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PROMOTION

ST. PETERSBURG Explore one of the world’s most fascinating cities on an exclusive design and art tour hosted by Architectural Digest’s contributing editor Howard Christian and interiors and garden director Alison Levasseur with Indagare Insider access to: stylish homes / private collections / artist studios / luxurious gardens / local shopping / authentic dining / cultural influencers / accommodations at one of the city’s most elegant hotels AD Access: Travel by Design is a new way of seeing the world, through itineraries inspired by impeccable style and beautiful design. These journeys are created in partnership with Indagare, the travel planning company whose team of experts personally scout each trip and vet every detail. For the itinerary and to sign up, visit indagare.com/AD or call 646-780-8383. Reservations are limited.

*FINAL ACCOMPANYING EDITOR IS SUBJECT TO CHANGE AND DEPENDENT ON SAM COCHRAN’S AVAILABILITY.

MAY 8–13, 2020

CONTENTS february

DOUGLAS FRIEDMAN’S GETAWAY IN MARFA, TEXAS.

10 Editor’s Letter 12 Object Lesson

Inspired by the simple seating of ocean liners, Eileen Gray devised an armchair with transatlantic appeal.

A VINCENZO DE COTIIS– DESIGNED RESIDENCE IN ITALY.

17 Discoveries

34 Over the Rainbow

Designer Frances Merrill composes a symphony of brilliant hues and fanciful decorative motifs for a mother and son with gutsy tastes. BY MAYER RUS

48 Home on the Range

Photographer Douglas Friedman takes refuge on an otherworldly site in Marfa, Texas.

BY MAYER RUS

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FROM TOP: DOUGLAS FRIEDMAN; OBERTO GILI

Frank Gehry and Louis Vuitton reunite for the brand’s dazzling new flagship . . . Inside the new Aman Kyoto . . . The best dining chairs earn their place at the table . . . Steven Gambrel unpacks a Chicago dressing room for takeaway tips . . . A drawing room by John Fowler leaves Suzanne Rheinstein spellbound . . . and more!

CONTENTS february

A HOME DESIGNED BY FRANCES MERRILL IN ALTADENA, CALIFORNIA.

62 Brute Force

Vincenzo De Cotiis infuses a brutalist concrete shell on the outskirts of Milan with warmth and texture. BY PILAR VILADAS

74 Seoul Sensations

Meet five firms forging the South Korean capital’s new creative frontier. BY HANNAH MARTIN

FOLLOW @ARCHDIGEST

78 Car Talk

Dan Fink designs the ultimate automobilefriendly man cave for real estate developer Rick Caruso. BY SHAX RIEGLER

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84 Living Legacy

Studio Shamshiri and Commune Design work their subtle magic on a Northern California residence. BY MAYER RUS

DIGITAL EDITION DOWNLOAD AT ARCHDIGEST.COM/APP.

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94 Resources

The designers, architects, and products featured this month.

THE DINING ROOM OF A FRANCES MERRILL– DESIGNED RESIDENCE IN ALTADENA, CA. “OVER THE RAINBOW,” PAGE 34. PHOTOGRAPHY BY LAURE JOLIET.

96 Last Word

Claude and François-Xavier Lalanne’s playful sculptures land in Miami Beach’s Raleigh Gardens.

LAURE JOLIET (2)

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Th e w eav e t ha t ma kes wave s. feat. T H E S U M I C O L L E C T I O N

Rugs for the thoughtfully layered home.

THE INTERNATIONAL DESIGN AUTHORITY VOLUME 77 NUMBER 2

Amy Astley

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Q U E S T R O YA L F I N E A RT, L LC Important American Paintings

editor’s letter

1. A HOUSE AND INTERIORS DESIGNED BY VINCENZO DE COTIIS NEAR MILAN. 2 & 3. CHARMING VIGNETTES FROM OUR COVER STORY, BY FRANCES MERRILL OF REATH DESIGN. 4. WITH PHOTOGRAPHER DOUGLAS FRIEDMAN AND 5. HIS MARFA, TEXAS, POOL.

“Simplicity in architecture, with a modicum of grace, turns out to be quite difficult. My humble idea of desert living just kept ballooning.” —Douglas Friedman

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3 4

1. OBERTO GILI; 2. & 3. LAURE JOLIET; 4. SEAN ZANNI/PATRICK MCMULLAN/GETTY IMAGES; 5. DOUGLAS FRIEDMAN

Douglas Friedman’s name is certainly familiar to any close reader of AD: He is a noted photographer who regularly (and cheerfully!) hops planes, trains, and automobiles to “get the shot” of extraordinary and far-flung homes for our pages. Being a nomad is something of an occupational hazard, but when Friedman discovered the tiny, dusty West Texas town of Marfa nine years ago, he fell hard. “I have to take two flights and then drive three hours to get there, but the journey culminates at the end of a dirt road, with no visible neighbors and endless views of this incredibly beautiful, soulful terrain,” says a smitten Friedman, who bought 10 acres of land and proceeded to put down roots. It is a special joy to witness a member of our AD family, one of our own, build his dream house after a career devoted to documenting other people’s happy places. In this issue Friedman turns his camera on his own creation, experiencing, he confessed to me, both the pride and vulnerability that our homeowners (his subjects) feel when their private spaces suddenly go public. The Friedman ranch, as friends affectionately term it, is a quintessential example of highly personal living and decorating—nothing generic to see here. In fact, this issue abounds with bold personal style, from the cover residence, designed by rising star Frances Merrill and bursting with a riot of controlled color and pattern, to the rugged, brutalist chic of a building and interiors outside Milan designed in singular style by the formidable talent Vincenzo De Cotiis. And don’t miss the garage/ office/bar/barbershop conjured by AD100 designer Dan Fink for a lucky client in the Pacific Palisades— AMY ASTLEY it can only be described as the Editor in Chief ultimate man cave. @amyastley

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object lesson

THE STORY BEHIND AN ICONIC DESIGN

Sea Change

EILEEN GRAY’S SYCAMORE-ANDCANVAS TRANSAT CHAIR AT VILLA E.1027 ON THE CÔTE D’AZUR.

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MANUEL BOUGOT

Inspired by the simple seating of ocean liners, Eileen Gray devised an armchair that has transatlantic appeal

DISCOVERIES

illa E.1027, the modernist Côte d’Azur retreat that Eileen Gray created for herself and Jean Badovici, both architects—she renowned, he not so much—in the late 1920s, looks like a houseboat ready to set sail. A big nautical map hung in the lovers’ bedroom (it “gives rise to reverie,” the Irishwoman mused). On the first-floor terrace a low lounge evoked the easy-breezy deck chairs of an ocean liner, an effortless pairing of comfort (a sling of black canvas; an adjustable headrest) and class (a sleek sycamore frame). Called the Transatlantique (later truncated to Transat), said armchair, originally created in 1922, emerged as a Gray icon when E.1027 was published in Badovici’s L’Architecture Vivante in 1929. The young maharaja of Indore commissioned one for his palace bedroom in 1930 (it sold at Phillips in 2014 for more than $1 million); in 1981, interior designer Andrée Putman placed a pair in a model room at Lord & Taylor. In 2018, Christie’s sold a calfskin specimen for more than $1.5 million. Today, Ecart International, founded by Putman, produces licensed Transat reproductions (from $17,640 at Ralph Pucci). Gray herself made just 12, in a range of materials that were “dictated by the recipient and the destination,” according to Cloé Pitiot, curator at Paris’s Musée des Arts Décoratifs. “Near the sea, Gray preferred canvas, more resistant to salt and seawater, while for the maharaja’s bedroom, she chose lacquered wood and leather.” Pitiot has gathered two original Transats for Eileen Gray, an exhibition that is opening at New York’s Bard Graduate Center Gallery on February 29. She describes the Transat as “a call for slowness; a chair for rest,” and it’s an idea many designers seem to have embraced, employing it most often in spots built for relaxation, like a beach house in Amagansett by David Netto or Pamela Shamshiri’s abode above Laurel Canyon. Netto, who calls the design “achingly beautiful,” loves employing one solo in black leather and lacquer, which, he says “delivers a shot of glamour in any room.” ralphpucci.net —HANNAH MARTIN

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1. A TRANSAT SITS FIRESIDE IN THIS BELGIAN PAVILION, BUILT BY THE ARCHITECT MAARTEN VAN SEVEREN. 2. A CIRCA-1930 TRANSAT CHAIR THAT WILL BE SHOWN AT BARD GRADUATE CENTER STARTING FEBRUARY 29. 3. A BEIRUT HOME BY CLAUDE MISSIR. 4. CHRISTIE’S SOLD A MINT-GREEN TRANSAT IN 2001. 4

1. BERTRAND LIMBOUR/HOUSE OF PICTURES; 2. © 2014 PHILLIPS AUCTIONEERS LLC. ALL RIGHTS RESERVED; 3. STEPHAN JULLIARD, ARTWORK: ETTORE SOTTSASS © 2020 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / ADAGP, PARIS; ©NABIL NAHAS; 4. JÉRÔME GALLAND

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DISCOVERIES

THE BEST IN SHOPPING, DESIGN, AND STYLE

EDITED BY SAM COCHRAN

KI-YONG NAM

AD VISITS

Together Again

Frank Gehry and Louis Vuitton reunite for the brand’s dazzling Seoul flagship

FRANK GEHRY AT LOUIS VUITTON’S NEW SEOUL FLAGSHIP, WHICH HE DESIGNED IN COLLABORATION WITH PETER MARINO.

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1. OBJETS NOMADES COCOON BY FERNANDO AND HUMBERTO CAMPANA. 2. GEHRY’S GLASS PANELS CROWN THE FAÇADE. 3. THE ENTRY. 4. OBJETS NOMADES TALISMAN TRAY BY INDIA MAHDAVI. 5. SOFT TRUNK.

