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CONTENTS june
76
THE TEAHOUSE AND KITCHEN AT MIEKE TEN HAVE’S GETAWAY IN UPSTATE NEW YORK.
14 Editor’s Letter 16 Object Lesson
How an icon of Latin American modernism became one of the most copied designs of the 20th century.
21 Discoveries
Mark D. Sikes gives his Hollywood Hills home an easy, breezy new look . . . Edmund de Waal’s site-specific porcelains for the Frick Collection . . . Loewe challenges artisans to reinvent their traditional crafts . . . British designer James Shaw masters plastic . . . A minimalist poolhouse by architect Roger Ferris . . . Design firm Workstead puts down roots in the Hudson Valley . . . Stylish finds for outdoor living . . . and more!
Kelly Behun conjures a happy Hamptons retreat for a fun-loving family. BY HANNAH MARTIN
76 Green Acres
Stylist Mieke ten Have breathes exuberant new life into an erstwhile barn in upstate New York. BY MIEKE TEN HAVE
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RICARDO LABOUGLE (2)
60 Play Ground
CONTENTS june
60
THE KIDS’ ROOM AND MASTER BEDROOM (BELOW) IN A PLAYFUL HAMPTONS HOME DESIGNED BY KELLY BEHUN.
86 Glass Act
Having conquered the lighting market, Lindsey Adelman turns her focus to bespoke fixtures of uncommon beauty. BY HANNAH MARTIN
88 Lofty Ideal
Markham Roberts transforms an old carriage house into the perfect studio-retreat. BY SHAX RIEGLER
92 Party of Five
With help from Clements Design, Jessica Alba fashions a grown-up family home in Beverly Hills. BY DEREK BLASBERG
100 Farm Fresh
A former Kentucky tobacco farm morphs into a wonderland of pattern, color, and open-armed hospitality. BY MITCHELL OWENS
112 Resources
The designers, architects, and products featured this month.
114 Last Word
An all-girls woodworking group in Marfa, Texas, builds furniture— and character.
ON OUR COVERS FOR DETAILS SEE RESOURCES
JESSICA ALBA, WEARING A PRADA DRESS AND SHOES, AT HOME IN CALIFORNIA.
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ALBA’S MASTER BATH.
STEPHEN KENT JOHNSON (4)
“PARTY OF FIVE,” PAGE 92. PHOTOGRAPHY BY STEPHEN KENT JOHNSON. STYLED BY MICHAEL REYNOLDS. FASHION STYLING BY JASON BOLDEN.
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THE INTERNATIONAL DESIGN AUTHORITY VOLUME 76 NUMBER 6
EDITOR IN CHIEF
Amy Astley EXECUTIVE DIRECTOR, DIGITAL Keith Pollock EDITORIAL OPERATIONS DIRECTOR Diane Dragan EXECUTIVE EDITOR Shax Riegler FEATURES DIRECTOR Sam Cochran INTERIORS & GARDEN DIRECTOR Alison Levasseur STYLE DIRECTOR Jane Keltner de Valle DECORATIVE ARTS EDITOR Mitchell Owens WEST COAST EDITOR Mayer Rus CREATIVE DIRECTOR
FEATURES SENIOR DESIGN EDITOR Hannah DEPUTY DIRECTOR, DIGITAL
Martin
Kristen Flanagan SPECIAL PROJECTS DIRECTOR, DIGITAL
Sydney Wasserman ENTERTAINMENT DIRECTOR Dana Mathews EXECUTIVE FEATURES EDITOR David Foxley CLEVER EDITOR Lindsey Mather FEATURES EDITOR, DIGITAL Nick Mafi ASSOCIATE ENTERTAINMENT EDITOR
Rachel Wallace ASSOCIATE CLEVER EDITOR Zoë Sessums ASSISTANT EDITORS Elizabeth Fazzare,
Katherine McGrath (Digital), Carly Olson ASSISTANT TO THE EDITOR IN CHIEF
Gabriela Ulloa MARKET MARKET EDITOR
Madeline O’Malley
David Sebbah
CREATIVE DESIGN DIRECTOR Natalie Do VISUALS DIRECTOR Michael Shome VISUALS EDITOR, DIGITAL Melissa Maria
AD PRO EDITOR Katherine Burns Olson DEPUTY EDITOR Allie Weiss SENIOR STYLE & MARKET EDITOR
Benjamin Reynaert FEATURES EDITOR Anna Fixsen NEWS EDITOR Madeleine Luckel REGIONAL NEWS EDITOR Tim Latterner
VIDEO VP, VIDEO Matt Duckor SUPERVISING PRODUCER Allison Ochiltree DIRECTORS Matt Hunziker, Dan Siegel,
ASSOCIATE VISUALS EDITOR
Gabrielle Pilotti Langdon ASSOCIATE EDITOR Mel Studach
Rusty Ward SENIOR PRODUCERS
Frank Cosgriff,
Ali Inglese PRODUCER Thomas Werner
PRODUCTION EDITORIAL OPERATIONS MANAGER PRODUCTION DIRECTOR Nicole Stuart PRODUCTION MANAGER Brent Burket PRODUCTION DESIGNER Cor Hazelaar ART PRODUCTION EDITOR Katharine Clark COPY AND RESEARCH COPY DIRECTOR Joyce Rubin RESEARCH DIRECTOR Andrew Gillings COPY MANAGER Adriana Bürgi RESEARCH MANAGER Leslie Anne Wiggins
Erin Kaplan DIRECTOR, EDITORIAL PROJECTS
Jeffrey C. Caldwell CONTRIBUTORS CONTRIBUTING EDITOR AT LARGE
Michael Reynolds CONTRIBUTING STYLE EDITORS
Lawren Howell, Carolina Irving CONTRIBUTING EDITORS
Amanda Brooks, Gay Gassmann CONTRIBUTORS
ASSOCIATE PRODUCERS
Nick Traverse
COMMUNICATIONS + EDITORIAL PROJECTS EXECUTIVE DIRECTOR, PUBLIC RELATIONS
Jon Charles Weigell, Kara Yennaco ARCHDIGEST.COM ASSOCIATE DIRECTOR, AUDIENCE DEVELOPMENT
Erika Owen SENIOR MANAGER, ANALYTICS Kevin Wu SOCIAL MEDIA MANAGER Elise Portale
Fabiola Beracasa Beckman, Derek Blasberg, Peter Copping, Sarah Harrelson, Pippa Holt, Patricia Lansing, Colby Mugrabi, Carlos Souza EDITOR EMERITA Paige Rense Noland
ARTISTIC DIRECTOR
Anna Wintour
CHIEF BUSINESS OFFICER
Eric Gillin HEAD OF SALES, LIFESTYLE DIVISION Jennifer Mormile HEAD OF MARKETING Bree McKenney VP, FINANCE & BRAND DEVELOPMENT Rob Novick VP, MARKETING Casey McCarthy HEAD OF OPERATIONS Rob DeChiaro ASSOCIATE DIRECTORS, MARKETING Caroline Karter, Josh McDonald SENIOR BUSINESS DIRECTOR Jennifer Crescitelli
HEAD OF SALES, HOME
Jeff Barish
HEADS OF SALES FASHION, AMERICAN Amy Oelkers FASHION, INTERNATIONAL David Stuckey BEAUTY Lucy Kriz AUTO Tracey Baldwin MEDIA/ENTERTAINMENT Bill Mulvihill BIZ/FI/TECH Doug Grinspan VICE Laura Sequenzia LUXURY Risa Aronson CPG Jordana Pransky TRAVEL Beth Lusko-Gunderman HEALTH Carrie Moore GOLF Dan Robertson
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PUBLIC RELATIONS EXECUTIVE DIRECTOR, COMMUNICATIONS Molly Pacala SENIOR MANAGER, COMMUNICATIONS Savannah Jackson
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Stephanie Fried HEAD CREATIVE DIRECTOR
Raúl Martinez
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Cue the calm. feat. T H E E M M E T T C O L L E C T I O N
Rugs for the thoughtfully layered home.
editor’s letter
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1. POOLSIDE AT JESSICA ALBA’S HOUSE IN BEVERLY HILLS. 2. MIEKE TEN HAVE AND BABY AT EASE. 3. THE “WACKY BUT SOPHISTICATED” INTERIORS OF A KELLY BEHUN PROJECT IN SOUTHAMPTON. 4. DESIGNER KELLY BEHUN AND ME. 5. DESIGNER MARKHAM ROBERTS’S GUEST HOUSE/STUDIO IN DUTCHESS COUNTY, NEW YORK. 5
This issue is full of blissful peeks into various people’s happy places—often summer retreats but in the case of cover star Jessica Alba, her family’s main residence in, astoundingly, L.A. (Her pool, garden, and vast canyon views do not scream city living at all!) Actually, many of the featured homeowners use similar phrases (often dream house) and emotions (certainty!) to convey their feeling of love at first sight. Alba, for example, says she “walked in and knew within 20 minutes this was exactly what we were looking for.” Mieke ten Have, one of AD’s trusted photo stylists, treasured for her excellent eye, writes of her Dutchess County, New York, barn: “Ownership of this house was a fait accompli the minute I walked through the door.” In Southampton, a client of the innovative AD100 designer Kelly Behun told AD, “I didn’t want the typical shingled Hamptons house. It sounds clichéd, but we wanted to build our dream house—from the ground up.” And they did! We also visit a storybook farm in Kentucky created by
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AD100 designer Rodman Primack, which delights and surprises with such unexpected moments as a Memphis Group boxingring bed in the guest barn and what the inhabitants proudly call a “ridiculous” amount of wildly patterned wallpaper, fabric, and rugs impactfully wrapping the rooms in a riot of color. “We wanted to create our own world,” says owner Stephen Reily— and they did, too. For AD100 designer Markham Roberts, creative opportunity knocked when he started renovating and decorating the old carriage house at his weekend retreat in upstate New York. The resulting cozy, knotty-pine-paneled space is part guesthouse, part personal 4 studio, and all his own. “It probably sounds selfish, but it’s mostly just for me,” he confesses. Living in your own world has never looked better.
