, sculptor, and philanthropist David Yurman, recalling a creative process that took place during a highly tumultuous 2020. What resulted is the new Elements collection, conceived with his painter wife, Sybil, cofounder and co-CEO of the eponymous Manhattan-based company that they established as newlyweds 41 years ago. (Son Evan is chief creative officer.) Expanding on the brand’s hallmark cable motif, Elements’ unisex gold or silver hoop necklace can be left unadorned or hung with reversible pendants fashioned of malachite, mother-of-pearl, tigereye, and other semiprecious stones, as well as pavé diamonds. The effect is transportingly classical—one can easily imagine seeing it at all the best places in ancient Greece—but it also offers a modern simplicity that can go from boardroom to beach. “Like all our jewelry, it’s about harmony, balance, and what really touches us,” Sybil explains. “Stones are elements, and the disc you choose is a reflection of your emotional self.” And, of course, the color of the outfit you’re wearing. davidyurman.com —MITCHELL OWENS

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DISCOVERIES

DEBUT

Ray of Light

1. KELLY WEARSTLER AT THE FARROW & BALL LABORATORY IN DORSET, ENGLAND. 2. HAZY. 3. FADED TERRACOTTA. 4. A WEARSTLERDESIGNED LIVING ROOM PAINTED IN CITRONA. 5. FADED TERRACOTTA MAKES A SUBTLE SPLASH IN A DINING ROOM BY WEARSTLER. 4

Kelly Wearstler spreads a little sunshine in her new palette of paint colors for Farrow & Ball

1. HARRY CROWDER. 2 & 3. COURTESY OF THE COMPANY. 4 & 5. TREVOR TONDRO.

f there are two things that Kelly Wearstler knows all about, they are color and California. When the paint mavens at Farrow & Ball tapped the Los Angeles–based AD100 talent to conceive a palette of signature hues—the company’s first collaboration with an outside designer since its founding in 1946—it’s no wonder that she immediately turned to the Golden State for inspiration. “People think of California as the land of free spirits and dreamers, the place you look for the new, next thing,” she muses. “I wanted to capture the essence of that romantic image in colors that reflect California’s incredible light and beauty.” The eight hues in Wearstler’s initial offering take their cues from everything from sunbaked highways (Tar) to lemon trees (Citrona) to the crystalline residue of the Pacific air (Salt). “Kelly’s colors may be a bit of a departure for us, but they work beautifully with our traditional palette. All of the colors have significant amounts of black, lots of depth, and a chalky quality that are consistent with the Farrow & Ball aesthetic,” explains Charlotte Cosby, the company’s head of creative. For Wearstler, the timing of the new collection seems right on the money. “I wanted to create a range of hues that feel optimistic and evocative. Even the neutrals capture that feeling,” she insists. “When I was working at the Farrow & Ball lab in Dorset, the days were dark and dreary, typically English, but the colors felt bright and cheerful. After the year we just had, who doesn’t want a little cheer?” farrow-ball.com —MAYER RUS 5

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DISCOVERIES TOAST OF THE TOWN

Cozy Up

Raising a glass to a dream day in London ...

INSIDER LONDON Given Robin Standefer and Stephen Alesch’s recent commissions in London—Grafton Square, a private club, is under way—it’s no wonder that the husband-and-wife principals of Roman and Williams have taken the city to heart. “Two favorite places are Sir John Soane’s Museum, which has such a sense of compression and expansion, and the Chelsea Physic Garden, which is refined and precise but accessible,” Standefer says. Tucked away in a mews,

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Petersham Nurseries (right) “has the most wonderful plants, plus a restaurant and shop.” The study galleries at the Victoria and Albert Museum are like “a million art-history classes rolled into one: I love the cases, the density of objects, and the colors.” Come dinnertime, Standefer and Alesch head to Wiltons, a posh little seafood spot that dates to 1742. “It’s not trendy in the best way. My rule of thumb is if the cool kids question something you like, you know you’ve done the right thing.” —M.O.

INTERIOR: SIMON UPTON. EXTERIOR: KEIKO OIKAWA.

hen the U.K. is safely abuzz with revelers once more, there will be no cozier spot for a nightcap than NoMad London, American hotelier Andrew Zobler’s new British outpost. Occupying the looming old Bow Street Magistrates’ Courts, where Oscar Wilde was tried for “gross indecency” in 1895, it features a lush bar and dining space called the Fireplace Room. Located off the jungle-like atrium (the former police yard) and wrapped with a blossoming Zuber wallpaper, “it is a jewel of a space, an interpretation of a garden that you enter from a real garden room, stepping from something grand into something that’s almost a whisper, which is a guiding principle of our work,” says Robin Standefer of AD100 firm Roman and Williams, which blended bleached English oak, blue velvet, and, yes, a vast fireplace. “It feels very domestic and collected, like the country houses we visited when we were planning the British Galleries at the Metropolitan Museum of Art.” The Fireplace’s signature Royal Martini, though, is pure NoMad, an urbane quaff composed of gin, an herb-infused wine, sherry, pear brandy, Benedictine, and a soupçon of saffron. thenomadhotel.com —MITCHELL OWENS

WAT E R W O R K S . C O M

Mixed Metals

Introducing

DISCOVERIES THE JAMAICAN-BORN ARTIST HUGH FINDLETAR IN A MURANO GLASS STUDIO WITH SOME OF HIS MOST RECENT FLOWERHEADZ VASES.

ART SCENE

Face Value

Glass sculptor Hugh Findletar turns heads with anthropomorphic vessels of exuberant spirit and beauty

and-blown in the form of friendly faces, Hugh Findletar’s signature glass vases are so full of personality that he refers to them as Flowerheadz. “I’m creating a population,” reflects the Jamaican-born artist, now based between Milan and Venice and working out of the historic Murano ateliers. “The glass takes on its own form based on the heat, so the control you have is limited. One brother will come out a certain way, and its sister will come out looking a little different. It becomes like a family.”

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Trained as a fine-art photographer, with a focus on floral still lifes, Findletar arrived at his current calling thanks to a vision. After returning from a trip to Kenya, where he picked up a number of wooden masks at a Maasai market, he was inspired to sculpt his own versions from glass, one of which he set on his bedside table. “I was lying down one day, and the mask started talking to me,” he recalls. “It was like, ‘Oh, my goodness, if I was on a vase with flowers on top it would be wow.’ ” When he approached the island’s master artisans with the idea, he recalls, “everything was a ‘No, we can’t do it.’ So you go, ‘Yes! Let’s do it!’ ” To create a single vessel—which can weigh up to 50 pounds—requires the labor-intensive help of eight craftsmen, with each step veiled in secrecy. “The person who mixes the formula will never tell you his family recipe,”

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DISCOVERIES 1. AN ASSORTMENT OF HIS LATEST FLOWERHEADZ VASES, SO NAMED FOR THE BOUQUETS HE ADDS TO THEM. 2. IN A DEPARTURE, NEW PIECES ASSUME ANIMALISTIC FORMS, LIKE THIS HORSESHAPED VESSEL.

a piece after attending an exhibition in Paris in 2019. Findletar’s creations have also taken center stage in the windows at Dolce & Gabbana and Pomellato boutiques around the world. “My girls are working like models,” jokes the artist, who has tapped leading international floral designers like Eric Buterbaugh and Stéphane Chapelle to style the works. “It’s like having Jimmy Paul coming in to do the heads.” On the horizon is a collaboration with French candlemaker 1 Buly 1803, as well as tumblers, which, Findletar explains, will be made especially for whomever is drinking from them. (“Each family member will pick their color. It’ll take two weeks says Findletar, noting that one collaborator is a sixth-generation and then ships.”) He’s also been exploring animalistic forms, glassblower. Compared to that, he laughs, “I’m in kindergarten, such as owls like the one who would seemingly call his name from outside his grandparents’ window in Jamaica. “Hoo, even after 10 years.” hoo, hoo,” he echoes. “I was frightened out of my mind. Then Taste-making collectors might beg to differ. Miuccia Prada was among the first to discover Findletar’s work, after a mutual I grew up and realized this bird is about wisdom.” Findletar is represented by The Spaceless Gallery; thespacelessgallery.com friend bought a vase en route to dinner at her home. Then came the Missonis and Naomi Campbell, who commissioned —JANE KELTNER DE VALLE

THINK PIECE

“Savoir is the emperor of beds,” says none other than Dame Zandra Rhodes, the pink-haired English fashion and textile designer. As the latest creative force to team up with the U.K. brand, she has reimagined her famous 1971 field-of-lilies motif (worn by everyone from Twiggy to Lauren Bacall to Carrie Bradshaw) for Savoir’s beloved beds. Clad in luxe cotton-velvet or textured linen, the design is available in eight hues (and custom colorways) including the grassy green that Rhodes chose for her own colorful London penthouse. As she gleefully reports over Zoom from a pile of pillows, “the bed is very happy here.” savoirbeds.com —HANNAH MARTIN

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SAVOIR: ALEXANDER JAMES

Dream Team

March 11– April 3, 2021

The Historic Hudson River School

AMERICAN INNOVATION An Exhibition and Sale* featuring nearly 100 paintings by our nation’s master nineteenth-century artists. Treasured in three centuries, these works by our nation’s master painters mark the inception of a uniquely American art.

REQUEST YOUR CATALOGUE Sanford Robinson Gifford (1823–1880) Study for “Morning in the Adirondacks, 1867 ” Asking price: $175,000

*view virtually or visit the gallery by appointment

Q U E S T R O YA L F I N E A RT, L LC Important American Paintings 903 Park Avenue (at 79th Street), Third Floor, New York, NY 10075 T: (212) 744-3586 F: (212) 585-3828 Hours: Monday–Friday 10– 6, Saturday 10–5 and by appointment EMAIL:

gallery @ questroyalfineart.com www.questroyalfineart.com

DISCOVERIES ARCHITECTURE

Rise and Shine

At the edge of Oslo, a state-of-the-art new museum honors legendary painter Edvard Munch

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1. OSLO’S NEW MUNCH MUSEUM, SLATED TO OPEN THIS SUMMER, WAS DESIGNED BY ESTUDIO HERREROS. 2. THE SUN (1912) BY EDVARD MUNCH, A VERSION OF THE MURAL HE CREATED FOR THE UNIVERSITY OF OSLO.