3 18

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KI-YONG NAM (2): PRODUCT: COURTESY OF LOUIS VUITTON

e wanted a lantern on the street,” Frank Gehry says of the new Seoul flagship he designed for Louis Vuitton. “Something open and inviting.” Perched atop the tony Cheongdam-dong ward in the Gangnam shopping district, with the Bukhansan mountains as a backdrop, the five-story beacon of light is the first retail space that the Pritzker Prize winner has completed since the early days of his career—and his first for the French luxury brand. Of course, the two are familiar friends following their collaboration on the Fondation Louis Vuitton, unveiled in Paris in 2014. With curved glass panels that stretch up toward the sky like sails, the Seoul boutique is both an evolution of the Paris building and a reflection of the architect’s deep appreciation for Asian culture. Gehry, who has two half-Korean granddaughters, found inspiration for the store in the swooping movements of the traditional Dongnae Hakchum crane dance. “I’m always looking for ways to create feeling with three-dimensional materials,” he notes. “I love dance because it expresses movement as sculpture.”

DISCOVERIES

1. THE BUILDING AGLOW AT NIGHT. 2. OBJETS NOMADES CONCERTINA SHADE BY RAW EDGES. 3. AN INTERIOR TERRACE. 4. OBJETS NOMADES SPIRAL LAMP GM BY ATELIER OÏ. 5. MONOGRAMMED SUITCASE.

which were conceived by

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interior terraces, all curved glass and sloping steel columns. There is no merchandise—just chic seating curated by Marino and perfect city views over the treetops. In an age of online shopping—rather, online everything—the space makes a convincing argument for retail IRL.

Louis Vuitton store.” —JANE KELTNER DE VALLE

KI-YONG NAM (2): PRODUCT: COURTESY OF LOUIS VUITTON

while swings by the Campana Brothers for Vuitton’s Objets Nomades collection hang overhead, greeting visitors. Elsewhere, intimate lounge spaces feature groovy 1960s and ’70s pieces by the likes of Pierre Paulin and Carlo Scarpa. And a concrete staircase doubles as a vertical gallery, with bright color-field paintings by many of the contemporary artists whose work Marino collects. Those steps lead to a top-floor gallery of rotating exhibitions (currently Alberto Giacometti works on loan from the foundation). “It’s meant to be a fun, happy experience,” says Marino. “I know architects don’t use the word happy a lot, but I do. I think Frank’s architecture is very joyful—and I like that.” The ambitious project underscores Vuitton’s deep commitment to design, from fashion to furniture to art to architecture. Perhaps the best interplay of these media can be found on the

TRAVELS

1. STONE STEPS LEAD TO A SECRET GARDEN AT THE AMAN KYOTO. 2. AN OUTDOOR BATH AT THE HOTEL’S ONSEN SPA.

Soak It All Up

Relaxing at its most refined, the new Aman Kyoto is both a gateway to the city and a world unto itself

ou might be surprised to learn that there is no gym at the new Aman Kyoto, now the world’s most buzzedabout wellness destination. There’s no need for one—thoughts of treadmills and free weights couldn’t be further from guests’ minds. Those lucky enough to visit the hotel’s 26 rooms and suites will instead find themselves drawn to the spectacular landscape: an 80-acre tableau of indigenous plants and ancient rocks, with lovingly revived gardens that date to the late Edo period. Who needs kettlebells when the leaves of 20,000 Japanese maples are turning? Rejuvenation (mental, physical, spiritual) comes in the form of walks along mosscovered paths, in the shadow of towering sugi trees, or hikes up monumental stone steps to a secret clearing where the hotel offers yoga and guided meditation. But rest assured you will break a sweat during your stay: Indoor and outdoor baths fed by natural hot springs offer a contemporary take on the onsen experience. Like this spa, the guest pavilions and dining spaces were all designed by the late architect Kerry Hill, who incorporated traditional Japanese touches—from tatami mats to blackened timber façades to cypress soaking tubs. Of course, a trip to Kyoto is about exploring, not just unwinding. AD rounded up some favorite stops in this historic city. aman.com —SAM COCHRAN

ARCHDI GE ST.COM

SEE From the hotel, it’s an easy walk to some of the city’s iconic temples. Start your morning at Kinkaku-ji, clad in gold leaf that shines in the rising sun. Then head to Ryoan-ji, home to Japan’s most famous rock garden, before continuing on to Ninna-ji, a sprawling complex dating back to the early Edo period. Stamina permitting, take the tram to Arashiyama, where you can visit the Bamboo Grove and Katsura Imperial Villa (a must according to Roman Alonso of the AD100 firm Commune Design). The latter requires advance permission—ask the hotel for help. SHOP Tradition still thrives in Kyoto, where small shops spotlight local craft and cuisine. Pick up tea at Ippodo, incense at Shoyeido, and stationery at Kamisoe, a fave of AD100 architect Toshiko Mori. On the same street is a collective of artisans selling wares inside a machiya, as well as a tiny sweets store, Umezono Sabo. EAT Peruse the food stalls at Nishiki Market. Slurp soba at Misoka-an Kawamichi-ya or Itsutsu, both beloved for their herring/noodle combos. And for a special treat, snag a coveted bar seat at Monk, where chef Yoshihiro Imai cooks set seasonal menus (pizza included!) out of a stone oven. FLY Start your cultural immersion on the tarmac: ANA airline’s cabins (on flights from NYC to Tokyo) were just redone by Japanese architect Kengo Kuma.

COURTESY OF AMAN

DISCOVERIES

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DISCOVERIES ONE TO WATCH

Hanna Hansdotter

“This area has a long history of producing glass,” the artist says of Småland, the Swedish province where she keeps her studio and hot shop. In the 18th century, timber from dense local forests fueled the furnaces that yielded assorted treasures for the royal family. Today, the region’s main manufacturers, Kosta Boda and Orrefors, produce affordable tableware alongside car parts for Volvo. It’s this multifaceted history that has inspired Hansdotter’s work, which, she notes, hovers “between craft and mass production.” After training in the region, dubbed the Kingdom of Crystal, she headed to art school, where she experimented with blowing molten glass into industrial iron frameworks. These ad hoc molds would imprint patterned, almost alien surfaces onto her vessels, as the glass bulged and oozed through openings in the grates. “How can I make repetitive objects that are still unique?” she asks, reflecting on her process—a dynamic interplay between heavy metal and slick, often mirrored glass that she continues to explore. The answer, Hansdotter notes, lies in the slump, which translates to “chance” or “luck” in English but, fortuitously, reads just as well in Swedish. —HANNAH MARTIN

DEBUT

COVER STORY

Holly Hunt has applied its modern, all-American eye to its first collection of wall coverings. Launching at its Manhattan showroom this month, the 118 patterns range from shimmering panels to natural silks to hand-painted wood veneers. As JoAnnah Kornak, the brand’s executive creative director, says, “They’re really art on the wall.” hollyhunt.com

—CARLY OLSON

CLOCKWISE FROM TOP LEFT CUMULUS SHIMMER, LISBON VISTA, STEPPING UP, CORNERSTONE.

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TOP: JONAS LINDSTRÖM; BOTTOM: WALL COVERINGS COURTESY OF HOLLY HUNT

HANSDOTTER IN HER STUDIO IN SWEDEN.

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SHOPPING

Feast Your Eyes

Sculptural, surprising, or downright sleek, the best dining chairs earn their place at the table 26

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PRODUCE D BY MAD ELINE O’MA LL EY

MARIO MILANA CHAIR: DAVIDE MILANA; ALL OTHER IMAGES COURTESY OF RESPECTIVE COMPANIES

DISCOVERIES

Vispring makes supremely comfortable beds, and has done since 1901. Only the ďŹ nest natural materials, inside and out. Designed for durability. Crafted for comfort. Made for the very best sleep. www.vispring.com

DISCOVERIES AN OAK-CLAD DRESSING ROOM IN CHICAGO BY S.R. GAMBREL INC.

THE EXPERT

Clothes Encounter

Steven Gambrel unpacks a Chicago dressing room for takeaway tips

OPENANDSHUT CASES

Smart, sophisticated, and stylish, our favorite new closets blend form and function

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PRIMARY OBJECTS Henrybuilt These new stand-alone pieces deliver the same flexible solutions as the brand’s coveted builtins; henrybuilt.com

THE EVERYDAY SYSTEM Martha Stewart + California Closets Stewart has teamed with the company on its first modular storage, launching this month; californiaclosets.com/martha

GLISS MASTER SISTEMA 7 Molteni&C Creative director Vincent Van Duysen’s latest wardrobes feature ingenious, space-saving folding doors; molteni.it

TOP: ERIC PIASECKI (2); BOTTOM FROM LEFT: DANIEL BERNAUER; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES

“A DRESSING ROOM isn’t the place to experiment with color.” So says AD100 interior designer Steven Gambrel, a maestro of sensational polychrome decorating schemes who understands that when it comes to storage, the clothing shouldn’t have to compete for attention. Thus, pallor is key in the 330-square-foot dressing room he created in collaboration with Liederbach & Graham Architects for an apartment in Chicago’s 1929 Palmolive Building. The dominant material is walnut that has been “bleached and bleached and bleached, followed by some other treatments because it’s typically dark brown and doesn’t want to be light,” Gambrel explains, adding that the wood has a tight, straight grain. “Cherry is tacky, and maple looks cheap. Oak is delightful because it’s a light wood but has a really open grain, so it feels casual. I wanted a wood that was more refined.” Cabinets with elegant grilles keep wardrobes in view for quick decision-making. (The space is shared by a married couple.) A window seat makes a perfect perch for putting on shoes, and at center is a leather-topped, double-sided chest of drawers. Striéd carpeting, purposefully pale, pulls the walnut’s grain across the floor. Notes Gambrel, “You try to find like-minded materials that don’t have too much contrast.” —MITCHELL OWENS

The Design Team at

www.interiorsbysteveng.com

An impressive design firm and noted resource for developers of luxury residential and commercial projects worldwide. Steven G. Corporate Headquarters/Showroom encompasses over 110,000 square feet of exquisite furnishings, textiles, lighting and objet dâ&#x20AC;&#x2122;art. Recipient of numerous design awards LEED certified. Established 1984 CoRpoRAtE HEADquARtERS:

2818 Center port Circle

pompano Beach, FL 33064

p 954.735.8223

FL State Licensed Designer IB13000407

DISCOVERIES

1. EVANGELINE BRUCE’S FRENCHINFLECTED LONDON DRAWING ROOM, WITH ITS LEGENDARY SILK DRAPERIES. 2. IT APPEARED IN AD’S MARCH 1991 ISSUE.

