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THE INTERNATIONAL DESIGN AUTHORITY FEBRUARY 2019

SHONDALAND! AT HOME IN LOS ANGELES WITH TV HITMAKER SHONDA RHIMES

CITY LIVING IN MIAMI, NEW YORK, LONDON, AND STOCKHOLM

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CONTENTS february

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A VIGNETTE IN JOHN DERIAN’S MANHATTAN APARTMENT.

10 Editor’s Letter 12 Object Lesson How Ubald Klug’s otherworldly Terrazza sofa became today’s sexiest sectional.

19 Discoveries Ralph Lauren’s new tabletop collection with Burleigh sets the scene at Lauren Bush Lauren’s FEED supper . . . Textile artist Mimi Jung pushes age-old techniques to their limits . . . Raphael Navot’s pieces for Roche Bobois display his dedication to craft . . . Beloved waterfront hotels reopen in St. Barts . . . Michael S. Smith brings his high-end sensibilities to window treatments and wall coverings for Hartmann & Forbes . . . With Art Deco panache, Van Cleef & Arpels’ newest necklace was inspired by a Brothers Grimm tale . . . From throne room to sunken bath, a princely family’s Genoa home is open to all . . . and more!

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THE PASRICHA CHILDREN IN THE FAMILY ROOM OF THEIR LONDON TOWNHOUSE.

CLOCKWISE FROM TOP LEFT: STEPHEN KENT JOHNSON; MANOLO YLLERA; PAUL RAESIDE; © DAMIEN HIRST AND SCIENCE LTD. ALL RIGHTS RESERVED/DACS, LONDON/ARS, NY 2018

A PIECE BY DAMIEN HIRST INSIDE A PETER MARINO– DESIGNED MIAMI BEACH HOME.

Live deliciously.

From the first toast to the final bite, relish every moment and meal.

Cooking. Refrigeration. Dishwashing.

CONTENTS february

OLIVE (LEFT) AND FRANKIE KOPELMAN AT HOME IN NEW YORK CITY.

40 The House Whisperer Ilse Crawford invigorates a historic Stockholm mansion.

BY MITCHELL OWENS

SHONDA RHIMES, WEARING A DOLCE & GABBANA DRESS AND JIMMY CHOO SHOES, IN HER GARDEN. “BLOCKBUSTER,” PAGE 62.

PHOTOGRAPHY BY MICHAEL MUNDY. STYLED BY LAWREN HOWELL. FASHION STYLING BY DANA ASHER LEVINE.

52 Putting Down Roots A house in London’s Notting Hill becomes a family’s forever home.

BY HUGO MACDONALD

FOLLOW @ARCHDIGEST

62 Blockbuster Michael S. Smith masterminds Shonda Rhimes’s L.A. residence.

SUBSCRIPTIONS FOR SUBSCRIPTION INFORMATION GO TO ARCHDIGEST.COM, CALL 800-365-8032, OR EMAIL SUBSCRIPTIONS@ ARCHDIGEST.COM. DIGITAL EDITION DOWNLOAD AT ARCHDIGEST.COM/APP.

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NEWSLETTER SIGN UP FOR AD’S DAILY NEWSLETTER, AT ARCHDIGEST.COM/ NEWSLETTER. COMMENTS CONTACT US VIA SOCIAL MEDIA OR EMAIL US AT LETTERS@ ARCHDIGEST.COM.

BY SHONDA RHIMES

72 Painterly Touch John Derian’s Manhattan flat is a window into the design maestro’s world. BY MAYER RUS

THE LIVING ROOM OF SHONDA RHIMES’S LOS ANGELES HOUSE.

80 Miami Modern Peter Marino tailors a retreat to its owners’ A-list collection of art. BY MICHAEL BOODRO

90 Oscar Worthy Renzo Piano’s daring design for the Academy Museum of Motion Pictures. BY MAYER RUS

94 Daddy Time Will Kopelman updates a classic New York City apartment for his family. BY SHAX RIEGLER

100 Resources The designers, architects, and products featured this month.

102 Last Word The Shinola Hotel opens in Detroit.

CLOCKWISE FROM TOP LEFT: SIMON UPTON; MICHAEL MUNDY (2)

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Th e f lo o r a t i t s f i ne st. feat. T H E I D R I S C O L L E C T I O N

Rugs for the thoughtfully layered home.

THE INTERNATIONAL DESIGN AUTHORITY VOLUME 76 NUMBER 2

EDITOR IN CHIEF

Amy Astley CREATIVE DIRECTOR David Sebbah EDITORIAL OPERATIONS DIRECTOR Diane Dragan EXECUTIVE EDITOR Shax Riegler EXECUTIVE DIRECTOR, DIGITAL Keith Pollock INTERIORS & GARDEN DIRECTOR Alison Levasseur STYLE DIRECTOR Jane Keltner de Valle FEATURES DIRECTOR DECORATIVE ARTS EDITOR Mitchell Owens WEST COAST EDITOR Mayer Rus

FEATURES SENIOR DESIGN WRITER Hannah Martin DEPUTY EDITOR, DIGITAL Kristen Flanagan SPECIAL PROJECTS DIRECTOR, DIGITAL

Sydney Wasserman ENTERTAINMENT DIRECTOR Dana Mathews EXECUTIVE FEATURES EDITOR David Foxley ENTERTAINMENT EDITOR, DIGITAL Seth Plattner CLEVER EDITOR Lindsey Mather ASSOCIATE FEATURES EDITOR, DIGITAL Nick Mafi EDITORIAL ASSISTANTS Elizabeth Fazzare,

Katherine McGrath (Digital), Carly Olson ASSISTANT TO THE EDITOR IN CHIEF Gabriela Ulloa AD PRO EDITOR Katherine Burns Olson NEWS EDITOR Hadley Keller

MARKET MARKET DIRECTOR Parker Bowie Larson MARKET EDITOR Madeline O’Malley PRODUCTION EDITORIAL OPERATIONS MANAGER Nick Traverse PRODUCTION DIRECTOR Jason Roe CONTRIBUTING PRODUCTION EDITOR David Byars 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

Sam Cochran

CREATIVE DESIGN DIRECTOR Natalie Do VISUALS DIRECTOR Michael Shome VISUALS EDITOR, DIGITAL Melissa Maria ASSOCIATE VISUALS EDITOR

Gabrielle Pilotti Langdon JUNIOR DESIGNER Patricia Preuss VISUALS ASSISTANT Emily Bukowski VIDEO PRODUCERS

Erin Kaplan DIRECTOR, EDITORIAL PROJECTS

Jeffrey C. Caldwell CONTRIBUTORS CONTRIBUTING EDITOR AT LARGE

Michael Reynolds CONTRIBUTING INTERNATIONAL PROJECTS EDITOR

Vince Cross, Matt Duckor, Sara Snyder, Chauncey McDougal Tanton, Rusty Ward ARCHDIGEST.COM ASSOCIATE DIRECTOR OF MARKET DEVELOPMENT

Erika Owen ANALYST, DIGITAL INTELLIGENCE

COMMUNICATIONS + EDITORIAL PROJECTS EXECUTIVE DIRECTOR, PUBLIC RELATIONS

Kevin Wu

Carlos Mota CONTRIBUTING STYLE EDITORS

Lawren Howell, Carolina Irving CONTRIBUTING EDITORS

Amanda Brooks, Gay Gassmann CONTRIBUTORS 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

Craig Kostelic VP REVENUE Jeff Barish VP REVENUE Beth Lusko-Gunderman VP REVENUE Jordana Pransky DIGITAL GENERAL MANAGER Eric Gillin VP MARKETING Bree McKenney VP FINANCE & BUSINESS DEVELOPMENT Barbra Perlstein SENIOR DIRECTOR, SALES OPERATIONS Mary Beth Dwyer EXECUTIVE STRATEGY DIRECTOR Hayley Russman

ADVERTISING NEW YORK SALES DIRECTORS Shelly Johnson, Jeannie Livesay,

Melissa Goolnick Schwartz EXECUTIVE ACCOUNT DIRECTORS Nina B. Brogna, Francesca Coia, Catherine Dewling, Meredith Jeffery, Wendy Gardner Landau, Priya Nat, Kathryn Nave SENIOR ACCOUNT DIRECTORS Emily Harris, Jaime Schwartz ACCOUNT DIRECTORS Sara Coyle, Katie Tomlinson ACCOUNT EXECUTIVE Sean Walter FINANCE & BUSINESS OPERATIONS DIRECTOR Katie Balin SENIOR DIRECTOR Jennifer Crescitelli ASSOCIATE DIRECTOR Anthony Mitchell SENIOR MANAGER Jessica Reinhardt MANAGER Joe DeRuvo DIGITAL SALES OPERATIONS MANAGERS, SALES OPERATIONS

Alexandra Niemeyer

Isabel Kierencew,

SENIOR ACCOUNT MANAGER Jacquie Pelusi ACCOUNT MANAGERS Jena Johansen, Brett Karbach,

Brooke Pischke, Timothy Samson, Mandy Schmidt

ASSOCIATE ACCOUNT MANAGERS Lena Perlmutter, Kendall Rozell SALES PLANNERS Nicole Bramble, Emily Byerly,

Maura Colwell, Hallie Drapkin, Heather Dring, Lauren Gauksheim, Nicole Guzman, Nick Papa, Adam Zakrzewski EXECUTIVE ASSISTANT TO CHIEF BUSINESS OFFICER Olivia Marder SALES ASSOCIATES Alessia Bani, Samantha Benedict, Paulina Carvajal, Hannah Neuman, Aubree Oppici, Samantha Pinto, Gabriella Rutkowski, Serena Sheth, Sarah Tinoco BRAND MARKETING EXECUTIVE DIRECTORS, BRAND MARKETING

Christin DeMaria, Rob Feinberg, Casey McCarthy, Tara Melvin EXECUTIVE DIRECTOR, MARKETPLACE STRATEGY Barri Trott DIRECTORS, MARKETING Emma Greenberg, Shannon Muldoon DIRECTORS, MARKETPLACE STRATEGY Brittany Bakacs, Holly Sabecky ASSOCIATE DIRECTORS, BRAND MARKETING Jackie Albastro, Caitlin DiLena, Tara Dushey, Tom Heiss, Caroline Karter, Erin Kenney, Nadine Rivoldi, Lucas Santos, Jessica Sisco, Arisara Srisethnil

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Alexis Aliquo, Michele Bastin, Caroline Claude, Joshua McDonald, Justine Parker ASSOCIATES, BRAND MARKETING Cydney Eckert, Chelsea Horhn, Marybeth Lawrence, Hillary Miller, Lauren Pernal EXECUTIVE DIRECTOR, EXPERIENCE Benjamin Peryer ASSOCIATE DIRECTORS, EXPERIENCE Jennifer Mills, Joshua Robertson MANAGERS, BRAND MARKETING