AMY ASTLEY Editor in Chief @amytastley
1., 3. & 5. STEPHEN KENT JOHNSON; 2. RICARDO LABOUGLE; 4. ZACH HILTY/BFA.COM
“We wanted a place to watch our kids play and grow up. This is our dream house!” —Jessica Alba
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object lesson
THE STORY BEHIND AN ICONIC DESIGN 2
1. BUTTERFLY CHAIRS AT AD100 DESIGNER DANIEL ROMUALDEZ’S IBIZA RETREAT. 2. KNOLL’S 1950 INDEX OF CONTEMPORARY DESIGN. 3. KNOLL’S BUTTERFLY CHAIR. 4. VINTAGE MODELS IN JASON AND MICHELLE RUBELL’S MIAMI BEACH HOUSE.
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Butterfly Effect
S
ome furniture designs become so ubiquitous that their creators get relegated to the footnotes. Such is the case of the Butterfly chair, originally called the BKF or Hardoy chair after the trio of Le Corbusier alums—Grupo Austral’s Antonio Bonet, Juan Kurchan, and Jorge Ferrari Hardoy— who created it in Buenos Aires in 1938. “Most people don’t know it’s Argentinean,” says Barry Bergdoll, MoMA’s former chief curator of architecture, of the modern adaptation of Joseph Beverly Fenby’s 19th-century campaign-style Tripolina. “But if we went into the design department and looked at a lineup of chairs, it would be the single most recognizable Latin American design.” It was another erstwhile MoMA curator who solidified that fate. Back in 1940, after the seat was exhibited in Buenos Aires, the industrial-design curator Edgar Kaufmann Jr. imported two back into the U.S. One went to MoMA, the other to his parents’ new pad—Frank Lloyd Wright’s Fallingwater.
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4
The low, leather-and-iron chair that Bergdoll praises for being easy to move, easy to clean, and comfortable (“until you try to stand up”) was a wild success Stateside, where ArtekPascoe started producing it in 1941; Knoll took over in 1948. Still, Hardoy wrote Kaufmann in 1942 that, despite its popularity, “we have received, in two years, the miserable sum of $11.37.” The chair had taken off and left its makers in the dust. After losing a lawsuit seeking copyright protection, Knoll, too, ceased production in 1951. Once in the public domain, the design spawned, by some estimates, 5 million copies in the 1950s alone. These days, penny-pinchers can buy a version for $30 at Walmart, or purists can wait for a new one from Knoll, which will resume production later this year. knoll.com —HANNAH MARTIN
1. MIGUEL FLORES-VIANNA; 2. & 3. COURTESY OF KNOLL; 4. FRANÇOIS DISCHINGER
How an icon of Latin American modernism became one of the most copied designs of the 20th century
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THE DESIGNER ADDED NEW BOOKCASES TO THE LIVING ROOM OF HIS HOLLYWOOD HILLS HOME AS PART OF ITS HEADTO-TOE MAKEOVER.
WORLD OF
DISCOVERIES
THE BEST IN SHOPPING, DESIGN, AND STYLE
EDITED BY SAM COCHRAN
Mark D. Sikes
With new fabrics, a dash of wicker, and some clever rearranging, the designer injects his Hollywood Hills home with an easy, breezy new look P HOTOGR APHY BY AMY NEUNSINGER
ARCHDIGEST.COM
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DISCOVERIES
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1.–3. OJAI SALAD PLATE, SCONSET SPONGEWARE MUG, AND OJAI NAPKINS, ALL BY SIKES FOR BLUE PHEASANT. 4. BRUNSCHWIG & FILS CARSTEN CHECK LINES THE DINING ROOM. 5. RH OUTDOOR FURNITURE IN THE GARDEN.
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PRODUCT: COURTESY OF RESPECTIVE COMPANIES
I
’m obsessed with checks,” gushes interior designer Mark D. Sikes on a recent visit to his Hollywood Hills house. He’s gazing approvingly at the dining room, which, as part of the latest update to his longtime home, he’s swathed, drapery to tablecloth, in blue-andwhite gingham by Brunschwig & Fils. “Look at Renzo Mongiardino, Mark Hampton, Albert Hadley. There were always checks. It’s a proven formula.” This injection of pattern was just one of many recent changes to the 1928 residence, which he shares with his partner, Michael Griffin, and their French bulldog, Lily. Like most makeovers, the project stemmed from issues of functionality. “We never used the living room, because it felt so formal,” he reflects. “Lifestyles change, and our homes need to change with our lifestyles.” That didn’t mean all their belongings went out the door. Among many thoughtful tweaks, a dining table got a new skirt, a leather settee a new chintz slipcover, and chinoiserie panels a new gingham backdrop. Dining chairs, meanwhile, migrated to the living room, where Anglo Indian antiques and wicker finds entered the mix. And everywhere cottons, linens, and chintzes replaced velvets and animal prints. “Look at this!” Sikes exclaims, pulling a vintage throw from the arm of a nearby chair. “We found it in Europe and made a rug after it.” That adaptation will join his new collection of carpets and bedding for Annie Selke, launching in June. Meanwhile, his tabletop line for Blue Pheasant, stacks of which
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DISCOVERIES
3 2
1. THE READING ROOM IS TENTED IN A STRIPED SCHUMACHER FABRIC BY SIKES. 2. & 3. BRISBANE THROW AND SANTA MONICA PILLOW, BY SIKES FOR ANNIE SELKE. 4. OJAI RUG BY SIKES FOR ANNIE SELKE. 4
line his kitchen shelves, reinterpret Nantucket spongeware and Portuguese tile patterns. “It’s that idea of mixing a preppy, East Coast sensibility with a bohemian, West Coast vibe.” The unifying factor for these collections, as well as his many others for the likes of Schumacher, Hudson Valley Lighting, and Merida, is a classic blue-and-white palette. And the same is true of his home, save for one upstairs guest room, which is dressed to the nines in a rosy tree-of-life print by Braquenié. For Sikes, the color combination remains simple and timeless: “Have you ever met someone who doesn’t like blue?” markdsikes.com —HANNAH MARTIN 1
Historic Resonance
Edmund de Waal made his first pot at age five. Now 54, the ceramic artist (and best-selling author of The Hare with Amber Eyes) estimates that he has turned out tens of thousands, along the way achieving renown for his largescale installations at historic houses and museums around the world. In de Waal’s latest intervention, “Elective Affinities,” at New York’s Frick Collection, nine hauntingly subtle site-specific pieces temporarily displace Renaissance bronzes and French porcelains. The elegant Englishness of the museum’s dining room “makes me want to break things,” de Waal writes in the exhibition catalogue. To represent that urge, the pair of vitrines standing in front of two Gainsborough portraits in the room hold paper-thin sheets of porcelain leaning against booklike steel boxes filled with shards of the fragile yet enduring material—a reflection on the making of history and its loss. On view through November 17; frick.org. —SHAX RIEGLER
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PRODUCT: COURTESY OF RESPECTIVE COMPANIES; FRICK: CHRISTOPHER BURKE
EXHIBITIONS
Luxury furnishings. Every style. All online.
DISCOVERIES 2
DEBUT
Dream Weavers
For its newest home collection, Loewe challenges artisans to reinvent their traditional crafts
L
oewe creative director Jonathan Anderson has baskets on the brain. For the Spanish luxury brand’s spring 2019 show, he presented handbags woven from raffia and straw alongside pieces
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Loewe Craft Prize finalists. And for Salone del Mobile, months later, Anderson commissioned more than a dozen other international talents to apply their traditional weaving techniques to Loewe’s signature leather. The unique results coincided with the debut of Loewe’s new home collection, starring baskets and lamps by Spain-based artisan Idoia Cuesta, who works on a nature reserve near Galicia’s Minho river. She has reimagined her usual crocheted confections—
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ONE TO WATCH
James Shaw
“I mean, it’s literally everywhere,” says the 32-year-old British designer James Shaw, describing plastic, a material now ravaging the earth. “It’s in our clothes; in our teeth. And it’s a genuine problem that we need to sort out.” For his 2013 graduation project at London’s Royal College of Art, he called attention to the issue with a wonky machine that turned landfill-bound plastic waste into thick, gooey strands that he then molded into a delightfully globby side table. For a young designer starting off, the substance had another advantage: He could get tons (actual tons) of it for free. Six years later, Shaw has used leftover polyethylene from a nearby recycling factory to create sculptural tables, door handles, tureens, fountains— even a ladder. “The thing about plastic,” he explains, “is it can become anything.” jamesmichaelshaw.co.uk —HANNAH MARTIN SHAW, LEFT, AT HIS SOUTH LONDON STUDIO.
FROM TOP: COURTESY OF LOEWE; WILL SANDERS
a homespun vibe for a cleaner, Japanese-inspired approach. Braided out of thin strips of tanned leather, her new creations riff on bamboo Ikebana baskets. Her accompanying pendant lights, meanwhile, feature sculptural double-helix forms knit in slatted, geometric patterns. Owing to what she describes as her “chaos technique,” no two pieces are alike. And like any beautifully crafted object, Anderson confirms, “They’re only going to get better with age.” loewe.com —CARLY OLSON
Isle of Skye, Scotland
THE SHIP IS OUR SECOND HOME. THE CREW. THEY’RE OUR SECOND FAMILY. AND THE VIEWS. THEY’RE SECOND TO NONE. A Crystal Experience® in the United Kingdom.
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CRYSTALCRUISES.COM
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DISCOVERIES
A CONNECTICUT POOLHOUSE BY ROGER FERRIS + PARTNERS (FERRISARCH.COM).
ARCHITECTURE
In the Swim
T
he architect Roger Ferris is known for designing modern, statement-making homes. But his latest project, a waterfront poolhouse in Westport, Connecticut, is magnificently minimalist in form, its single story concealed beneath a verdant berm out of deference to the landscape. Save for the skylight that runs the length of its green roof, the building is hardly visible as you approach it. Even the entrance— a sloping lawn down to the front door, between two angled retaining walls—looks more like sculpture than structure. “I just wanted this gentle rise, with as little of the building showing as possible,” Ferris recalls of the project, designed for
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Fiona Garland, an avid swimmer, and her husband, Andrew Bentley. “The poolhouse is something you should discover.” Inside, elegant concrete walls bookend a 75-foot-long pool and, on the other side of a barely-there glass partition, a generous living-dining room with a Grayson Perry tapestry. The latter room doubles as guest quarters thanks to a folddown bed hidden behind Douglas-fir paneling. (Becky Goss of the local design store The Flat consulted on the other furnishings.) While the northern side of the floor plan, tucked into the earth, contains the kitchen, bath, and changing areas, the south-facing window wall offers breathtaking views of the Long Island Sound.