THEN AND NOW

London Pride

t’s still kind of thrilling,” designer Suzanne Rheinstein observes of a favored interior: the London drawing room of best-dressed hostess and amateur historian Evangeline Bruce, featured in AD in March 1991. Decorated about two decades earlier by John Fowler, a partner in the blue-chip British firm of Sibyl Colefax & John Fowler, it had a Francophile air and understandably so. Bruce’s late husband, David, had been U.S. ambassador to Paris (among other spots); her favorite year was 1795, a tumultuous period when the Bourbon monarchy collapsed;

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and Fowler was mad about Marie Antoinette. “The handpainted silk cushions, the Louis XVI furniture, the palette of melons, lemons, corals, and blues. That lightheartedness made a big impression on me,” the Los Angeles–based Rheinstein says of the Bruces’ confectionary digs in Albany, London’s most exclusive apartment house. “It had so much charm, and everything in it was wonderful of its kind.” Notably the fantastical oyster silk draperies frothing from ceiling to floor, the fabric cut with scalloped pinking shears, a detail that Fowler had spotted on an antique dress in a museum. Rheinstein, smitten, took the bait. “I got this very, very, very elderly lady out of retirement who had a pinking machine,” the decorator recalls, “and had her make curtains for my daughter’s room with a Colefax and Fowler glazed chintz that was so shiny you could practically see your reflection.” —MITCHELL OWENS

FROM TOP: DERRY MOORE; GABRIELLE PILOTTI LANGDON

A soigné circa-1970 drawing room by John Fowler leaves decorator Suzanne Rheinstein spellbound

S TA R T S

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DISCOVERIES

Doctor’s Orders

Architectural designer Sharon Davis teams with nonprofit Possible Health to bring off-thegrid care to a Nepalese community in need

NEPAL’S BAYALPATA REGIONAL HOSPITAL, BY SHARON DAVIS DESIGN.

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n the Achham district of western Nepal, some 600 miles from capital Kathmandu, patients historically have had to travel up to seven days to reach a doctor. Thanks to a new project by the do-good architecture firm Sharon Davis Design, high-quality health care just got closer to home. Working in collaboration with the nonprofit Possible Health and the Nepalese government, the New York–based practice has redesigned and expanded what was an obsolete medical facility. Reborn as the Bayalpata Regional Hospital, the campus now delivers top-level care (both primary and specialized) to this corner of the country. One of the main challenges of the site was the climate: Seasonal temperatures can range from freezing to over 100 degrees Fahrenheit, and there was not sufficient grid reliability to support a traditional heating and cooling system. Inspired by a previous mudbrick project, Davis turned to rammed earth, a low-cost heat-storing material. Unfamiliar with the construction method, locals needed some convincing. “We found one person in Nepal who had been making rammed-earth walls, and he agreed to make a mock-up for us,” explains Davis, who then worked with a structural engineer to perfect the mix of concrete and earth. With it, the firm designed six new hospital buildings (among them an emergency room, pharmacy, and maternity ward), as well as doctors’ housing and visitor dormitories. In most, natural ventilation, breezeways, and ceiling fans help mitigate heat; landscaped courtyards serve as waiting areas; and separate public and private spaces combat the swell of foot traffic while keeping doctors organized. The pitched roofs, familiar to many who hail from the surrounding countryside, are topped with photovoltaic panels designed and supplied by nonprofit SunFarmer. Since it opened in November, the 7.5-acre campus has yielded net positive energy. When building in a remote location, says Davis, “this project is a model of how vernacular materials can be utilized to create modern architecture.”—ELIZABETH FAZZARE

ELIZABETH FELICELLA

GOOD WORKS

GIEVES ANDERSON

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PRODUCED BY:

A SKIRTED COCKTAIL TABLE ANCHORS THE LIVING ROOM. NICKEY KEHOE SOFA; CUSTOM CHAISE IN A ROSE CUMMING LINEN; VIGGO BOESEN CANED ARMCHAIR; CUSTOM RUG BY STARK. FOR DETAILS SEE RESOURCES.

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TEXT BY

MAYER RUS

PHOTOGRAPHY BY

LAURE JOLIET

Outside Los Angeles, designer Frances Merrill composes a symphony of brilliant hues and fanciful decorative motifs for a mother and son with gutsy tastes

OVER THE RAINBOW

KATIE AND HANK WITH THEIR BLACK LAB, ECHO, IN THE COURTYARD. LANDSCAPE DESIGN BY TERREMOTO.

JENNIFER SHORTO WALLPAPER COMPLEMENTS THE BURGUNDY BEAMS IN THE DINING ROOM. NICKEY KEHOE TABLE; JOSEF HOFFMANN CHAIR; SENTIENT WALNUT BENCHES COVERED IN AN OSBORNE & LITTLE WEAVE. ARCHDIGEST. COM

“I was blessed to find a kindred spirit in Katie,” says designer Frances Merrill. “She’s incredibly adventurous when it comes to color and pattern.” IN THE KITCHEN, A CUSTOM BANQUETTE WEARS A KNOLL MOD PLAID. CUSTOM TABLE BY MONROE WORKSHOP; SHAKER CHAIRS BY S. TIMBERLAKE; THE CABINETS ARE PAINTED IN BENJAMIN MOORE’S LAFAYETTE GREEN.

LEFT IN THE POOL ROOM, A CUSTOM CURTAIN IS COMPOSED OF ASSORTED LINENS. ROBERT VENTURI CHAIR. BELOW TILE BY HEATH CERAMICS COVERS A SHOWER. VOLA FITTINGS; SHOWER CURTAIN OF A GERT VOORJANS FOR JIM THOMPSON PRINT.

it's

“I was blessed to find a kindred spirit in Katie. She’s incredibly adventurous when it comes to color and pattern, both in the vintage clothes she loves to wear and the kind of home she wants to live in,” Merrill says. “If ornament is crime, Katie is my accomplice,” the designer adds, taking a sly dig at Adolf Loos. Jordan, for her part, returns the compliment. “Without Frances, I imagine my house would be a hodgepodge of a lot of beautiful things with no common denominator. I get excited by so many different fabrics and colors, and so does not that Frances Merrill never met a color or pattern she didn’t like. Not at all. “It just has to be the right color, the right pattern,” my son, Hank. He actually picked the paint colors in his room. Frances took all of our passionate chaos and made sense of it,” says the wildly imaginative founder of the Los Angeles–based the homeowner notes. firm Reath Design. A case in point is the classic midcentury Early conversations between Merrill and her client home Merrill recently reinvented for Katie Jordan, a cofounder focused on ways to soften the taut lines and hard angles of the of the youth-aid organization Foster a Dream, in the L.A. existing architecture. “We talked a lot about feminizing the suburb of Altadena. To say that the home is animated by a riot house. Although I appreciated the broad expanses of glass and of polychromatic wallpapers, fabrics, and paints would be the connection to nature, I didn’t like how masculine it felt. misleading. Despite the kaleidoscopic array of brilliant hues I honestly wasn’t sure if it was possible to make it cozy,” and fanciful patterns, the overall effect registers as warm, Jordan recalls. welcoming, and joyous—there’s nothing cacophonous about it.

ABOVE IN THE MASTER BEDROOM, ASH SIDE TABLES BY KALON FRAME THE BED. HEADBOARD AND BED SKIRT OF A VERVAIN LINEN; BEDDING BY HAWKINS NEW YORK; BOLSTER PILLOW OF A KERRY JOYCE LINEN; SHAMS OF A DESIGNERS GUILD LINEN-COTTON.

not simply confined to the house’s primary social spaces, like Merrill’s response was to play against type, rejecting the the generous open kitchen, where bright-green cabinetry is all-too-common impulse to dress a midcentury house entirely punctuated with abstracted floral cutouts and humble Shaker in period furniture and finishes. “When I was a kid, we had a chairs are unexpectedly adorned in red and black canvas tapes. family friend who owned a Marcel Breuer house in Princeton that was furnished with Persian rugs and old family heirlooms. The joy of color and pattern extends into a bathroom clad in blue tile accented by cherry-red fixtures and a sprightly redThere was something compelling about the tension between the angular architecture and the traditional furniture,” Merrill and-blue floral shower-curtain fabric designed by Gert Voorjans for Jim Thompson. (Fun fact: Thompson, the Thai silk czar says. “I tried to channel that spirit here. The chaise we picked for the living room, which is covered in a Rose Cumming floral, who disappeared mysteriously in Malaysia in 1967, was Merrill’s great-great-uncle.) There’s also a rainbow coalition of could easily work in somebody’s grandmother’s house.” Nevertheless, it’s the rare granny who would choose to paint brilliantly hued outdoor dining chairs, custom color-blocked cushions for the pool chaises, and a massive ultramarine all the interior and exterior wood beams and columns a shade of burgundy similar to that of a Japanese maple. Or to paper the outdoor sofa set against the ivy-covered hillside that cradles the house. dining room in a strange, trippy pattern of oranges erupting “There was a skeleton of a great midcentury garden that into tiny cityscapes. Or even to install a rainbow curtain of eight had been denuded over the years. Our job was to rebuild separate color panels that visually extends from the master what was there and elevate some of the materials and details,” bedroom to the lounge off the pool. says David Godshall, cofounder of the burgeoning L.A.What’s most extraordinary, perhaps, is the completeness and San Francisco–based landscape-design firm Terremoto. of the designer’s vision. Merrill’s orchestration of delight is

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“The giant boulders on the site were the launching point for our work,” says landscape designer David Godshall. A COAST LIVE OAK SHADES THE POOL. VINTAGE BAMBOO ARMCHAIRS.

RATTAN DIRK VAN SLIEDREGT BARSTOOLS STAND AT THE COUNTER. THE BEAMS ARE PAINTED IN BENJAMIN MOORE’S BORDÉAUX RED.

“Frances took all of our passionate chaos and made sense of it.”

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That process involved redoing an aged acrylic fence with panels of tempered glass and replacing what Godshall describes as “Rice Krispies concrete paving” with period-appropriate exposed-aggregate concrete framed with wood borders. “The giant boulders on the site were the launching point for our work. The original garden made references, both subtle and overt, to Japanese landscape design, and we underscored that affinity by doing things like installing pathways of buried boulders combined with square and rectangular concrete pavers. Horticulturally, the garden is part Japanese, part native California, and part jungle,” Godshall explains. One of the plantings Godshall chose—a red Abyssinian banana tree—gives a clear nod to Merrill’s color choice for the architectural framing, which sets the tone, literally and figuratively, for the entire house experience. When asked if she has any advice for do-it-yourselfers eager to hop aboard the crazy color wagon, Merrill demurs. “It’s not something you can codify or teach. It’s intuitive,” she insists, adding, “This isn’t exactly rocket science, except that it kind of is.”

