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CONTENTS november

BJARKE INGELS AND FAMILY AT THEIR FERRY TURNED HOUSEBOAT IN COPENHAGEN AND THE BOAT’S SAFETY-ORANGE STAIRCASE (LEFT).

12 Editor’s Letter 14 Object Lesson BY HANNAH MARTIN

17 Discoveries

AD visits the Cotswolds farmhouse of Luke Edward Hall and Duncan Campbell... Artist Serban Ionescu’s 20-foot-tall folly in Hudson, New York... Ken Fulk unpacks the prettiest hotel suite in Texas... Cecile and Ezra Zilkha’s extraordinary collection goes up for auction at Sotheby’s New York... A glamorous New York State garden... and more!

33 Great Design: Kitchens

AD’s 2020 Great Design Awards round up the best new kitchen products BY MADELINE O’MALLEY

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58 The Life Aquatic

For Danish starchitect Bjarke Ingels, home is a radically transformed ferryboat in Copenhagen’s harbor. BY SAM COCHRAN

70 Fresh Take

Interior designer Beata Heuman teaches a young family’s 1890s London house more than a few new tricks. BY MITCHELL OWENS

82 Striking a Chord

Superstar Lenny Kravitz partners with Steinway & Sons on a limited-edition piano that showcases style, craft, and the importance of giving back. BY DAVID C. KAUFMAN

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Behind George Nakashima’s instinctual woodworking.

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CONTENTS november

THE LIVING ROOM AND MAIN BATH IN A LONDON HOUSE BY BEATA HEUMAN.

84 Family Matters

During the head-to-toe renovation of her Manhattan town house, textile scion Ashley Stark Kenner loved bringing her work home. BY HANNAH MARTIN

94 The Naturals

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BJARKE INGELS, RUT OTERO, AND THEIR SON, DARWIN, ABOARD THEIR COPENHAGEN HOUSEBOAT. “THE LIFE AQUATIC,” PAGE 58. PHOTOGRAPHY BY PERNILLE & THOMAS LOOF. STYLED BY JULIE LYSBO.

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100 Off the Grid

Working with Commune Design, director Anthony Russo resurrects a remote early-1900s cabin outside Los Angeles. BY MAYER RUS

106 Resources

The designers, architects, and products featured this month.

108 One to Watch

Say hello to Antwerp-based ceramic artist Harvey Bouterse. BY HANNAH MARTIN

INTERIORS: SIMON UPTON. COVER: PERNILLE LOOF & THOMAS LOOF.

FOLLOW @ARCHDIGEST

For New Yorkers during the pandemic, plants have been a lifeline. As a fresh crop of local green thumbs reveals, there has never been a better time to turn over a new leaf.

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editor’s letter

1. ARCHITECT BJARKE INGELS AND SON DARWIN IN THE HULL OF THEIR COPENHAGEN HOUSEBOAT. 2. CHRISTOPHER GRIFFIN, A.K.A. PLANT KWEEN, IS PART OF OUR CELEBRATION OF CITY GREEN THUMBS. 3. A LONDON SITTING ROOM DESIGNED BY BEATA HEUMAN. 4. A PRETTY BATH IN LUKE EDWARD HALL AND DUNCAN CAMPBELL’S GLOUCESTERSHIRE HOME.

Danish starchitect Bjarke Ingels is famed for his mind-blowingly innovative buildings: a ski slope cheekily set atop the Copenhill waste-to-energy plant; a joyful pile of primary-color blocks for the Danish LEGO museum; NYC’s new the XI, two towers that gracefully lean toward each other in an unlikely spiral; Urban Rigger, a 2016 floating Copenhagen complex designed to address a student-housing shortage. Given Ingels’s vivid imagination, I was intrigued when my colleague Sam Cochran, AD’s Features Director and resident architect whisperer, informed me that Ingels and his Spanish life partner, Rut Otero (also an architect), and their son, Darwin, live in the Copenhagen harbor on a houseboat. But no conventional life aquatic: The couple’s sleek, futuristic home base is a decommissioned ferryboat that Ingels 3 has completely tricked out with sliding window walls, a glass-enclosed pavilion for the main bedroom and its Japanese-inspired bath, and a gleaming white hull (seen above) that resembles a spaceship. Ingels has long been a booster of floating housing, calling it “the most resilient architecture. As sea levels rise, so will houseboats.” The ship he and Otero call home gave him the chance to fully practice what he preaches, and although it looks picture-perfect in AD’s shoot, transforming the hulking vessel into an actual family home was, reveals Cochran in his fascinating story, a ABOVE I AM HONORED AND PROUD TO ANNOUNCE THAT renovation feat involving grueling AD HAS PARTNERED WITH THE months without heat or running BLACK INTERIOR DESIGNERS NETWORK (LEFT, PRESIDENT water. “People had warned me that KEIA MCSWAIN) TO LAUNCH A living on a houseboat was simultaVIRTUAL SHOWHOUSE IN AMY ASTLEY NOVEMBER. YOU’RE INVITED: neously the best and worst thing,” Editor in Chief GO TO ARCHDIGEST.COM/ Ingels recalls. All aboard! @amyastley ICONICHOME FOR DETAILS! 12

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1. PERNILLE LOOF & THOMAS LOOF. 2. DEIRDRE LEWIS. 3. SIMON UPTON. 4. MIGUEL FLORES-VIANNA. 5. BIDN/AD.

“Architecture traditionally is so static and permanent. This is dynamic and mobile.” —Bjarke Ingels

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THE STORY BEHIND AN ICONIC DESIGN

2 3

Go With the Grain

George Nakashima’s instinctual woodworking celebrated the live edge

hile interned in Idaho at Camp Minidoka during World War II, Japanese-American architect George Nakashima met master Japanese carpenter Gentaro Hikogawa. Using wood scraps and desert plants, they worked together to improve their stark living conditions. Nakashima, who had studied architecture at MIT and worked

1. A GEORGE NAKASHIMA TABLE IN JULIANNE MOORE’S NEW YORK CITY TOWN HOUSE. 2. A MANHATTAN PENTHOUSE BY DELPHINE KRAKOFF. 3. A HAMPTONS DINING ROOM BY ANNABELLE SELLDORF. 4. NAKASHIMA’S CONOID COCKTAIL TABLE.

other way around; the material came first.” practice in New Hope, Pennsylvania. (Raymond, who owned a farm there, took the Nakashimas in after their early release in 1943.) Working first with scrap wood and then with offcuts from a local lumberyard, Nakashima developed a style that celebrated nature’s imperfections. “The lumber was full of knots, cracks, and wormholes,” Mira Nakashima recalls. “Things ordinary furniture makers would throw away.” But her father embraced those flaws, giving rise to a look we now call live edge, where the natural texture of the tree’s exterior is left visible. Butterfly joints,

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a.k.a. Nakashima joints, were used as reinforcement on unruly bits or to book-match two slabs of wood (he favored black walnut and selected pieces on instinct alone) into long tabletops. “He accepted and enhanced each piece of wood, with all of its imperfections,” says New York City architect and designer Stephanie Goto. (Michael Kors and Julianne Moore are fans too.) Mira Nakashima carries on that legacy, playing matchmaker between client and wood. “Dad felt if you created something beautiful, it was beautiful forever.” nakashimawoodworkers.com —HANNAH MARTIN

1. FRANÇOIS DISCHINGER. 2. ERIC PIASECKI. 3. PIETER ESTERSOHN. 4. COURTESY OF GEORGE NAKASHIMA WOODWORKERS.

selecting timber and using butterfly joints.

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DISCOVERIES

THE BEST IN SHOPPING, DESIGN, AND STYLE

EDITED BY SAM COCHRAN

ON EITHER SIDE OF A WATTLE FENCE, LUKE EDWARD HALL, LEFT, AND DUNCAN CAMPBELL STAND IN THE GARDEN OF THEIR WEEKEND HOUSE IN THE COTSWOLDS.

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Mix Masters

Designers Luke Edward Hall and Duncan Campbell put their smart, sprightly stamp on a Cotswolds farmhouse P HOTOGRAPHY BY MIGUEL FLORES-VIA NNA

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DISCOVERIES

1. THE LIVING ROOM IS PAINTED WITH A LEYLAND GREEN; CAMPBELL DESIGNED THE LILAC SLIPPER CHAIR. 2. A JOSEF FRANK COTTON FROM SVENSKT TENN CROWNS A KITCHEN WINDOW; CABINETS PAINTED IN A BLUE BY LITTLE GREENE. 2

hen you’re tired of London, you’re tired of life.” So says Luke Edward Hall, the British artist, interior decorator, newspa per columnist, and designer of unisex jerkins, echoing another creative multi hyphenate, Dr. Samuel Johnson, Georgian man of letters. Still, Hall’s partner, creative consultant and designer Duncan Campbell, chimes in, “There comes a point where you want a different pace, to be closer to nature, to have a different kind of socializing.” The bright young things toured the countryside in search of an impractical folly where they could spend weekends and even briefly considered shuttling idiosyncratically between two gatehouses before reason led them to something more usual. “It’s a kid’s drawing of a house,” Hall explains of the threebedroom old farmer’s cottage that they found on a Gloucestershire estate. “A gable, four windows, and a door.” In addition to a small barn with a resident owl and enough garden space to let loose their inner Capability Browns, the house had been perfectly renovated by the couple’s landlord, who gave them permission to paint and wallpaper—which they did, with the same chromatic abandon that has made their mignon London apartment a widely published style icon.