EXECUTIVE DIRECTOR, COMMUNICATIONS, THE LIFESTYLE COLLECTION

Molly Pacala COMMUNICATIONS MANAGER, THE LIFESTYLE COLLECTION

Savannah Jackson CREATIVE SENIOR ART DIRECTOR Phuong Nguyen ART DIRECTOR Tanya DeSelm SENIOR DESIGNER Corinne Baptiste DESIGNERS Elena Scott, Stephanie Stanley EXECUTIVE PRODUCER Lloyd D’Souza SENIOR PRODUCER Julie Sullivan DIRECTOR OF CREATIVE CONTENT PRODUCTION Dana Kravis CONTENT DIRECTOR Kate Marsanico BRANCH OFFICES LOS ANGELES EXECUTIVE ACCOUNT DIRECTOR Elizabeth Murphy 323-965-3578 SAN FRANCISCO / PACIFIC NORTHWEST EXECUTIVE ACCOUNT DIRECTOR Rick Gruber 415-276-5217 MIDWEST VP, REVENUE Pamela Quandt 312-649-3526 EXECUTIVE ACCOUNT DIRECTOR Jenna Ernster 312-649-3549 SENIOR ACCOUNT DIRECTORS Hillary Kribben 312-649-3525, Chris Roelle 312-649-3553 ACCOUNT DIRECTOR Stephanie Cohen 312-649-3512 DETROIT EXECUTIVE ACCOUNT DIRECTOR Anne Green 248-765-9126 FLORIDA / SOUTHEAST / CARIBBEAN Peter M. Zuckerman, Z-MEDIA 305-532-5566 SOUTHWEST Lewis Stafford Company 972-960-2889 CANADA Dodd Media Group 905-885-0664 MEXICO John Hillock 212-286-2035 ASIA Marcia Kline +62-813-60896848 UK Juliet Fetherstonhaugh +44-20-7349-7111, Steve Middleton, SMS LTD +44(0)7710-128464 MIDDLE EAST Skyscale Media Services +971-42-42-4579 INDIA Saurabh Wig 647-679-6005 EUROPE, FASHION/LUXURY Rula Al Amad +39-02-6558-4237

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1. FRANKIE, WILL, AND OLIVE KOPELMAN AT HOME IN NEW YORK. 2. A HOUSE

BY PETER MARINO ON MIAMI BEACH’S STAR ISLAND. 3. EIESHA BHARTI PASRICHA AND HER DAUGHTER IN LONDON. 4. SHONDA RHIMES’S L.A. SWIMMING POOL. 5. AT FASHION GROUP INTERNATIONAL’S NIGHT OF STARS.

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Renovating a house in real life is not like it is on TV. On TV, the home renovation takes place during a clever 30-second montage while a Stevie Wonder song plays. The actor playing TV Shonda holds up swatches and nods, peers at tiles and nods, uses a sledgehammer on a wall and smiles . . . and never loses patience or the will to live."—Shonda Rhimes Do yourself a favor: Don’t just look at the pictures of our cover star, Shonda Rhimes, at home in her L.A. abode—read the text! After all, the superstar storyteller wrote it herself, and how could the brains behind Grey’s Anatomy, Scandal, and How to Get Away with Murder not nail the tale of her own dream house? Unsurprisingly, nail it she does, from the meet-cute beginning (falling for a “wrong, ugly house” because it seems like “good story,” and obviously she is a sucker for good story) to the hard part—five years of change orders, permits, delays, tile arriving broken from Morocco that has to be sent back—to the happy ending, complete with AD cover shoot. Rhimes shares that her leafy property feels like “somewhere in wine country instead of five minutes from Hollywood,” and in fact this entire issue is devoted to people who have mastered—and even outwitted—city living. There are two Manhattan apartments that resemble cozy weekend houses more than urban environments—I defy you to believe that John Derian’s romantic, Gustavian-tinged wonderland is actually in the East Village!—and sophisticated yet family-friendly townhouses in London and Stockholm (the latter designed by the influential Ilse Crawford) that epitomize every city dweller’s fantasy scenario (airy, light-filled, roomy, with outdoor space). Finally we share a Peter Marino limestone tour de force on an island in Biscayne Bay that defies what the architect calls “a very difficult site”: It literally reads “remote tropical getaway” rather than Miami Vice.

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AMY ASTLEY Editor in Chief @amytastley 5

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1. SIMON UPTON; 2. MANOLO YLLERA; 3. PAUL RAESIDE; 4. MICHAEL MUNDY; 5. SEAN ZANNI/PATRICK MCMULLAN/GETTY IMAGES

editor's letter

A banking experience you’ll actually enjoy.

Surprising, right? ĕĝĤěħĥĝ Ĭħ āęĨġĬęĤ čĦĝ āęĞ ī ġĦĮġĬġĦğ ĨĤęěĝī įġĬĠ ĨĝħĨĤĝ ĠĝĪĝ Ĭħ ĠĝĤĨ ıħĭ ĦħĬ īĝĤĤ ıħĭ đĬħĨ Ěı ę ĤħěęĬġħĦ Ĭħ ĠęĦĜĤĝ ıħĭĪ ĝĮĝĪıĜęı ĚęĦģġĦğ ĦĝĝĜī ħĪ ğħ ħĦĤġĦĝ Ĭħ ĤĝęĪĦ ĥħĪĝ Welcome to Banking Reimagined.®

čljĝĪĝĜ Ěı āęĨġĬęĤ čĦĝ Č ÿ ċĝĥĚĝĪ ĄĂćā āęĞ ī Ĝħ ĦħĬ ĨĪħĮġĜĝ ĬĠĝ īęĥĝ īĝĪĮġěĝī ęī ĚęĦģ ĚĪęĦěĠĝī ĚĭĬ ĠęĮĝ ÿĒċī ęĦĜ ęīīħěġęĬĝī įĠħ ěęĦ ĠĝĤĨ ıħĭ āęĞ ī ęĮęġĤęĚĤĝ ġĦ īĝĤĝěĬ ĤħěęĬġħĦī ąħ Ĭħ ĤħěęĬġħĦī ěęĨġĬęĤħĦĝ ěħĥ ĞħĪ ĤħěęĬħĪ ĄħħĜ ęĦĜ ĚĝĮĝĪęğĝī ĨĪħĮġĜĝĜ Ěı ę ĬĠġĪĜ ĨęĪĬı ƣ ! ' āęĨġĬęĤ čĦĝ

object lesson

THE STORY BEHIND AN ICONIC DESIGN

Ground Swell How Ubald Klug ’s otherworldly Terrazza sofa became today’s sexiest sectional 12

ARCHDIGE S T.COM

STEPHAN JULLIARD

AN ISLAND OF TERRAZZA SOFAS

BY UBALD KLUG IN A BEIRUT HOUSE

BY CLAUDE MISSIR.

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THE STORY BEHIND AN ICONIC DESIGN

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wiss designer Ubald Klug was known for taking on unconventional projects. There was his so-called bed for working, a prefab housing prototype, a study for the cockpit of a French airline. So, in the early 1970s, when Klug presented the furnituremaker de Sede with a fresh idea, it’s no surprise that he put forth something groundbreaking, pun intended—a sofa that resembled a pile of earth.

“He had the idea to produce a kind of mountain,” explains Willi Glaeser, his onetime collaborator. “In the Alps the cows walk around leaving horizontal terraces. You see these patterns in this sofa.” Not every critic was smitten: The New Yorker called it “a monstrous thing.”

Dubbed Terrazza, Klug’s sofa is composed of seven graduated leather-wrapped cushions set on a rectangular base.

“They’re like dominoes,” designer Kelly Wearstler says of the topography, which can be expanded ad infinitum. “You can have a 50- or 60-foot-long sofa if you want.”

The design became synonymous with 1970s glam—Mick Jagger was famously snapped lounging atop a Terrazza, and a pair showed up in the sci-fi flick Logan’s Run. Though Klug isn’t exactly a household name, a persistent nostalgia for disco days has kept his most famous creation au courant. Designers such as Wearstler, Martyn Lawrence Bullard, and Sally Breer snag Terrazzas secondhand (a single generally sells for less

thing in my home.”

landed in your living room.” desede.ch 4 14

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1. SUPERMODEL ERIN WASSON FOUND A TERRAZZA ON EBAY FOR HER MALIBU HOME. 2. CUSTOM TERRAZZAS IN MARTYN LAWRENCE BULLARD’S PALM SPRINGS SCREENING ROOM. 3. KELLY WEARSTLER’S SAND-HUED SOFAS. 4. DE SEDE’S TERRAZZA DS-1025.

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1. CHRISTOPHER PATEY; 2. DOUGLAS FRIEDMAN; 3. GREY CRAWFORD; 4. COURTESY OF DE SEDE

object lesson

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This marvel of architecture and interior design is the brainchild of KAR Properties and architecture firm TEN Arquitectos. A residential enclave that is going to elevate the playing field of all luxury communities going forward, it is a striking 38-story tower with floor-to-ceiling glass and expansive east and west terraces. KAR Properties enlisted renowned Italian design brand Minotti to outfit the interiors. All the furnishings for the residences are fully customizable with an array of textile and leather options, allowing residents to express their own personal style.

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BURLEIGH PEONY ETRUSCAN PITCHER ($160). 2. MIDNIGHT SKY DINNER PLATE ($38).

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ENTERTAINING

Flavor Pairing Ralph Lauren’s new tabletop collection with British heritage potter Burleigh sets the scene at Lauren Bush Lauren’s FEED supper ARCHDIG E ST.COM

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DISCOVERIES 1. A PLACE SETTING AT LAUREN BUSH LAUREN’S FEED SUPPER (FEED PROJECTS.COM).

2. MIDNIGHT SKY PITCHER ($100) AND MUG ($44).

3. BUSH LAUREN IN RALPH LAUREN AT THE FEED SHOP & CAFE, WHICH SHE DESIGNED WITH WEDDLE GILMORE.

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ridging the Anglo-American gap has always been a Ralph Lauren specialty, but it’s safe to say the fashion legend is now upping the ante.

Lauren was recently named the first American fashion designer ever to be made an Honorary Knight Commander of the Most Excellent Order of the British Empire, joining the company of U.S. presidents.

And just in time to toast his new title, he has unveiled a tabletop collection in collaboration with Burleigh, the British heritage potter.

Reminiscent of vintage batik cloths and bandannas, his star, peony, and vine motifs (available in denim blue or faded black) are the first patterns by an outside designer to grace Burleigh pieces since the company was founded in 1851. “This collection is American in spirit but celebrates their time-honored tradition,” reflects Lauren, referring to Burleigh’s labor-intensive transferware process, which involves printing tissue using an engraved copper roller and then hand-applying the paper onto a surface by brush. Today Burleigh is the only remaining studio to practice the technique, first pioneered more than 250 years ago. Says Lauren: “I admire that dedication to quality and craftsmanship.”

It’s an ethos that also speaks to his daughter-in-law, Lauren Bush Lauren, who hosted a dinner in celebration of the collection at the Brooklyn café of her nonprofit FEED. “We work with different artisan groups around the world, so I love that these are made by hand using craft that’s been preserved from generation to generation,” says Bush Lauren, who mixed the Ralph Lauren x Burleigh floral dishes with antiqued-pewter chargers. The starry designs, meanwhile, she plans to use for special occasions involving her young children. “The pieces are super kid-friendly both in terms of patterns and durability,” she says. “Being a mom, I love things that aren’t overly fragile and that are really made to be used.” ralphlauren.com —JANE KELTNER DE VALLE

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PHOTOGRAPHY BY CLAIBORNE SWANSON FRANK; STYLED BY JESSICA SAILER VAN LITH; HAIR BY DEANNA DATTOLO FOR CUTLER; MAKEUP BY DANI LEVI USING CLÉ DE PEAU & ARTIS BRUSHES; 2. COURTESY OF RALPH LAUREN HOME

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DISCOVERIES

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1. JUNG WITH A RECENT WEAVING AND HER SIDEKICK, SHADOW. 2. SUNLIGHT FLOODS HER L.A. STUDIO, ILLUMINATING TAPESTRIES IN PROGRESS. 3. EXPERIMENTAL METAL AND GLASS CASTS OF JUNG'S TEXTILES.

