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Welcome
ARTFULLY UNITING EXTRAORDINARY PEOPLE WITH EXTRAORDINARY PROPERTIES
From the pristine beaches of Southwest Florida to the majestic landscapes of the North Carolina High Country, each of our diverse regions is truly extraordinary. Immerse yourself in the cultural vibrance of Sarasota, re ned elegance of Naples, and dynamic energy of Tampa. Explore Central Florida’s sparkling lakes, revel in the awe-inspiring vistas of Asheville and Lake Norman, or embrace the charm and energy of Charlotte. Each destination represents the ideal convergence of beauty, lifestyle and residential opportunities. There are few places quite like the communities we proudly serve.
While each has its own unique appeal — renowned golf courses, world-class equestrian centers, upscale dining, stunning natural beauty, and a heritage of arts and culture — what sets them apart is the spirit of the people who call these places home: warm, welcoming and philanthropic.
Since 1983, people have been the foundation of our success. We express our heartfelt gratitude to the customers who have entrusted us with their most significant real estate journeys and to our dedicated global advisors who continue to exemplify excellence.
In this fth decade of our legacy, Premier Sotheby’s International Realty is proud to present the 2024 edition of RESIDE, an exclusive publication showcasing our portfolio of extraordinary residences which o ers a window into the world of Sotheby’s auction house and Sotheby’s International Realty®. Inside, you’ll discover stunning properties and immerse yourself in the distinctive lifestyle and culture of the communities we serve.
We are dedicated to delivering an unparalleled buying experience marked by excellence, integrity, and professionalism. Our expert global real estate advisors and extensive worldwide network ensure we understand your unique needs. Our unwavering commitment to you includes providing exceptional buying strategies supported by in-depth research, masterful market insights and skilled direction throughout the entire process.
At Premier Sotheby’s International Realty, we provide a comprehensive understanding of the purchasing process. Our advisors offer elevated buyer representation that goes above and beyond traditional services. They are seasoned professionals with an average of 15-20 years of
real estate experience who sell 3-5 times more volume annually than the average agent in our markets. Leverage their expertise and Buy Confident.
For us, a home is more than just an address — it is a reflection of the communities where we live, grow, and thrive together. Supporting these communities, and the extraordinary people within them, remains our most profound privilege as we look forward to continuing our journey with you.
BUDGE HUSKEY President and Chief Executive O cer
691 Annemore Lane, Naples, Florida. Crafted by Bonura Custom Homes, this luxurious Pelican Bay estate features the prestigious work of Stofft Cooney Architects and the refined interior design of Clive Daniel Home, positioned in one of Naples’ highly sought-after locales. Presented at $10,395,000 by Lynn Hurley and Jessica Higdon.
14 Making a Statement
Newly daring, bold and colorful rugs are works of art in their own right, says Helen Parton
20 An Eye for Detail
New York architect Michael K. Chen talks to Alex Bozikovic about crafting joyful interiors for a better life
26 Living on the Edge
Toronto’s Harbourfront neighborhood has been transformed into a thriving hub of culture and leisure. Lev Bratishenko reports
34 A Bit of Rouge
Ever heard of “unexpected red”? The new interiors trend is sure to make an impact, says Paula Mejía
38 Surreal City
In the 1940s, Mexico City became a home for surrealism, where artist relationships blossomed, Christopher Alessandrini finds
44 A Certain Glow
Riya Patel meets three lighting designers around the world whose work is driven by artistic sensibilities
50 Past Meets Present
Contemporary art in historic European houses is establishing new cultural dialogues, says Amah-Rose Abrams
Victoria
Everything goes rose-tinted as the trend for salmon-dial watches heats up
10 Design
This fall sees the arrival of Design Mumbai— India’s premium fair for furniture
12 Culture
In Kristiansand, Norway, a new museum creates a cathedral-like space for modernist art
Photos: Anson Smart, Sun Ranch; Brooke Holm.
Living
58 Extraordinary Global Properties
Sumptuous kitchens are the heart of the home in these properties, from Colorado to Amsterdam
64 Gallery
Discover our curated collection of extraordinary properties, each showcasing unparalleled craftsmanship, breathtaking locations, and timeless elegance. Explore homes that elevate luxury living.
Far left: A lamp by Lana Launay hangs in the Sun Ranch retreat in Australia’s Byron Bay (page 44).Left: Architect Michael K. Chen’s Nomad Loft embraces color (page 20). Above: Positioned on 1.72 expansive acres just moments from the Gulf of Mexico, this contemporary modern masterpiece blends open-plan living and superior craftsmanship with classic elegance. Presented at $13,500,000 by Je rey Little and Jamie Dockweiler (page 78).
Reside magazine is published three times per year by Sotheby’s International Realty
Sotheby’s International Realty
Publisher Kristin Rowe
Cultureshock
Editor Nancy Groves (maternity leave)
Acting editor Francesca Perry
Editorial team Rachel Potts, Alex McFadyen, Deniz Nazim-Englund
Andrew Jarosh, Madison Musico, Nick Poirier, Cindy Wu
Luxury living comes to life in this custom-built masterpiece on the shores of Lake Virginia, proudly crafted by the renowned Phil Kean Design Group. Exuding elegance and sophistication from every level, its sprawling interior highlights opulent nishes, Italian marble and a fully equipped steam room with sweeping views of the Winter Park Chain of Lakes. Represented by Night-Pinel of Premier Sotheby’s International Realty (page 190).
INTERIORS
Rural Retreats
Inside Ireland’s incredible heritage homes—from grand castles to country houses
Robert O’Byrne has made a career out of wangling his way into stunning homes. “My life is going around visiting people, whether they want me there or not,” jokes the author and lecturer, whose interest in Irish architectural heritage has generated numerous books—including 2009’s “Romantic Irish Homes”—and a popular blog, “The Irish Aesthete”. He says he knows most of Ireland’s stately homeowners.
O’Byrne’s little black book has now been mined for a handsome new tome. “The Irish Country House: A New Vision” (Rizzoli) documents 15 exceptional properties, ranging from castles to villas, across an array of periods and architectural styles.
There is the stately Summergrove in County Laois, in the heart of the country, with its elegant facade of Venetian and Diocletian windows and interior features such as pedimented doorcases and rococo plasterwork. In County Longford, the Georgian-era Castlecor House includes an octagonal hunting lodge, complete with Corinthian columns, a four-sided fireplace and 19th-century neo-Egyptian stencil work.
The history of Killua Castle, meanwhile —situated one hour outside Dublin—charts how a classical mansion was transformed into a neo-Gothic fortress, and later from wreck to renovation. The process was overseen by the banker Allen SanginésKrause and his wife Lorena, who have also filled the home with their collection of medieval and early Renaissance art.
Killua highlights a unifying theme in the book: all the properties have been chosen to counter the image of Ireland’s grand houses as in decay. “It’s a narrative going back hundreds of years that the Irish country house is on the verge of collapse,” says O’Byrne. “Very often one tends to overplay the decaying, the falling down, the lapsing
into ruin.” With this new book, however, he wants to “tell a positive story,” adding that there are “wonderful properties all over Ireland that are being rescued and restored.”
How the new homeowners are reviving the interiors—from reinstating four-poster beds to adding hand-printed reproduction wallpaper—is an intriguing part of the story, told visually by photographer by Luke White. The 18th-century villa Killoughter, for instance, is enlivened with Irish landscape paintings, hand-colored prints of Dublin and antique wood carvings from the workshop of Dutch sculptor Grinling Gibbons, collected by the owner, former banker and businessman Sir David Davies.
Davies is also the president of the Irish Georgian Society, whose aim is to “conserve, protect and foster an interest and a respect for Ireland’s architectural heritage.” This book shows how dedicated individuals are bringing such an endeavor to life by reimagining the country’s landmarks, and making them newly relevant.
Victoria Woodcock is a writer covering design, craft and art
Historic Beauty
In the late 16th century, the Irish Gaelic MacEgan clan built Killaleigh Castle in what is now County Tipperary. By the 1700s, however, changing tastes resulted in the owners at that time—the Sadlier family—building a grand new manor adjacent to the castle as their primary residence: Sopwell Hall. Thought to have been designed by architect Francis Bindon in 1745, the estate is an impressive example of the early Georgian style. Inside, a high-ceilinged reception hall with classical arches is complemented by a carved wooden staircase and sienna scagliola marble columns. The current owner, an expert in 17th-century antiques, has spent years restoring the 10-bedroom house. Now, both the manor and the castle—set in 300 luscious acres of woodland and park—are available for a new owner to enjoy, stewarding history into the future.
Price upon request
Property ID: 4T3PL2
sothebysrealty.com
Lisney Sotheby’s International Realty
David Ashmore +353 1 662 4511
Clockwise from far left: The music room at Killua Castle; “The Irish Country House: A New Vision” by Robert O’Byrne (Rizzoli); An ornate Victorian chimneypiece in Summergrove
WATCHES
Rosy Appeal
A fresh twist on classic design led to a collecting craze for salmon-dial timepieces
The color pink is a magnet for opinions: everyone has feelings about it. Depending on the shade, the color can bring up feelings of frivolity, rebellion, seduction or even emotional sensitivity (e.g., blushing is defined as “becoming pink in the face from embarrassment”). Suffice to say, pink has many connotations in our culture. Yet when this hue appears on a watch dial, it is immediately recognized by those in the know for its unconventional charm and elusive status.
Pink dials are rose gold in tone, ranging from rust-colored to dusty rose pink, commonly referred to as “salmon” in the world of horology. This palette has been considered gender neutral and sophisticated since the 19th century.
An alloy of pure 24-carat yellow gold, copper and silver in jewelry creates this pinkish hue, once called Russian gold because of its popularity in the region.
Rose gold’s jewel tone pervaded art and jewelry during the art deco period, influencing notable watch manufacturers including Rolex, Jaeger-LeCoultre and Patek Philippe to produce their blush-colored dials in the 1930s and 1940s. These distinctive movements may appeal to a select few, but they have graced the wrists of some of the most discerning customers ever since. Perhaps because of their unique and pleasing color scheme—evoking elements of the past while remaining decidedly modern—this once niche category of watches is finding favor with many enthusiasts today.