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DISCOVERIES 1. THE MAIN BEDROOM IS LINED WITH A SVENSKT TENN JOSEF FRANK WALLPAPER; VINTAGE PLASTER LAMPS. 2. THE GUEST BATH IS PAINTED IN A GREEN BY LITTLE GREENE. 3. FOR THE DINING ROOM, PAINTED WITH A FARROW & BALL YELLOW, HALL AND CAMPBELL HAD AN ANTIQUE MIRROR CUT DOWN TO FIT ABOVE THE MANTEL; THE CABINET WAS THE FIRST PIECE THAT THE COUPLE PURCHASED FOR THE HOUSE. 1

The Cotswolds living room is olive, the dining room is a mustardyellow, the main bath is lilac, one bath is arsenic green, and the guest rooms are painted skyblue and a blushing shade that Hall describes as “a gentle pink.” That last space was going to be highgloss chocolatebrown, but, Campbell says, “London friends should feel like they’re in the country.” As for the contents of the house, they make up a glorious gallimaufry, much of it gathered from area dealers, flea markets, county auctions, even eBay. “I screamed when I saw those,” Hall says of the oversize lyreshape fairground props that stand in the pink bedroom. Elsewhere, a chromeandcane Breuer chair is pulled up to a 19thcentury burlwood desk, a ceramic table in the form of a

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recumbent camel stands beside a sinuous planter’s chair, and graphic museum posters speckle the walls. Hall and Campbell designed the pedimentshape headboards and dressed them in colorful velvets, and, the former reports, “We went mad with old Sanderson and Colefax chintzes and made them into curtains,” among them frilly Austrian blinds for the bathrooms. “Not the sort of thing we’d have in London,” Campbell points out. The main bedroom is the only patternwrapped space, the Svenskt Tenn wallpaper of green foliage—it’s a 1940s Josef Frank design—channeling the windruffled meadow seen from the windows. Dreams of doing anything more intensive, decoratively speaking, such as painting a mantel to resemble lapis lazuli, were toyed with but summarily rejected. “You can do faux boiserie if you’re going to be someplace forever,” Hall observes with a shrug. “But when you’re just renting, you have to keep on your sanity cap.” lukeedwardhall.com —MITCHELL OWENS

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DISCOVERIES

ART SCENE

Take Me to Church

Artist Serban Ionescu plants a 20-foot-tall folly in Hudson, New York

CHAPEL FOR AN APPLE, AN ARCHITECTURAL FOLLY BY SERBAN IONESCU, EMERGING FROM THE LANDSCAPE IN HUDSON, NEW YORK, THIS PAST SUMMER.

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SARA FOX

’m a student of the folly,” says Romanian-born, Brooklyn- concept hotel. The work is Ionescu’s largest yet and marks based artist Serban Ionescu, who enthusiastically recalls his return to architecture, a medium he had abandoned years studying Bernard Tschumi’s Parisian Parc de la Villette ago for more impulsive practices in painting and sculpture, including strange, sometimes functional furnishings shown during architecture school at Pratt Institute. “It’s a by the New York City gallery R & Co. Those studies in color, more poetic form of architecture—a spiritual tributary versus a building made for function and usage.” So when shape, and volume have led him back to buildings. Sort of. Much like his chairs, which aren’t always intended for sitting, a collector asked Ionescu about a palm-sized maquette in his the Chapel throws easy categorization out the window. “The Red Hook studio, he suddenly envisioned the prototype as a unidentified land object,” as Ionescu calls it, looks positively folly, replying, “It’s called Chapel for an Apple, and it could be alien amid earth, water, and sky. Enter through either of two 20 feet tall.” Three months later, after bringing the model to life with his fabricator friends from Shape Studio, Ionescu was person-shaped doorways (modeled on Ionescu’s dimensions) to find a single seat, a window framing a pond, and a ladder in Hudson, New York—with hunks of steel suspended from a crane—installing the 5,000-pound figment of his imagination in to climb for an alternate view. Ionescu calls the Chapel for one “a transformative space.” serbanionescu.com —HANNAH MARTIN a field owned by Sunfair, a forthcoming artist residency and

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SWEET DREAMS

1. THE LAVERNE SUITE AT AUBERGE RESORTS COLLECTION’S NEW COMMODORE PERRY ESTATE, DESIGNED BY KEN FULK. 2. THE 1928 ITALIAN RENAISSANCE REVIVAL MANSION.

For his debut hotel project, Auberge Resorts’ Commodore Perry Estate in Austin, AD100 designer Ken Fulk pulled out all the stops—transforming a 1928 Italian Renaissance Revival mansion into exuberant accommodations. Our favorite room? The LaVerne suite, so named for a past owner and formed from what were once a group of smaller chambers. Pierre Frey’s Le Grand Corail fabrics cocoon the walls and canopy bed, accented by finds from Texas’s Round Top Antiques Fair. “We really put on our decorator hats, layering patina and style,” says Fulk. “The whole idea was for the space to feel utterly feminine, old-fashioned, and immersive.” aubergeresorts.com —SAM COCHRAN

French Immersion

“That stretch of Fifth Avenue has always been one of the great repositories of 18th-century French furniture in the world, with collectors like the Havemeyers, Clarks, and Wrightsmans,” says Sotheby’s expert Dennis Harrington. Count Cecile and Ezra Zilkha as following in those footsteps. The late Iraqi-American philanthropists lived large in a palatial apartment at the corner of Fifth and 66th Street, surrounded by treasures with blue-chip provenances that take in Rothschilds as well as style icon Babe Paley. This fall, more than 200 lots from the couple’s trove hit the block at Sotheby’s New York, in a dedicated sale that is set to fetch upwards of $7 million. “It’s rare to get in one collection this much Boulle that actually dates to the Louis XIV period,” Harrington says, noting the marquetry bureau plat, tables en huche (“Imagine a bread bin on legs”), and consoles attributed to royal cabinetmaker André-Charles Boulle. There’s also Japanese Imari porcelains, 17th-century Nuremberg silver-gilt, and Old Master paintings. “It’s an antiquarian collection but not purist,” he adds, “like the home of an ancien-régime family that intermarried with Empire nobility.” sothebys.com —MITCHELL OWENS

ARCHDI GE ST.COM

THE EXPERT: DOUGLAS FRIEDMAN. AUCTIONS: COURTESY OF SOTHEBY’S.

AUCTIONS

IT’S WHAT’S INSIDE THAT COUNTS Give from the heart this holiday season. Choose from a selection of gourmet gifts at HarryandDavid.com/ad

DISCOVERIES

MARBLE REPRODUCTIONS OF 17TH-CENTURY STATUES GUARD WROUGHT-IRON GATES AT WETHERSFIELD, WHICH WAS PUBLISHED IN AD’S OCTOBER 1979 ISSUE (BELOW). FOR ACCESS TO ALL 100 YEARS OF THE AD ARCHIVE, JOIN AD PRO, THE MEMBERS-ONLY COMMUNITY FOR DESIGN PROFESSIONALS, AT ARCHDIGESTPRO.COM.

THEN AND NOW

Green Acres

ot many people were commissioning classical gardens in postwar America, but then, not many people were Chauncey Devereux Stillman. Banking heir, naval officer, conservationist, cutting-edge gentleman farmer, equestrian, and intellectual, Stillman began spectacularly improving Wethersfield, his estate in Dutchess County, New York, in the late 1940s, at just about the same time that the cradle Episcopalian divorced his wife and converted to Catholicism. (Horst P. Horst photographed Wethersfield for AD’s October 1979 issue.) A painterly sequence of Italian Renaissance–inspired spaces was conjured, linked by sweeping terraces, speckled with thrilling statues in modernclassical style, and punctuated by an ornamental oval pool with water dyed jet-black to mirror the passage of the sun. “It’s an idiosyncratic place,” admits Toshi Yano, Wethersfield’s director of horticulture, who is particularly intrigued by a woodland spot that Stillman, who died in 1989, planned

ARCHDI GE ST.COM

as an allegory of his life. Like architect L. Bancel LaFarge, the Monuments Man who designed Stillman’s country house in the 1930s, the garden’s maestro, Evelyn N. Poehler, was talented but no superstar—which is, perhaps, how Stillman, a prickly personality at best, liked it. “He was working with lesser-known people because (a) he wanted to have his say and (b) he wanted them to have a project,” observes Peter Lyden, the president of the Institute of Classical Architecture & Art. Wethersfield’s AD100 fans also include decorator Bunny Williams and architect Peter Pennoyer. “It doesn’t seem like it’s channeling a bygone time, which must have something to do with Stillman’s erudition, scholarship, and spirituality,” the latter notes of the rolling 1,200-acre landscape, which is now open to the public and undergoing a sensitive restoration. “It’s very fresh and crisp.” wethersfield.org —MITCHELL OWENS

HORST P. HORST

A glamorous yet strangely obscure New York State garden is fertile ground for its AD100 admirers

Glass

V E N E T I A N

Brick

G L A S S

B R I C K

Revel in the refined elegance and contemporary clarity of Venetian Glass Brick by Glen-Gery. Aquamarine and Sapphire shown here are available in natural, frosted, and polished finishes. glengery.com/venetianglass

Liebherr wine refrigeration designed to fit your lifestyle Choosing the right preservation system can make all the difference. We asked three industry experts how they recommend the best appliance to suit their customers’ needs. MIKEL WELCH, Principal Designer and Founder, Mikel Welch Designs, New York, NY

“Designing for the wine lover and connoisseur is becoming the norm. Home wine collections are quickly turning into showcase galleries in clients’ kitchens and entertainment rooms. Sourcing optimal refrigeration, coupled with state-of-the-art design, is key for these discerning clients who want to preserve the quality of their wines without compromising aesthetics.”

NAR BUSTAMANTE, President, Principal Designer and Founder, Nar Design Group, Sacramento, CA

“Refrigeration and wine storage have become quite a focus in my designs. Popularity of farm-to-fork and elevated dining experiences, along with innovative cooking workstations in the home, has created a high level of refrigeration specificity. In dynamic kitchen designs, integrating wine columns, art, stone, and other appliances is essential. Wine columns, with their clean and elegant lines, are a gorgeous complement to any modern kitchen.”

SARAH ROBERTSON, Principal Designer and Founder, Studio Dearborn, Mamaroneck, NY

“I like to advise my clients, as they shop for wine preservation, to really dig into the technical specifications—not all wine refrigeration is created equal. If they really care about preserving their wine collection, they need the best refrigeration that current technology has to offer—optimizing temperature and humidity while minimizing vibration and exposure to UV light.”

Visit Home.Liebherr.com to learn more about all our refrigeration and freezing columns, including our new 18” and 24” wine columns.

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A LONDON KITCHEN DECORATED BY PATRICK MELE; WOLF RANGE AND HOOD.

For people all around the world, the home has never been closer to the heart. And the heart of the home? It’s the kitchen. So show yours some love. As inspiration, AD has rounded up the best new products on the market. (Think smart appliances, stunning surfaces, and vibrant accents galore.) To the winners of the 2020 Great Design Awards, chef’s kiss.... P RODUCE D BY MAD ELI NE O’ MALLEY

AD GREAT DE SIGN AWARD S 202 0

Timeless Neutrals for Redesigns Emerald® Designer Edition™ UltraWhite Base offers brightness and best-in-class coverage in one product. Autumn is a great time to finalize renovations and interior redesigns in your home. While it is important to evaluate objects in a room, many spaces are anchored by wall color. A decision that elevates any room is to center a redesign around a top-quality white paint. To find the best white for your project, first consider the other hues in the space, such as décor, furniture, and finishes. Warm neutrals in the Warm + Welcoming palette work best with traditional styles and areas like the family room because they pair well with any type of décor and never go out of style. The creamy white Sanctuary SW 9583 is perfect alongside relaxed design elements and comfy, neutral furniture to make any room a favorite retreat. Cool whites, on the other hand, provide the perfect complement to modern and minimalist styles, which use cooler finishes like chrome, iron, and black. Gypsum SW 9543 from the Minimal + Modern palette establishes high elegance while enhancing a sense of space. Get inspired for a fall refresh. Explore the entire Emerald® Designer Edition™ collection at emeralddesigner.com.

