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THE INTERNATIONAL DESIGN AUTHORITY JULY/AUGUST 2021

CARA DELEVINGNE

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CONTENTS july/august

A GRASS LABYRINTH AT A GARDEN IN THE ENGLISH COUNTRYSIDE.

12 Editor’s Letter 14 Object Lesson

Richard Schultz’s outdoor chaise longue. BY HANNAH MARTIN

17 Discoveries

A LIGHT-FILLED BEVERLY HILLS LIVING ROOM BY NATE BERKUS AND JEREMIAH BRENT.

40 House Party

Life’s a ball at the delightfully dizzying Los Angeles home of supermodel/actress Cara Delevingne. BY MAYER RUS

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GARDEN: MARIANNE MAJERUS. INTERIOR: TREVOR TONDRO.

AD visits a sustainably crafted Catskills getaway… Artist-designer Gabriella Picone’s Sicilian-inspired home collection… Five statement pitchers… Verdant outdoor fabrics… Old meets new at the Hotel Saint Vincent in New Orleans... Holly Hunt reissues iconic Vladimir Kagan pieces… Rolex’s tropical wristwatches… Stylish poolside finds… A treasured Art Nouveau department store in Paris reopens… And more!

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CONTENTS july/august 52 Winning Combination

With help from Workstead, a Victorian mansion in upstate New York steps boldly into the 21st century. BY DAVID SOKOL

64 Making Waves

Architect Bryan Young leaves his sensitive mark on a stretch of Dominican Republic coast. BY SAM COCHRAN

70 Rural Reboot

A British couple’s modern-minded gardens transform the familiar into the fantastic. BY MITCHELL OWENS

74 Open Season

Designers Nate Berkus and Jeremiah Brent and architect Paul McClean craft a joyful family home in Beverly Hills. BY MAYER RUS

84 On the Waterfront

At the hands of Gil Schafer, a ramshackle ranch house on the shores of Lake Champlain becomes a vibrant getaway. BY MICHAEL BOODRO

94 Resources

The designers, architects, and products featured this month.

96 One to Watch

French ceramist Alice Gavalet’s wild and whimsical functional objects. BY HANNAH MARTIN

40 CARA DELEVINGNE, IN A BALENCIAGA OUTFIT AND DIOR JEWELRY, IN HER L.A. HOME’S BALL PIT. (DELEVINGNE WEARS CAPTURE DREAMSKIN CARE & PERFECT, DIORSHOW MONO COULEUR COUTURE, AND DIOR ADDICT LIP GLOW; ALL MAKEUP AND NAIL ENAMEL BY DIOR.) “HOUSE PARTY,” PAGE 40. PHOTOGRAPHY BY LAURE JOLIET. STYLED BY AMY CHIN. FASHION STYLING BY ROB & MARIEL.

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LAURE JOLIET; ART: MASAYOSHI SUKITA.

A TUB WITH A VIEW AND A DAVID BOWIE–INSPIRED POWDER ROOM (ABOVE) IN THE HOME OF CARA DELEVINGNE.

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THE INTERNATIONAL DESIGN AUTHORITY VOLUME 78 NUMBER 7

Amy Astley

EDITOR IN CHIEF

EDITORIAL OPERATIONS DIRECTOR Diane Dragan DIGITAL DIRECTOR David C. Kaufman EXECUTIVE EDITOR Shax Riegler FEATURES DIRECTOR Sam Cochran INTERIORS & GARDEN DIRECTOR Alison Levasseur STYLE DIRECTOR Jane Keltner de Valle DECORATIVE ARTS EDITOR WEST COAST EDITOR Mayer Rus

FEATURES SENIOR DESIGN EDITOR Hannah Martin DEPUTY EDITOR, DIGITAL Allie Weiss ENTERTAINMENT DIRECTOR Dana Mathews DESIGN EDITOR Madeleine Luckel FEATURES EDITOR, DIGITAL Nick Mafi ENTERTAINMENT EDITOR Luke Leifeste ASSOCIATE ENTERTAINMENT EDITOR

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editor’s letter 1. CARA DELEVINGNE ON DOOR DUTY AT HOME IN L.A. (WEARING A RALPH LAUREN OUTFIT, DONNI ASCOT, AND DIOR WATCH). 2. A GUITAR SIGNED BY DAVID BOWIE IN SUPERFAN DELEVINGNE’S COLLECTION. 3. TRUSTWORTH STUDIOS WALLPAPER AND A WIENER WERKSTÄTTE CEILING FIXTURE OUTFIT A GUEST ROOM IN A HOUSE BY WORKSTEAD IN UPSTATE NEW YORK. 2

4. A GREEN-AND-GOLD BOXWOOD PARTERRE IN A U.K. GARDEN. 5. TRACY JAMES AND HER DAUGHTER, STELLA ROBBINS, IN STELLA’S ROOM IN L.A., DESIGNED BY NATE BERKUS AND JEREMIAH BRENT.

“It’s the design equivalent of a jaw drop. There’s no mistaking whose house you’re in.” —Cara Delevingne

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4 5

1. & 2. LAURE JOLIET. 3. MATTHEW WILLIAMS. 4. MARIANNE MAJERUS. 5. TREVOR TONDRO.

Sweet escape. We all need one right about now, as summer beckons, the COVID funk lifts, and our understandable desire to savor the moment intensifies. Cover star Cara Delevingne has made an art of enjoying herself, and that is exquisitely reflected in her outrageously entertaining new L.A. pleasure dome, which includes a ball pit, a tented poker room, in-ground trampolines, and a (nearly) soundproof bunker party room. “I love games— charades, beer pong, poker, Cards Against Humanity, tug-of-war, whatever feels fun,” says Delevingne, who seems to have a designated space tricked out for each of these activities, plus many others. “When my friends come over, the house turns into an obstacle course. It’s like an indoor/outdoor playground by way of Alice in Wonderland.” Who needs a vacation when you have your own personal Disneyland? I admire Delevingne’s sunny, not-too-serious spirit, and encourage you to watch her home video tour on archdigest.com if you want to laugh out loud. For other fantasy getaways, we visit an eye-popping compound that buzzy architect Bryan Young built on a spectacular stretch of beach in the Dominican Republic for a family who knows how to have a good time—“This place parties really well,” observes Young. In Vermont, AD100 architect Gil Schafer renovates a country retreat stunningly sited on Lake Champlain to suitably accommodate an extended family of 23. “It’s like a high-end summer camp,” says Schafer. Circling back to L.A., the Robbins family is fortunate to live in the kind of California dream where the windows, pool, and canyon views make every day feel like a holiday. Of the residence, decorated by AD100 designer Nate Berkus AMY ASTLEY and Jeremiah Brent, Brian Robbins comments, “I Editor in Chief think we found the recipe for domestic bliss.” @amyastley

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object lesson

THE STORY BEHIND AN ICONIC DESIGN

1 2

Leisure Time

fter moving to Coral Gables in the early 1960s with her new husband, Harry Hood Bassett, Knoll design chief Florence Knoll Bassett noticed that her outdoor furniture fared poorly in South Florida’s salty sea air. Displeased, she mailed a handful of rusted bolts to Knoll talent Richard Schultz with a note: “Why can’t we make a chair that actually works?” Schultz—who had joined the firm in 1951 and assisted Harry Bertoia with his iconic wire collection, the alleged source of some of those rusty bolts—got to work.

wheels for easy transport. “It still really works, really looks good, and really lasts,” Kathryn Hiesinger, senior curator of decorative arts at the production in the mid-1980s, pushing Schultz and his son

it useful when you want something quiet.” dwr.com

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1. A FLEET OF RICHARD SCHULTZ CHAISE LONGUES AT DEE AND TOMMY HILFIGER’S MIAMI-AREA HOME. 2. THE KNOLL DESIGNER IN 1966 WITH HIS LEISURE COLLECTION. 3. THE PENTHOUSE TERRACE OF A NEW YORK CITY HOME BY STEVEN VOLPE. 4. SCHULTZ’S 1966 CHAISE LONGUE FOR KNOLL.

1. DOUGLAS FRIEDMAN; © KEITH HARING FOUNDATION. 2. & 4. COURTESY OF KNOLL, INC. 3. THOMAS LOOF.

Richard Schultz’s chic outdoor chaise longue has weathered the elements for decades

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DISCOVERIES

THE BEST IN SHOPPING, DESIGN, AND STYLE

EDITED BY SAM COCHRAN

MATTHEW WILLIAMS

AD VISITS

Back to Nature

In a quiet corner of the Catskills, a creative couple tailors a sustainable getaway to their extended families

AT THE CATSKILLS COMPOUND OF BILL CALEO AND MEGAN NOETZEL LEFAUVE, BLUESTONE QUARRIED ON-SITE SURROUNDS THE POOL. THE HOME BELONGS TO A COMMUNITY OF SUSTAINABLE HOMES, DESIGNED BY ARCHITECT DREW LANG USING PASSIVE-HOUSE TECHNOLOGY, SOLAR PANELS, AND OTHER ECOFRIENDLY INNOVATIONS.

ARCHDIGEST. COM

DISCOVERIES

1. IN THE LIVING ROOM, NOGUCHI LANTERN, MONTAUK SOFAS, HANS WEGNER CHAIR, AND WITTUS FIREPLACE. 2. SOLAR PANELS TOP THE MAIN HOUSE. 3. THE KITCHEN’S BESPOKE CAFETERIA-STYLE TABLE.

he first thing you notice at Bill Caleo and Megan Noetzel LeFauve’s Catskills home is the abundance—and the aroma—of wood. “It’s part of why I love walking into the house,” Noetzel LeFauve says of the white oak used for ceilings, floors, and millwork, all of it unsealed and rubbed with natural oils. “It smells so cozy.” And cozy was the goal. Caleo, cofounder of the Brooklyn Home Company, a boutique real estate–development firm, and Noetzel LeFauve, an interior designer, envisioned the home 3 as a year-round compound for themselves, their children, and their extended families. In addition to the three-bedroom house, the property includes a garage with a bunk room, a A major draw was Lang’s commitment to passive-house guest cottage, a playhouse, a pool, and a pool pavilion. There’s principles, which Caleo honors in his own projects. Outfitted even a pond full of sunfish, shiners, and bass. with solar panels, the house is also, Lang explains, “oriented to Part rustic great camp and part modernist barn, the retreat belongs to a 130-acre sustainable community known as Hudson maximize solar gain and enable cross-ventilation, so you don’t have to actively heat and cool it.” Windows are triple-glazed Woods, masterminded by the Manhattan-based architect Drew Lang. Caleo hadn’t been considering the Catskills as a place for and walls heavily insulated, at times naturally so by the terrain. “The property can operate net-zero.” a weekend home. But he fell in love with Lang’s designs and Many materials were regionally sourced, including that the promise of getting back to nature. “I knew I needed more FSC–white oak (farmed at a Pennsylvania mill) and the of that in my life, and I wanted that to be a part of our chilbluestone used for pavers (quarried from a deposit on-site dren’s lives. I totally drank the Kool-Aid.”