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ONE TO WATCH

Looming Large In her L.A. studio, textile artist Mimi Jung pushes ageold techniques to their limits

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t Mimi Jung’s Los Angeles studio, several looms reveal hundreds of hours of work. In one weaving, gauzy mohair seems to creep across the weft, like a live edge. In another, highlighter-yellow rope threads through thick poly-cord. “I can work an entire day on just two inches,” she says of her slow, solitary practice.

Though the textile artist has long been realizing commissions for the likes of Yabu Pushelberg, Philippe Malouin, and Jamie Bush, she’s now stepping out from behind the scenes.

On the heels of a group exhibition, curated by Broached Commissions, at Australia’s National Gallery of Victoria, Jung is pushing her craft to its sculptural limits. A new series called Fallen Fence combines paper and poly-cord into textural, wall-mounted topographies. Meanwhile, she’s begun casting her weavings in glass, fusing laser-cut slabs to yield thick sheets patterned with bubbles and squiggly cavities.

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Jung, a South Korean immigrant who grew up in New York and studied fine art at Cooper Union, came to weaving by accident. In 2011 she enrolled in a machine-knitting class only to learn it was canceled a few days in advance. The program instead put her in a weaving class. In no time, she was hooked.

“I immediately compared it to painting,” recalls Jung, who quickly expanded from traditional fibers such as wool and cotton into unexpected materials like mohair, which lent her works a feathery transparency. “A loom is essentially a canvas; you’re just working in a linear way.” The pace of weaving, if initially maddening, soon proved soothing. “It slows everything down, so you’re really able to codify your intentions.”

As Jung explains, most of her work connects to “the space in between,” an idea that nods to her experience as an immigrant and poetically sums up her chosen craft. “The way weaving is done, it only exists between the warp and the weft.” mimijung.com —HANNAH MARTIN PHOTOGRAPHY BY EM I LY BE RL

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DISCOVERIES DEBUT

THE FRENCH CONNECTION

“If I can tell a story about craft, then I am happy,” reflects Paris-based designer Raphael Navot, who has translated his love of bespoke construction and finely tailored details into a new furniture collection for Roche Bobois. Whereas one table reveals a patchwork top of meticulous oak parquetry, another bears a sculptural form hand-coated in concrete. Side chairs, meanwhile, sport backs in different heights, silhouettes, and fabrics, encouraging mix-and-match schemes. And a curvaceous chaise has been upholstered as tightly as a tennis ball—a flourish sure to bring a smile to Navot’s face. roche-bobois.com —SAM COCHRAN

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1. IDENTITY CHAIR. 2. PATCHWORK DINING TABLE. 3. DOT ARMCHAIR. 3

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HOTELS

THE NEW POOL AT HOTEL LE TOINY'S BEACH CLUB.

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sand on St. Barts, where beloved waterfront hotels have reopened after Hurricane Irma damaged the island in 2017. This past October, Hotel Le Toiny unveiled a complete restoration, with eight additional villas and a spectacular new pool at its secluded beach club (letoiny.com).

Le Sereno, meanwhile, has debuted its own makeover, including rebuilt modernist bungalows, a new spa and fitness center, and a reimagined restaurant that practically extends to the water’s edge— barefoot dining encouraged (serenohotels .com). And more transformations await, with the grand reveals of Cheval Blanc— currently accepting a limited number of guests—and Eden Rock scheduled for the fall. —S.C.

ALL IMAGES COURTESY OF RESPECTIVE COMPANIES

ISLAND TIME Pedicured toes are officially back in the

DISCOVERIES 1

JEWELRY

HAPPILY EVER AFTER

Inspired by the Brothers Grimm classic “The Twelve Dancing Princesses,” the new Perles d’Invisibilité necklace by Van Cleef & Arpels can be taken apart and worn as two bracelets and a choker.

How’s that for a fairy-tale ending? vancleefarpels.com —J.K.D.V. 1. CUSTOM-MADE WINDOW AND WALL TREATMENTS IN A MANHATTAN APARTMENT BY MICHAEL S. SMITH, WHO HAS TRANSLATED HIS SIGNATURE LOOK INTO A COLLECTION FOR HARTMANN & FORBES. 2. JAPÓN GARDEN WALL COVERING IN RED/BLUE. 3. KAMAKURA WALL COVERING IN RUBY.

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Dress to Impress Interior designer Michael S. Smith has put his sophisticated stamp on myriad enticing products for the home, from outdoor furniture for Brown Jordan to tiles for Ann Sacks and bath fittings for Kallista. (See his decor for Shonda Rimes on page 62.)

Now the AD100 star has brought his vaunted taste to window dressings with the Michael S. Smith Collection for Hartmann & Forbes. Fashioned of hand-knotted sustainable ramie, palm, and bamboo fibers, the designer’s artful patterns are poetically woven, stitched, or stained—craftsmanship that brings Smith’s haute couture sensibility to a window near you in the form of matchstick blinds, roman shades, and top treatments.

Yardage is available, too, as are four wall coverings, all offered in multiple colorways, that reinterpret bespoke surfaces of projects past. hartmann forbes.com —MITCHELL OWENS

THE ART DECO– INSPIRED PIECE MIXES SAPPHIRES, RUBIES, ONYX, PEARLS, AND DIAMONDS (PRICE UPON REQUEST).

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INTERIOR: MICHAEL MUNDY; WALLPAPER: COURTESY OF HARTMANN & FORBES; NECKLACE: CHELSEA KYLE

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TRAVELS

1. A LOGGIA AT GENOA’S VILLA DEL PRINCIPE, A DORIA FAMILY HOME AND MUSEUM; PERINO DEL VAGA FRESCOES. 2. PORTRAITS OF DORIA CARDINALS HANG IN THE SALA DEL TRIONFO.

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esine Pogson Doria Pamphilj quickly learned to peep through keyholes at home before she scurried from one room to another as a child.

Palazzo Doria Pamphilj, the 1,000-plus-room family seat in Rome, has long doubled as a museum, peppered with treasures such as Diego Velázquez’s peerless circa 1650 portrait of her ancestor Pope Innocent X—the same work that inspired Francis Bacon’s equally renowned screaming popes. “Most of the paintings were collected during the artists’ lifetimes,” Doria observes. “You would say, ‘I want a Madonna,’ and he would say, ‘I’ve got this one.’ ” She and her husband, art scholar Massimiliano Floridi, have shuttled for years between their primary residence in the Italian ski resort of Campocatino and the Roman palace, where her brother and his family also live. Yet another Doria bolt-hole is Genoa’s Villa del Principe, a brilliantly restored 16th-century waterfront pile that is one of the city’s most inspiring destinations. The Floridis’ nineroom apartment there includes a sunken bath overlooked by Pompeiian frescoes, which daughters Anna, Elisa, Orietta, and Irene have been known to use as a swimming pool. Visitors can see the couple’s private digs (opened when they are not in residence) as well as public spaces packed with works by Bronzino, Piombo, Cancioli, and the art-historical like, dispersed throughout frescoed saloni hung with Renaissance tapestries and scattered with Genoese Baroque furniture.

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Palace Coup From throne room to sunken bath, a princely family’s Genoa home is open to all 2

P HOTOGRAP HY BY SIM ON WAT SON

ST YLED BY S EBAS TIAN SE RG E ANT

e b a n i s t a

C H I CAG O . DA L L A S . L AG U NA N I G U E L . L O S A N G E L E S

H A N D C R A F T E D I N T H E U S A . R E P R E S E N TAT I O N NAT I O N W I D E . 8 0 0 . 5 7 0 . 1 0 8 7 . E B A N I S TA . C O M

B O R G H E S E I I S O FA . G U E R L A I N C O C K TA I L TA B L E . V I C E R O Y C H A I R & O T T O M A N . S O M M I E R TA B L E . P I E R R E I B E N C H . E M E L I O F L O O R L A M P . D K Z E Z Z h ' ϯ ϰ

TRAVELS

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1. THE STANZA DELLA PRINCIPESSA. 2. MASSIMILIANO FLORIDI AND HIS WIFE, GESINE DORIA, IN THE SALA DELLA PUNZIONE, WHICH THEY USE AS A DINING ROOM.

Not long ago many heirlooms toured Italian cities associated with the Doria family in a show curated by the couple.

Furnishings and art filled tents that the couple had designed to resemble rooms from the palaces. The exhibition had other advantages: It gave the organizers a chance to downsize, if only for the night, after they hatched a plan to also sleep in the simulacra. “His father told us, ‘It’s ridiculous,’ ” Doria recalls. “ ‘Three big houses and you are ending up living in a tent.’ ” Her much-titled Italian mother enjoyed outsiders’ tromping through her rooms and once, incognito, performed so well as a guide that she was given a tip. (She kept it.) Her British father, on the other hand, was admonished for smoking by an unsuspecting tourist who told him, “It’s people like you who ruin places like this.” (He said he agreed.) Still, Doria recalls, “as a child I would go and see friends and say, ‘Mummy, why do they have such a nice house?’ When our kids have guests, they understand it is not quite normal. It is ridiculous for modern-day living.” She adds with a laugh, “What do you do with a throne room?” doriapamphilj.it —LIZA FOREMAN

DESTINATION: GENOA

THE GARDENS BEHIND VILLA DEL PRINCIPE.

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SIGHTS Admire the dramatically striped San Lorenzo Cathedral (chiesadigenova .it) and the opulently gilded San Filippo Neri Church (oratorium.genova.it).

The Wolfsoniana museum (wolfsoniana.it) is a provocative trove of decorative arts that reflect aesthetic, societal, and political movements from 1880 to 1945. And the romantic National Gallery of Palazzo Spinola (palazzospinola .beniculturali.it) salutes Genoa’s aristocratic past.

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HOTELS Sleek contemporary designs offset magnificent murals and wedding-cake plasterwork at Locanda di Palazzo Cicala (hotelsgenoa.co.uk/hotel), a ravishing survivor of the 1500s. Meliá Genova (melia.com) is a 1929 steelcompany head-quarters turned smart boutique hotel. The noble Palazzo Cambiaso (palazzo cambiaso.it) has been transformed into chic-spare lodgings. Grande-dame fans head to Grand Hotel Savoia (grandhotelsavoia genova.it), a five-star crowd-pleaser since 1897.

RESTAURANTS Genoese restaurants tend to have startlingly deep roots as well as vibrant regional fare.

Ligurian-cuisine specialist Il Genovese (ilgenovese .com) was founded in 1912, Da Rina (ristorantedarina .it) opened in 1946, and Antica Osteria di Vico Palla (osteriadivicopalla.com) has been serving seafood since before 1600. Other favorites include celebrity magnet Zeffirino (zeffirino.com) and chef Ivano Ricchebono’s Michelin-starred The Cook (thecookrestaurant.com).

Photo by Alexander Vertikoff

Edgar Degas (1834 - 1917) • Etude de Danseuses (Trois Danseuses), c. 1900 • Charcoal and Pastel, on Paper laid on Board • 22 1/4 x 17 1/2 Inches • FGŠ132299

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F I N D L AY G A L L E R I E S 724 FIFTH AVENUE, 7TH FLOOR, NEW YORK, NEW YORK 10019 • (212) 421 5390 165 WORTH AVENUE, PALM BEACH, FLORIDA 33480 • (561) 655 2090 W W W . F I N D L AY G A L L E R I E S . C O M

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EST. 1870

ART F I N D L AY

Proud Participant of Master Drawings New York 2019

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To request a catalogue, call 212-744-3586, email gallery@questroyalfineart.com, or visit questroyalfineart.com Wilson Henry Irvine (1869–1936) Morning Walk, 1913 Oil on canvas 40 x 30 1/4 inches Signed and dated lower left: IRVINE 1913

THE WINTER SHOW America’s leading art, antiques, and design fair returns to the Park Avenue Armory in New York City for its 65th Anniversary Sapphire Jubilee, January 18–27. At The Winter Show, 70 world-class experts present ancient through contemporary art and design, all vetted for authenticity. Join design co-chairs Frank de Biasi, Victoria Hagan, and John B. Murray at the glamorous Opening Night Party on January 17. Zac Posen and Wendy Goodman co-host the popular Young Collectors Night on January 24. The 2019 loan exhibition “Collecting Nantucket / Connecting the World” highlights the Nantucket Historical Association. Net proceeds from the show support East Side House Settlement.