IN THE FRONT GARDEN, KATIE SITS ON A CUSTOM CURVED SECTIONAL COVERED IN A SUNBRELLA FABRIC. FIRE PIT BY WP THATCHER DESIGN.

design notes

THE DETAILS THAT MAKE THE LOOK

LARGE POP LIGHT; $987. ROTHSCHILDBICKERS.COM

ERICA CARPET; TO THE TRADE. STARKCARPET.COM

Despite all the patterns, the house feels grounded, not flighty.” —Frances Merrill DOUBLE-TIER CLOUD SIDE TABLE; $2,500. BZIPPYAND COMPANY.COM

QUEEN ANNE CHAIR BY ROBERT VENTURI FOR KNOLL FROM LOBEL MODERN; PRICE UPON REQUEST. INCOLLECT.COM

TERASSI CHAISE BY STUDIO TOLVANEN FOR DESIGN WITHIN REACH; $2,795. DWR.COM ICEFLOWER VELVET BY KLAUS HAAPANIEMI & CO.; $127 PER METER. KLAUSH.COM

INTERIORS & EXTERIOR: LAURE JOLIET; POP LIGHT: SIMON CAMPER; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES

PAW-PRINT LAMP AND SHADE; $283. CRESSIDABELL.COM

WHITBY SCONCE; $1,052. URBAN ELECTRIC.COM

HVI FAUCET BY ARNE JACOBSEN FOR VOLA; $1,415. HASTINGSTILE BATH.COM

of working with Frances was how often she said yes.” —Katie Jordan

HANK’S BATH FEATURES TILES BY HEATH CERAMICS, VOLA FITTINGS, AND A SHOWER CURTAIN OF A JIM THOMPSON PRINTED FABRIC.

$70 PER GALLON.

PAGEANT STRIPE BY MULBERRY; TO THE TRADE. LEEJOFA.COM KONA VASE; $2,800. ELYSEGRAHAM.COM

BANJOOLI SIDE CHAIR BY SEBASTIAN HERKNER FOR MOROSO; $500. MOROSOUSA.COM

OUTSIDE, MOROSO ARMCHAIRS SURROUND AN RH TABLE. P RODUCE D BY M AD ELI NE O ’M ALLEY

After jetting around the globe to document the lifestyles of the rich and famous, photographer Douglas Friedman takes refuge on an otherworldly site in Marfa, Texas TEXT BY

MAYER RUS

PHOTOGRAPHY BY

DOUGLAS FRIEDMAN

STYLED BY

MICHAEL REYNOLDS

home on

AN ARTWORK BY WENDY VANDERBILT LEHMAN STANDS IN FRONT OF PHOTOGRAPHER DOUGLAS FRIEDMANâ&#x20AC;&#x2122;S MODERNIST HOME IN MARFA, TEXAS, WHICH IS WRAPPED IN RETRACTABLE SCREENS BY PHANTOM SCREENS. FOR DETAILS SEE RESOURCES.

the range

VINTAGE SEATING AND AN RH SOFA SURROUND A COCKTAIL TABLE IN THE LIVING ROOM. LAMPS BY STEVEN GAMBREL; STOOLS BY LUMBER CLUB MARFA; RUG BY DOUGLAS FRIEDMAN FOR KYLE BUNTING; ARTWORKS BY STEVE HASH (LEFT) AND JEFF ELROD.

ARTWORK: © STEVE HASH; © JEFF ELROD, COURTESY OF THE ARTIST AND LUHRING AUGUSTINE, NEW YORK

“The desert really doesn’t want you there,” Friedman says. “You’re in a constant battle against wind, rain, dust, and, in the summer, blistering heat.”

ABOVE RH LAMPS HANG OVER AN RH DINING TABLE WITH CHAIRS COVERED IN ICELANDIC SHEEPSKINS. CURTAINS BY THE SHADE STORE. OPPOSITE THE MODULAR KITCHEN BY VIPP HAS GAGGENAU AND LIEBHERR APPLIANCES. ART BY LARRY BELL.

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West Texas landscape so bewitching. “When you fall in love with Marfa, you fall in love with all of it,” he insists. “Having grown up in New York City, a nice Jewish boy, the idea of living out on the land was incredibly appealing. I have to take two flights and then drive three hours to get there, but the journey culminates at the end of a dirt road, with no visible neighbors and endless views of this incredibly beautiful, soulful terrain,” Friedman muses. When it came to designing a suitable house for his 10-acre parcel of heaven, the photographer adopted a sort of Occam’s-razor approach to architecture. “I was going for simplicity—something monastic but attractive, the easiest and most economical thing I could build,” he recalls. “The problem is that there’s nothing simple about building out here, especially when you have to put in power and septic systems and drill a well. Also, simplicity in architecture, with a modicum of grace, turns out to be quite difficult. My humble idea of desert living just kept ballooning.” After considering, and rejecting, a wide range of prefabricated options, Friedman settled on a modular system of glulam timbers, steel connectors, and structural insulated panels (SIPs in construction parlance), all shipped to Marfa and assembled on-site under the supervision of contractor Billy Marginot. A taut modernist box laid out on an exacting grid, the house

SCULPTURE: BRETT DOUGLAS HUNTER FOR KINDER MODERN

he high desert of far West Texas can be unforgiving terrain. Just ask Douglas Friedman, the globe-trotting photographer renowned for his copious talents and bonhomie, to say nothing of his signature mustache and tattoos. Nine years ago, Friedman fell under the siren spell of Marfa, the diminutive Lone Star city and art mecca (population roughly 2,000) once described affectionately by John Waters as “The Jonestown of Minimalism” for its connection to artist Donald Judd. “The desert really doesn’t want you there. You’re in a constant battle against wind, rain, dust, and, in the summer, blistering heat,” Friedman says, reflecting on the challenges of building his serene modernist compound. “For one thing, I didn’t design the house with screens, because I wanted it to feel as open as possible. But I quickly realized that you need screens if you don’t want a scorpion in your shoe, a rattlesnake under your bed, and a tarantula in the sink.” Sounds charming. But Friedman is equally emphatic that the creepy-crawly desert critters are part of what makes the

ABOVE A DE GOURNAY WALLPAPER WRAPS A GUEST ROOM, WHERE THE BEAUTIFUL BED COMPANY BED WEARS RH LINENS. OPPOSITE VINTAGE BOLIVIAN PILLOWS AND TEXTILES FROM GARZA MARFA DECORATE A SOFA BENEATH A PERGOLA. BRETT DOUGLAS HUNTER SCULPTURE.

features a two-foot clerestory that completely encircles the structure and makes the roof appear as if it were floating on a cushion of light when the home is illuminated at night. To maintain the integrity of the design, all the mechanical systems and wiring are channeled through the concrete foundation. The pool, made from a shipping container, is another prefab element. “It arrived from Canada on a flatbed truck, and we just craned it into a hole we dug. I hooked up the services and was swimming the next day,” Friedman explains. Outdoor amenities at Rancho Friedman also include a shade structure with pop-up screens for alfresco entertaining and a second, Juddian shade structure by the pool. FOR THE DECORATING PORTION of the process, the welltraveled photographer relied on a formidable roster of advisers and éminences grises. “I’m lucky to have worked with, and befriended, some of the best designers in the world, so I naturally turned to them for guidance,” he confesses. That lineup includes Steven Gambrel, who made the chic table lamps in the living room; Nicole Hollis, represented by end tables from her recent collection for McGuire; Brigette Romanek, who helped design and fabricate the green and rose–colored marble table that anchors the living room; and Ken Fulk, who gifted a brass bar cart inspired by a 1960s

Italian model. Friedman himself made his own contribution to the medley in the form of multicolored cowhide carpets from his new collection for Kyle Bunting. In the entryway, a monumental stone table by the contemporary Dutch designer Lex Pott is flanked by a series of seven massive concrete planters, detailed in bronze, by landscape designer Adam Sirak. “I used the planters to create an indoor garden of specimen cactuses. It’s so nice to walk into the space and have a moment to exhale before moving into the big living/ dining room,” Friedman says. “I also put a Judd chair in the entry because, well, you kind of have to.” Notes of eccentricity emerge in the taxidermy pigeons that Friedman attached to the huge swing-arm lamps that light up the dining table as well as the decidedly unexpected de Gournay wallpapers that adorn the guest rooms. “I had this fantasy that I could live in a totally minimalist way, but I’m just not that person. I couldn’t resist having a little fun,” he says of the idiosyncratic jolts of color and pattern. Still, notwithstanding the fanciful British wallpapers, Friedman insists on his bona fides as a true Texas hombre. “This is my home now, and I have a Texas driver’s license to prove it,” he says with apparent pride. “When I’m working on the house or in the pool, looking at the mountains in the far-off distance, I feel genuinely connected to the land, tarantulas and all.”

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“I had this fantasy that I could live in a totally minimalist way, but I’m just not that person. I couldn’t resist having a little fun.”

ABOVE AN ISAMU NOGUCHI PENDANT HANGS OVER A LEX POTT TABLE IN THE ENTRY. DONALD JUDD CHAIR; MASKS BY MEXICAN ARTISAN DON TOMAS NÁJERA AND FASHION DESIGNER CARLA FERNANDEZ. RIGHT FRIEDMAN.

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IN A GUEST BEDROOM, A THROW BY KLAUS HAAPANIEMI & CO. TOPS THE BED WITH RH LINENS. WALLPAPER BY DE GOURNAY; RUG BY DOUGLAS FRIEDMAN FOR KYLE BUNTING.

POTTERY BARN CHAISE LONGUES SIDLE UP TO THE POOL BY MODPOOLS. SCULPTURE BY BRETT DOUGLAS HUNTER.

design notes

THE DETAILS THAT MAKE THE LOOK

RH LINENS DRESS A BED BY THE BEAUTIFUL BED COMPANY. VINTAGE HORN BENCH; DON S. SHOEMAKER CHAIR; NOGUCHI FLOOR LAMP.