Designers have historically used the dial as a canvas to differentiate themselves from the competition. Salmon dials add another dimension of appeal for today’s buyers since it is unlikely anyone else will have quite the same timepiece. While these watches may not be as common as their silver- or black-dial counterparts, Leigh Safar, Sotheby’s global head of Important Collections, Watches, does not anticipate this color trend going away soon. “Based on what we are seeing in the market, I don’t think it’s a coincidence that they always achieve an incredible price,” she says. “They’re rare but still very neutral.”
Since World War I, the wristwatch, a technological feat accompanied by the craftsmanship and materials of fine jewelry, has been generally perceived as a masculine accessory. Safar believes the aesthetics and collectibility of these watches make them popular with men and a small but growing number of women collectors.
Unusual shades in the watch world are nothing new, but the first tone-on-tone examples of rose-gold dials and rose-gold bezels are some of the most sought-after watches today. For example, a salmon-faced Patek Philippe reference 1518 chronograph watch from 1948, once belonging to the prince of Egypt, sold at Sotheby’s for $9.6 million in 2021, making it the most expensive watch sold in the auction house’s history or anywhere else on the market that year. Patek Philippe’s production has always been famously scarce: this esteemed crème-de-la-crème watchmaker produces just 62,000 watches annually.
Today many collectors are interested in salmon dials with contrasting white metal cases, especially stainless steel, introduced in Rolex’s Bubbleback and Jaeger-LeCoultre’s Reverso during the 1930s. Some contemporary iterations of these classics are also designed with salmon dials, elevating conventional pieces with their atypical coloration.
While salmon-faced watches are still considered rare, they are no longer gatekept. Diverse watch collectors of all ages are discovering the appeal of this unexpected hue in both vintage and contemporary styles. Iconic brands such as A. Lange & Söhne, Audemars Piguet and Montblanc, to name just a few, have taken notice and released limited quantities of pink watches. Moreover, the color is complementary to various skin tones and is said to have a calming effect on people. With that in mind, it is easy to see how a beautifully crafted salmon dial works like a balm for the spirit.
Suzy Katz is a New York-based writer
Left: A 1948 Patek Philippe reference 1518 pink-gold perpetual-calendar chronograph watch with moon phases sold at Sotheby’s New York in 2021 for $9.6 million
Above: A contemporary contribution to the salmon-dial market is A. Lange & Söhne’s Datograph Perpetual Tourbillon watch
DESIGN
Mumbai Calling
This fall, the world’s most prominent brands—and exciting emerging designers—are set to converge in India’s largest city for the inaugural Design Mumbai fair
Mumbai is home to some of the best furniture, lighting and decor brands in India, and this year the city welcomes its first major design fair, cementing its place as the country’s design capital. The four-day Design Mumbai, taking place November 6-9, hosts more than 150 local and global brands. The show, as touted by co-founders Piyush Suri, Ian Rudge and Michael Dynan, will reflect India’s growing prominence on the global design map. “More design schools are training skilled professionals, and
collaborations between Indian and international firms are bringing forth new ideas, making Mumbai a vibrant and dynamic design destination,” says Suri.
Some of the most sought-after international names in design will be present at the fair—including Zaha Hadid Design, Louis Poulsen and Poltrona Frau—but there will also be many Indian designers and studios. Here’s a spotlight on three local talents at Design Mumbai that are changing the landscape of design in the country.
Morii
Indian crafts are at the forefront of this Gandhinagar-based fabrics studio: its handembroidered textiles highlight traditional techniques expressed in contemporary designs. Made using locally sourced raw materials, the fabrics are carefully transformed into stunning wall art for the home. The studio works with embroidery communities in villages around the country. “We collaborate with craftspeople and have been training them to produce their best work,” says Morii founder Brinda Dudhat. The resultant intricate, sustainable textiles depict abstract, organic patterns in a range of gentle and bold hues.
Two of Morii’s handembroidered abstract wall art pieces
Photos: Umang Shah; Hansraj Dochaniya; The Wicker Story.
Objectry
Simple objects can be timeless and appealing—this is the philosophy of Objectry, a Delhi-based studio founded by designer Aanchal Goel. Its products, from chairs and tables to clocks and lamps, attempt to bring elegance to everyday things. Although each piece is handmade—using materials such as wood, ceramic and cane—there is no roughness or irregularity: all products
display clean lines and crisp edges. “Our design ethos is a harmonious blend of contradictions and nostalgia, deeply rooted in the richness of Indian heritage,” says Goel. “Our journey began with a love for materials and a drive for exploration, resulting in products that bring a unique aesthetic into homes. When people visit our studio, we want them to experience discovery and joy.”
The Wicker Story
Started by Priyanka Narula, the principal partner at Hyderabad-based architecture and design practice Prelab, The Wicker Story harnesses sustainable materials to create highconcept wicker designs, produced using digital processes. The first piece launched was Imli Bench, a cocoon-like form made with rattan. Over time, Narula has continued to explore the versatility of rattan—a lightweight and flexible material that can be manipulated into many forms—and wicker as a weaving tool, to create furniture and decorative sculpture in complex, curved forms. By merging craft and parametric design, the studio balances the creativity of the past with the possibilities of the future. Aditi Sharma is an editor specializing in design, art and architecture
Ball Tripod Chairs, crafted in solid wood, designed by Objectry
Right: Priyanka Narula, founder of The Wicker Story, with her studio’s fluid rattan lamp
CULTURE
North Star
A spectacular new home for Nordic modernist art
In 2015 the investor Nicolai Tangen decided to donate his extensive art collection to his hometown of Kristiansand in southern Norway, so it could be showcased in a public gallery. Consisting of more than 5,000 works, it is the largest collection of Nordic modernism in the world and includes works by the Danish painter Franciska Clausen and Swedish artist Otto Gustaf Carlsund.
To house the collection Tangen selected a derelict grain silo on the island of Odderøya, to the south of Kristiansand’s historic center. With financing from the city council and Tangen’s AKO Art Foundation, the 1930s
concrete structure was transformed into a new art museum: Kunstsilo.
The building is an early example of functionalist architecture in Norway and provides a fitting backdrop for works in the Tangen Collection, whose experiments with form and expression echo the distinctive architecture. The building’s transformation was overseen by architects Mestres Wåge Arquitectes, BAX and Mendoza Partida, who created a triple-height foyer in the cathedrallike central hall, with views up to the top of the grain silos. Exhibition spaces are arranged around the central area across three floors.
Kunstsilo, a new art museum in Kristiansand, Norway
On permanent display is Marianne Heske’s “Gjerdeløa”, 1980, one of the Norwegian artist’s best-known conceptual works. Heske dismantled, moved and reconstructed a 350-year-old wooden cabin from her home village for an exhibition at the Centre Pompidou in Paris. Other notable names in the collection include the Swedish artist Gösta Adrian-Nilsson, whose 1915 painting “The white and the blue sailor” exemplifies his early connection with German avant-garde circles, as well as the Danish situationist Asger Jorn.
Else-Brit Kroneberg, Kunstsilo’s head of collections, explains there is a strong focus on non-figurative and abstract art in the Tangen Collection’s works from the 1950s and 1960s, while the art from the following decades often contains more overtly political messages, such as critiques of the Vietnam War. “They were protesting, they were expressing themselves in new ways, and they didn’t paint as others painted,” says Reidar
Fuglestad, the chief executive of Kunstsilo. Kroneberg believes the pan-Nordic scope of the collection is rare and because it includes works from several decades of the artists’ careers, it shows how they evolved.
“The Tangen Collection is deep rather than wide,” she says. “And thus enables new interpretations rather than reinforcing notions. It provides an opportunity to show how diverse and varied modern art is.”
Alongside the Tangen Collection, Kunstsilo also houses the Christianssands Picture Gallery collection, established in 1902, which contains works by Norwegian painters Edvard Munch and Christian Krohg, as well as the regional and contemporary craft-focused Sørlandet Art Collection. Together, says Fuglestad, these varied holdings can “tell a regional history” of the Nordic countries through art.
MZ Adnan is a writer based in London. His work has appeared in The New Yorker, Wallpaper* and Plaster
More than 5,000 Nordic modernist works from the collection of Nicolai Tangen form the museum’s collection
Franciska Clausen, “Contrastes des formes”, 1927
STATEMENT MAKING a
What’s underfoot needn’t be square, says Helen Parton, as rug design gets bright and bold
Iwas inspired by what was outside: the grasses, the clouds, the steel color of the skies,” begins photographer Douglas Friedman, describing the view from his desert retreat in Marfa, Texas, which formed the basis of his Atlas collection of rugs for design studio Kyle Bunting.
The collection plays with the idea of circles and rectangles in its striking patterns. The colorways, influenced by the desert landscape, range from creams and burnt oranges to green, black and dark blue.
With the collection, Friedman joins a burgeoning raft of artistic visionaries expressing themselves through the canvas of rug design. Far from blending in underfoot, these rugs form bold artistic statements using graphic motifs and dramatic color palettes.
The interior of the Friedman Ranch is a riot of color and texture—enhanced by the Atlas collection of rugs found throughout— forming a perfect contrast to the minimalist glass box-like architecture. “They really help to delineate the space, creating these ‘islands’ f rom the kitchen to the living room and the library,” Friedman explains.
“Rugs help designers build the aesthetic of a room from the ground up,” says Kyle Bunting, a former TV executive turned purveyor of patchwork cowhide designs. After he and Friedman became acquainted over cocktails in New York, Bunting—whose studio is based in Austin—visited the photographer’s Marfa retreat, sealing the deal for the collaboration.
Thousands of miles away on a quiet north London street, Sonya Winner runs her eponymous design studio. Having worked as a graphic designer and photographer, it was during the recuperation from a serious accident in 2007 that the potential of rugs became apparent for her. “Rugs have a massive effect on a room,” she says. “When you open the door to my home, the first thing you see is this statement of yellows, crimsons, reds, purples; lots of clashing colors.”
