ONE Life Fall 2016 Edition. Life and exceptional architecture in Miami and around the world.

JULIO LE PARC The Argentine master of kinetic art receives his first U.S. museum show at Miami’s PAMM

ALEJANDRO ARAVENA How the Chilean architect's mantra of humanistic design led to this year's Pritzker Prize

PEDRO ALMODĂ“VAR The Spanish director's exuberant spirit is celebrated in a major film retrospective at MoMA

TAKE A SEAT Why collectors are wild over innovative chairs designed by the world's foremost architects

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CONTENTS

Mathias Klotz’s Estanque de Agua Essbio Rancague, Chile, 2012.

TAKE A SEAT

A new book showcases 55 groundbreaking chairs designed by the world's foremost architects. 18

THE HOUSES OF DIOR

For a glimpse into the mind of Christian Dior, look no further than a pair of stately homes—one in Normandy, the other in Provençe. 28

A TASTE OF URUGUAY

With its acclaimed fare and chill vibe, Quinto La Huella brings the experience of a Uruguayan beachside restaurant to bustling Brickell. 36

GAME TIME

A retrospective of Julio Le Parc's kinetic art at PAMM encourages visitors to think, play and connect. 38

ALMODÓVAR ON THE VERGE

New York's Museum of Modern Art mounts a major retrospective of the wild director whose career has transformed Spanish cinema. 44

SOCIAL IMPACT

This year's Pritzker Architectural Prize winner, Alejandro Aravena, creates his work through a prism of humanism. 48 10 ONE LIFE

HIGH BID

From multimillion-dollar paintings to the artifacts of legendary celebrities, Sotheby’s auction houses bring the world’s finest items to the block. 52

VINTAGE HORSEPOWER

Pebble Beach's Concours d'Elegance allows auto aficionados and collectors to step into history amid the most beautiful cars in the world. 54

PASSAGE TO MOROCCO

In the ancient city of Fez, take a cue from fashion legend Diana Vreeland and indulge in the vibrant colors, exotic sun and magnificent Andalusian gardens. 60

THE GRAND TOUR

James Reginato's new Great Houses, Modern Aristocrats takes readers behind the gates and into the lives of the U.K.'s legendary estates. 66

ROYAL PEDIGREE

Iconic shoemaker John Lobb carries on its rich tradition of immaculate quality and bespoke craftsmanship at its sumptuous boutique in the Miami Design District. 70

FOUNDER’S LETTER Miami’s cosmopolitan mix has made it the envy of the world, and

as we dive into the most sparkling season of the year—highlighted by Art Basel Miami Beach—we have many reasons to celebrate. From our incredible cultural treasures to our amazing real estate, from our vibrant neighborhoods to our glorious natural beauty, this city provides the best of the best to its residents and visitors.

I created ONE Life to showcase exactly that energy, and display how Miami’s unique sophistication is connected to other distinctive spots throughout the globe. With this issue, ONE Sotheby’s International Realty is especially excited to be partnering with the publishing team behind Cultured magazine, one of the city’s greatest artistic ambassadors.

As an international company with affiliates throughout the world, we’re engaging readers who are passionate about art, architecture and design. This issue takes you on a splendid tour, from the innovative buildings of Chilean architect Alejandro Aravena to the stately homes of England, from the glamour of Pebble Beach’s Concours d’Elegance auto show to the exotic allure of Morocco.

Closer to home, we marvel at the kinetic artworks of legendary Argentine visionary Julio Le Parc, who is having his first American museum show at the Pérez Art Museum Miami, and savor the culinary delicacies of Quinto La Huella, the new Uruguayan dining hotspot at Brickell’s EAST, Miami.

I hope you enjoy our worldview, and, like us, appreciate the myriad pleasures life has to offer. Our friends and clients may live all over the world, but they never miss a chance to come back to Miami, the city that truly defines the 21st century.

Mayi de la Vega Founder and Chief Executive Officer ONE Sotheby’s International Realty

10/25/16 5:41 PM Page 1

Editor-in-Chief Sarah G. Harrelson Creative Director Carlos A. Suarez Editor Eric Newill Associate Art Director Adriana Sandoval Contributors Laurie Brookins, Douglas Friedman, Jen Karetnick, Ken Kochey, David Sokol, Annette Stark, Tracy Zwick 12 ONE LIFE

JULIO LE PARC The Argentine master of kinetic art receives his first U.S. museum show at Miami’s PAMM

ALEJANDRO ARAVENA How the Chilean architect's mantra of humanistic design led to this year's Pritzker Prize

PEDRO ALMODÓVAR The Spanish director's exuberant spirit is celebrated in a major film retrospective at MoMA

TAKE A SEAT Why collectors are wild over innovative chairs designed by the world's foremost architects

ON THE COVER Julio Le Parc’s Continuel-lumière cylindre (Continuous Light Cylinder), 1962/2013. Photo by Everton Ballardin, copyright Galerie Nara Roesler.

CONTRIBUTORS

ZWICK: LISA HOULGRAVE. SOKOL: COE HOEKSEMA.

Tracy Zwick is a New York-based art historian and lawyer. She regularly contributes to Art in America online with stories about art, culture, art law and the market. She recently served as Art & Law scholar-in-residence at the New York nonprofit Volunteer Lawyers for the Arts. For ONE Life, she looks at PAMM’s new exhibition of Argentine master Julio Le Parc.

Douglas Friedman was born and raised in New York City and now divides his time between his hometown and Los Angeles. He shoots portraits, interiors and fashion for Harper’s Bazaar, Vogue Italia, InStyle and The New York Times. In this issue, he captures the splendor of vintage autos at Pebble Beach’s Concours d’Elegance.

David Sokol is a New York-based writer and editor who covers architecture and design.

He is at work on his sixth book, which will explore modernism in the Hudson Valley. For ONE Life, he profiles Pritzker winner Alejandro Aravena.

14 ONE LIFE

Ken Kochey currently resides in New York City with his wife and two children, but his job as a travel and lifestyle photographer has him constantly traveling around the globe, capturing those real moments that are found while on the road. In this issue, he documents the magical allure of Fez.

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Eric Newill is senior editor at Bal Harbour and a contributing editor at Cultured. For 15 years, he was managing editor of Miami’s Ocean Drive magazine. He has written for Interview, Time Out, German Vogue Laurie Brookins is an award-winning fashion journalist based in and The Village Voice, among others. For ONE Life, he interviews author James Reginato about his new New York. Her work has appeared in The Hollywood Reporter, book on stately U.K. estates, and looks at the career of Spanish director Pedro Almodóvar.

Town & Country Travel, Robb Report and Newsday. She has interviewed Karl Lagerfeld, Alber Elbaz, Carolina Herrera, Oscar de la Renta, Frida Giannini, Manolo Blahnik and Hubert de Givenchy, among others. In this issue, Brookins goes inside two French houses that inspired legendary couturier Christian Dior.

Jen Karetnick's work has appeared in TheAtlantic.com, GoodHousekeeping.com, Guernica, PasteMagazine.com, USA Today and more. Her most recent books include the cookbook Mango (University Press of Florida, 2014) and two books of poetry, American Sentencing (Winter Goose Publishing, May 2016) and The Treasures That Prevail (Whitepoint Press, September 2016). She also works as the creative writing director for Miami Arts Charter School and as the dining critic for Miami magazine. For ONE Life, she explores Miami’s newest dining hotspot, Quinto La Huella.

16 ONE LIFE

Linda Lee’s passion for art and architecture began when she worked with Brendan Gill at The New Yorker. She was also a deputy editor at The New York Times. In this issue, she highlights some recent auction treasures at Sotheby’s.

NEWILL: GLENN ALBIN

CONTRIBUTORS

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Take a Seat

A new book showcases 55 groundbreaking chairs designed by the world’s foremost architects.

From left: Piero Lissoni’s 184 Eve, 2009; Julien De Smedt’s Bone Chair, 2011; Satoshi Okada’s Titanium, 2007.

W

hen architect Kengo Kuma was designing a museum and design center for the GC Corporation, a venerable Japanese dental-care company, he hit upon the idea of cidori, a traditional children’s building set that interlocks wooden sticks. When the structure was completed in 2010, viewers marveled at its lattice pattern composed of 6,000 interwoven cypress rods, held together without reinforcement. Kuma’s GC Chair, created for the building, similarly is assembled through intricate strengthened joints, without nails or fittings.

Kuma’s creation is one of 55 featured in Chairs by Architects (Thames & Hudson), a survey of groundbreaking pieces from 1835 to the present showcasing architects’ ingenuity in applying their aesthetic principles in miniature. “Designing a chair

18 ONE LIFE

presents the opportunity to express my position—it is like a testing ground for ideas that interest me,” says David Adjaye to author Agata Toromanoff, who includes his Washington Skeleton and Skin chairs, part of the architect’s debut collection for Knoll in 2013. Featured on the same spread is an image of his 2010 Sholkovo School of Management, which features the “same interplay between support and balance.”

Indeed, one of this volume’s chief benefits is its visual juxtaposition of architectural structures next to chairs inspired by the same creative ideals. “There’s a great similarity between these architects’ iconic buildings and their chair design,” says Toromanoff.

“Their architectural principles are expressed in microcosm, and there’s almost a telepathy between

the buildings and the chairs.”

All the greats are here, naturally—Eileen Gray, Walter Gropius, Arne Jacobson, the Eamses—but the impact comes when one encounters, say, Frank Lloyd Wright’s 1946 Taliesin West Chair next to his Guggenheim Museum, or ponders the similarly flowing lines of Eero Saarinen’s 1955 Tulip Chair and terminal at Washington’s Dulles International Airport.

Some choices leap beyond the status of merely iconic into the realm of inevitability, such as Mies’ Barcelona Chair and Le Corbusier’s LC2 (his famous “sitting machine”), but Toromanoff says these pieces never lose their value, either financial or aesthetic: “Some are more well-known than others, but they don’t lose anything as time goes by. As long as people

COURTESY THAMES & HUDSON; CASSINA; PHOTO BY NIKOLAJ MOELLER, COURTESY JDS ARCHITECTS; SATOSHI OKADA

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enjoy living with them, these objects are wonderful.

The bigger problem is all the copies out there.”

Some of the newer pieces may give even the most accomplished forger pause. Take for example what Toromanoff says is her favorite from the entire collection, Zaha Hadid’s 2013 Kuki Chair, fashioned from a circular sheet of plastic that has been bent and creased to create its undulating shape. Not only does it immediately express the late architect’s signature style, but it also possesses, according to the author, “a ‘wow’ effect—I knew I had to include it.”

Other contemporary wonders include the Paper Tube and Plywood piece created by Shigeru Ban, a whimsical assemble-it-yourself piece consisting of a plywood seat and four paper legs, which can be removed and stored inside the seat when not in use. The architect’s 20 ONE LIFE

use of renewable materials such as paper is one of the hallmarks of his practice, and its employment here is a nod to his groundbreaking Paper House of 1995.