WEBSTER BED; FROM $1,798. SERENAAND LILY.COM

The colors of the land.” ATLAS RUG BY DOUGLAS FRIEDMAN FOR KYLE BUNTING; TO THE TRADE. KYLEBUNTING.COM SNAKE TABLE LAMP BY BRETT BELDOCK FOR CB2; $100. CB2.COM

ARÖD LAMP; $50. IKEA.COM

INTERIORS & EXTERIOR: DOUGLAS FRIEDMAN; NOGUCHI LIGHT: © 2020 THE ISAMU NOGUCHI FOUNDATION AND GARDEN MUSEUM, NEW YORK/ ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; ALL OTHER IMAGES COURTESY OF RESPECTIVE COMPANIES

RAINBOW GLASSES; $540 FOR A SET OF FOUR. LADOUBLEJ.COM

BARCELONA COUCH BY LUDWIG MIES VAN DER ROHE FOR KNOLL; $10,886. KNOLL.COM

PRODUCE D BY MAD ELINE O’MA LL EY

AKARI 75D HANGING LAMP BY ISAMU NOGUCHI; $600. SHOP.NOGUCHI.ORG

RABBIT THROW BY KLAUS HAAPANIEMI & CO.; $570. KLAUSH.COM ROTTERDAM ACCENT TABLE; $875. ARTERIORS HOME.COM

A BATHROOM FEATURES A LAUNDRY SINK FORMERLY IN ONE OF DONALD JUDD’S MARFA HOMES. FITTINGS BY REJUVENATION.

I tried to soften the toughness of the terrain with a little tenderness.”

TULUM CEMENT TILE; $7 PER PIECE. CEMENTTILESHOP.COM

SALINAS STRIPE COTTON; $132 PER YARD. RALPHLAURENHOME.COM

TUNDRA COOLER 35 BY YETI; $250. WILLIAMS-SONOMA.COM A VINTAGE BENCH AND BUST DECORATE THE OUTDOOR SHOWER. FIXTURES FROM TRUE VALUE HARDWARE.

VIPP.COM

BRU

TE FORCE For avid collectors of modern art and furnishings,Vincenzo De Cotiis infuses a brutalist concrete shell on the outskirts of Milan with warmth and texture TEXT BY

PILAR VILADAS PHOTOGRAPHY BY OBERTO GILI STYLED BY GIANLUCA LONGO

ON THE TERRACE, A MARBLEAND-BRASS SIDE TABLE BY VINCENZO DE COTIIS STANDS ALONGSIDE A PAIR OF VINTAGE CHAIRS. THE HOMEâ&#x20AC;&#x2122;S EXTERIOR IS MADE OF CONCRETE, PAINTED WOOD, AND BRASS. FOR DETAILS SEE RESOURCES.

ABOVE DE COTIIS POOLSIDE. LEFT VINTAGE VASES AND GIUSEPPE ARCIMBOLDO–INSPIRED CERAMIC BUSTS LINE A BLACK IRON STAIRWAY.

When asked to name the biggest influences on his work, Vincenzo De Cotiis, the Milan-based architect, designer, and artist,

demurred, saying, “I consider myself omnivorous. I feed on many different stimuli spanning art, architecture, and imagery.” De Cotiis is known for his richly textured, ruggedly sculptural limited-edition and custom furniture, which combines iconic modernist materials like brass and Tuscan marble with decidedly less conventional ones, like fiberglass recycled from old boats, and recycled wood—with elegant results. In an essay by Anne Bony in Vincenzo De Cotiis: Works (Rizzoli Electa), the recently published book that focuses mainly on his furniture,

ARCHDI GE ST.COM

BELOW IN A COVERED OUTDOOR AREA, FIBERGLASS STOOLS SURROUND A MARBLE TABLE, ALL BY DE COTIIS. VINTAGE CERAMIC PLATES; BRASS AND WHITE GLASS LIGHT BY DE COTIIS.

“Abstraction, undoing the functi is a process that fascinates

onal aspects of objects and things, me,” says Vincenzo De Cotiis.

IRON-FRAMED WINDOWS IN THE LIVING ROOM OPEN ONTO THE TERRACE. CUSTOM SOFA, MARBLE-TOPPED COCKTAIL TABLE, AND IRON-AND-GLASS SHELVING BY DE COTIIS.

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De Cotiis cites influences like the Arte Povera movement of the late 1960s and early ’70s, and the minimalist work of Donald Judd. De Cotiis is also known for interiors in which he strips centuries-old architecture of any later embellishments or updates, creating a conversation between the authentically historic and his emphatically contemporary furniture designs. But in a house outside Milan that De Cotiis designed from the ground up for a couple who are avid collectors of art, objects, and vintage 20thcentury furnishings, the layers are almost all modern. Because of the owners’ wish for privacy and the close proximity of the neighboring houses, De Cotiis created a rather brutalist concrete building, tempered with abundant natural light and outdoor space.

He explains this seeming departure from his previous residential work by saying that in this case, there was “no historical stratification, no previous trace. The form is defined by the lot and the required choice of materials: a contemporary bunker adapted to accommodate the cultural life of an educated couple.” He says, “The challenge was to create an architecture that comes to life inwards while screening its exterior, giving a sense of protection and intimacy.” De Cotiis takes this “bunker” and imbues it with warmth, texture, and human scale. THE DESIGN IS WHAT HE CALLS “a sort of system

of interlocking volumes.” You enter the three-story building on the ground floor (the basement level

LEFT MARCO ZANUSO ARMCHAIRS FACE THE CURVED SOFA IN THE LIVING ROOM. ON TABLE, 19TH-CENTURY PARROTS, HAND-BLOWN MURANO GLASS VASE, AND VINTAGE CERAMIC VASE. ABOVE A 1970s LIGHT FIXTURE HANGS IN THE KITCHEN. SICILIAN CERAMIC VASES.

contains a guest room, a hobby/art room, and utility rooms) and walk into a spacious living room that opens onto a terrace and swimming pool. On a De Cotiis–designed rug, a pair of Marco Zanuso’s iconic Lady chairs, designed in 1951, face a vintage curved sofa. These are flanked on one side by a pair of De Cotiis–designed floor lamps, and on the other by one of his custom tables; its irregularly shaped marble top, set on brass legs, manages to look simultaneously tough and glamorous. A custom-designed shelving system, made of steel, brass, and recycled wood, stands in the center of the room and includes a built-in desk. At the other end of the room, steps rise to a mezzanine lounge area with custom modular seating and a vintage pole-mounted light fixture

from the owners’ collection; warm-toned recycled wood lines the wall that faces the street. Beyond the lounge, a skylit dining area is furnished with a custom table and wood chairs, designed by De Cotiis, that are covered in Hermès velvet. Outside, the layout mimics the varied levels of the interior, with the pool terrace leading up to an open-air dining area off the kitchen. From the living room, two flights of stairs—the first covered in iron and the second a series of cantilevered concrete treads—ascend to the bedroom level. The lower stairs are adorned with items from the owners’ collection of ceramics as well as a cast-brass bowl by De Cotiis, which sits atop a stack of books, on one of a series of movable, painted wood plinths.

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“The challenge was to create an architecture that comes to life inwards . . . giving a sense of protection and intimacy.”

IN THE LOUNGE AREA OF THE LIVING ROOM, DE COTIIS DESIGNED THE CUSTOM SUEDE SEATING ON BRASS BASES. ALESSANDRO VERDI CHARCOAL WORKS ON PAPER; CUSTOM RUG BY DE COTIIS.

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ABOVE FONTANAARTE MIRRORS HANG IN THE MASTER BATH. CUSTOM BRASS LIGHTS BY DE COTIIS; SINK FITTINGS BY CEA. BELOW FROM A NOOK IN THE MASTER BATH, A VINTAGE LEATHER CHAISE LONGUE OVERLOOKS THE TERRACE.

At the top of the stairs, through a pair of recycled fiberglass-and-brass sliding doors, the master bedroom showcases linen wall panels and a bedcover. To one side lie dressing rooms and a gym, to the other a spacious bathroom, with vintage FontanaArte mirrors above the double sink. From the master bath, a full-height pivoting door opens onto a small terrace. Together, these spaces and elements produce a feeling that is both serene and sheltering. Even as De Cotiis continues his residential work— one of his current projects is in Paris, on the Île Saint-Louis—some of his objects have moved into the realm of abstract sculpture. Ode, an installation that was part of Dysfunctional—an exhibition at the Ca’ d’Oro, organized by Carpenters Workshop Gallery for last year’s Venice Biennale—was a series of tall, upright forms in recycled fiberglass and silvered brass, arranged to form a “barrier” with social as well as formal meanings, but which could also become room dividers. As De Cotiis says, “Abstraction, undoing the functional aspects of objects and things, is a process that fascinates me . . . and perhaps I will move ever more in that direction.” But one can hope that someone with his ability to master both fine art, and the art of living through design, will continue to do both.

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CLOSET DOORS COVERED IN LINEN CREATE A SOFT BACKDROP IN THE MASTER BEDROOM. CUSTOM BED; VINTAGE ARMCHAIRS; BRASS, FABRIC, AND GLASS BEDSIDE TABLES.