Her Sonia and Sonya rug collection perfectly embodies her design ethos, which in this instance took its cues from the colorful artwork by French artist Sonia Delaunay, co-founder of the early20th-century orphism movement. Winner’s pieces feature circular motifs in bright hues of pink, blue, green and orange, giving a sense of movement and mischief to an interior.
“ RUGS HELP BUILD THE AESTHETIC OF A ROOM FROM THE GROUND UP
”
Working with artisans in India and Nepal also shaped Winner’s creative thinking. “They can cut rugs into any shape you want, using any color: some of my designs have more than 80 colors,” she says. “I’ve learned how to request a certain twist of yarn, so that it reflects the light in the way I want, even experimenting with tufting or knotting. I feel as if this is a crossover between art and design.”
CC-Tapis, an Italian design company producing handmade rugs, has been working with artists and designers for more than 20 years. Among its notable collaborators is Spanish architect and designer Patricia Urquiola; one of her many collections for the company, Venus Power, is characterized by cartoon cloud-like shapes with thick border lines, in color combinations of blue, pink and green.
British designer Bethan Laura Wood’s Super Fake collection, meanwhile, is inspired by the collision of the man-made with nature—in this case, rock forms that have built up with sediment. The results are dramatic patchworks of slices of orange, lilac and blue, fashioned into eclectic silhouettes. Both these collections, much like Winner’s irregular-shaped work, radically redefine the idea that a rug should be a simple oval, square or rectangle in form.
Harlequin, a series of rugs by textile designer Kangan Arora for London-based company Floor Story, is dominated by a bold repeated diamond check pattern. “The starting point was an obsession with the geometric Indian cosmic yantras (astrological diagrams), the ‘Ichimatsu’ check pattern I learnt about during my travels in Japan, and the eye-catching graphics of modernist op art,” she says. “The color application is where things get interesting, with the ‘regular’ pattern deconstructed and reassembled.”
Previous page: Campbell Rey’s rug series for Nordic Knots, at Copenhagen’s Thorvaldsens Museum
This page: Douglas Friedman’s desert-inspired Atlas collection (left and above left) designed for Kyle Bunting; Super Rock Moon (above right) by Bethan Laura Wood for CC-Tapis
Designer Patricia Urquiola with one of her Venus Power rugs for CC-Tapis
Right: Indian and Japanese traditions inspired the bold, colorful check pattern in Kangan Arora’s Harlequin rug for Floor Story
“ THEY SIT AT THE INTERSECTION BETWEEN ART, CRAFTSMANSHIP, MATERIALITY AND COLOR ”
Another Floor Story creator, the artist and designer Adam Nathaniel Furman, is known for their passionate embrace of color and pattern. A recent creation, Meandros, was inspired by summer holidays in the Mediterranean and “that sense of freedom, lightness and joy that was connected with ancient beauty and ruins,” says Furman. Meandros harnesses the geometry of the Greek key pattern, elevated to achieve more drama through a 3D-like effect.
Garden Maze, a design from studio Campbell-Rey for Swedish textile firm Nordic Knots, also features a gridlike pattern creating a three-dimensional play on perspective; an optical illusion in bold blue or green. It is one of three designs that the studio, run by Duncan Campbell and Charlotte Rey, has created for the company, taking cues from Nordic neoclassicism and expressing these in jewel-like colors. Folding Ribbon features an eye-catching zigzag motif in orange on a rich ruby red background, while Climbing Vine is defined by a border of stylized, spiky foliage. “Rugs offer everything you can possibly want in an artistic scheme—they sit at the intersection between art, craftsmanship, materiality and color,” says Campbell.
Rugs are increasingly not just reserved for floors, making a statement elsewhere in the home, too—displayed on walls or even used as headboards. “Some of our clients have started asking for a vertical solution,” says Bunting. “You might approach a rug from different angles, passing by or looking straight at it; it’s a completely different dynamic.” Winner also points to the positives of rugs as wall hangings: “They are really good for soaking up sound, something you don’t get with a piece of art. Rugs also have that beautiful tactile quality to them.”
Freed from the constraints of neutral colorways or regular shapes, contemporary designers have let their creative energies flow with the modern rug. Whether laid on the floor or hung on the wall, rugs are now artworks in their own right, bringing a sense of intrigue and fun to the home—perhaps in unexpected ways. 0 Helen Parton is a design journalist
AN EYE for detail
Material innovation, quality craftsmanship and pops of color are at the heart of New York architect Michael K. Chen’s interiors, says Alex Bozikovic
Michael K. Chen designs in full color. The New York architect’s houses and flats are splashed with grapefruit-hued plaster walls, avocado kitchens and cerulean ceilings. For Chen and his practice, Michael K. Chen Architecture (MKCA), color—as well as texture and the marks of handcraft— are parts of life, and therefore they belong in a home.
“We are lovers of color, and we are unapologetic about it,” Chen says. “In many cases, our clients know this about us, and they seek it out.”
Two impulses are central to the work of MKCA: a visual sensibility that departs from less-is-more asceticism in favor of variety and heterogeneity, and a genuine engagement with the fine details of domestic life. The interdisciplinary practice specializes in homes, ranging from Manhattan interior remodels to newly built houses on rural sites.
In one recent Manhattan apartment, dubbed Nomad Loft after its neighborhood, MKCA transformed a 200-square-meter zone of old industrial space for a couple with a taste for technicolor. A curving, limewashed partition in grapefruit orange frames the entry door and a coat closet; towards the center of the building, hunter-green linoleum and a heavily marbled onyx slab bring gravity to the kitchen.
In Clinton Hill, a remodel of a rundown 1895 house in Brooklyn, Chen’s team drew inspiration from the vivid colors they found on its crumbling plaster. The finished product is characterized by monochromatic blocks: a terracotta pink in the living room, a pale blue stair, and a pantry in oxblood red. On the parlor floor, 2,800 tiles in 17 custom colors transition from black, white and blue to green and pink in the kitchen.
Specifying custom tiles is not unusual for MKCA. North American designers often make a clear distinction between architecture and interiors; for Chen, that line is non-existent. “We are very focused on craft,” he says. “We think hard about detail, about processes of making, and we look for novelty and innovation.”
This often involves collaboration with other designers. In its Carnegie Hill Apartment, MKCA reinvents a labyrinth of a grand apartment for a family of five. Some of its most striking features are designed by other hands. MKCA engaged the sculptor Christopher Kurtz to create a four-meter-long dining table; its
Previous page: Architect and MKCA founder Michael K. Chen
Below: Chen’s colorful redesign of a brownstone in Clinton Hill
Right: An impressive slab of marbled onyx in the kitchen of Nomad Loft
“ WE ARE LOVERS OF COLOR, AND WE ARE UNAPOLOGETIC ABOUT IT
undulating surface of carved aluminum rests on a similarly formed base of cherrywood. “The clients eat at that dining table every night,” says Chen, “but they also entertain formally, so the table can expand to seat 14 people.”
A custom chandelier by Brooklyn’s Ladies & Gentlemen Studio hangs from the ceiling, curving metal plates dangling like an Alexander Calder sculpture. Thanks to custom hardware by the architects, the light can swing toward the center of the room, addressing a larger group at the table. “There’s a beautiful choreography in that room,” Chen says. “It’s not just about the architecture. There are so many other voices and authors in the room, all working together.”
The apartment’s central corridor reveals Chen’s commitment to craft. A steady rhythm of cerused white-oak panels marches along the corridor with classical pomp. This conceals mechanical systems and hidden doors, but is also decorative. The terrazzo floors, meanwhile, are inset with thin curving brass spacers that follow routes of travel and the swing of doors, transforming these patterns of everyday life into an evocative lattice of curving lines. Even the floor of a corridor can be a design project and a venue for beauty.
Elsewhere in the home, the principal bathroom features another Chen signature: highly figured natural stone, used sparingly. The pink Byzantine onyx of the custom vanity is marbled with veins of gray granite. It is used as a feature rather than all over, a recognition by the architects that natural stone often comes with a long trail of environmental impacts.
“ IF OWNERS ARE BUILDING A HOME, THEY WANT THAT HOME TO REFLECT THEIR VALUES ”
On a nearly complete new project, a country home north of New York called Watershed House, MKCA has engaged with a local family-run quarry to deliver green serpentine marble for the interior and the facade. This colorful stone, a 1980s favorite, has fallen out of fashion. Chen wishes to bring it back, and in so doing spur a local business that can deliver stone from a few miles away rather than from further afield, avoiding the extensive carbon cost that international transportation entails.
Likewise, Chen’s design practice is working with a local hardwood species, black locust, which is rarely used in architectural applications. It is very stable and solid, making it an ideal material to use in interiors, but since the tree is an invasive in the New York region, it is being cut down and its wood sometimes discarded. Chen sees great value in transforming this cast-off local material into an ingredient of a beautiful home.
Not every designer cares as deeply about the material supply chain as they do about the right choice of light fixture. Chen does, and he says this ethos is shared by his studio. “We think about the technical dimension of architecture and the intricacies of an interior simultaneously,” he says. “The same hands and the same minds are doing all this work.”
To Chen’s mind, a home should respect the priorities of the people who live there, not only in an aesthetic sense but in an ethical one. The Watershed House’s clients care about the environmental impact of their home, Chen says, and this opens the door to a mindful architecture, a strong conversation, and ultimately a more meaningful place. “If they’re building a home, they want that home to reflect their values,” Chen says. “And that is something that we care deeply about as well.” 0
Alex Bozikovic is a Toronto-based architecture critic
Left: The powder room in the Carnegie Hill apartment is fitted with a Cassiopeia marble vanity
Below: White-oak panels and a terrazzo floor with inlaid brass details, in Carnegie Hill’s entrance hall
LIVING ON the edge
From industrial port to livable cultural center, Toronto’s Harbourfront has seen a stunning transformation. The changes keep coming, says Lev Bratishenko
Ahundred years ago, Toronto’s Harbourfront was a bustling and dirty port full of noise and industrial activity. Ships hauling cargo frequented a landscape of huge wooden wharves and smokestack chimneys overlooking Lake Ontario.