EXTERIOR: ADRIÀ GOULA. ART: COURTESY OF THE MUNCH MUSEUM.

pring was a recurring source of inspiration for Edvard Munch, whose vernal landscapes offered hopeful counterpoints to anguished icons like The Scream. But this spring marks an especially fresh start for Norway’s most famous painter (1863–1944). Along the radically transformed Bjørvika waterfront, finishing touches are being made to the new Munch museum, an eagerly anticipated showcase for the artist’s legacy. The striking structure—13 stories tall, with a cranked silhouette that bows to the city center—replaces the museum’s longtime home, where cramped quarters did inadequate justice to a painter in thrall to light and nature. Designed by the international architecture firm Estudio Herreros, the new museum features 11 exhibition halls of varied ceiling heights and square footages, offering diverse and dynamic showcases for a collection that comprises some 42,300 personal objects, including 26,000 works by the artist. 1 (Highlights include versions of The Scream and The Sun, Munch’s monumental mural at the University of Oslo.) In addition to long-term displays from this considerable trove, programming will include exhibitions devoted to kindred artistic spirits, both modern and contemporary. Built to Passive House standards, the museum is also a model of energy efficiency, with a goal to reduce greenhouse gas emissions by 50 percent over the life of the building. Natural ventilation, distinct climate zones, and innovative heating/ cooling systems all play their part, as do low-carbon materials, concrete among them. Enigmatic cladding of perforated, recycled aluminum, for instance, shields the interiors from the harsh Nordic sun, helping to prevent temperature fluctuations while seemingly shifting in color over the course of the day. “We knew that to propose a vertical museum was a risk,” says architect Juan Herreros, acknowledging local grumblings about the building’s nearly 200-foot height. But Munch of all people might approve. Nowadays there’s no better vantage point from which to take in the city and seascape that inspired him. munchmuseet.no —SAM COCHRAN

From editor-in-chief Amy Astley and Architectural Digest, AD at 100 celebrates the most incredible homes of the past century, showcasing the work of top designers and offering rare looks inside the private worlds of artists, celebrities, and other fascinating personalities. Marc Jacobs, Jennifer Aniston, Diana Vreeland, India Mahdavi, Peter Marino, Kelly Wearstler, Oscar Niemeyer, Axel Vervoordt, Frank Lloyd Wright, Elsie de Wolfe,

abramsbooks.com/AD100

FROM LEFT: ANTHONY COTSIFAS; JASON SCHMIDT; OBERTO GILI

A CENTURY OF STYLE

DISCOVERIES

usan Clark understands how things are made. Over the years, she has studied glassblowing, metalwork, weaving, and architecture. But what really excites this Nashville-born polymath, who launched the furniture brand Radnor in 2016, is collaboration. “I knew I wanted to bring my own work forward, but I didn’t want to be isolated in my own making,” says Clark, who named the company after the Tennessee nature

DESIGN

Makers’ Mark

Radnor, a mecca for artisanal treasures, settles into a Manhattan aerie 4

1. RADNOR FOUNDER SUSAN CLARK AT THE BRAND’S NEW UPPER EAST SIDE SHOWROOM. 2. PEBBLE PENDANT BY TEZONTLE. 3. CORE TABLE BY SUSAN CLARK. 4. PARALLAX COCKTAIL TABLE BY KARL ZAHN. 5. RIVIERA RUG BY MIKSI. 6. MOLDED LOUNGE CHAIR BY DANNY HO FONG.

stand the scale of these works, the architecture is critical.” So too is the art, curated by David Zwirner gallery. Roberts has seized the opportunity to debut her first-ever furniture collection. Created with Radnor Made, the series includes a diminutive writing desk— the perfect size for a single laptop—and a petite bedside table, both wrapped in solid walnut veneer; an exquisitely upholstered pouf; and a series of rugs. (All are honed versions of pieces she has lived with during quarantine.) They play well with cocktail tables of meticulously folded brass by Karl Zahn; pebble lamps by Tezontle; a charred-maple credenza by Loïc Bard; and Clark’s own designs, among them tables milled from breccia stazzema, an Italian marble sourced from a collector in Kentucky. Reflecting on their minimalist shapes, Clark notes, “Sometimes the thing that looks the simplest is the most difficult to produce.” radnor.co —HANNAH MARTIN

PORTRAIT: MATTHEW WILLIAMS. ALL OTHERS COURTESY OF RADNOR.

DISCOVERIES

1. A LOUNGE AT XIGERA SAFARI LODGE, NOW HOME TO A COLLECTION OF CONTEMPORARY AFRICAN ART AND DESIGN. 2. THE BAOBAB TREE HOUSE, WHERE GUESTS CAN SLEEP BENEATH THE STARS. 3. ONE OF 12 SUITES AT THE RESORT. 4. A VIEW OF THE MAIN LODGE, SET IN THE OKAVANGO DELTA.

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TRAVEL

Delta Status

Reimagined as a showcase for African art and design, Xigera puts a sophisticated spin on the safari vacation 44

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COURTESY OF XIGERA SAFARI LODGE.

leeping in a tree house above roaming elephants and lions might not seem like a dream night’s rest. Unless, that is, you’re beneath a canopy of stars at the Baobab, a three-story, open-air lodging at the newly refreshed Xigera Safari Lodge in Botswana’s Okavango Delta. Rising 33 feet above the ground (and safely out of reach), the striking structure mimics the branching form of its namesake deciduous African tree, with steel limbs that will rust over time, blending into the bush while nodding to the landscapes of legendary South African painter Jacobus Hendrik Pierneef. This off-thegrid sleep-out is just a quick mokoro, or canoe, ride, from the main lodge, itself a gallery as much as a resort. Transformed by architect Anton de Kock and architectural designer Philip Fourie, the property now brims with treasures by some 30 African artists—including ceramics by Andile Dyalvane and Zizipho Poswa, bronze sculptures by Sarah Heinemann, and timber pieces by Adam Birch and David Krynauw. (Hotelier Toni Tollman and the Cape Town–based gallery Southern Guild also collaborated on the program.) Guests can recline on the Porky Hefer nests that punctuate the outdoor deck, gather around the hand-beaten copper fireplace in the lounge, or wake to the sight of birds passing overhead at the Baobab. Typically, people go on safari to be among animals, not art. At Xigera, one needn’t choose. xigera.com —MARY HOLLAND

DISCOVERIES STYLE

Free Spirits

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’m always resistant to the idea that my studio has a specific style,” says AD100 talent Rafael de Cárdenas. “But Ulla definitely does.” He is referring to the fashion designer Ulla Johnson, whose brand of refined bohemian garments is now celebrating 22 years in business. And what better way to mark the occasion than with a new private showroom for her downtown Manhattan headquarters—a place for collaborators and VIP guests to connect. Johnson, of course, is well known for her spaces, whether her exquisitely crafted boutiques or her blush-toned Brooklyn brownstone (AD, September 2019). “We have a wellarticulated point of view, but we always want to evolve,” she says. “It’s important to challenge ourselves, work with new people, have different conversations.” Part of what drew her to de Cárdenas was how seamlessly his practice, whose clients include Cartier and Glossier, straddles commercial and residential projects. “He’s uniquely well positioned to know how those things can speak to each other. From the beginning of our conversations it was like, How can we not work off the traditional model?” The answer becomes clear upon entering the expansive loft, where a series of inviting lounges unfold. Pearlescent plaster creates what Johnson calls “cloudlike movement” across walls; expressive stone forms beams and displays; and handcarved mahogany screens by Green River Project nimbly divide the reception area. “I wanted air for everything to breathe and express itself, but also moments of intimacy,” says Johnson. Adds de Cárdenas: “Ulla treats her business in a way that most people treat a home. It’s very personal to her.” ullajohnson.com —JANE KELTNER DE VALLE

PERNILLE LOOF

1. ULLA JOHNSON AT HER BRAND’S NEW SHOWROOM, DESIGNED BY RAFAEL DE CÁRDENAS. 2. IN ONE LOUNGE AREA, INGO MAURER PENDANT LAMP, ANGELO MANGIAROTTI TABLE, KAZUNORI HAMANA VESSEL, AND RAFAEL DE CÁRDENAS SOFA. 3. HANDMADE GOLD GLASS TILES LINE AN ACCESSORIES DISPLAY; DE SEDE SOFAS, TUAREG RUG.

Ulla Johnson taps Rafael de Cárdenas to conjure an oasis of comfort and flair

MAXALTO IS A B&B ITALIA BRAND. COLLECTION DESIGNED AND COORDINATED BY ANTONIO CITTERIO. WWW.MAXALTO.IT

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Walls

The Design Team at

Model: 321 Water’s Edge

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A SLICE OF PURE TRANQUILITY Imagine open spaces, exquisite appointments and breathtaking views — IBSG captures a lifestyle that embraces taste, style and originality.

IBSG Headquarters: 2818 Center Port Circle Pompano Beach, FL 33064 P 954.735.8223 FL State License IB13000407 LEED accredited. Established 1984

차종례

C H A J O N G RY E E X C L U S I V E LY A T LONG-SHARP GALLERY

Cha Jong Rye Expose Exposed 190301 2019 White birch plywood 55 x 35.5 x 8 inches (140 x 90 x 20 cm)

Photography © Ed Stewart

L O N G S H A R P G A L L E R Y . C O M 8 6 6 .3 7 0 . 1 6 0 1

Design advice for real life.

INTERIOR BY WELCOME PROJECTS; PHOTO BY LAURE JOLIET

George Henry Smillie (1840–1921) The Catskills from Hudson, 1867 Oil on canvas 6 1/16 x 10 1/16 inches Initialed and dated lower left: G. H. S. ‘67 Asking price: $24,000

THE HISTORIC HUDSON RIVER SCHOOL: AMERICAN INNOVATION The largest Hudson River School exhibition and sale of the year, American Innovation opens for both in-person and virtual viewing on March 11th, 2021. Treasured in three centuries, these nearly 100 works by our nation’s 19th-century Master painters mark the inception of

Renovation guides. Before-and-after inspiration. Material sources. Everything you need to make a home your own— from the editors of Architectural Digest.

a uniquely American art. Featured artists include Bierstadt, Bricher, Church, Cole, Colman, Cropsey, Doughty, Gifford, Hart, Herzog, Johnson, Kensett, Moran, Richards, Silva, Sonntag, Whittredge, Wyant, and many others. Questroyal Fine Art, LLC, is an established American art gallery specializing in quality American paintings from the 19th and 20th centuries, with an inventory of more than 500 artworks. To request a copy of the catalogue, visit questroyalfineart.com, email gallery@questroyalfineart.com,

@getclever archdigest.com/clever

or call 212-744-3586.