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THE PARISH GREENHOUSE Step into your indoor garden sanctuary; it’s a world apart from life’s everyday stresses. Be it orchids, fruit, herbs, or vegetables, you can feel the satisfaction that comes from nurturing your plants, especially during the frigid winter months. Individually designed and engineered for year-round use, these elegant glass rooms from Parish Conservatories provide a tranquil setting for relaxing or entertaining. Energy-saving glass and sophisticated shading systems ensure comfortable temperatures in any season or climate. From greenhouses to artists’ studios to kitchen extensions, there is no limit to how these buildings can be used.

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INTERIORS BY STEVEN G. INC. Residential|Commercial Hospitality PROJECTS | MODELS: South Beach at Long Branch, NJ Privé Pier 27|Toronto Orange Theory Corporate Marina Palms Turnberry Ocean Club Aventura Park Square Merrick Manor Intown St Regis Bal Harbour Sereno Bay Harbor 321 Waters Edge Galleria Lofts Riva The Ocean Sabbia Beach Icon Las Olas Las Olas River House Adagio Tower 155 Vista Blue Echo Aventura Pink Palm Properties Parque Towers Brickell House Centro Ritz Carlton Residenses The Plaza at Oceanside Trump Hollywood Blairs East|Maryland RESIDENTIAL LOCATIONS: Throughout Florida Houston, Midland, TX Luanda, Angola Mahwah, NJ Washington Virginia, Greenwich, CT Naples, Sarasota, FL Montreal Oyster Bay Cove, NY Michigan Hamptons Manhattan, NY North Carolina Des Moines, IA Chicago, Los Angeles Maryland, Trinidad Tobago, Saudi Arabia Honduras, Barbados Sao Paulo, Brazil Panama PROJECT DESIGNERS: Steven G with Brian Dumervil PROJECT: Park Grove, Coconut Grove PHOTOGRAPHY: Barry Grossman

BIOGRAPHICAL PROFILE: Steven Gurowitz ASID IIDA Born in New York Resident of Florida|1972

FOUNDER: Interiors by Steven G|1984 Debt Free Firm 100,000 sq ft Showroom Warehouse | Antique Gallery

Dade County Boutique Showroom Recipient of numerous Design awards LEED Certified

Residential and commercial projects throughout the world

ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. These materials are not intended to be an offer to sell, or solicitation to buy a unit in the condominium. Such an offering shall only be made pursuant to the prospectus (offering circular) for the condominium and no statements should be relied upon unless made in the prospectus or in the applicable purchase agreement. In no event shall any solicitation, offer or sale of a unit in the condominium be made in, or to residents of, any state or country in which such activity would be unlawful. We are pledged to the letter and spirit of U.S. policy for the achievement of equal housing throughout the Nation. We encourage and support an afďŹ rmative advertising, marketing and sales program in which there are no barriers to obtaining housing because of race, color, sex, religion, handicap, familial status or national origin.

STEPHEN KENT JOHNSON

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PRODUCED BY:

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DIFFA’S DINING BY DESIGN New York 2019 diffa.org

THE PLANT-FILLED DAYROOM. ARC FLOOR LAMP BY FLORIAN SCHULZ; JOSEF FRANK FOR SVENSKT TENN SOFA; ARNE JACOBSEN RATTAN ARMCHAIRS; JOSEF FRANK STOOLS; SCULPTURE ON LEFT

BY ANTONY GORMLEY; PAINTING TO RIGHT OF WINDOW BY ULF ROLLOF. FOR DETAILS SEE RESOURCES.

THE HOUSE WHISPERER

Cult designer Ilse Crawford invigorates a historic Stockholm mansion through one simple but brilliant act—relocating its kitchen TEXT BY MITCHELL OWENS PHOTOGRAPHY BY MAGNUS MÅRDING STYLED BY JACOB HERTZELL

HAIR AND MAKEUP BY FLORA VELLOSO FOR THE TALENT GROUP

J

eanette Mix admits that she had lost that loving feeling, residentially speaking: “I had been disappointed with my home for five or ten years.” The redbrick Stockholm mansion, completed in 1916 and her nest since 2002, was, she says, “beautifully decorated with antiques and contemporary furniture but always felt a bit too formal.” She and her husband, Harald, an investor and philanthropist (who most recently funded research to combat advanced ovarian cancer with immunotherapy), and children Carl Johan, Alexandra, and Christian, gravitated to the kitchen, leaving the main rooms largely uninhabited. Ironically, the Mixes own Ett Hem, Swedish for “at home,” an Arts and Crafts townhouse three blocks away that Jeanette transformed into a 12-room hotel renowned for its hygge chic since it opened in 2012.

So she posed the same question that she did when developing Ett Hem: What would Ilse Crawford do?

“The process of doing the hotel made Jeanette realize that she had to circle back and look at her own place,” says Crawford, the London-based AD100 creator of magnetically cozy, spiritually calming interiors. (See Ett Hem and Soho House New York, as well as Refettorio Felix, star chef Massimo Bottura’s community kitchen at St. Cuthbert’s Centre in West London.) The Mixes’ house, built for an insurance magnate, was full of elegant spaces, Crawford allows, “but they only really used the kitchen and sometimes the library. Then everybody went up to the bedrooms, which were arranged like apartments. Is that fair?”

Not fully inhabiting a building, whatever its purpose, is a cardinal sin at Crawford’s iconoclastic firm, Studioilse. “When spaces aren’t used, they die,” says Kirsten James, lead designer on the Mix commission. Family members splintering off to do their own thing behind closed doors is another no-no. “In the end we are, most of us, drawn to be together,” Crawford insists. Plus, she continues, “This period of Swedish architecture was the height of the Arts and Crafts movement, when the idea of domestic life was considered to be the pinnacle of culture.”

ABOVE JEANETTE MIX (FAR LEFT) AND HER CHILDREN IN THE DEN. OPPOSITE RICH LANDSCAPES REDESIGNED THE GARDEN, WHICH FEATURES A COBBLESTONE PATH EDGING THE HOUSE.

Thus, James and Crawford’s challenge: How could they retrain an imposing mansion to become an inviting home—all the while preserving the elements that made it special, such as the lacy plasterwork, noble mantels, and soigné paneling that Stockholm architect Isak Gustaf Clason conceived for the original owners, collectors Elin and Bengt Johansson, as well as his gala chandeliers?

Psychotherapy helps. “We really interrogate clients,” Crawford explains. “What would she do in her study? Are the kids going to come in here? How are they going to sit? When are they going to use it?

What if someone needs to step out and make a phone call?” That analytical deep dive captivated Jeanette, a trained sommelier and skilled cook. “It was an intellectual journey where I learned so much about myself,” she recalls. “Ilse knew all my values and all my morals: I had to trust her.”

That meant agreeing to Crawford’s radical suggestion to relocate the kitchen, from a distant corner of the main floor to the lovely but lonely drawing room. Today, with its tall double doors opened wide, the sunny latter space has become a fulcrum.

ARCHDI GE ST.COM

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ABOVE STUDIOILSE DESIGNED THE BESPOKE BRASS BAR IN THE DAYROOM. HANS WEGNER ARMCHAIR AND STOOL. OPPOSITE IN THE MASTER BATH, A ROUND MIRROR HANGS ABOVE A CALACATTA ORO MARBLE TUB, BOTH CUSTOM DESIGNS BY STUDIOILSE. PENDANT FROM WOKA; TUB FITTINGS AND TOWEL RACK BY VOLEVATCH; CARL AUBÖCK TREE TRUNK SIDE TABLE.

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CLOCKWISE FROM ABOVE JEANETTE’S STUDY IS PAINTED IN FARROW & BALL’S HARDWICK WHITE. FRANCO ALBINI FOR CASSINA WOOL ARMCHAIRS; OAK TRESTLE TABLE BY ST-PAUL HOME;

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ART ABOVE MANTEL BY BARBARA KRUGER. VINES FESTOON THE EXTERIOR. IN THE MASTER BATH, AN OVERSIZE VANITY DESIGNED BY STUDIOILSE FEATURES TUBE LIGHTS BY MICHAEL ANASTASSIADES.

A SAPELE WOOD PANTRY CABINET BY STUDIOILSE FOLDS OUT INTO THE KITCHEN. IN FRONT OF ISLAND, SOFA BY MOGENS KOCH FOR RUD. RASMUSSEN.

AN ANTIQUE CHANDELIER HANGS IN THE KITCHEN. CALACATTA ORO MARBLE ISLAND; BRASS SINK FITTINGS BY VOLEVATCH; CUSTOM SCRAP-WOOD CABINET BY PIET HEIN EEK.

“Houses have to be able to morph,” says Crawford, who turned the drawing room into a kitchen.

“Everything is quite perforate on this floor,” James says. “You’ve got this really nice circulation, where you can access every room and have different activities but all be together.” The decor of things old, new, custom-made, and recycled (“Beauty has many faces,” Crawford sagely observes) includes a scrap-wood Piet Hein Eek cabinet that makes a rugged foil for the fancy-pants chandelier—which now incorporates mono-point lighting that illuminates the island for food preparation and washing up.

What had been the kitchen is now a dayroom with a mix-master blend of furnishings—including antiques once owned by the Johanssons that Jeanette stealthily tracks down because “they belong in the house”—furry throws, and tall potted plants. The library is now darkly painted, so it beckons from the pale neighboring spaces and vice versa, and the original dining room has been transformed into Jeanette’s study. On the upper floors, the warren of bedrooms has been streamlined and equipped with marble baths. Also, Crawford cannily adds, none of the young Mixes’ bedrooms is “so palatial that they would only hang out there—and that’s intentional.”

The warming trend indoors also affected the outdoors. A chestnut-shaded landscape of Astroturf (for soccer matches) edged by a long cobblestone path has given way to rus in urbe, courtesy of Welsh siblings and popular garden gurus Harry and David Rich. “The idea was to capture the spirit of a woodland rather than creating one,” the latter explains.

Straightaways now meander, gravel and granite paving add variation to the house-wrapping path, and the soccer pitch has become a dining area with a pizza oven. White wood aster and native honeysuckle froth, and dogwoods blossom beneath the towering chestnuts; domes of big-leaf boxwood placed here and there add backbone, David says, calling them “solid forms that bring the architecture down into the garden, so there’s a relationship.”

Which, in the end, is all Jeanette Mix wanted: a house in which connections are encouraged and amplified. “Thank God our paths crossed ten years ago,” she says of Crawford. “It’s nice to be home.”