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3 38

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the ribbon on its newly expanded New York City flagship, a three-story showcase with 4,000 additional square feet. Customers will now find lighting and surfaces intuitively arranged by color, workstations for designers to meet with clients, 12 streamlined metal finishes, and a range of new products, like the Dash and Foro faucets. Of course, at 12,500 square feet total, the space offers plenty of room to socially distance. waterworks.com

A WATERWORKS SHOWROOM VIGNETTE

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Open Call

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SCAVOLINI’S NEW DELINEA SERIES LETS CUSTOMERS COOK UP KITCHENS THAT WORK BEST FOR THEM, WITH MODULAR COMPONENTS THAT CAN BE ASSEMBLED INTO COUNTLESS CONFIGURATIONS. HERE, THE SYSTEM IS SHOWN WITH A PENINSULA LAYOUT, MATTE WHITE LACQUERED CABINETRY, STATUARIO LAMINATE COUNTERTOPS AND SHELVES, AND RECESSED HANDLES—ALL THE ESSENTIALS WITHIN ARM’S REACH. SCAVOLINI.COM

ALL: COURTESY OF THE COMPANIES.

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SETTING THE MOOD make for magical meals any night of the week

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P ALETTE CLEANSER Ultra-refined materials and luxe details lend

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design Mario Bellini - www.bebitalia.com

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Architectural Digest and the Black Interior Designers Network introduce

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Presented By

SPECIAL THANKS TO

For Danish starchitect Bjarke Ingels, home is a radically transformed ferryboat in Copenhagenâ&#x20AC;&#x2122;s harbor. Where better to launch his forward-thinking visions of life on the water? PHOTOGRAPHY BY

TEXT BY SAM COCHRAN PERNILLE LOOF & THOMAS LOOF STYLED BY JULIE LYSBO

THE LIFE

BJARKE INGELS, FOUNDER OF THE INTERNATIONAL ARCHITECTURE FIRM BIG–BJARKE INGELS GROUP, SMILES THROUGH A SKYLIGHT ON THE HOUSEBOAT THAT HE SHARES WITH HIS YOUNG FAMILY, SPANISH ARCHITECT RUT OTERO AND THEIR SON, DARWIN. OPPOSITE THE CONVERTED NORWEGIAN FERRY SHIP, ORIGINALLY NAMED BUKKENBRUSE, OR “BILLY GOAT GRUFF,” IS DOCKED IN COPENHAGEN’S HISTORIC HARBOR; BENCH BY HAY.

AQUATIC

“People had warned me that living on a houseboat was simultaneously the best and worst thing. When it’s great, it’s epically great.” —Bjarke Ingels

KATJA SCHENKER.

IN THE LIVING AREA, SKY-FRAME WINDOW WALLS CAPTURE VISTAS OF COPENHAGEN HARBOR. THE SOFAS ARE BY KIBISI, THE DANISH BRAND COFOUNDED BY INGELS; THE SUSPENDED FIREPLACE IS BY FOCUS, THE FLOORS ARE LINED IN MAROKK CONCRETE TILE, AND THE ARTWORK (FAR RIGHT) IS BY KATJA SCHENKER.

INGELS AND OTERO POSE ON THE STAIRS, WHICH WERE PAINTED A TRADITIONAL NAUTICAL ORANGE; THE CALLIGRAPHIC WORK IS BY TOMOKO KAWAO, AND THE JAMEN PERCY PHOTOGRAPH SHOWS THE ORB, BIGâ&#x20AC;&#x2122;S 2018 INSTALLATION AT BURNING MAN.

TOMOKO KAWAO. JAMEN PERCY.

main deck (what was essentially an open driveway for cars) arlier this year, Darwin Otero Ingels, they installed sliding window walls, creating a loftlike living the son of Bjarke Ingels and Rut Otero, space with terraces painted the color of the water. On the said his first word: agua, or “water” upper level, meanwhile, they took their cues from the two in his mother’s native Spanish. That he large chimney stacks and navigation bridges, constructing should have H2O on the brain is no surprise. For much of his existence, this a glass-enclosed pavilion for the main bedroom suite among the original structures. Above it, a rooftop terrace affords intrepid toddler, now almost two, has dropped anchor in Copenhagen’s harbor, 360-degree views. And below deck, they transformed the hull into a futuristic playroom for all ages, stripping away additions cohabitating on a houseboat with his to reveal streamlined curves, adding porthole windows and two architect parents. Imagine, among your earliest experiences, the sight of ducks swimming past porthole windows, the a circular skylight, and treating the walls, floors, and ceiling as a kind of continuous white surface. thrill of friends arriving by kayak, and the constant, calming churn of the tides—that’s just an average day for young Darwin. But life aboard the SS Ingels has not always been so “WE WERE GIVEN the gift of forms,” Ingels says, adding that he charmed. When the Danish superstar bought the 126-foot-long might never have come up with the design in isolation. “It’s vessel in late 2016, it was quite literally a shell of its present self: a creative shift, shaped by different forces.” And while they a decommissioned ferryboat that had been partly converted took care to preserve the boat’s nautical quirks—among them into a living quarters, with a container plopped on the roof for the two captain’s cabins, with steering wheels for Darwin’s sleeping. It was docked then, as it is now, near Refshaleøen, amusement—they have also incorporated mementos from their a former industrial site that in recent years has evolved into a frequent peregrinations. (Travel is a major source of inspirathriving hub of creativity. (His AD100 firm, BIG–Bjarke Ingels tion for both Ingels and Otero, whose namesake fashion line Group, has played its part, having completed a number of blends cultural references.) The couple’s bath, for instance, nearby projects, including the 2016 floating student-housing features a hinoki cypress soaking tub, sink, and shower that complex Urban Rigger; the new home of the restaurant Noma; were inspired by their recent trip to Japan’s famous ryokans. and the innovative waste-to-energy plant Copenhill, cleverly And they found the playroom’s Technicolor beanbags and topped by a ski slope.) Never mind that the houseboat was pillows (handwoven by South African artisans out of scraps of barely insulated. Ingels was sold. “It has the past, present, and T-shirt fabric) during a 2017 visit to Cape Town for the opening future of Copenhagen all in one glance,” he says of the views. of the Thomas Heatherwick–designed Zeitz MOCAA. These “Look east and you can see the sun rising. Look west and you touches are joined by an array of Ingels’s own designs, from the can see the sun setting over the queen’s palace.” living room’s KiBiSi sofas to the recurring Artemide lights. Those vistas may have distracted him from the enormity In ways big and small, the ship has been a chance for Ingels, of the project at hand. “People had warned me that living on who has long been a proponent of floating housing, to practice a houseboat was simultaneously the best what he preaches. “It is the most resilient and worst thing,” Ingels recalls. “When architecture,” he muses. “As sea levels BELOW URBAN RIGGER, BIG’S 2016 FLOATING STUDENTit’s great, it’s epically great. When it sucks, rise, so will houseboats.” In addition HOUSING COMPLEX. it sucks so massively.” So he and Otero to Urban Rigger, a system of standarddiscovered that first winter as they went ized containers that helped address without heat and running water at times, Copenhagen’s student-housing shortage, waking up to freezing temperatures and he has envisioned entire communities once resorting to bottles of San Pellegrino at sea. His Oceanix City concept proto bathe before a client meeting. But poses sustainable, modular structures consider all that necessary hazing for for 10,000 people. On land, meanwhile, the couple. “You start understanding current projects such as The Big U what the ship is,” explains Ingels, noting (a protective coastal system for Lower that their survival skills and renovation Manhattan) and The Islais Hyper-Creek plans were ultimately kicked into high (a master plan for the southeast shoregear by the prospect of Darwin’s arrival. line of San Francisco) address the realiAs Otero puts it: “Living on a boat is ties of climate change. a learning curve. Over time, it becomes “Architecture traditionally is so clear what the spaces want to be.” static and permanent,” says Ingels, Ingels’s work, if at times hard to reflecting on his interest in the water’s characterize by style, has long been edge. “This is dynamic and mobile.” defined by constraints—the preexisting As of late, of course, the houseboat has conditions that steer his designs toward been not only a laboratory but a backsophisticated, often shipshape solutions. drop for virtual meetings. Reminiscing “It is a boat, so it wants to be symmetriabout a recent video call from below cal,” he notes matter-of-factly. “Part of deck, he jokes, “People asked if I was the project was restoring that symmetry on a spaceship.” At least, he was able along both axes.” At each end of the to tell them, it was a ship.

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BELOW DECK, NEW PORTHOLE WINDOWS CAPTURE SLIVERS OF SKY. THE PATCHWORK BEANBAGS AND PILLOWS ARE BY ASHANTI DESIGN, THE PUZZLE-PIECE CARPETING IS BY MVRDV FOR CSRUGS, THE CONE PENDANT LIGHTS ARE BY LOUIS POULSEN, AND THE ARTEMIDE LAMPS ARE BIGâ&#x20AC;&#x2122;S DESIGNS.

JEPPE HEIN.

“Living on a boat is a learning curve. Over time, it becomes clear what the spaces want to be.” —Rut Otero

SØREN SOLKÆR.

ABOVE RAW-STEEL BEAMS DOUBLE AS BOOKSHELVES IN THE COUPLE’S BEDROOM, WHICH IS FURNISHED WITH A BY THORNAM HEADBOARD AND A PAIR OF PHOTOGRAPHS BY SØREN SOLKÆR. FAR LEFT THEIR SKYLIT, HINOKI-WOOD SHOWER; FIXTURES BY VOLA. LEFT A BRIGHTLY PAINTED WET ROOM BELOW DECK; SINK BY DURAVIT AND FIXTURES BY VOLA.