Thomas Heatherwick’s Spun from 2010 is even more extraordinary, resembling nothing so much as a spinning top on which the user must balance. “It is an experience to sit in that chair,” says Toromanoff, “and encompasses Heatherwick’s innovative approach to form.”

At the back of the book she gathers interviews with prominent figures representing the gamut of furniture consumption, from creation and manufacturing to selling and collecting. “I wanted to look at the industry from all angles, and selected people with amazing experience and personal knowledge to share,” she says. Adjaye, Knoll’s David E. Bright, dealer Zeev Aram and Susanne Graner

from the Vitra Design Museum are included, as is auctioneer Richard Wright, who offers insight on collecting at a time when figures from Tom Ford to Brad Pitt are bringing heightened attention to the field: “Furniture designed by architects probably makes up half of the global design market. They tend to apply a rigorous standard of design, as opposed to mere styling of existing furniture forms. And ‘starchitect’ prestige generally inflates the price, although the production quantity also has a direct influence on the value.”

And though Toromanoff says the industry is currently “booming” because of worldwide interest, she cautions that value alone is not a piece’s most important quality: “There are many kinds of chairs and many kinds of uses, and a person’s relationship with a chair is a lot more personal and rewarding than with any other object.”

COURTESY THAMES & HUDSON; PHOTO BY MASATOSHI MORI, COURTESY KENGO KUMA & ASSOCIATES; PHOTO BY ALDO BALLO, COURTESY MARIO BOTTA; SHIGERU BAN ARCHITECTS

Clockwise from left: Kengo Kuma’s GC Chair, 2011; Mario Botta’s Quarta Chair, 1984; Shigeru Ban’s Paper Tube and Plywood Stool, 1997.

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The Houses of Dior

For a glimpse into the mind of Christian Dior, look no further than a pair of stately homes— one in Normandy, the other in Provençe. To this day, each reflects the passion of the legendary couturier.

“A

Chateau de la Colle Noir, Montauroux.

28 ONE LIFE

fter women, flowers are the most lovely thing God has given the world,” Christian Dior once said.

The legendary couturier demonstrated this philosophy throughout the 20 years he worked as a designer (only the last 11 years were spent overseeing his eponymous atelier; it’s always surprising to remember Dior died at the relatively young age of 52 of an unexpected heart attack). But alongside the icons of the house—the New Look silhouette, the Bar jacket, the cannage pattern that still adorns handbags and other leather goods—flowers, and roses in particular, continue to influence collections, every blossom a tribute to the gardens Dior loved.

A pair of houses integral to Dior’s life showcases this idea. Their gardens are perhaps the only common element, as these two residences couldn’t be more different. In the north, in the town of Granville in France’s Normandy region, the villa known as Les Rhumbs was purchased in 1905 by Christian’s father, Maurice, the same year Christian was born; perhaps it’s no accident that it was there the designer said he first developed his aesthetic. “I would even say that my life and my style owe almost everything to its site and architecture,” Dior wrote in his 1956 autobiography, Christian Dior et Moi (the book was republished in English—and is still available—as Dior by Dior).

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Economic circumstances forced Maurice to sell the house, which was purchased by the town of Granville in 1937; the following year its gardens were opened to the public.

In 1997, Les Rhumbs officially became the Christian Dior Museum, the only Musée de France dedicated to one couturier. In addition to the gardens and the rotating exhibitions that showcase the relationship between the villa and Dior’s work, exploring the blush-pink home with its symmetry and exacting structure also offers insight into the construction and precision found in the designer’s work.

But it’s the jewelry that has perhaps benefited most from the inspiration of Les Rhumbs. Since 1998 Victoire de Castellane has overseen Dior Fine Jewelry as its creative director, often employing the couturier’s love of roses in her work: In the Rose Dior Pré Catalan collection, de Castellane has crafted blooms out of amethysts, pink quartz or red coral, while in Rose Bagatelle, the blooms are crafted of diamonds and gemstones set in white, yellow or rose gold. But early in 2016, de Castellane looked to Dior’s childhood home to create Granville, a collection of jewelry and timepieces wholly influenced by the brilliant colors found throughout the gardens. Each piece also boasts a somewhat playful spirit, with de Castellane envisioning the games young Christian might have played as he ran around these outdoor spaces.

It’s color, however, that plays the starring role here, a thoughtful mix of aquamarine, peridot, tanzanite, pink tourmaline, green beryl, rubellite and other stones—a profusion of hues, and not unlike a garden, they just work. Surely de Castellane also was thinking of another quote from Dior when designing the Granville collection: “Color is what gives jewels their worth,” he once said. “They light up and enhance the face. Nothing is more elegant than a black skirt and sweater worn with a sparkling multi-toned necklace.”

Chateau de la Colle Noire More than 900 kilometers south of Normandy, as far as you can get from northern France before reaching Italy, you’ll find Provençe, that magical region that embodies all the idyllic elements of the French lifestyle: the laid-back approach to savoring food and wine, the Mediterranean-inspired love of sun-tinged colors, and an architecture influenced by its rustic surroundings. It was there that, in 1951, Dior discovered a vacation residence that, while no less grand, surely could be considered the polar opposite of his childhood home.

Located in the town of Montauroux, Chateau de la Colle Noire was built in the latter half of the 19th century, a grand stone villa that lacked the symmetry of Les Rhumbs, though its rustic feel was key to its allure. By 1951 Dior was one of Paris’ most renowned couturiers, and his Provençal chateau provided an escape he now craved. As he wrote in 30 ONE LIFE

Christian Dior et Moi, “The avenue Montaigne seems far away.” Also key to his love of Chateau de la Colle Noire was its easy proximity to Grasse, for centuries the center of France’s perfume industry (jasmine, found in an abundance of French scents, was first introduced to Grasse by the Moors in the 16th century).

Dior planted jasmine, lavender and roses around the chateau, nurturing his love of gardens while also paying tribute to the region’s devotion to scented flowers.

Unsurprisingly, this love also spawned an interest in perfume: His first, Miss Dior (named in honor of his younger sister, Catherine), debuted the same year as his celebrated 1947 New Look collection. The amphora-like bottle was tall, curved and ornate; in 1950 its design evolved into the cleanly chic design, adorned below the cap with a bow, that we know today. The floral scent boasts notes of jasmine, gardenia, lily of the valley and, yes, roses. “Miss Dior was born of those Provençal evenings, alive with fireflies, where young jasmine plays a descant to the melody of the night and the land,” Dior wrote.

Following Dior’s death in 1957, Chateau de la Colle Noire languished as it changed hands. In 2013, the House of Dior purchased the property and two years later undertook a major renovation of the house, not only restoring rooms to their original state during Dior’s residence, but also designing spaces he never found the time to finish—a reception room, for example, features a pair of Louis XVI console tables with gilded mirrors, in keeping with a wish he once expressed. The garden, of course, received equal care and attention. “We replanted the elements which seemed important and right to us, such as 10,000 May rose bushes, vines, olive trees and Monsieur Dior’s cherished almond trees,” explained landscape architect Philippe Deliau. “This is not a ceremonial garden. It is an ideal nourished by elements of surprise, and by a radiant and high-quality art de vivre.”

To coincide with the high-wattage reopening of the chateau in May, Dior debuted a scent, La Colle Noire, a celebration of the flowers of Grasse, most notably the May rose. In August, Dior debuted its latest incarnation of Miss Dior, Absolutely Blooming: Designed by François Demachy, Dior’s chief perfumer since 2006, Absolutely Blooming employs roses harvested from Dior’s Grasse gardens, as well as Damascus roses and peonies, mixed with fruity top notes of raspberry, pomegranate, blackcurrants and pink peppercorns. The latter notes imbue the scent with an undeniable effervescence, but make no mistake: As its name implies, Absolutely Blooming showcases the gardens to which Dior was devoted, and which brought him undeniable solace, until his last days. “I am in fact in Montauroux as I write these last lines,” he wrote in 1956. “Fate has brought me into the calm and peace of the Provençal countryside to put the finish to my work. Night is falling and, with it, infinite peace.”

HOUSE: SOPHIE CARRE

Villa Les Rhumbs, Granville, and a piece from the Granville jewelry collection, inspired by the house’s gardens and designed by Victoire de Castellane.

A Modern Retreat in South of Fifth.

Three Hundred Collins

In a quiet corner of South of Fifth sits Three Hundred Collins. Perfectly designed to open your senses as well as possibilities. From its private gardens and glistening pool, to the heart of Miami’s most desirable neighborhood.

Once you step inside, who knows where you might finally find yourself.

Three Hundred Collins 80% Sold Completion Summer 2017

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by Thomas Juul-Hansen.

Sales Gallery 119 Washington Avenue #400 Miami Beach, FL 33159

300 Collins Avenue Miami Beach, FL 33139 305.330.6499

Exclusive sales by One Sotheby’s International Realty 300collins.com

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FERNANDO WONG

“The voyage of discovery is not in seeking new landscapes but in having new eyes.”

Marcel Proust

“Or maybe both.”

Fernando Wong www.fernandowongold.com

As grand as the coast and as inviting as the ocean, welcome to Eleven on Lenox – Eleven luxury townhomes inspired by the natural beauty and independent spirit of South Beach. Set over three spacious floors, these state of the art residences, each with four parking spaces and their own private parking garage, are the quintessential seaside retreat, reimagined and reshaped for the 21st century.

ELEVEN ON LENOX Celebrating the Beach House.

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RIVA Days.

Live on the water. Play on the water. Residents enjoy Riva’s riverside park and Water Sports Center, for paddleboards, kayaks, water-skiing and boat rentals.

Live in the city. Play in the city. Residents love neighborhood icons like Casa D’Angelo, Gateway Theater and Whole Foods. And along with the walkability, they enjoy their private water taxi to tennis in the park and shopping at Galleria.

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RIVA Nights.

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ATaste of Uruguay With its stunning environment, acclaimed fare and chill vibe, Quinto La Huella brings the experience of a Uruguayan beachside restaurant to the center of bustling Brickell.

BY JEN KARETNICK

N

ot often does a restaurant in trend-savvy, multicultural Miami have the luxury of being known as the “first” or the “only” one to offer some element or feature of fine dining. But Quinto La Huella has claimed that right easily: Since its debut in May 2016, it has been the exclusive purveyor of luxury Uruguayan cuisine, and Miamians of all nationalities—including the city’s growing population of Uruguayans, of course—have been coming to pay it homage with increasing frequency.

Part of the establishment’s initial popularity has to do with its location. Quinto La Huella is the much heralded flagship restaurant for EAST, Miami, the anchor hotel for Swire Properties’ $1.05 billion mixed-use development known as Brickell City Centre. Situated on the fifth floor—hence its name—the eatery has all the design bells and whistles one could want, courtesy of Los Angeles-based Studio Collective.