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design notes DANIELA 24-LIGHT CRYSTAL CHANDELIER; $27,000. RALPHLAUREN HOME.COM

THE DETAILS THAT MAKE THE LOOK

Jeanette

A VIEW OF THE DAY ROOM. GERRIT RIETVELD ARMCHAIR; LUKE IRWIN RUG; JOSEF FRANK COCKTAIL TABLE; CAST-IRON SCULPTURE BY ANTONY GORMLEY. PALMS RATTAN LILY.COM

ÄNGSMARK RUG BY ILSE CRAWFORD FOR KASTHALL; FROM $2,016. KASTHALL.COM

BILLY TL TABLE LAMP

BY ILSE CRAWFORD FOR KALMAR WERKSTÄTTEN; PRICE UPON REQUEST. KALMARLIGHTING.COM

WASTE CABINET BY PIET HEIN EEK; $14,000. THEFUTUREPERFECT.COM PRODUCED BY M ADELINE O ’M AL L E Y

INTERIORS: MAGNUS MÅRDING; BILLY TL TABLE LAMP: TIM TOM/COURTESY OF J.T. KALMAR; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES

1234-00 OTTOMAN; $1,176.

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JUGS WALLPAPER BY MARTHE ARMITAGE; $385 PER ROLL. HAMILTON WESTON.COM

SCOPELLO VASE

BY LISELOTTE WATKINS; PRICE UPON REQUEST. CFHILL.COM

HELENA PRINTED FABRIC; TO THE TRADE. THIBAUT

Spaces have to prioritize the human,” the designer avers.

ILSE CANDLEHOLDER

BY ILSE CRAWFORD FOR GEORG JENSEN; $145.

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LW6F RUG; PRICE UPON REQUEST. NEWMOONRUGS.COM

KITCHEN DECK MOUNT FAUCET; $2,726. ROCKY MOUNTAIN HARDWARE.COM

WALDEN CHIMNEYPIECE; $6,960. JAMB.CO.UK

STUDIOILSE DESIGNED THE CUSTOM SWEDISH LIMESTONE SINK IN THE GUEST BATH. WALLPAPER

BY MARTHE ARMITAGE.

A RCH DI GE ST.CO M

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EIESHA BHARTI PASRICHA AND HER DAUGHTER LOUNGE ON A BDDW SOFA IN THE FAMILY ROOM OF THEIR LONDON TOWNHOUSE. BHARTI PASRICHA DESIGNED THE BOOKCASE, WHICH HOLDS A SET OF POTS

BY AI WEIWEI. TOMÁS SARACENO SUSPENDED ARTWORK; PHILIP ARCTANDER CLAM CHAIR. FOR DETAILS SEE RESOURCES.

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TEXT BY

HUGO MACDONALD

PHOTOGRAPHY BY

PAUL RAESIDE

STYLED BY

Under the guidance of designer Charles Mellersh, a house in London’s Notting Hill becomes a young family’s forever home

MICHAEL REYNOLDS

PUTTING DOWN ROOTS

THE DRAWING ROOM FEATURES A NIAMH BARRY LIGHTING SCULPTURE AND A CHRISTOPHER LE BRUN PAINTING, AMONG VINTAGE FURNISHINGS. OPPOSITE A BRODIE NEILL TABLE AND VINTAGE GIO PONTI CHAIRS FORM A DINING AREA.

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LEFT ON A LANDING, A JONATHAN GARDNER PAINTING HANGS OVER A VINTAGE POUL VOLTHER DAYBED. A CUSTOM MICHAEL ANASTASSIADES PENDANT IS IN THE STAIRWELL BEYOND. BELOW FARROW & BALL PAINT COLORS THE MASTER BATH’S CABINETRY. APPARATUS PENDANT. OPPOSITE A DE GOURNAY WALLPAPER COVERS THE MASTER BEDROOM’S CLOSET DOORS. VENINI PENDANT; VINTAGE FRITZ HANSEN SOFA.

There is a warm, tactile sensibility that stops the house from feeling merely like a collection of important design and art.

w

ith her unquenchable thirst for knowledge, Eiesha Bharti Pasricha must have been an excellent student. On a bright and breezy morning, sitting in the living room of her Notting Hill house, she casually lists the many valuable life lessons she has picked up so far. She learned about business and philanthropy from her father, telecom magnate Sunil Mittal, and about hospitality from her husband, Sharan Pasricha, founder of the Ennismore group, which owns the Hoxton hotels brand and the Gleneagles resort in Scotland.

A year spent as a sales assistant at Louis Vuitton in Paris taught her about customer service, and her

investment in Roksanda, the London-based fashion label, taught her about color, of course, but also architecture (David Adjaye designed the brand’s Mayfair flagship). And she drew on all of these experiences to create the ultimate home for her family, which includes her six-year-old daughter and four-year-old son.

“We always wanted to live in Notting Hill,” Bharti Pasricha explains, leaning back into a gray mohair velvet sofa. “Sharan and I married nine years ago and a few years later started looking for just the right property. After finding it, we then spent three and a half years reconfiguring it.” With the help of a London-based architect, they gutted the property— retaining just the historic Victorian-era façade—to create a nearly 10,000-square-foot residence that would support their personal and professional lives.

“In some houses you get the sense that people live in only one part and the rest is kept shiny and new just for entertaining,” she says. “But it’s important

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RIGHT A WALLPAPER

BY TIMOROUS BEASTIES AND BEADBOARD PANELING PAINTED IN FARROW & BALL’S GREEN SMOKE WRAP THE POWDER ROOM. OPPOSITE IN BHARTI PASRICHA’S STUDY, HER SON RECLINES ON A JOSEF FRANK SOFA BENEATH A NATHALIE DU PASQUIER ARTWORK.

to us that we live in every room. My daughter and I do homework here on the sofa while my son has tea in front of the fire. We love to entertain, but this is home for the children, and I want them to always feel cozy.”

Bharti Pasricha had strong ideas about the decor.

“I didn’t want someone else’s signature all over the place,” she avers. “I was inspired by fashion and modernist furniture and I knew color would be important, so I started collecting pieces that I simply loved. However, I soon realized that I needed someone to teach me how to weave everything together.”

A friend introduced her to Charles Mellersh, a former interiors editor at Wallpaper magazine, who today runs his own design studio. “I loved that Charles’s background was in journalism. His knowledge and appreciation of design goes deep,” Bharti Pasricha says. “He listened and never forced his ideas on me.” They talked and they traveled—a lot.

Impressively, no two pieces in any room are from the same designer, dealer, or source.

“My process is organic and intuitive—more like a gentle game of tennis than something prescriptive,” Mellersh explains. “Eiesha has a really well-informed eye but is also wonderfully open to learning.”

Endearingly, the duo separately say they get along so well they’ve begun to finish each other’s sentences.

“He did challenge me,” concedes Bharti Pasricha.

“When I told him I loved George Nakashima, he asked me what I knew about him and then gave me a book.

He told me to read it and tell him what about his world I responded to. Working with Charles was an incredible education.”

Articulating what it was she responded to enabled Bharti Pasricha to confidently buy—and then commission—contemporary design, too. There’s a custom dining table with fresh flowers embedded in resin by Marcin Rusak, a brass drinks cabinet by Ilse Crawford, and a custom pendant by Michael Anastassiades. Throughout the house, vintage icons are masterfully paired with notable new works and clever, functional background pieces. A similarly deft and charismatic combination of art—including pieces by Alexander Calder, Ai Weiwei, Christopher Le Brun, and Cornelia Parker—further shows off the homeowners’ impeccable taste.

But big names aside, there is a warm, tactile sensibility that stops the house from feeling merely like a collection of important design and art. Textiles are invitingly layered. Walls are painted in powdery

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“It's important to us that we live in every room,” says Bharti Pasricha. hues with textures that capture the light. Marble surfaces are honed, not polished, demanding to be stroked. The cumulative effect makes this home feel inhabited and alive, not stark or sterile.

Asked to sum up her greatest takeaway from the process, Bharti Pasricha laughs. “Goodness, it’s ongoing,” she says. “Now I’ve got the bug, I’m constantly trolling vintage auctions in the middle of the night.

I have to remind myself I don’t have any more space, so now I’m doing it because it’s interesting. I can’t help but want to keep learning.”

design notes IN THE DINING ROOM, JEREMY MAXWELL WINTREBERT PENDANTS HANG ABOVE A MARCIN RUSAK TABLE. 19TH-CENTURY CHAIRS BY MICHAEL THONET.

THE DETAILS THAT MAKE THE LOOK

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If a room is done with pieces all of the same period, it just feels flat and monotone."

—Charles Mellersh

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LIAISON TILE BY KELLY WEARSTLER IN MULHOLLAND

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PRODUCED BY M ADELINE O ’MA LL E Y

I wanted everything you touch to feel good.” —Eiesha Bharti Pasricha

ARROW LARGE PENDANT; $4,750. APPARATUSSTUDIO.COM

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A BRENT WADDEN ARTWORK HANGS IN THE GAME ROOM. PENDANT BY APPARATUS.

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BLOCKBU Michael S. Smith masterminds the Los Angeles home of TV impresario Shonda Rhimes, and the result is a smash

SHONDA RHIMES, WEARING A CHANEL SWEATER, IN THE KITCHEN OF HER LOS ANGELES HOME. RALPH LAUREN FOR VISUAL COMFORT CHANDELIERS; CALACATTA MARBLE ISLAND; ON FLOORS, CUSTOM TILE BY NATIVE TILE & CERAMICS. FASHION STYLING BY DANA ASHER LEVINE. FOR DETAILS SEE RESOURCES.

HAIR BY VERLYN ANTOINE; MAKEUP BY JULIA JOVONE

TEXT BY SHONDA RHIMES PHOTOGRAPHY BY MICHAEL MUNDY STYLED BY LAWREN HOWELL

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M

y first thought was that it was ugly. And wrong.

The house was ugly and wrong. Six years ago, standing on the curb, a baby on each hip, a ten-year-old by my side, in the shade of a for sale sign, all I could think was: What an ugly, wrong house.

A rambling 8,400-square-foot behemoth the color of pea soup, it was a mess, an illogical pairing of design styles. The front had a Santa Barbara mission façade, complete with hulking dark-wood balconies. The back was light, distinctly Italian with ornate archways and carved stone. It was as if the powers that be had, on a whim, sliced two different homes down the middle and glued opposing halves together. The result was too

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off-kilter to be considered quirky and too confusing to be deemed eccentric. Things were only slightly better inside. With their original doors and moldings, the living room and library were stunning. But most of the rooms were devoid of sunlight and had doors in problematic places. Wrong, I muttered to myself. And ugly. Why would I want this wrong, ugly house?

Because I did want it. I wanted it badly.

As someone who spends most of her days crafting stories for television (Grey’s Anatomy, Scandal, How to Get Away with Murder, etc.), I can only explain it like this: The house felt like . . . good story. And every inch of me wanted to write it.

That’s my problem. I love a good story. I get seduced by story every time.

So even though I was a busy single mother with three kids, four television shows, and a company to run, and I should have known better, I didn’t stop myself. I bought the house anyway.

And then I simply decided to assume the story would have a happy ending.

To begin, I worked with architect Bill Baldwin of HartmanBaldwin. We got lucky. Bill found out that sometime in the 1950s or 1960s, an overenthusiastic homeowner had recklessly removed the home’s original façade and replaced it with the out-of-sync one. We also learned that the home was actually built in 1923, the work of Elmer Grey, the famed architect of the Beverly Hills Hotel. With a little research, I located photos of the original exterior. They revealed the front as Grey had intended— a beautiful Italianate villa with an intricate stone-carved balustrade. I live in a Historic Preservation Zone, and somehow the house had mistakenly received a historic designation with this fake Santa Barbara mission front on it. So the first thing we did was ask the Office of Historic Resources staff to research and correct the issue. Once that was done, we were able to get down to the business of restoring the house to its original glory. The old photos we had found were sent to a stonemason in Chicago, and he re-created every detail of the original front exterior.