WILLIAMS, POOLSIDE IN GUCCI AND SERENA WILLIAMS JEWELRY. THE TERRACE IS CLAD IN WHITE FALDA PORCELAIN TILE. LANDSCAPE DESIGN BY LUCIDO & ASSOC. FASHION STYLING BY KESHA MCLEOD. OPPOSITE THE INFINITY POOL CREATES A CLEAN TRANSITION BETWEEN INDOORS AND OUT. FOR DETAILS SEE RESOURCES.

HAIR BY ANGELA MEADOWS; MAKEUP BY NATASHA GROSS USING DIOR BEAUTY; MARKET EDITOR: ALEX MANIGAT

GLAM

SLAM

At home in Florida, Serena Williams holds court in a house designed in collaboration with her sister Venus TEXT BY

ELAINE WELTEROTH

PHOTOGRAPHY BY

LELANIE FOSTER

STYLED BY

MIEKE TEN HAVE

A GROUPING OF PENDANT LAMPS BY TOM DIXON (BRASS) AND SIMON LEGALD FOR NORMANN COPENHAGEN (GLASS) SETS THE TONE IN THE DINING ROOM. ARTWORK BY SERENA WILLIAMS.

It's

yet another cozy Sunday afternoon during quarantine, and Serena Williams is lounging in her newly decorated home office on Zoom with her big sister Venus. It’s just two months after the tennis titans went toe to toe at the Top Seed Open in Kentucky, which was their first time back on the court since the forced hiatus due to the COVID-19 pandemic. The worldfamous pair, who have played many roles in each other’s lives in the 23 years since their first match against each other— best friends, former teammates, competitors, and longtime roommates—are giggling as they reflect on the five-year journey of collaborating on their greatest joint effort yet: designing Serena’s dream home. After co-owning a Palm Beach Gardens property where the Grand Slam duo lived together on and off since 1998, with Serena splitting her time between secondary homes from Bel-Air to Paris, she purchased a sprawling waterfront THE SÉRÉNADE KARAOKE ROOM FEATURES A BESPOKE NEON SIGN property of her own, with breathtaking views in a coveted DESIGNED BY V STARR. WALL COVERING BY PHILLIP JEFFRIES; enclave north of Miami, just minutes away from Venus and CUSTOM BANQUETTE AND FAMA CHAIRS IN A BRENTANO VELVET. their parents. To help make the house ideal for her own family, naturally she turned to V Starr, Venus’s world-class design firm. Though, they all maintain, it was mostly Serena’s singular “I was moving away from Venus for the first time in my imagination—with guidance from V Starr—that spearheaded life, so I wanted it to be really meaningful,” Serena says. the design. While mixing family with business can be risky, the secret to “We had just met,” Serena says regarding Ohanian. “And I their success as siblings and creative collaborators is simple: wasn’t going to be like, ‘Hey, let’s do this together.’ That would “You have to know your lane. I’m really good at playing tennis; have been really weird for him,” she says with a chuckle. I’m not as good at interiors. But I was able to learn through “Yeah. That would’ve been kind of creepy,” Venus chimes in. just watching Venus.” As with any other client, Venus says, her priority was catering to Serena’s vision—which did a complete 180 during WHILE OHANIAN PLAYED the easygoing, supporting role to the design process. After she purchased the 14,500-squareSerena’s more hands-on approach, one space the doting dad foot Spanish Mediterranean–style home, Serena’s traditional took the lead on perfecting was their three-year-old daughter’s tastes suddenly felt out of step with this new phase of life. bedroom. Both parents agree the pièce de résistance of their She credits her love of modern art and technology for ushering entire home is Olympia’s pink custom-designed castle bed in a more modern, minimalist aesthetic. Then, of course, there complete with a built-in slide and an equally spectacular, onewas the burgeoning romance with tech tycoon Alexis Ohanian. of-a-kind chandelier created by blown-glass artist Josh Fradis. The high-profile couple had only recently begun dating just Indeed, it is positively fit for a princess. after Serena embarked upon this massive real estate project, “She goes down the slide every night while we’re thinking, but Sonya Haffey, principal of V Starr, says Serena’s future Man, we shouldn’t have done that, because now at bedtime, family goals were an integral part of the design plans all along. she just wants to slide,” Serena admits. “But whatever makes Last July—after three years, including a gut renovation— her happy makes me happy.” Serena finally moved into the completely reimagined, ultraWhile Olympia’s room is decidedly the most extravagant modern, intracoastal property with a husband and toddler space in the house, Serena insisted on exercising a bit more in tow. As the old adage goes, “If you build it, they will come.” restraint in other areas. The marriage of sleek, clean lines and

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high-end features with warm woods and casual touches that complement Serena’s laid-back vibe resulted in a cohesive visual narrative that embodies Serena’s newly evolved design aesthetic, which Haffey calls “livable luxury,” adding that the client was a well of creativity, serving up references from hotels she’s stayed at all over the world. “Serena is not formal,” Venus notes. “She’s fun-loving; she’s very free, and not someone who wants to sit in a chair and serve someone tea. So it had to be a very welcoming space.” At Serena’s request, the V Starr team came up with an out-of-the-box design solution to refashion what was once a classical Floridian-style foyer and formal sitting room with beautiful chairs no one sat in, into a colorful art space with eccentric pieces on display. “When you walk in, it’s like walking into an art gallery,” says Serena. “That’s my favorite part of the house. It’s so unique. I’ve never seen anything like it.” Venus adds: “I am not a fan of just having spaces to have them. Maybe some people use their formal living rooms, but we don’t. So we created a space that she can actually use and enjoy and live with the art, and invite other people to absorb it and have that emotional connection as soon as you walk in. It sets the tone for the rest of the home.”

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LEONARDO DREW. RADCLIFFE BAILEY. DAVID KRACOV.

ABOVE RH PENDANT LIGHTS HANG ABOVE A TRAPEZOIDAL TABLE. OFFICINE GULLO APPLIANCES; BRIZO SINK FITTINGS; CAESARSTONE COUNTERTOP.

ABOVE ART ON DISPLAY IN THE GALLERY INCLUDES WORKS BY (FROM LEFT) LEONARDO DREW, RADCLIFFE BAILEY, AND DAVID KRACOV, AS WELL AS A KAWS x CAMPANA CHAIR, A LIVE-EDGE WOOD BENCH, A PIECE FROM THE KONYAK NAGA TRIBE OF INDIA, AND A VINTAGE WURLITZER PIANO.

“When you walk in, it’s like walking into an art gallery,” says Serena Williams. “That’s my favorite part of the house.”

BELOW CUSTOM SHELVING BY GRAFTON FURNITURE LINES THE TROPHY ROOM. RIGHT A TERRACE OUTFITTED WITH RH FURNITURE OVERLOOKS THE WATER.

Venus shares. “So we had to find that balance within the design.” Devised in consultation with Serena’s private chef, it was outfitted by V Starr with the finest appliances, including Gaggenau wall ovens, an Officine Gullo cooktop, and customized gold and black marble backsplash in a diamond-pattern mosaic that over-delivers in wow factor. Tennis, tech, and fashion empire-building aside, one of Serena’s favorite Williams family pastimes is karaoke. After winning the U.S. Open, the world champions would celebrate in a private karaoke room on 50th Street in Manhattan. Naturally, Serena had to have one of her own. So, just off the gallery, behind a secret doorway disguised as a bookshelf, lies a karaoke room. This unusual amenity features a small “I WANTED TO SEPARATE home from work,” Serena says. “I love being home. When you have our job, you never get time to relax. stage, a plush aquamarine velvet banquette, and foliage framing a neon sign that spells sérénade, a playful tribute So it’s good for me to be able to sit still and not do anything.” to Serena’s karaoke persona. Moving into your dream home during a global pandemic no Of course, she and her sister even sing karaoke like it’s a doubt has its challenges, but for this jet-setting athlete and competitive sport. House rules? No “Bohemian Rhapsody.” mogul, being unexpectedly homebound for months has offered No “Love Shack.” No “I Will Survive.” No “Don’t Stop Believin’.” a welcome reprieve. The perks include ample quality time According to Serena and Venus, this room is reserved for nesting with her young family, and a chance to hone her “serious karaoke singers only.” cooking chops. To that end, nailing the kitchen design was of “We all like to have a really good time,” Venus declares. supreme importance to Serena, who is the self-proclaimed cook of the family. The remit: “Somewhere in-between ‘super “Our friends all have this very same attitude of loving great impressive’ and ‘Come in and grab something out of the fridge,’ ” design, but not taking themselves too seriously.” That very grand entrance then unfolds into an airy, open floor plan drenched with sunlight pouring in from soaring 28-foot-tall windows. Among the many standout features of the home are heated floors in the bathrooms, a sauna in the gym, a wine cellar the size of a small NYC apartment, an expansive terrace offering indoor/outdoor living spaces that overlooks an infinity pool complete with submerged chaise longues, Serena’s 620-square-foot closet fashioned after a luxe retail space, and a private trophy room to house the superstar athlete’s many awards. But there is one amenity that’s noticeably absent: a tennis court.

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A VICTORIA + ALBERT TUB STANDS IN THE BATH. BRIZO TUB AND SHOWER FITTINGS. ON SHOWER WALLS AND FLOOR, MARBLE FROM CERAMIC MATRIX. IN FOREGROUND, MOSAIC TILE BY NEW RAVENNA.

TEXT BY

MITCHELL OWENS PHOTOGRAPHY BY

FRANÇOIS HALARD

Inside a 19th-century Paris mansion, Jacques Grange presides over an eye-popping marriage of past and present

PUT A RING ON IT

THE SALON OF A PARIS MANSION DECORATED BY JACQUES GRANGE IS FURNISHED WITH CUSTOM-EMBROIDERED VELVET UPHOLSTERY, AS WELL AS A GRANGE-DESIGNED CARPET. FOR DETAILS SEE RESOURCES.

The house’s biggest work of art is James Turrell’s underground light installation.

ARTIST JAMES TURRELL SET THE BASEMENT-LEVEL SWIMMING POOL AGLOW; GRANGE DESIGNED THE MARBLE FLOOR.