An elevator worthy of Studio 54, whose buttons are pushed for you by a lobby concierge, opens into a large bar area and lounge that has the high-end rustic flavor of a library one might find in a wealthy friend’s getaway in the mountains. Additional dining areas include a main room, where Sammer Gallery provides visuals from Uruguayan artists. Perhaps the most interesting spot to dine, however, is on the patio, where guests can observe the Brickell City Centre’s Climate Ribbon, an innovative environmental management system that looks like a sculptured trellis. The Climate Ribbon is an architecturally designed LEED-registered conservation system that, despite being open-air, reduces heat, encourages shade and wind flow, and collects rainwater; in the future, it may also store solar energy.

Another chunk of the restaurant’s success has to do with its epicurean royal heritage. The sprawling, 359-seat eatery is the first sibling to the acclaimed Parador La Huella, a beachside phenom in Uruguay that was positioned as number 11 on the list of Latin America’s 50 Best Restaurants 2015, a recognition sponsored by S. Pellegrino & Acqua Panna. Quinto La Huella executive chef Nano Crespo, formerly of Soho House’s Toronto and Chicago locations, works closely with Alejandro Morales, executive chef of Parador La Huella, and Florencia Courreges, executive pastry chef of the original restaurant. Together, the trio maintains the standards under which the renowned Morales has been operating Parador La Huella for many years.

Those principles include both what is prepared and how. Signature proteins for main courses—which include locally sourced fish such as snapper and grouper, prime Colorado or New Zealand rack of lamb, and South American steaks including entrecôte (rib eye) and entraña (skirt steak) with tangy chimichurri—are cooked on the centrally located

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parrilla, a huge blackened grill that you might mistake for steel drums if it didn’t spit open flames. Other dishes that emanate from here, bearing with them an unmistakable essence of wood and aroma of smoke, include tender, buttery mollejas; pans of just-pungent arroz negro (squid ink and shrimp rice); and root vegetables from Redland farmers, which make a nice contrast to the succulent meats and flaky fish.

More dishes, including pizzas, side fare like the house-favorite “smashed potatoes” casserole, and a savory dish combining langoustines with curried potatoes and spinach, are cooked in a wood-fire oven, where red and white oak burns as brightly as the neon that lights up the nearby buildings outside. A few fried dishes—calamari with pimiento mayonnaise or fish fritters with herbed mayonnaise—are greaseless bites that coax open the appetite. And cold options, for those who like to start a meal with cool, lean acidity, also abound, ranging from gazpacho to tiradito made with white fish and grilled corn to salads comprising South American heirloom grains like quinoa. The restaurant additionally offers a sushi menu for those looking for a light meal or bar snack to accompany a craft cocktail or a glass of wine from the extensive, largely South American list.

To enjoy many of these dishes at once, patrons can now visit for Sunday brunch buffet, a recently added feature. The brunch ($45, from 11:30 a.m. until 4:30 p.m.), which offers a wonderful variety of fresh fruit, parrilla specialties and sushi—as well as an unlimited rosé option for another $25—finishes with Courreges’ dessert options. These sweets, such as the delicate panna cotta with tangy mango sauce and an exuberant carrot cake, are, quite simply, pastry artistry. Live music also accompanies the brunch, making the vibe festive.

The atmosphere, coupled with the pleasant and polite service, is the final component that encourages diners to return to Huella La Quinto.

While the location is exclusive and the fare is quality, the restaurant itself has a relaxing air about it. It’s chic but not pretentious, and a relief from some of the competitors in town who may take themselves a tad too seriously. Quinto La Huella is intent about what it provides for the guest, but it doesn’t sacrifice anyone’s dignity in its quest for excellence. While construction continues on City Centre outside, the stress also remains there. Inside, it’s all about enjoying this singular experience, as if one really were at a beachfront parrilla restaurant in Uruguay.

Quinto La Huella is located on the fifth floor of EAST, Miami, 788 Brickell Plaza, Miami, east-miami.com. For reservations, call 305-712-7000 or email reservations@east-miami.com.

The high-end rustic decor of Quinto La Huella is complemented by fare such as chorizo al horno (top), pesca a la plancha (center) and gazpacho (bottom).

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A retrospective of Julio Le Parc’s participatory kinetic art at PAMM encourages visitors to think, play and connect.

BY TRACY ZWICK

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JULIO LAGOSCID

Game Time

The 88-year-old artist helped to plan the retrospective, which reaches back to the late ’50s.

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rgentine-born, Paris-based artist Julio Le Parc has been making work designed to encourage connection and promote social change for 60-odd years.

As playful as they are political, Le Parc’s games arcades and light-flooded installations have been embraced around the world. Yet he’s been less known in the U.S., a situation guest curator Estrellita Brodsky is working to remedy with “Form Into Action,” the first U.S. museum retrospective survey of the artist’s work, opening November 18 at Pérez Art Museum Miami.

Eighty-eight-year-old Le Parc was a pioneer and iconoclast who became an established master in the field that might today be recognized as relational aesthetics. A 2013 exhibition at Paris’ Palais de Tokyo was followed by a 2014 solo show at London’s Serpentine Gallery, and, coinciding with the PAMM event, New York’s Galerie Perrotin is mounting an exhibition in early November. But he’s been less prominent in the U.S., says Brodsky, “for a couple of reasons. Kinetic art was misunderstood here,” and American museums “haven’t been that open to Latin American artists, until recently.”

Things have changed dramatically “in the last ten years” according to Brodsky, a scholar, collector and independent curator specializing in Latin American art.

“The Pérez has been particularly supportive of Latin American artists,” she adds, not only introducing their work to new audiences, but also utilizing translations to produce texts in both English and Spanish.

However, if Le Parc, who helped plan the retrospective, had his druthers, there would be little in the way of wall text to translate. According to Brodsky, he strongly opposed “too much didactic material” in the exhibition. “He wants people to react directly with the work instead of having it explained to them. He says, ‘If

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I can give people an experience where they interact with the work and with each other in a different way, and they come out with optimism, asking, Why doesn’t my everyday life feel like this? Why don’t my politics make me feel this way?, then I’ll have done my job.’ ” More than 100 works will be available for viewers to engage with and around, some of which have never before been exhibited in the U.S. These include Le Parc’s “early gouache drawings and studies from 1958,” the year he moved to Paris. He quickly became involved with a group of like-minded artists in Paris, creating participatory, provocative works. “He was part of artists’ demonstrations against the dictatorships in Latin America and fascism,” Brodsky explains. “He was arrested in 1968 in Paris and thrown out of the country for a short period of time. He is still a big proponent of social and political responsibility.”

It is in the early works where Le Parc first studies, in two dimensions, “how to destabilize, either chromatically or with black and white, the surface.”

Initially, Le Parc “didn’t want to show them,” Brodsky adds. “He said, ‘They’re just studies—I did them like that,’ ” snapping her fingers to show how quickly they’d been executed. “But he did them compulsively, every day.

They show the mind of the artist at work and the ways he worked through problems. I think they’re fascinating.”

The first work visitors will encounter at PAMM is an enormous installation from 1963 called Continual Mobile. “It’s one of my favorites because of its historical relevance,” says Brodsky. “It floods your space with light and is quite extraordinary. He wants to really bombard the senses. You’ll very much feel it’s a charged exhibition.”

Though he’s nearing 90, Le Parc remains active, and work from the current decade will be part of the

exhibition. “The most recent probably is Jorge Pérez’s red sphere from 2013,” according to Brodsky. Le Parc’s latest pieces “return to ideas he worked on in the early ’60s.

He’s been doing them recently on a larger scale, especially the large light works. He probably wouldn’t like me using the word ‘spiritual,’ but they are almost spiritual because they’re so glorious.” The show will end with the red sphere and a game room, which contains activities with which visitors can interact.

Brodsky understands the difficulty of capturing and holding audience attention in an age of uninterrupted electronic distraction—a challenge most of Le Parc’s work did not face when it was created. But she says those willing to give this work focus may feel “their lives have been somewhat enlightened.” Ideally, visitors “will leave the exhibition with a different outlook. The public wants something that’s going to make them feel better.”

Opening on the heels of an unprecedented Presidential election cycle, Brodsky hopes the work will inspire viewers to participate in politics as well as art.

“That would certainly be what [Le Parc] would like.

There is optimism in many of the environments, and they speak to the idea of engaging and taking responsibility for your own environment. It’s not just how you react to the work, but how others react to it, and the interplay of individuals feeling somewhat vulnerable in certain situations.”

Optimism and agency are hallmarks of Le Parc, who has long felt that good art makes for a better world. “He continues to believe it,” confirms Brodsky. “I just asked him for feedback on something related to the exhibition and he said: ‘Look, it’s the people who make my art, and I learn something about it every day. It’s their experiences that define the work.’ ”

COPYRIGHT JULIO LE PARC/ATELIER LE PARC

A

La Longue Marché, Étape No. 7 (The Long March, Step No. 7), 1974 ONE LIFE 41

Cloison à lames réfléchissantes (Partition With Reflective Stripes), 1966/2005 42 ONE LIFE

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PHOTO BY EVERTON BALLARDIN/COPYRIGHT GALERIA NARA ROESLER

As his 20th feature film makes its American debut, New York’s Museum of Modern Art mounts a major retrospective of the wild and wonderful director whose career has transformed Spanish cinema.

BY ERIC NEWILL

44 ONE LIFE

PHOTOFEST

Almodóvar on the Verge

Penélope Cruz and Pedro Almodóvar on the set of Broken Embraces (2009).

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A

t once floridly transgressive and dreamily melodramatic, the films of Pedro Almodóvar have essentially defined Spanish cinema over the past three decades. From his first feature, 1980’s Pepi, Luci, Bom—a wacky portrayal of three friends who bond over revenge, masochism and punk rock—to his latest, Julieta, which delves into the life of one woman played by two actors, Almodóvar has consistently broken boundaries and pursued his own iconoclastic vision.

Now, as Julieta prepares for its American release on December 21, New York’s Museum of Modern Art is mounting a major retrospective of the Oscar-winning director, screening all 20 of his feature-length films. “It’s a very special milestone in his career, and MoMA has been following him since the beginning,” says La Frances Hui, associate curator in the institution’s Department of Film. “In 1984, we presented What Have I Done to Deserve This? in our New Directors/New Films series, and are proud to have been one of the first to present him to a wide U.S. audience. This is the perfect time to give him this full career retrospective.”

Beginning November 29, MoMA will show his works in chronological order, revealing not only his aesthetic evolution but also the continual presence of signature themes such as gender, desire and identity. “A lot of viewers who have not seen his work from the ’80s will be surprised to see that from his very first film he was a person who knew exactly what he wanted to do and how to present it,” says Hui. “He has presented a special way of looking at Spain—its color, its people and its culture.”