INGELS AND OTERO’S BATHROOM, WHICH IS OPEN TO THEIR BEDROOM, FEATURES A FREESTANDING HINOKI CYPRESS TUB INSPIRED BY THEIR TRIP TO JAPAN; THE WOODWORK WAS ALL FABRICATED BY KØBENHAVNS MØBELSNEDKERI.

IN THE OPEN KITCHEN, OAK CABINETRY COMPLEMENTS A COPPER-NICKEL ISLAND; THE PENDANT LAMPS ARE BIG DESIGNS FOR ARTEMIDE, THE DINING TABLE IS BY LUCA CIPELLETTI, THE FIBERGLASS EAMES CHAIRS ARE BY VITRA, AND THE STOOLS ARE BY KØBENHAVNS MØBELSNEDKERI. COPENHILL, BIG’S WASTE-TO-ENERGY TREATMENT CENTER, APPEARS IN THE DISTANCE.

HILMA AF KLINT.

FRESH TAKE

Interior designer Beata Heuman teaches a young family’s turnof-the-century London house more than a few new tricks TEXT BY MITCHELL OWENS PHOTOGRAPHY BY SIMON UPTON STYLED BY SARA MATHERS

IN THE LIVING ROOM, VINTAGE PIERRE JEANNERET ARMCHAIRS FLANK AN ORIGINAL MANTEL; A CLAREMONT LINEN COVERS THE BEATA HEUMAN–DESIGNED SOFA, AND A PIERRE FREY MATERIAL WAS USED FOR THE CURTAINS. FOR DETAILS SEE RESOURCES.

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ABOVE A STAINLESS-STEEL ISLAND CENTERS THE NEW KITCHEN. RANGEMASTER RANGE; REMAINS LIGHTING (FOREGROUND) AND VAUGHAN PENDANTS. OPPOSITE DESIGNER BEATA HEUMAN IN THE ENTRANCE HALL, FRAMED BY VINTAGE BRASS SLIDING DOORS.

fter working from home, it’s going to be hard to go into the office,” says a 30-something London media man who counts himself lucky to have spent a surprisingly blissful lockdown with his wife and twin toddler daughters. “Three meals a day in the kitchen, using the spare room in the attic as an office—it’s been a pleasure to spend so much time here,” he says of the family’s circa-1903 redbrick charmer in Queen’s Park, a bohemian enclave in northwest London. “I’m not sick of anything. I thought the colors were going to be a bit much, but they’re wonderful. There’s a real harmony about the place, but it’s not too serious; you don’t have to be on your best behavior. She has such a skill for stylishness but also how to make a home.” She would be Beata Heuman, the Swedish-born, Londonbased It girl of the AD100: young, droll, creative, and envelopepushing. The couple crossed paths with Heuman and her husband at dinners and the convivial like, but they weren’t familiar with her work until late 2016, just before they bought a four-bedroom terraced house in a decidedly woeful state— one room literally had a massive mushroom growing on a wall—

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“How do I tell my friends I have a canopied sofa?” the husband says of one quirky Heuman design. ABOVE A CUSTOM-MADE RUNNER BY HEUMAN RISES UP THE STAIRCASE. VAUGHAN LANTERN; FARROW & BALL PAINT ON WALLS AND WOODWORK. OPPOSITE HEUMAN DESIGNED A CANOPIED SOFA FOR THE FAMILY ROOM, A.K.A. THE SNUG; SILK WALL COVERING BY DEDAR.

Heuman “captures something in the imagination and makes it more romantic,” the wife explains.

TOP A MASHARABIYA-INSPIRED VANITY IN THE MAIN BATH, WHICH HAS POLISHED CONCRETE WALLS. ABOVE RIGHT BORDERLINE FABRIC CURTAINS IN THE MAIN BEDROOM, ALONG WITH A CUSTOM-MADE WARDROBE. RIGHT SOANE BRITAIN SCONCES AND WALL COVERING IN POWDER ROOM.

ABOVE IN THE MAIN BEDROOM, SOANE BRITAIN READING LIGHTS PEER AROUND A CUSTOM HEADBOARD DRESSED IN A GUY GOODFELLOW COLLECTION STRIPE. PENDANT LIGHT BY GONG; WALL COVERING BY PHILLIP JEFFRIES; VOLGA LINEN BEDSHEETS; BED-SKIRT FABRIC BY SOANE BRITAIN.

and decided they needed assistance. “We saw her Instagram and said, ‘Holy hell, she’s brilliant,’ ” the husband recalls. As for Heuman’s freewheeling sense of adventure, that became readily apparent soon after the epic renovation, with architect Joseph Edwards, began. The thorough refresh included preserving and restoring many original elements—what the husband calls “the layers of life”—such as carved-stone mantels that more timid souls might have found irredeemably ugly rather than delightfully odd.

VANESSA GARWOOD.

“JUST WHEN YOU GET your head around an idea Beata proposed,

another one turns up,” the wife, who works in film and television and is used to spontaneous creativity, explains. “There was a lot of that. And we’d say, ‘Wow, okay, let’s try it.’ Most of the time, she was completely right.” That includes suggesting a surprisingly operatic sofa for the so-called snug, a cozy television room that’s clad in a big, bold tiger-print fabric that the clients found on their own, to Heuman’s mixmaster delight. (She had proposed striping the walls, but, the wife says, “Our

instinct was to do something crazy.”) Sheltered beneath a towering canopy, the seat was inspired by the delirious 18thcentury chinoiserie daybeds at Stanway House, the Earl of Wemyss’s Jacobean ancestral pile in Gloucestershire. Though the husband initially had misgivings (“How will I tell my friends I have a canopied sofa?”), he has become its biggest fan, lolling there with his daughters, reading books, or watching the television that’s concealed behind a zodiac-painted panel above the fireplace. In Heuman’s world, there’s no reason to have a standardissue oven hood, to cite yet another example of her cheerfully contrarian aesthetic. In the sunny new kitchen that extends into the garden at the rear of the house, smoke-extract pipes are concealed within a copper sheath-cum-shelf that snakes across a wall like a smartened-up piece of industrial flotsam. “In farms in Sweden, you see pipes clad in metal and which you can use for storage, too,” explains the designer, noting that the copper sheets, pieced together with matching nailheads, have “a lovely reflectiveness and will darken over time.”

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DETAILS LIKE THAT are really brilliant,” the husband enthusiasti-

cally observes. A colorful jungle-like mosaic, made by a family friend, surrounds the children’s bath. Wafer-thin reeded paneling wainscots a tiny powder room without encroaching on the space. Ribbonlike brass handles handmade by Florentine craftsmen ornament cabinets. Heavy brass doors, which once graced the BBC’s former headquarters, now slide open to the living room. “I love the history of them, but the builders weren’t very happy,” the husband continues. A couple of years ago, he and his wife missed the chance to purchase an 1870s Aesthetic Movement cabinet at the Masterpiece London art-and-antiques fair, so Heuman channeled a magnified adaptation for the main bedroom. The wall-spanning armoire that resulted is handpainted, Cocteau style, with the sun and moon and spattered

AR CHDI GE ST.COM

with stars. “I wasn’t expecting it to be so huge, but it’s so theatrical and wonderful and magical,” the wife says, adding that she can imagine her girls seeing it as an entrance to Narnia. “That’s what Beata’s brilliant about: She captures something in the imagination and makes it more romantic.” The otherworldliness that Heuman conjured has kept the family from going stir-crazy during monthslong sheltering at home. “So much of what some of us do can be done at home and sometimes a lot more effectively,” the husband says, adding that although many people have been uneasily stripped of their business personae during the pandemic, for him, “it’s been great to pop down, have fun with the kids, and then head back upstairs. Terrible things have happened in the world, but there have been wonderful moments, too.”

HUGO GUINNESS.

LEFT HEUMAN DESIGNED A PLASTER PENDANT AND SWAN BRACKETS FOR THE MAIN BATH. WINDOW BLIND OF A CHRISTOPHER FARR CLOTH FABRIC WITH SAMUEL & SONS BRAID. OPPOSITE THE TWINS’ BEDROOM BLUSHES WITH A LAKELAND PAINTS PINK AND IS CURTAINED WITH A HOWE LONDON FABRIC. ON CHAIR, A LE MANACH COTTON.

design notes

THE DETAILS THAT MAKE THE LOOK

ALBERTO TWO-TIER CHANDELIER BY JULIE NEILL FOR VISUAL COMFORT; $2,059.CIRCALIGHTING.COM

ANTIPATICO VASE BY FORNASETTI; $995. BERGDORF GOODMAN.COM

SCROLLING FERN SILHOUETTE LINEN; $270 PER METER. SOANE.COM

IN THE KITCHEN, A COPPERCLAD EXHAUST VENT SNAKES ACROSS ONE WALL.

TRANSLUCENT PORCELAIN FOOTED BOWL WITH COBALT PAINTING; $1,600. FRANCESPALMER POTTERY.COM

We saw Beata’s Instagram and said, ‘Holy hell, she’s brilliant.’"

FAUX-BAMBOO CHEST OF DRAWERS; $2,352. CHELSEA TEXTILES.COM

THETFORD TOLE LANTERN; TO THE TRADE. VAUGHAN DESIGNS.COM

BALCONY STRIPE LINEN BY NICKY HASLAM DESIGN; PRICE UPON REQUEST. TURNELLANDGIGON.COM

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LUCKDRAGON STOOL; $2,124. SHOPPA.BEATAHEUMAN.COM

PRODUCE D BY MAD ELINE O’MA LL EY

I thought the colors were going to be a bit much, but they’re wonderful,” says the homeowner.

FABRIC-CLAD CABINETS FLANK THE DOOR TO THE MAIN BATH.

PAW-PRINT LINEN; $180 PER METER. SOANE.COM

FARAO STRIPE LINEN; $133 PER METER. SHOPPA .BEATAHEUMAN.COM

CUB CHAIR; $3,320. SHOPPA.BEATAHEUMAN.COM

MONSTER PINCH SALT CELLAR; $113. SHOPPA.BEATA HEUMAN.COM

INTERIORS: SIMON UPTON. ALL OTHERS COURTESY OF THE COMPANIES.

EMPIRE FRENCH CURL LAMPSHADE ON ROSE RED CHAR GLOSSY LAMP; FROM $100. ROSIDERUIG.CO.UK

TIGER SILK; TO THE TRADE. DEDAR.COM

OVAL TRAY BY JOHN DERIAN FOR THE LACQUER COMPANY; $575. THELACQUER COMPANY.COM

SLIDING DOORS SEPARATE THE FAMILY ROOM, A.K.A. THE SNUG, FROM THE LIVING ROOM. VINTAGE PIERRE JEANNERET CHAIR; CUSTOM CANOPIED SOFA.