PAÚL RIVERA
Nestled into the earth, a minimalist poolhouse by architect Roger Ferris is a stroke of genius
YOUR FAVORITE PANORAMIC VIEW. YOUR FAVORITE DRINK WITHOUT ASKING. THESE ARE THE INGREDIENTS OF UNFORGETTABLE.
Bar Waiter
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CRYSTALCRUISES.COM
1.888.722.9996
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DISCOVERIES THINK PIECE
Hide and Seek
1 2
When Van Cleef & Arpels opens the doors to its newly redesigned Beverly Hills flagship next month, on the occasion of the boutique’s 50th anniversary, a wondrous collection of new high jewelry will await. Paying homage to Shakespeare’s star-crossed lovers, Romeo and Juliet, the pieces play with visual dualities and symbols of love. The Philémon watch, its name derived from the Greek word for “kiss,” mingles diamonds, emeralds, and sapphires on a pavé cover that opens to reveal a clandestine clock—a poetic spin on secret romance. Price upon request; vancleefarpels.com —JANE KELTNER DE VALLE
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The frameless insulated sliding doors by Swiss manufacturer Sky-Frame blend naturally into their surroundings, creating a seamless continuity between indoors and outdoors and blurring the line between where the living space ends and the view begins. SKY-FRAME.COM
Explore the inspiration for Amy Kehoe’s own kitchen remodel at dacor.com.
Authenticity. AND ALLURE .
Amy Kehoe x The Heritage Collection
“ O F T E N , W H AT G I V E S A N O B J E C T AU T H E N T I C I T Y I S T H E O N E W H O I S B E H I N D T H E O B J E C T— I T S M A K E R —A N D I T S F I N I S H , I T S TO U C H . A N A U T H E N T I C P I E C E I S N ’ T “ O F T H E M O M E N T ” O R TO O C O N T R I V E D. I T ’ S S I M P LY S O M E T H I N G YO U N E V E R T I R E O F. ”
- AMY KEHOE Interior Designer/Co-Founder Nickey Kehoe
DISCOVERIES
2
1. WORKSTEAD’S NEW PRODUCT STUDIO/SHOWROOM IN HUDSON, NEW YORK, WITH CHAMBER LIGHTING AND FURNITURE PROTOTYPES. 2. CHAMBER CHANDELIER. 3. THE HISTORIC INTERIOR. 4. CHAMBER TABLE LAMP.
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ADPRO STUDIO VISIT
Town and Country
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obert Highsmith, Stefanie Brechbuehler, and Ryan Mahoney— cofounders of the design studio Workstead—know how to build buzz. In Brooklyn, their industrial-inspired scheme for the Wythe Hotel put Williamsburg on the map for world travelers. In Charleston, their update of a 1960s federal office building into the Dewberry reenergized sleepy Marion Square. And their eminently Instagrammable (and inviting) rooms for Rivertown Lodge made Hudson, New York, a pilgrimage site for aesthetes in the know. Now design lovers have another reason to head upstate. This spring, the trio opened a studio for their product designs in a 19th-century house at the heart of Hudson’s historic district. “We always had a feeling Hudson would be a community into which we could integrate creatively,” explains Highsmith, who lives upstate with Brechbuehler (his wife) and their twin girls. Open by appointment, the space currently showcases Workstead’s new Chamber lighting collection— a series of sculptural sconces, table lamps, and chandeliers in an array of metal finishes. “They’re both intimate and grand, architectural in spirit and also analog,” Highsmith says of the fixtures, whose conical shades adjust up and down, alternately widening or containing the glow. For the Workstead trio, the upstate space offers a welcome counterpoint to their Brooklyn-based architecture practice, led by Mahoney, who notes: “You think so differently when you’re in the city versus the country. It’s nice to have balance between the two.” workstead.com —SAM COCHRAN
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Already a big-city sensation, the design firm Workstead puts down Hudson Valley roots
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1. YARNS IN A KALEIDOSCOPIC ARRAY 2. NEW MOON’S SUNAHAMA RUG ENLIVENS A CONTEMPORARY ROOM 3. THE HUES THAT INSPIRE THE COLOR PALETTE
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PLAY GROUND
Kelly Behun conjures a happy Hamptons retreat for a fun-loving family TEXT BY HANNAH MARTIN PHOTOGRAPHY BY STEPHEN KENT STYLED BY MICHAEL REYNOLDS
JOHNSON
TWO THOMAS HEATHERWICK–DESIGNED CHAIRS ENTERTAIN THE HOMEOWNERS’ CHILDREN IN A GARDEN BY AD100 HOLLANDER DESIGN LANDSCAPE ARCHITECTS. FOR DETAILS SEE RESOURCES.
A CHILD’S CHAIR BY LUCAS MAASSEN (LEFT), SOFA BY THE CAMPANA BROTHERS, AND ARMCHAIR BY KONSTANTIN GRCIC FORM A SITTING AREA ON THE SECOND FLOOR. ARTWORKS BY AC GROUP (ON WALL) AND GUFRAM.
it
sounds clichéd, but we wanted to build our dream house,” says this mother of three, an author, about her place in Southampton. She and her husband had spent years summering in the area, always shacking up at his parents’ house. But when they found a large, parklike four-acre plot, set back from the ocean (but still close enough to catch its breeze and soothing soundtrack), they knew it was time to establish a place of their own. Their dream? A house that was anything but cliché. “I knew I didn’t want the typical shingled Hamptons house,” the homeowner explains. “I wanted something I built from the ground up.” They called on local architect James Merrell, known for his modern Hamptons homes, to realize a structure with strong lines, spacious but not ostentatious square footage, and enough vernacular touches (a gabled roof; dormers) to fit in with the neighborhood. The result, in Merrell’s words, “walks the tightrope between the 21st century and our idea of the traditional Hamptons village.” Organized in an H-shape, with its long axis running east to west, his design helps the family get in sync with nature. Sunlight follows them as they move through the day—waking them up in the morning, illuminating the kitchen in the afternoons and evenings, and putting on a show with each rise and set, in the glass-encased living room. Thanks to thoughtful positioning, plantings by AD100 landscape architect Edmund Hollander, and well-placed windows, the homeowner attests, “You can stand in any room and see outside in both directions.” That’s by design. “The architecture informed the landscape,” says Hollander. “Once the house was sited we asked ourselves, What do we want to see?” As a playful foil to the architecture, they tapped New York–based AD100 designer Kelly Behun to inject the Zen interiors with color and conversation pieces. “We love wacky,” says the homeowner. “But I also wanted sophistication.” Behun delivered, dipping into her extensive Rolodex of artisans to fill the place with eye-catching furniture sure to get people talking. Brooklyn-based Ladies & Gentlemen Studio strung their Shape Up chandelier over the family-room table. Colorful rugs designed by Kinder Modern and Behun herself for the Rug Company jazz up the floors. And Memphis Group ceramics (one of Behun’s favorite design eras) sit alongside contemporary vessels by Brooklyn-based Erica Prince and Chicago- and Gary, Indiana–based Manal Kara. “Of course furniture needs to be comfortable and functional,” says Behun. “But I like to go in and respond to a space as though it were a landscape. I think of furniture as sculpture.”
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ABOVE JAMES MERRELL ARCHITECTS DESIGNED THE SOUTHAMPTON HOUSE WITH VERNACULAR TOUCHES. BELOW PENDANTS BY APPARATUS ILLUMINATE A CUSTOM HUDSON FURNITURE DINING TABLE AND STUDIO VAN DEN AKKER CHAIRS. OPPOSITE A CHANDELIER BY STEPHEN ANTONSON HANGS IN THE DOUBLE-HEIGHT LIBRARY. HOLLAND & SHERRY COTTON VELVET ON VLADIMIR KAGAN SOFAS; BESPOKE RUG BY KELLY BEHUN FOR THE RUG COMPANY.
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A ZIPPER ARTWORK BY MARK RICHARD HALL IN THE GARDEN. OPPOSITE CONTEMPORARY AND MEMPHIS GROUP CERAMICS MINGLE IN THE FAMILY ROOM. LIGHTING BY LADIES & GENTLEMEN STUDIO OVER CUSTOM TABLE AND BENCH BY KELLY BEHUN.
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“We love wacky," says the homeowner. “But I also wanted sophistication."
“I like to respond to a space as though it were a landscape,” says Behun. “And I think of furniture as sculpture.”
HOPE: COURTESY OF THE ARTIST AND SALOMON CONTEMPORARY; PERLMAN: COURTESY OF JEFF LINCOLN ART + DESIGN GALLERY
A SOFA BY FRANCESCO BINFARÉ WITH PILLOWS BY ZAK + FOX AND MARTYN THOMPSON STUDIO SPREADS ACROSS THE EXPANSIVE LIVING ROOM. 1960 ARTWORK (FAR LEFT) ATOP ARTERIORS SIDE TABLE; OTHERS BY ALICE HOPE, DIEGO CABEZAS, JOEL PERLMAN, AND PAMELA SUNDAY.
ABOVE COLORFUL BENJAMIN MOORE PAINTS BRIGHTEN CUSTOM BUILT-INS IN THE KIDS’ ROOM. PIERRE PAULIN CHAIR; KINDER MODERN CARPET; JASMIN ANOSCHKIN CERAMICS. BELOW THE GARDEN FEATURES A BESPOKE OAK, HORSEHAIR, AND STAINLESS-STEEL CHESS SET.
ABOVE CHAISE LONGUES BY RH, SIDE TABLES BY THOMAS RODRIGUEZ, UMBRELLAS BY TUUCI, AND A CUSTOM HANGING DAYBED SIT POOLSIDE. BELOW BEHUN DESIGNED A SPLIT-LEVEL TABLE, ROUND MIRROR, AND WALL-HUNG CONSOLES FOR THE HOME’S ENTRY. VASE BY L’OBJET.