Certainly, Almodóvar was among those who created that culture in the wake of Francisco Franco, the dictator who ruled Spain under a repressive 46 ONE LIFE

PHOTOFEST

“A lot of people who have not seen his films from the ’80s will be surprised to see that from his very first film he was a person who knew exactly what he wanted to do.”

—La Frances Hui

regime for almost 40 years until his death in 1975. “It was a decisive time in the country’s modern history, an overthrow of political conservatism,” Hui says. “Almodóvar was part of the counterculture, working in underground theater. Through cinema he wanted to re-create a social and cultural order for Spain.”

While his early depictions of violence and homosexuality and his irreligious investigations into Catholicism aroused the ire of critics in Spain, around the world he began to gain a cult following, with admirers seeing a kinship between his films and those of fellow provocateur John Waters. And like Waters, he developed a repertory company of actors—Carmen Maura, Rossy de Palma, Antonio Banderas and, later, Penélope Cruz—who came to be associated with his outré productions.

The supremely original de Palma—unforgettable in the director’s 1988 breakthrough hit, Women on the Verge of a Nervous Breakdown—will be in attendance at a Q&A alongside Almodóvar during the festival. “She’s absolutely the most recognized performer in his films,” Hui says. “She’s a scene stealer and a muse for him. And even when her role is not so big, her presence is so memorable that you can’t stop thinking about her.”

The series will close with Julieta, days before its American premiere.

“His films veered from the outlandish and crazy to become more dramatic and somber—but still very funny,” says Hui. “Julieta is a continuation of that, but also a return to his interest in women and their lives. I’ve seen all of his films over the years when they were released, but when you look at them all together there is a consistency that is very powerful. I’m excited that MoMA’s audience will have the opportunity to experience that.”

Top: Almodóvar directing I’m So Excited (2013).

Opposite, clockwise from top left: All About My Mother (1999); Julieta (2016); Bad Education (2004); Dark Habits (1983); Talk to Her (2002); Labyrinth of Passion (1982).

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PHOTOS COURTESY MUSEUM OF MODERN ART

CRISTOBAL PALMA

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At 49, Alejandro Aravena has “meaningfully expanded the role of the architect” through beneficial initiatives.

Social Impact This year’s Pritzker Architecture Prize winner, Alejandro Aravena, creates his work through a prism of progressive humanism.

BY DAVID SOKOL

I

f you were a world-renowned architect practicing in the final two decades of the 20th century, then you probably had no doubt of winning a Pritzker Architecture Prize.

It was simply a matter of when your name would be called. Likened to the Nobel of the design world, the award was launched by Hyatt Hotels co-founder Jay Pritzker and his wife, Cindy, in 1979 to promote the public’s awareness of architecture. In its early history, the initiative did just that by leveraging the celebrity of a Philip Johnson or a Richard Meier, or by amplifying the budding fame of the likes of Frank Gehry and Rem Koolhaas, whose provocative thinking earned Pritzker honors as major building commissions were just coming to fruition. For all of the meticulousness and secrecy of juries’ deliberation, the laureates they chose usually ratified popular opinion.

Another aspect of the Pritzker mission is to stimulate creativity among architects, and in recent years that plank of the platform has catapulted to the fore. A prize is no longer inevitable for the profession’s most public figures, as jurors comb the globe for unsung talents as well as innovators who potentially upset the passage of the establishment mantle from maestri to tyros.

This year’s honoree, Chilean architect Alejandro Aravena, represents both aims, and his election as 41st Pritzker Prize laureate solidifies that program’s shift. He has been practicing from his hometown of Santiago almost continuously since graduating from the Pontificia Universidad Católica de Chile in 1992; since 2001 he has headed the studio Elemental alongside partners Gonzalo Arteaga, Juan Cerda, Victor Oddó and Diego Torres. In its official citation, the Pritzker jury noted Aravena’s relative geographic obscurity while stating outright that he has “meaningfully expanded the role of the architect.”

To understand Aravena’s radical approach to buildings, it may be useful to reflect on the first chair he designed, produced by the renowned German manufacturer Vitra.

Not really furniture at all, the 2010 project, called Chairless, comprises a textile strap that wraps around a person’s back and knees in a seated position. The loop removes pressure from the muscles we normally overuse while sitting on a lawn or beach. And while it represents a wholly new expression of the sitting strap commonly used by Ayoreo nomads who straddle Paraguay and Bolivia, Aravena made a point of crediting his inspiration: Proceeds of Chairless sales go to a foundation that supports indigenous Paraguayans like the Ayoreo.

As Chairless so elegantly embodies, Aravena takes nothing for granted. Minimalism means frugal solutions rather than sleek objects; expectations are meant to be usurped; local traditions should be mined for the logic that underpins them.

Aravena has not always defined design in these terms. In interviews he has repeatedly admitted quitting architecture in the early ’90s out of frustration with profit motive. Yet, instead of orchestrating clients’ goals for the common good, Aravena opened a bar. He only returned to the industry to design a sculptor’s house, and even forewent his fee in exchange for full creative freedom.

Beginning with a mathematics building completed in 1998, a budding relationship with his alma mater helped Aravena more maturely reconcile ideals to reality. According to this year’s Pritzker jury, each of his five projects at Universidad Católica de Chile “shows an understanding of how people will use the facility, the thoughtful and appropriate use of materials, and a commitment to creating public spaces to benefit the larger community.” The most recent campus building, Innovation Center UC—Anacleto Angelini, best encapsulates Aravena’s method within the group. The building is composed of thick, sliding planes of concrete punctuated by deep portals, rejecting the notion that business incubators should be glass towers. This self-supporting skin also protects the interior from Santiago’s harsh sunlight, reducing overall environmental consumption, while freeing the interior from structural and mechanical constraints so that occupants may enjoy high visibility and easy movement for collaborating.

Following a 2000 teaching stint at Harvard that focused on disenfranchised communities, the architect also mobilized Elemental to harness his design principles and artistic ambitions for even wider benefit. Quinta Monroy and Monterrey Housing, respectively located in Chile and Mexico, elevate a concept known as “incremental housing” to the avant-garde: Buildings are largely infrastructure-connected shells in which low-income occupants, most of whom have construction skills, insert living space as resources and personal tastes allow. Residents have since filled in the blank spaces without sacrificing the iconographic power of Aravena’s original razor-sharp geometry. After an earthquake and tsunami hit Constitución, Chile, in 2010, Elemental responded with a master plan and individual cultural and tourism buildings that prove that monumental architecture can be constructed with basic budgets and the input of ordinary citizens.

Like Pritzker laureates before him, Aravena has bigger and higher-profile commissions—such as a new office for Novartis in Shanghai—still to come. But don’t expect him to corporatize his arrestingly shaped, beautifully crafted forms, or to bow out in another huff. On the day he received his bronze medallion at the United Nations headquarters, he demurred to yet another fee, making his most successful incremental-housing designs available to all online. For this younger-but-wiser heart, every cultural achievement requires an equal contribution to society.

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PHOTOS BY ELEMENTAL

Here: Arauco Vivero, 2015, Nuevo Horcones, Chile. Below: Ocho Quebradas House, in construction, Los Vilos, Chile.

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FELIPE DIAZ

UC Innovation Center—Anacleto Angelini, 2014, San Joaquín Campus, Universidad Católica de Chile, Santiago.

Alejandro Aravena’s Pritzker win has turned a spotlight on Chile’s contemporary architecture generally, and the attention is well deserved. Whereas architectural circles in South America have applied European modernism to native climates and materials, Chilean architects have adapted it to form a different vocabulary of building entirely. The traveling exhibition “EXTRA-ORDINARY: New Practices in Chilean Architecture” explores this phenomenon and its multiple dialects.

Curated by Chilean architects Jeannette Plaut and Marcelo Sarovic and recently displayed at the Center for Architecture in New York, the show includes work by Aravena and well-known peers like Mathias Klotz, who has earned acclaim for producing rectilinear volumes that epitomize the rigor of modernism— and then stacking and cladding these boxes in unanticipated ways that reflect the landscape and culture of a site. Smiljan Radic´ is another well-known colleague featured in the show, although his notoriety is built upon fractured geometries and organic, almost alien shapes that reflect on concepts not associated with capital-A architecture, such as handcraft, vernacular building and humans’ tenuous relationship to environment. “EXTRAORDINARY” also includes emerging voices like Guillermo Hevia García and Nicolás Urzúa Soler, who created a park pavilion through a young-architects program that the curators run separately. In all, the exhibition reveals a nation of architects championing the democratic ideals of mid-century modernism, while reveling in an experimental freedom not known since the pre-Pinochet era. —D.S.

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COURTESY SOTHEBY’S

Oliver Barker, chairman of Sotheby’s Europe, at the October 7 London sale of Contemporary Art. Left: Jean-Michel Basquiat’s Hannibal, 1981. Right: Peter Doig’s Grasshopper, 1990.

High Bid

From multimillion-dollar paintings to the artifacts of legendary celebrities, Sotheby’s brings the world’s finest items to the block. Here, a look at recent and upcoming treasures on offer.

BY LINDA LEE

I

t was a tense moment, when millions of dollars were on the line for something as ephemeral as paint on a bit of paper. The artwork was Hannibal, an early Jean-Michel Basquiat with a rakish history. It had been shown at the Quintana Gallery in Coral Gables in 1996, sold to a Panamanian corporation in 2004 for $1 million, and then smuggled into the U.S. in 2007 labeled as art worth $100 as part of a money-laundering operation for a convicted Brazilian banker. It was turned over to Brazilian officials, and, during the Frieze art fair, put up for auction at Sotheby’s Contemporary Art sale in London on October 7. According to Alex Branczik, Sotheby’s European head of Contemporary Art, “Frieze Week reached its crescendo” at the sale, with “real drama in the room.” Oliver Barker’s hammer came down and Hannibal sold for $12.8 million.

In 2004, One Sotheby’s International real estate began its strategic alliance with Sotheby’s, the international auction house. Year-round, Sotheby’s sells items as diverse as Chinese pottery, antique automobiles, fine jewelry, watches, vintage wine, furniture and, of course, art. Here are some examples of recent and upcoming sales.

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LATIN AMERICA: MODERN ART: This 1937 charcoal and watercolor by Diego Rivera, Charro, sold for $30,000 at Sotheby’s in New York in May, along with a 1930 Wifredo Lam oil, which went for $394,000. The May sale and a second one in November were the babies of Axel Stein, Sotheby’s specialist in Latin American art. Stein, who has lived in Miami and Caracas, knows that fairs like Art Basel Miami Beach bring “the best possible art to town in the winter months.”

PHOTOS COURTESY SOTHEBY’S

MADE IN BRITAIN: The Frieze fair, like Art Basel Miami Beach, brings buyers to town, this one being London.

This Banksy screen print, Kate Moss, a signed unframed proof from an edition of 50, is a send-up of Warhol’s Marilyn silk screens. It sold in October for $58,000, again above the estimate.