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A Rocky Mountain Homestead Inspired by a 19th-century pioneer’s dwelling, Life House Lower Highlands is filled with a prairie’s worth of design fodder. The boutique hotel is a celebration of the historic Denver neighborhood it calls home, with a locally-rooted narrative that informs its design story. “LoHi” for short, this up-and-coming district has seen a steady cultural revival fueled by an influx of trendy shops and eateries, though it has long been known for its significant architectural presence and rich immigrant past. Life House’s in-house studio carefully studied LoHi’s insand-outs, crafting a hospitality experience that brims with hyper-local cultural references, captivating characters (real and fictionalized), and a range of architectural nods that route back to Colorado’s past and present. Life House LoHi sits inside an eclectic five-story building. Its ground floor buzzes as a social gathering point for guests and locals alike. There’s a lived-in sense of place throughout the communal areas, marked by a harmonious blending of

Victorian opulence and contemporary industrialism—two styles characteristic of the surrounding neighborhood. Color palettes comprise hues bookmarked from a typical Rocky Mountain homestead, including rusty reds, mustards, grays, and bluebells. Western frontier references are reinforced by cowhides, honeytoned leather accents, and textured amber glass. The 17-key hotel boasts a variety of stylish, yet functional room configurations geared toward group stays. There are full-sized bunk chambers, several king suites, and rooms that combine the two concepts to host up to eight guests. Vintage decor breathes an air of whimsy, with objects like a hand-painted 19th-century leather screen and a savaged armoire that houses a shoppable

curation of goods from Colorado makers. Life House LoHi’s bespoke fragrance—a mix of fig, vetiver, bergamot, and cedar— lassos guests further into the sensory experience. Hand-drawn murals and illustrated textiles adorn the walls throughout the property, culminating at Wildflower, the hotel’s signature restaurant. The cozy eatery spotlights Mexican and Italian flavors throughout its veg-forward menu, paying homage to the neighborhood’s history as an enclave for immigrants from those countries. The ultimate highlight? Pastries and confections rolled out to diners on Victorian-style trolleys to be washed down with housemade lavender limoncello and Colorado meads (honey wine). Giddy up for a sweet treat.

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1 Victorian art mingles with Navajo patterns at Wildflower, Life House’s restaurant. 2 Guests are welcomed with hand sanitizer and the hotel’s signature scent. 3 Handdrawn wallpaper in the lobby captures scenes from the Western frontier.

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DISCOVERIES

1. ECLECTIC TEXTILES ENLIVEN THE BUNK ROOM. 2. IN THE POOL PAVILION, AN RH PENDANT HANGS ABOVE TWO JAMES PERSE SOFAS. 3. AT THE PAVILION’S OPPOSITE END, JAMES PERSE CHAIRS SURROUND A TABLE BY FITZHUGH KAROL; GRILL BY KALAMAZOO OUTDOOR GOURMET.

that then became the pond). A similar ethos informed the furnishings, overseen by Caleo’s sister and business partner, Lyndsay Caleo Karol. For the kitchen, she worked with fabricators to create a marble-top table with swing-arm seats for 12. Her husband, Fitzhugh Karol, a multitalented maker who handcrafts pieces for all Brooklyn Home Company projects, contributed the entry console, composed of charred timber beams, and the pavilion’s dining table. Come summertime, the latter plays host to lunches (in wet swimsuits) and dinners cooked on the indoor grill, with vegetables fresh from the garden. Caleo tabs the pavilion as his favorite room, one that they use in three seasons. “When it’s chilly,” Noetzel LeFauve says, “we’ll light a fire, open some wine, and just hang out.” And they never know when they might see a hawk swoop down or wild turkeys emerge from the trees. Caleo jokes that Lang’s seductive pitch “tricked” him into thinking he’d like it here. Now he’s grateful. “To be in the pool, just be surrounded by woods,” he says, “it’s an awesome feeling.” —STEPHEN WALLIS

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Welcome to an oasis of sophistication TheResidencesTampa.com (813) 261-3864

The Ritz-Carlton Residences, Tampa are not owned, developed or sold by The Ritz-Carlton Hotel Company, L.L.C. Tampa Bay Oaks Condo, LLC uses The Ritz-Carlton marks under license from The Ritz-Carlton Hotel Company, L.L.C. ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. This Condominium is developed by TAMPA BAY OAKS CONDO, LLC ("Developer") and this offering is made only by the Developer’s Prospectus for the Condominium. This offering is not directed to any resident of a jurisdiction in which this offering is prohibited by law. Developer, pursuant to license or marketing agreements with each, has a right to use the trade names, marks, and logos of: The Related Group and of Marriott International, Inc., both of which are Licensors only and neither of which is the Developer. Consult the Prospectus for all terms, conditions, and unit specifications and to learn what is included with purchase. This condominium is not oceanfront; the sight line of the tower depicted is conceptual and situated with frontage along Bayshore Boulevard in Tampa. This ad is summary in nature generally depicting The Ritz-Carlton Residences, Tampa and Developer’s contemplated features and amenities, all of which is subject to change or modification by Developer. The Ritz-Carlton® is the registered trademark of Marriott International, Inc. 2021© Tampa Bay Oaks, Condo, LLC with all rights reserved. The Ritz-Carlton Residences, Tampa are not owned, developed or sold by The Ritz-Carlton Hotel Company, L.L.C. or its affiliates (“Ritz-Carlton”). Tampa Bay Oaks Condo, LLC uses The Ritz-Carlton marks under a license from Marriott International, Inc. which has not confirmed the accuracy of any of the statements or representations made herein.

DISCOVERIES FINISHING TOUCHES

POUR IT UP

This summer’s statement piece? It’s the pitcher. Behold five favorites....

1. GABRIELLA PICONE AT HER STUDIO ON THE NORTH FORK OF LONG ISLAND. 2. BEDDA COTTON TABLECLOTH. 3. VENERE SILK PILLOW. LA TUILE À LOUP PITCHER; PRICE UPON REQUEST. INSTAGRAM.COM/ LATUILEALOUP

DEBUT

Italian Translation

“Idda means ‘her’ in Sicilian dialect,” says artist and designer Gabriella Picone. It’s a word she heard often growing up between New York City and Lipari, the Aeolian island off the coast of Sicily. Now it’s the name of her new studio, which she launched last year while hunkering down in another seaside locale, the North Fork of Long Island. What started with paintings, one-of-a-kind ceramics, and whimsical, limited-edition pareos (the sarong-like skirts worn by Sicilian women in hot summer months) is now expanding to include Italian-made home staples. A new pillow is decorated with female figures, while a tablecloth depicts a dreamy garden of Eden. All draw inspiration from the Sicilian lifestyle, especially its art of dining, which she has explored during the pandemic, getting into cooking for the first time. “Every meal is so considered—your whole family sits down, you talk, you tell stories,” reflects Picone, who studied painting at Rhode Island School of Design and worked for four years as director of communications at the Manhattan design gallery R & Company. “I wanted my work to address this ritual of coming together.” iddastudio.com —HANNAH MARTIN

ARCHDI GE ST.COM

TORY BURCH MOCHAWARE PITCHER; $148. TORYBURCH.COM

—PRODUCED BY MADELINE O’MALLEY

DEBUT: JOE KRAMM. PITCHERS: COURTESY OF THE COMPANIES.

LOGAN WANNAMAKER FOR COMMUNE DESIGN PITCHER; $450. COMMUNEDESIGN.COM

FOR MORE GREAT FINDS VISIT ARCHDIGEST.COM/SHOPPING

SUNBRELLA x CW STOCKWELL JULES FABRIC; PRICE UPON REQUEST. CWSTOCKWELL.COM

LOGAN MONTGOMERY TEXTILES SABAL FABRIC BY LIESEL PLAMBECK; TO THE TRADE. LOGANMONTGOMERY.COM

PETER DUNHAM TEXTILES BUKHARA OUTDOOR PRINT; TO THE TRADE. PETERDUNHAMTEXTILES.COM

DEDAR BASQUETTE FABRIC; TO THE TRADE. DEDAR.COM

MANUEL CANOVAS BATAM FABRIC; TO THE TRADE. COWTAN.COM

REVOLUTION FABRICS HATTERAS FABRIC; $40 PER YARD. REVOLUTIONFABRICS.COM

CASA BRANCA GIARDINO CAMO FABRIC; PRICE UPON REQUEST. CASABRANCA.COM

PERENNIALS PALMETTO FABRIC; TO THE TRADE. PERENNIALSFABRICS.COM

SERENA DUGAN STUDIO CONDESA FABRIC; $188 PER YARD. SERENADUGAN.COM

SHOPPING

Grass Roots

Verdantly hued and wildly patterned, the best new outdoor fabrics take their cues from Mother Nature 28

ARCHDI GE ST.COM

PRODUCE D BY MA DELINE O’MAL LEY

COURTESY OF THE COMPANIES.

DISCOVERIES

THE HIGHLIGHT OF YOUR KITCHEN CAN FINALLY BE YOUR SINK. EACH SHAWS SINK BEARS THE NAME OF THE CRAFTSMAN WHO MADE IT. THAT’S HOW THEY’VE DONE IT SINCE 1897 AND IT’S HOW YOU KNOW IT’S A GENUINE FIRECLAY SINK HANDCRAFTED IN ENGLAND.

PRESENTING GALLERY BY SHAWS.

H O U S E O F R O H L .C O M /S H AWS - G A L L E RY

SHOWN IN BLOSSOM.

DISCOVERIES

2 3

HOTELS

Big Easy on the Eyes

1. THE COURTYARD POOL AT THE NEW HOTEL SAINT VINCENT. 2. A GUEST ROOM. 3. VOUTSA WALLPAPER COCOONS A GUEST BATH.

REBOOT

AHEAD OF THE CURVES

Sculptural, sinuous, organic—these are words oft used to describe the work of Vladimir Kagan. But Chris Eitel, the late American furniture designer’s former apprentice and the current steward of his legacy, says this perception “has always seemed like one half of the coin.” Eager to reveal his mentor’s full range, Eitel and the Vladimir Kagan Design Group have teamed with Holly Hunt to reissue 10 pieces, including an architectural 1960s dining table and the 1980s Biscuit sofa (left), so named for its plump, good-enough-to-eat tufting. hollyhunt.com —HANNAH MARTIN

ARCHDI GE ST.COM

HOTELS: DOUGLAS FRIEDMAN. REBOOT: JOSH GADDY FOR HOLLY HUNT.