DAVID C. KAUFMAN TEXT BY

Superstar Lenny Kravitz partners with Steinway & Sons on a limited-edition piano that showcases style, craft, and the importance of giving back

STRIKING A CHORD

Lenny Kravitz

is often thought of as the ultimate guitar guy. From the bombastic riffs of “Are You Gonna Go My Way” to the opening of “American Woman,” guitar arrangements have always anchored Kravitz hits. “But the piano was actually the first instrument I ever played,” he notes, reflecting on his long-standing love of the instrument. Some five decades, 11 studio albums, and four Grammys later, Kravitz still has his childhood piano. Now he has parlayed that passion—along with his experience designing both furniture and interiors—into a limited-edition version all his own, collaborating with the venerable piano manufacturer Steinway & Sons. A visual tour de force, his concept marries elements of the Art Deco and Art Moderne styles with nods to African art, mixing rich woods and metals. Hand-painted geometric carvings run across the piano’s lid and sides, referencing traditional tribal motifs, while cheetah-print upholstery tops the bench. But the most showstopping feature may be the poplar legs, whose blocky heft and distinctive notchings were inspired by the West African sculptures that Kravitz has long collected.

MARK SELIGER

LENNY KRAVITZ ADMIRING A PIANO IN PROGRESS WITH BOBBY BHAGWANDIN, AN ARTISAN AT STEINWAY & SONS’ NEW YORK CITY FACTORY. OPPOSITE THE COMPLETED INSTRUMENT, ONE OF 10 LIMITEDEDITION PIECES DESIGNED BY KRAVITZ FOR STEINWAY.

Resembling charred timber, these structural supports mark a surprising departure for Steinway—which has been creating instruments for the world’s leading musicians since 1853. “When I first presented my sketches, they definitely were not entirely sure how the legs were gonna turn out,” Kravitz recalls. “But the more time they spent on them, the more excited they would become.” Kravitz comes to Steinway as the latest creative partner tasked with conceiving a limited-edition piano—following in the footsteps of such visionaries as fashion designer Karl Lagerfeld and sculptor Dale Chihuly. “He’s a true Renaissance man,” says Steinway president and CEO Ron Losby, explaining why Kravitz’s vast range of talents made him an obvious choice. “He’s a musician, a photographer, a designer—with a fantastic sense of style in everything he does.” Altogether, the expert artisans at Steinway’s vast Queens facility will spend some 200 hours hand-carving each instrument, the rim of which is crafted from 15 layers of rock maple,

then accented with two layers of Macassar ebony veneer. The team also worked with other members of the Queens creative community: The lyre that supports the piano’s pedals is cast in solid bronze at the nearby Modern Art Foundry, coincidentally located in the Steinway family’s historic former mansion. Although Kravitz’s scheme was ambitious, it never strayed beyond Steinway’s repertoire of possibilities. “He pretty much had carte blanche,” Losby says. “But because he is a real musician, he was extremely sensitive to what was practical.” Steinway will produce a mere 10 pianos, each priced at $500,000—with a portion of the proceeds benefiting the Harlem School for the Arts. “I studied there when I was a kid,” Kravitz notes of the organization, an official Steinway partner for nearly a decade. “It was really a wonderful fit.” As for an ideal fit for his pianos, he can imagine one displayed in the home of collectors at the level of Yves Saint Laurent. “He had such an eclectic aesthetic and strong appreciation for African sculpture and art. And this piano is really as much an instrument as a piece of art.”

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FAMILY MATTERS

During the head-to-toe renovation of her Manhattan town house, textile scion Ashley Stark Kenner loved bringing her work home TEXT BY

HANNAH MARTIN

PHOTOGRAPHY BY

DOUGLAS FRIEDMAN

STYLED BY

COLIN KING

IN THE LIVING ROOM OF ASHLEY STARK KENNER’S MANHATTAN HOME, 1957 PIERRE JEANNERET CHAIRS AND A CUSTOM SOFA SURROUND A KELVIN LAVERNE COCKTAIL TABLE. ARTWORKS BY JULIAN SCHNABEL, BRENT WADDEN, AND DAMIEN HIRST. OPPOSITE KENNER WITH HER FAMILY. FOR DETAILS SEE RESOURCES.

“We’ll just fix it up a little bit.” That’s what Ashley Stark Kenner thought when she and husband Nick, founder and CEO of Just Salad, bought a town house on New York’s Upper East Side to make room for their growing family. The landmarked 19th-century building had a lot going for it—generous dimensions, a deep backyard, and, a rarity among town houses, lots of light. But at their first meeting with New York–based Lichten Architects, talk quickly shifted to “gut renovation.” “The façade was the only thing that stayed,” Kenner says now, three years later. “For a while, we didn’t have a roof. We didn’t have a floor. We dug out the basement, we added a top floor, we added terraces. If I showed you the before and after, you’d be like, ‘What?’ ”

ABOVE IN THE KITCHEN, PAINTED BENJAMIN MOORE DECORATORâ&#x20AC;&#x2122;S WHITE, THE APPLIANCES ARE BY GAGGENAU, SINK BY DORNBRACHT, AND CHAIRS FROM MECOX. OPPOSITE COUNTERTOPS BY ARTISTIC TILE AND OAK FLOORS FROM LV WOOD.

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JANSEN CHAIRS PULL UP TO A CUSTOM OAK DINING TABLE SURROUNDED BY FAUX BOIS WALLPAPER BY HOLLAND & SHERRY. SERGE MOUILLE CHANDELIER; MIRRORS FROM NEWEL; PAINTING BY BEVERLY FISHMAN.

LEFT: BEVERLY FISHMAN. RIGHT: RICHARD ESTES.

IN THE LIBRARY, PAINTED IN BENJAMIN MOORE’S COBBLESTONE PATH, A CUSTOM BOOKCASE AND SOFA ENVELOP A WILLY RIZZO COCKTAIL TABLE. MOROCCAN RUG FROM STARK. HANGING LIGHT BY APPARATUS.

gets it, she understands it, she knows how to be current while As the senior vice president of design and creative director staying classic.” at the eight-decades-old textile titan Stark, she knew exactly what she wanted. And with a totally clean slate, she didn’t have to compromise. “I had a vision, and I stuck with it,” says KENNER’S CRYSTAL-CLEAR VISION was ground-up, starting Kenner, calling her aesthetic “laid-back, organic, beachy, a with the floors. Once the bones were rebuilt, there was Kenner, little bit French.” eight months pregnant with her third child, sifting through Working closely with Kenner, architects Andrew Friedman oak floorboards with Friedman. After months of searching for and Kevin Lichten created a floor plan that functioned for the perfect wood, she had finally found some reclaimed oak family life and, as Friedman explains, “felt loftlike and modern through LV Wood (a recommendation from her friend Nate but still like a traditional town house.” That sensibility extended Berkus) that resonated, and she hand-selected and placed each to the decor, spearheaded by New York firm Aman & Meeks board into a chevron pattern. When it came time to lay the (with a heavy hand from Kenner herself ). bathroom floors with marble from Artistic Tile, it was a similar “Ashley grew up in this business,” says James Aman. He and scene. Kenner combed through boxes of tiles, selecting pieces John Meeks have known her for more than a decade, having with only the subtlest veining. designed her first city apartment, before she was married. “Not Rooms were assembled around her requests. Pierre only does she have an innate sense of style herself but she Jeanneret’s iconic Chandigarh chairs were, as Meeks recalls,

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RIGHT THE SON’S CUSTOM BED, COVERED IN A HOLLAND & SHERRY LINEN, FLANKED BY KARL SPRINGER LAMPS. BELOW ARTWORKS BY DONALD BAECHLER (ABOVE DESK) AND TAKASHI MURAKAMI (ABOVE SHEARLINGCOVERED ARMCHAIR) MIX WITH AN RH BABY & CHILD DESK AND CHAIR AND A CHANDELIER FROM CB2 IN THE DAUGHTER’S ROOM. BOTTOM IN THE NURSERY, A DUCDUC CRIB AND STARK CARPET.

“I’m a strong believer in making kids’ spaces that don’t look like kids’ spaces,” says Ashley Stark Kenner.

ABOVE HARMONIOUS TEXTILES—HAND-LOOMED STARK CARPET, HEMP WALL COVERING BY MAYA ROMANOFF, AND HOLLAND & SHERRY FABRICS ON THE CUSTOM BED AND BANQUETTE—COCOON THE MAIN BEDROOM. 1930s VENETIAN CHANDELIER.

“on her bucket list,” and the rest of the living room came together around a pair scored via 1stdibs. Her idea for a wraparound sectional, modeled after a vintage Knoll piece, and a custommade bookcase set the cozy tone in the den. And Gracie worked with her on a custom wallpaper for the powder room with a particular “distressed denim-blue” ground. MUCH OF THE DECOR is custom made, mixing in with a thought-

ful collection of vintage and antiques. A bespoke Vladimir Kagan–inspired sofa in the living room curves around the Kelvin LaVerne cocktail table Kenner brought with her from her last place. A cerused-oak vanity was constructed for her dressing room. And Jansen dining chairs gather around a bronze-inlaid oak farm table in the dining room, built with hidden leaves for hosting large family gatherings at holidays. The palette is reserved, preferring lush textures, rich materials, and subtle motifs over bold statements. “I’m surrounded by so much pattern and color in the showroom,” Kenner explains. “I always want my home to be more soothing.” Textiles are a big part of the equation, almost all of them Stark or Stark-owned brands and many of them prototypes she is testing out. “As I was developing the collection, I knew exactly what would go in

each room,” she says of the carpets, which range from a shaggy Moroccan rug to sisal to custom textured shearling. Walls wear textiles too, some papered in faux bois, others covered in braided hemp or wool. Works of fine art, like a bold Beverly Fishman painting in the dining room and a woven fiber piece by Brent Wadden in the living room, deliver a few happy hits of color. The vibe is casual and family-friendly, yet still sophisticated. An avid cook, Kenner created her dream kitchen, outfitted by Gaggenau (“The face of the oven never gets hot, which is great with kids”), and is happy to report that it’s now the go-to family zone. Sofas passed down from her mother have been recovered in performance fabrics (“When I was little, I was never allowed to touch them”). The playroom is bold and graphic in black and white (“The toys bring the color”), and it’s easy to imagine it becoming a hangout in the future. “I’m a strong believer in making kids’ spaces that don’t look like kids’ spaces,” Kenner says. As for those kids, it seems they’re already cultivating the family taste for textiles. Despite all the spaces created just for them, Kenner reveals, “Their favorite thing in the house is the shearling carpet in my dressing room.”