Enter Michael Smith. I’d had the opportunity to visit the White House residence during the Obama era, and I had been impressed by how warm, comfortable, and elegant it was.

I was especially enthusiastic about President Obama’s private office—the colors, the style, the vibe. I wanted to sit and write in there. (I didn’t.) Anyone who can make a writer feel more like writing is someone special. That ability to connect with whatever creates sparks in a person is part of what makes

IN THE INNER COURTYARD, A SOFA AND CHAIRS BY JANUS ET CIE WEAR JASPER FABRICS. TABLE BY CENTURY FURNITURE. OPPOSITE CURTAINS OF A PRINTED LINEN

BY PIERRE FREY HANG IN THE FAMILY ROOM. TABLE AND CHAIRS BY FAO SCHWARZ.

This is a place where kids can play pretend and spill things, and I do not ever stress about something expensive and antique being stained.

A PAUL FERRANTE CHANDELIER HANGS IN THE LIVING ROOM. CLUB CHAIRS BY JASPER IN A CUSTOM FABRIC FROM STUDIO FOUR NYC; COCKTAIL TABLE FROM JF CHEN.

Michael such a gifted designer. Working with him was a truly collaborative experience. Despite my lack of time, I ended up being deeply involved in the process. The home we’ve created feels classic California—if a little bit romantic.

First Michael worked with everyone to deal with my biggest concern: the lack of sunlight. To start, HartmanBaldwin blew out the roof of the first-floor loggia, creating a two-story gallery along the back that fills the whole space with light and air.

The gallery is lined with big glass-and-iron doors. Previously those doors opened into the house; now we’ve turned them so that they open out onto the patio. This adds about three feet of furniture space to the room, lending it a sense of spaciousness. My favorite thing to do when entertaining is open all of those doors and enjoy an indoor/outdoor dance party. We also changed the feeling of the front hall, which had been cavernous and dark. Michael persuaded me to replace the wood front door with a glass one, which means that sunshine streams in every morning. The last and biggest thing the team did to address the darkness issue was to add skylights with custom hand-blown glass up and down the second-floor hallway. Now every inch of the home is infused with light.

Michael and I also made some other important choices. I wanted to maintain what was original—the library, living room, front hall, and stairs—with some improvements. I’d found photos of the living room showing that it had had a coffered ceiling, so Michael painstakingly re-created that look. In the library, the television was removed from the cabinet and extra shelves were built in to give me more space for books and my vintage record-album collection. The flooring in the front hall was replaced. The new marble floor is beautiful, and to my continuing delight, it is also heated.

A big kitchen was key to the comfort of this house. My family is a kitchen family—I host holidays at my house, and on a daily basis my kids and I can be found hanging out in here. So I needed a big, comfortable kitchen we could relax and spread out in. Bill imagined it as a seamless addition to the home with a family room next door. Michael designed a large, airy space, adding black-and-white tile from Native Tile and a BlueStar Heritage 60-inch range. The end result is the kitchen of my dreams. I don’t even complain about washing dishes in this kitchen. How can anyone complain in this much beauty?

I very much wanted a home that not only felt like a home for real family life but functioned like one as well. I thought, What is the point of a house my kids can’t be themselves in?

I was militant about it. But everyone had a hard time understanding what I meant when I said the words “child-friendly.”

I remember one morning Michael sent over photos of two beautiful 18th-century French chairs. He asked if I thought they would be right for my new family room. These were gorgeous antique chairs being sold at auction. I stared at the photo and then I wrote back: “My daughters are right now at this moment in my family room standing on the chairs with pillowcases and brooms taped to the sides as masts and sails, singing at the top of their lungs, playing Moana. Can they

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ABOVE A PAINTING BY LLOYD MCNEILL HANGS IN THE ENTRY. CHANDELIER BY HÉLÈNE AUMONT. LEFT JASPER SOFAS IN ROSE TARLOW MELROSE HOUSE FABRICS FACE OFF IN THE FAMILY ROOM. OPPOSITE IN THE DINING ROOM, SCDS LAMPS FLANK A WORK BY WALTER WILLIAMS.

stand on these 18th-century French chairs and tape brooms to the sides?” That was the end of the 18th-century-chair photos.

There are a lot of creative choices made to accommodate style and a family at the same time in this house. The fabric on the furniture is easily cleaned. The tables don’t get water stains. But the large William and Mary seaweed marquetry cabinet on a stand is from Holland circa 1690—and note that it is jam-packed with the kids’ favorite puzzles and board games for family game night. So you might not be able to tell just by looking, but this home is a place where kids can play pretend and spill things, and I do not ever stress about something expensive and antique being stained. I love that these spaces have turned out to be as functional as they are beautiful.

It is important to me that objects in my home are meaningful treasures. Michael worked with me to pull out the pieces from my collection that have personal stories attached, and he displayed them in ways that make them stand out. Now my home has the feel of a carefully curated journey through highlights of my love of art, my history, and my education. For instance, I’ve been collecting works by the artist Hughie LeeSmith for years. His surreal paintings are an obsession of mine.

The walls of my living room and library are now dedicated to showcasing his extraordinary work. There is a Phoebe Beasley

The house felt like . . . good story.

And every inch of me wanted to write it.

LEFT EMBROIDERED CURTAINS BY THE GUY GOODFELLOW COLLECTION EDGE THE DOUBLE-HEIGHT GALLERY. ABOVE THE POOL DECK FEATURES CHAISE LONGUES BY JANUS ET CIE. IN FRONT OF THE POOLHOUSE, RATTAN SOFAS BY LANE VENTURE IN A PERENNIALS ACRYLIC.

painting that once belonged to Maya Angelou hanging in my front hall. I keep it there to remind me that there is always a way to be a better writer and a better woman. Some of my favorite books are tucked all over the house—I’m a big believer in books. You can never have too many.

One part of the property that did not need much change was the grounds. The house is perfectly placed on more than an acre of stunning land in the heart of metropolitan Los Angeles. The ugly behemoth I bought sits on a work of art.

Smooth lawns flow into a sport court; a pool stretches over to wide bougainvillea-covered trellises; fountains bubble along winding paths revealing the entrance to a secret rose garden.

When you stand on the back patio, the views of towering trees and wide lawns and garden make it easy to imagine the house is somewhere in wine country instead of five minutes from Hollywood. Stephen Block of Inner Gardens made subtle but impactful changes in the landscape design—adding paths, reshaping beds. The pool and the sport court were resurfaced.

He and his team worked to heal the larger trees that had not been well cared for in the backyard. One great change they made was to swap out many of the plantings and trees in the front with choices that give the house a more warm and welcoming view from the street.

Renovating a house in real life is not like it is on TV. On TV, the home renovation takes place during a clever 30-second montage while a Stevie Wonder song plays. The actor playing TV Shonda holds up swatches and nods, peers at tiles and nods, uses a sledgehammer on a wall and smiles . . . and never loses patience or the will to live.

That is not how a renovation works. This was no 30-second montage. There are a lot of change orders. There are permits.

There are delays. There is still tile arriving from Morocco, broken, that has to be sent back.

When we began, I had a baby on each hip. Now those babies are in kindergarten and first grade, and the little girl who held my hand as we stood at the curb is driving. It took five years to transform this house into my family’s home.

But the story . . . I was right. This house tells good story.

Or it will tell good story. My girls will grow up here, become women here. Life will happen here. Laughter will happen here. Love will live here. Wrong and ugly judgments have given way to a deep and lasting bond. I love this house. As hard as the house was to renovate, I love it here. We have been on a journey. Weaving our way into the story of this house has been the trip of a lifetime. This formerly wrong and ugly house and I, we are family now. We are home.

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AN 18TH-CENTURY SWEDISH WALL BISECTS JOHN DERIAN’S EAST VILLAGE HOME TO CREATE LIVING AND DINING AREAS ON EITHER SIDE. C. 1850 FRENCH TABLE WITH CHAIRS BY JOHN DERIAN FOR CISCO BROTHERS COVERED IN A 19TH-CENTURY TRANSYLVANIAN LINEN. FOR DETAILS SEE RESOURCES.

touch The Manhattan home of John Derian provides a window into the design maestro’s world of wonder and beauty TEXT BY MAYER RUS PHOTOGRAPHY BY STEPHEN KENT STYLED BY MICHAEL REYNOLDS

JOHNSON

A nyone can deploy a desiccated leaf as a table decoration. But John Derian always seems to have the perfect dead leaf, heroic in scale, robust in form, with an exquisite craquelure to betray its delicacy. It’s also completely commonplace to leave a bunch of flowers to wilt on a mantel. But Derian, the beloved New York design maestro and duke of decoupage, appears to command his floral beauties to wither and die with sublime poignancy, like operatic divas trilling sweetly as they waste away from consumption or melancholia. The unsurprising truth, of course, is that no one does John Derian quite like John Derian.

Consider the wonderland of tender beauty that unfolds in Derian’s own East Village home. In its happy union of timeworn antiques, vintage textiles, and all manner of natural curiosities set alongside pressed-tin ceilings, exposed pipes, and other vestiges of the building’s turn-of-the-century roots, the apartment epitomizes the designer’s singular sensibility. “It’s just a bunch of things I love,” he says modestly, underplaying his brilliant eye for composition and color.

To create a more elegant passageway into his apartment—and to punctuate the transition from the outside world—Derian conjured a bit of decorative legerdemain. He fashioned an instant vestibule by moving a tall, painted 19th-century cabinet, refitted with an opening in the back, directly in front of the entry door. One now enters and exits by walking through what appears to be an ordinary piece of furniture. “My favorite thing is watching people try to figure out how to get out of the apartment,” the crafty designer says.

ABOVE DERIAN AT HOME. OPPOSITE A CORNER OF THE LIVING ROOM, AS SEEN IN THE REFLECTION OF AN ANTIQUE MIRROR, IS DECORATED WITH AN 18TH-CENTURY SOFA, A C. 1800 SWEDISH SIDE TABLE, AND AN EARLY–20TH CENTURY PENDANT FROM DERIAN’S SHOP.

Derian’s peculiar alchemy defies easy classification— there’s no foolproof how-to guide for the Derian look.

Within the home, Derian’s major architectural intervention was the installation of a perfectly patinated and ornamented 18th-century Swedish wall, painted in pale Gustavian blue, with two sets of double doors. Completely bisecting the apartment, it now separates the open living and dining rooms on one side and the kitchen and bedroom on the other.

“The wall was in storage for 15 years. I got it from a dealer in Antwerp, and I tried to use it in different stores and in my last apartment, but it never worked.

Here, it mercifully fit by one inch,” Derian explains.

The kitchen—a poky yet picturesque affair in the East Village boho style—opens directly onto a superbly cozy sitting room whose walls are lined in a king’s

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ransom of dishware, cake stands, compotes, and tureens dating from the 18th to the 21st centuries.

The mix encompasses an assortment of signature Derian decoupage as well as pieces from the designer’s collaborations with the French ceramics maker Astier de Villatte. As Derian loves to cook and entertain, the fetching collection of servingware gets frequent exercise.

Evenings chez Derian typically begin with the chef at the cooktop and his guests lounging comfortably in the seating area. From there, the party moves to the opposite side of the Swedish wall, where dinner is served on a 19th-century painted wood table beneath a vintage German glass Christmas ornament known as a kugel (not to be confused with the Jewish

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casserole of the same name). For dessert and postprandial schmoozing, the scene shifts to the living room, where the Derian-designed sofas are covered in spruce white denim and laden with one-of-a-kind throws by Jeanette Farrier. A slipper chair and large ottoman upholstered in vintage Caucasian rugs add color to the romantic setting.