ART CONTEMPORAIN: Additional exciting Sotheby’s auctions come in December. Last year’s Impressionist sale in New York saw Van Gogh’s Paysage Sous un Ciel Mouvemente bring $54 million. One lot on offer on December 6 in Paris is a landscape of a different sort, Jean Dubuffet’s Paysage Bleu V (1975), with an estimate between €165,000 and €220,000. That haunting blue canvas would look smart on a wall at One Thousand Museum.

Sotheby’s sells items as diverse as Chinese pottery, antique automobiles, fine jewelry, watches, vintage wine, furniture and, of course, art.

BOWIE/COLLECTOR: The three-day auction of David Bowie’s personal collection included spin art

by Damien Hirst, a Duchamp and two Basquiats. It came as a bit of a surprise, however, to find brightly colored and angular furniture by Ettore Sottsass offered on the last day of the sale, in London in November. Cécile Verdier, co-head of 20th Century Design at Sotheby’s, refers to Sottsass’ Memphis furniture as “design with no limits and no boundaries” and cites the “vibrant contrasting colors that really shouldn’t work and really do.” Here, Sottsass’ Treetops floorlamp, 1981.

CONTEMPORARY ART: As if to prove that everything was bubbly in London recently, an untitled Keith Haring work on paper, signed with the artist’s monogram and dated April 1982, brought down a hammer price of $506,000, well above the estimate. Bonus: It came with a painted artist’s frame.

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Vintage Horsepower Pebble Beach’s Concours d’Elegance allows auto aficionados and collectors to step into history amid the most beautiful cars in the world.

BY ANNETTE STARK PHOTOGRAPHS BY DOUGLAS FRIEDMAN

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ne of the biggest challenges at the world’s gold-standard auto competition is photographing the cars.

“You’re around this mass of people,” photographer Douglas Friedman notes, “just trying to get a pure, clean shot of the car.”

This frustration is expressed often by the many photographers who gather every August along with car aficionados and collectors worldwide to soak up the pure luxury and nuts-and-bolts glamour at Pebble Beach’s Concours d’Elegance. Yes, it’s just the cars: the body angles, antique paint, history and sheer simplicity of the world’s most expensive and gorgeous driving machines. Friedman says that everyone seems to gravitate around the same spectacular entries: “You feel like a kid in a candy store.”

The Concours d’Elegance began in Pebble Beach in 1950 as a racing competition. Within three years it had 100 entries and the contest became about elegance rather than speed. Today 228 cars from more than a dozen countries compete in 28 classes. No owner is allowed to show the same car twice in a decade. Mindful of the fact that the “ages of the car owners are getting younger,” event coordinators are constantly updating the divisions to keep the catalogue fresh (they added a classic motorcycle division in 2009).

But Concours d’Elegance isn’t just a display of the world’s finest automobiles: It’s a competition of aesthetics.

Apart from the Packards, Jaguars and Ferraris and the lush scenery of Monterey County, there are the perfectly turned-out greens of the Pebble Beach golf course, fastidiously wrapped around the Pacific—a great photo-op even on a foggy afternoon. The ladies and gents turn out in their drop-dead finest, some even matching their outfits to the histories of their cars.

There’s a lot to absorb, which often includes stories about the acquisition and restoration of the entries. This year’s event also marked 100 years of BMW, celebrated the 50th anniversary of Pontiac’s GTO, and featured a presentation by Cadillac of their newest, factory-fresh, one-of-a-kind Escalade (still on a test drive and not yet available for purchase).

The Best in Show trophy honors the collector with bragging rights as the owner of the most beautiful car in the world. There’s no way to predict what the judges will choose. It could even be a 1912 Delaunay-Belleville, a French antique that was built by a boilermaker with a body designed by a lamp shop.

But for a collector who’s worked for years to bring an antique beauty back to life, there just isn’t anything quite like it, says Jim Patterson of Louisville, Kentucky, who has won Best of Show three times. “For me, coming from Louisville, winning Best of Show here in Pebble Beach is like winning the Kentucky Derby.”

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Passage to Morocco In the ancient city of Fez, take a cue from fashion legend Diana Vreeland and indulge in the vibrant colors, exotic sun and magnificent Andalusian gardens.

BY ANNETTE STARK PHOTOGRAPHS BY KEN KOCHEY

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Staff member at Le Jardin des Biehn.

Lobby at Riad Fes. ONE LIFE 61

Dessert at Maison Blanche.

Waiter at Hotel Sahrai.

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ne of the subtler messages in The Eye Has to Travel, a documentary about fashion guru Diana Vreeland’s extraordinary life, is that she quite liked bad weather, even to the point that she instructed avant-garde New Yorkers to become more stylish in the rain. But when the acclaimed Vogue editor went on her own fashion trysts, she tended to follow the sun, and often to Morocco. In fact, Vreeland recounted in her autobiography that she always packed the same four neutral sweaters and never ceased to marvel at how they looked more magnificent in exotic sunlight.

That reflected sun, plus the street fashion and a feast of homemade textiles and treasures…well, in Morocco it was all there for the breathing. And so, in the early ’60s, as those same four sweaters basked in a noon glow, Vreeland unearthed the caftan on a well-lit Moroccan street, took that garment back to New York, wrapped it around precious jewelry and stars like Elizabeth Taylor and the first new wave of Hippie Chic was born.

It’s good to know Morocco is still that inspirational, even for those of us who, unlike Vreeland, have a hard time tapping into our inner hippie. The riads (hotels) are often owned by fanciful self-styled interior designers who share 62 ONE LIFE

Vreeland’s passion for the light, the street and the glorious handmade mismatched patterns. Lounge on purple pillows against a deep blue wall in the lobby at Riad Fes. At Le Jardin des Biehn, also in Fez, owners Catherine and Michael Biehn’s tastes are visible everywhere. The Biehns are antique textile collectors and they enjoy mixing their personal sense of patterned fabrics with equally interesting floor and wall tiles. There are vintage hats on shelves in the restaurant, a hand-designed trunk at the foot of the bed.

Hit the streets. Again, it’s about the light. There are still treasures to be found. And since Fez is an ancient city, it’s just a nine-minute walk from the hotel to the Zaouia Moulay Idriss II mausoleum, the tomb of Moulay Idriss who ruled Morocco from 807 to 828. It is a somewhat widely held belief that a visitor to this extraordinary temple will receive many blessings.

Most visitors to Morocco return multiple times. In fact, the country boasts a large population of expats from France, Italy and the United States. Some enjoy the desert life—riding camels and wearing loosely fitting white gauzy clothes. Others crave the shopping and the chance to educate their fashionista eyes, let them wander around

as-yet-undiscovered colors in the light of that sun. And still more come to chill in the Andalusian gardens.

The ancient Persian- and Egyptian-inspired Andalusian gardens are viewed here as oases of serenity.

But the gardens also found their place in our own retro hippie culture. At Le Jardin des Biehn visitors hum the music of Crosby, Stills & Nash on the “Marrakesh Express” (“I smell the garden in your hair”), as they soak up the serenity of aromatic herbs, carefully tended local fruits, compatible flowers and luscious vegetables. And this is worth saying at least once: Anyone who is considering a vegetarian or vegan lifestyle would be delighted and well served to try it here. With the abundant offerings from these perfectly appointed gardens, if you can’t do it here probably don’t try it back home. Regardless, grab a bunch of fresh mint, roll it around your palms and breathe the fresh healthful scent while shopping for more vintage textiles and handmade jewelry.

Most likely inspired by his mother’s love affair with Morocco, Diana Vreeland’s son Frederick Dalziel Vreeland served as U.S. ambassador to Morocco till 1993. Vreeland’s ’60s caftan explosion is awaiting another fashion revival.

Staff setting up rooftop area at Le Jardin des Biehn.

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Common area at Le Jardin des Biehn.

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Mosque in Fez.

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The Grand Tour

James Reginato’s new Great Houses, Modern Aristocrats takes readers behind the gates and into the lives of the U.K.’s legendary estates.

The 11th Duke of Marlborough’s Blenheim Palace, Oxfordshire.

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ALL PHOTOGRAPHS FROM GREAT HOUSES, MODERN ARISTOCRATS (RIZZOLI)

BY ERIC NEWILL PHOTOGRAPHS BY JONATHAN BECKER

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J

ames Reginato has an amusing story about his disparate experiences visiting Blenheim Palace, the 300-year-old, monumental seat of the Duke of Marlborough in England’s Oxfordshire. “My very first encounter was as a senior on a high-school exchange trip,” he says. “We visited on a school bus, and my nose was completely pressed up to the glass. That’s when my love for the great houses of England started. Little did I know that I would someday go back with an overnight bag as the guest of the Duke and Duchess. I spent many weekends there, and every time I went back the housekeeper would greet me and tell me I had my ‘usual room.’ I had to conceal a smile, thinking back to that school bus.”

A writer-at-large for Vanity Fair, contributing editor at Sotheby’s, and former features director for W, Reginato has used his years of experience covering the notable and titled to produce Great Houses, Modern Aristocrats, a new field guide to the U.K. aristocracy published by Rizzoli, with smashing photographs throughout by veteran lensman Jonathan Becker. From the massive 1650 pile of St. Giles House in Dorset to Lismore Castle, a 12th-century Irish fortress in County Waterford, Reginato and Becker present not only the extraordinary architecture and design of these properties but also the lives of those who live within them, many of whom are merely the latest in a long line of generations to hold occupancy.

“This book was literally decades in the making,” says Reginato. “W was very European-oriented, and it allowed me to explore this universe and meet many of the people involved. Everybody in the book is very top-drawer—

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believe me, it’s a hard world to crack—and they do not easily open the doors to their private quarters to writers and photographers. But one thing led to another, and some of the people are related: For instance, the Earl of Dunham’s wife’s sister is married to the Marquess of Cholmondeley. Both are included in the book. But it took years of diplomacy to make them feel comfortable enough to let me in to do these stories.”

One particularly notable example is the nearly century-long tale of sisters Countess Mountbatten of Burma and Lady Pamela Hicks. The daughters of Louis Mountbatten, they are living witnesses to history, having taken tea with Queen Mary and encountered King Edward VIII and Mrs. Simpson at a party six months before their scandalous marriage. Pamela was one of Queen Elizabeth’s bridesmaids at her 1953 marriage to Philip, a union that hardly surprised the pair: “Patricia and Pamela had long known about Elizabeth’s crush on Philip,” writes Reginato. “The future queen had ‘clocked him,’ as Pamela puts it…when she was 13 years old.” Other figures in this short character sketch include Gandhi (“He was a great tease”) and Grace Vanderbilt (“Considering that she really didn’t like children, she was good with us”). This combination of delicious stories alongside Becker’s detailed images of The Grove—whose interior and gardens were augmented by the work of Pamela’s designer husband, David—encompasses the book’s unique balance of verbal style and visual splendor.