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design notes

THE DETAILS THAT MAKE THE LOOK

BRIGADE RUG; TO THE TRADE. STARKCARPET.COM

HIGHWIRE TANDEM LIGHT; $6,050. APPARATUS STUDIO.COM

TIGRE VELVET; TO THE TRADE. SCALAMANDRE.COM MONUMENTAL HANDBLOWN LEECH BOWL; $1,400. KRBNYC.COM

KENNER AND HER DAUGHTER IN THE LIVINGROOM BAR.

THE POMPADOUR MANTEL; $5,250. CHESNEYS.COM

LAREDO TABLE BY GEORG BAEHLER FOR NOIR TRADING, INC.; $1,620. NOIR FURNITURELA.COM

BALE PILLOW; $215. BOLEROADTEXTILES.COM

PORTSIDE DINING CHAIR; $598. SERENAANDLILY.COM

In my personal decorating,” notes Ashley Stark Kenner, “I go for textures, layers, wood grains—an organic feel.”

LACQUERED BLUE SILHOUETTE WALL COVERING; $1,635 PER PANEL. GRACIESTUDIO.COM

PRODUCE D BY MAD ELINE O’MA LL EY

COBRA CANDLEHOLDER SET; $299. GEORGJENSEN.COM

POLAR BEAR MOHAIR BY OLD WORLD WEAVERS; TO THE TRADE. SCALAMANDRE.COM

PEONY & BLUE SUEDE CANDLE; $67. JOMALONE.COM THE POWDER ROOM HAS A CUSTOM WALLPAPER FROM GRACIE AND A PAIR OF APPARATUS SCONCES.

INTERIORS: DOUGLAS FRIEDMAN. ALL OTHERS COURTESY OF THE COMPANIES.

I had this vision of a black-and-white playroom. There’s so much color in all of their toys, I wanted it to be really clean and bold.”

MIDLAND RUG; TO THE TRADE. STARKCARPET.COM

CLOUD MODULAR SOFA; FROM $1,495. RH.COM

SERGE MOUILLE CEILING LAMP; $6,995. DWR.COM UNTITLED, BY HUNT SLONEM; $5,500. 1STDIBS.COM

A CLOUD SECTIONAL BY RH IN THE BLACK-AND-WHITE PLAYROOM.

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THE NATURALS For New Yorkers during the pandemic, plants have been a lifeline—a source of inspiration and a form of personal and political expression. As a fresh crop of local green thumbs reveals, there has never been a better time to turn over a new leaf PRODUCED BY

SAM COCHRAN

PHOTOGRAPHY BY

DEIRDRE LEWIS

Maryah Greene

“We’re humans; we are inclined to care for living things,” says the self-taught plant doctor, who launched her Brooklyn-based firm, Greene Piece, in 2018. Offering services like virtual home visits and “plant-shopping dates,” during which she accompanies clients to local nurseries, Greene emphasizes that good mental health is rooted in a strong connection to nature—and that nature should be accessible to everyone. “Plants are a reminder that rest is equally as important as productivity,” she reflects, stressing that now, more than ever, all people should experience “the grounding sensation” associated with growing plants. (She is photographed on her neighbors’ Bedford-Stuyvesant stoop.) “New York is this stagnant, concrete thing. When you get on that subway, you don’t have control over how your day is going to go, but with plants there’s an equation you can narrow it down to: sunlight, water, and care.” As for her future plans, this able instructor—she received a dual master’s degree in general education and literacy at Bank Street College—hopes to bring plants into classrooms and other spaces that prioritize wellness for children, especially children of color. “It’s my way of checking up on kids and saying, ‘How are you?’ ” yourgreenepiece.com —GABRIELA ULLOA

ARCHDIGEST. COM

Shanti Nagel

“A little bit of wild in the city can bring us some sanctuary,” says this landscape designer. Since 2015, her firm, Design Wild, has been working with local officials, community groups, developers, and homeowners to create lush, ecologically sound gardens for low-income housing, public spaces, private residences, and busy streets. Pocket meadows (pictured) commissioned by the Hudson Yards Hell’s Kitchen Alliance have attracted a steady stream of monarch butterflies and other pollinators to a highly trafficked stretch of the West Side, while a newly completed 5,000-square-foot garden for an affordable-housing building promises to take the edge off some of the more stressful aspects of urban life. As Nagel explains, the pandemic has thrown the need for accessible urban green space into high relief. “What people need most is a quiet place to sit with a plant.” designwildny.com —HANNAH MARTIN

Jarema Osofsky

“As city dwellers, we do what we can to bring the forest into our homes,” says Osofsky, a botanical designer who built her name operating a nursery, or “plant speakeasy,” out of her own apartment. “Tending to one’s plants— just being in their company—can be a continual source of relaxation and spiritual sustenance.” These days, Osofsky works out of a light-filled studio in Gowanus, where she conducts virtual and (with the necessary precautions) in-person meetings with clients, teaching them about gardening techniques and the needs of different plant varieties. Since the pandemic, she’s seen a local surge in demand for backyard, rooftop, and terrace landscapes. (She is photographed at a recent Fort Greene brownstone project.) “People want to grow their own food, so we plant vegetable beds, herbs, and pollinator gardens,” explains Osofsky, adding that people are prioritizing plants inside as well as out. “Most of us in New York do not have space to cultivate a garden, but we can grow houseplants. Keeping them allows us to nurture and watch life grow.” dirtqueennyc.com —ZOË SESSUMS

ARCHDI GE ST.COM

DRESS BY ULLA JOHNSON.

Annie Novak

“Throughout history, there are so many examples of vegetable gardening used as a response to crisis,” notes Novak, drawing a through line from the victory gardens of the early 20th century to the guerrilla-gardening movement of the 1970s to the present pandemic. “People turn to it as an outlet or a resource.” The importance of getting your hands dirty is a message this multifaceted farmer has long shared, offering field-to-fork classes at Growing Chefs, the nonprofit she started in 2005; tilling the soil at the Eagle Street Rooftop Farm, the 6,000-square-foot Greenpoint oasis she cofounded in 2009; managing The Edible Academy at the New York Botanical Garden; and tackling private projects. (She is photographed atop a Lower Manhattan tower at Battery Rooftop Garden, where she curates the vegetable program.) Today that advocacy has taken on new urgency. “As people are stuck at home, they’ve become more acutely aware of what access they have to green space—and there isn’t enough,” she reflects. “There has never been a more important time to recognize that rooftops are an oasis.” annienovak.wordpress.com —S.C.

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Mihalis Petrou

“Butterflies, bees, and birds are my everything,” says the self-taught native-plant specialist, who grew up in rural Cyprus surrounded by wheat fields, olive groves, and wildlife. “Nature, even in its brutality, is inviting. As a landscape designer, gardener, and human being, I love having beauty around me.” Several years ago, nostalgic for his pastoral past, the Manhattan transplant set about studying indigenous plants—poring over books, collecting seeds, and transforming a private Queens garden (pictured) into a laboratory and showcase for his ecological explorations, as well as a set location and source for brands on the order of Oscar de la Renta. Today his firm, Fulli NYC, teaches city dwellers to eschew ivy, wisteria, and the invasive like in favor of native perennials, whether in the form of flower arrangements, window boxes, or lush gardens that attract pollinators. “Now more than ever, we all want to help the environment, and we can do something very simple,” notes Petrou. “Make landscapes more productive environmentally. Buy plants that grow in your area.” fullinyc.com —S.C.

Christopher Griffin

“It all started with my grandmother; she was the original Green Goddess in my life,” recalls Griffin, a.k.a. Plant Kween, an Instagram sensation who has leveraged their considerable fan base to spread the good word of greenery. Amassing more than 180 plants and 250,000 followers over just four years, Griffin has cultivated fertile digital ground for fellow queer or BIPOC nature lovers to bond, all the while feeling seen and represented. “When I’m caring for my plants, I’m caring for myself,” muses Griffin, who works by day as the assistant director of New York University’s LGBTQ+ Center. (They are photographed at home in Crown Heights and at the Brooklyn Botanic Garden.) “Is my queen getting enough water? Wait, am I getting enough water?” These are the selfnourishing questions Griffin believes we—New Yorkers especially—should be asking ourselves during today’s stressful times. Just be sure to nurture your plant friends “with an eager mind and a sense of curiosity and fun.” After all, Plant Kween attests, “it’s such a simple pleasure.” instagram.com/plantkween —G.U.

ARCHDI GE ST.COM

off the grid

Working with Commune Design, director Anthony Russo resurrects a remote early-1900s cabin outside Los Angeles TEXT BY

MAYER RUS

PHOTOGRAPHY BY

STEPHEN KENT JOHNSON

THE DINING ROOM IS OUTFITTED WITH A CANDELABRA BY ROBERT LONG LIGHTING, A HANS WEGNER CHAIR, AND A CUSTOM LINEN CHEST BY DUSK IN THE STYLE OF GERRIT RIETVELD. OPPOSITE THE CENTURYOLD CABIN WAS BUILT AROUND A MASSIVE GRANITE RIVER BOULDER THAT SUPPORTS THE CHIMNEY STACK. FOR DETAILS SEE RESOURCES.

o Twitter, no Instagram, no TikTok, no Fortnite. No viral videos, no FaceTime follies, no tedious group texts, no apps of any kind. For those addicted to social media, the prospect of disconnecting entirely may seem daunting, even nightmarish. But for anyone who ever dreamed of Walden Pond—or simply crawled under the covers at the thought of a Zoom bar mitzvah—the allure of director Anthony Russo’s off-the-grid cabin in the Angeles National Forest is undeniable. “The place is less than an hour from my office downtown, but you feel like you’ve traveled far, far away from Los Angeles. It’s a radically different reality,” says Russo, who, along with his brother Joe,

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has directed four installments in the Marvel Cinematic Universe, including Avengers: Endgame and Captain America: Civil War. “The cabin gives me the opportunity to kidnap my kids for the weekend, bring friends up, or simply do some writing and other creative work in blissful solitude,” he explains. Russo’s getaway is one of a cluster of cabins in the San Gabriel Mountains built in the early 1900s as part of a program instituted by the U.S. Forest Service to encourage responsible land use. Accessing the site requires a 40-minute hike on unpaved foot paths that lead from a pack station down through the canyon. Anything that needs to be brought in, from groceries to building materials, must be transported by hand or pack mule. There are no sewage, water, or power lines, and no cell-phone or internet service. An antediluvian crank phone, straight out of a Hollywood

RIGHT A COMMUNEDESIGNED CLOSET HAS GINKGO-LEAF MARQUETRY DETAILS INLAID IN REDWOOD SALVAGED FROM THE RENOVATION. TABLE LANTERN BY COMMUNE FOR REMAINS LIGHTING. OPPOSITE A SHAKERINSPIRED PEG RAIL IS AFFIXED TO THE LIMEWASHED WALLS OF THE LIVING ROOM. VINTAGE BRUNO MATHSSON LOUNGE CHAIR; NICKEY KEHOE OTTOMAN.