Although Toronto surpassed Montreal as Canada’s leading city in the 1970s, its industrial decline meant this waterfront district needed new purpose, starting an ambitious process of transformation into an area for recreation and culture. A renovated quay opened as the Harbourfront Centre in 1982, which remains a leading venue for festivals, performances, film screenings and exhibitions to this day.
Over the years, several waves of investment have reshaped the area from a barren landscape to a pleasant, green and magnetic destination, helping the lake to become a much bigger part of Toronto’s daily life. More than 100 acres of parkland and public spaces lining the water are being created—by Waterfront Toronto, a public-private partnership established in 2001—and around 20 mixed-use developments are currently planned or proposed in the area, in the latest chapter for Canada’s most dynamic real estate market. The metamorphosis includes a batch of skyscrapers that will redefine the skyline—literally changing the face of the city.
Many leading designers have already contributed to turning Harbourfront into a leafy leisure and lifestyle destination. Landscape
designer Julie Moir Messervy collaborated with world-renowned cellist Yo-Yo Ma to create the verdant Toronto Music Garden. Dutch landscape architecture firm West 8 reconnected the chopped-up waterfront wharves, adding charming promenades and parks, rippling timber decks, graceful boardwalks and petite piers for pleasure boats. Parallel to this restored waterfront is a world-class civic corridor that, on sunny days, zips with cyclists and pedestrians. West 8 designed the generous 18 kilometer-long Water’s Edge Promenade, a granite walkway planted with native maple trees, and a wooden boardwalk cantilevered over the water which is flanked by two parks. To the west, it leads to Ontario Place—a 1980s architectural archipelago used as entertainment and event venues—and the long public beaches beyond it. To the east, it leads
Previous page: Where vertiginous skyscrapers meet still water: Toronto’s waterfront
This page, clockwise from top left: A playful timber deck designed by West 8; The design of the Toronto Music Garden is inspired by “The First Suite for Unaccompanied Cello” by Johann Sebastian Bach; the waterfront in 1945
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to Sugar Beach. Named after the adjacent Redpath Sugar Refinery, this is one of several parks designed by Montreal-based Claude Cormier + Associés (CCxA). The two-acre site was transformed from a parking lot into a sandy urban beach and features pink sun umbrellas, always in high demand on a hot day, and raised vantage spots to watch what’s happening on the lake.
A MUCH
THE LAKE IS
BIGGER PART OF TORONTO’S DAILY LIFE
Elsewhere along the central waterfront, the firm also designed HtO urban beach, decorated with grassy hills and a sandy beach extending along the water’s edge. The park is dotted with yellow umbrellas and playful editions of the iconic “Muskoka” chairs—outdoor wooden lounge chairs you’ll find at any Canadian cottage. More recently, the firm opened Love Park, where an off-ramp of the nearby expressway once stood. This ambitious vision of taking obsolete infrastructure, redesigning it and opening up its full potential echoes the spirit found all over the neighborhood. Bringing positivity right after the pandemic, Love Park centers on a whimsical heart-shaped pond that’s ringed by mosaics and studded by bronze animal sculptures including, naturally, a beaver.
In the summers, the whole city flocks to the cool lakefront breezes, and this series of outdoor spaces hosts family picnics and gatherings, night markets, as well as the literary, film and performance festivals that Toronto is celebrated for—including the Toronto Waterfront Festival and its fleet of tall ships.
One of the cornerstones of the waterfront’s cultural activity is The Power Plant, originally a 1920s coal-burning powerhouse that reopened in 1987 as a public gallery dedicated to contemporary art. It has presented more than 100 exhibitions since, including a program of commissions of new work by leading artists, and hosts Toronto’s annual arts gala, the Power Ball. The Power Plant is also at the heart of this year’s Toronto Biennial of Art (September 21December 1), a celebration of contemporary art that takes over the city. Entitled “Precarious Joys”, this edition of the biennial features acclaimed artists Sonia Boyce and Cecilia Vicuña, alongside rising names such as Dineo Seshee Bopape, whose work will be shown in a solo show at The Power Plant.
But it’s not just parks and culture: the central waterfront is also becoming a fine dining destination. A particular highlight is Don Alfonso 1890, which found a new home in 2022 on top of the 38-story Westin Harbour Castle hotel. Celebrated as one of the best Italian restaurants in the world outside of Italy,
Claude Cormier + Associés (CCxA)
it is the only North American restaurant by three-time Michelin-starred chef Alfonso Iaccarino, one of the originators of the farm-totable movement. Decorated in pale, muted tones, the restaurant design centers on the panoramic views of the city and lake through floor-toceiling windows. Attention is also consumed by the exquisitely prepared food, which ranges from interpretations of classics like Muscovy duck and roasted red snapper to edgy concoctions such as savory eel gelato and sturgeon caviar on wild rose-scented tagliatelle.
New restaurants such as these—as well as homes and cultural spaces—will continue to emerge along Harbourfront. The next focus of development is an area called Quayside, with a vision for a sustainable and mixed-use neighborhood emerging just past Sugar Beach. It will turn a pocket of low-rise offices, parking lots and industrial remnants into a livable district with diverse amenities. There are set to be more than 4,000 new apartments, with a two-acre “community forest” running through the complex, alongside a multi-use arts venue.
Quayside’s architectural highlights will include The Western Curve, designed by Canadian-British architect Alison Brooks as a 70-story, 894-unit swoop of cylindrical forms, and Timber House, a gridded tree-house slab by Adjaye Associates with Toronto practice Architects—Alliance. It will be one of Canada’s largest mass timber buildings—a design innovation that promises to meet sustainability goals by using wood for a building’s main structure, drastically cutting its carbon footprint. Timber House will also feature more than a square kilometer of rooftop urban farms for residents, linked by a suspended pedestrian bridge. Then there’s the 64-story Overstory, a bronzed residential cake slab (with a twist) by Danish firm Henning Larsen Architects.
Quayside will be fully electrically powered, built with sustainability and extreme weather resilience as first principles, and feature a Community Care Hub promoting physical and mental wellbeing for residents, including daycare, seniors’ services and medical services. The area is abuzz with plans for more developments, including a new rapid transit line which, once built, will make this newest part of Harbourfront an even more appealing place to live. 0 Lev Bratishenko is a Canada-based writer
Right: The Power Plant contemporary art gallery hosts part of this year’s Toronto Biennial of Art
Below right: Farm-to-table cuisine at Don Alfonso 1890
Sky-High Lifestyle
Leading international architecture firm KPF designed the Ritz-Carlton Toronto as a soaring, glazed skyscraper in the heart of the city’s entertainment district, adjacent to the iconic CN Tower and overlooking both Harbourfront and the peaceful Lake Ontario beyond. The residences occupy the upper 30 floors of the 53-story tower, above the five-star hotel below. This 6,000 square-foot condominium comprises three luxurious bedrooms, five bathrooms, an office, 1,000-bottle wine cellar, generous open-plan living and entertaining spaces, and 180-degree panoramic views of the city and lake through floor-to-ceiling windows.
The cool, calm interior has been fitted with the highest quality design finishes, including millwork from acclaimed Italian brand Poliform. Residents have access to top-notch amenities including a fitness center, indoor pool, screening room, outdoor terrace and an exclusive spa—as well as the sumptuous restaurants and bars of the hotel.
$17,153,285
Property ID: KCEVFV sothebysrealty.com
Sotheby’s International Realty Canada Andy Taylor +1 416 994 2118
A bit of ROUGE
The “unexpected red ” trend—a burst of the color in an otherwise neutral space—is coming to an interior near you , says Paula Mejía
When the Brooklyn-based interior designer Taylor Migliazzo Simon takes on a new project, her first step often involves turning to Pinterest to stoke visual inspiration. Recently she was scrolling through the image-sharing social media service, trawling for ideas that might work for her clients. While absent-mindedly saving images, she eventually realized an unusual pattern that kept turning up again and again in her findings.
Migliazzo Simon, who admittedly favors textured tones and neutrals over typically bright colors, started noticing that many of these tasteful rooms that had caught her eye featured a single touch of red within them—anything from the subtle burgundy shade of a throw blanket, to a cherry-red picture frame or a scarlet-toned accent wall. To her, the inclusion of that single color made the space come together in an idiosyncratic way, even if the particular aesthetic varied wildly from, say, Brutalism to maximalism. “All of these rooms have that pop of red that looks really good and really intentional,” she remembers thinking.
After she noticed the trend on Pinterest, she began seeing it everywhere in her daily life. A stranger’s maroon-tinged socks peeking out under their pants on the subway. A pair of red shoes clomping down the sidewalk. A hint of shimmering red lipstick, a noticeable shock on an otherwise neutral outfit.
From these observations Migliazzo Simon developed her “unexpected red theory,” which she documented in a subsequently viral TikTok video. In it, she defines the theory as “basically adding anything that’s red, big or small, to a room where it doesn’t match at all and it automatically looks better.”
As an example, Migliazzo Simon showed an image of a modern take on a 1980s-era bathroom—with gold faucets and blue-green marbled tones— with red sinks lending a chic albeit unconventional feel to the washroom. “I feel that if you’re including that unexpected red in your wardrobe or your home, it’s a choice,” Migliazzo Simon says. “Almost tongue in cheek.”
Throughout history, red has been regarded as a maximalist hue signaling at once emotive passion and danger in the natural world. Studies have even
Left: In this home designed by Vellum Studio, an abstract red painting by Marisa Purcell counterbalances the neutral interior
“ THE INCLUSION OF THAT SINGLE COLOR MAKES THE SPACE COME TOGETHER IN AN IDIOSYNCRATIC WAY ”
shown that the color red is a potent marker of guiding attention within humans, even capable of impacting motor abilities. So it’s fitting that red similarly draws the eye in a design context.
The unexpected red theory is particularly well-suited to interiors, where countless design accents can enliven a space. But it doesn’t have to be solely relegated to interior design. A chunky, 18-karat yellow gold ring engraved with red insignias, for instance, or the striking coral of a stella-dial Rolex Day-Date watch can elevate a look to give it an irreverent and stylish feel.