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RIGHT A BIRD CHAIR BY FRANÇOIS-XAVIER LALANNE STANDS BY THE FRONT DOOR. LEFT IN THE GALLERY, A JOE BRADLEY PAINTING SURMOUNTS A CAMPANA BROTHERS SOFA; ERNST KÜHN CHAIRS.

tepping inside an 1870s hôtel particulier in Paris, where tall windows overlook the river Seine and the Musée du Louvre, is to be transported back in time, to the Third Republic that followed the fall of Napoléon III, back when courtesans set the fashion and balls were the rule rather than the exception. Walls, ceilings, beams, doors, and floors pullulate with patterns and motifs: painted, gilded, dripping with trompe l’oeil pearls, swirling vegetation, swags of faux fabric, and great lashings of wedding-cake plasterwork. Mythological narratives are recounted in polychromatic terms, with Hercules attending to his labors across one ceiling as lissome Muses, from Erato to Urania, strike attitudes on walls. “He wanted a palace, not a house,” AD100 interior decorator Jacques Grange says of the Russian businessman who is the mansion’s present owner, a connoisseur of contemporary art who also “respects a range of artistic achievement.” Even when one of those achievements turns out to be an entire building that is protected by federal legislation. “The City of Paris won’t allow you to touch a thing,” Grange explains of the multi-story house, on which he worked in collaboration with architect Jean-François Bodin. (It will be featured in the designer’s forthcoming monograph, to be published by Rizzoli in September.) Built between 1870 and 1872, by and

for a rich engineer, it was later home to Victor Laloux, the architect of the opulent train station that is now the Musée d’Orsay. Until recently, it was pressed into service as corporate offices. Still, Grange continues, “You cannot change it; you can only restore it.” That being said, an official who turned out to be a fan of his work granted him permission to replace the skylit gallery’s “boring stone floor” with an expanse of black and white marble inlaid in the manner of Byzantine mosaics. Powerfully graphic, its outsize diamond pattern perfectly complements the gallery’s mirror-paneled Renaissance Revival envelope—as does the unexpected injection of modernity through a plump Campana brothers sofa with a spiky golden frame, voluptuous armchairs by Ernst Kühn, and the splashy 2011 canvas by American artist Joe Bradley that’s mounted behind them. To bring the soaring rooms back to their original appearance, Grange called on Atelier Mériguet-Carrère, a thirdgeneration Paris studio of decorative painters that is known for working with legendary French designers such as Emilio Terry and Georges Geffroy, as well as helping to restore the Palais Garnier. “All the decors on the walls were in very bad condition when I arrived, all the surfaces,” says the designer, a talent with a contemporary outlook who nonetheless is no

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GOTHIC REVIVAL ARMCHAIRS JOIN CUSTOM-MADE BOOKSHELVES IN THE LIBRARY; GRANGE-DESIGNED CARPET. OPPOSITE REGENCY-STYLE CHAIRS IN THE DINING ROOM, WITH A LUCIO FONTANA PAINTING AND ANOTHER GRANGE CARPET.

“You cannot change it; you can only restore it,” Jacques Grange says of the landmarked house. 72

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LEFT A NEW INLAID MARBLE FLOOR WAS INSPIRED BY BYZANTINE MOSAICS. RIGHT IN A LAVISHLY GILDED BEDROOM, ANDRÉ GROULT ARMCHAIRS FLANK AN INLAID CABINET OF THE SAME PERIOD; GRANGE DESIGNED THE CARPET. BELOW CUSTOMEMBROIDERED CURTAINS SEEM TO PULL THE FROSTED ARCHITECTURE DOWN INTO ANOTHER BEDROOM.

ABOVE SCULPTED MARBLE SINKS STAND IN A BATH. LEFT GYPSUM CABINETS AND FREESTANDING, ARTFULLY CAMOUFLAGED FIXTURES TRANSFORM A SALON INTO A BATH.

stranger to revitalizing the glories of the past or incorporating them into his rooms: One of the designer’s recent restoration projects is the couture salons at 31 rue Cambon, which has been the headquarters of Chanel since 1918. SINCE THE RUSSIAN clients’ house is “a little theatrical,” Grange

says with a chuckle, “you have to do something similarly strong to balance the architecture and the murals.” Neutrals would have been the safest scheme, but the owner’s stylish wife wanted “something glamorous, something couture.” Originally a boudoir, the room that artist Charles Lameire and his staff populated with the Muses in the 1870s has become a “very raffiné” salon. In colors taken from Lameire’s imagery, jewel-tone fabrics—a lavishly embroidered emerald-green silk velvet and a sapphire-blue damask—upholster the sofas and armchairs. Pale-yellow silk curtains frame the windows, the shade echoing the splendidly gilded panels and woodwork. Spread across the parquet floor is one of several carpets that Grange designed for the house, this one speckled with oversized stylized thistles and woven in multiple shades of blue relieved by off-white accents. Despite preservation rules, Grange and Bodin, when challenged, managed to skirt them with considerable flair and

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no little ingenuity. “If you imagine what a room could become, then it’s easy,” the designer explains. Case in point is a spacious salon that has been nimbly transformed into a bath thanks to freestanding elements (as well as inventive plumbing solutions) that make no visible inroads into the floor or walls: Gypsumclad cabinets designed by Grange offer storage, while screenlike fabric partitions shield the shower, the tub, and the toilet. Similarly, towering metal bookshelves turn another room into a library, their skeletal sleekness offset by quirky furnishings, such as a pair of 19th-century neo-Gothic armchairs where spikes meet curves. “I love this period, but nobody wants it,” Grange says in a tone of disbelief. There were no restrictions on creativity, though, when it came to dealing with the mansion’s utilitarian basement level. There, Bodin and Grange carved out a minimalist swimming pool for which artist James Turrell designed atmospheric lighting that shifts from orange to white to blue. “When Turrell arrived, I stopped,” Grange says respectfully, adding that, unlike so many subterranean splashdowns, “it doesn’t look like a nightclub.” Instead, it is mysterious and otherworldly, a secret complement to a house that is a work of art designed to hold works of art.

BELOW PAINTED DOORS OPEN TO THE KITCHEN AND BREAKFAST AREA, WHICH IS FURNISHED WITH AN ANGLO-INDIAN TABLE AND CHAIRS; AN APPROPRIATELY THEMATIC ROY LICHTENSTEIN STILL LIFE HANGS BESIDE THE WINDOW.

PLAY TIME

Breakout Angeleno design star Jerome Byron steps into the spotlight with an experimental guesthouse in the hills of Los Feliz TEXT BY

HANNAH MARTIN

LOS ANGELES–BASED ARCHITECTURAL DESIGNER JEROME BYRON INSIDE HIS FIRST GROUND-UP PROJECT: AN OFFICE, PLAY AREA, AND GUEST SPACE FOR A YOUNG FAMILY. OPPOSITE THE CEDAR-CLAD STRUCTURE EMERGES FROM A LANDSCAPE BY THE AD100 FIRM TERREMOTO. FOR DETAILS SEE RESOURCES.

PHOTOGRAPHY BY

YE RIN MOK

LEFT WHEN IT’S NOT BEING USED TO ACCESS THE SLEEPING LOFT, A CUSTOM-MADE LADDER LEADS TO A LUSH LOOKOUT.

The brief was playful. Clients Brandi Dougherty, a writer, and Joe Fernandez, an entrepreneur, needed a spot to work from home and stash Joe’s collection of pinball machines— maybe someplace their kids would like too. Byron’s mind immediately jumped to his own childhood hideaways. “Mine were pretty basic—a couple of two-by-fours up a tree with a little platform,” recalls the designer, who grew up in New York and Ohio. “I always had a fantasy of a really elaborate tree house.” Now was his chance to bring that dream to life. Invisible from the street, the cedar-clad volume (a visual continuation of the decking Terremoto installed for the main house) emerges from the lush landscape, with a dynamic roofline and irregular windows. “The house appears to be floating,” explains Byron. “It’s raised about a foot and a half from the ground, with a clearing beneath it. You can see plants pop out.” TO BREAK GROUND at Byron’s age is no small feat, but he’s

three

years ago, Jerome Byron, a young architectural designer in Los Angeles, got a call from landscape designer David Godshall of the AD100 firm Terremoto. He and his colleague Diego Lopez were in the midst of designing a client’s backyard in Los Feliz, and their plans included a blank box labeled “guesthouse.” Would Byron come meet the clients and take a look at the site? The grounds were rather bare—big and open, with a stepped lawn and a few low shrubs—but they would soon be a veritable jungle, teaming with agave, cacti, palms, ferns, and other native plants. At the rear was the designated plot, some 13 by 18 feet, on which a structure would rise. “At some point I realized, ‘Oh, wow, I’m doing my first ground-up structure,’” reflects Byron, now 33 years old, who studied architecture at Pratt and Harvard University Graduate School of Design and cut his teeth working for Francis Kéré and Barkow Leibinger.

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casual about the accomplishment, which marks something of a full-circle moment. In 2014, Byron moved to L.A. to work for Skidmore, Owings & Merrill with one goal: Build things. At the time, he had become expert at conceiving and digitally rendering big ideas but had yet to really get his hands dirty. Learning the ropes of construction on SOM job sites, he became fascinated with materials and making things himself. A few years later, he developed a series of thin, curved stools of fiberglass-reinforced concrete, pieces he calls “a result of pure experimentation.” When a friend of a friend tapped him to design the interiors of Color Camp, a hip manicure bar on Beverly Boulevard, it was the push he needed to start his own eponymous studio. In nearly four years since, he has also worked on and off for the buzzy L.A. firm Willo Perron & Associates. It has all fed the guesthouse project, another material study of sorts. On the façade, open-joint cladding leaves negative space between each wooden plank, lending the 275-squarefoot structure a sense of verticality and lightness. A pocketing window wall and sliding, slotted-timber screen invite light and nature into the space—an ongoing conversation with the landscape. Inside, walls are sheathed in warm plywood, and a movable, taxicab-yellow ladder takes the place of stairs, ushering visitors up to the sleeping loft. (When not in use, it leads more whimsically to an elevated viewpoint.) Looking out, windows thoughtfully frame Terremoto’s plantings. Looking in, an Isamu Noguchi Akari paper lantern glows like the moon. Simple built-in furnishings nod to the holistic designs of Richard Neutra and Frank Lloyd Wright. The structure was finished in summer 2020, perfect timing for the homeowners, who, like so many others, were clocking a lot more hours working from home. “Joe is on video calls all day, and it looks really trippy—his camera looks at the ladder,” explains Byron, now hard at work on more residential and commercial projects, including a midcentury renovation in Ojai. “He says every day people ask, ‘Where are you?’ They think it’s a Zoom background.” Nope, just his very own tree house.