RIGHT BENEATH A CEILING SHEATHED IN GRASS CLOTH BY ASTEK, THE BEDROOM LOFT FEATURES A VINTAGE SWEDISH FLAT-WEAVE RUG AND A HANDWOVEN BASKET BY DAX SAVAGE.

RIGHT THE CUSTOM WHITE-OAK KITCHEN HAS WATERWORKS FIXTURES AND AN UNDER-SINK CURTAIN BY ADAM POGUE. OPPOSITE IN THE LIVING ROOM, A VINTAGE BØRGE MOGENSEN DAYBED IN ORIGINAL FABRIC SPORTS A GREGORY PARKINSON BLANKET AND PILLOWS BY CLAY MCLAURIN STUDIO AND PENNY MORRISON. SCONCE BY SOANE BRITAIN; RUG BY DEDON.

period piece, connects the cabin only to neighboring lodges and the pack station. “This place is truly remote, away from everything, but that’s the appeal. Even with the amenities and artisanal flourishes we installed, you’re still basically out there on your own in nature,” says designer Steven Johanknecht of the AD100 firm Commune Design. “The movers had to create handcarts to get all the material to the site. It took eight men hiking back and forth for days. It felt like a scene from The Ten Commandments,” he recalls, describing the extraordinary logistical challenges of executing the full-scale reconstruction project. RUSSO TAPPED COMMUNE for the assignment after

admiring the firm’s work for the Ace Hotel group as well as the late, lamented L.A. restaurant Ammo. “I felt like they had the right sensibility to respect how special this place is but also the imagination to make it of today,” the director explains. “I’ve always been obsessed with Adirondack style, and that was definitely one of our touchstones, but I wanted to see where Commune would go with that idea. I didn’t want something totally old-fashioned and nostalgic,” he adds. Johanknecht and his team responded with a scheme that balances pragmatic necessity with subtle nods to Shaker and Japanese design, Swedish and French chalets, and historic American mountain retreats. They replaced rotted redwood timbers with knotty cedar on the ceilings and reclaimed oak on the floors, and liberated the original stone fireplace from a straitjacket of paint accrued over many years. An array of refined details—including a bronze doorknob cast from a local river rock, fine finger joinery on the oak kitchen cabinets, and a custom cupboard, fabricated from salvaged redwood, with ginkgo-leaf marquetry—further elevates the nouveau rustic vibe. “Because of the size of the spaces, we had to make the most of every square foot, so the details became all-important. Our mantra was ‘utility with style,’ ” Johanknecht explains. Russo’s property encompasses the main cabin, which measures roughly 600 square feet, a stacked stone bunkhouse below the front patio, a shower shed (water from the creek is collected in a cistern before being filtered and redistributed), an outhouse with a composting toilet, and a storage shed with truck batteries that harvest solar power. Hydraulic steel window covers close off the cabin when no one is in residence. “My wife, Ann, doesn’t like roughing it, so I asked Commune for the nicest outhouse anyone has ever seen,” Russo says, laughing. “She told me at the beginning, ‘You can get this place, but I may

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“We had to make the most of every square foot, so the details became all-important,” designer Steven Johanknecht explains. never sleep here.’ We tried to make it as comfortable as possible, but she still hasn’t spent the night. We’re working on it.” Notwithstanding the lovely finger joinery, the presence of rattlesnakes, bears, and bobcats may not do much to entice the director’s reluctant spouse, but the panoply of nature is part of the deal in this wilderness sanctuary. “When you’re out of the city, different rules apply, so you have to be on your toes,” Russo confesses. “But when you step out of your normal life and embrace this landscape, it’s pure magic.”

resources All products listed have been identified by the designer of each residence. Contact information was up to date at time of publication.

GREAT DESIGN: KITCHENS/ SETTING THE MOOD PAGE 42: Fabrics row 1, from left: Roumania Lace linen; arjumandsworld .com; Little F Tutti Thimble Print Linen by Howe; 36bournestreet.com; Artemis linen; susandeliss.com. Fabrics row 2, from left: Ashoka Stripe linen; robertkime.com; Zelda linen; raoultextiles.com; Cordoba linen; bennisonfabrics.com. Fabrics row 3, from left: Sandobar linen; namaysamay.com; Chintamani linen; ottoline.co.uk; Mayfields fabric; sisterparishdesign.com. THE LIFE AQUATIC PAGES 58–69: Architecture by BIGBjarke Ingels Group; big.dk. PAGE 58: Palissade dining bench by Hay; dwr.com PAGES 60–61: In the living area, curtains of Kvadrat fabric; maharam.com; on Frameless Sliding Doors by Sky-Frame; sky-frame.com. Cork Family stools by Jasper Morrison for Vitra; vitra.com. Hanging Egg Chair by Nanna Ditzel; sikadesign.com. Brick sofas by KiBiSi for Versus; kibisi.com. Bathyscafocus Hublot suspended fireplace by Focus; focusfireplaces.com. On floor, Marokk concrete tile; marokk.com. PAGES 64–65: In below deck living area, Mega Bori Bori Bean Bag, Baby Bori Bori Bean Bag, and striped cushions by Ashanti Design; ashantidesign.com. Keglen pendant lights in white by Louis Poulsen; louispoulsen.com. At custom white table, Shanghay chairs by KiBiSi for Hay; kibisi.com. Gople floor lamps by Artemide; artemide.com. On floor, The Puzzle by MVRDV for CSrugs; csrugs.com. PAGE 66: In bedroom, M Headboard by By Thornam; bythornam.com. Ypperlig LED table lamp by Hay for Ikea; ikea.com. In shower, fittings by Vola; en.vola.com. In below-deck wet room, mirror by vitra; vitra.com. Vero washbasin by Duravit; duravit.us. Hand shower and fittings by Vola. PAGE 67: In bath, all woodwork fabricated by Københavns Møbelsnedkeri; kbhshop.dk. PAGES 68–69: In kitchen, custom island and stools by Københavns Møbelsnedkeri; kbhshop.dk. Gople pendant lamps by Artemide; artemide.com. Custom dining table by Luca Cippelletti; ar.ch.it. Eames Fiberglass Chairs by Vitra; vitra.com. FRESH TAKE

PAGES 70–81: Interiors by Beata Heuman; beataheuman.com. Renovation architecture by Edwards Wilson; e-w. london. PAGES 70–71: In living room, Easy Armchairs by Pierre Jeanneret; 1stdibs.com. Chair cushions in Jembala Wool Crewel by Clarence House; clarencehouse.com. Pouffe by Beata Heuman; beataheuman .com; in a horsehair stripe by Abbot & Boyd; abbotandboyd.co.uk. Tray from The Lacquer Company; thelacquercompany .com. Studio pottery lamps with marbleized shades from Rosi de Ruig; rosi-de-ruig .com. Sofa designed by Beata Heuman in Hawkeswood by Teyssier; teyssier.co.uk. Unlined curtains of Craft by Pierre Frey; pierrefrey.com. On walls, Off White paint by Farrow & Ball; farrow-ball.com.

PAGES 72–73: In kitchen, island pendants from Remains Lighting; remains.com. Bespoke cabinet handles by Beata Heuman; beataheuman.com. Rangemaster range; rangemaster.co.uk. Dining table by Beata Heuman. Vintage chairs in a Josef Frank fabric from Svenskt Tenn; svenskttenn.se. PAGE 73: In entrance hall, mirror by Reid and Wright; reidandwright.london. Bespoke console table by Beata Heuman; beataheuman.com; covered in Squiggle by JET; whiteworksgroup.co.uk. PAGE 74: In family room, bespoke pouffe in a Warris Vianni cotton; warrisvianni .com. Custom canopied sofa by Beata Heuman; beataheuman.com; covered in a Lewis & Wood Linen; lewisandwood.co.uk. Rug from Vanderhurd; vanderhurd.com. Silk wall covering by Dedar; dedar.com. PAGE 75: In entrance hall, mirror by Reid and Wright; reidandwright.london. Bespoke console table by Beata Heuman; beataheuman.com; covered in Squiggle by JET; whiteworksgroup.co.uk. Bespoke runner by Beata Heuman manufactured by Silk Avenue; silkavenue.pk. PAGE 76: In main bedroom, curtains of Tigers Eye by Borderline; borderlinefabrics .com. Vintage armchair covered in a Gaston y Daniela wool; gastonydaniela .com. Stool covered in Lontano by Abbot & Boyd; abbotandboyd.co.uk. Bespoke armoire by Beata Heuman; beataheuman.com. PAGE 76: In master bath, fabric curtains by Borderline; borderlinefabrics.com. Floors painted in Old White by Farrow & Ball; farrow-ball.com. PAGE 76: In powder room, sconces by Soane Britain; soane.co.uk. Scrolling Ferne wall covering by Soane Britain. On paneling Hunter Dunn paint by Paint & Paper; paintandpaperlibrary.com. PAGE 77: In main bedroom, bespoke headboard covered in a Guy Goodfellow stripe; guygoodfellowcollection.com. Volga bedlinens; volgalinen.co.uk; bedskirt fabric by Soane Britain; soane.co.uk. Blue canvas linen wall covering by Philip Jeffries; philipjeffries.com. PAGE 78: In master bath, window treatment fabric from Christopher Farr; christopherfarr.com; braid from Samuel & Sons; samuelandsons.com. Bathtub from The Water Monopoly; thewater monopoly.com. Towel rail from Balineum; balineum.co.uk. Rattan stool by Lloyd Loom; lloydloom.com. Bespoke brass swan brackets and plaster pendant by Beata Heuman; beataheuman.com. PAGE 79: In twins’ bedroom, curtains covered in Mr. Men fabric by Howe; howelondon.com. Headboards and bed skirts by Beata Heuman; beataheuman .com; upholstered in Balcony Stripe in pomegranate by Nicky Haslam; nh-design .co.uk. Scatter cushions on bed in Asterias Folly and Day by Beata Heuman. Bespoke leopard side table by Beata Heuman. Antique armchair upholstered in Le Fontaine by Le Manach; pierrefrey.com. Castaneda Pink paint by Lakeland Paints; lakelandpaints.co.uk. PAGE 80: In kitchen, pendant lights by Remains Lighting; remains.com. Rangemaster cooktop; rangemaster.co.uk. PAGE 81: In master bath, Fornasetti vase; fornasetti.com. Towel rail by Balineum; balineum.co.uk. Blue canvas linen wall covering by Phillip Jefferies; phillipjefferies.com.