While Derian’s peculiar alchemy defies easy classification—there’s no foolproof how-to guide for the Derian look—the designer’s background provides a few clues. He was born and raised in Watertown, Massachusetts, the youngest of six children. “I was the forgotten child, so I became the most creative.

I spent my time drawing, making things, playacting, building forts, and collecting rocks and other bits

ABOVE A BENCH AND PAIR OF SOFAS BY JOHN DERIAN FOR CISCO BROTHERS PROVIDE LIVING ROOM SEATING. VINTAGE CAUCASIAN RUGS COVER THE OTTOMAN AND SLIPPER CHAIR. VINTAGE TEXTILES AND JEANETTE FARRIER THROWS DECORATE THROUGHOUT. A PETER GEE PAINTED PALETTE HANGS ON THE CORNER WALL. OPPOSITE PENDANTS BY ROBERT OGDEN HANG OVER THE KITCHEN ISLAND. 19TH-CENTURY DIORAMA ABOVE ANTIQUE SINK; ANTIQUE ISLAND AND STOOL.

of nature. I was totally content being by myself until about age 11, when I realized I had no friends,” he recalls, laughing.

While living in Boston, Cambridge, and Provincetown in his late teens and early 20s, Derian made and sold dried-flower arrangements, studied painted finishes, immersed himself in the world of antiques, and waited tables at the Boston restaurant 29 Newbury, where his fellow servers included photographers Jack Pierson, Mark Morrisroe, and David Armstrong.

“That was my college—the college of life,” he says of the time he spent amid the ferment of Boston’s

avant-garde art scene. “I’m still a waiter in my brain,” he adds. “I never leave a room empty-handed.”

Derian moved to New York City in 1992, taking over Pierson’s apartment on the Lower East Side, where he lived for the next 20 years. During that time, he built his business into a small but remarkably influential home-furnishings empire, where his own designs mingle amicably with antiques and other handcrafted creations by like-minded artisans. “The business just grew organically. Somehow I still feel like I don’t know exactly what I’m doing,” the maestro says, despite ample evidence to the contrary.

A 19TH-CENTURY ARMCHAIR (LEFT), SOFA

BY JOHN DERIAN FOR CISCO BROTHERS, AND ANTIQUE FRENCH ARMCHAIRS FORM A SEATING AREA IN THE KITCHEN. FARROW & BALL’S MOLE’S BREATH COVERS THE WALLS; ANTIQUE CABINET AND VINTAGE SCREEN.

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TO MAXIMIZE SPACE ON THE LONG, NARROW SITE, AD100 ARCHITECT PETER MARINO DESIGNED THE HOME AS TWO RECTANGULAR VOLUMES LINKED BY A SPACIOUS ENTRY WITH WATER VIEWS. LANDSCAPE DESIGN BY NIEVERA WILLIAMS. FOR DETAILS SEE RESOURCES.

MIAMI MODERN

On an island in Biscayne Bay, Peter Marino designs an airy, light-filled retreat perfectly tailored to the owners’ A-list collection of contemporary art TEXT BY

MICHAEL BOODRO

PHOTOGRAPHY BY

MANOLO YLLERA

THE ART-FILLED LIVING ROOM FEATURES A METAL SCULPTURE BY YONEL LEBOVICI (LEFT) AND WALLHUNG WORKS BY RICHARD PRINCE. CUSTOM GAME TABLE, CLUB CHAIRS, BRONZE BOXES, SOFA, AND CARPET BY PETER MARINO ARCHITECT.

THE EXTERIOR IS CLAD IN LIMESTONE, ONE OF MARINO’S FAVORITE MATERIALS. OPPOSITE LIGHTING

BY JOHANNA GRAWUNDER HANGS OVER THE CUSTOM MOZAMBIQUE WOOD DINING TABLES BY PETER MARINO ARCHITECT. FERNAND LÉGER PAINTING.

Marino is a modernist who has demonstrated over and over again that the words simple and sumptuous are not antithetical.

LÉGER © 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/ADAGP, PARIS

w hen clients come to AD100 architect Peter Marino, they usually know what to expect, but they can never quite tell exactly what they will get.

Marino is a modernist who has demonstrated over and over again that the words simple and sumptuous are not antithetical. His ability to conjure luxury without excess has made him the architect of choice for developers and luxury brands, including Chanel, Louis Vuitton, and Fendi, for whom he creates shops so dazzling in their details, so sensual, and so spatially compelling that no website can compete, no matter how much free shipping is thrown in. And when he agrees to design a private home, the results may be more subtle, but they are no less spectacular.

Marino has had a close relationship with the couple who commissioned this house for decades. He designed their Manhattan and Greenwich, Connecticut, residences and went on to create a home for their daughter. For the couple’s Palm Beach estate, he had conjured a cluster of hip-roofed shadowy pavilions evocative of Polynesia (AD, January 2008) that showcased their collections of contemporary art, Art Deco furniture, and museumquality Southeast Asian sculptures.

But Palm Beach had lost much of its appeal. One of their sons and his children lived tantalizingly close by in Miami, yet still too far away for them to see their grandchildren as often as they wished.

Much of their great Asian art had been donated to museums. Plus, as one of the clients confided to the architect, “Miami is just so much hipper.”

The ideal location would be on one of the small man-made islands that dot Biscayne Bay, secluded but not far from all the activity of South Beach—or their

son. And an island home would allow the couple to pull their boat (which, of course, Marino also designed) right up to a dock in front. But Miami’s private islands are hotbeds of celebrity and wealth, and prime property was not easy to come by. The site the couple ultimately acquired on Star Island was a long rectangle, with access to the water at one narrow end. The architect had to contend with what he describes as “a shoebox plot—a very difficult site. Only a couple of rooms could have water views. My solution to the shoebox site was more shoeboxes.”

His ingenious design features two rectangular “boxes,” a long, narrow two-story one consisting of a library

and master suite, with guest rooms upstairs, and a shorter, wider box set farther back, containing a double-height living and dining area. Linking them is a spacious extended entry that immediately reveals views of the water. “I always think it is important in a seaside house that you see the water the minute you enter,” declares the architect.

The walls are limestone, “one of my favorite materials,” Marino says.

Each volume is pierced with small, tall, or expansive windows. “I arranged the windows like I would the paintings on a wall. Straight-on views of water can become boring,” he adds. “The best water view I ever had was when I was young and lived on Beekman Terrace,

RIGHT ONYX VERDE GIADA COVERS THE CUSTOM MASTER BATH. BELOW PAINTED STRIPES DECORATE THE MASTER BEDROOM, WHERE ANTIQUE PHULKARI TEXTILES COVER THE CUSTOM BED. ANTIQUE JOSEF HOFFMANN TABLE LAMPS. OPPOSITE MIRRORS AND GINKGO BENCH, ALL

BY CLAUDE LALANNE, LINE THE GALLERY. ON THE FLOOR, MARINO CREATED A “CARPET” OF A VARIETY OF MARBLE AND TRAVERTINE STRIPS.

with a long diagonal view down the East River.” To achieve a similar effect, the living room’s wall of glass, which looks onto the pool and the bay, is set at a sharp angle. “I angled it to the north, to minimize the heat.”

The double-height library was awarded the water view, not the master suite, which is darker, and moody— “I had to convince the clients to go for

a dark bedroom. In hot climates, if you paint a room dark it stays cooler. And it’s more glamorous.” The dining area looks onto a walled green garden, another box that actually makes the space seem larger. The floor in the entry is a mosaic of silver, brown, and rust marbles that resembles a rug—and inspired the actual rugs in the living room. The baths are lined in boldly patterned stones in

shades of yellow, orange, and green.

“I picked the marbles and onyx,” says Marino, “then matched the palette of the rooms to them. I can’t tell you how much fun I had with the baths.”

The house also demonstrates another of Marino’s strengths—his connection to art. He is a consummate collector (he recently established a foundation to display his works, which range from Renaissance bronzes to contemporary works) as well as a patron. He has commissioned artworks for so many of his projects that they have filled a book.

Here he worked with the owners’ Asian sculptures and paintings by Léger, Miró, Kiefer, and Prince, but was also able to commission pieces including Lalanne furnishings, and a geometric light fixture

by Johanna Grawunder in the dining area, as well as a series of his own large bronze boxes.

Though very different from the couple’s shady, exotic former Palm Beach house—“This house is more about their contemporary art and an easy lifestyle,” he says—it is equally expressive of the owners’ lives and tastes. It is also, unmistakably, a Peter Marino production, a fresh new iteration of his signature, versatile talents.

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© 2019 CALDER FOUNDATION, NEW YORK/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; BONALUMI © 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/SIAE, ROME; BURRI © 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/SIAE, ROME

AN ALEXANDER CALDER MOBILE CROWNS THE LIVING ROOM. WORKS BY ALBERTO BURRI, LUCIO FONTANA, PAOLO SCHEGGI, AND AGOSTINO BONALUMI HANG ON THE WALL. GOLD WENDELL CASTLE TRIAD CHAIR; JUAN AND PALOMA GARRIDO COCKTAIL TABLE. OPPOSITE THE CUSTOM POOL FEATURES BAY VIEWS.

“I always think it is important in a seaside house that you see the water the minute you enter," says Marino.

RENZO PIANO ON WHAT WILL BE THE ROOFTOP TERRACE OF L.A.’S ACADEMY MUSEUM OF MOTION PICTURES, WHICH IS CURRENTLY UNDER CONSTRUCTION AND SLATED TO OPEN TO THE PUBLIC IN LATE 2019 (ACADEMY MUSEUM.ORG).

OSCAR WORTHY Master architect Renzo Piano pays homage to the glories of cinema in his daring design of the Academy Museum of Motion Pictures in Los Angeles TEXT BY

MAYER RUS

PHOTOGRAPHY BY

NOAH WEBB

L

ike so many devoted cinephiles, Italian architect Renzo Piano began his love affair with the movies as a child. Born in Genoa not long before World War II, he remembers the films of his youth as a beguiling distraction and a beacon of optimism in the postwar years. “From where I stood, there were two avenues of escape, two frontiers to cross—the sea and the cinema,” recalls the 81-year-old Pritzker Prize winner.

Today, as his dazzling design for the Academy Museum of Motion Pictures in Los Angeles nears completion, Piano’s belief in the power and magic of cinema remains resolute.

“Moviemaking is the most complete, truly contemporary art form,” he avers. “It brings narrative, acting, scenery, lighting, sound, and music together into the most marvelous machine for emotion.”

Piano’s enthusiasm finds expression in a 300,000-squarefoot design that, quite literally, ties the past to the future.

The museum connects the renovated Saban Building—originally the May Company department store, a 1939 Streamline Moderne landmark designed by Albert C. Martin Sr.—with a new massive concrete sphere that suggests a modern riff on the geometric follies of 18th-century French architects Étienne-Louis Boullée and Claude-Nicolas Ledoux.

The six-floor Saban Building, with its signature gold-tiled cylindrical section facing the corner of Wilshire Boulevard and Fairfax Avenue, houses a variety of exhibition, event, and conservation spaces, along with a café and shop. Glass bridges link the erstwhile department store to the state-of-the-art, 1,000-seat David Geffen Theater contained within the sphere.

That bulbous behemoth, constructed of 13,000 tons of concrete seemingly levitated off the ground, is sheared at the top to create the Dolby Family Terrace, a rooftop public-gathering and special-events venue with 360-degree views of the city and the Hollywood Hills.