The most important tip Migliazzo Simon can offer when applying the unexpected red theory—for styling artworks, thinking of accent design elements and within personal wardrobe choices alike—involves going into it with the right attitude. By including a potentially polarizing color like red, “you’re clearly making that decision and you’re making a bold choice to stand out,” she says. “That applies with interiors as well. You can’t be shy if you’re going to add a bold color like that, especially.”
The use of red within design circles can be contentious, of course, as it’s hardly a neutral tone. Migliazzo Simon says that clients of hers in the past have been skeptical about taking the step of using a bold red in their homes. Yet this design choice can often be surprising and result in intentional-looking spaces and sartorial proclivities alike. “If you’re choosing to do a red lampshade that would normally be beige, or if you’re doing a red rug that would normally be tan,” she says as an example, “it shows that you’re confident in what you’re wearing and what you decorate your home with.” 0
Paula Mejía is a writer based in Los Angeles
Below: A two-tone lacquer side table in red and off-white by London-based Studio Atkinson
Right: A statement doubleheight red door at the Carbon Beach House in Malibu, designed by Olson Kundig
Photos: Nicole Franzen; Felix Speller; Joe Fletcher.
SURREAL CITY
In the 1940s, creatives fleeing Europe found a home in Mexico’s capital, comingling with local artists to produce some of the most enchanting surrealist art, says Christopher Alessandrini
What conditions made Mexico City such fertile ground for the surrealists? In 1936, while planning a visit, French writer and surrealism co-founder André Breton asked the Guatemalan writer and diplomat Luis Cardoza y Aragón for an introduction to the city’s dynamic cultural scene. Aragón’s famous reply painted the metropolis in an appealingly mystical light: “We live in a land of convulsive beauty, the land of edible delusions,” he wrote. “A place for the mutable, the disturbing… in short, a land of dream, unavoidable by the surrealist spirit.”
Soon after, Breton moved there with his wife, the painter Jacqueline Lamba, and surrealism found its second home. The City of Palaces would soon play host to a cast of European expatriates who fled fascism to live among a vital community of Mexican artists and intellectuals.
“Mexico City in the 1940s was a fascinating nexus of different artistic currents, home to some of the most exciting avant-garde movements in the world at that moment,” says Emily Nice, a specialist in Latin American art at Sotheby’s. “In this decade, which scholars of Western art tend to think of as a dark period, Mexico City is a thriving hotbed of creativity as an old guard of established artists, the Muralists, mix with younger painters like Rufino Tamayo and Frida Kahlo, the influx of surrealists from Europe and American artists like Robert Motherwell and Edward Weston.” Against this backdrop of cultural syncretism and experimentation, many artists were inspired to channel new modes of creative expression.
This year marks the 100th anniversary of Breton’s “Surrealist Manifesto,” 1924, which argued that once the strictures of bourgeois reason and etiquette were overthrown, the human imagination might finally defeat the drab tyranny of reality. After the unprecedented horrors of the First World War, widespread faith in the power of rationality was shaken. Artists and writers in the surrealist circle wanted to push beyond the veil of everyday affairs and probe the mysterious workings of the unconscious mind. Dreams and games quickly became hallmarks of surrealist art-making, from collaboratively authored works known as “exquisite corpses” to found objects, collages, assemblages and experiments in psychic automatism.
In Aragón’s “land of dream,” romantic couples often served as anchors of the bohemian scene. Their private psychodramas played out in studios and
Previous page: “Portrait of Frida Kahlo,” taken of the pioneering Mexican artist by surrealist photographer Dora Maar in 1949 Above: Leonora Carrington, “The Kitchen Garden on the Eyot,” 1946, from the the San Francisco Museum of Modern Art
over meals, heavily influencing the movement’s prolific output. Divorce and remarriage were common; new romances were kindled at dinner parties amid the constant shuffle of personalities. Breton and Lamba were soon joined in the city by the Austrian artist and philosopher Wolfgang Paalen and the French poet and artist Alice Rahon. The most legendarily tumultuous union, however, was between the Mexican artists Diego Rivera and Frida Kahlo. When the pair first met, Rivera was one of the nation’s most celebrated painters, working on a major mural commission at the National Preparatory School in Mexico City, where Kahlo, aged 15, was enrolled.
Women, in Breton’s circle, were often extolled as—and reduced to—embodiments of pure feminine instinct. Frequently cast as handmaidens of genius or as muses, they were prized for their strength of feeling and special connection to the natural world. If their creativity was acknowledged, it was considered a naive, undisciplined brilliance—raw material awaiting its final refinement into high art. Such mythologizing of women as conduits of surrealist thought undercut the intellectual rigor of their artistic contributions. They were often treated as translators of preexisting ideals and rarely received credit as innovators in their own right.
In Mexico City, relationships between women were fundamental to the cultural milieu. One of the key figures was Inés Amor, director of the Galería de Arte Mexicano (GAM), the city’s most influential and commercially successful art gallery. Under Amor’s visionary leadership, GAM’s program included artists such as Kahlo, Rahon, Olga Costa, Leonora Carrington and Remedios Varo. Amor offered more than a platform to sell their work locally and globally; she was committed to providing the resources necessary for her artists to develop their skills and interests. Friendships among artists also proved fruitful. Some of the most intimate and candid photographic portraits of Kahlo were taken by Lola Álvarez Bravo, and Kahlo developed a close friendship with Lamba based on their shared intellectual and artistic interests. Like Kahlo, Lamba was young when she met her future husband; she was 23 years old and “scandalously beautiful” when she married Breton, who later wrote in “Mad Love,” 1937, that he knew immediately their fates would be “entwined.” Lamba was an artist, although she did not begin to exhibit her work seriously until after her separation from Breton. She suspected, not incorrectly, that her marriage would overshadow any abiding interest in her art. Breton was also fascinated by Kahlo and
considered her art visionary. His admiration, however, was unrequited; Kahlo found him pretentious and “rotten,” and never fully embraced the label surrealist to describe her art.
Kahlo had a supportive, if unfaithful, partner in Rivera, who considered her his artistic equal. In the years leading up to and following the couple’s brief divorce in 1939, Kahlo experienced one of the most intensely productive periods of her entire career. She plumbed her own life for inspiration, from a bout of childhood polio to the life-altering bus accident in adolescence, producing intimate self-portraits and domestic scenes. These were translated through a refined sensibility that combined a highly personal language of objects with a v ibrant quotational style that pulled omnivorously from art history, making allusions to Mexican folk painting, scientific drawings, photography and the Old Masters. Some of these works are among Kahlo’s most renowned, including the monumental “Las Dos Fridas” (The Two Fridas), 1939, in the permanent collection at Museo de Arte Moderno in Mexico City.
In Mexico’s capital, many European women seized a level of artistic freedom unavailable at home; no longer expected to play wife or muse, they could focus on their own work. The English artist and writer Leonora Carrington had already defied the restrictive gender roles of her upper-class Roman Catholic upbringing when she decided to pursue art. “I didn’t have time to be anyone’s muse,” she said. “I was too busy rebelling against my family and learning to be an artist.” Following a transformative and turbulent affair with the older German artist Max Ernst, Carrington fled to Spain, where she was institutionalized. Eventually she wed and moved to New York before settling in Mexico City, where she lived on and off for the rest of her life.
There, Carrington discovered a strong desire to experiment with new media, including egg tempera, which led to a profusion of richly realized tableaux that married her feverishly mythological iconography with greater technical mastery. Some of her most iconic paintings date to this period, including her magnum opus “Les Distractions de Dagobert,” 1945: a garden of earthly delights in the Boschian tradition that includes many of Carrington’s leitmotifs across meticulously rendered vignettes illustrating the decadent life of Dagobert I, the storied seventh-century Frankish king of the Merovingian dynasty.
One of Carrington’s closest associates was the Spanish artist Remedios Varo. Like Carrington, Varo was a rebellious child; her engineer father taught her draftsmanship and encouraged her artistic talents, which inspired Varo’s lifelong interest in baroque machinery. In Spain, she was a peripheral participant in the surrealist orbit as the partner of the French poet Benjamin Péret. After the Spanish Civil War, the couple moved to Paris and mingled with the day’s leading artists, including Breton, Ernst and Salvador Dalí. Years later, as France faced the threat of Nazi occupation, she and Péret embarked for Mexico.
It was there that Varo, along with Carrington and the photographer Kati Horna, became known as one of the “three witches” for her obsessive interest
“
IN MEXICO CITY, EUROPEAN WOMEN SEIZED ARTISTIC FREEDOM ”
Above: The Blue House in Mexico City was once the residence of Frida Kahlo and Diego Rivera, and is now a museum dedicated to Kahlo Right: The studio inside the Blue House where Kahlo once worked
in esoteric knowledge, ranging from Indigenous cosmologies and preEnlightenment alchemy to metaphysics and tarot. This shared pursuit served as a powerful engine for their long-lasting friendships. Throughout the 1940s, while Carrington developed her craft and created some of her most acclaimed and uncanny works, Varo was employed as a commercial illustrator. From 1955 onward, however, Varo’s imagination and technical capabilities blossomed; in the final eight years of her life, she created some of her most sumptuous paintings, many of which featured in the captivating exhibition “Remedios Varo: Science Fictions” at the Art Institute of Chicago in 2023.
Scholarship on surrealism has often sidelined the friendships between women artists, although efforts to provide substantial accounts of these intricate networks have grown increasingly popular. Many women disavowed any direct association with the movement, displeased with its masculinist ethos and dubious idealization of the femme-enfant, or the naive child-woman whose channeling of surrealist values made her an ideal canvas for the projection of male fantasies. The Italian artist Leonor Fini, known for her blistering intelligence and flamboyantly theatrical dreamworlds, refused any official affiliation due to her distaste for Breton’s paternalistic authoritarianism in the surrealist circle; she also spurned the institution of marriage, preferring to remain autonomous in life as in art.
Over the last decade cultural institutions like The Metropolitan Museum of Art in New York and the Peggy Guggenheim Collection in Venice have mounted landmark exhibitions that convincingly revise and expand the surrealist canon. Increased attention to women artists associated with the movement has also led to several notable additions to public collections, such as the Museum of Modern Art’s recent acquisition of masterpieces like Carrington’s “And Then We Saw the Daughter of the Minotaur,” 1953, and Varo’s “The Juggler (The Magician),” 1956.