SEOUL SENSAT

Kwangho Lee

“All of my work comes from the same place—material experimentation,” says Lee. In 2006, for his graduation project at Hongik University, he showcased a series of lights made from draped and woven electrical wire. Soon he was weaving chunky chairs and sofas from PVC and other unconventional cords and applying enameled copper to cabinets and dining tables, using an ancient technique often applied to small bowls and vases en masse. These days he’s investigating 3-D printing and aluminum sand casting. “There’s this innate Korean quality of fastness,” he says, “wanting to learn something fast, show something fast.” A star of Salon 94 Design’s roster, he has harnessed that creative momentum, building a community of local designers in the once-industrial Seongsu-dong neighborhood, where he leases studios to young creatives and champions Korean talents at his exhibition space, Supply Seoul. Lately he’s noticed “the world has begun to appreciate our newness.” kwangholee.com

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IONS

As the South Korean capital experiences a cultural renaissance, a community of young designers has entered the spotlight, experimenting with new materials and redefining traditional craft. Meet five firms forging the nation’s new creative frontier TEXT BY

HANNAH MARTIN

PHOTOGRAPHY BY

Ok Kim

JEONGMEE YOON

“They’re inspired by stone stacks, something Korean people make when they’re wishing for love, or luck on a test,” the designer explains of her colorful side tables, which she regularly assembles into totems for display. (Two groups are pictured below at her studio in the Yangcheon-gu neighborhood.) “They always look precarious, but somehow they balance.” After studying wood craft at Pusan National University, Kim went to Hongik University for furniture design and apprenticed under a master artisan to learn ottchil, the Korean traditional lacquer method. She now gives the labor-intensive process a contemporary twist, hand-brushing coat after coat onto steel forms, then sanding away to reveal painterly patterns. A single table can take nearly four months to finish. Working with the lacquer feels autobiographical for Kim, who says, “I am Korean; these works show who I am.” okkimstudio.com

Seungjin Yang

Inflated balloons hang like sausage links in a corner of Yang’s white-box studio. Each one will receive eight coats of epoxy resin, hardening into forms sturdy enough to create fantastical seats. “Balloons are empty inside,” muses the designer, who floated center stage Stateside after the Future Perfect began showing the series last spring. “I was fascinated by the idea that such a vulnerable material could be made solid.” Yang, who used to share a studio with his Hongik University peer Kwangho Lee, is now a key figure of the burgeoning Seongsu-dong design community. “This is a country where art history could not grow deep,” he says, reflecting on the tumultuous colonial period and the Korean War. “Finally we’re seeing that being restored.” seungjinyang.com

Jaeryo

“Jaeryo, if you translate it, means ‘material,’ ” says Nuri Kim, explaining the name of the firm she cofounded with fellow designer Sangwon Oh. The moniker is fitting. The two teamed up in 2018, dedicating themselves to different media. Kim has focused on ceramics, using both plaster-mold and hand-building techniques to create futuristic formations in clay. (Her 2018 Nuage stool was shown at Kwangho Lee’s Supply Seoul space.) Oh, on the other hand, studied pulp and paper engineering and channeled that knowledge into a body of work in papier-mâché. While ceramics have a long tradition in Korea, he notes, “when it comes to paper, people only think of traditional hanji. The material ideas are a bit limited in Korea.” But Jaeryo is already trying to broaden that conversation. “Seoul is so fast-paced,” says Kim, who is interested in beadwork and jewelry. “I’m constantly thinking about new ideas, what to do next.” jaeryo.com

Sang Hoon Kim

When Kim, who graduated from Cranbrook Academy of Art in 2009, returned home and started working at his family’s Seoul foam factory, he thought his design practice (slick, digitally produced pieces in wood and metal) would have to go on hold. But he soon had an epiphany: “Foam is fun, interesting, and best of all [for me] free.” After-hours he began experimenting with the material, often used for mattresses, shoe soles, and the like. Soon he was carving it into abstract sofas and chairs—some blobby, like melted marshmallows; others clean-lined, like supersize kitchen sponges. After making a splash at Cristina Grajales Gallery’s 2018 booth for Design Miami, he’s now working on a finish to make the chairs suitable for the outdoors. “Our generation has to find the materials of our time,” explains Kim. “We don’t have design history here. So we are making Korean design.” kimsanghoonart.com

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Dan Fink designs the ultimate automobile-friendly man cave for real estate developer Rick Caruso

CAR

TEXT BY SHAX RIEGLER PHOTOGRAPHY BY TREVOR TONDRO STYLED BY AMY CHIN

A LIGHT-BLUE 1964 SHELBY COBRA, A DARKBLUE 1960 FERRARI, AND A RED 1955 LANCIA ARE JUST THREE OF THE AUTOMOTIVE TREASURES HOUSED HERE. CUSTOM POLISHED NICKEL-ANDBRONZE CHANDELIER BY DAN FINK STUDIO. FOR DETAILS SEE RESOURCES.

TALK

I'm

LEFT A VINTAGE BANK-VAULT DOOR OPENS INTO THE WINE-STORAGE ROOM. RIGHT DESIGNER DAN FINK IN THE OFFICE. WALNUT-AND-BRASS DESK, CIRCA 1925; 1930s SIDEBOARD; COWHIDE RUG BY DORIS LESLIE BLAU.

fascinated by their design and history, but I also like cars that I can actually drive,” says real estate developer Rick Caruso, who has built up a portfolio of upscale shopping, residential, and office complexes around Southern California over the past few decades. Caruso’s drivable works of art include a 1930 Packard convertible (the first car in his collection), a 1955 Lancia Aurelia Spider America, a 1964 Shelby Cobra 289, and other gems that he enjoys taking out for a spin. One highlight is a Fiat Eden Roc, one of only two ever made. Dating from 1956, the yacht-inspired vehicle was designed by stylish Fiat chairman Gianni Agnelli himself, who used his to motor guests from the family’s villa in the hills above Nice down to the plage. It’s easy to imagine the dapper Caruso following Agnelli’s lead, tooling down the Pacific Coast Highway to a nearby beach.

“They all play a role in my family,” says Caruso, who rotates the vehicles, taking them in and out for weekend jaunts. “In fact, we used the Packard recently at my niece’s wedding to drive her and the groom away from the church.” These marvels of engineering and craftsmanship have also inspired his own work. Speaking of the Fiat, for example, he notes that the car’s “beautiful metal detailing” served as inspiration for the bar of the Rosewood Miramar Beach, on a historic property that he acquired in 2007; the resort opened last spring after a painstaking decade-long process. That love of design extends to The Coach House, the 8,000-square-foot personal office–cum–garage—though such a commonplace word hardly does justice to the space—Caruso commissioned to store and display his collection. Caruso enlisted AD100 designer Dan Fink to transform the second-floor space in a building in Palisades Village, the bijou development he opened in tony Pacific Palisades in 2018. The designer had just completed the residential spaces in the complex, and “we hit it off,” he recalls. “Rick has a strong aesthetic and style, which is reflected in his passion for this collection.” So Fink looked to those cars as muses. To begin, “we were really inspired by the raw beauty of the

LEFT THE TERRACE CHAIRS WEAR A STRIPED FABRIC FROM ROSE TARLOW. LIGHT FIXTURES BY URBAN ARCHAEOLOGY; CUSTOM MIRROR. RIGHT THE VINTAGE BARBER CHAIR IS UPHOLSTERED IN A HOLLAND & SHERRY LEATHER.

structure of the building. Instead of hiding it, we wanted to celebrate its industrial quality and strength.” But to soften that hard edge, the designer started playfully layering in materials that would reference the idea of a garage, but “express it in a dressier way.” In the main space, Fink deployed sheets of stainless steel as a sleek, sexy wainscot along paneled walnut walls. Instead of the poured-concrete floor you would expect, Fink installed a beautiful terrazzo inlaid with graphic patterns. Other details evoke the components of a car. Enormous circular hanging light fixtures suggest gears, hubcaps, or headlights. Millwork of highly polished burl wood in the library calls to mind a luxurious dashboard. Stitched details on the tailored leather barstools are reminiscent of car-seat upholstery. Gleaming Art Deco furnishings and objects also mirror the luxurious machines. “The whole idea was to match the elegance of these extraordinary cars,” notes Fink. That elevated and subtle masculine playfulness extends throughout. A salvaged bank-vault door serves as the entrance to the wine-storage room. A vintage barber chair stands ready for business in a nook. A set of Robert Indiana numbers counts down—5-4-3-2-1—along one wall. A motorized

aluminum surfboard from the 1960s stands in a corner of the lounge. For the bar area, Fink and Caruso took inspiration from the iconic Campbell apartment in New York’s Grand Central Terminal. The bar top, fireplace, and other trim are fashioned out of Arabescato Cervaiole marble, which brings “a sort of neoclassical quality to this industrial space,” says Fink. The enormous stained-glass window that extends up behind and over the bar was fashioned by L.A.’s historic Judson Studios. “Rick really loves to entertain, and it’s just a great place to hang out,” says Fink. Indeed, the bar and office can be opened to a 2,000-square-foot terrace overlooking a small park to create an ideal space for parties large and small. “I can host a few people or up to 30 for cocktails,” says Caruso, who uses the space a couple of times a week for work and pleasure, hosting clients, colleagues, and kin. He and his wife, Tina, have four children and an extensive network of relatives in the area. “We’re a traditional Italian family,” explains Caruso, a native Angeleno. “Sunday dinners are a big thing, and we often have them here.” Sometimes on the terrace or, he proudly adds, inside, where diners can sit among some of the world’s greatest automotive masterpieces.

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A BESPOKE STAINED-GLASS WINDOW BY JUDSON STUDIOS DEFINES THE BAR. CUSTOM STOOLS IN RALPH LAUREN HOME LEATHER; CUSTOM SOFAS IN A SCHUMACHER VELVET; CUSTOM BARREL CHAIRS IN A STRIPED NOBILIS VELVET. IN BACK LEFT CORNER, CIRCA-1965 ALUMINUM JETBOARD.

“The whole idea was to match the elegance of these extraordinary cars,” notes Fink.

LIVING LEGACY Studio Shamshiri and Commune Design work their subtle magic on a Northern California house originally decorated by Mark Hampton 30 years ago TEXT BY MAYER RUS PHOTOGRAPHY BY STEPHEN KENT STYLED BY MICHAEL REYNOLDS

JOHNSON

BALLOON SHADES IN A DELANY & LONG FABRIC HANG FROM LOGGIA ARCHES AT A RESIDENCE IN NORTHERN CALIFORNIA. IRON DECK CHAIRS BY THE HEVENINGHAM COLLECTION. FOR DETAILS SEE RESOURCES.