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RIGHT THE BOWLING ALLEY FEATURES CUSTOM JEAN DUBUFFET–INSPIRED WALLPAPER. A NEON INSTALLATION IN THE STYLE OF ARTIST ROBERT IRWIN HANGS OVER THE PIT.
Then there’s the actual sculpture—in a house with so many windows, the always-visible outdoor art can feel like an element of the interiors. Behun worked closely with Hollander to place and light the family’s growing collection, including a stainless-steel zipper sculpture by Mark Richard Hall embedded in the grass (Behun tracked it down after spotting it on Instagram) and an eight-foot-tall painted-fiberglass sculpture, lurking in the willow trees along the driveway, commissioned from Brooklyn-based Chiaozza. For the kids, she fabricated a supersized chess board and planted a pair of Thomas Heatherwick’s Spun chairs in the yard like two enormous tops. “Those are the kinds of things you never tire of,” Behun says. “They make you smile.” Still, by grounding the interiors in neutral tones, luxe materials, and subtle, stained white oak, Behun kept the house feeling refined. In the living room, Francesco Binfaré’s sprawling, modular On the Rocks sofa mixes with furnishings in brass (a Haas Brothers Hex stool) and stone (a 1,300-pound cocktail table carved from Italian marble). In the master bedroom, the client’s wish for wall-to-wall fuzzy wool carpet and après-ski vibes led Behun to concoct a sandy-hued 1970s-esque chalet-by-the-sea feel, with the addition of a ribbon-like vintage chair, pendant lights by ceramist Eric Roinestad, and a channel-tufted headboard. Behun was designing the family fantasy, all while keeping their reality in mind. “I’m a novelist,” explains the homeowner, “so great spaces to read and that honor books were very important to me.” In the library—situated by Merrell in the home’s central, double-height volume—Behun created an area where the family comes together on a pair of Vladimir Kagan sofas to read and listen to their daughter play the piano. In the kids’ shared “bunkroom,” capsule-like beds and cozy wall nooks were destined for little ones hiding away with a good story. The final note of fun emerged from a less predictable request: a bowling alley in the basement. “I’ve never done a bowling alley, and I don’t know if I’ll get a chance to do one again,” recalls Behun. “So I thought, What the heck? Go for it!” Taking inspiration from French artist Jean Dubuffet’s monumental sculptures, Behun wrapped the basement-level lanes, to perception-bending effect, in a graphic, black-and-white pattern printed on Élitis wallpaper. The family was thrilled. “We’ve managed to find enough fun, nonelectronic things to prove there’s life outside the iPad,” the homeowner says. “Now all the kids’ friends want to come over.”
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design notes
THE DETAILS THAT MAKE THE LOOK
BEHUN DESIGNED THE KITCHEN’S CABINET DOORS; THERMADOR HOOD AND WOLF RANGE.
SHAPE UP 5-PIECE CHANDELIER BY LADIES & GENTLEMEN STUDIO FOR ROLL & HILL; $13,550. ROLLANDHILL.COM
LIMITED-EDITION MONKEY SIDE TABLE BY JAIME HAYON FOR BD
A CHAIN STOOL FROM CLIC (BELOW LEFT) AND HANDS STOOL BY STUDIO A HOME DECORATE THE MASTER BATH; TUB FILLER BY VOLA.
—Kelly Behun SPUN CHAIR DESIGNED BY THOMAS HEATHERWICK FOR MAGIS FOR HERMAN MILLER; $895. DWR.COM
SMILE CHAIR BY GIANCARLO VALLE FOR DOMEAU & PÉRÈS; $18,000. ATELIERCOURBET.COM
HONEYCOMB RUG BY KINDER MODERN; $3,150. KINDERMODERN.COM
OFFSET TABLE BY KELLY BEHUN STUDIO; PRICE UPON REQUEST.
JULIETTE WALL COVERING; TO THE TRADE. ELITIS.FR
THE BESPOKE BOWLING ALLEY BAR IS CRAFTED OUT OF CORIAN.
INTERIORS: STEPHEN KENT JOHNSON; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES
SERPENTINE SOFA BY VLADIMIR KAGAN; TO THE TRADE. HOLLYHUNT.COM
NOOS FABRIC; $410 PER YARD. ZAKANDFOX.COM RECTANGULAR RAY RUG BY CODY HOYT + LORA APPLETON FOR KINDER MODERN; $8,000 FOR 8'X10'. KINDERMODERN.COM
family,” says the homeowner. “We were all for things that would make
TEO VASE; FROM $295. L-OBJET.COM
P R ODU CE D BY MADELINE O’MALLEY
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A CONVERTED 18TH-CENTURY BARN IN DUTCHESS COUNTY, NEW YORK, MAKES A BUCOLIC GETAWAY FOR STYLIST MIEKE TEN HAVE, HER DOGS, AND HER FAMILY. FOR DETAILS SEE RESOURCES.
GREEN ACRES Heeding the call of the country, stylist Mieke ten Have breathes exuberant new life into an erstwhile barn in upstate New York TEXT AND STYLING BY
MIEKE TEN HAVE PHOTOGRAPHY BY
RICARDO LABOUGLE
ABOVE THE LIVING ROOM IS FILLED WITH ART, INCLUDING SIX WORKS BY FRANÇOIS ROUAN. FROM LEFT, GEORGE SMITH SOFA COVERED WITH A PIERRE FREY COTTON-BLEND; JEAN-MICHEL FRANK AND ADOLPHE CHANAUX COCKTAIL TABLE FROM RALPH PUCCI; LOUIS XVI BERGÈRE IN A LE MANACH COTTON; AND LOUIS XVI SETTEE IN A 1940s FRENCH DAMASK. OPPOSITE TEN HAVE (LEFT) LOUNGES ON THE DOCK WITH DAUGHTER WILLEMIEN, HUSBAND TYLER GRAHAM, AND DOG GRINGO.
I
don’t think of myself as an irrational person, but when I first pulled up to this converted 18th-century barn on a drab December morning, I was overcome with possessiveness. “What are they doing here?” I snarled at my husband, Tyler, when I spotted another couple and a broker walking the grounds. Even before we had reached the front door, the wild, almost accidentallooking allée of willows that guided us down the meandering driveway convinced me this was the place we had been looking for. It was the glorious, ancient beams, though, each carved with Roman numerals by the Dutch settlers who built it, that made my pulse quicken. Our ownership of this house was a fait accompli the minute I walked through the door. Nestled in the pastures of Dutchess County, New York, the house had lain unoccupied for some time, with rotted-out windows, an untold number of broken pipes concealed behind the walls, no kitchen of which to speak—not to mention a castiron claw-foot tub sitting in the middle of the living room, leaving deep grooves in the floor tracing a would-be looter’s path. But as in any good romance, none of this gave me any pause. I was besotted—equal parts abject desperation and rapture. The majestic great room, the soaring bookcases, the views out to fields and wooded hills were too much country fantasy for this Manhattan-born and -raised girl to bear.
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ABOVE A PANEL COVERED IN A MANUEL CANOVAS LINEN-BLEND CENTERS THE MASTER BEDROOM, WHERE THE HEADBOARD IS FROM TEN HAVE’S CHILDHOOD BEDROOM. BIEDERMEIER CHEST OF DRAWERS WITH MARBLE TOP. OPPOSITE A COLE & SON WALLPAPER SWATHES THE NURSERY. ANTIQUE HITCHCOCK CHAIR, WICKER CHAIR, AND DRESSER.
Love, they say, is blind. In this case, it also made me impervious to the charms of running water and heat—neither of which we had during our first celebratory overnight stay in March 2016. We brought only a few basics up with us, namely our two dogs, some champagne on ice, and boxes of dishes I had pulled from their hiding places under sofas and dressers; they had long outgrown the confines of our china cabinet. Calling myself a collector would be a polite euphemism for what I really am: a pack rat. So my first endeavor was carefully unwrapping cobalt transferware, sets of artichoke and oyster plates, Wedgwood tea services, and lusterware pitchers to fill the glass-fronted cupboards in what would eventually become our kitchen. Heat, water, oven, and refrigerator be damned; at least I had my plates in order. With 25-foot ceilings, the 25-by-30-foot great room formed the heart of the house, and I quartered the space into distinct areas dedicated to dining, entertaining, reading, and working. I’d like to say I had some sort of decorative plan to make them all cohere, but the truth is that I just filled the room with things I like. I am not a matchy-matchy type—and in designing this house I realized I rather like seeing pretty things do battle with one another. Much of the furniture came out of storage—pieces I had bought or inherited and held
on to simply because I loved them, not knowing where they would eventually live. That isn’t to say I didn’t have a wish list. This included Le Manach’s Mortefontaine, a Second Empire–style printed cotton redolent of my chintz- and moiré-filled 1980s childhood home, which I used in the living area on a Louis XVI bergère my mother had given me. I picked a Pierre Frey fabric for one of the sofas and upholstered it on the reverse because its striéed plum pulled out the flowers in the chintz chair. A 1940s French crimson silk damask totally clashed, but it was a deliciously opulent foil. To tone down its sheen, I also used it on the reverse for the settee; the three pieces together make for strange but charming bedfellows. I also knew I wanted to indulge my wallpaper fetish. Fornasetti’s blustery, surreal clouds—Wuthering Heights in a wall covering, says a friend—blow you into the great room from the front door. For a Marie Antoinette–meets–monastic look, I paired a Farrow & Ball damask print in a vigorous shade of blue with an ultrasimple white IKEA canopy bed in the guest room. Meanwhile, I wanted the study, which would eventually become a nursery for our daughter, to feel like a tree house; Cole & Son’s Great Vine, with its dense, lush leaves, fit the bill.
“I’d like to say I had some sort of decorative plan, but the truth is that I just filled the room with things I like.”