One of the most astonishing presentations, however, was a room of works by women artists in Cecelia Alemani’s watershed exhibition “The Milk of Dreams” at the 2022 Venice Biennale, which borrowed its title from a children’s book by Carrington. Displayed in a gallery called La Culla della Strega (“The Witch’s Cradle”) were videos of Josephine Baker and Maya Deren; photographs by Claude Cahun, Gertrud Arndt and Florence Henri; sculptures by Augusta Savage, Meta Vaux Warrick Fuller and Rahon; and a selection of paintings by Carrington, Varo, Fini, Meret Oppenheim, Loïs Mailou Jones and Eileen Agar, among many others. The gallery served as an intoxicating capsule of that moment’s revolutionary energy, reflecting a time when radical forms of artistic expression were born from a geopolitical reality that seemed fractured beyond repair.
Here, at the heart of the Biennale, Alemani orchestrated a moment of communion between women artists, decades after they defied convention to conjure new visions of reality. Gathered in the Giardini’s Central Pavilion, the works harmonized—a sublime testament to their enduring powers of enchantment. 0 Christopher Alessandrini is a writer and editor based in New York, where he works at the Metropolitan Museum of Art
A CERTAIN GLOW
Riya Patel meets three designers playing with art, material and shape to light up your home
When it came to finding exciting and unusual lighting for her own home, the only options for Rowena Morgan-Cox were established design icons or trying her luck with vintage finds. The struggle to source something unique led the British creative to set up Palefire Studio: a London atelier making playful lighting in small batches. The venture brings together her background in fine art, and experience working with galleries and high-end design stores. “I knew I wanted to do something decorative, with a lot of pattern and color, and I wanted to have painted surfaces,” she says.
U/V Collection, Palefire’s debut range of table lamps, wall lights, ceiling and floor lamps are all made from the same material: recycled paper pulp. A family-run workshop outside Barcelona prepares the material by grinding down used paper with water, injecting it into moulds, and drying it. The raw forms, which come in five shapes that are mixed and matched to make up the collection, are sent to London where Palefire’s team hand-paints them with solid color, such as deep vermilion, or a pattern of wavy lines. “The paper pulp has this amazing texture, and the hand-painted color brings an intensity that can make it seem like it’s an entirely different material,” says Morgan-Cox.
Sustainability is important: natural paints low in volatile compounds—and thus better for humans and the environment—are used for the finish, and research is ongoing into other recycled materials for future projects. “We try as much as possible to have thoughtful practices without compromising on the aesthetic,” she says. “We don’t want our lighting to look like it’s recycled. We want it to look exuberant, with those sustainable elements in the background.”
Part of that exuberance comes through the shapes these lamps take, inspired by the elegance of art nouveau or the playfulness of postmodernism and 1970s “space age” design. These are then brought to life by their painterly surfaces, and color palettes that take cues from artists such as postwar painter Helen Frankenthaler. Art will continue to influence Palefire’s future direction, says Morgan-Cox. Grander lighting fixtures with more complicated elements are on the horizon, as well as the exploration of new color collections.
Another designer identifying a gap in the market for art-led lighting is Dubai-based Caroline Coirault-Jonqueres, who observed a lack of options through working on high-end residential interiors. “In architecture, light is fundamental in shaping the experience of a space,” she says. “Yet decorative lighting is often overlooked. Even though it’s functional, it can be artistic, adding real depth and presence to a room.” Inspired by the savoir faire of the craftspeople she had come to know through her work, the designer took the
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LIGHT CAN ADD REAL DEPTH AND PRESENCE TO A ROOM ”
Previous page: The Curve, a lamp by Caroline CoiraultJonqueres, installed at design gallery The House by M.A.H
This page: Rowena Morgan-Cox (left) designs lighting that draws on artistic techniques and references
step of sketching out her own lamps for them to make. The resulting line of distinctive table lamps typically features linen shades and chunky, angular bases made in marble, natural oak or scorched cedar. They are currently sold through London gallery, The House by M.A.H. Coirault-Jonqueres goes back and forth with the craftspeople via drawings, which are adjusted throughout the making process according to the whims of the material and how the piece is taking shape. “The skills and knowledge required to work a raw material into an object is what really inspires me,” she says. “Materiality, texture, a joint or a stitching detail… these small elements are all very significant to the end result.” She is drawn to earthy tones and materials, inspired by the Japanese wabi-sabi philosophy celebrating nature’s imperfections, and which she interprets as: “Showing that something has been made with intention; bringing an almost spiritual quality to an object.”
Lana Launay, a former jewelry designer who works between Sydney and Los Angeles, has a similar fascination with shape and material when it comes to designing sculptural lighting. Her made-to-order line of lamps is characterized by geometric paper shades and carved wood forms. “I find buyers come to me when they are looking for a handmade piece that isn’t saturated in the market,” says Launay.
Feels Like Home is a floor lamp standing on tall stacks of wooden spheres that recall beaded plant hangers from the 1970s, but Launay says her aesthetic inspiration is actually 20th-century brutalist sculpture and sci-fi set designs. “I admire the ‘what if?’ approach that you find in futuristic design, and I love the raw freedom and expression you see in brutalist sculpture and art,” she explains.
Despite the avant-garde precedent, Launay’s material palette is strictly natural, including timber, raffia and paper stained by hand. “I have always been drawn towards warm tones—I find them calming and romantic,” she says. “I often use paper, including Japanese washi paper, as a textile because I find the glow (that shines through) more consistent, but the fibers are more unique. The blessing and curse of using paper is the fragility. It offers a delicate beauty, but is not as durable.” The handmade lamps look incredibly lightweight—but this is also what makes them playful. For the Modular Launay Lamp, five different forms can be assembled as the user desires by threading them, like origami paper beads, onto a standing LED light source.
With warmth, charm and the imagination to look beyond lighting as just purely functional, these designers urge us to never overlook the humble floor or table lamp. “My designs are like a permanent guest rather than a piece of furniture,” says Launay. “With my work I want to create an illuminated presence that offers a sense of comfort in a room.” 0
Riya Patel is a London-based design writer and curator
Left: A pendant lamp by Lana Launay, made using paper and wooden beads, designed for the Sun Ranch retreat in Byron Bay, Australia
Above: Dubai-based designer Caroline Coirault-Jonqueres crafting her lamp bases
Anselm Kiefer’s “Engelssturz (Fall of the Angel)” was created specifically for the courtyard at Palazzo Strozzi, Florence, as part of his “Fallen Angels” exhibition
PAST meets PRESENT
The invitation for contemporary artists to create site-specific works in historical homes can cast heritage in a new light, says Amah-Rose Abrams
History and how we research and present the past has gone through a significant reckoning in recent decades; historical houses and palaces, symbols of power, have become vehicles for this reflection. As many have engaged public audiences with programs of contemporary art, conversations are sparked by the positioning of new, site-specific work amid these homes and their collections—chiming with the cultural sphere’s self-examinations. Three recent exhibitions of contemporary work show the ways in which traditional residences—whether still private homes or transformed into public museums—commission and present art in dialogue with cultural and social heritage.
Few institutions have been as transformed by a contemporary art program as Florence’s Palazzo Strozzi, a Renaissance palace and seat of the Strozzi family until 1937. Spearheaded by a cultural foundation established for the building in 2006, the program has been credited with making the palace one of Italy’s most popular contemporary art locations, although it once served as a symbol of the Strozzi family’s defiance against the rival power of the Medicis.
This year, the institution opened the exhibition “Fallen Angels” by German artist Anselm Kiefer—an admirer of the palace since first visiting in the 1960s. An exhibition of diverse works was presented alongside a large, specially commissioned painting occupying the central colonnaded courtyard. “We use what we have: our palace, our building… (and) we invite artists to respond to it,” says Arturo Galansino, general director of the Fondazione Palazzo Strozzi and curator of “Fallen Angels”. Galansino believes artists should not treat historic palaces as monuments or vitrines, and instead “be engaged by the past.”
In giving artists agency in how they respond to the setting, the resulting commissions can have surprising outcomes. “No one had ever suggested having a painting in the courtyard before,” says Galansino. Kiefer, he adds, welcomed the idea that the work would be exposed to the elements, transforming over time.
The painting in question, “Engelssturz (Fall of the Angel),” 2022–23, depicts the Archangel Michael in flight against a golden sky, driving rebellious angels out of heaven into a tumultuous ravine below. Expressive of Kiefer’s longstanding interest in myth and history, its narrative theme of ruination nods to the political turmoil and decline that beset the Strozzis in Florence. The work complements the majesty of the courtyard space and recalls ambitiously scaled, gold-leafed Renaissance works of religious art, often commissioned by influential families of the time.
In the English county of Norfolk, Houghton Hall was built in the 1720s for Prime Minister Robert Walpole—and is now lived in by his direct descendent, David Cholmondeley, 7th Marquess of Cholmondeley, and his wife Rose. Since 2000, Cholmondeley has commissioned contemporary art for the grounds, turning it into a sculpture park, and organized installations throughout both the house and the park.
“Our aim is to bring something of our time into a historic setting—whether as a temporary ‘intervention’ (as in an exhibition), or more permanent site-specific works,” he explains.
“ IN GIVING ARTISTS AGENCY IN HOW TO RESPOND, THE RESULTING COMMISSIONS CAN HAVE SURPRISING
OUTCOMES ”
“Not in competition or opposition, but in a symbiotic relationship to the house, its landscape and history.”