“My favorite hotels always seem to be those that have been passed down through generations,” notes Larry McGuire of Lambert McGuire Design, waxing nostalgic for spaces touched by many hands over multiple eras. In the Lower Garden District of New Orleans, he and studio cofounder Liz Lambert, a fellow hospitality veteran, have now left their own mark on an 1861 building, transforming the redbrick beauty into the newly unveiled Hotel Saint Vincent. A meticulous restoration of the landmark edifice (originally Saint Vincent’s Infant Asylum) has given way to 75 guest rooms and suites, each enlivened by luxe fabrics, eclectic objets, and custom Voutsa wallpaper in a marbleized motif. Public spaces mix new and old, with neon signs, wrought-iron gates, ’70s chandeliers, and a winding staircase. “A little grand, a little debaucherous” is how Lambert describes the sybaritic vibe, which is fully on display at restaurant San Lorenzo and the guest-only bar The Chapel Club. (Think pink velvet, ebonized floors, and classical nudes.) But after a day lounging by the pool, strolling the neighborhood, and engaging in the local late-night revelry, the bedrooms, McGuire notes, are a “restful respite.” Sinners and saints alike will sleep tight. saintvincentnola.com —SAM COCHRAN

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DISCOVERIES

OUTWARD BOUND

A brief history of Rolex in the wilderness

1927 MERCEDES GLEITZE BECOMES THE FIRST BRITISH WOMAN EVER TO CROSS THE ENGLISH CHANNEL, SPORTING A ROLEX FOR HER 15-HOUR SWIM.

Palms of Your Hands

Rolex branches out with a botanical update to a classic wristwatch

sense of adventure has long been at the heart of the Rolex mission. In 1926, the then-young company introduced the Oyster, a hermetically sealed timepiece inspired by the sea mollusk’s bivalve shell, which was proved to be the world’s first waterproof wristwatch after Mercedes Gleitze wore it for her 15-hour swim across the English Channel. (History buffs will know her as the first British woman to ever do so.) Throughout the decades that followed, the brand evolved the concept, developing cutting-edge technology from the self-winding Perpetual rotor mechanism of the 1930s to the Datejust, a 1945 invention that displays the date in a window at the three o’clock mark. In 1960, an experimental Oyster wristwatch even made it to the very bottom of the ocean aboard Trieste, the deep-diving research bathyscaphe designed by Jacques and Auguste Piccard. Today, Rolex continues to build on that legacy all the while turning over a new leaf—or should we say a new frond. Among the latest iterations of the iconic Oyster Perpetual Datejust 36 are a series of tropical-inspired wristwatches, their faces emblazoned with a lush palm motif. (Shown are versions in steel, with an olive-green dial, and yellow gold and steel, with a golden dial and fluted bezel.) For a wristwatch that has successfully braved the depths of the Pacific, the jungle is exciting new territory. From $7,050; rolex.com —SAM COCHRAN

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1960 AN EXPERIMENTAL OYSTER JOINS THE DEEP-DIVING RESEARCH BATHYSCAPHE TRIESTE ON ITS JOURNEY TO THE BOTTOM OF THE OCEAN.

2021 AS PART OF THE BRAND’S PERPETUAL PLANET INITIATIVE, ROLEX-WEARING EXPLORERS INSTALL A WEATHER STATION ON TUPUNGATO VOLCANO.

PHOTOGRAPHY BY JONG HYUP

LEFT: DEL RIO WALLPAPER BY TWIGS; TO THE TRADE. JOHNROSSELLI.COM. ALL OTHERS COURTESY OF ROLEX.

DETAIL ORIENTED

1953 ROLEX OUTFITS EDMUND HILLARY, TENZING NORGAY, AND THEIR TEAM ON THE FIRST SUCCESSFUL ASCENT OF MOUNT EVEREST.

Architect: Smith & hutton ArchitectS PhotogrAPhy: JoShuA mchugh PhotogrAPhy

Tischler WindoWs and doors. Uncommon. Uncompromising.

Tischler und sohn (Usa) ltd. six suburban avenue, stamford, cT 06901 Telephone 203/674/0600 • Telefax 203/674/0601

CHATEAU ST. MARTIN MIRASOL UMBRELLA; $4,770. SANTABARBARADESIGNS.COM

DIORIVIERA CHAISE BY DIOR; $1,030. DIOR.COM

SCHUMACHER LEAPING LEOPARD BEACH TOWEL BY MATOUK; $99. MATOUK.COM

ICE BUCKET BY GAETANO PESCE FOR FLAMINGO ESTATE; $3,000. FLAMINGO ESTATE.COM OMI STONEWARE BOWL BY YINKA ILORI; $630 FOR A SET OF FOUR. MODAOPERANDI.COM CALANQUES BEACH TOWEL BY MARIE BONNIN FOR HERMÈS; $580. HERMES.COM

CONFETTI POOL RING BY SUNNYLIFE; $28. MAISONETTE.COM

OU DOOR EN ER AINING

Upbeat and unexpected, our favorite poolside finds are party ready PR OD UCED BY MADEL INE O’MAL LEY

COURTESY OF THE COMPANIES.

SHORE LOUNGE CHAIR BY SHORE RUGS; $4,400. THEFUTURE PERFECT.COM

DISCOVERIES ARCHITECTURE

Next Level

Impeccably restored by LVMH, a Paris icon steps into the future

ARCHDI GE ST.COM

1 2

1. AT THE NEWLY REVIVED LA SAMARITAINE IN PARIS, ORIGINAL ART NOUVEAU IRONWORK BY EDOUARD SCHENCK WOWS ONCE MORE. 2. THE 1910 BUILDING, DESIGNED BY FRANTZ JOURDAIN.

MATTHIEU SALVAING.

ne finds everything at the Samaritaine!” That was long the slogan for the grand Art Nouveau department store in central Paris. And so you could, until 16 years ago, when its current owner, the French luxury group LVMH, closed it for a total overhaul. After delays—some political, some pandemic-related—the Samaritaine Paris Pont-Neuf is finally reopening as a gleaming two-building luxury emporium that nods to its opulent history as well as its optimistic future. La Samaritaine was founded in the late 19th century by French retailing power couple Ernest Cognacq and Marie-Louise Jaÿ. In the early 1900s, they engaged Belgian architect Frantz Jourdain to expand it into a multi-building bazaar. For Magasin 2, which opened in 1910, Jourdain created a decorative masterpiece, with a grand central staircase, and ironwork balustrades by Edouard Schenck; ceramic details by Alexandre Bigot; immense peacock frescoes by Jourdain’s son Francis; and a shimmering enamel-tile façade, topped with a vast glass roof. Now the Pont-Neuf building, as it has been rechristened, has been restored to its original glory, with new interior interventions by the Canadian design team Yabu Pushelberg and circulation spaces by Japanese architecture firm SANAA. The first four floors are dedicated to luxury fashion, jewelry, and watches, and the fifth floor to Voyage restaurant, run by a rotation of top chefs in residence. The basement, reimagined by Malherbe Paris, houses Europe’s largest beauty department. A separate entrance leads to a new Cheval Blanc hotel, outfitted by AD100 maestro Peter Marino. Next door, LVMH commissioned SANAA to erect the Rivoli Building, a strikingly contemporary edifice of rippling glass. With interiors by the French design studio Ciguë that blend traditional Hausmannian and raw industrial design, it houses casual clothes, a Perrotin gallery pop-up, a Prunier caviar café, and Ernest, a bistro headed by chef Naoëlle d’Hainaut. Outside, the buildings are bordered by pedestrian-only streets. While you may not be able to quite find everything at the Samaritaine anymore—no workman blue smocks, whisks, or hammers—you’ll certainly find the stuff of dreams. samaritaine.com —DANA THOMAS

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RUSTIC

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TRANSITIONAL

CONTEMPORARY

TRADITIONAL

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

CARA DELEVINGNE, WEARING A SAINT LAURENT OUTFIT AND SHOES AND DIOR JEWELRY, SITS AT A STEINLAGER GRAND PIANO IN THE ENTRY HALL WHILE LEO, A HUSKY MIX, LOOKS ON. OSBORNE & LITTLE WALLPAPER. FASHION STYLING BY ROB & MARIEL. OPPOSITE LANDSCAPE DESIGN BY ANTON PRACK. CHAISE LONGUES AND UMBRELLAS BY ONE KINGS LANE. FOR DETAILS SEE RESOURCES. ★ EXCLUSIVE VIDEO CARA DELEVINGNE AT HOME, ARCHDIGEST.COM.

HAIR BY MARA ROSZAK AT A-FRAME AGENCY; MAKEUP BY KELSEY DEENIHAN USING DIOR LIP GLOW AT THE WALL GROUP; MANICURE BY THUY NGUYEN USING DIOR BEAUTY AT A-FRAME AGENCY

house party

Life’s a ball at the delightfully dizzying Los Angeles home of supermodel/actress Cara Delevingne TEXT BY

MAYER RUS

PHOTOGRAPHY BY

LAURE JOLIET

STYLED BY

AMY CHIN

SARAH CHULDENKO. STEPHEN REYNOLDS.

BINI PLACED A DISCO BALL INSIDE AN EXISTING CHANDELIER AND REIMAGINED THE PREVIOUS OWNER’S FURNISHINGS WITH NEW FABRICS AND TRIMS. THE PAINTED MIRRORS ARE BY ARTIST SARAH CHULDENKO, AND THE REBIRTH CANAL (RIGHT OF FIREPLACE) WAS CREATED BY ARTIST STEPHEN REYNOLDS.

“It still feels like a home....But it’s also a kind of journey,” Delevingne says. “The deeper in you go, the more treasures you discover.”

CHEMICAL X.

THE KITCHEN IS PAINTED IN BENJAMIN MOORE CALIFORNIA BLUE. WINDOW-SHADE FABRIC BY SCHUMACHER.