THIS PAGE, FROM TOP AN ISAMU NOGUCHI AKARI LAMP ILLUMINATES THE PLYWOOD-LINED INTERIOR. BELOW THE CLIENTS’ PINBALL MACHINES INSIDE THE CEDAR-CLAD STRUCTURE. A BUILT-IN DAYBED IN THE LOFT SPACE.

“I always had a fantasy of a really elaborate tree house,” says Byron. Now was his chance to bring that dream to life.

DOUBLE VIS

INTERIOR: PATRICK TOURNEBOEUF. PORTRAIT: TAKAY.

LEGENDARY ARCHITECT TADAO ANDO. OPPOSITE THE PRITZKER PRIZE–WINNER TRANSFORMED THE HISTORIC BOURSE DE COMMERCE INTO A SUBLIME PARIS HOME FOR THE PINAULT COLLECTION.

ION

Reimagined as an extraordinary art space, the Bourse de Commerce in Paris is the culmination of a decades-long collaboration between architect Tadao Ando and his client François Pinault TEXT BY

DANA THOMAS

LEFT, FROM TOP AN AERIAL VIEW OF THE BOURSE DE COMMERCE, PREVIOUSLY A COMMODITIES EXCHANGE BUILDING. FRANÇOIS PINAULT WITH HIS SON FRANÇOIS-HENRI AT THE BOURSE DE COMMERCE DURING CONSTRUCTION (VOGUE, APRIL 2020). BELOW A DRAWING BY ANDO FOR AD JUXTAPOSES THE BOURSE DE COMMERCE WITH THE PUNTA DELLA DOGANA IN VENICE, WHICH HE ALSO UPDATED FOR THE PINAULT COLLECTION.

t all began at Karl Lagerfeld’s Left Bank apartment in 1997. The award-winning Japanese architect Tadao Ando was invited to dinner, and when he arrived, he met, there in the 18th-century entrance hall, the French financier François Pinault, a noted collector of contemporary art. “Was he aware that I would be there?” Ando muses now. “I am not sure. I sensed that Mr. Pinault might have asked Mr. Lagerfeld to introduce me to him, to understand what kind of person and architect I was.” Pinault obviously was impressed: Over the last 20 years, he has enlisted Ando to design a suite of major art centers, including the Palazzo Grassi in Venice, and now the Bourse de Commerce–Pinault Collection, a private museum situated in the former commodities exchange in central Paris. A threestory circular edifice topped with an enormous glass cupola, the Bourse de Commerce has undergone many iterations since it was first constructed as the Hôtel de Soissons for Catherine de’ Medici in the 16th century. It took its most recent form, purpose, and name in 1889, the year of the world’s fair that also gave Paris the Eiffel Tower. Ando has restored and transformed the building into a multi-use space, with seven galleries, a 284-seat auditorium,

and a top-floor restaurant. The centerpiece of Ando’s refit is a 30-foot-tall cylinder of concrete—one of Ando’s preferred materials, which he manages to make appear light as chiffon. Its curves mirror the building’s existing structure and create a restful central gallery awash in natural light. “I love Tadao Ando’s minimalist aesthetic. His architecture is silent,” Pinault says. “No artifice, no unnecessary detail disturbs his architectural gesture, which succeeds in combining absolute simplicity and extreme complexity.” Ando was born in Osaka in 1941, the first of male twins. As a teen in the mid-1950s, he visited the Imperial Hotel in Tokyo, an epic Mayan Revival structure designed by Frank Lloyd Wright. (It has since been torn down.) Wowed, Ando gave up his pursuit of professional boxing and turned to carpentry, then architecture. He skipped formal training, instead studying buildings by such modern masters as Wright, Le Corbusier, and Mies van der Rohe. Ando established his firm in 1969 and developed a style rooted in purity, beauty, and Japanese culture. For decades he worked almost exclusively in his homeland, attracting international attention for projects like his 1989 Church of the Light and 1984 Koshino House. By the early 2000s, however, he was busy designing buildings abroad, among them the Pulitzer Arts Foundation in St. Louis, Giorgio Armani’s headquarters in Milan, and the Modern Art Museum of Fort Worth.

THIS PAGE, CLOCKWISE FROM ABOVE THE STAIRHALL AT PALAZZO GRASSI, WHICH ANDO UPDATED FOR PINAULT IN 2006. A BIRD’S-EYE VIEW OF PUNTA DELLA DOGANA, ONCE A VENETIAN CUSTOMS BUILDING. IN 2013, ANDO ADDED THE TEATRINO TO PALAZZO GRASSI.

LA BOURSE: GUIGNARD/AIR-IMAGES. PORTRAIT: ROBERT POLIDORI. PALAZZO GRASSI: MATTEO DE FINA. PUNTA DELLA DOGANA & TEATRINO: © ORCH ORSENIGO_CHEMOLLO.

IN 2000, ANDO WON a competition mounted by Pinault to

conceive a museum on the Île Seguin, a slim, crescent-shaped islet in the Seine, southwest of Paris, formerly the site of a Renault automobile factory. From the outset, there was a genuine complicity between two men. “We are both selftaught and share a common sensitivity to the impermanence and fragility of life,” explains Pinault, whose brief for the project was audacious. As Ando recalls, “He imagined the kind of architecture which ‘combines the qualities of a Gothic cathedral and a Romanesque chapel, with a dignified appearance and a tranquil, introspective space.’ I interpreted his words to mean an ‘eternal’ architecture—that is, a place with power that will remain in people’s hearts and minds forever.” Five years later, after much French political red tape, Pinault abandoned the $195 million project. He asked Ando to instead revamp Palazzo Grassi, the 1772 palace overlooking the Grand Canal that Pinault had recently acquired to display his art. (Today, the collection totals more than 10,000 works by nearly 380 artists.) Pinault then tapped Ando for another Venice endeavor: the Punta della Dogana, a former customs building that Pinault leased from the city for 33 years to serve as a second exhibition space. Around the time of its completion, Ando discovered he had cancer. Following his successful treatment, he visited Paris and Pinault. Pleased to see his friend ready to work again, Pinault made a proposition: “I have

a project in Paris in the planning stages. Can you design it?” That project was the Bourse de Commerce. “Without hesitation, I told him I would do it,” Ando says. “I thought that the responsibility of revitalizing architecture for society would color my life with vitality.” Pinault was hands-on. “A true collaborator,” Ando says, “standing on the site from the early stages of construction to see the space come into reality, bit by bit.” For logistics meetings, they spoke through interpreters. But when on their own, they’d banter in their own languages, with a bit of English thrown in, and understood each other well. “Mr. Pinault’s overwhelming enthusiasm for building spaces for art, combined with his strong willpower always to persevere, never ceases to inspire me,” Ando says. “At the root of it all is his absolute love and trust for ‘art’ and his pure philanthropic spirit of sharing its culture with everyone. He is a rare leader who carries a great deal of responsibility in this day and age, yet still looks far into the future.” Due to COVID-19 global lockdowns, Ando has not seen the Bourse de Commerce completed, with artworks installed. But he is sure that he will, and that it won’t be his final Pinault project. “Although I haven’t heard anything specific from him,” Ando says, “his eyes are filled with the same hope for the future since our first meeting. I was fortunate to have met a person like Mr. Pinault early on in my half-century career.”

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TEXT BY

HANNAH MARTIN PHOTOGRAPHY BY

STEPHEN KENT JOHNSON

FORWAR

GABRIEL HENDIFAR, THE CREATIVE DIRECTOR OF APPARATUS, WITH LIGHTING, FURNITURE, AND RUGS FROM THE STUDIO’S NEW COLLECTION, ACT IV (APPARATUSSTUDIO.COM).

D THINKING Looking to the past to envision a hopeful future, Apparatus crafts its most ambitious collection yet

was interested in a time when there was a greater sense of wonder and optimism about the future,” Apparatus creative director Gabriel Hendifar explained at the brand’s Manhattan headquarters last February. “And that brought me back to the 1960s.” This era of hippie idealism, Space Age ambition, and color television was the starting point for the company’s new collection of furnishings—the largest to date—which, delayed by the pandemic, has been waiting patiently for takeoff ever since. On that visit last year, Hendifar and his team were trying their best to maintain that positive outlook. Italy had just confirmed its first cases of COVID-19, and the fate of Salone del Mobile—Milan Design Week, where the firm planned to introduce the new pieces—hung in the balance. Salone was eventually canceled, leaving Apparatus and its designer peers scrambling to reschedule their debuts. The launch is back on track for spring (though it will take its cues from the everchanging COVID-19 restrictions). Such plot twists could not have been better suited to the new collection, ACT IV—a nod to the current climate of global economic, environmental, and political suspense. When we regrouped this past November, nine months into a global pandemic, anxiously anticipating the results of the presidential election, Hendifar reiterated, “We’re still waiting to see what’s next.” Thankfully, Apparatus has always risen to the occasion. When Hendifar and his now-husband, Jeremy Anderson, founded the company in 2011, they were focused on more immediate needs. Having just moved in together and unable to find any lighting they wanted, the couple worked with off-the-shelf components to develop unexpected yet eye-pleasing fixtures (among them runaway hits like the Cloud chandelier and Highwire series) that felt both industrial and handmade. In the years since, their designs have grown decidedly more theatrical—as emphasized by their annual parties—and narrative-driven, with inspirations ranging from Austria’s Wiener Werkstätte to Iranian decorative arts. The latest collection reshapes a 1960s fantasia with human hands. “It’s like a model of the future rendered in plaster,” Hendifar reflected. Modular rugs of hand-tufted silk and wool can be joined using brass clasps reminiscent of the late Pierre Cardin’s Space Age fashions. Orbshaped lights sheathed in satin and suede, meanwhile, evoke the plastic fixtures of Joe Colombo. And seating calls to mind, as Hendifar puts it, Regency robots, its metalwork and leather upholstery so precise it almost appears injection-molded. Describing one drinks table that doubles as an incense burner, Hendifar recalled a scene from PlayTime, Jacques Tati’s 1967 film. Its protagonist, a Frenchman befuddled by the modernizing world, visits the glass-encased home of a friend. His host delightedly lifts the shade of a table lamp to reveal his stash of cigarettes. “This ridiculous function makes you smile,” noted Hendifar, adding, “While things shift all around us, these moments of joy are so important.”