That first winter, I had no idea what the warmer months would summon from the landscape. Now I’ve become familiar with the arrival of spring, when the red-winged blackbirds’ song returns to the windows and we find nests of baby bunnies tucked into the lawn. In early June, a wall of peonies unfurls along the eastern perimeter of the house, so heady their scent fills the ground floor and so tall I can cut them by merely opening a window and reaching out. The house had no real outdoor space, so that first summer we built a large screened-in room, half devoted to living, half to dining. We’ve dubbed it the teahouse, and intrepid (or inebriated) guests can sleep on its wrought-iron bed to a bellowing chorus of nighttime animal sounds. The fireflies arrive in early summer, and we blow the hurricanes out to watch their erratic dance after dinner. It is not uncommon for the eerie howls of coywolves to wake you from deep sleep. On summery Saturday mornings, I walk down our dirt road and pillage the never-ending supply of my favorite weed, Queen Anne’s lace, for frothy centerpieces and bedside bouquets. For now, the barn has sated my rural ambitions. While I had initially wanted chickens—specifically White Crested Black Polish Bantams, whose plumage bears a slight resemblance to
Karl Lagerfeld—I quickly abandoned that idea. I’ve learned how much work goes into a property like this. Luckily, our farmer neighbor, Ed, arrives unannounced every so often on his tractor to help us with our winding driveway, often impassable in mud season, and offers invaluable tips, like how to remove algae from the pond and where to look for foxes (my favorite local animal). He’ll drop off a dozen eggs with marigold yolks while he’s at it. The last space I tackled was our master bedroom; its asymmetry had me at a decorative dead end until I met the perfect fabric. Manuel Canovas’s Compiegne, a vividly hued take on verdure tapestry, beckoned me to disappear into its landscape. Sixteen yards and an amused upholsterer later, I hung it as a giant panel, centering the bed. It reorients your eye, as though the succulent summer fields outside the window have stolen their way in, and the bedroom’s beams are merely trees in its forest.
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BENJAMIN MOORE’S GEORGIAN GREEN PAINT COVERS THE GREAT ROOM’S BOOKSHELVES. CASAMIDY CONSOLE; VINTAGE COCKTAIL TABLE; LOUIS XV BARREL-BACK CANED CHAIRS.
ABOVE THE CAST-IRON TUB WAS FOUND IN THE HOUSE. ON STOOL FROM WISTERIA, FOUTAS BY SOUKRA. OPPOSITE A CASAMIDY CHANDELIER HANGS OVER THE DINING TABLE DRAPED WITH A LES INDIENNES FABRIC AND MAHOGANY FEDERAL CHAIRS SLIPCOVERED IN ARJUMAND’S WORLD BY IDARICA GAZZONI LINEN. 19TH-CENTURY AUSTRIAN BENCH.
NEW YORK–BASED LIGHTING DESIGNER LINDSEY ADELMAN WITH HER LATEST PIECES IN PROGRESS AT URBANGLASS.
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GLASS ACT
Having conquered the lighting market, Lindsey Adelman turns her focus to bespoke fixtures of uncommon beauty
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retend you’re designing for Donatella Versace.” That was the brief lighting designer Lindsey Adelman gave herself ahead of New York’s 2006 ICFF, where she planned to show her Branching Bubble chandelier for the first time. “I was trying to make a showstopper,” she explains of the now iconic, wildly influential system of Y connectors, tubes, and glass orbs. So, to achieve the desired bling, she had all the metal parts plated in 24K gold. Shortly after the debut, orders started rolling in, though most customers opted for a finish of nickel or brass. Now, more than a decade—and countless sales—later, Adelman reports, “It’s because of the Branching Bubbles that a company happened.” On its momentum, her studio has grown to 35, that initial design has given way to ten more lighting systems, and her Lafayette Street atelier has just expanded onto a second floor, which will serve as a showroom. In their first iterations, the fixtures had to be delivered in one piece (the glass shades were not yet designed to be removable); now they can be neatly deconstructed, packed into boxes, and shipped across the globe. It’s a well-oiled machine. Meaning Adelman finally has the time to tinker with her wilder concepts, creating one-of-a-kind fixtures that aren’t designed to scale. “I have always filled sketchbooks with ideas,” says the designer, her fingers still dirty from doing watercolors all weekend. “I just didn’t have the chance to execute that work until I got a handle on the product design, the order fulfillment, the finances, the client relations. Once I did, I gave myself permission to indulge the other, more self-expressive work.” TEXT BY
HANNAH MARTIN
One of those ideas has finally sprung to life at UrbanGlass, the Brooklyn hot shop where Adelman has been working with glass artist Michiko Sakano to create an array of unique treasures. Titled Paradise City, the series debuts June 11 at Design Miami/Basel. “The hardware looks like it’s desperately trying to stop time or stop change, while the clear glass looks fluid, like it’s organically bubbling up and fractalizing,” Adelman says of the fixtures, in which glass forms bulge out of thin, scaffoldinglike hardware, flop over metal beams, or are cinched with calipers. It’s an idea she dreamed up after rereading W. Somerset Maugham’s The Razor’s Edge and listening to Guns N’ Roses. “I realized they were saying the same thing,” she muses, chuckling at the absurdity of the connection. “It’s about our attempts to hold on to the moment, whether it’s good or bad.” To achieve the textured glass clusters, which drew aesthetic inspiration from Venetian optic molds, Adelman created graphic 3-D-printed forms, made plaster molds of them, and then blew glass into the molds. To illuminate them, meanwhile, she designed her own proprietary LEDs tailored to the shape of each fixture. “There are no bulbs, or at least they don’t look like bulbs anymore— no sockets, no wires,” she explains. “In some cases we’re using gold foil to conduct electricity.” It’s all a bit more cerebral than that first Branching light, but Adelman remains tethered to her industrialdesign roots: “In the end, it’s lighting— it’s got to be the perfect size to hang over someone’s dining room table,” she admits. “All these thoughts went into it, but it doesn’t really matter if the buyer knows that. They just have to like it.”
PHOTOGRAPHY BY
JASON SCHMIDT
AT DESIGNER MARKHAM ROBERTS’S CARRIAGE HOUSE TURNED STUDIO IN UPSTATE NEW YORK, HARRIET, A POODLE-SCHNAUZER MIX, STANDS ON A SWEDISH-MOTIF RUG BY TIBETANO. A VINTAGE MILO BAUGHMAN CHAIR WEARS A YELLOW CLARENCE HOUSE LINEN; THE PILLOW IS OF A RAOUL TEXTILES FLORAL PRINT. PENDANT LIGHT BY COUP STUDIO. FOR DETAILS SEE RESOURCES.
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TEXT BY
SHAX RIEGLER
PHOTOGRAPHY BY
STEPHEN KENT JOHNSON
STYLED BY
Designer Markham Roberts transforms an old carriage house into the perfect studio-retreat
HOWARD CHRISTIAN
lofty ideal
LEFT THE GROUNDFLOOR MUDROOM, LIKE THE REST OF THE SPACE, IS PANELED IN ROUGH KNOTTY PINE. VINTAGE MURANO-GLASS LIGHT; CIRCA-1969 SWEDISH BENCH, CIRCA1830 ENGLISH TABLE, AND ANTIQUE CHINESE BRONZE VESSEL; MOROCCAN RUG. RIGHT THE CARRIAGE HOUSE RETAINS ITS ORIGINAL WOOD ON THREE SIDES. THE WEST FAÇADE RECEIVED A NEW WINDOW AND SIDING PAINTED IN BENJAMIN MOORE’S BARN RED. LOWER RIGHT ROBERTS AT HIS WORK TABLE.
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esigner Markham Roberts’s neighbors were very curious when he started renovating the carriage house that sits across the road from his weekend retreat in upstate New York. “It’s a small town,” says the ebullient AD100 talent of his Dutchess County hamlet. “So, you know, when you start something, everyone wants to know what you’re doing.” Even so, this level of interest was greater than anything Roberts had experienced in the seven years since the Manhattan-based designer and his partner, art-and-antiques dealer James Sansum, had purchased the six-acre property. Basically, everybody wanted to know if the rumors they had heard from parents or grandparents were true: Had the carriage house’s hayloft really been used as a speakeasy in the 1920s? Sure enough, there was a 10-foot-long bar right in the middle of the space. That Prohibition-era relic now sits in a nearby barn where Roberts and Sansum often host parties. As for the hayloft, it has become an at-home studio, a place where Roberts can spread out samples and dream up schemes for clients. Though the nearly 150-year-old carriage house had long sat all but completely neglected, it was actually in good shape. After shoring up the structural sags, putting in new windows, and installing insulation, heat, and water, Roberts finished the reno by paneling the rooms in unfinished knotty pine.
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“Our house on Lake Michigan when I was little had it, and it was beautiful,” the Indiana native recalls of his family’s summer place overlooking Grand Traverse Bay. “It’s the cheapest thing, but I’ve always loved it. And it was just right for here.” Shell in place, Roberts set about decorating. The enormous 45-by-27-foot studio has become a repository for objects he has owned and loved but never had space for: Scandinavian Modern furniture, a Victorian chaise longue covered in muslin, an heirloom Arts and Crafts cabinet, and a large circular worktable set atop a giant piece of burl wood that he picked up one year at Nashville’s annual antiques-and-garden show. Furniture designed by Roberts is part of the mix, as are beloved art, old toys displayed like sculpture, and a sophisticated blend of fabrics. “I just buy what I like,” he says, “and when I put it together it always seems to end up working.”
His talent for mixing—and his abiding love of fabrics— is exemplified by the curtain panels hanging at either end of the studio. Composed of bands of textiles by Lisa Fine, Kathryn M. Ireland, and Schumacher, custom-dyed vintage crewelwork, and several trims on a muslin ground, the hangings are a tour de force. Still, he admits, “my curtainmaker was not happy.” In addition to a room in which Roberts could satisfy his whims, the studio also happens to be an ideal spot to show off his aesthetic vision. Indeed, a few clients have come to meet him there. “But it’s mostly just for me— which probably sounds very selfish,” the interior designer says, without a hint of self-reproach in his voice. “I had always wanted to do something like this, and this was my chance.”
HAIR BY DAVY NEWKIRK FOR THE WALL GROUP USING HONEST BEAUTY; MAKEUP BY AURORA BERGERE USING HONEST BEAUTY; NAILS BY KIM TRUONG FOR STAR TOUCH AGENCY USING CHANEL LE VERNIS
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TY OF FIVE With help from Clements Design, Jessica Alba fashions a grown-up family home in Beverly Hills TEXT BY
DEREK BLASBERG
PHOTOGRAPHY BY STEPHEN KENT JOHNSON STYLED BY MICHAEL REYNOLDS
JESSICA ALBA (WEARING A LOUIS VUITTON DRESS AND DUDLEY VANDYKE EARRINGS) AND CASH WARREN WITH THEIR CHILDREN HAVEN (LEFT), HONOR, AND HAYES IN THE FAMILY ROOM. CUSTOM SECTIONAL COVERED IN BELGIAN LINEN; CUSTOM OTTOMAN IN A MOORE & GILES LEATHER. FASHION STYLING BY JASON BOLDEN. FOR DETAILS SEE RESOURCES. ★ EXCLUSIVE VIDEO JESSICA ALBA AT HOME, ARCHDIGEST.COM.