NEW CEILING MOLDINGS ACTIVATE THE OVERHEAD PLANE. CHANDELIER BY GASPARE ASARO. ARTWORK BY CHEMICAL X. BOTTOM A 1966 FORD SHELBY MUSTANG GT350-H IS AMONG DELEVINGNE’S PRIZED POSSESSIONS.

abulous genes are not the only inheritance that supermodel and actress Cara Delevingne received from her mother, Pandora. “She used to tell us, ‘If you say you’re bored, then you are boring,’ ” recalls Cara, the youngest of the three Delevingne sisters. That kernel of wisdom clearly stuck—Cara Delevingne is anything but boring, as her private Los Angeles pleasure dome ably attests. The house feels like Saint-Tropez meets Coney Island meets Cotswolds cottage meets Monte Carlo meets butch leather bar. It’s a heady brew, to be sure, but Delevingne takes it all in stride. “My work requires me to put on many different hats and costumes. I love slipping into these various characters, so I wanted my home to reflect lots of different themes and moods,” says the unapologetic voluptuary. Architect Nicolò Bini of Line Architecture, Delevingne’s accomplice/enabler in decorative extravagance (see AD, September 2019), fulfilled his client’s mandate with gusto. First there’s the nature theme, explicated in countless design gestures: walls sheathed in a Gucci wallpaper of overscaled herons; a massive snake carpet in the billiards room and a climbingleopard carpet on the stair to the upper-floor fun house; a flock of bird sculptures by Mexican artist Sergio Bustamante; and a king’s ransom in ferns, palms, topiaries, and other houseplants. Then there’s the fun-and-games theme, represented by a tented poker room; a jolly ball pit; a display wall of kooky hats

and a costume room for dress-up parties; and two trampolines set into the ground near the floaty-stocked pool. “I love games—charades, beer pong, poker, Cards Against Humanity, tug-of-war, whatever feels fun. When my friends come over, the house turns into an obstacle course. It’s like an indoor/ outdoor playground by way of Alice in Wonderland,” Delevingne observes. “If I’m having a bad day, I just hop in the ball pit. You can’t really cry in a ball pit,” she adds. The white-brick residence, nominally English-country style, was built in 1941 for members of the Von der Ahe family, founders of the Vons supermarket chain. A deeply religious clan, the Von der Ahes are said to have hosted Pope John Paul II at the house when he visited L.A. in 1987. It’s unclear what His Holiness would have made of Delevingne’s vagina tunnel, a secret passageway concealed behind a low, painted panel, which leads from the living room to an adjacent bunk room. One enters the so-called rebirth canal through a vulval soft sculpture (think Judy Chicago on acid) and then proceeds to crawl out of a round washing-machine door suggestive of a rectum.

The pontiff also might have done a double take, if not a full-on spit take, at the sight of Delevingne’s attic party bunker, replete with a mirrored ceiling, a tasseled swing, serpentine soft seating inspired by the Courrèges logo, wrist and ankle restraints, and, of course, the obligatory stripper pole. “Cara is a creature of pure delight. This place is her ultimate expression of home—a Cara-style fantasy filled with references to the many things that turn her on,” Bini explains, emphasizing the joy he found in indulging the madcap desires of his free-spirited client and her circle of international glamour-pusses. YET DESPITE ALL the blingy accoutrements—the Chanel surf-

board, the David Bowie memorial bathroom, the Chemical X bull’s-eye sculpture made of thousands of Ecstasy pills suspended in acrylic—Delevingne insists that her house is more than simply a louche theme park. “It still feels like a home. There’s a proper dining room and living room and a great kitchen. But it’s also a kind of journey. The deeper in you go, the more treasures you discover,” she says.

THE MIRRORED BED, MEASURING 11 FEET WIDE, IS A CUSTOM BINI DESIGN. WALLPAPER BY TIMOROUS BEASTIES. CURTAIN FABRIC BY OSBORNE & LITTLE. OPPOSITE DELEVINGNE (IN A MIU MIU TOP AND SHORTS AND SAINT LAURENT SHOES) STRIKES A POSE OUTSIDE THE TENT BY THE POOL.

“My work requires me to put on many different hats and costumes. I love slipping into these various characters, so I wanted my home to reflect lots of different themes and moods.”

One of the most fascinating aspects of the renovation is the fact that Delevingne and Bini kept much of the previous owner’s furniture, an unlikely prospect given the complexion of the erstwhile decor. “There was a goth-glam quality to all of it—lots of black fabrics and finishes and dark, moody spaces,” Bini recalls. But his client was not deterred. New upholstery treatments, bespoke details, fresh paint, and a few strategic architectural additions (like the living room’s new coffered ceiling) completely transformed the spirit of both the furnishings and the rooms they inhabit. “It felt wasteful to toss everything out. Sometimes sustainability just means working with what you have,” Delevingne notes. “The big crystal chandelier in the living room wasn’t exactly my thing, so we put a disco ball in the middle of it and added colored lights. All of a sudden it feels like me.” Ultimately, that’s the success of Casa Cara—the house feels like a perfect reflection of its owner, in all of her gorgeousness, naughtiness, and outré humor. “It’s the design equivalent of a jaw drop,” Delevingne concludes. “There’s no mistaking whose house you’re in.”

ARCHDIGEST. COM

ABOVE LEFT A STAIRCASE IS LINED WITH BRUNSCHWIG & FILS WALLPAPER. ABOVE RIGHT VINTAGE JANSEN STOOLS PULL UP TO A BAR SHEATHED IN A MALACHITE PATTERN. BELOW LEFT THE BILLIARDS ROOM HAS A VINTAGE 1930 BRUNSWICK POOL TABLE; CURTAIN FABRIC BY ROBERT ALLEN. BELOW RIGHT THE SEATING IN THE ATTIC LOUNGE WAS INSPIRED BY THE COURRÈGES LOGO.

THE POKER ROOM HAS A VINTAGE GAMES TABLE AND A WHEEL OF FORTUNE FROM THE SANTA MONICA PIER. ARCHDIGEST. COM

design notes

THE DETAILS THAT MAKE THE LOOK

GEM DIOR TIMEPIECE; PRICE UPON REQUEST, BY SPECIAL ORDER. DIOR.COM

MON AMOUR GLASS BY DIOR MAISON; $170. DIOR.COM

IKAT ENDEK BALI INDONESIA COAT; $10,000. DIOR.COM

I like feminine things, but I also like übermasculine things.” —Cara Delevingne

CANDLESTICK BY DIOR MAISON; PRICE UPON REQUEST. DIOR.COM

PHOEBE SCALLOP-EDGE PATIO UMBRELLA; FROM $475. ONEKINGSLANE.COM

THE REAR LOGGIA REFLECTS DELEVINGNE’S OBSESSION WITH PLANTS. ARCHITECTONICS FIELD TILE; $40 PER SQUARE FOOT. WATERWORKS.COM

AMALFI CHAISE LONGUE; $7,014. JANUSETCIE.COM

ARCHDI GE ST.COM

INTERIORS: LAURE JOLIET; SCULPTURE, SERGIO BUSTAMANTE. ALL OTHERS COURTESY OF THE COMPANIES.

DESERT SUNSET PAINT; $75 PER GALLON. BENJAMINMOORE.COM

ARTIST SARAH CHULDENKO PAINTED THE MIRRORS SURROUNDING THE FIREPLACE.

CALLE FORMENTON CHANDELIER BY LUCI ITALIA; $56,950. ARTEMEST.COM

My house is the opposite of a sensory-deprivation chamber.” YACHTING RAVE BEACH TOWEL; $275. HERMES.COM

LIGHTNINGBOLT MARQUEE; $99. SAWAND STEEL.ETSY.COM MASON FABRIC; $24 PER YARD. SUNBRELLA.COM

CLIMBING LEOPARD RUG BY DIANE VON FURSTENBERG FOR THE RUG COMPANY; FROM $9,504. THERUGCOMPANY.COM

CAPISTRANO SOFA; $2,998. SERENAANDLILY.COM

A CHANEL SURFBOARD IS DISPLAYED AGAINST A FIELD OF GUCCI WALLPAPER.

SHAE METAL ACCENT TABLE; $159. POTTERY BARN.COM

GIANT JUMBLING TOWER BY SUNNY LIFE; $50. MAISONETTE.COM

DESSERT PLATE BY JOHANNA ORTIZ; $190 FOR A SET OF TWO. MODAOPERANDI.COM

P RODUCE D BY M AD ELI N E O’MALL EY

LES TOUCHES WALLPAPER BY BRUNSCHWIG & FILS; TO THE TRADE. BRUNSCHWIG.COM

WINNING COMBINATION With help from Workstead, a Victorian mansion in upstate New York steps boldly into the 21st century TEXT BY

DAVID SOKOL PHOTOGRAPHY BY

MATTHEW WILLIAMS STYLED BY

MIEKE TEN HAVE

IN THE FORMAL DINING ROOM, AN ISAMU NOGUCHI PENDANT PRESIDES OVER THE GUILLERME & CHAMBRON TABLE AND CHAIRS. CHARLES DUDOUYT SIDEBOARD; MARTHE ARMITAGE WALLPAPER. OPPOSITE A CENTURY-OLD SYCAMORE SHADES THE EASTLAKE VICTORIAN MANSION, WHOSE RENOVATION AND EXPANSION WAS COMPLETED BY WORKSTEAD. FOR DETAILS SEE RESOURCES.

2013, David Ren emailed Workstead “for a little bit of decorating help” shortly after the New York–based finance professional had bought into a sunny yet anodyne condo conversion in Chelsea. Having noticed the firm’s projects in various publications, Ren was impressed by Workstead’s ability to create unfussy and evocative spaces in spite of existing buildings’ constraints. He tapped the design studio, whose first monograph will be published by Rizzoli in September, to infuse his new home with personality he felt unsure of conjuring on his own. “I would say David is very confident and caring about how he wants to live,” counters Workstead cofounder Robert Highsmith. “In some ways, he’s a step ahead of us.” The instant mutual admiration has turned into an ongoing collaboration. After completing the Chelsea residence—inspired by neighborhood galleries’ exhibitions, it was conceived as a group show of furnishings by Workstead and eight of its peers— the studio began modernizing an 1850s Charleston town house that would become Ren’s weekend destination and earn wide acclaim for its reinterpretation of historic vernacular. And in late 2016, as they were wrapping up the South Carolina project, Ren asked Highsmith and partners Stefanie Brechbuehler and Ryan Mahoney to stay on yet again. For this third goround, he had set his sights on a derelict 19th-century mansion in New York’s Hudson Valley. Although the homeowner requested assurances that the foreclosed property was indeed salvageable—it had only one bathroom at the time—he told Workstead relatively little, in turn, about how to revive the Eastlake Victorian into a rural retreat for a rotating cast of guests. “The brief was to save this grand historical home that had fallen into disrepair but also to create big open spaces where I could have a lot of family and extended family around,” he remembers, adding of the designers, “You can’t take on something like this, unless you have confidence in the people who can help you.” While the main house had withstood neglect and even animal hoarding, a humble 19th-century kitchen structure tacked to the rear had not fared nearly as well. In its place, Workstead conceived a two-story, 2,000-square-foot pavilion that both reveres and differentiates itself from the past. The new volume

ARCHDI GE ST.COM

IN THE LIVING ROOM, A PAIR OF DE SEDE SOFAS ARE CENTERED ON A NATHAN LINDBERG COCKTAIL TABLE WITH A WORKSTEAD CHANDELIER HANGING OVERHEAD. RH RUG; GINO RUSSO DINING CHAIRS (AT REAR).