As Reginato says, “It’s really a biography of families and the land as much as it is about the houses. I’m not an architectural historian—there are other books focusing on

grand stately piles—so this is a very personal take on these properties, a kind of living history.”

Along the way the author travels to Italy and the Caribbean to bring the reader different versions of British life abroad. “The Earl of Durham’s Villa Cetinale in Tuscany is really such an English establishment, it absolutely qualified to be in the book. And Baron Glenconner’s life in Mustique is that of a true English character.”

The travails of keeping up such properties—most centuries-old and once in some disrepair—is also noted: The Marquess of Cholmondeley, responsible for Norfolk’s Houghton Hall, says, “Every generation has to find a way to keep these places going,” and the property now has a strong endowment after the family sold a Holbein to the National Gallery for $17 million and raised $34 million through a sale of 146 pieces from the house.

“There’s this cliché of the feckless aristocracy,” says Reginato, “and they’re thought of as spoiled people. But it takes a lot of work and creativity to keep these houses going, and they inspire a good deal of respect.”

As international interest in the Great Houses and their families is once again enjoying a new surge in light of the success of Downton Abbey, Reginato’s book seems to have arrived at exactly the right moment. “You can feel the layers of centuries of history here,” he says. “These houses were built for grand political entertaining, and they hosted legendary writers and artists. Henry James, for example, stayed and worked at four of these houses. They are monuments of history, time capsules, but at the same time eminently alive.”

The drawing room at Luggala, County Wicklow, Ireland.

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Royal Pedigree Iconic shoemaker John Lobb carries on its rich tradition of immaculate quality and bespoke craftsmanship at its sumptuous boutique in the Miami Design District.

W

ith the menswear market fast on the rise, brands are continually reinventing themselves to capture a generation that is overwhelmed by choice and difficult to impress. But British footwear brand John Lobb—which celebrates its 150th anniversary this year—remains committed to its own vision. And by executing it with finesse, the company has created a sense of heightened relevancy in a saturated market.

To footwear aficionados, John Lobb represents a dedication to craft and a commitment to heritage and tradition in men’s formal and bespoke footwear. The British brand, founded in 1866, has become the benchmark for quality and controlled elegance, counting both the Duke of Edinburgh and the Prince of Wales among its patrons. “Craftsmanship is paramount and at the core of everything we undertake at John Lobb, from bespoke through to ready-to-wear made in Northampton through to the casual side of the collection,” explains Artistic Director Paula Gerbase.

The company, which is now owned by Hermès, still has its factory in Northampton, England, as well as a bespoke atelier in Paris that offers personalized services in which every detail such as color, material and heel height is determined by the client. The foot is measured and customers return on two additional occasions to ensure the fit is perfect. The original bespoke workshop in London is the only branch that is still family-owned and operates independently from Hermès.

“The bespoke service at John Lobb continues to function much in the same way that it did when the house was founded,” says Gerbase. “Our expert craftsmen work from our Paris atelier to craft the shoe or boot to the customer’s very specific desires, which takes around 50 hours of work to be completed.”

Shoes and boots run into the four figures, but the product is ultimately about craftsmanship and luxury. For its ready-to-wear line, the company developed a

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process that pulls the leather over the shoe just enough so it retains elasticity to mold itself to the wearer’s foot. This is done during one of the final stages of the 190-step process and the result is a shoe that fits like a glove.

“Attention to minute details and a history of innovation are in the fabric of John Lobb, whose very foundations were built on handmade artistry and craftsmanship of bootmaking,” Gerbase says. The Brazilian designer was appointed as the brand’s first artistic director in 2014. Prior to John Lobb, she helmed her own womenswear label, 1205, which she started in 2010, but had never designed shoes. Gerbase trained at London’s famed Central Saint Martins and worked at Savile Row houses where she refined her skills in classic tailoring and understanding of form and fabrication.

“My time on Savile Row taught me above all a respect for craftsmanship,” she says.

Gerbase was brought in to give the classic footwear brand a sense of modernity while retaining its quintessentially British roots. She has introduced more casual shoes that appeal to a younger generation while continuing to innovate for the brand’s core customers. For the upcoming season, Gerbase and her team have revamped the welted shoe into something more lightweight in supple leathers and suede.

In addition to designing footwear, Gerbase and her team are expanding the brand’s presence internationally. Last fall, John Lobb opened its third U.S. store in the Miami Design District. The 1,000-square-foot retail space offers both ready-to-wear and bespoke services. The design concept of the Miami store is in line with other John Lobb shops, but as a nod to the city’s laid-back culture, the store has a more relaxed vibe with high ceilings and lighter-weight shoes in a brighter color palette that will be available year-round to accommodate the warmer climate.

PHOTO COURTESY OF JOHN LOBB

BY SAMANTHA TSE

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Inspired by the glorious Casa Casuarina and designed by worldrenowned architect Massimo Comoli, this estate is a sophisticated and luxurious retreat that reflects that magical merging of inspiration and architecture. Set on a 41,185 square foot lot, this 3-story estate features 9 beds, 9/3 baths, 14- to 30-foot ceilings, sprawling entertaining spaces, marble flooring and an Italian Palazzo design pool. The Villa is situated in the prestigious and private Tahiti Beach Island.

2TAHITIBEACHISLANDRD.COM

LOURDES ALATRISTE 305.926.5322 / LOURDES.ALATRISTE@ONESOTHEBYSREALTY.COM

SADDY DELGADO 305.632.4256 / SADDY@SADDYDELGADO.COM

10100 LAKESIDE DRIVE

CORAL GABLES, FLORIDA

OFFERED AT $5,399,000

6

5/2

9,113

65,340

BEDROOMS

BATHROOMS

LIVING (SF)

LOT SIZE (SF)

Set on a sprawling 1.5-acre corner lot overlooking a peaceful lake, this elegant estate enjoys beautiful surroundings in the most desirable gated Snapper Creek. There are generously sized interiors with open plan reception rooms and outdoors spaces for grand entertainment. The property consists of 6 beds/5.2 baths, a gourmet kitchen, dining room with fireplace, a grand master suite, walk-in closets, marble and wood floors, open terraces and patios adorned with stunning 100-year old trees.

10100LAKESIDEDR.COM

LOURDES ALATRISTE 305.926.5322 / LOURDES.ALATRISTE@ONESOTHEBYSREALTY.COM

SADDY DELGADO 305.632.4256 / SADDY@SADDYDELGADO.COM

3651 COLLINS AVENUE, #200

MIAMI BEACH, FLORIDA

OFFERED AT $8,299,000

4

4

3,783

2016

BEDROOMS

BATHROOMS

LIVING (SF)

YEAR BUILT

With 3,000 SF of impressive outdoor terraces, a private hot tub, a summer kitchen and retractable canopy, this residence will take your breath away. This fully automated condo offers newly installed wood flooring, custom closets and draperies. Enjoy unparalleled finishes and a great beachfront location. With only 8 units in the building, this is the most exclusive project available on the market. Offered also for rent at $32,000/month unfurnished.

BEACHHOUSE200.COM

DANIELA BONETTI 305.582.1639 / DBONETTI@ONESOTHEBYSREALTY.COM

DARRYL FOX 305.788.3699 / DFOX@ONESOTHEBYSREALTY.COM

ONE THOUSAND MUSEUM | 1000 BISCAYNE BLVD OFFERED AT $6,693,000

3401

4,654

667

2018

UNIT #

LIVING (SF)

TERRACE (SF)

COMPLETION YR.

Located at 1000 Biscayne Boulevard on a coveted property overlooking Museum Park and Biscayne Bay, One Thousand Museum will be Zaha Hadid’s first residential skyscraper in the Western Hemisphere. Rising to more than 60 stories, it will be comprised solely of half-floor and fullfloor residences, duplex townhomes and a single duplex penthouse.

Museum Park (formerly known as Bicentennial Park), home of the Pérez Art Museum Miami and the Frost Museum of Science, is rapidly becoming one of Miami’s most prestigious cultural destinations.

RAYDELEON.COM

RAYMOND DE LEON 305.984.1379 / RDELEON@ONESOTHEBYSREALTY.COM

MIAMI, FLORIDA

2501 PENNSYLVANIA AVENUE, NW #PH2B

DISTRICT OF COLUMBIA, WASHINGTON

OFFERED AT $6,950,000

3

3/1

4,500

BEDROOMS

BATHROOMS

LIVING (SF)

This impressive residence offers 4,500 SF on two levels, with abundant natural light from four exposures, three garage parking spaces and elegant interior design elements by Barry Dixon. A private elevator opens to a flowing first floor plan including an entry gallery, a living room with a backlit onyx wall, formal dining room, family room, library, and an expansive kitchen with marble counters and top-of-the-line appliances. A curving staircase leads up to 3BR/3BA, including a master suite with his-hers closets and a large bath.

JONATHANTAYLOR.TTRSIR.COM

JONATHAN TAYLOR 202.276.3344 / JTAYLOR@TTRSIR.COM

110 BELLEHAHN COURT

SEVERNA PARK, MARYLAND

OFFERED AT $6,950,000

7

7/2

12,426

2005

BEDROOMS

BATHROOMS

LIVING (SF)

YEAR BUILT

Nestled on a hillside overlooking the Severn River, this waterfront estate on 3.33 acres was custom built to the highest commercial construction standards. Nearly 400 tons of Pennsylvania Fieldstone were individually cut for the construction of this majestic residence. The main house and guest wing offer 12,346 sqft of total living space, including a1,500 sqft main floor master bedroom suite and a massive great room with 11’ vaulted ceilings and 10’ windows overlooking the river and pool area.

JONATHANTAYLOR.TTRSIR.COM

JONATHAN TAYLOR 202.276.3344 / JTAYLOR@TTRSIR.COM

2536 LUCILLE DRIVE

FORT LAUDERDALE, FLORIDA

OFFERED AT $5,595,000

6

7/2

6,873

11,875

BEDROOMS

BATHROOMS

LIVING (SF)

LOT SIZE (SF)

Preview this luxury waterfront estate in prestigious Harbor Beach.

Park your mega yacht and enjoy the pool, spa and summer kitchen in your backyard. Features include 6 bedrooms, 7 bathrooms, office, wine room, Lutron lighting, elevator, 3-car garage, generator and more.

Exceptional construction and finishes are offered throughout plus a custom gourmet kitchen with natural gas cooking. A private beach is available for Harbor Beach residents as well as security and extra dockage. This is the best deal in Harbor Beach. A must-see.

2536LUCILLEDRIVE.COM

SUSAN RINDLEY 954.294.5686 / SRINDLEY@ONESOTHEBYSREALTY.COM

IL LUGANO PENTHOUSE

FORT LAUDERDALE, FLORIDA

OFFERED AT $4,995,000

4

5/1

7,638

2007

BEDROOMS

BATHROOMS

LIVING (SF)

YEAR BUILT

This direct intracoastal penthouse with a dock slip offers ocean and intracoastal views with over 7,650 SF. The home has been completely renovated by interior designer Michael Beamish with an open floor plan, gourmet kitchen, wine room, bar, 4 bedrooms plus an office, 5.5 bathrooms, 4 parking spaces and more. The boutique building offers luxury amenities such as concierge services, valet, an in-house restaurant, pool, dock, and fitness center. Also, easily walk to the beach, shops and restaurants. This one-of-a kind penthouse in a great location is a must-see.