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n January 2019, Jessica Alba, the actress and cofounder of the ecofriendly megabrand The Honest Co., threw a 40th-birthday bash for her husband, Cash Warren, producer and cofounder of lifestyle brand Pair of Thieves. Throughout his 30s, she’d organize an over-the-top pajama party every year—blowouts that would include beer pong, Twister, charades, and even a corn-hole toss. But this year, because they had recently moved into a home perched on the edge of a scenic, leafy canyon in Beverly Hills, she decided to combine the birthday with a housewarming. And after their beautiful, new, expansive backyard—a hot commodity in this part of town—had been mauled by tents, bars, and wild corn tossers at the extravaganza, she decided to retire the tradition. “He’s in his 40s now, so he can do other stuff!” she says, laughing. “This is our dream house!” Alba and Warren met on the set of Fantastic Four, in 2004. They married and had their first daughter,
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Honor, in 2008. A second daughter, Haven, arrived in 2011, and son Hayes was delivered on New Year’s Eve 2017. The couple, who had been living in a house just down the street for the past decade, already had started looking for a new one with more space, and a big backyard was on their wish list. “We wanted a place to watch our kids play and grow up,” Alba says. They found it on the very first day of their search. It wasn’t officially listed, because the sellers wanted to stage it first, but Alba cajoled her Realtor into getting her in that afternoon. “I thought, I have an imagination and I know what I want. I walked in and knew within 20 minutes, even though [the previous owners’ style] wasn’t our vibe, this was exactly what we were looking for.” The couple’s “vibe” has two touchstones. Warren’s mother lives in Provence, and one of Alba’s Pinterest boards is filled with pictures of houses in the French countryside and apartments in Paris. The second is Ellen DeGeneres and Portia de Rossi’s house in Beverly Hills. “They’d have us over for holiday parties, and we’d leave and say to each other, ‘Their house is so sick!’ ” When Alba closed on this property, she asked
ABOVE MATCHING LINEN-SLIPCOVERED SOFAS FACE OFF IN THE LIVING ROOM. ARMCHAIRS WEAR MOORE & GILES SHEARLING. OPPOSITE ON THE SIDE DECK, 18TH-CENTURY SWEDISH CHAIRS SURROUND A 19TH-CENTURY FRENCH TABLE, BOTH FROM GALERIE HALF.
“We wanted a place to watch our kids play and grow up,” Alba says.
a surprise since her company is based entirely on thoughtfully produced, safe products.” On the other hand, Kathleen jokes that Warren’s major concern was “where was the basketball hoop going to go? That was a very big deal, and he was very specific.” At first, Alba thought it would be a quick and easy renovation. “I was like, ‘I’m pretty much fine with everything; let’s just paint it!’ And then all of a sudden we walked into the house, and it had been stripped down to the studs. I mean, there were literally no walls! I said to Cash, ‘Did we know this DeGeneres for an introduction to her designers, the mother-son team of Kathleen and Tommy Clements. was going to happen?’ And he said, ‘This explains the bill!’ ” She laughs. “Apparently you can’t just pop “It’s easy to see why Jess is such a successful businesswoman,” Tommy says. “She’s organized, hyper- off crown moldings.” Ultimately, the renovation took 18 months and focused, and superdecisive—there is no vacillation.” The Clementses left their weekly client meetings with more than new paint. In order to create a more flowing family zone, the foursome modified the original their entire to-do list ticked off. In describing Alba’s style, Tommy notes she was always drawn to organic ground-floor plan, opening the former family room up to the kitchen. In the process they removed a bar to materials, natural fibers and fabrics, hemp textures, gain square footage and create more storage. (“I didn’t and reclaimed wood, “which didn’t exactly come as
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ABOVE FARROW & BALL’S MOLE’S BREATH COVERS THE MASTER BEDROOM’S WALLS. CUSTOM UPHOLSTERED HEADBOARD IN WASHED BELGIAN LINEN; VINTAGE FRENCH SCONCES AND OAK SIDE TABLE. OPPOSITE A STEEL-FRAMED GLASS DOOR ENCLOSES THE MASTER SUITE’S SHOWER AND TUB. KALLISTA SHOWER AND BATH FITTINGS; IN-EX TUB.
want to see all that stuff—coffee machine, toaster oven, dirty blender—all day,” Alba says.) And they blew out the back of the house and installed a folding glass wall that opened up the space to the incredible view. At first Alba and Warren were wary of obstructing that prospect. But when the children of some friends— movie producer Jamie Patricof and his wife, Kelly Sawyer Patricof, the cofounder of Baby2Baby, a charity Alba supports—outgrew their play set, Alba and Warren took it. A good businesswoman knows a deal when she sees one. Now sitting just beyond the pool, it signifies that this is a truly family-friendly home. “It’s sweet to have something that is worn in and has been loved by kids already,” Alba says. Alba also enjoyed hunting for just what she liked. To update the bathrooms, she went to RH (“I don’t have a deal with them; I just think their stuff is supercute”), and she found the kitchen range by scouring the internet (“I’ve been dreaming about a stove like this my whole life”).
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“Jess didn’t feel the need to spend money she didn’t need to,” Tommy Clements says. “She’s not the type of person to spend for the sake of spending. She sees through that kind of stuff.” Indeed, Alba is especially proud of the laundry-room flooring, which she found herself at a home-improvement store. “Someone quoted us a $70,000 option, and I thought, There’s got to be something better than that!” she explains. “So I put a hold on the vintage Italian limestone and went and talked to my new friend at Lowe’s.” Now fully settled in, Alba finishes in an unexpected spot when she gives house tours to friends: “This is our pride and joy,” she says, showing off a meticulously organized and labeled wall of circuit breakers, light switches, and other gear related to the house’s electronics. Alba, who does a mindboggling job splitting her time between being an actress, entrepreneur, and mother, looks on the display with pride. “All this organization is literally my wildest fantasy come true.”
farm fresh
A former Kentucky tobacco farm morphs into a high-voltage weekend wonderland of pattern, color, and open-armed hospitality TEXT BY
MITCHELL OWENS
PHOTOGRAPHY BY
STEPHEN KENT JOHNSON
INDIAN BEAN’S MAIN HOUSE. OPPOSITE THE FAMILY ENJOYS GAME TIME INSIDE THE CORRUGATED-METAL POOL CABANA DESIGNED BY ROY MCMAKIN. FOR DETAILS SEE RESOURCES.
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erhaps the last place on earth one would expect to find one of Japanese designer Masanori Umeda’s boxing-ring beds would be a farm not far from Louisville, Kentucky. But there the 1980s Memphis Group provocation proudly stands, anchoring the soaring living area of a guest house that has been disguised as a vernacular barn. “It really calls for people to get prone, talking and hanging out in a different way that reflects our
goals for the whole property,” says Stephen Reily, who shares the nearly 400 here-meadowed, therewooded acres—now called Indian Bean, for the catalpa, a.k.a. Indian bean tree, that grow in profusion—with his wife, Emily Bingham, three children, two standard poodles, and a steady stream of visitors. “There’s nothing like spending 18 or 24 or 30 hours with friends or even people you don’t know very well—having meals, taking walks, swimming, going target shooting,” Bingham explains. “This place has shaped our family culture deeply.” Like the barn, nothing is what it seems at Reily and Bingham’s idiosyncratic retreat, which is located in an unpretentious agricultural area more to their
ABOVE AN ASSORTMENT OF AFRICAN DUTCH WAXED TEXTILES COVERS THE STUDY’S WALLS. OPPOSITE MARCEL BREUER CHAIRS SURROUND A JONATHAN MUECKE TABLE IN THE DINING ROOM. MARTHE ARMITAGE HAND-BLOCKED WALLPAPER; PAAVO TYNELL BRASS PENDANTS.
laid-back liking than Louisville’s supersocial horse country. “We wanted to create our own world,” says Reily, an entrepreneur, collector of 20th-century Italian design, and, as of 2017, the director of Louisville’s acclaimed Speed Art Museum. He and Bingham, a historian from a storied Louisville clan— she wrote the award-winning Irrepressible, a 2015 biography of Henrietta Bingham, her flapper-era grandaunt—purchased Indian Bean in 1998 and have been tinkering with it ever since. Take the feedlot, for example. Once a concrete wasteland, it has been jackhammered into oblivion and recast as a formal garden brimming with vegetables for the table and flowers for the rooms.
What looks like an open-air, corrugated-metal tractor shed is a pool cabana, one of several works by architect and furnituremaker Roy McMakin. Then there’s the property’s centerpiece, an Arts and Crafts house with eccentric flaring roofs that reminded Bingham of pagodas when she first set eyes on the place. “That was very striking and felt a little exotic,” she recalls, adding, “The bones of the house were beautiful; it had been loved and lived in.” Storybook in appearance and painted pastel yellow, the house conceals Indian Bean’s most improbable surprise: rooms wrapped so densely in riotous patterns that the couple delightedly use the word ridiculous to describe the impact. The impresario behind these
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rollicking interiors is AD100 designer Rodman Primack. In the living room, hand-blocked blossoms and vines meet a red-gingham armchair and a carpet of irregular grass-tone stripes. Tropical-leaf wallpaper transforms the staircase into a vertical jungle, while more than a dozen wax prints, the bold fabrics worn by women in Central and West Africa, stripe the study. It’s a leitmotif of sorts for Primack: At the couple’s Louisville house, a vintage African photograph of a woman in a black-and-white striped dress sparked the creation of razzle-dazzle curtains that Primack calls “Southern John Fowler.” Even the farm’s hulking green pool table (“It was unhappy aesthetically,” Reily recalls) got into the act. Given a geometric makeover by Louisville artist Monica C.