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wild at hear

Charlap Hyman & Herrero channels the outré sensibility of its clients in a Los Angeles home where too much is never enough TEXT BY

MAYER RUS

PHOTOGRAPHY BY

LAURE JOLIET

STYLED BY

AMY CHIN

THE ANGELINO HEIGHTS HOME OF YORAM HELLER AND ELEANOR WELLS INCLUDES THE PRIMARY 1907 CRAFTSMAN RESIDENCE (RIGHT) AND AN 1880s CARRIAGE HOUSE. GARDEN SEATING BY PATRICIA URQUIOLA FOR GAN RUGS; VINTAGE WILLY GUHL PLANTERS. FOR DETAILS SEE RESOURCES.

cannabis company Sunday Goods, Yola Mezcal, and the groovy coffee-bar chain Go Get Em Tiger. The bathroom assignment went swimmingly, and the project began to snowball, as these things often do. Eventually Herrero was joined by Adam Charlap Hyman, the architect’s New York–based partner in the AD100 firm Charlap Hyman & Herrero, which has built a reputation for idiosyncratic, avantgarde homes, stores, products, stage sets, and exhibition designs. The last piece of the puzzle arrived in the person of Heller’s girlfriend, vintage-fashion sibyl Eleanor Wells, whose sensibility dovetailed neatly with the overall mood of aesthetic muchness. “I’m a maximalist by nature. I like to dial it up to 11 whenever possible,” Wells says. The fun begins, naturally, at the front door, which Charlap Hyman & Herrero designed as a vivid plane of stained glass in shades of electric blue, yellow, and orange. Inside, the walls and ceiling of the small seating areas that flank the entry are

SAM FALLS.

all it a meeting of the minds— eccentric, design-obsessed, slightly demented minds. The story begins at a Los Angeles gym, where entrepreneur Yoram Heller and architect Andre Herrero struck up what can only be described as a bromance. Heller had been working on his 1907 Craftsman house in Angelino Heights, renovating it room by room, for a couple of years. Realizing he needed assistance in turning his madcap plans into reality, he invited Herrero to work, at least initially, on the primary bathroom. “I’m totally comfortable trying and failing, but I was already in construction and getting out of my depth,” recalls Heller, whose investment interests include the

ABOVE A MARIO BELLINI NUVOLA PENDANT FOR NEMO HANGS ABOVE A PRESTON SHARP FOR BLACKMAN CRUZ TABLE IN THE DINING ROOM. GRETA MAGNUSSON GROSSMAN CHAIRS ARE COVERED IN A MAHARAM MOHAIR VELVET. ARTWORK BY SAM FALLS. OPPOSITE THE ENTRY IS WRAPPED IN A FORNASETTI WALLPAPER BY COLE & SON. CUSTOM CHH STAINED-GLASS DOOR FABRICATED BY DAVID SCHEID.

covered in classic Fornasetti cloud wallpaper. Even the window blinds were custom-printed in the cloud pattern to complete the enveloping effect. Just beyond, the dining room is centered on a monumental Preston Sharp boulder table— which, given its weight, required structural reinforcement of the foundation—set beneath a Mario Bellini cloud light. FULL IMMERSION IN the Heller/Wells Technicolor playground

unfolds in the living room, where Ubald Klug Terrazza sofas are joined by sprightly Philippe Starck gnome and tree-stump tables, a fanciful Nicola L eye lamp, and an array of dreamy artworks. “The living room is on axis with the pool. We installed a blue carpet and completely opened up the wall to the outside to accentuate the connection between indoors and out—blue carpet becomes blue pool,” Herrero explains. Charlap Hyman

adds, “Each room is vaguely themed in geographic terms. The living room is the lake, the dining room is the mountain, the entry is the sky, and the primary bedroom is the forest.” The bedroom’s woodland theme is expressed in a wallpaper and fabric pattern developed by the designers during an artists’ residency at a castle in Austria, which they applied to the walls, ceiling, and window shades. Hidden in the pattern of flowing vines is an assortment of insects variously copulating and devouring one another. The trippy vibe is underscored by an anthropomorphic bed designed by Italian sculptor Mario Ceroli, which is set on a leopard-print carpet for an extra dose of daffy chic. “In my world, animal print is a neutral,” Heller jokes. Wells puts a finer point on the subject: “I’m really Peg from Married With Children,” she confesses, referring to the famously vulgar Fox sitcom. “You need to throw a little trashy into the mix.”

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IN THE LIVING ROOM, VINTAGE DE SEDE TERRAZZA SOFAS ARE JOINED BY PHILIPPE STARCK GNOME TABLES FOR KARTELL AND A NICOLA L EYE LAMP ON A PATTERSON FLYNN MARTIN CARPET. CURTAIN FABRIC BY GASTÓN Y DANIELA. ARTWORKS BY ANNE LIBBY (FAR RIGHT) AND ARIANA PAPADEMETROPOULOS.

ANNE LIBBY. ARIANA PAPADEMETROPOULOS.

“Each room is vaguely them The living room is the lake.”

ed in geographic terms. —Adam Charlap Hyman

CLOCKWISE FROM TOP A MARIO CEROLI BED SITS ON A COURISTAN LEOPARD-PRINT CARPET IN A ROOM WRAPPED IN CHH WALLPAPER AND FABRIC FOR CALICO. A RICHARD LINDNER PAINTING HANGS ABOVE A CUSTOM BENCH OF MAX LAMB TERRAZZO IN THE LIVING ROOM. THE PRIMARY BATH HAS A ZEN BATHWORKS SOAKING TUB AND WATERWORKS FITTINGS. 92

CLOCKWISE FROM LEFT HELLER AND WELLS WITH DISCO THE DOG. A POWDER ROOM IS CLAD FLOOR TO CEILING IN MAX LAMB TERRAZZO; FITTINGS BY WATERWORKS. CHH PILLOWS MADE FROM ANTIQUE KIMONOS ADORN A MARC HELD BED IN A GUEST ROOM.

“When people get older, they often lose their playful spirit. I want to hold on to the fun.” —Yoram Heller THE STRATEGY OF ENVELOPING a room in a single pattern

or material extends throughout the home. The kitchen, for example, is sheathed in a dark forest-green Heath Ceramics tile, with a highly figured cork floor for chromatic and textural contrast. A powder room on the first floor takes the idea even further—its walls, door, ceiling, floor, sink, and waste bin are all clad in designer Max Lamb’s Marmoreal large-aggregate terrazzo. “It’s like sealing yourself in a Max Lamb tomb,” Heller notes. An all-white guest bath/steam room on the floor above embraces the same concept, albeit with a system of prefabricated shaped tiles. “It looks like something out of a Socialist headquarters in Paris,” observes Charlap Hyman. In addition to the Starck gnomes and Ceroli bed, the home’s furnishings—many collected by Heller himself over the years, and others he sourced with Wells—predictably fall along Surrealist lines. There’s the sunglasses sconce that

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hangs above a Marc Held molded-fiberglass bed in the guest room; a Narciso silhouette mirror designed by Claudio Platania for the late Pierre Cardin in the upper hall; and custom outdoor umbrellas that look like they’ve been plucked out of a mai tai at Trader Vic’s. Into this heady brew, Herrero and Charlap Hyman added examples of their own product designs, including their abaca snake and constellation rugs for Patterson Flynn Martin, and a paper lantern hand-painted with mushrooms and insects by Charlap Hyman’s mother, artist Pilar Almon. “When people get older, they often lose their playful spirit. I want to hold on to the fun,” Heller says of his approach to decorating and, indeed, life. “I like things that are colorful and weird. I’m much less interested in, say, the purity of the perfect Scandinavian chair. This house gives people permission not to take things too seriously.”

THIS PAGE AND OPPOSITE THE KITCHEN IS WRAPPED IN HEATH CERAMICS TILE. GAE AULENTI TABLE AND CHAIRS, CORK FLOOR BY DURO DESIGN, WATERWORKS FITTINGS, AND VINTAGE ANDRÉ ROTTE PENDANTS FOR RAAK.

design notes

THE DETAILS THAT MAKE THE LOOK

OUTDOOR SEATING BY PATRICIA URQUIOLA FOR GAN RUGS PERKS UP THE GARDEN.

ESPIRAL RUG BY CHARLAP HYMAN & HERRERO FOR PATTERSON FLYNN MARTIN; $1,399. PATTERSONFLYNN MARTIN.COM

GROTTO LANTERN BY CHARLAP HYMAN & HERRERO AND PILAR ALMON; $4,800. CH-HERRERO.COM

The clients kept pushing us to crank up the volume.” —Andre Herrero GREGG FLOOR MIX & MATCH LAMP; $1,708. FOSCARINI.COM

ROUND OPERA PILLOW BY CHARLAP HYMAN & HERRERO; $185. CH-HERRERO.COM

SAINT ESPRIT STOOL BY PHILIPPE STARCK FOR KARTELL; $370. KARTELL.COM NUVOLETTE WALLPAPER BY FORNASETTI FOR COLE & SON; TO THE TRADE. LEEJOFA.COM

ATTILA STOOL BY PHILIPPE STARCK FOR KARTELL; $420. KARTELL.COM

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BOCCA DELLA VERITÀ WOODEN BED BY MARIO CEROLI FOR POLTRONOVA; $13,760. 1STDIBS.COM

HOME: LAURE JOLIET. ALL OTHERS COURTESY OF THE COMPANIES.

GARDEN LAYERS DIAGONAL ROLL BY PATRICIA URQUIOLA FOR GAN RUGS; $930. GAN-RUGS.COM

NUVOLA PENDANT BY MARIO BELLINI FOR NEMO LIGHTING; $4,331. NEMOLIGHTING.COM

LOLO COTTON BY LORENZO CASTILLO FOR GASTON Y DANIELA; TO THE TRADE. KRAVET.COM

TOMATO RED PAINT; $75 PER GALLON. BENJAMINMOORE.COM AN ALESSANDRO BECCHI SOFA IS JOINED BY A CLAUDIO PLATANIA MIRROR FOR PIERRE CARDIN. LOCUS SOLUS CHAIR BY GAE AULENTI FOR EXTETA; $970. 1STDIBS.COM MARMOREAL TERRAZZO BY MAX LAMB FOR DZEK; PRICE UPON REQUEST. DZEKDZEKDZEK.COM

CLUNY CLASSIQUE RANGE BY LACANCHE; $9,600. FRENCHRANGES.COM

I like things that are colorful and weird.” —Yoram Heller

JADE MANGANESE DUAL GLAZE TILE; $68 PER SQUARE FOOT. HEATHCERAMICS.COM

KITCHEN CABINETS HOLD VINTAGE SERVING WARE BY MASSIMO VIGNELLI FOR HELLER.