RENAISSANCE-ERA PAINTINGS HANG ALONG THE GREAT-ROOM CORNICES. THE CUSTOM BLUE OMBRÃ&#x2030; CEILING EVOKES THE SKY; MEXICAN CANDELABRAS. OPPOSITE CUSTOM SHELF BY SAM ORLANDO MILLER.

peed is an inexorable part of life in the 21st century. Breaking news travels around the world in a matter of minutes, aided by the myriad technological wonders that now dictate the pace of our quotidian rituals. Instagram, for better or worse, instantaneously broadcasts the food people are eating and the sights they’re seeing. Amazon continues to collapse the space between desire and fulfillment. And even in the arena of residential design, one cannot escape the cantankerous creed of Veruca Salt: “I want it now!” Mercifully, there are exceptions. A stately and soulful home in Northern California offers a compelling counter-narrative to the virtue of velocity. Lovingly crafted over decades, the house draws strength from the many caring hands that have shaped its conception and evolution. The story begins in the mid-1980s, when one of the current homeowners, then married to his first wife, embarked on a two-month voyage of discovery to study some of Italy’s most important palazzi and villas. Joining him were architect Ned Forrest and designer Rory McCarthy, both longtime friends. “We essentially devised the footprint of the house while we were in Italy,” the husband recalls. “We found inspiration

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THE ITALIANATE VILLA’S EXTERIOR.

the originality and eclecticism of their approach, as well as their respect for the original Mark Hampton design.” Working in tandem, Pamela Shamshiri, then a principal at Commune, and Roman Alonso, a cofounder of the firm, devised a plan to imbue the residence with a rejuvenated spirit, keyed to the unique personalities of their clients, while maintaining the home’s patrician mien and Old World charm. “It really felt like the house of a bachelor. It needed a center, a heart,” Alonso explains, referring to the design team’s initial focus on the voluminous great room. “We tried to temper the scale of the room and give it a much more comfortable, intimate feeling for the family,” Shamshiri continues. That effort included the installation of a waxed wainscot in an earthy shade of tobacco as well as the integration of cozy upholstered seating and contemporary designs that tweak the aesthetic rectitude of the existing antiques. Alonso and Shamshiri also goosed the color scheme with tall yellow curtains and a luminous ombré of blue FAST-FORWARD roughly two decades, to 2010. The husband, divorced a decade earlier, had just remarried. “We were starting and lavender on the lofty ceiling. A single, massive Hechizoo carpet unifies the room’s dining and seating areas. a new chapter in our lives, and we wanted to refresh the house The remainder of this first design phase focused on the to express our joint vision,” his wife recalls. “I’d been following home’s upper-floor bedrooms, including the eminently serene the work of Commune for some time, and I was eager to work with them.” Her husband was less certain. “The Commune style master suite, with its polyglot mix of 1940s Italian glass lamps, an antique Venetian bed (one of the husband’s family heirwas quite a departure for me. I honestly wasn’t certain they looms), a Gustavian console, and a monumental Serge Roche were the right people,” he confesses. “But I was impressed by in a variety of building types, including classic Palladian villas. But I was particularly drawn to the simple, elemental forms of the pre-Renaissance farmhouses and estates we visited. We spent our days looking at architectural details and measuring rooms to determine why they felt so right. Even in the grandest homes, the scale felt perfectly human,” he says. After returning to Northern California, the homeowner and his collaborators—including Ed Clay, a fine-furniture maker and craftsman—set about the task of designing a house equal in grace and nobility to those of its Italian forebears. Later in the four-year process of constructing the home, the legendary decorator Mark Hampton entered the picture. “Mark came in when we were starting to get into finishes and architectural details. His expertise and knowledge of history are written across every room,” the husband observes.

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IN A GREEN-WALLED SITTING ROOM, A SOFA WEARING A THREADS LINEN-BLEND CONVERSES WITH A COCKTAIL TABLE FROM RICHARD SHAPIRO STUDIOLO AND TWO OTTOMANS UPHOLSTERED IN HORSEHAIR FABRICS BY STARK.

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mirrored screen. “The bedroom, of course, is where two people come together, so it was especially important to make it new and upbeat to celebrate their union,” Shamshiri notes. “Other rooms, like the kitchen, we didn’t touch. They were perfect,” Alonso adds. MORE RECENTLY, the team at Studio Shamshiri, the firm

founded by the brother-and-sister duo of Pamela and Ramin Shamshiri, has continued to refine the home’s spaces, including the wife’s office, the guest quarters, and the red dining room, now crowned with a sculptural contemporary candelabra by Sam Orlando Miller. In the green sitting room, where the homeowners retire for postprandial drinks and conversation, Shamshiri made light changes to the upholstery treatments while preserving the basic art and furnishings scheme from the Hampton era. “Mark’s curtains puddled on the floor, while Pam’s treatment floats a bit. It’s like the difference between bell-bottoms and skinny jeans,” the husband muses. Surveying their domain, the homeowners seem content with the scene of domestic bliss they’ve conjured. “We were just newlyweds, still getting to know each other, when this redesign process started. As we’ve become more confident in our relationship, the house has evolved to reflect the life we’ve created as a family,” the wife declares. “You can feel the presence of everyone who has contributed to making our home such a warm and hospitable space. There are talismans of good luck and love everywhere.”

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TOP LEFT THE MASTER BATH FEATURES A GOATSKIN-COVERED ARMCHAIR. VINTAGE RUG. ABOVE A PAPRIKA RED PAINTS THE DINING ROOM WALLS. SAM ORLANDO MILLER DESIGNED THE HANGING CANDELABRA; VINTAGE MARIO BELLINI CAB CHAIRS.

ABOVE A VINTAGE MEXICAN TEXTILE COVERS THE GUEST BED. BELOW THE MASTER BEDROOMâ&#x20AC;&#x2122;S VENETIAN BED IS A FAMILY HEIRLOOM. CUSTOM DUVET BY FORTUNY; CASHMERE THROW BY FRETTE; PILLOWS OF A MEXICAN TEXTILE; RUG FROM AMADI.

VINTAGE STOOLS FROM OBSOLETE BELLY UP TO THE KITCHEN ISLAND.

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IN THE WAINSCOTâ&#x20AC;&#x201C;WRAPPED GREAT ROOM, AN ALMA ALLEN COCKTAIL TABLE, BDDW SOFA IN A KERRY JOYCE MOHAIR VELVET, WINGBACK CHAIR, AND LOVE SEAT FORM A SEATING AREA. LES LALANNE SHEEP; CUSTOM RUG BY HECHIZOO TEXTILES.

resources

Items pictured but not listed here are not sourceable. Items similar to vintage and antique pieces shown are often available from the dealers listed. (T) means the item is available only to the trade.

OVER THE RAINBOW PAGES 34–47: Interiors by Reath Design; reathdesign.com. Landscape design by Terremoto; terremoto.la. Consulting architecture by Yano Architecture; yano-arc.com. PAGES 34–35: On cocktail table, fabric from Diamond Foam & Fabric; diamondfoamandfabric.com. On Modern sofa by Nickey Kehoe; nickeykehoe.com, Iceflower cotton velvet, in emerald, by Klaus Haapaniemi & Co.; klaush.com. Custom chaise by Reath Design; reathdesign.com. Viggo Boesen Teddy chair from Sika Design; sikadesign.com. Custom wool carpet by Stark (T); starkcarpet.com. Hans-Agne Jakobsson sconce from Lumfardo; lumfardo.com. On table, Kona vase by Elyse Graham; elysegraham.com. Pop pendant by Rothschild & Bickers; rothschildbickers.com. Enoki side table by e15; e15.com. PAGE 37: Mini Cities wallpaper by Jennifer Shorto; jennifer shorto.com. Beams painted Bordéaux Red by Benjamin Moore; benjamin moore.com. Harvest dining table by Nickey Kehoe; nickeykehoe.com. Joseph Hoffmann Die Fledermaus chairs from 1stdibs (similar); 1stdibs.com. On walnut benches by Sentient Furniture; sentient furniture.com; Baru weave by Osborne & Little (T); osborneandlittle.com. Kilim rug from Lawrence of La Brea; lawrenceoflabrea.com. PAGES 38–39: On custom banquette by Reath Design; reathdesign.com; Mod Plaid rayon blend by KnollTextiles; knoll.com. Custom table by Monroe Workshop; monroeworkshop.com. Canterbury Paddedback side chairs by S. Timberlake; stimberlake.com. On cabinets, Lafayette Green by Benjamin Moore; benjaminmoore.com. Nehalem pendants by Rejuvenation; rejuvenation .com. Countertops of Calacatta Retro marble from Modul Marble; modul marble.com. Ilve range; ilve.it. Above dining table, Chile pendant by PET Lamp; petlamp.com. Vintage Moroccan rug from Lawrence of La Brea; lawrenceoflabrea.com. PAGE 40: In pool room, custom curtain by Reath Design; reathdesign.com; of linens from Gray Line Linen; graylinelinen.com; and Fabrics-Store.com; fabrics-store.com. Robert Venturi Queen Anne chair from 1stdibs (similar); 1stdibs.com. Beaded stool from Design Mix Furniture (similar); mixfurniture.com. In shower,

Classic Field tile, in bay blue, by Heath Ceramics; heathceramics.com. Showerhead and fittings by Vola; vola.com. Custom shower curtain of Garden Party linen, in tomato vine, by Gert Voorjans for Jim Thompson (T); jimthompsonfabrics.com. PAGE 41: Simple side tables, in ash, by Kalon; kalonstudios.com. Headboard and bedskirt of Jaya linen, in Mediterranean, by Vervain (T); vervain.com. Bedding by Hawkins New York; hawkinsnewyork .com. Bolster pillow of Flower Power linen, in love pink, by Kerry Joyce (T); kerryjoyce.com. Shams of Hiyoku linencotton, in lavender, by Designer’s Guild (T); designersguild.com. J Arm desk lamp by Jason Koharik; collectedby.com. Whitby sconce by the Urban Electric Co.; urbanelectric.com; with shade painted in Sun Kissed Yellow by Benjamin Moore; benjaminmoore.com. Agra rug, in duchess, by Armadillo & Co.; armadillo-co.com. PAGES 42–43: Pool tile from Mission Tile West; missiontilewest.com. PAGE 44: Curtain of Vineyard Green linen by FabricsStore.com; fabrics-store.com. PAGE 45: On custom sofa by Reath Design; reathdesign.com; Canvas acrylic, in true blue, by Sunbrella; sunbrella.com. Fire pit by WP Thatcher Design; wpthatcher design.com. Double Tier Cloud side table by BZippy & Co; bzippyand company.com.