“When planning any exhibition, it is so important to consider the history of the place,” says the ceramic artist Magdalene Odundo, who was the focus of an exhibition at Houghton this summer. “Houghton Hall has always had all forms of art and artefacts around the house. Understanding the house, the art, the objects, and the family has been crucial. This gave me the perspective to intervene and place my own work with its own story in an interesting juxtaposition.” The exhibition entered into a dialogue with Houghton’s 18th-century state rooms, designed in decorative neoclassical detail by English architect William Kent. The family’s collection throughout the rooms includes paintings by Salvator Rosa, Artemisia Gentileschi, William Hogarth and Thomas Gainsborough, as well as Roman marble busts, 17th-century Mortlake tapestries and Sèvres porcelain. Odundo’s exhibition featured pieces from across her three decades of making, including eight new works conceived for the show, and a large ceramic sculpture produced following a residency at traditional English porcelain manufacturer Wedgwood. The intricately detailed piece—created using historic Wedgwood moulds—responds to Odundo’s research into company founder Josiah Wedgwood and his role in the 18th-century abolitionist movement. Its surface decoration depicts scenes and legacies of slavery as well as contemporary political protest. At Houghton, it prompted connections between Walpole and Wedgwood’s politics and influence (Walpole’s son, Horace, voted for the abolition of the slave trade).
Left: The Stone Hall in the U.K.’s Houghton Hall has hosted a number of contemporary art exhibitions and installations
Above: Ceramic artist Magdalene Odundo, whose residency at porcelain manufacturer Wedgwood resulted in a table centerpiece (top right) for her exhibition at Houghton Hall
The Orangery at the Palace of Versailles, France, exhibited Eva Jospin’s work, including her large-scale embroidery, “Chambre de Soie (A Room of One’s Own),” 2021 (left)
“ THE SCULPTURE RECLAIMS THE FEMALE GAZE IN A MALE-DOMINATED LANDSCAPE ”
The Palace of Versailles in France, an opulent monument to King Louis XIV, has also attracted attention for its contemporary art installations in recent years. This summer, a tapestry by French artist Eva Jospin was unveiled in the 17th-century Orangery, housing a central gallery more than 150m long. “Chambre de Soie (A Room of One’s Own),” 2021, echoed the heady grandeur of the setting, and spoke to the history of fabric at Versailles: Louis was pivotal in the rise of France’s textile industry, banning imports in order to center and expand French craft. During his reign, he commissioned and collected thousands of lavish tapestries for the palace, holding the art in higher regard than painting.
Jospin’s 105m-long embroidery work depicts an abstracted landscape scene in silk, cotton and jute and was initially inspired by the embroidery room of the Palazzo Colonna in Rome, which is decorated with 17th-century gold and silk tapestries. For the installation of her delicate but monumental work at Versailles, Jospin added a new panel, taking inspiration from the groves of the palace’s gardens, particularly Apollo’s Baths Grove.
These are not the only site-specific contemporary works in historic homes this year. In the U.K., Compton Verney in Warwickshire—an 18th-century home transformed into a gallery by the Sir Peter Moores Foundation—recently opened a sculpture park. Alongside works by artists Louise Bourgeois, Sarah Lucas and Larry Achiampong, a sculpture by Brazilian artist Erika Verzutti was commissioned to sit by a lake, in the grounds designed by famed English gardener Lancelot “Capability” Brown. “Naked Venus,” 2024, forms part of Verzutti’s series based on the ancient sculpture of the Venus of Willendorf; positioned at Compton Verney, it aims to reclaim the female gaze in what can be seen as a male-dominated landscape.
By engaging with the complex histories of how some of these institutions came to be, inviting in contemporary artists to create responsive work has allowed a tradition of cultural patronage to continue through the lens of today’s thinking. The exhibitions also bring in new audiences, opening up what have been considered closed or exclusionary environments to a wider public—to the benefit of both. 0
Amah-Rose Abrams is a London-based arts and culture writer
Erika Verzutti’s site-specific work “Naked Venus,” 2024, is a new addition to the permanent collection at the U.K.’s Compton Verney Sculpture Park
EXTRAORDINARY GLOBAL PROPERTIES
One-of-a-kind spaces that really make the kitchen the heart of the home
They say you always find people in the kitchen at parties. With the holidays approaching, it may be time to consider just how party-ready that kitchen is. Is it spacious enough to fit a large gathering, does it have unique amenities, or is it designed thoughtfully enough to impress the most discerning of guests?
These are all feats that have been achieved by this stunning array of properties. From the mountains of Colorado, to the coast of Honolulu, and the canals of Amsterdam, these homes offer show-stopping spaces for cooking, dining and entertaining.
In San Francisco, the Beaux Arts apartment block at 2006 Washington Street—designed in 1924 by Conrad A. Meussdorffer—is one of the most revered buildings in the city. Here, a penthouse with wraparound terraces boasts an intimate but striking west-facing kitchen with a view of the Golden Gate Bridge and the ocean beyond, through French doors that open onto a private balcony. Imbued with Georgian features, painted in a muted shade of blue and featuring a classic marble counter breakfast bar, this space creates a decadent environment for any passionate cook. The opulent apartment has undergone renovations by architect Andrew Skurman and interior designer Suzanne Tucker—who featured the property in her book “Extraordinary Interiors.”
North of the city, in Sonoma County, a rustic estate inspired by countryside retreats in the south of France offers a cottage-style kitchen with limestone-plastered walls and ceilings, and wooden beams and finishings. Previously home to British interior designer Wendy Owen—who referred to it as La Maison de la Pierre (the House of Stone)—the space is replete with eclectic vintage touches, such as a yellow kitchen table and a French stone laundry sink. A wine fridge reflects the property’s prime location in a food and wine haven, which is home to more than 400 vineyards and a variety of slow food farms and restaurants.
Traveling across the Atlantic, a stately 18th-century canal-side home in Amsterdam, the Netherlands, offers a classically decorated open-plan kitchen and dining room, with a tiled patio and green
space through French doors. Historic wooden beams line the room’s full length, and solid wood cabinets are complemented by a marble countertop and brass fixtures. A climate-controlled wine cellar sits just down the hall.
Back in the U.S., a compound in rural Maine provides a private escape for large holiday gatherings and equestrians. Architect Frank Robinson designed the main house as an homage to the organic architecture of the modernist legend Frank Lloyd Wright, incorporating warm wooden paneling, large windows and rich earth tones. The open-plan kitchen and dining space is impressive, with vaulted ceilings and a double-height glazed wall, offering breathtaking views of the surrounding rolling hills and forests.
Properties in Telluride, Colorado and ChamonixMont-Blanc also benefit from incredible views of their surrounding landscapes, bringing true beauty to the experiences of cooking and entertaining.
Set in the San Juan Mountains of Colorado, the Telluride home seemingly floats above the clouds, at almost 9,000 feet above sea level. The retreat’s open-plan kitchen, living and dining space is completed by an impressive stone fireplace, creating a relaxing and cozy atmosphere. Sliding doors open onto a wooden deck with outdoor entertaining space and a firepit with views of snow-capped peaks.
Meanwhile, with a spacious kitchen offering tripleaspect views onto the Alps, holiday parties are sure to impress in the chalet-style Chamonix property, which also benefits from a vegetable garden for growing fresh produce during the warmer months and harvesting just before the festive season.
But for those craving warmth and sunshine, a contemporary home in an exclusive gated community in Honolulu, Hawaii, offers a uniquely designed kitchen that stands out against the island’s natural beauty. Contemporary copper Snaidero cabinets by Italian design company Pininfarina are complemented by tiled floors, glass counters and high-quality appliances—topped by a sweeping view across Oahu island.
San Francisco, California, U.S.
With its grand entertaining rooms, high-quality design and sweeping panoramic views, this 5,700-squarefoot residence at 2006 Washington Street is the crown jewel of Pacific Heights apartments. Its meticulous renovation introduces a Georgian vernacular into a Beaux Arts-style building. Large French doors open
onto wraparound terraces. The chef’s kitchen faces west to capture mesmerizing vistas of the Golden Gate Bridge and seascape beyond. As San Francisco’s leading cooperative, 2006 Washington serves residents with a 24-hour attended lobby, elegantly landscaped gardens and two-car parking garage.
$29,000,000
Property ID: 2KG7W7 sothebysrealty.com Sotheby’s International Realty –
Telluride, Colorado, U.S.
Nestled in one of the most spectacular areas of the Telluride region, this five-bedroom retreat offers breathtaking views from every room. With an open floor plan and floor-toceiling retractable windows in the main living area, one can relax and experience the natural beauty from multiple spaces. In addition to the primary living quarters, a separate guest wing provides two bedrooms and a bunk room with an adjacent game room and bar. Above the three-car garage is a private guest bedroom, with fantastic views of Wilson Peak.
$21,000,000
Property ID: 5PHJBB sothebysrealty.com
LIV Sotheby’s International Realty Lars Carlson +1 970 729 0160
Amsterdam, the Netherlands
Built in 1730, this impressive, monumental canal house—rich in centuries of history— has recently been tastefully and authentically restored by a world-renowned interior designer. The property is perfectly situated in the area of the famous “Nine Streets” and holds the status of a national monument. The property is divided into a front house and a rear house, connected by a beautiful staircase and a central light court. There are six bedrooms, four bathrooms and a range of spaces for relaxation and entertainment, including a bar, a fully equipped gym and a beautifully landscaped garden.
€13,000,000
Property ID: D4PCY8 sothebysrealty.com
Netherlands Sotheby’s International Realty
Sanne van der Zaag +31 88 37 47 000
Sonoma, California, U.S.
Discover an unparalleled blend of elegance and rustic charm at 6015 Grove Street, nestled in the serene west side of Sonoma County. Hand-laid stone walls and terraces seamlessly integrate the home with its natural surroundings in the heart of wine country. A mix of luxurious earthy textures, the interiors feature radiant-heated limestone floors and limestone-plastered walls. Adjacent to the main home, the guest house provides a tranquil accommodation for visitors. Outdoor living is at its finest, with a stone dining room, pavilion and a charming potting shed.
$4,950,000
Property ID: YM5G66 sothebysrealty.com
Golden Gate Sotheby’s International Realty Cristian Isbrandtsen +1 707 294 7879
Freeman Township, Maine, U.S.
Windledge Farm is set on 308 acres of land— including paddocks and walking trails—with staggering views of the protected High Peaks of Maine. The contemporary main house is designed as an homage to Frank Lloyd Wright, showcasing outstanding quality and craftsmanship in an open-plan concept. The home offers a retreat for those that require state-of-the-art amenities and security, yet yearn for the feel of comfort, serenity and privacy. The handsome stable block offers all the amenities needed for the optimum care and comfort of horses, supported by additional living quarters.