P RODUCE D BY MAD ELI NE O ’M ALLE Y

IN THE LIVING ROOM OF SUZANNE RHEINSTEIN’S MONTECITO HOME, A BESPOKE COCKTAIL TABLE LACQUERED IN FARROW & BALL’S MOUSE’S BACK STANDS IN FRONT OF A CUSTOM SOFA UPHOLSTERED WITH VICTORIA HAGAN LINEN. THE 18TH-CENTURY FRENCH CHAISE LONGUE IS COVERED IN A CLAREMONT FABRIC WITH SAMUEL & SONS TRIM, AND THE SLIPPER CHAIRS WEAR A FABRIC BY CAROLINA IRVING TEXTILES. AT REAR, CUSTOM WALL LIGHT BY STUDIO GIANCARLO VALLE. FOR DETAILS SEE RESOURCES.

al best

With an assist from Bories & Shearron Architecture, doyenne of L.A. decorating Suzanne Rheinstein crafts a getaway in Montecito TEXT BY

MICHAEL BOODRO

PHOTOGRAPHY BY

LAURA RESEN

For Rheinstein, a passionate gardener, the outside was as crucial and considered as the inside.

LOUNGE CHAIRS FROM ANTHROPOLOGIE, PAINTED IN FARROW & BALL’S INDIAN YELLOW WITH CUSHIONS OF A NOMI FABRIC, LINE UP ALONGSIDE THE CUSTOMCOLORED POOL. LANDSCAPE DESIGN BY NANCY GOSLEE POWER & ASSOC.

o one would ever accuse designer Suzanne Rheinstein of being a minimalist. Her work merges a love of English country style, the gracious hospitality of her native New Orleans, and the laid-back attitude of Los Angeles. In her store, Hollyhock, for three decades she shared her passion for painted furniture, George III mahogany, blue-and-white porcelain, and plush upholstery. Her fabric line for Lee Jofa is full of fresh interpretations of florals, paisleys, and ikats. And yet the getaway that she recently created for herself in Montecito is pared down, serene, and almost startling in its simplicity. Rheinstein had long been hoping to find a house in the area, even before the death in 2013 of her husband, Fred,

an influential television entrepreneur. “I had been trying for years to convince Fred. But he always thought I was trying to put him out to pasture,” she says with a laugh. Her desire intensified when, two years after her husband’s death, she suffered an accident that shattered her left foot and elbow, required two major surgeries, and left her virtually immobile for months. “I was in the hospital, coming out of surgery and still anesthesia-addled, when I saw photos and a floor plan of this house,” she says. “It hit the market on a Friday, and that Monday I put in a bid without even seeing it.” The house, built in 1971, “was in pretty horrible shape,” she admits. “But it had fantastic views of the Santa Ynez mountains.

IN THE PRIMARY BEDROOM, A CUSTOM IRON BED FRAME IS DRESSED WITH FABRICS BY ROSE TARLOW AND CLAREMONT. BEDDING BY JULIA B. LINENS; THROW BY JENNI KAYNE; LOUIS XVI SETTEE IN A HAZELTON HOUSE PRINT. OPPOSITE SUZANNE RHEINSTEIN ON A VINTAGE WROUGHT-IRON CHAIR IN THE GARDEN.

The property was sad and overgrown, but it had a huge backyard with a circular pool—I joked it would be great for senior synchronized swimming.” She turned for help to the AD100 team of Bories & Shearron Architecture. “From the outside, the house had a kind of 1970s Fire Island aesthetic,” says James Shearron. “It was totally of its moment, but it also had a kind of abstract, sculptural quality.” Adds Richard Bories, “The more we looked at it, the more we realized that it related to the early Montecito Spanish vernacular. There was real form underneath all that fashion of its moment. Now the house looks and feels shockingly different, even though we kept the building envelope.”

THIS WAS A VERY PERSONAL PROJECT, so Rheinstein could

adjust the layout to reflect exactly how she wanted to live. What had been the dining room became a reading room— “One thing I knew for sure about this house was that I wasn’t about to be giving any formal dinners,” she says. The main bedroom and the guest room switched roles. “Now I can lie in bed and see the mountains.” The kitchen chairs are on wheels because her three granddaughters like to scoot around the room on them. The reading room is centered by a tall mattress she refers to as her “ ‘Princess and the Pea’ bed,” where she sprawls with her granddaughters, who share her love of reading. “I think

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LEFT IN THE KITCHEN, A 1960s RESTAURANT LIGHT FIXTURE HANGS OVER A TABLE FROM MARCH AND CHAIRS FROM WILLIAM LAMAN. ISLAND OF BASALT STONE; WATERWORKS SINK FITTINGS. ABOVE A METROSIDEROS TREE GROWS IN THE GRAVEL-COVERED COURTYARD.

RIGHT IN THE READING ROOM, THE OVERSIZED LOUNGE CHAIR WEARS A FABRIC FROM RHEINSTEIN’S COLLECTION WITH LEE JOFA. CUSTOM BOOKCASES INSPIRED BY THOSE OF HUBERT DE GIVENCHY. ON WALL, PLATES FROM ROBERT KIME; VINTAGE RATTAN CHAIRS FROM WILLIAM LAMAN.

ABOVE RATTAN PIECES FOUND ON CHAIRISH AND ETSY SIT UNDER THE PERGOLA. CUSHIONS OF NOMI AND PINDLER FABRICS. RH COCKTAIL TABLES.

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ABOVE A FREESTANDING LAUFEN TUB FORMS A STRIKING CONTRAST WITH ANTIQUES IN THE BATH. CUSTOM-PLATED WATERWORKS TUB FILLER.

“I always say, go Rolex or go Timex,” Rheinstein observes of her high-low mix. “It’s the middle of the road that is the kiss of death.”

of that room as my cabinet of curiosities,” she says, full as it is of Morandi prints, Japanese brush pots, and Indian architectural fragments. Of the den, she admits, “It’s the first time in my life I have hung a TV above the fireplace. But it’s the place I spend time alone in the winter.” The custom banquette is perfect for lounging languidly, she points out. The furnishings throughout are a worldly mix, including boldly sculptural Portuguese furniture, antique Italian mirrors, African spears, and Etruscan wine vessels. Everything stands out against the simple planes and pale monochromatic walls, and small details take on large import, so she could justify splurging on handcast brass hardware and iron latches by van Cronenburg, a foundry based in Ghent, Belgium. But she also happily points out light fixtures from Pottery Barn: “I always say, go Rolex or go Timex. It’s the middle of the road that is the kiss of death.”

RHEINSTEIN IS A PASSIONATE GARDENER, and as a board member

of the Garden Conservancy she has toured many of the world’s most famous gardens. For her, the outside was as crucial and considered as the inside. She sought the advice of her friend

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the garden designer Nancy Goslee Power, and looked to two favorite landscape designers, Piet Oudolf and Álvaro de la Rosa, for inspiration. The retreat has taken on even more importance since Rheinstein was diagnosed with cancer in 2019. “But life is good now,” she says. “My cancer is stable, and I am having fun.” She finds herself spending more time at the house than she expected, sometimes staying for two weeks at a time. The place, like a Matisse cutout or a late Joan Mitchell drawing, stands as a distillation of Rheinstein’s art, a reflection of her hard-won knowledge of who she is, what she loves, and how she wants to live. It is the work of a master who has nothing to prove, and only the joy of her creativity to express.

ABOVE RATTAN CHAIRS BY PALECEK SURROUND AN 18TH-CENTURY FRENCH IRON TABLE IN THE GARDEN. BELOW IN THE GUEST ROOM, ANTIQUE ITALIAN SIDE CABINETS FLANK A CUSTOM BED UPHOLSTERED IN A ROSA BERNAL FABRIC. BEDDING BY JULIA B. AND DEBORAH SHARPE LINENS; ROOM & BOARD THROW.

design notes

THE DETAILS THAT MAKE THE LOOK OUTFITTED WITH A GRANITE SINK AND ZINC COUNTERTOP, THE FLOWER ARRANGING ROOM OPENS OFF THE GARDEN.

KICK PENDANT WITH REEDED SHADE; $448. JAMB.CO.UK

ASSISI FLAT SIDE PLATE; $85. ILBUCO.COM

AMALFI GOLDENROD PILLOW; FROM $125. HEATHERTAYLOR HOME.COM

CHINOISERIE TABLE BY SUZANNE RHEINSTEIN FOR THE LACQUER COMPANY; $1,250. KRBNYC.COM

EBONIZED BLACK WALNUT BENCH BY SAWKILL CO.; $7,200. MARCHSF.COM

BOLINAS LOUNGER; $898. SERENANDLILY.COM

DINIAN ZAG FABRIC BY SUZANNE RHEINSTEIN FOR LEE JOFA; TO THE TRADE. LEEJOFA.COM THE HONEYSUCKLECOVERED PERGOLA CONNECTS INDOORS AND OUT.

HARGETT BRIDGEARM FLOOR LAMP BY J. RANDALL POWERS FOR VISUAL COMFORT; $1,089. CIRCA LIGHTING.COM INTERIORS: LAURA RESEN. ALL OTHERS COURTESY OF THE COMPANIES.

GUSTO PAINTED VILLA KERYLOS CHEST BY CASA GUSTO; PRICE UPON REQUEST. GETTHEGUSTO.COM

For me, it’s not important that furniture pieces have provenance; they only need presence.” —Suzanne Rheinstein 108

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PRODUCE D BY MAD ELINE O’MA LL EY

MONTECITO FLORAL FABRIC BY SUZANNE RHEINSTEIN FOR LEE JOFA; TO THE TRADE. LEEJOFA.COM FLOAT LAMP BY STUDIO GIANCARLO VALLE AND L&G STUDIO; $16,700. GIANCARLOVALLE.COM

A GIANCARLO VALLE LIGHT FIXTURE HANGS ABOVE A GERALD BLAND TABLE IN THE LIVING ROOM.