ABOVE THE ONCE-CANARY MANSION IS NOW PAINTED IN IVORY WHITE, AND THE PAVILION IS FINISHED IN NIGHTFALL, BOTH BY BENJAMIN MOORE. OPPOSITE IN THE FRONT PARLOR, LUIGI CACCIA DOMINIONI CHAIRS REUPHOLSTERED IN GREEN MOHAIR GATHER AROUND A HARVEY PROBBER GAMES TABLE.

features the same clapboard as its predecessor, but its coal-colored finish provides maximum contrast to the ivory façade in front. The pavilion also is sized to be hidden from the roadside view, though at night, interior illumination fills the expansive windows with a beacon-like glow. Instead of replicating the angles of yore, Highsmith rounded the corners. Of the various design decisions, the designer notes, “Our work is foundationally rooted in context, and the pavilion commission gave us a platform to stretch.” IF THE EXTERIOR of the Workstead-designed pavilion

represents a dialogue with history, then the interior exemplifies the modern family living the client had in mind. The ground floor is organized around a handplastered core. Where a fireplace punctuates one face of the core, Workstead created a seating vignette in which a pair of patchwork-leather de Sede DS88 sofas flank a quietly whimsical Nathan Lindberg cocktail table underneath one of Workstead’s own Orbit chandeliers. Opposite the living area, Signature Kitchen Suite refrigeration integrated within the core serves a broad kitchen finished in granite-topped custom cherry cabinets. These lounge and cooking

ARCHDIGEST. COM

ABOVE A 19TH-CENTURY TAPESTRY OVERLOOKS A FAIR SOFA UPHOLSTERED IN HOUSE OF HACKNEY VELVET AND BUTAQUE CHAIRS BY CLARA PORSET IN THE FORMAL PARLOR. THE WALLS ARE PAINTED IN FARROW & BALL’S INCHYRA BLUE. WOKA PENDANT; WILLY RIZZO COCKTAIL TABLE; VINTAGE LARISTAN RUG.

ABOVE IN THE PRIMARY BEDROOM, A WORKSTEAD-DESIGNED WARDROBE SUBTLY DIVIDES SLEEPING FROM BATHING AREAS. OPPOSITE A NANNA DITZEL LOUNGE CHAIR AND GERALD THURSTON FOR LIGHTOLIER FLOOR LAMP LOOK OUT ON AN RH CANOPY BED FLANKED BY WORKSTEAD SCONCES.

ABOVE MARTHE ARMITAGE WALLPAPER LINES A GUEST ROOM. REJUVENATION BED. LEFT IN ANOTHER GUEST ROOM, COVERED IN JOSEF FRANK’S KLÖVERBLAD WALLPAPER, A PAIR OF PAUL MAYEN LAMPS AND A REEDITION WIENER WERKSTÄTTE PENDANT FRAME A MCGEE & CO. IRON BED.

“David is very confident and caring about how he wants to live,” avers designer Robert Highsmith. “In some ways, he’s a step ahead of us.” ARCHDIGEST. COM

THE RESTORED FOYER IS WRAPPED IN A C.F.A. VOYSEY WALLPAPER BY TRUSTWORTH STUDIOS AND TOPPED BY A WORKSTEAD PENDANT.

areas flow seamlessly into one another via dining and anteroom spaces, or onto a deck that melds into five acres of tributary-threaded grounds, which look out onto surrounding farmland. As the pavilion was taking shape, Ren was both delighted and slightly concerned about the surviving house: Even though Workstead was spiffing up that interior, why would anyone want to use its 4,000 square feet when the forthcoming addition promised to be so appealing? In a now-familiar pattern, he expanded Workstead’s remit, and the studio began overseeing a near-total reconstruction of the artifact. OBSERVING HOW, at an off-site confab, Ren felt

suffocated by a nearby hotel’s emphatically Victorianstyle decoration, Workstead created a gradient of experiences in the old house. The original foyer features restored mahogany millwork and oak flooring as well as historically sympathetic insertions, such as owl-themed wallpaper designed by C.F.A. Voysey. (The adjacent parlor is bathed in complementary

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Farrow & Ball Inchyra Blue.) Moving away from the entry, rooms lighten up with sparer furnishing schemes and nature motifs that include Marthe Armitage’s Hayfield and Josef Frank’s Klöverblad wallpapers hung, respectively, in the formal dining room and an upstairs guest bedroom. “It feels period to start, and by the time you’re in the back, the house almost completely opens to the field,” Ren says of the transition. Ren has had plenty of time to test this sequence of spaces since March 2020, when he moved with his now-six-year-old daughter and parents into the then-not-yet-completed residence to ride out the pandemic. The client leaned into the unexpected situation, combing online auctions and other socially distant sources for Workstead-approved finishing touches. “I could be the unpaid intern,” he jokes of those efforts, though by no means did they diminish his long-held admiration for Workstead: “I couldn’t be any happier with the way this house lives and looks.”

“The brief was to save this grand historical home that had fallen into disrepair but also to create big, open spaces where I could have a lot of family and extended family around,” homeowner David Ren notes.

REJUVENATION COUNTER STOOLS TUCK INTO THE CUSTOM CHERRYAND-GRANITE ISLAND, WHICH ALSO FEATURES A CUSTOM POT RACK, DORNBRACHT FITTINGS, AND A MIELE DISHWASHER. SIGNATURE KITCHEN SUITE RANGE; LEPAGE MILLWORK CASEMENT WINDOWS.

design notes

THE DETAILS THAT MAKE THE LOOK AKARI 16A BY ISAMU NOGUCHI; $500. SHOP.NOGUCHI.ORG

A VINTAGE PAUL McCOBB DRESSER STANDS IN THE DRESSING ROOM.

HAYFIELD WALLPAPER BY MARTHE ARMITAGE PRINTS LTD.; PRICE UPON REQUEST. BROOKS-THOMAS.COM

SHAONG SOFA; PRICE UPON REQUEST. ORIOR.COM

ICHYRA BLUE NO. 289 PAINT; $110 PER GALLON. FARROW-BALL.COM 19TH-CENTURY FRENCH IRON CANOPY BED; FROM $2,475. RH.COM LODGE CORD PENDANT; $1,350. WORKSTEAD.COM

OPIA VELVET; $192 PER METER. HOUSEOFHACKNEY.COM

NEST CHAIR; $1,498. SERENAANDLILY.COM

BRONZE ANDIRONS BY DONALD DESKEY FOR BENNETT; $3,800. WYETH.NYC

A WORKSTEAD PENDANT HANGS ABOVE A CUSTOM NATHAN LINDBERG DINING TABLE AND GINO RUSSO CHAIRS.

Our work is foundationally rooted in context, and the pavilion commission gave us a platform to stretch.” —Robert Highsmith

17TH-CENTURY FLEMISH VERDURE TAPESTRY FRAGMENT; $10,432. JULIABOSTON.COM

ORBIT CHANDELIER; $3,650. WORKSTEAD.COM

CONNOISSEUR NIGHTSTAND BY PAUL McCOBB FOR CB2; $799. CB2.COM

FILLES DU CALVAIRE QUILT; $620. APC-US.COM

AN INVITING GUEST ROOM IN THE HOUSE’S NEW PAVILION.

POTTERY WEST TEAPOT; $205. US.TOA.ST

INTERIORS: MATTHEW WILLIAMS. ALL OTHERS COURTESY OF THE COMPANIES.

CONOID CHAIR BY GEORGE NAKASHIMA; $18,000 FOR A PAIR. 1STDIBS.COM

It feels period to start, and by the time you’re in the back, the house almost completely opens to the field.” —David Ren WORKSTEAD: INTERIORS OF BEAUTY AND NECESSITY; $65. RIZZOLI.COM

KLÖVERBLAD WALLPAPER BY JOSEF FRANK FOR SVENSKT TENN; $150 PER ROLL. SVENSKTTENN.SE

P RODUCE D BY M AD ELI NE O ’M ALLEY

MODERN LOW COFFEE TABLE BY NATHAN LINDBERG; $4,329. 1STDIBS.COM

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making

THE BROOKLYN-BASED ARCHITECTURE STUDIO YOUNG PROJECTS COMPLETED A SERIES OF AVANT-GARDE STRUCTURES FOR A PRIVATE ESTATE ON THE COAST OF THE DOMINICAN REPUBLIC; THE PROJECT WAS REALIZED IN COLLABORATION WITH THE LOCAL FIRMS ESTUDIO SARAH GARCIA AND DESIREE CASONI. FOR DETAILS SEE RESOURCES.

waves Pioneering bold forms and experimental materials, architect Bryan Young leaves his sensitive mark on a stretch of Dominican Republic coast TEXT BY

SAM COCHRAN

PHOTOGRAPHY BY

IWAN BAAN

the

house reveals itself slowly. On a remote stretch of the Dominican Republic coast, a stone footpath winds its way through a dense landscape of old-growth trees, zamia, and native flowers. Gradually, a timber structure comes into focus, its undulating form seemingly afloat above the jungle floor. Only upon stepping past that wood-clad volume, under a 70-foot-wide span and up into the central courtyard, do you see the ocean. And it’s only there, from the beach, that the full breadth of the house comes into view: a 20,000-square-foot marvel with ipe slats as taut as skin around its peaks and curves. That progression is all expert choreography on the part of architect Bryan Young, principal of the Brooklyn-based studio Young Projects and nowadays very much a name to know. “Every decision facilitates the experience of the landscape,” he notes of the property, which includes two additional houses of his design. One is a low-slung string of four adjoining stucco bungalows, the other a monolithic enigma—chamfered at the corners and covered in graphic, almost pixelated tile, earning it the name Glitch House. Together this trio of buildings

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FROM TOP ON THE SECOND LEVEL, OPEN-AIR WALKWAYS WRAP THE COURTYARD, LINKING THE BEDROOMS. SITED TO PRESERVE OLD-GROWTH TREES, THE HOME’S CONCRETE BASE REVEALS THE IMPRINT OF PALM-FROND STEMS. OPPOSITE, FROM TOP AN AERIAL VIEW OF THE MAIN HOUSE. ARCHITECT BRYAN YOUNG ON THE JOB.

LEFT ETHEREAL MESH CHANNELS ACT AS SCULPTURAL DOWNSPOUTS. OPPOSITE ENCAUSTIC TILES IN A CUSTOM PATTERN COVER THE FACETED FORM OF THE GLITCH HOUSE.