HOME ON THE RANGE PAGES 48–61: Douglas Friedman of Douglas Friedman Photography; douglasfriedman.net. Contracting by Billy Marginot; 432-386-2590. Retractable wall screens throughout by Phantom Screens; phantomscreens.com. Curtains throughout by The Shade Store; theshadestore.com; of Neblina Sunbrella acrylic, in snow, by Sunbrella for The Shade Store. Rugs throughout by Friedman for Kyle Bunting; kylebunting.com. PAGES 48–49: Palmer All-Weather wicker rope lounge chairs by Pottery Barn; potterybarn.com. Concrete planters by Sirak; sirak.com. PAGES 50–51: Maddox sofa by Leo Marmol and Ron Radziner for RH; rh.com. Pillows by Treko; trekochile .com. Custom lamps by SR Gambrel; srgambrel.com. Stools by Lumber Club Marfa; lumberclubmarfa.com. PAGE 52: 1940s Architect’s Boom sconces and dining table, all by RH; rh.com. Candlesticks from Ceylon et Cie; ceylonetcie.com. PAGE 53: Modular kitchen by Vipp; vipp.com. Wall oven by Gaggenau; gaggenau.com. Refrigerator by Liebherr; home.liebherr.com. Metal table by Arteriors; arteriorshome.com. PAGE 54: Vintage Bolivian pillows and textiles from Garza Marfa; garza marfa.com. Stool by Lumber Club

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Marfa; lumberclubmarfa.com. PAGE 55: On walls, L’Eden wallpaper, in night, by de Gournay; degournay.com. Bed by the Beautiful Bed Company; beautiful bedco.com. Linens by RH; rh.com. Throw by Klaus Haapaniemi & Co.; klaush.com. Salt chair and side table, both from DWR; dwr.com. Aröd work lamp by IKEA; ikea.com. PAGE 56: In entry, Akari 120A pendant by Isamu Noguchi; shop.noguchi.org. Table by Lex Pott from the Future Perfect; thefutureperfect.com. Donald Judd Forward Slant plywood chair 84; judd .furniture. PAGE 57: Throw by Klaus Haapaniemi & Co.; klaush.com. Bed by the Beautiful Bed Company; beautifulbedco.com. Linens by RH; rh.com. On walls, L’Eden wallpaper, in dawn, by de Gournay; degournay.com. On side table from DWR; dwr.com; Snake table lamp by Brett Beldock for CB2; cb2.com. PAGES 58–59: Palmer All-Weather wicker rope lounge chairs by Pottery Barn; potterybarn.com. Pool by Modpools; modpools.com. BRUTE FORCE PAGES 62–73: Architecture and interiors by Vincenzo De Cotiis; decotiis.it. Custom furnishings throughout by Vincenzo De Cotiis. PAGE 65: DC 1735 stools by Vincenzo de Cotiis from Carpenters Workshop Gallery; carpentersworkshopgallery.com. PAGES 68–69: In living room, Marco Zanuso Lady armchairs from 1stdibs; 1stdibs.com. PAGE 72: In bath, FontanaArte mirror from 1stdibs (similar); 1stdibs.com. Sink fittings by CEA; ceadesign.it. CAR TALK PAGES 78–83: Architecture and interiors by Dan Fink Studio; danfinkstudio.com. PAGES 78–79: Custom polished nickel and bronze chandelier by Dan Fink Studio; danfinkstudio.com. PAGE 80: In office, on 1920s sideboard, Longacre tall table lamp, in polished nickel, by Thomas O’Brien for Visual Comfort; circalighting.com. Cowhide rug, in aubergine, from Doris Leslie Blau; dorisleslieblau.com. PAGE 81: On terrace, chairs with cushions of Tatton Stripe fabric, in basalt, by Rose Tarlow Melrose House for Perennials (T); perennials fabrics.com. Light fixtures by Urban Archeology; urbanarchaeology.com. Custom mirror and mantel, both by Dan Fink Studio; danfinkstudio.com. Parsons side tables by McKinnon and Harris; mckinnonharris.com. In barbershop, vintage chair in Arcadian leather, in cranberry, by Holland and Sherry (T); hollandsherry.com.

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PAGES 82–83: Custom stained glass window by Judson Studios; judson studios.com. Custom bar stools by Dan Fink Studio; danfinkstudio.com; in leather by Ralph Lauren Home; ralphlaurenhome.com. On custom sofas by Dan Fink Studio, Gainsborough cotton velvet, in citronelle, by Schumacher (T); fschumacher.com. On custom barrel chairs by Dan Fink Studio, Manoir viscose-blend velvet by Nobilis (T); nobilis.fr. Custom table lamps by Dan Fink Studio. Banana silk rug by Marc Phillips; marcphillips rugs.com.

LIVING LEGACY PAGES 84–93: Interiors by Studio

Shamshiri; studioshamshiri.com; and Commune Design; communedesign .com. Architecture by Ned Forrest Architects; nedforrest.com; and Rory McCarthy Design; rorymccarthydesign .com. PAGES 84–85: Shades of Schooner acrylic, in sail, by DeLany & Long (T); delanyandlong.com. Iron deck chairs by the Heveningham Collection; heveningham.co.uk. PAGE 86: Mexican tin candelabras from Carlton Hobbs; carltonhobbs.com. Curtains of fabric by Rogers & Goffigon (T); rogersand goffigon.com. Red Chair dining chairs by Kaare Klint for Rud Rasmussen; carlhansen.com. Sideboard by BDDW; bddw.com. PAGE 87: Custom shelf by Sam Orlando Miller; samorlandomiller .com. PAGE 89: On sofa, linen-blend by Threads (T); kravet.com. Cocktail table from Richard Shapiro, Studiolo; studiolo.com. On ottomans, horsehair fabrics by Stark (T); scalamandre.com. PAGE 90: In master bath, on ottoman Nura cotton, in curry, by Manuel Canovas (T); cowtan.com; with fringe by Houlès (T); houles.com. In dining room, custom candelabras by Sam Orlando Miller; samorlandomiller.com. PAGE 91: In master bedroom, on Venetian bed, custom duvet by Fortuny; fortuny.com. Cashmere throw by Frette; frette.com. Rug from Amadi; amadi carpets.com. On walls, mix of Sheer Romance and White Dove paints, both by Benjamin Moore; benjaminmoore .com. Curtains of Sea Leaves hemp, in slate blue on natural, by Rose Tarlow Melrose House (T); rosetarlow.com. PAGE 92: Vintage stools from Obsolete; obsoleteinc.com. PAGE 93: On Grane sofa by BDDW; bddw.com; mohair velvet by Kerry Joyce (T); kerryjoyce.com. On English wingback chair, Wales Plain linen, in amaranto, by Loro Piana Textiles (T); loropiana.com. Custom rug by Hechizoo Textiles; cristinagrajales inc.com. Floor lamp, in custom pewter finish, by Lindsey Adelman; thefuture perfect.com.

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

COMFORT THAT LOOKS AS GOOD AS IT FEELS!

YOUR ORGANIZED CLOSET Assembled for superior performance and style, California Closets Essentials offers best-in-class accessories designed to beautifully organize your closet. Offering complementary sizes and colors, the line features hangers, bins, watch winders, mirrors, and a wide assortment of luxe vegan leather valet and smart-storage accessories, as well as elegant jewelry boxes and stackable trays with patented LusterLoc® technology to protect and preserve your valuables. To learn more, visit californiaclosets.com/essentials. Shown: GelPro Elite,™ 20 x36, Taryn in Blue Calypso

UNNATURAL WONDER In the Invari™ Bath Collection by Brizo®, the grandeur of the Edwardian era juxtaposes with Machine Age pragmatism. As the two ages collide, each graceful nuance expresses a liberated traditional ethos—neither beholden to the past, nor forgetful of its heritage. It’s an unlikely pairing with undeniable appeal. For more information, visit brizo.com.

THE WINTER SHOW This January marks the 66th year of The Winter Show, America’s leading art, antiques, and design fair, featuring 72 of the world’s top experts in the fine and decorative arts. Held at the historic Park Avenue Armory from January 24 through February 2, 2020, the fair highlights a dynamic mix of works dating from ancient times through the present day. Each object at the fair is vetted for authenticity, date, and condition by a committee of 150 experts from the United States and Europe. Daily Admission: $30, includes the show’s award-winning catalogue. 2020 Loan Exhibition: Unrivaled presented by the Hispanic Society Museum and Library Curated by Philippe de Montebello & Peter Marino

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For more information and to purchase tickets to the Opening Night Party on January 23 or Young Collectors Night on January 30, visit thewintershow.org.

COMFORT FLOOR MATS Pamper your feet while standing on GelPro Elite, the world’s most comfortable and beautiful floor mat! Made with patented gel and energy-return foam, these ultra-supportive comfort mats are the ideal solution for anyone who suffers from foot, leg and back discomfort or spends a lot of time on their feet. A breeze to clean, GelPro Elite Comfort Mats add undeniable comfort and style to any space!

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“A month ago this was all dirt,” says real estate developer Michael Shvo, standing in the Raleigh’s new gardens, just off Collins Avenue in Miami Beach. That’s hard to believe given the more than 150 species of flora, many of them native to Florida, that now form a lush tableau. But Shvo (who recently bought the iconic hotel, currently closed for renovations) transformed the grounds in a matter of weeks, enlisting the help of AD100 maestro Peter Marino and landscape architect Raymond Jungles. “We create gardens that look like they’ve always existed,” says the aptly named Jungles. His foliage currently serves as a backdrop to 32 sculptures by the late French couple Claude and François-Xavier Lalanne, which were unveiled on the eve of Art Basel Miami Beach, late this past November, and will remain on view through February. A large bronze monkey gazes at the ocean; a flock of François-Xavier’s famous sheep grazes; and a defiant ram stands atop a pile of rocks. “I like to tuck them away into shady corners,” says Marino, who hid Claude’s Lit Singerie, a copper-and-bronze bed crawling with monkeys, past a thick cluster of Mexican palms. “Les Lalanne appeal to everybody—to art collectors, to people who know nothing about art, to children,” says Shvo, glancing over at his young daughter, perched, as if on cue, atop Claude’s shimmering bronze Pomme Moyenne. raleighhotel.com

DOUGLAS FRIEDMAN

—HANNAH MARTIN

ARCHDI GE ST.COM

THE SHADE STORE® IS A REGISTERED TRADEMARK OF THE SHADE STORE, LLC. SUNBRELLA® AND VENTANA COLLECTION® ARE REGISTERED TRADEMARKS OF GLEN RAVEN, INC.

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