Mahoney, it now looks for all the world like a Memphis Group treasure that time forgot. Layering on multitudes of motifs, believe it or not, wasn’t the original plan. “We just started adding pattern and more on top of that, and it just kept getting better,” Reily explains of the vibrant surroundings, among them a big kitchen walled with large blue, off-white, and gray cement tiles and illuminated by red tube lights and yellow sconces. Adds Primack, who incorporated existing pieces, such as a sofa upholstered in a Josef Frank botanical print, “When it’s done well, all those patterns practically become a neutral in a sense.” Simple, clean-lined furniture and lighting—Marcel Breuer’s cantilevered Cesca chairs, Paavo Tynell
ABOVE IN THE MASTER BEDROOM, A LISA FINE TEXTILES LINEN COVERS A CUSTOM BED BY RP MILLER. CUSTOM COVERLET BY RP MILLER; SCHWEITZER LINENS; SISTER PARISH WALL COVERING. LEFT CLUB CHAIRS WEAR A JOSEF FRANK PRINT IN THE STUDY. MAX KUEHNE COCKTAIL TABLE; CUSTOM RECYCLED ROPE RUG BY RP MILLER.
pendant lights of softly gleaming brass—sit serenely amid a visual exuberance that recalls Charleston, the East Sussex gathering place that Bloomsbury Group artist Vanessa Bell, its chatelaine, once rapturously called “a dithering blaze of flowers and butterflies and apples.” (Coincidentally, Bingham’s grandaunt Henrietta was one of the few Americans in the Bloomsbury circle.) That being said, “it’s ended up being more Nabis,” Reily says, referring to the late–19th century circle of French artists, among them Édouard Vuillard, whose flowery painted interiors are so aswirl with motifs that the people in the canvases seem to disappear. Says Primack, “Emily and Stephen aren’t interested in decorating per se as much as they are
in using their homes as a canvas.” At the couple’s Louisville residence, a vertiginous 1870s redbrick Victorian that’s yet another Primack project— he’s also working on the couple’s escape in Cape Cod—artists were commissioned to paint walls, floors, and more. Some of what isn’t patterned at Indian Bean patiently awaits the brushes of admired artists. Mahoney, using glow-in-the-dark paint, cheekily decorated a white cabinet with the caterpillars that munch catalpa leaves. Given her medium, Reily says, “it works like a night-light.” Some blanket chests are up for grabs, along with a few other prime locations. “Rodman,” Bingham contentedly observes, “left us places to work out over time.”
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“This place has shaped our family culture deeply,” notes Emily Bingham. POODLES LAIKA (FRONT) AND CLEO PLAY WITH THE CHILDREN BY THE POOL.
BOXING RING, BY MASANORI UMEDA, COMMANDS THE GUEST HOUSE’S MAIN ROOM. OPPOSITE IN THE KITCHEN, CUSTOM CEMENT TILE BY MOSAIC HOUSE PROVIDES A SERENE BACKDROP FOR COLORFUL ACCENTS. BERTAZZONI RANGE; JIELDÉ SCONCES; RAIS WOOD-BURNING STOVE.
design notes IN THE SITTING ROOM, A DOKTER AND MISSES CABINET.
SIGNAL LAMP; PRICE UPON REQUEST. JIELDE.COM
LITTLE HAVANA
We went from white Sheetrock to pattern on pattern on pattern.” —Rodman Primack
PHILIP LINEN; TO THE TRADE. RAOULTEXTILES.COM
OLD MAN’S BEARD WALLPAPER BY MARTHE ARMITAGE; PRICE UPON REQUEST. MARTHEARMITAGE.CO.UK
36" PROFESSIONAL SERIES RANGE; $6,036. BERTAZZONI.COM
R’CEEF 23 GLAZED CERAMIC TILES; $48.25 PER SQUARE FOOT. MOSAICHSE.COM LAVINIA’S SUPPER PARTY CENTRE TABLE; $5,895. THEODORE ALEXANDER.COM
PRODUCED BY M ADELINE O’MALLEY
A LISA FINE TEXTILES WALL COVERING ENVELOPS A BEDROOM; SERENA & LILY WICKER SIDE TABLE.
It really does have this goofy, wonderful farmhouse look.” —Emily Bingham
TIKA PALM BY LISA FINE TEXTILES; $184 PER YARD. HOLLYWOODATHOME.COM
ARMCHAIR 336 IN BARANQUILLA FABRIC BY JOSEF FRANK FOR SVENSKT TENN; $4,200 (EXCLUDING FABRIC). SVENSKTTENN.SE
INTERIORS: STEPHEN KENT JOHNSON; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES
SOUTH SEAS BAR CART; $598. SERENA ANDLILY.COM
Rodman made use of a lot of things we already had.” —Stephen Reily
BABOUCHE NO. 223 PAINT; FROM $110 PER GALLON. FARROW-BALL.COM
ONE OF PHILIPPE STARCK’S GNOME STOOLS FOR KARTELL STANDS IN A GUEST BATH; ON CHAIR, C&C MILANO PRINT.
KATSURI FLOWERS FABRIC BY RP MILLER TEXTILES; TO THE TRADE. RPMILLERDESIGN.COM ARCHDIGEST.COM
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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. PLAY GROUND PAGES 60–75: Interiors by Kelly Behun Studio; kellybehun.com. Architecture by James Merrell Architects; jamesmerrellarchitects .com. Landscape design by Hollander Design Landscape Architects; hollanderdesign.com. PAGES 60–61: In garden, Spun chairs by Heatherwick Studio for Magis; hermanmiller .com. Curtains of Tarifa acrylic, in natural, by Wind from Hines & Co. (T); hinescompany .com; fabricated by Distinctive Window Treatment Plus; distinctivewindows.com. On Plateau daybeds, in weathered teak, by Bonetti/Kozerski for Sutherland (T); sutherlandfurniture.com; cushions of Nailhead acrylic, in blanca, by Perennials (T); perennialsfabrics.com. Montecito pillow by Serena & Lily; serenaandlily.com. Cocktail table by West | Out East; westouteast.com. Brimley outdoor rug, in sand crystal, by Patterson Flynn Martin (T); pattersonflynn martin.com. PAGES 62–63: I’m a Woman Not an Object child’s chair by Lucas Maassen from Kinder Modern; kindermodern.com. Cipria sofa by the Campana Brothers for Edra; edra.com; in faux fur by Dualoy Leather (T); dualoy.com. Sam Son armchair by Konstantin Grcic for Magis; hivemodern.com. Guframini Cactus by Gufram from Barneys New York; barneys.com. Monkey side table by Jaime Hayon for BD Barcelona; bdbarcelona.com. Custom wool Cloud rug by Kelly Behun Studio; kellybehun.com; fabricated by The Rug Company; therugcompany.com. PAGE 64: In dining room, pendants by Apparatus; apparatusstudio.com. Custom bleached oak and bronze dining table by Hudson Furniture; hudsonfurnitureinc.com. On Paolo dining chairs by Studio Van den Akker; studiovanden akker.com; Tapisserie Jacquard silk-blend by Lauren Hwang New York (T); laurenhwang newyork.com. Custom wool rug by Tai Ping (T); houseoftaiping.com. Laurel side table (left) by Luca Nichetto for De La Espada from the Future Perfect; thefutureperfect.com. On Dudotta armchair (left) by Lazzarini & Pickering for Marta Sala Éditions from the Future Perfect, Rive Gauche mohair velvet, in malpeque, by Holland & Sherry (T); hollandsherry.com; and Duke mohair velvet, in rose ancien, by Pierre Frey (T); pierrefrey.com. PAGE 65: Plaster chandelier by Stephen Antonson; stephenantonson.com. On Vladimir Kagan sofas (similar) from Holly Hunt (T); hollyhunt.com; cotton velvet by Holland & Sherry (T); hollandsherry.com. Custom wool rug by Kelly Behun Studio; kellybehun.com; fabricated by The Rug Company; therug company.com. Custom stone mosaic-top cocktail table, bookshelves, and Split Jane printed artwork; all by Kelly Behun Studio. Noos pillows by Zak + Fox; zakandfox.com. PAGE 67: On shelving, ceramics by Erica Prince; erica-prince.com; Manal Kara; manalkara.com; and Kelly Behun Studio; kellybehun.com. Shape Up lighting by Ladies & Gentlemen Studio; ladiesandgentlemen studio.com. Custom table, custom bench, and lacquer vases; all by Kelly Behun Studio. On bench, pillows of Mungo viscose-blend, in reglisse, by Pierre Frey (T); pierrefrey.com.
PAGES 68–69: On the Rocks sofa by Francesco Binfaré from DDC; ddcnyc.com. Pillows by Zak + Fox; zakandfox.com; and Martyn Thompson Studio from the Future Perfect; thefutureperfect.com. Fur throw from Roman and Williams Guild; rwguild.com. Serafina side table by Arteriors; arteriorshome.com. On Smile chair (background, corner) by Studio Giancarlo Valle; giancarlovalle.com; Pebble pillow by Martyn Thompson Studio from the Future Perfect. Modi andirons by Caroline Ranicar from Chesneys; chesneys.com. Hex stool (foreground) by the Haas Brothers from R & Co.; r-and-company.com. On Dudina armchairs (right) by Lazzarini & Pickering for Marta Sala Éditions from the Future Perfect, Rive Gauche mohair velvet, in malpeque, by Holland & Sherry (T); hollandsherry.com; and Duke mohair velvet by Pierre Frey (T); pierrefrey.com. Carved wood side table by Caleb Woodard Furniture; calebwoodard furniture.com. PAGE 70: In kids’ room, on custom built-ins by Kelly Behun Studio; kellybehun.com; Lazy Sunday, Springhill Green, Iris Bliss, and Waterfall paints; all by Benjamin Moore; benjaminmoore.com. Mushroom Junior chair by Pierre Paulin (similar) from Ralph Pucci; ralphpucci.net. Hexagoncolor split wool carpet by Kinder Modern; kindermodern.com. Baby Rabbit chair, in white, by Stefano Giovannoni for Qeeboo; qeeboo.com. Himalayan faux-fur lilac beanbag by PBteen; pbteen.com. On custom bench, cushion of Lanzarote cotton-linen, in marfil, by Gastón y Daniela (T); kravet.com. Pillows by Kelly Behun Studio of Paloma cotton satin, in lagoon, campanula, and cilantro; by Romo (T); romo.com. In garden, custom chess set and bench, both by Kelly Behun Studio. PAGE 71: In pool area, on Mustique teak chaise longues by RH; rh.com; cushions of white canvas by Perennials (T); perennialsfabrics.com. Soixante 3 side tables by Thomas Rodriguez for Ligne Roset; ligne-roset.com. Ocean Master Max Classic umbrellas by Tuuci; tuuci.com. On custom hanging daybed by Kelly Behun Studio; kellybehun.com; cushions of Nailhead acrylic, in blanca, by Perennials (T). Harbour Island floor pillows by Serena & Lily; serenaandlily .com. Roll chairs by Patricia Urquiola for Kettal; kettal.com. Pool design by James Merrell Architects; jamesmerrellarchitects .com. In entry, custom lacquered table, wallhung consoles, and mirror with linen tassel; all by Kelly Behun Studio. On table, vase by L’Objet; l-objet.com. PAGES 72–73: Bowling alley design and millwork by James Merrell Architects; jamesmerrellarchitects.com; fabricated by QubicaAMF; qubicaamf.com. Custom wallpaper by Kelly Behun Studio; kellybehun.com; fabricated by Élitis (T); elitis.fr. Custom neon installation by Kelly Behun Studio.