AT THE HEART of the firm’s work, no matter the scale, is a thor-

oughly resolved and researched logic, albeit one that is often shrouded in mystery. In the case of the main house, Young tailored what was essentially an orthogonal courtyard plan to the nuances of the site—raising that timber volume one story up, above the 100-year floodplain, and cranking its form to preserve trees and embrace scenery. (The primary suite, for instance, juts out for 270-degree views.) The roof—“sculptural and sinuous, like you’re pulling a thread”—belies its own underlying reasoning. Constructed from 160 unique scissor trusses, jack trusses, and rafters, its peaks rise at bedrooms and flatten at outdoor gathering areas, helping to coax breezes. Rather than add traditional downspouts at the low points along the roofline, where rainwater pools, Young devised a series of ghostlike channels using off-the-shelf, stainless-steel mesh. Reminiscent of Ruth Asawa sculptures, these ethereal columns, which double as structures for climbing plants, hint at the material innovations that have underpinned Young’s work to date. “There’s always a research component,” he notes. “For each project, we try to unpack what goes into generating a given material, asking how we might use it to construct what we call a productive ambiguity.” Or in other words, a special something to induce double takes. In the Dominican Republic, for instance, Young gathered stems from felled palm fronds into formwork for the main house’s concrete base, leaving a dynamic if unrecognizable texture (rather than the wood grain so often left by boards). But nowhere is the sense of mystery as heightened as at the Glitch House. “On the one hand, this structure has the most alien quality,” reflects Young. “On the other hand, it’s made from the most commonplace elements.” The form itself is constructed out of basic cinder blocks, overlapped at times to create a jagged silhouette. Young covered all the façades in standard, locally made, eight-by-eight encaustic tile, enlivened with his own carefully mapped pattern of quarter-circle arcs. “The tile works in concert with the relief and with the interference of light and shadow to create this glitchy visual phenomenon,” Young notes of the house’s name. “We’re using everyday materials in a provocative way for a radical language to emerge.” Since it was completed, in 2020, the property has fulfilled its promise of total escapism, hosting blissful weekends for the clients’ extended inner circle. Spread out among the three structures, as many as 40 people can gather at a time, coming together in the main house’s airy ground-floor living spaces or retreating to the myriad alfresco lounges for privacy. Beachside, by the pool, a pavilion has served as a lunch terrace, a yoga deck, a DJ booth, and a dance floor. Says Young, simply: “This place parties really well.”

“We’re using everyday materials in a provocative way for a radical language to emerge.” –Bryan Young provides the ultimate escape, a place for friends and extended family to come together and decompress, as envisioned by his intrepid clients, Mike and Sukey Novogratz, a New York City couple with wellness on the brain. For Young, the compound is a synthesis of the inquiries and experiments that have long guided his practice. “In the case of each house, there are these large-scale decisions about geometry and form, but each has a different quality of tectonics,” reflects the architect, a cerebral thinker who studied at the University of California, Berkeley, and Harvard Graduate School of Design before working for the firms ARO and Allied Works. After launching Young Projects in 2010, he has grown the studio from a team of just two (himself plus an intern) into an office of a dozen, including two partners, Noah Marciniak and Mallory Shure. Current projects range from a 130,000-square-foot luxury development on St. Kitts to a residence for supermodel Heidi Klum to an outdoor tile collection for Paola Lenti.

A green-thumbed British couple complement their historic converted barn in Kent with modern-minded gardens that transform the familiar into the fantastic TEXT BY MITCHELL

OWENS

PHOTOGRAPHY BY MARIANNE

MAJERUS

RURAL REB

BLUE WHEATGRASS AND CLIPPED SANTOLINA MEET AT SU AND PAUL VAIGHT’S GARDEN IN KENT, ENGLAND.

OOT

BELOW A VIEW OF THE HOUSE, AN OLD BARN CONVERTED BY CIRCUS ARCHITECTS. RIGHT A PORTION OF MEADOW HAS BEEN CARVED INTO A GRASS LABYRINTH.

ot far from northern Kent’s famous marshes grows an English garden with an attitude, romantic at first glance but liberated upon close examination. Golden boxwood swirls punctuate a parterre like giant fishhooks. A bit of meadow has been carved into a hypnotic grass labyrinth that brings to mind water circling a drain. Diagonal planting beds with rainbow rows of catmint, lavender, and pampas grass are interrupted by asymmetrically placed uprights, such as cypresses clipped into giant lollipops and fragrant roses coaxed into midair clouds of pink and white. The vegetable garden’s crunchy gravel paths host crowds of self-seeded flowerers, among them the deliciously named viper’s bugloss, while in another meadow area feral meets formal, thanks to wildflower beds that have been cunningly cut into the field. “The original mix of annuals included corn cockle, chamomile, and cornflowers, but now corn marigolds have entirely taken over,” says Paul Vaight, a former BP senior executive, who has created this demesne with his wife, Su, almost singlehandedly. “Gardening is like a roll of the dice—and unlike painting a picture or carving a sculpture, you never have to stop.” Originally, the Londoners’ plan was to commission a modern getaway in rural Kent, but planning regulations discouraged that edgy dream. “Fitting in is not what we wanted to do,” Su explains. Still, they acquiesced to a degree, purchasing a derelict centuries-old barn that is attached to a neighbor’s outbuildings in the village of Oare and converting, with Circus Architects, its insides into “one big empty loft,” Paul proudly says. Windows and the like have been sensitively inserted into the elm-sided building, which is known as Pheasant Barn. The two acres of farmyard and pasture around it have been just as inventively reimagined, replete with quirky special effects, curious proportions, and unexpected geometries, and with nary a greensward in sight. “We don’t like lawns,” Paul dryly observes. “They’re really quite boring.”

The Vaights’ vision of what a garden should be is refreshingly idiosyncratic, but they admit to being inspired by trips to landscape guru Piet Oudolf’s private realm in the Dutch countryside, the impressionistic Le Jardin Plume in Normandy, and Daisetsu Mori-no Garden in Hokkaido, Japan. “We don’t copy, but we do absorb,” Su says. A spiral of cacti at Frank Lloyd Wright’s Taliesin West in Arizona sparked the couple’s decision to place santolina in the same twisting formation, and they adapted a “very clever village gate” that they came across in Finland. “We didn’t need a gate, but this area has a history of sheep farming, so we just set the gate in the middle of a path,” she says of the surrealistic grace note. As for the boardwalk

that snakes across the property, it echoes the wooden boat moorings along the close-by Oare Creek. “I like personal gardens that are the result of one individual’s vision and effort rather than someone with lots of money who just handed it over,” Paul says. Early on, though, an eager volunteer developed a scheme, which was promptly binned in favor of an instinctual approach. Part of that philosophy is that plants have to survive on their own. “We don’t get into coddling,” Paul continues; drought-tolerant Mediterranean plants such as lavender, germander, and santolina find favor here. As for plant shopping, there’s only one hard and fast rule. Says Su: “Anything with lots of bees on it fits our criteria.”

“We don’t like lawns,” Paul Vaight says of the two-acre getaway created by him and his wife, Su. “They’re really quite boring.” ARCHDIGEST. COM

OPEN S Designers Nate Berkus and Jeremiah Brent and architect Paul McClean craft a family home that celebrates the joys of life in Los Angeles TEXT BY MAYER RUS PHOTOGRAPHY BY TREVOR STYLED BY COLIN KING

TONDRO

EASON

EXTENDING OUT OVER THE POOL, THE MAIN BEDROOM HAS A CUSTOM CERUSEDOAK BED WRAPPED IN PIERRE FREY FABRIC AND 1950s LIGHTING. LANDSCAPE DESIGN BY KATHLEEN FERGUSON LANDSCAPES. FOR DETAILS SEE RESOURCES.

BRIAN ROBBINS AND TRACY JAMES (WEARING A CAFTAN OF HER OWN DESIGN) WITH THEIR DAUGHTER, STELLA, AND ROBBINS’S SONS, MILES AND JUSTIN, IN THE KITCHEN. VINTAGE STILNOVO PENDANTS FROM REWIRE. FASHION STYLING BY ERIC ARCHIBALD.

ith a constant stream of new entertainment projects, jointly produced product lines, and two small kids at home, interior designers Nate Berkus and Jeremiah Brent enjoy a lot of, shall we say, quantity time. But when it comes to private commissions, the duo tends to stick to their independent design studios. “We only work together for special clients,” Brent explains succinctly. Happily, Brian Robbins, the CEO and president of Kids & Family Entertainment at ViacomCBS, and his wife, Tracy James, a wardrobe stylist and clothing designer, more than meet the criterion of special. The two couples met when Berkus and Brent designed a Los Angeles home in Hancock Park for Robbins, James, their young daughter, Stella, and Robbins’s sons from a previous marriage, Justin and Miles. They’ve been thick as thieves ever since. “Honestly, we think of them as family. When we go out to dinner, Brian and I are the two short Jewish guys stuffing our mouths with hamburgers, while Jeremiah and Tracy are on

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the other side of the table giggling over salads and ice chips,” Berkus says. James paints a similar picture in somewhat more delicate tones: “We really connected with them on an emotional level, especially around our kids,” she says. Heeding the siren call of the L.A. real estate market, Robbins and James eventually traded their Hancock Park abode for a spruce modern home designed by architect Paul McClean in the fashionable Trousdale Estates neighborhood of Beverly Hills. A sleek, planar composition of travertine-clad walls, oak ceilings, and steel columns and eaves, the structure is accessed through a massive door set between screens of rusting steel that nod to the grillwork of the many historic midcentury homes in the area. “The house appears solid from the street but becomes more transparent as you move through it,” McClean says, describing the procession through an entry courtyard, across a glass bridge, into the home’s main social space, and out again to the pool and the lovely canyon views that unfold beyond it. “The vista is incredible, so the whole outdoors becomes a green oasis. Breaking down barriers to nature has been a theme of California architecture for 100 years,” the architect adds.

HAIR BY GLEN COCO OROPEZA AT THE WALL GROUP; MAKEUP BY WENDI MIYAKE.

SWADDLED IN SUEDE CURTAINS FROM THE SHADE STORE, THE DINING ROOM HAS A VINTAGE MARIO BOTTA PENDANT LIGHT FOR ARTEMIDE HANGING ABOVE A CUSTOM MARBLE TABLE WITH NATHAN LINDBERG CHAIRS ON AN RH CARPET.

MARY CORSE.

A PAINTING BY MARY CORSE COMMANDS THE LIVING ROOM, WHICH IS OUTFITTED WITH A MIDCENTURY ITALIAN LOUNGE CHAIR FROM HOLLYWOOD AT HOME, PIERRE GUARICHE ARMCHAIRS IN ROSE TARLOW FABRIC, A HANS-AGNE JAKOBSSON CHANDELIER, AND A TABLE BY PIERRE JEANNERET AND LE CORBUSIER FROM GALERIE HALF.

“When my dad visited, his big comment was ‘Your house has no walls,’ ” homeowner Brian Robbins recalls, laughing.

STELLA AND JAMES (WEARING A STELLA MCCARTNEY DRESS) IN THE PLAYROOM. VINTAGE BENGT LUNDGREN CHAIRS PULL UP TO A TABLE BY LEANNE FORD FOR CRATE AND BARREL. WALLPAPER BY FLAT VERNACULAR, WALL PANELS COVERED IN DESIGNERS GUILD FABRIC.

“We wanted to bring a sense of warmth and coziness to a pristine contemporary house,” Jeremiah Brent explains.

ABOVE WILLIAM HAINES DESIGNS CHAIRS FLANK A BLEACHED-OAK PEDESTAL TABLE ON THE MAIN BEDROOM PATIO. BELOW IN THE MAIN BATH, A NICKEY KEHOE VANITY STOOL, MARC PHILLIPS RUG, AND SPEAKMAN FIXTURES JOIN AN ANTIQUE SWEDISH ARMOIRE.