ILLUGANOPENTHOUSE.COM

SUSAN RINDLEY 954.294.5686 / SRINDLEY@ONESOTHEBYSREALTY.COM

3435 STALLION LANE

WESTON, FLORIDA

OFFERED AT $5,550,000

6

7/1

8,635

63,378

BEDROOMS

BATHROOMS

LIVING (SF)

LOT SIZE (SF)

A magnificent, award-winning Italianate villa-inspired estate tucked away on a 1.5 acre waterfront lot. The gated central courtyard includes a dramatic Koi pond/fountain. Enter the grand foyer to a dramatic 2-story great room with floor-to-ceiling glass and observe the infinity waterfall pool which descends into the extended lake view. Exquisite architectural design, craftsmanship and attention to detail include marble and granite floors and columns throughout. Sophistication, tropical majesty and privacy blend seamlessly in this resort-style estate.

3435STALLIONLANE.COM

RICHARD A. (RIK) JONNA 954.909.2045 / RJONNA@ONESOTHEBYSREALTY.COM

MARISSA FAZIO 954.393.6445 / MFAZIO@ONESOTHEBYSREALTY.COM

2627 S BAYSHORE DRIVE, #2501

COCONUT GROVE, FLORIDA

OFFERED AT $4,500,000 | $25,000 PER MONTH

4

5/1

4,026

2006

BEDROOMS

BATHROOMS

LIVING (SF)

YEAR BUILT

Enjoy endless bay and city views from this spectacular corner unit at Grovenor House. The amazing split floor plan with oversized spaces includes a formal living and dining room with breathtaking bay and marina views. The beautiful Italian kitchen with breakfast area opens to the family room featuring spectacular city and downtown views. The master and three additional bedrooms each have their private bath.

Building amenities include an infinity pool with cabanas, spa, tennis, gym, library and a billiard room. Walking distance to Coconut Grove.

2627SBAYSHOREDR-2501.COM

GABRIELA DAJER 786.290.3832 / GDAJER@ONESOTHEBYSREALTY.COM

791 CRANDON BOULEVARD, #308

KEY BISCAYNE, FLORIDA

FOR SALE AT $5,499,000 | FOR RENT AT $17,000/M

4

5/1

5,207

2001

BEDROOMS

BATHROOMS

LIVING (SF)

YEAR BUILT

Most desirable and sought after “08” line in Ocean Tower 2 with direct ocean views. O8 line owners enjoy their own concierge, club room with TV, and wine and fur storage. Enjoy a luxurious and pampered lifestyle in this fabulous designer finished condo with the feel of a beautiful home. 4/5 ½ with family room, den/office and staff room all impeccably maintained. World-class amenities and resort-style living with steps to the beach, pool, spa and tennis. Close to great shops, restaurants, golf and more.

791CRANDON308.COM

JO-ANN FORSTER 305.778.5555 / JOANN@UNIQUEHOMESOFMIAMI.COM

3639 PARK LANE

COCONUT GROVE, FLORIDA

OFFERED AT $2,550,000

5

6/1

5,760

11,964

BEDROOMS

BATHROOMS

LIVING (SF)

LOT SIZE (SF)

This HLS Interior Designers showcase home is located on a natural bluff. You will be awed by the attention to detail and enchanting spaces. If you are tired of modern white boxes, come and experience this transitional contemporary with a classic undertone. Multiple terraces overlook the pool, rose garden and magnificent grounds created by landscape architect Fernando Wong. Crafted to anticipate your every need and to feel the joy of an inspired lifestyle. Come and be dazzled!

3639PARK.COM

JO-ANN FORSTER 305.778.5555 / JOANN@UNIQUEHOMESOFMIAMI.COM

12101 SW 62 AVENUE

PINECREST, FLORIDA

OFFERED AT $5,000,000

7

7/2

11,066

37,026

BEDROOMS

BATHROOMS

LIVING (SF)

LOT SIZE (SF)

Casa Tropical is a brand new estate residence offered by Case Construction and designed by the renowned local architectural firm of Ruiz Brito Architects. This state-of-the-art smart house blends a laidback Caribbean island lifestyle with modern accoutrements. Bonus rooms include a wine cellar, study and game/media room, as well as an upstairs den with wet bar. Detached guest suite and downstairs junior master offer flexibility. Upstairs master features an incredible sun deck with access to pool. Large open kitchen adjoins spacious family room.

Your luxurious resort-style living begins right here!

12101SW62AVE.COM

MAURICIO BARBA 305.439.8311 / MAURICIO@MIAMISIGNATUREHOMES.COM

13635 DEERING BAY DRIVE, #223

CORAL GABLES, FLORIDA

OFFERED AT $2,196,000

4

4/1

4,220

1995

BEDROOMS

BATHROOMS

LIVING (SF)

YEAR BUILT

Your wanderlust ends here! Introducing a seldom available Pisa model in Padua’s East Tower in the resort community of Deering Bay. What makes this offering even more unique is that this home offers extended terraces adding an extra 1,498 SF of glorious space all while enjoying the tranquil views of the lagoon, marina and manicured gardens. Upon entering this heavenly residence you will quickly sense the space and airiness this unit has to offer. The tall ceilings, rows and rows of windows/doors and superior finishes make this refuge your very own Xanadu!

13635DEERINGBAYDR-223.COM

MAURICIO BARBA 305.439.8311 / MAURICIO@MIAMISIGNATUREHOMES.COM

7245 SW 104 STREET

PINECREST, FLORIDA

OFFERED AT $3,675,000

6

6/1

9,792

51,400

BEDROOMS

BATHROOMS

LIVING (SF)

LOT SIZE (SF)

This majestic, custom-built estate on an oversized 51,000 SF lot offers the finest finishes and details throughout with grand spaces and double-volume ceilings. This home comes complete with new landscaping, neutral paint colors, a redone pool, an elevator, a 13-seat home theater and a billiard/recreation room, a beautiful home office with cherry wood built-ins and a detached gym and storage area. The amazing backyard is made for entertaining with oversized, covered terraces, a spectacular resort-like pool with cascading waterfall.

7245SW104ST.COM

GABRIELA DAJER 786.290.3832 / GDAJER@ONESOTHEBYSREALTY.COM

110 MALVA COURT OFFERED AT $2,390,000

17,652 LOT SIZE (SF)

Build your dream home on one of the last waterfront lots available in centrally located, guard-gated Cocoplum. The property is located on a quiet cul-de-sac. Some of the community amenities include 24-hour patrolling security, 24-hour patrol at security gate, pristinely manicured landscaped streets, a pool, tennis courts, gym and fitness center, a basketball court, playground and an expansive clubhouse. The embankment on one side of the lot provides wind protection from any inclement weather that may collide with the home.

110MALVACT.COM

GABRIELA DAJER 786.290.3832 / GDAJER@ONESOTHEBYSREALTY.COM

CORAL GABLES, FLORIDA

12850 SW 57 AVENUE

CORAL GABLES, FLORIDA

OFFERED AT $3,400,000

7

6/1

7,615

87,120

BEDROOMS

BATHROOMS

LIVING (SF)

LOT SIZE (SF)

This one-of-a-kind private compound is nested on a 2-acre parcel, inside gated community, Gables by the Sea. This enchanting estate offers 6 large bedrooms and 5.5 baths in main house and spacious detached guest house. Chef’s kitchen with sitting area, stainless steel Viking appliances, wood cabinetry and granite counter tops. Grand room offers high ceilings offers a perfect place for gatherings. Formal Dining room can fit a table of 10+, and family room offers views to the lovely backyard. Indulge in the serene pool, Jacuzzi tub, sauna, extravagant covered terraces, gazebo, and summer kitchen surrounded with plenty of room for entertaining.

12850SW57AVE.COM

MICHAEL MARTINEZ 305.979.9367 / MMARTINEZ@MICHAELMARTINEZREALTOR.COM

15811 COLLINS AVENUE, #2604

SUNNY ISLES BEACH, FLORIDA

OFFERED AT $1,900,000

3

3/1

2,558

2010

BEDROOMS

BATHROOMS

LIVING (SF)

YEAR BUILT

This luxurious 2-bedroom plus a den residence is an oceanic paradise!

Features include 10-feet ceilings, marble floors throughout, window treatments and built-out closets. The gourmet kitchen offers Italian cabinetry, Miele and Sub-zero appliances, a wine cooler and a builtin coffee maker. The oversized balconies with glass and aluminum railings provide unobstructed views of Atlantic Ocean and Intracoastal Waterway. The exclusive, oceanfront property with 4 pools, a spa, fitness center, business center, beach, room service, 24-hour valet and more.

15811COLLINSAVE-2604.COM

ANA DE LA FE 786.247.9909 / ADELAFE@ONESOTHEBYSREALTY.COM

9781 SW 60 COURT

PINECREST, FLORIDA

OFFERED AT $3,395,000

8

8/1

7,356

31,798

BEDROOMS

BATHROOMS

LIVING (SF)

LOT SIZE (SF)

This beautiful North Pinecrest home sits on a corner lot. The entry offers double doors into an oversized and inviting great room. The open chef’s kitchen is fully loaded with top-of-the-line appliances.

Other amenities include a spectacular, fully equipped home theater, 2 fireplaces, an elevator and security cameras. The amazing covered terrace and resort-style pool area with a Summer Kitchen make this a great home to entertain. The detached 2-bedroom guest house with a living area is ideal for guests, in-laws or a game room.

9781SW60CT.COM

GABRIELA DAJER 786.290.3832 / GDAJER@ONESOTHEBYSREALTY.COM

5777 LA GORCE DRIVE

MIAMI BEACH, FLORIDA

OFFERED AT $1,949,000

4

3/1

3,191

10,194

BEDROOMS

BATHROOMS

LIVING (SF)

LOT SIZE (SF)

This beautifully redone home on an oversized, corner lot offers a great open floorplan. Saturnia and wood floors, impact windows, custom closets, a charming courtyard with a fountain facing the kitchen and living room plus a gourmet kitchen that opens into a spacious family room create the ideal home. When looking to enjoy the outdoors, the spectacular pool with a heated spa and BBQ area make the perfect space.

5777LAGORCEDR.COM

GABRIELA DAJER 786.290.3832 / GDAJER@ONESOTHEBYSREALTY.COM

2501 PENNSYLVANIA AVENUE, NW #3B

DISTRICT OF COLUMBIA, WASHINGTON

OFFERED AT $2,395,000

2

2/1

2,365

BEDROOMS

BATHROOMS

LIVING (SF)

This extraordinary 2,365 square foot condominium features 2 bedrooms and a den on an expansive single level. Its spacious living room is the focal point with an exquisite Poliform kitchen ideal for entertaining.