$5,200,000
Property ID: LW55TE sothebysrealty.com
Legacy Properties Sotheby’s International Realty
Glenn Jonsson +1 207 776 0036
Marika Clark +1 207 671 6927
Honolulu, Hawaii, U.S.
This fully renovated residence is a testament to luxury and elegance on Oahu. Located in the most prestigious gated community with 24/7 private security, the property offers breathtaking ocean views. Designed by award-winning architect Jeff Long, the home also features interior finishes that are handcrafted by artisans known for their expertise on superyachts. The kitchen includes Snaidero cabinets designed by Pininfarina, a Ferrari design company, with top-quality appliances from Gaggenau, Sub Zero, and Miele. The property also benefits from a movie theater, infinity-edge pool, elevator, and hurricane shutters.
$19,880,000
Property ID: KQPE8J sothebysrealty.com
List Sotheby’s International Realty Akimi Mallin +1 8083974480
Menaggio, Como, Italy
Overlooking Italy’s iconic Lake Como, Villa Pietralba offers a balanced combination of classic charm and modern comfort, having undergone a meticulous renovation led by a renowned architect in close collaboration with the owners. The main villa, built in 1903 in the Liberty style, has six en-suite bedrooms, alongside living and entertaining spaces. The property also features a threebedroom guest house, a staff house and a private pool complex, including a gym. In warmer seasons, soak in the Italian sun in the extensive gardens that have been beautifully designed and maintained.
Price upon request
Property ID: SK67YS sothebysrealty.com
Italy Sotheby’s International Realty
Diego Antinolo +39 031 538 8888
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NAPLES • MARCO ISLAND • BONITA SPRINGS • ESTERO
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Bay Colony Shores
$9,600,000 | 7331 Tilden Lane
6 bedrooms, 7 full baths, 1 half bath
Diane Solomon/Cynthia Rosa | 301.343.5585 premiersir.com/id/224000181
Pine Ridge
$9,395,000 | 597 Ridge Drive
5 bedrooms, 6 full baths, 1 half bath
Lynn Hurley/Jackie Nelson | 239.450.7564 premiersir.com/id/224027214
Aqualane Shores
$8,750,000 | 266 15th Avenue South 3 bedrooms, 3 full baths, 2 half baths
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SEEKING EXCEPTIONAL TENANTS FOR YOUR RENTAL PROPERTY?
Look No Further
EXCEPTIONAL RENTAL EXPERIENCES FROM THE GULF COAST LUXURY LEADER
Our rental specialists utilize the latest technology and our unsurpassed marketing capabilities to showcase our rental listings. We currently represent over 850 extraordinary residences and specialize in weekly, seasonal and annual leases.
DISCOVER ALL THE ADVANTAGES OUR RENTAL DIVISION OFFERS.
Palazzo at Bayfront is downtown Naples’ newest collection of luxurious residences, located in the waterfront shopping and dining destination, Bayfront of Naples. With just 35 residences nestled within this upscale oasis, Palazzo at Naples will offer spacious floor plans ranging from 2,100 to 3,100 square feet of living area, resort-style amenities and exclusive proximity to name-brand shopping and five-star dining, all just steps away from famed Fifth Avenue South.
An exclusive enclave nestled within Sarasota’s vibrant Rosemary District, Collage on Fifth will encompass seven luxury condominiums. Showcasing contemporary elements amid lightfilled living spaces, each elegantly designed residence presents a unique urban haven. Residents will experience an exceptional downtown lifestyle near the world-renowned dining, arts and entertainment of Florida’s coveted Cultural Coast.
Nestled in one of the Gulf of Mexico's most coveted locales, Orange One epitomizes modern luxury and urban sophistication. Discover our exclusive collection featuring 10 three-level townhomes, 10 condominiums, and 10 business suites, each meticulously crafted to redefine your notion of home. Whether you desire the expansive comfort of a townhome, the intimate elegance of a condominium, or the functional opulence of a business suite, Orange One offers the ultimate sanctuary tailored to elevate your lifestyle.
Perfectly positioned in Sarasota’s desirable uptown district, Premier on Main boasts a captivating collection of 23 contemporary townhomes. Three- to four-level townhomes with elevators and twocar garages feature luxuriously appointed living spaces with two, three and four bedrooms from 1,850 to 2,500 square feet, some with rooftop decks to ensure effortless entertaining. Surrounded by stunning skyline scenes, Premier on Main offers an outstanding modern oasis just moments from the city’s cultural charms.
From $1,095,000 PSIR.us/PremierOnMain 941.920.1500
Be prepared to fall in love with The Ritz-Carlton Residences, Sarasota Bay. It’s not just the impressively large, exquisitely appointed residences enhanced by the timeless, legendary service of the ladies and gentlemen of Ritz-Carlton, it’s a feeling of truly living the life you deserve. Just a short walk from downtown Sarasota, The Ritz-Carlton Residences, Sarasota Bay offers a unique balance for a vibrant, cultural and comfortable lifestyle.
The Ritz-Carlton Residences, Sarasota Bay are not owned, developed or sold by Marriott International, Inc. or its affiliates (“Ritz-Carlton”). KT Sarasota South, LLC uses The Ritz-Carlton marks under a license from Ritz-Carlton, which has not confirmed the accuracy of any of the statements or representations made herein.
From $3,700,000 to over $12,000,000 TheResidencesSarasotaBay.com 941.499.8704
Located in Sarasota’s eclectic Rosemary District, Villa Ballada will feature 22 contemporary residences above two ground-level retail spaces. Residents will enjoy exceptional urban living and the excitement of being in the midst of downtown dining, shopping and cultural happenings.
From $1,030,600 PSIR.us/VillaBallada 941.920.1500
The Estates at TerraNova offer an exquisite blend of expansive country estates, proximity to town centers, world-class equestrian competition, and an exclusive by-invitation-only golf club. Over 1,000 acres of green pastures on Florida’s Gulf Coast, arranged into 5- to 20-acre estates, provide a serene natural setting for this luxury residential equestrian community. Whether you are a casual rider or a serious equestrian athlete, The Estates at TerraNova is the perfect place to call home.
Homesites from $300,000 TheEstatesAtTerraNova.com 941.213.0014
BRISA DEL MAR
Nestled along Apollo Beach, Florida, discover townhomes with four bedrooms, three and a half baths, and oversized two-car garages. Entertain on your rooftop terrace with scenic views, accessible via a private elevator. With spacious 3,075- and 2,811-square-foot floor plans, unwind in your resort-level primary en-suite. Flanked by two marinas, it's a boater's dream. Live the coastal lifestyle with a five-minute golf cart ride to acclaimed shopping and dining establishments like Finn’s and Circles. Welcome home to luxury and tranquility.
Call for pricing PSIR.us/BrisaDelMar 727.471.7471
Driftwood on Central is an exclusive new development of only 11 residences. While all six townhomes have sold, three of the five mixed-use homes are available, with street-level commercial spaces along Central Avenue. These exceptional homes are adorned with refined features including quartz countertops, plank tile floors and subway tiles to the ceiling in the baths, gas cooking surfaces, kitchen islands and nine-foot ceilings. These uniquely designed live/work spaces within the booming Grand Central District make this an attractive and exciting offering. Completion Spring 2024.
From $950,000 PSIR.us/DriftwoodOnCentral2 813.391.8291
Luxury Living in the Heart of Historic Charlotte
The Regent at Eastover boasts spacious, light-filled, single-floor plans that wrap residents in the warmth of a single family home, while bestowing the conveniences and amenities of a luxurious condominium.
Discover the exclusive collection of Estate Residences, three- and fourbedroom floor plans—each with a den—ranging from 3,969 to 4,558 sq. ft. and appointed with spacious terraces.
OCCUPANCY SPRING 2024 Collection of 32 Residences Starting from the Low $2M
Nestled in Eastover Right Outside Charlotte, North Carolina
Introducing Bourbon Square at Roser Park, a luxurious new development offering three-bedroom, three-and-a-half-bath townhomes with two-car garages, kitchen islands, high ceilings and abundant windows. Bourbon Square also features four mixed-use homes with rare and highly sought-after store frontage along 9th Street. All units boast quartz countertops, luxury engineered hardwood flooring, and sophisticated finishes. One fully commercial space is available as well. Located in the Roser Park area, Bourbon Square is a serene neighborhood within walking distance of downtown St. Petersburg.
From $840,000 PSIR.us/BourbonSquareAtRoserPark 813.391.8291
THE REGENT AT EASTOVER
Situated in one of Charlotte’s most desirable neighborhoods, The Regent at Eastover is a private enclave of 32 luxury residences. With private elevators and second entrances, the residences feel like single-family homes with unrivaled amenities.
From $2,395,000 TheRegentAtEastover.com 704.705.8181
Nestled inside the gates of Linville Ridge Country Club, this neighborhood features 19 single-family homes with three- and four-bedroom floor plans. Each home will be built at an average elevation of 4,000 feet, situated on a minimum of one acre, with views of Grandfather Mountain and the Blue Ridge Mountains. Call for Pricing CottagesAtCranberryCove.com 828.742.4130
Situated within the highly sought-after Linville Ridge community and surrounded by spectacular long-range views, Split Rock Estates offers a magnificent mountain getaway. Set on a minimum of six acres, each estate lot boasts the ultimate in privacy with views that vary on every homesite. Opportunities abound within this unique enclave and residents can choose their own architect and builder to design and craft an exceptional custom retreat.
Perched atop the mountains of North Carolina, The Oaks at Linville Ridge will encompass 11 artfully designed single-family residences. These four- and five-bedroom residences will offer spacious outdoor living areas, two-car garages, long-range views and are golf cart-accessible.
The Vistas at Linville Ridge presents nine homesites encompassing three- and four-bedroom single-family homes. Explore this unique offering, located on the lower mountain, surrounded by the natural splendor of North Carolina’s High Country. The Vistas at Linville Ridge benefits from an enchanting woodland setting and members will enjoy the exclusive lifestyle amenities offered by the private Linville Ridge community.