ABOVE IN STELLA’S BEDROOM, WALLPAPER BY REBEL WALLS, CUSTOM BUNK BED IN DESIGNERS GUILD FABRIC, VINTAGE ITALIAN SLIPPER CHAIRS IN ROSE TARLOW FABRIC, STOOL BY RH BABY & CHILD, AND CARPET BY RUGS BY ROO.

HUGE POCKETING GLASS sliders erase the boundary between

inside and out in dramatic style, giving the home the feeling of an alfresco modernist pavilion. “When my dad visited, his big comment was ‘Your house has no walls,’ ” Robbins recalls, laughing. McClean buoyed the pavilion effect by overlapping the primary bedroom and the pool, so that the bedroom appears to float. “Brian and Tracy’s last house was a Tudor without a lot of sunlight, so the question was ‘How do you bring a bright, contemporary spirit to a house with traditional bones?’ Here, the challenge was flipped—we wanted to bring a sense of warmth and coziness to a pristine contemporary house,” Brent explains. Berkus, predictably, has his own take: “They didn’t want to go full Neutra,” he quips. “They didn’t want a room with three pieces of perfect modern furniture.” Instead, the designers orchestrated an unpretentious, decades-spanning symphony of chic, eminently comfortable furnishings, many reused from the homeowners’ previous residence. Berkus and Brent’s biggest moves involved the transformation of the kitchen with new bronze cabinetry and floating shelves, and the replacement of a reflecting pool on the subterranean level with a verdant Japanese garden. More subtle gestures throughout the home were calculated to lend intimacy and texture to specific rooms without overshadowing the integrity of the architecture. The designers cloaked the four

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ABOVE THE LOUNGE INCLUDES A MADSEN AND SCHUBELL LOUNGE CHAIR AND OTTOMAN, VINTAGE SEATING BY AFRA AND TOBIA SCARPA, AND A FLORIS WUBBEN STOOL FROM THE FUTURE PERFECT. RIGHT IN THE FAMILY ROOM, BROOKLYN THE DOG SITS ON A CUSTOM SECTIONAL IN GREAT PLAINS FABRIC BESIDE AN HOMMÉS STUDIO TABLE ON AN RH CARPET.

walls of the dining room in suede curtains, for instance, and sheathed a powder room in a coat of paint resembling mottled Venetian plaster. They also converted the lower-level lounge into a seriously alluring grown-up playroom awash in black plaster, nero marquina marble, and bronze details. “That space is the yin to the yang of the rest of the house. It’s the perfect place for after-dinner hangout time,” says James, who is launching a namesake collection of breezy silk dresses and vacationwear next spring. Stella’s bedroom, wrapped in a wallpaper with a pattern of pinkish-purple palm fronds, definitely falls on the yang side of the equation. Brent designed the bunk bed as a cheerful folly, swathed in pink cotton velvet and detailed with a Lucite handrail for a dash of Hollywood glam. The same joyous vibe extends to Stella’s expansive playroom, which includes a rope swing and padded pink wall panels that soften potential collisions. The final piece of the pleasure puzzle is a luxurious, marble-lined home spa and wellness center, replete with a hot tub, a cedar sauna, and other amenities conducive to blissful repose and rejuvenation. “We definitely use the spa a lot, but then again we use all the rooms in the house,” Robbins says of his family refuge. “Between Paul’s architecture and the warmth and beauty that Nate and Jeremiah brought to the project, I think we found the recipe for domestic bliss.”

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IN THE BREAKFAST ROOM, A JÉRÔME PEREIRA PENDANT FROM STAHL + BAND HANGS ABOVE A CUSTOM TABLE WITH RUEMMLER CHAIRS WITH CUSHIONS IN COWTAN & TOUT FABRIC.

THE HOUSE COMMANDS A STUNNING 20-ACRE LAKESIDE SITE. LANDSCAPE DESIGN BY DEBORAH NEVINS & ASSOC. FOR DETAILS SEE RESOURCES.

ON THE WATERFRONT Taking inspiration from grand getaways of yore, architect Gil Schafer transforms a ramshackle ranch house on the shores of Lake Champlain in Vermont into a vibrant getaway TEXT BY

MICHAEL BOODRO

PHOTOGRAPHY BY

ERIC PIASECKI

STYLED BY

HELEN CROWTHER

IN THE MAIN STAIR HALL, HAND-PAINTED 19TH-CENTURY SIDE CHAIRS FLANK AN ANTIQUE ENGLISH OAK CUPBOARD. HAND-BLOCKED WALLPAPER BY MARTHE ARMITAGE.

with

all due respect to Tolstoy, it is a dubious proposition that all happy families are alike. They certainly don’t all live the same way. And the couple that built this house in Vermont wanted to live large— large enough, in fact, to encompass an extended family of 23—siblings, grandchildren, nieces and nephews, and their numerous children. The clients, who spend the rest of the year in Florida, had long owned a somewhat ramshackle ranch house on the property, which has stunning views of Lake Champlain and the Adirondacks in the distance. The husband grew up in Vermont, where so much of his family still resides. For years they intended to build a proper retreat, but the timing was never right. Until they met AD100 architect Gil Schafer. The encounter was engineered by their friend designer Patti Smith, who was overseeing a revamp of their house in the Florida Keys when she encountered a few architectural issues she couldn’t quite resolve. She was taking classes at LEFT A TUCKED-IN TERRACE ON ONE OF THE HOUSE’S FAÇADES. BELOW A LORO PIANA FABRIC SLIPCOVERS THE FAMILY-ROOM SOFA. THE VINTAGE BOTTLE VASE LAMPS ARE TOPPED WITH BLANCHE P. FIELD SHADES.

ABOVE THE DINING-NOOK BANQUETTE IS CUSHIONED IN A PENNY MORRISON PRINTED FABRIC. VAUGHAN PENDANT; VISUAL COMFORT SCONCES; 19TH-CENTURY PINE TRESTLE TABLE.

the Institute of Classical Architecture & Art and had been particularly impressed with Schafer’s work. “So I said, ‘Let’s call Gil,’ ” Smith recalls. “We all flew down to Florida together, and we fell in love with him. Plus, he had such clever ideas. I had no idea what I was starting.” The ranch house was sited on a point that jutted into the lake. But due to zoning regulations, the only way to build that close to the lake was to retain the original footprint. “It was both fantastic,” says Schafer, “and terrible, in that it was such a challenge. The house is now three times as big, but no part could be any closer to the water. So we ended up with a peculiar, zigzag footprint.” Schafer’s pinwheel-like floor plan never seems unwieldy or askew, with wings for guests on either side of the main house that can be closed off when only the couple is there. Between the main house’s six bedrooms, the guest cottage, and the bunkhouse atop the attached carriage house, the property easily accommodates 24—and that’s not counting the nearby lake barn or the “Beach Haus,” where the family assembles to barbecue, boat, or just take in the activity out on the lake. “The place is like a high-end summer camp,” says Schafer.

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The layout may be complex, but the detailing and materials are firmly rooted in local traditions. “We did a lot of research,” says Schafer, “especially at the nearby Shelburne Museum and its collection of historic buildings. Some of my friends questioned the crazy-quilt stone masonry on the façade, but, in fact, it is exactly the same as on one of the houses there. We looked to the big, old summer houses of the later-19th and early-20th centuries for inspiration. That’s why the living room and entry are paneled with vertical boards, why we decided on knotty pine for the library.” LANDSCAPE DESIGNER DEBORAH NEVINS also turned to

regional precedents in conceiving the 20-acre property. “I was basically remaking a forest, creating meadows,” she says. “It looks like I did nothing—and that’s the point.” That natural effect was hard-won. “We cleared a lot but left as many of the old trees as we could.” She also crafted walls and terraces along the edge of the lake, using local stone—often massive specimens. The vegetable garden she installed became such a popular hangout that the family asked her to double its size.

REJUVENATION COUNTER STOOLS CUSTOM PAINTED IN BENJAMIN MOORE’S FEATHER DOWN SURROUND THE CARRARA MARBLE–TOPPED KITCHEN ISLAND. WOLF RANGE; CUSTOM HOOD AND POT RACK; POT-RACK LIGHTS BY ANN-MORRIS; BACKSPLASH TILE BY WATERWORKS.

ABOVE BLUESTONE PATHS LEAD UP TO THE MAIN HOUSE AND BUNKHOUSE/GARAGE. BELOW IN THE PRIMARY BEDROOM, A BESPOKE CANOPY BED IS DRAPED IN A COLEFAX & FOWLER FABRIC WITH SAMUEL & SONS TRIM. LATE-18TH-CENTURY ITALIAN CHEST; BEAUVAIS CARPET.

“We did a lot of research,” says architect Gil Schafer. “We looked to the big, old summer houses of the later-19th and early-20th centuries for inspiration.” CLOCKWISE FROM ABOVE A GUEST ROOM IS SWATHED IN A CLAREMONT FABRIC. THE FAMILY “BEACH HAUS” SITS ON THE SHORE. A WATERWORKS TUB WITH BARBER WILSONS & CO. FITTINGS CENTERS A GUEST BATH. ARCHDIGEST. COM

RIGHT THE POTTING ROOM. BELOW AMISH OAK STORAGE CHESTS LINE UP IN THE BUNKROOM. OPPOSITE A VISUAL COMFORT PENDANT CROWNS THE BUNKHOUSE LIVING ROOM, WHERE A WILLIAMS SONOMA HOME SOFA IS SLIPCOVERED IN A SCHUMACHER PRINT. IN THE BUNK ROOM.

SMITH AND SCHAFER worked together on the interiors, with plenty of input from the client. “My mother was an antiques dealer, and I still love brown furniture,” the wife says. “Patti and I had the most fun going with Gil to Europe, especially London, though at first I wasn’t convinced we really needed to go. But Gil reminded me it was a big house. He told me, ‘You’re going to need 53 lamps.’ Fifty-three lamps! And he inspired me to get pieces I would never have bought, and I love them.” Fabrics were a particular passion. “We spent a lot of time on them,” the wife acknowledges. “Gil would pile fabrics on the floor, and I would go through and pull out the ones I didn’t like. I wanted pale linens in the family room, so as not to take away from the views. I wanted a white kitchen. “We were so fortunate to be able to build a house like this,” she adds. “It was such a treat to see things through Gil’s eyes.” And if the process was a happy one, the result has proved equally so and has been eagerly adopted by all the relatives. “Now the kids arrive, and they head up the back stairs, and they don’t even say hi to me,” the wife says with a laugh. “But as many people as the house can hold, it is also great for just the two of us. It doesn’t seem big when you are in it. As my son said, ‘Mom, this is our forever house.’ ”

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

HOUSE PARTY

PAGES 40–51: Interior design by

Line Architecture; linearchitecture .com. Landscape design by Anton Prack Landscape Design; antonprack.com. PAGE 40: Paradiso wallpaper in Turquoise by Nina Campbell; osborneandlittle.com. On Delevingne, outfit and shoes; ysl.com. Jewelry; dior.com. PAGE 41: Chaise longues and umbrellas; onekingslane.com. PAGES 42–43: Painted mirrors; chuldenkopaintings.com. PAGE 44: On kitchen cabinetry, door, and molding, California Blue paint; benjaminmoore.com. Window shade of Geyer Stripe fabric in Water; fschumacher.com. PAGE 45: In dining room, chandelier; gaspareasaro.com. Artwork; chemicalx.co.uk. PAGES 46–47: On Delevingne, outfit; miumiu.com; shoes; ysl.com. In primary bedroom, Totem Damask wallpaper; timorousbeasties.com. Curtains of Flapper velvet; osborneandlittle.com. PAGE 48: On staircase walls, Les Touches wallpaper in Aqua by Brunschwig & Fils; kravet.com. In billiards room, curtains of Burnout Velvet; robertallendesign.com. Vintage pool table; brunswickbilliards.com.