We spent so much time looking for the perfect color for the walls. Finally Suzanne picked up a handful of sand and said, ‘That’s the color!’ ” —Richard Bories

TABURETT; $675. CHELSEA TEXTILES.COM

SEVILLA AZUL OCRE LINEN BY ROSA BERNAL; TO THE TRADE. CLAREMONT FURNISHING.COM CIRCULAR STEEL CENTER TABLE; PRICE UPON REQUEST. GERALDBLANDINC.COM

WAVERLY MIRROR; TO THE TRADE. MADEGOODS.COM

SUMMER VASE BY FRANCES PALMER; $1,900. KRBNYC.COM

LANARE PAISLEY FABRIC BY SUZANNE RHEINSTEIN FOR LEE JOFA; TO THE TRADE. LEEJOFA.COM

resources vandabaths.com. Litze bath fittings; brizo.com. Marble tiles; ceramic matrix.com. Simone mosaic tile; newravenna.com.

THE ENTRANCE HALL OF A GRAND HÔTEL PARTICULIER IN PARIS.

PERSONAL BEST

PUT A RING ON IT

PAGES 64–75: Interior Design by

Jacques Grange; +33-1-55-80-75-40 PLAY TIME

PAGES 76–79: Architecture by Jerome Byron; jeromebyron.com. Landscape Design by Terremoto; terremoto.la. PAGE 79: Akari ceiling lamp by Isamu Noguchi; shop.noguchi.org.

WILD AT HEART

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

PAGES 56–63: Interior design by V Starr; vstarr.com. Landscape design by Lucido & Assoc.; lucidodesign.com. PAGE 56: White Falda porcelain tile by Pental Surfaces; pental online.com. PAGE 58: Beat pendants by Tom Dixon; tomdixon.net. Amp pendants by Simon Legald; normann-copenhagen.com.

PAGE 59: Bespoke neon sign;

manhattanneon.com. Granite Stone-Platino wall covering; phillipjefries.com. Chair; famaliving.com. Gem velvet in Lapis; brentanofabrics.com. PAGE 60: In kitchen, Aquitaine pendant; rh.com. Appliances; officinegullo.com. Litze sink fittings; brizo.com. Calacatta Nuvo countertop; caesarstoneus.com. PAGE 61: In gallery, KAWSxCampana chair; friedmanbenda.com. PAGE 62: Custom shelving; graftonfurniture.com. On terrace, Havana lounge chairs and Marbella teak sectional sofa; rh.com.

ARCHITECTURAL DIGEST AND AD ARE REGISTERED TRADEMARKS OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT © 2021 CONDÉ NAST. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 78, NO. 3. ARCHITECTURAL DIGEST (ISSN 0003-8520) is published

monthly except for combined July/August issues by Condé Nast, which is a division of Advance Magazine Publishers Inc. PRINCIPAL OFFICE: Condé Nast, 1 World Trade Center, New York, NY 10007. Roger Lynch, Chief Executive Officer; Pamela Drucker Mann, Global Chief Revenue Officer & President, U.S. Revenue; Jason Miles, Chief Financial Officer (INTERIM). 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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PAGES 86–97: Interior Design by Charlap Hyman & Herrero; ch-herrero.com. PAGES 86–87: In garden, Antique planters by Willy Guhl; 1stdibs.com. Patricia Urquiola Garden Layers sofa set; shop.gan-rugs.com. Sauna; almostheaven.com PAGE 88: In entry, wallpaper by Fornasetti for Cole & Sons; leejofa.com. Custom stained glass door fabricated by David Scheid; davidscheidstainedglass.com. PAGE 89: In dining room, table; blackmancruz.com. Mohair Velvet upholstery fabric; maharam.com. Nuvola pendant light by Mario Bellini and antique rock lamps by Andre Cazenave; 1stdibs.com. PAGE 90–91: In living room, vintage De Sede Terrazza sofas by Ubald Klug; 1stdibs.com. Lolo Curtains; gastonydaniela.com. Rug; patterson flynnmartin.com. Philippe Starck Gnome tables; kartell.com. PAGE 92: In bedroom, Couristan leopard-print rug; chelseafloors .com. Antique Bocca Della Verita bed by Mario Ceroli; 1stdibs.com. Overgrow wallpaper and fabric by Charlap Hyman & Herrero; calicowallpaper.com. In primary bath, soaking tub; zenbathworks .com. Fittings; waterworks.com. PAGE 93: In powder room, terrazzo cladding; maxlamb.org. In guest room, antique Kimono Pillows; ch-herrero.com. Antique Marc Held bed for Prisunic; 1stdibs.com PAGE 94–95: In kitchen, Jade Manganese Field tile; heathceramics .com. Oven range; lacanche.co.uk. Locus Solus table and chairs by Gae Aulenti; 1stdibs.com.

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 eight 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.

Cork floor; duro-design.com. Fittings; waterworks.com. Vintage Andre Rotte pendants by Raak; 1stdibs.com. PAGES 98–109: Interior design by Suzanne Rheinstein; suzanne rheinstein.com. Architectural renovation by Bories & Shearron Architecture; boriesandshearron. com. Landscape design by Nancy Goslee Power & Assoc.; nancypower.com. PAGES 98–99: In living room, custom bronze and lacquer cocktail table; quintushome.com. Mouse’s Back paint; farrow-ball.com. On sofa, linen; victoriahagancollections .com. On chaise longue, fabric; claremontfurnishing.com, and trim; samuelandsons.com. Fabric on slipper chairs; carolinairvingtextiles .com. Custom Float Lamp; giancarlovalle.com. PAGES 100-101: Poolside, lounge chairs; anthropologie.com. Cushion fabric; nomiinc.com. India Yellow paint; farrow-ball.com. PAGE 102–3: In bedroom, custom bedframe; diospri.com. Fabrics; rosetarlow.com and claremont furnishing.com. Bedding; juliab.com. Throw; jennikayne.com. Printed fabric on Louis XVI settee; hazeltonhouse.com PAGE 104: In reading room, on lounge, Indian Zag by Suzanne Rheinstein; leejofa.com. Plates; robertkime.com. Vintage rattan chairs; williamlaman.com. In kitchen, 1960s light fixture from Richard Shapiro Antiques; studiolo.com. Table by Sawkille Co.; marchsf.com; Chairs; williamlaman.com. PAGE 105: In pergola, vintage rattan; chairish.com and etsy.com. Cushion fabrics; nomiinc.com and pindler.com. Cocktail tables; rh.com. PAGE 106: In bath, freestanding tub; laufen.com. Tub filler; waterworks.com. PAGE 107: In the garden, 18th-century French iron table; getthegusto.com. Chairs; palecek.com. In guest room, custom bed; valleydrapery.com, in fabric; therosabernalcollection. com. Bedding; juliab.com and deborahsharpelinens.com. Throw; roomandboard.com.

TO SUBSCRIBE TO OTHER CONDÉ NAST MAGAZINES: Visit condenastdigital.com. Occasionally we make our subscriber list available to carefully screened companies that offer products and services that we believe would interest our readers. If you do not want to receive these offers and/or information, please advise us at P.O. Box 37641, Boone, IA 50037-0641 or call 800-365-8032.

ARCHITECTURAL DIGEST IS NOT RESPONSIBLE FOR THE RETURN OR LOSS OF, OR FOR DAMAGE OR ANY OTHER INJURY TO, UNSOLICITED MANUSCRIPTS, UNSOLICITED ARTWORK (INCLUDING, BUT NOT LIMITED TO, DRAWINGS AND PHOTOGRAPHS), OR ANY OTHER UNSOLICITED MATERIALS REGARDLESS OF MEDIA IN WHICH IT IS SUBMITTED. THOSE SUBMITTING MANUSCRIPTS, PHOTOGRAPHS, ARTWORK, OR OTHER MATERIALS FOR CONSIDERATION SHOULD NOT SEND ORIGINALS UNLESS SPECIFICALLY REQUESTED TO DO SO BY ARCHITECTURAL DIGEST IN WRITING. MANUSCRIPTS, PHOTOGRAPHS, AND OTHER MATERIALS SUBMITTED WILL NOT BE RETURNED.

FRANÇOIS HALARD.

PAGE 63: In bath, Barcelona tub;

Fire Flowers $110 now $88

Unique & beautiful needlepoint kits from the world’s leading textile designers

wo stunning designs by Kaffe Fassett are on sale this fall with many more on our new website.

Crafts are experiencing a resurgence of interest at the moment. In these stressful times the soothing pleasure of stitching a canvas with wool has never been more welcome and the kit, with everything you need, is delivered to your door.

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one to watch

Megumi Shauna Arai Raw. Imperfect. Gestural. Emotional. These are words Megumi Shauna Arai uses to describe textiles that inspire her—whether traditional Japanese boro, 19th-century American crazy quilts, or patchwork marvels by the women of Gee’s Bend, Alabama. But this self-taught artist could just as well be describing her own make-do confections, hand-stitched in her

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Brooklyn studio using vintage fabrics, rough-edged scraps, and colorful silks. (She dyes them herself with natural agents like logwood, indigo, and cochineal, jars of which fill her shelves.) Arai’s intuitive, pieceworked technique turned heads last fall at the 1955 Eliot Noyes House in New Canaan, Connecticut, where one of her tapestries was spread across the bed as part of an exhibition by Blum & Poe, Mendes Wood DM, and Object & Thing. This spring, she’ll infiltrate our imaginations and Instagram feeds again when she unveils her nuanced take on noren, Japanese textiles hung in windows or doorways, for her solo show at the roving art-and-design purveyor TIWA Select, which represents Arai’s work. Growing up between Tokyo and the Pacific Northwest—her father is Japanese; her mother is Jewish-American—Arai credits her love of textiles to noren. “They’re very ordinary, but there’s something so special about that,” she explains. “It’s amazing when something reminds you of what you’re doing in the moment, even if it’s just stepping through a doorway.” In line with that thinking, she and TIWA Select will open the show (likely in an upstate New York space commissioned for the occasion) on May Day, originally a pagan holiday that celebrates another ordinary transition—the shift from winter to spring. megumi-arai.com —HANNAH MARTIN

PHOTOGRAPHY BY SEA N PRESSL EY

serenaandlily.com