ARCHITECTURAL DIGEST AND AD ARE REGISTERED TRADEMARKS OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT © 2020 CONDÉ NAST. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 77, NO. 10. 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; Mike Goss, Chief Financial Officer. Periodicals postage paid at New York, NY, and at additional mailing offices. Canada Post Publications Mail Agreement No. 40644503. Canadian Goods and Services Tax Registration No. 123242885-RT0001. POSTMASTER: Send all UAA to CFS. (See DMM 507.1.5.2); NON-POSTAL AND MILITARY FACILITIES: Send address corrections to ARCHITECTURAL DIGEST, P.O. Box 37641, Boone, IA 50037-0641.

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PAGE 81: In living room, vintage Pierre Jeanneret chair; 1stdibs.com Custom canopied sofa by Beata Heuman; beata heuman.com; covered in a Lewis & Wood Linen; lewisandwood.co.uk.

FAMILY MATTERS PAGES 84–93: Architecture by Lichten Architects; lichtenarchitects.com. Interiors by Aman & Meeks; aman-meeks .squarespace.com. PAGE 84: In living room, 1960’s Jean Perzel chandelier; 1stdibs.com. Vintage Knoll sofa covered in Melissani white fabric by Holland & Sherry; hollandand sherry.com. Vintage Finn Juhl teak Lounge chairs covered in Duloy Shearling; finnjuhl.com. Parchment and bronze side table from BK Antiques; bkantiques.com. Roger Capron mosaic inlay top cocktail table; 1stdibs.com. 1957 Pierre Jeanneret chairs; 1stdibs.com. Kelvin LaVerne “Chan” Coffee Table; 1stdibs.com. Custom sofa by Aman & Meeks; aman-meeks.squarespace .com; covered in Melissani white fabric by Holland & Sherry. Custom drapery in a Scalamandre fabric; scalamandre.com; Holland & Sherry embroidered trim details. Hand-loomed custom white and cream area rug; starkcarpet.com. On walls, Decorator’s White paint by Benjamin Moore; benjaminmoore.com. Alor White wallpaper by Maya Romanoff; mayaromanoff.com. PAGE 85: Custom sofa by Aman & Meeks; aman-meeks.squarespace.com; covered in Melissani white fabric by Holland & Sherry; hollandandsherry.com. Kelvin LaVerne “Chan” Coffee Table; 1stdibs.com. 1957 Pierre Jeanneret chairs; 1stdibs.com. Hand-loomed custom white and cream area rug by Stark; starkcarpet.com. Chesneys marble mantel; chesneys.com. Allied Maker sconces with wood oak detail; alliedmaker.com. On walls, Decorator’s White paint by Benjamin Moore; benjamin moore.com. Alor White wallpaper by Maya Romanoff; mayaromanoff.com. PAGE 86: In living room bar, Arabescato slab counter, integral sink and walls, by Artistic Tile; artistictile.com. Sink and fittings by THG; thg-paris.com. Custom cabinetry painted in Decorator’s White by Benjamin Moore; benjaminmoore.com. Hardware by Buster + Punch; busterand punch.com. Chevron oak floors from IV Wood; ivwood.com. PAGES 86–87: In kitchen, Rein 20˝ pendant by Allied Maker; alliedmaker.com. Tara faucet by Dornbracht; dornbracht .com. Appliances by Gaggenau; gaggenau .com. Custom table by Aman & Meeks; aman-meeks.squarespace.com. Rope chairs by Mecox Gardens; mecox.com. Cabinetry by Bakes & Kropp; bakesandkropp.com. On walls, Decorator’s White paint by Benjamin Moore; benjaminmoore.com. PAGE 88: In dining room, Serge Mouille ceiling lamp; dwr.com. Mirrors from Newel Antiques; newel.com. Vintage Jansen chairs in Lama Boucle Craie fabric by Scalamandre; scalamandre.com. Custom oak table by Aman & Meeks; aman-meeks.squarespace.com. Kalevela Matte Snow wallpaper by Holland & Sherry; hollandandsherry.com. PAGE 89: In library, Highwire and Arrow lights by Apparatus; apparatusstudio.com. Custom sectional covered in Neva Gray JB 02998216 by Old World Weavers; scalamandre.com. Willy Rizzo coffee table; 1stdibs.com. Custom Moroccan area rug by Stark; starkcarpet.com. Cobble Stone Path paint by Benjamin Moore; benjamin moore.com. Faux-wood-grain wallpaper by Nobilis; nobilis.fr.

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PAGE 90: In son’s room, custom bed covered in a Holland & Sherry linen; hollandandsherry.com. Karl springer lamps; karlspringerfurniture.com. PAGE 90: In daughter’s room, chandelier from CB2; cb2.com. RH desk and chair; rh.com PAGE 90: In nursery, crib from Duc Duc; ducducnyc.com. Camelon-Blue carpet by Stark; starkcarpet.com. PAGE 91: In master bedroom, custom bed upholstered in Brunswick Sky fabric by Holland & Sherry; hollandandsherry.com. Bed scarf by Frette; frette.com. Custom carpet by Stark; starkcarpet.com. Custom drapery in Rocca Calascio fabric by Scalamandre; scalamandre.com; edge embroidery detail by Holland & Sherry. Custom banquette covered in Pichola in vapor from Holland & Sherry. Cashmere throw blanket from Holland & Sherry. Ceiling paper in Elitis by Domino; domino .com. Braided hemp wall covering by Maya Ramonoff; mayaromanoff.com. PAGE 93: In powder room, custom Etna 15 Italian bronze drop fixture from Gaspare Asaro; gaspareasaro.com. Single Tassel sconces by Apparatus; apparatus studio.com. Blue De Savoie stone slab counter, integral sink, and splash by Artistic Tile; artistictile.com. St. Germain fittings and faucet by THG; thg-paris.com. PAGE 93: In playroom, Cloud Sectional from RH; rh.com.

OFF THE GRID

PAGES 100–105: Interiors by Commune Design; communedesign.com. PAGE 101: In dining room, custom dining table and linens chest by DUSK; dusk.work. CH26 chair by Hans J. Wegner for Carl Hansen & Søn; carlhansen.com. Chandelier by Robert Long Lighting; robertlonglighting.com. PAGE 102: In living room, vintage Børge Mogensen daybed and Bruno Mathsson lounge chair. Custom firescreen by Commune Design; communedesign.com. Round Hassock in leather by Nickey Kehoe; nickeykehoe.com. Vid Collection Carpet Fringes by Dedon; dedon.de. PAGE 103: In living room corner, custom closet with gingko leaf marquetry by Commune Design; communedesign.com. Closet hardware by Commune Design for Liz’s Antique Hardware; lahardware.com. Speaker by Marshall; marshallheadphones .com. Candle Lantern by Commune for Remains; remains.com. On bedroom walls and ceiling, Grasscloth wall covering by Astek; astek.com. Bedding by Parachute; parachutehome.com. Handwoven Antler basket by Dax Savage Custom Design; daxsavage.com. PAGE 104: In kitchen, Waterworks sink fittings; waterworks.com. Under-sink curtain by Adam Pogue; iamadampogue.com. PAGE 105: On the living room’s vintage Børge Mogensen daybed, pillows by Clay McLaurin Studio; claymclaurin.com; and Penny Morrison; pennymorrison.com. Blanket by Gregory Parkinson; gregoryparkinson.com. Avon Wall Light with metal shade by Soane Britain; soane.co.uk. Vid Collection Carpet Fringes by Dedon; dedon.de.

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TACTILE LUXURY: LUSH BY ARTE Lush, Arte’s newest wallcovering collection, features complementary designs of corduroy-like velvet and cool, smooth metallics that create a cohesive tonal story. These wallcoverings are unexpectedly tactile with a slight retro vibe, thanks to the collection’s wide range of textures, tones, and styles. Lush features five patterns and 26 colorways, including solids and prints ranging from the warmth and depth of Wildflower, an exuberant floral pattern on a sumptuously soft velvet rib, to the cool tones of Stellar, a dramatic metallic solid. Lush by Arte offers wallcoverings that showcase the most luxurious interiors in the world. To experience Arte’s full range of elegant and award-winning wallcoverings and to request samples, please visit arte-international.com.

IBSB PRESENTS: A 5TH AVENUE ENCLAVE ESTATE Imagine a lifestyle surrounded by state-of-the-art luxury—where indoors and outdoors are one separated only by walls of glass; where water, palm trees, and green space embrace Florida’s natural beauty; and every conceivable destination for shopping, restaurants, and other services is within a five-mile radius. Located on the main intracoastal waterway, this estate is in the heart of East Boca Raton.

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one to watch

Harvey Bouterse

Ten years ago, this Antwerp-based artist, then working in fashion, took a drive to Perignem, an erstwhile ceramics factory outside Bruges. He and his partner, both collectors of Belgian pottery, were hoping to get a 1960s vessel authenticated by the factory that produced it. Inside, Elisabeth Vandeweghe, who had inherited the atelier, encouraged her visitors to give things a try, so Bouterse dusted off the materials and tools. Over the course of repeat visits, he would steadily teach himself how to throw and build, all through trial and error. “I think the fastest way to learn something is to just do it and see what happens,” Bouterse says. “If it doesn’t work, you do it again.” Since 2015, when he officially traded cloth for clay, he has unveiled vases adorned with graphic imagery, otherworldly candelabra, and sculptural wall panels, all fired in Perignem, where he continues to work on weekends (and is pictured above). “I try not to give myself rules,” notes Bouterse, whose creations—often finished with a mix of new and historic glazes—have won him fans on the order of AD100 designer Pierre Yovanovitch and The Future Perfect’s David Alhadeff. “I make it, and that’s it. That is the freedom with ceramics.” hrvi.be —HANNAH MARTIN

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