WINNING COMBINATION

PAGES 52–63: Interior design

and renovation by Workstead; workstead.com. PAGE 53: Akari 16A lantern by Isamu Noguchi; shop.noguchi.org. 1960s table and chairs by Guillerme & Chambron and 1930s cerused oak sideboard by Charles Dudouyt; morentz.com. Hayfield wallpaper; marthearmitage.co.uk. PAGES 54–55: 1970s De Sede S88 patchwork loveseats; 1stdibs.com. Cocktail table; nathanlindberg.com. Hanging light; workstead.com. Wabi-Sabi rug; rh.com. Gino Russo dining chairs; ragoarts.com.

PAGES 56–57: Exterior paint on

PAGES 74–75: Custom cerused white

original house, Ivory White, and on pavilion, Nightfall; benjaminmoore .com. In front parlor, 1970s Luigi Caccia Dominioni chairs; azucena.it. 1960s Harvey Probber games table; 1stdibs.com. PAGE 58: In bedroom, 19th-century French Iron Canopy Fabric Bed; rh.com. 1950s Nanna Ditzel lounge chair; briggsauction.com. Floor lamp by Gerald Thurston for Lightolier; regencyauction.com. Sconces; workstead.com. In formal parlor, 19th-century tapestry; aando auctions.com. Sloped arm sofa; fair-design.com; in Opia velvet in Bronze; houseofhackney.com. Circa-1947 Clara Porset Butaque chairs; billingsauction.com. Willy Rizzo brass and chrome cocktail table; kamelotauctions.com. Bauhaus Zwadela pendant lamp; woka.com. On walls, Inchyra Blue paint, farrow-ball.com. Vintage Laristan rug; neworleansauction.com. PAGE 59: In primary bedroom, custom wardrobe; workstead.com. In guest room (top), Morrow bed; rejuvenation.com. Jungle Birds wallpaper; marthearmitage.co.uk. In guest room (bottom), Irving iron bed; mcgeeandco.com. Klöverblad wallpaper by Josef Frank; svenskttenn .se. Reedition Wiener Werkstätte pendant light and 1970s Plastic Bubble lamps by Paul Mayen; 1stdibs.com. PAGE 60: Reproduction C.F.A. Voysey wallpaper; trustworth.com. Pendant light; workstead.com. PAGE 61: 48-inch dual fuel range; signaturekitchensuite.com. Panelready dishwasher; mieleusa.com. Sink fittings; dornbracht.com. Randall Tractor counter stools; rejuvenation.com. Casement windows; lepagemillwork.com.

oak bed; modshop.com, upholstered in Spirit woven in Ecru; pierrefrey.com. 1950s two-branch brass floor lamp; 1stdibs.com. PAGE 76: In kitchen, 1950s Stilnovo pendants; rewirela.com. On James, silk chiffon caftan by Tracy James Collection, coming spring 2022. PAGE 77: 1980s Triangular Suspension Light by Mario Botta for Artemide; rewirela.com. Custom Rosso Levanto honed marble table; thedavanigroup.com. Chairs; nathanlindberg.com. Curtains of Suede in Bone; theshadestore.com. Ardsley rug in Truffle; rh.com. PAGES 78–79: 1970s 12 Shade Chandelier by Hans-Agne Jakobsson and 1950s Airborne Armchairs by Pierre Guariche; 1stdibs.com; in Faso linen in Sandstone; rosetarlow.com. 1950s Italian armchair; hollywoodathome.com, in bouclé fabric; knoll.com. Cafeteria table by Pierre Jeanneret and Le Corbusier; galeriehalf.com. PAGE 80: 1960s children’s chairs by Bengt Lundgren; 1stdibs.com. White plaster Pedestal Bistro table by Leanne Ford; crateandbarrel.com. Glasswing wallpaper in Gossamer Blue; flatvernacular.com. On custom scalloped wall panels, Varese velvet in Cameo; designersguild.com. PAGE 81: On main bedroom terrace, iron side chairs; williamhaines.com. In Stella’s room, Pride Palms wallpaper in Plum; rebelwalls.com. Custom bunk bed upholstered in Cassio fabric in Cameo; designersguild.com. Mid-century Italian slipper chairs; ozshop.design, in Hartford linen in Currant; rosetarlow.com. Poppy Sherpa Play stool; rhbabyandchild .com. Rug; rugsbyroo.com. In main bath, vanity stool; nickeykehoe.com; in Lugano kid mohair in Camel; rosetarlow.com. Kilim; marcphillips rugs.com. Speakman shower fittings; designbath-hardware.com. 19thcentury Swedish Baroque style black armoire; 1stdibs.com.

MAKING WAVES

PAGES 64–69: Architecture by Young

Projects; young-projects.com; in collaboration with local architects Sarah Garcia; estudiosarahgarcia.com; and Desiree Casoni; desireecasoni.com.

OPEN SEASON

PAGES 74–83: Interior design by

Nate Berkus; nateberkus.com; and Jeremiah Brent; jeremiahbrent.com. Architecture by McClean Design; mccleandesign.com. Landscape design by Kathleen Ferguson Landscapes; kathleenferguson.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. 7. 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; Jackie Marks, 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 82: In lounge, 1960 Madsen Schubell easy chair and ottoman in brushed wool; galeriehalf.com. 1970s Afra and Tobia Scarpa Monk Chairs; 1stdibs.com; in Brumes fabric; liagre.com. Pressed stool 4 by Floris Wubben; thefutureperfect.com. In family room, custom sectional in Take Direction: Koala velvet mohair by Great Plains; hollyhunt.com. Lunarys center table; hommes.studio. Ardsley rug in Carbon; rh.com. PAGE 83: Chaos Chandelier by Jérôme Pereira; stahlandband.com. Custom round white marble-top dining table; 1stdibs.com. Dining chairs; ruemmler.us, in Violetta fabric in Lead; cowtan.com.

ON THE WATERFRONT

PAGES 84–93: Architecture by

G.P. Schafer Architect; gpschafer.com. Interior design by G.P. Schafer Architect and Patti Smith Interior Design. Landscape design by Deborah Nevins & Associates; dnalandscape.com. PAGE 86: Antique cupboard; spencerswaffer.co.uk. Wallpaper, Chiswick House in Green/Gold; marthearmitage.co.uk. PAGE 87: In family room, sofa slipcovered in Darjeeling stripe fabric in Vanilla; loropiana.com. Vintage bottle vase lamps; sibylcolefax.com; in custom white card lampshades; blanchefield.com. PAGE 88: Sconces by Visual Comfort; circalighting.com. Ceiling pendant light; vaughandesigns.com. 19th-century pine trestle table; timwhartonantiques.co.uk. PAGE 89: Saddle counter stools; rejuvenation.com, painted in Feather Down; benjaminmoore.com. PAGE 90: In primary bedroom, custom pencil post canopy bed; gpschafer.com, painted in Seapearl; benjaminmoore.com, with sheer bed hangings of Cecile fabric in Ivory; colefax.com. Late-18th-century Italian chest; robertkime.com. PAGE 91: On guest room walls, Country Life fabric in Azul; claremontfurnishing.com. In bathroom, Empire tub; waterworks.com. Fittings; barberwilsons.com. PAGE 92: In bunk room, oak storage chests; dutchcrafters.com. PAGE 93: In bunkhouse living room, Darlana hanging lantern by Visual Comfort; circalighting.com. Sofa; williams-sonoma.com, slipcovered in Kaya Medallion in Document; fschumacher.com.

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INTERIOR BY WELCOME PROJECTS; PHOTO BY LAURE JOLIET

Design advice for real life.

Alfred S. Mira (1900–1980) Washington Square, New York Oil on canvas board 16 x 11⅞ inches Signed lower right: Mira Retail price: $26,500 Special price: $21,000

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

QUESTROYAL'S 12TH ANNUAL SUMMER SALE: JUNE 8 – SEPTEMBER 3, 2021 Featuring over 175 important American paintings. Questroyal Fine Art, LLC, is an established American art gallery specializing in quality American paintings from the 19th and 20th centuries. Questroyal’s extensive inventory of more than 500 artworks includes important Hudson River School, tonalist, impressionist, and modernist examples. To request a copy of our catalogue,

@getclever archdigest.com/clever

visit questroyalfineart.com, email gallery@questroyalfineart.com, or call 212-744-3586.

one to watch

Alice Gavalet

“It all starts with shape and color,” says this rising-star French ceramist. Using a knifelike tool, Gavalet slices earthenware into flat forms that she then hand-assembles into three dimensions, firing the results before painting them with colorful enamels for one last bake, all in her petite workshop just outside Paris. The wild and whimsical pieces (squiggly striped vases, mirrors outlined in zany shapes) take inspiration from Ettore Sottsass’s playful objects, Jean Dubuffet’s graphic compositions, and her nine-year-old daughter’s spontaneous drawings. By Gavalet’s admission, her own works—often large and heavy—aren’t exactly practical, but, she says, “I consider them sculptures that can be used.” It’s an idea she undoubtedly gleaned from the 10 years and counting she has worked as an assistant to the legendary furniture designer Elizabeth Garouste, known for her spirited takes on functional objects. Today Gavalet’s eye-popping confections are steadily entering the spotlight. This summer, her vessels appear in “Ceramics NOW:,” an exhibition of contemporary art pottery at Paris’s Galerie Italienne. She’s also finishing up “a very baroque floor lamp” for Michèle Hayem Gallery in Paris. Says Gavalet: “I like surprises, and I don’t like to repeat myself.” instagram.com/alicegavalet —HANNAH MARTIN

ARCHDI GE ST.COM

PHOTOGRAPHY BY BILL AL TA RIGHT

From the first toast to the final bite, savor every moment with Sub-Zero refrigeration, Wolf cooking, and Cove dishwashing. Complete your kitchen with thoughtfully designed, innovative appliances crafted to last for decades of delicious, memorable meals.