GREEN ACRES PAGES 76–85: Interiors styling by Mieke ten Have; mieketenhave.com. PAGES 78–79: In living room, on sofa by George Smith (T); georgesmith.com; Erevan cotton-blend, in prune, by Pierre Frey (T); pierrefrey.com. On Jean-Michel Frank and Adolphe Chanaux cocktail table (re-editioned by Ecart International) from Ralph Pucci; ralphpucci .net; incense burner by Apparatus; apparatusstudio.com. On Louis XVI bergére,
ARCHITECTURAL DIGEST AND AD ARE REGISTERED TRADEMARKS OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT © 2019 CONDÉ NAST. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 76, NO. 6. ARCHITECTURAL DIGEST (ISSN 0003-8520) is published
monthly except for combined July/August issues by Condé Nast, which is a division of Advance Magazine Publishers Inc. PRINCIPAL OFFICE: Condé Nast, 1 World Trade Center, New York, NY 10007. Roger Lynch, Chief Executive Officer; David E. Geithner, Chief Financial Officer, U.S.; Pamela Drucker Mann, Chief Revenue & Marketing Officer, U.S. Periodicals postage paid at New York, NY, and at additional mailing offices. Canada Post Publications Mail Agreement No. 40644503. Canadian Goods and Services Tax Registration No. 123242885-RT0001. POSTMASTER: Send all UAA to CFS. (See DMM 507.1.5.2); NON-POSTAL AND MILITARY FACILITIES: Send address corrections to ARCHITECTURAL DIGEST, P.O. Box 37641, Boone, IA 50037-0641.
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Mortefontaine cotton by Le Manach (T); pierrefrey.com. Dhurrie by Madeline Weinrib; madelineweinrib.com. On vintage lamps, shades by Bunny Williams Home; bunny williamshome.com. PAGE 80: On panel (behind bed), Compiegne linen-blend by Manuel Canovas (T); cowtan.com. On bed, linens by Trousseau; trousseau.us. On Biedermeier chest of drawers, lamp with shade by Bunny Williams Home; bunnywilliamshome.com. PAGE 81: On walls, Great Vine wallpaper by Cole & Son (T); kravet.com. Savannah crib by Ducduc; ducducnyc.com. On armchair, Maintenon cotton, in petale, by Manuel Canovas (T); cowtan.com. Checked rug by Bunny Williams for Dash & Albert; annieselke.com. PAGES 82–83: On bookshelves, Georgian Green paint by Benjamin Moore; benjaminmoore.com. Molecule Long console by Casamidy; casamidy.com. Vintage tray-top cocktail table (similar) from Montage Antiques; montageantiques.com. On sofa, pillow by Bunny Williams Home; bunny williamshome.com. PAGE 84: On stool from Wisteria; wisteria.com; foutas by Soukra; soukra.co. PAGE 85: Hiver (Musée Picasso) chandelier by Casamidy; casamidy.com. Tablecloth by Les Indiennes (T); lesindiennes .com. On vintage chairs, slipcovers of Kavuk Flower linen by Idarica Gazzoni for Arjumand’s World (T); arjumandsworld.com. On table, small vase by Frances Palmer Pottery; francespalmerpottery.com. LOFTY IDEAL PAGES 88–91: Architectural renovation and interiors by Markham Roberts Inc.; markham roberts.com. Select furnishings throughout from James Sansum Fine and Decorative Art; jamessansum.com. PAGES 88–89: Raynor Swedish woven flat rug, in fall, by Tibetano; tibetano.com. On vintage Milo Baughman chair, Joplin linen, in citron, by Clarence House (T); clarencehouse.com; with pillow of Pondicherry linen-cotton by Raoul Textiles (T); raoultextiles.com. Sea Urchin pendant by Coup Studio; coupdetatsf.com. On custom chaise by Markham Roberts Inc.; markham roberts.com; Remix wool-nylon, in 10, by S. Harris (T); fabricut.com. Oak cocktail table with inset leather top by Markham Roberts Inc. Antique Japanese bronze floor lamp (in foreground) from James Sansum Fine and Decorative Art; jamessansum.com; with shade of Arya Vine linen, in spring field, by Jim Thompson Fabrics (T); jimthompsonfabrics .com. Custom muslin curtains by Markham Roberts Inc. PAGES 90–91: In mudroom, circa-1969 Murano glass lamp from Bernd Goeckler; bgoecklerantiques.com. Circa-1969 Swedish bench and circa-1830 English table from James Sansum Fine and Decorative Art; jamessansum.com. Antique bronze Chinese vessel from Naga Antiques; nagaantiques.com. Moroccan wool rug from Tibetano; tibetano.com. On carriage house exterior (western façade only); Barn Red paint by Benjamin Moore; benjaminmoore.com. PARTY OF FIVE PAGES 92–99: Jessica Alba of the Honest Co.; honest.com. Interiors by Clements Design; clementsdesign.com. PAGES 92–93: Custom sectional and ottoman by Clements Design; clementsdesign.com. On ottoman, Potomac leather, in tan, by Moore & Giles (T); moore andgiles.com. PAGE 94: On chaise longues, fabric by Summit Furniture (T); summit furniture.com. PAGE 95:Custom brass hood by
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Clements Design; clementsdesign.com. Sully range by Lacanche; lacanche.com. On cabinets, Down Pipe paint by Farrow & Ball; farrowball.com. On backsplash, glazed Cotto tiles, in chalk, by Eco Outdoor; ecooutdoorusa.com. Farol chandelier by Bowles and Linares; bowlesandlinares.co.uk. Sink fittings by Kallista; kallista.com; and Waterstone; waterstoneco.com; both in unlacquered brass. PAGE 96: Antique chairs, table, and vase from Galerie Half; galeriehalf.com. PAGE 97: Custom sofas by Clements Design; clementsdesign.com. On armchairs, Shearling, in dusty beige, by Moore & Giles (T); mooreandgiles.com. Custom oak cocktail table and marble fireplace surround by Clements Design. Vintage stool from Rose Tarlow; rosetarlow.com. Between armchairs, Pierre Jeanneret stool from Galerie Half; galeriehalf.com. Jute rug from Lawrence of La Brea; lawrenceoflabrea.com. PAGE 98: On walls, Mole’s Breath paint by Farrow & Ball; farrow-ball.com. Custom bed, headboard, bench, and coverlet by Clements Design; clementsdesign.com. Vintage sconces from Nicky Kehoe; nickeykehoe.com. Vintage oak bedside table from Lucca Antiques; luccaantiques.com. PAGE 99: Showerhead and fittings by Kallista, in unlacquered brass; kallista.com. In shower, personal care products by the Honest Co.; honest.com. Normal bathtub (similar) by IN-EX; inex.la. One tub fittings by Kallista, in unlacquered brass. Vintage stools from Waldo’s Designs; waldosdesigns.com. FARM FRESH PAGES 100–111: Interiors by RP Miller Design; rpmillerdesign.com. PAGE 101: Sofa, tables, and chairs by Roy McMakin; roymcmakin.org. PAGES 102–03: In dining room, Cesca chairs by Marcel Breuer from Knoll; knoll.com. MWS white oak table by Jonathan Muecke from Volume Gallery; wvvolumes.com. Old Man’s Beard wallpaper by Marthe Armitage from Hamilton Weston; hamiltonweston.com. Paavo Tynell 1965 pendants from Chairish; chairish.com. Custom rug by Fedora Design; fedoradesign.com. PAGES 104–05: In study, on club chairs and sofa pillows, Vegetable Tree linen by Josef Frank for Svenskt Tenn; svenskttenn.se. Vintage Max Kuehne cocktail table (similar) from 1stdibs; 1stdibs.com. Custom recycled marine rope rug by RP Miller Design; rpmillerdesign.com. In master bedroom, on custom bed by RP Miller Design, Tika Palm linen, in sage, by Lisa Fine Textiles (T); lisafinetextiles.com. Custom coverlet by RP Miller Design. Bed linens by Schweitzer Linen; schweitzerlinen.com. On walls, Sunswick linen, in blue, by Sister Parish Design; sisterparishdesign.com. Signal sconce by Jieldé; jielde.com. Rug by Shyam Ahuja (T); shyamahuja.com. PAGE 108: Custom cement tile by Mosaic House; mosaichouse.com. Bertazzoni range, in red; bertazzoni.com. Uplift tea kettle by OXO; oxo.com. Loft wall sconces by Jieldé; jielde.com. Rondo woodburning stove (similar) by Rais; rais.com. Custom tube lighting by RP Miller Design; rpmillerdesign.com. Sink fittings by Grohe; grohe.com. PAGE 109: Tawaraya “boxing ring” by Masanori Umeda from Memphis Milano; memphis-milano.com. On pillows, Burundi cotton by Nathalie Du Pasquier and Triangolo fabric by George Sowden, both from Memphis Milano.
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