The master suite includes a walk-in closet and spa inspired marble bath. This intimate secure building has a 24-hour desk, 2-car garage parking and exemplifies chic boutique city living.

BRENT JACKSON 202.263.9200 / BJACKSON@TTRSIR.COM

ROB SANDERS 202.744.6463 / RSANDERS@TTRSIR.COM

1245 BEVERLY ROAD

McLEAN, VIRGINIA

OFFERED AT $1,295,000

5

3/1

3,840

1998

BEDROOMS

BATHROOMS

LIVING (SF)

YEAR BUILT

This impressive renovated 5-bedroom modern residence is perfectly sited on a premium level lot in McLean. Open floor plan features expansive living and dining areas, custom kitchen, abundant windows that fill the home with natural light, 9’+ ceilings, crown molding and gleaming hardwood flooring. The stunning new kitchen has high-end stainless steel appliances and farmhouse sink. Spa like baths and zen like terrace.

BRENT JACKSON 202.263.9200 / BJACKSON@TTRSIR.COM

ROB SANDERS 202.744.6463 / RSANDERS@TTRSIR.COM

490 RANCH ROAD

WESTON, FLORIDA

OFFERED AT $2,150,000

6

6/2

8,334

42,792

BEDROOMS

BATHROOMS

LIVING (SF)

LOT SIZE (SF)

Come visit this one-of-a-kind Mediterranean residence with maximum privacy on a corner lot. Stunning interiors include custom hardwood doors, impact glass windows, marble floors, a lavish wet bar, a sound system and lush landscaping. In addition to the spacious accommodations, the home offers a gourmet kitchen with Viking appliances and granite countertops. The exteriors make this home perfect for a family with a stunning pool, patio and Jacuzzi.

490RANCHRD.COM

CATERIN DORREGO 954.253.7173 / CDORREGO@ONESOTHEBYSREALTY.COM

900 BRICKELL KEY BOULEVARD, #501 OFFERED AT $1,590,000

3

3/1

2,065

2008

BEDROOMS

BATHROOMS

LIVING (SF)

YEAR BUILT

Asia on Brickell Key offers a luxury condo with 3 bedrooms, 3.5 bathrooms and spectacular views of Downtown Miami and Biscayne Bay. This luxury residence comes complete with high ceilings, a private elevator, 2 assigned parking spaces, 24-hour valet, security and a concierge. Condo amenities include tennis courts, a racquetball court, a gym, pool, jacuzzi sauna and a wellness center. The owner is very motivated to sell.

900BRICKELLKEYBLVD-501.COM

MARIA PIEDAD MELENDEZ 786.255.5590 / MPMELENDEZ@ONESOTHEBYSREALTY.COM

MIAMI, FLORIDA

2529 SANCTUARY DRIVE

WESTON, FLORIDA

OFFERED AT $1,975,000

5

5/1

5,500

18,360

BEDROOMS

BATHROOMS

LIVING (SF)

LOT SIZE (SF)

This magnificent 5,500 SF Weston Hills Country Club golf course home is uniquely set on a cul-de-sac lot with double fairway and water views.

The grand elevated entry steps into spacious living areas of marble and wood flooring, extensive crown molding, coffered ceilings and designer touches. The interior boasts five bedrooms, a custom library/office, playroom, loft and gym. Relax on the spacious paver patio and enjoy the elongated 40-foot pool. 3-car finished garage with wall systems.

Structured wiring for sound and data throughout the house and patio.

2529SANCTUARYDR.COM

PATRICIA LEWIS | RYAN LEWIS 954.253.3718 | 954.805.2902 LEWISRETEAM@ONESOTHEBYSREALTY.COM

2546 SANCTUARY DRIVE

WESTON, FLORIDA

OFFERED AT $1,385,000

5

4

4,700

18,209

BEDROOMS

BATHROOMS

LIVING (SF)

LOT SIZE (SF)

This spectacular 4,700 SF home with breathtaking offers views of the 10th green of the player’s course of Weston Hills Country Club. Set on one half acre, the five bedroom, four bathroom residence includes bonus room and gym. Relax on your spacious pavered patio or swim in freeform pool with spa. Elevated foyer entry opens to grand living room with 16-foot ceilings, formal dining room, cherrywood & granite center island kitchen, marble & wood flooring, crown molding and designer touches throughout. Circular driveway leads to 3-car garage.

2546SANCTUARYDR.COM

PATRICIA LEWIS | RYAN LEWIS 954.253.3718 | 954.805.2902 LEWISRETEAM@ONESOTHEBYSREALTY.COM

AVENTURA, FLORIDA

3300 NE 188TH STREET, #612 & #509 OFFERED AT $1,799,000 & $2,280,000

4

5/1

3,295

2015

BEDROOMS

BATHROOMS

LIVING (SF)

YEAR BUILT

Be the first one to move into this brand new, spacious 4-bedroom corner unit with amazing water views. Enter through your private elevator to this fabulous apartment with gorgeous marble and wooden floors. The home has five and a half baths plus an additional room with a full bath. The very large terrace includes a gas grill for outdoor cooking.

All appliances and finishes are top notch. The building was designed by prestigious firm Yabu & Pushelberg. The Echo building is the most beautiful in Aventura and also has the best value. Priced to sell!

3300NE188ST509.COM

FARAH LAUENSTEIN 786.260.9882 / FLAUENSTEIN@ONESOTHEBYSREALTY.COM

18460 NE 30 AVENUE

AVENTURA, FLORIDA

OFFERED AT $649,000

4

3/1

2,520

2002

BEDROOMS

BATHROOMS

LIVING (SF)

YEAR BUILT

This beautiful 4 bedroom 3 1/2 bath, three-story townhouse in Aventura is located in a small, secure community. The home offers ideal proximity to entertainment as it is just minutes away from Loehman’s Plaza, Aventura Mall and the beach. This is a perfect home for a large family. Features include marble flooring, a master bedroom with a huge closet, three balconies and a large patio. A must-see!

18460AVENTURABAY.COM

FARAH LAUENSTEIN ONESOTHEBYSREALTY.COM/ASSOCIATES/FARAHLAUENSTEIN

17301 BISCAYNE BOULEVARD, #409 & 411

AVENTURA, FLORIDA

STARTING AT $1,399,000

5

5/1

4,286

2016

BEDROOMS

BATHROOMS

LIVING (SF)

YEAR BUILT

The spectacular views from this corner unit are just like being on a boat.

The home offers 3 bedrooms, 3.5 baths, living and dining rooms and a kitchen with Snaidero cabinetry, stone counter tops, Wolf, Miele and SubZero appliances including laundry. The balcony overlooks the bay and the marina. The home is decorator ready and there is a 2/2.5 duplex unit next door which is available to combine and turn into an extraordinary apartment. Marina Palms Yacht Club has a voluntary membership and the dock is available for large boats.

MARINAPALMSYACHTCLUB-409.COM

MARIA UMAÑA 305.992.5655 / MUMANA@ONESOTHEBYSREALTY.COM

9455 COLLINS AVENUE, #1109

SURFSIDE, FLORIDA

OFFERED AT $1,390,000

2

2/1

1,560

1991

BEDROOMS

BATHROOMS

LIVING (SF)

YEAR BUILT

Enjoy a wrap-around balcony with direct views of the beach and ocean from this condo in one of the best and more traditional buildings in Surfside. Live steps away from places of worship, shops, banks, restaurants and Bal Harbour Shops. Nearby developments like the St. Regis, Four Seasons, Ritz-Carlton and Marriott prove this area is an excellent investment. The neighborhood is safe, with a good police department and one of the best K-8 schools in the state.

THEWAVES-1109.COM

MARIA UMAÑA 305.992.5655 / MUMANA@ONESOTHEBYSREALTY.COM

1330 WEST AVENUE, #3001

MIAMI BEACH, FLORIDA

OFFERED AT $999,000

2

2

1,262

2001

BEDROOMS

BATHROOMS

LIVING (SF)

YEAR BUILT

Spectacular million-dollar views of the Bay and Downtown Miami are offered from your private balcony on the 30th floor of this Miami Beach residence. Enjoy breathtaking views from every room and beautiful sunsets. A full-service condominium offering luxury living with 24-hour security, valet and concierge. Relax at the bayfront heated pool or in the meditation garden. Building amenities include a full gym, tennis, sand volleyball court and more. This residence is located in South Beach close to Lincoln Road, restaurants, nightlife and the beaches, so you can walk everywhere.

1330WESTAVENUE3001.COM

ENRIQUE TEJERA 305.814.4686 / ETEJERA@ONESOTHEBYSREALTY.COM

VILLA DIAMOND AT LA PERLA DEL CARIBE OFFERED AT $989,000

4

5

7,000

2004

BEDROOMS

BATHROOMS

LIVING (SF)

YEAR BUILT

Located on the island of Ambergris Caye, Villa Diamond is one of only luxury villas on the property and is known as La Perla del Caribe. The property is 3.85 acres in size with almost 500 ft of beach frontage looking over the second largest barrier reef in the world! The home is only a 15-minute boat ride via water taxi or a 20-minute golf cart ride to town. La Perla features a tropical pool as well as a 300-ft pier which is shared by the 12 villa owners. The property management company handles maintenance, security, landscaping and rentals for those on who are in a vacation rental program. The master bedroom features decks on both sides with a Neptune whirlpool. The home also includes 2 bicycles and kayaks.

PAMELA KLOS 615.509.1616 / PKLOS@ONESOTHEBYSREALTY.COM

CAROL McCANN 501.662.5752

SAN PEDRO, BELIZE

BEACHFRO N T L IV IN G TOUR THE ULTIMATE BEACH HOMES.

ON TH E GRE E N DISCOVER THE LIFE OF A YEAR-ROUND GOLFER.

YACHT I NG EXPERIENCE SOUTH FLORIDA’S OPEN OCEAN.

RA IS ING A FA MI LY IT TAKES A VILLAGE. FIND THE RIGHT ONE.

O N E S OT H E B Y S R E A LT Y.C O M / L I F E S T Y L E S

T H E

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Y O U

D I S C O V E R

M ANUFACTUR E DE H AU TE H OR LOGER IE

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Rose gold case Rose gold openworked movement Integrated split second chronograph Big date at 12 h Hermès alligator strap Made in Switzerland parmigiani.ch

LE STUDIO PARMIGIANI MIAMI DESIGN DISTRICT 140 N.E. 39TH STREET, PC #108, MIAMI, FL, 786 615 96 56 PLEASE CONTACT US FOR A COMPLIMENTARY CATALOGUE (T) 786 615 96 56, WWW.PARMIGIANI.CH, AMERICAS@PARMIGIANI.COM