“Making architecture is like making cinema. Both are about combining technology and practicality with things that belong to the imagination. And both require an army of people with ideas coming from all sides,” Piano observes. He knows of what he speaks. Before receiving the Academy Museum commission, the architect designed the spectacular Fondation Jérôme Seydoux-Pathé in Paris, an institution devoted to the promotion and preservation of historic French cinema, as well as a group of theaters and performance spaces at his sprawling convention center in Lyon.

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Set to open in late 2019, the Academy Museum will debut with a long-term exhibition, “Where Dreams Are Made: A Journey Inside the Movies,” that stretches over 30,000 square feet in the Saban Building and may include such treasures as the Adrian-designed ruby slippers from The Wizard of Oz, the scepter from Cleopatra, the tablets from Cecil B. DeMille’s The Ten Commandments, and a shark model from Jaws. The museum’s first temporary exhibition is dedicated to the Japanese filmmaker and anime master Hayao Miyazaki.

For Piano, the allure of the Academy Museum resides in the communal experience it offers to visitors, particularly in the Geffen Theater. “The building says, ‘Let’s embark together into this world of wonder!’ You are one of 1,000 people sharing the same ritual and the same joy,” he explains. “How can you not be a fan of the movies?”

© RENZO PIANO BUILDING WORKSHOP/IMAGES © A.M.P.A.S.

ABOVE PIANO’S DESIGN FOR THE MUSEUM JOINS THE SABAN BUILDING (A FORMER DEPARTMENT STORE) WITH A SPHERICAL ADDITION THAT HOUSES THE 1,000-SEAT DAVID GEFFEN THEATER. RIGHT A PROJECT MODEL.

DAUGHTERS FRANKIE (LEFT) AND OLIVE JOIN WILL BENEATH A 17THCENTURY FLEMISH TAPESTRY IN THE LIVING ROOM. OPPOSITE A PAINTING BY ED RUSCHA AND A GILT OVAL MIRROR HANG IN THE ENTRY. ANTIQUE SOFAS AND COCKTAIL TABLE. FOR DETAILS SEE RESOURCES.

GROOMING BY MARY GUTHRIE USING KÉRASTASE AND GIORGIO ARMANI BEAUTY

DADDY TIME

With the help of architect Gil Schafer, Will Kopelman updates a classic New York City apartment for himself and his young daughters TEXT BY

SHAX RIEGLER

PHOTOGRAPHY BY

SIMON UPTON

STYLED BY

MICHAEL BARGO

IN THE KITCHEN, A CUSTOM HOOD BY G. P. SCHAFER HANGS ABOVE THE LA CORNUE RANGE. THE ISLAND WAS A 19TH-CENTURY FRENCH SILK TRADER’S TABLE. OPPOSITE, LEFT ARCHITECTURAL STUDIES SERVE AS A BACKDROP FOR KOPELMAN’S TRIUMPH BONNEVILLE IN THE LIVING ROOM. RIGHT OLIVE AND FRANKIE AT THE DINING TABLE.

E

verything in Will Kopelman’s apartment, it seems, has a tale to tell. Take just the living room, for example. A 1977 Triumph Bonneville 750 motorcycle stands like a sculpture in one corner. “When I had my children, I decided I didn’t want to ride anymore,” says the art adviser, who oversaw the decoration of the home he shares with his two daughters—Olive, six, and Frankie, four— from his previous marriage to actress Drew Barrymore. (The family remains close, and Barrymore lives just a few blocks away.) “But I didn’t want to sell it—it came off the production line the same year I was born!—so there it sits.”

Across the room, there’s the nearly 15-foot-long 17thcentury tapestry depicting the coronation of Charlemagne that Kopelman snagged at auction in London before realizing it was too fragile to be unmounted and rolled up and so had to be crated flat for shipping and then craned in through the windows of the 10th-floor duplex. Kopelman picked up the boxy vintage leather armchairs in Vienna; he purchased the 19thcentury ship’s carpenter’s tool set from a dealer in Nantucket; and he’s been collecting the scientific magnifying glasses, currently arrayed on one console, for years. A pair of vintage Cedric Hartman reading lamps belonged to his father— a former president of Chanel—who gave them to his son

as a housewarming gift, and the side tables came from one of his grandmothers. Even the room’s curtains have a history: They came out of the apartment that Kopelman grew up in, which had been decorated by the legendary Mark Hampton in the 1980s.

“I love old things,” Kopelman explains. “And I love backstory—I used to work in a movie studio. Stories are a huge part of collecting.” The living room isn’t all vintage, though. It also boasts contemporary artworks by Marc Quinn, Mark Ryden, and Olaf Breuning.

The apartment is the perfect setting for all these stories.

It’s a generously sized four-bedroom duplex in a venerable Park Avenue building, the kind that still has a manually operated elevator—complete with uniformed attendant—and apartments replete with neo-Georgian detailing and generous early–20th century floor plans. But that ample square footage had been carved into lots of little rooms. Kopelman wanted to keep the old-school decorative flourishes but open things up to create a dwelling better suited to modern family life.

To do so he enlisted AD100 architect Gil Schafer of G. P. Schafer Architect to help him realize his vision. Most notably, they masterfully reconfigured the formal dining room, cramped kitchen, butler’s pantry, and laundry room—into an expansive family zone. “It was a rabbit warren,” Schafer notes, “totally opposite to the way families live today.”

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LEFT THE MASTER BEDROOM IS SWATHED IN A CUSTOM HANDPAINTED WALLPAPER

BY GRACIE. BED BY RH; BEDDING BY RALPH LAUREN HOME. BELOW THE MASTER BATH FEATURES A TUB AND FITTINGS BY WATERWORKS. CURTAINS OF A GRAY FLANNEL SUITING FABRIC. OPPOSITE ANTIQUE ENGLISH TEA PLATES ADD COLOR TO THE FAMILY ROOM.

Now it serves many purposes. Comfy upholstered seating is arranged in front of a fireplace facing a wall of bookshelves and a massive TV; the dining table—equipped with sturdy Windsor armchairs—nestles into a custom banquette in front of a row of windows; and an airy, wide-open, light-filled kitchen occupies the corner. There’s plenty of storage, including a cupboard specially designed to hold cereal boxes at kidfriendly height and a built-in wine cellar for the grown-ups.

“I wanted to make the kitchen the centerpiece,” Kopelman continues. “It’s where I make the girls breakfast in the morning and cook their dinner at night. It’s where we watch our movies, and it’s where I do a lot of work, right at the dining table. I wanted a space that could handle all of that.”

This family zone and the living room can both be closed off by massive steel-and-glass doors that keep sound out of the rest of the apartment but still allow light into the large entry hall at the heart of the first floor. Primarily a pass-through, this sparsely furnished space functions as a gallery for some of Kopelman’s favorite artworks, including carefully lit Old Master portraits that shine alongside pieces by Glenn Ligon and Sterling Ruby and a thoughtfully placed pre-Columbian artifact. Upstairs, reached via a staircase off the gallery, are the bedrooms, one each for Olive and Frankie, and a master suite that was created by combining two rooms into one. (There’s also a charming tented guest room on the first floor.)

After all the work the homey apartment feels relaxed and inviting, a testament to Kopelman’s vision and patient drive for perfection. Of acting as his own decorator, he avers, “I’ve always known what I like. I attribute that to my parents, who are design nuts. They were really close with Mark Hampton, and when he did their apartments, I saw them rolling up their sleeves, really engaging in the process and enjoying every minute of it. That always stuck with me.”

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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.

THE HOUSE WHISPERER PAGES 40–51: Interiors by Studioilse; studioilse.com. Landscape design by Rich Landscapes; richlandscapes.net. PAGES 40–41: Vintage Florian Schulz arc floor lamp from 1stdibs (similar); 1stdibs.com. Josef Frank Liljevalch sofa for Svenskt Tenn; svenskttenn.se. Vintage Arne Jacobsen rattan armchair from 1stdibs. Josef Frank 647 stools and 2139 cocktail table for Svenskt Tenn. Gerrit Thomas Rietveld 637 Utrecht club chair from Cassina; cassina.com. Rug

by Luke Irwin; lukeirwin.com. PAGE 43: On walls, on paneling, Down Pipe paint by Farrow & Ball; farrow-ball.com. Sofa by Axel Vervoordt; axel-vervoordt.com. PAGE 44: Custom brass bar by Studioilse; studioilse .com. Hans Wegner for PP Møbler Papa Bear chair and stool; danishdesignstore.com. PAGE 45: Custom mirror and tub by Studioilse; studioilse.com. Zacherl-52 1903 Edition ceiling light from Woka; woka.com. Piet tub fittings and Bistrot towel rack by Volevatch; volevatch.com. Carl Auböck tree trunk side table from 1stdibs; 1stdibs.com. PAGE 46: In Jeanette’s study, on walls, Hardwick White paint by Farrow & Ball; farrow-ball.com.

Franco Albini 836 Tre Pezzi wool armchairs from Cassina; cassina.com. Trestle table by St-Paul Home; home-st-paul.com. In master bath, custom vanity and cabinetry by Studioilse; studioilse.com. Tube wall lights

by Michael Anastassiades; michael anastassiades.com. Piet sink fittings by Volevatch; volevatch.com. PAGE 47: Custom sapele-wood cabinet by Studioilse; studioilse .com. PAGES 48–49: Custom Calacatta Oro marble island by Studioilse; studioilse.com.

Bistrot sink fittings by Volevatch; volevatch .com. Custom cabinet by Piet Hein Eek; pietheineek.nl.

PUTTING DOWN ROOTS PAGES 52–61: Interiors by Charles Mellersh Design Studio; charlesmellersh.com. Art advisory by Sigrid Kirk of Arts Co; arts-co .com. PAGES 52–53: Abel sectional sofa, Walnut Slab cocktail table, and Cafe side table (right); all by BDDW; bddw.com. On custom bookcase, Blue Blood paint by Papers and Paints; papersandpaints.co.uk.

Kavir rug by e15; e15.com. PAGE 54: Gyro table by Brodie Neill; brodieneill.com. PAGE 55: On Pierre Jeanneret chairs, Bacan cotton-blend, in old rose, by Fortuny (T); fortuny.com. Patch rug by Faye Toogood for CC-Tapis; cc-tapis.com. On sofa, wool mohair, in gris sale, by Claremont Furnishing (T); claremontfurnishing.com.

Ionik stool by Oevffice from Matter; mattermatters.com. J.T. Kalmar Hase BL floor lamp (right) from the Future Perfect; thefutureperfect.com. PAGES 56–57: On landing, Candy Cube side table by Sabine Marcelis; etageprojects.com. Custom Mobile

Chandelier 7 by Michael Anastassiades; michaelanastassiades.com. In master bath, on cabinetry, Black Blue paint by Farrow & Ball; farrow-ball.com. Cloud 19 pendant by Apparatus; apparatusstudio.com. Tube wall lights by Michael Anastassiades. In master bedroom, on closet doors, hand-painted Badminton chinoiserie wallpaper, in custom colors, by de Gournay (T); degournay.com.

On vintage Fritz Hansen sofa, lamb’s wool from Dansk Møbelkunst Gallery; dmk.dk.

On wall, Cylinder Swing Arm sconces by Apparatus. PAGE 58: On walls, Indie Wood wallpaper by Timorous Beasties; timorousbeasties.com. On beadboard, Green Smoke paint by Farrow & Ball; farrow-ball .com. Captain’s Mirror by BDDW; bddw.com.

Wall lights by Original BTC; originalbtc.com.

PAGE 59: On walls, Oval Room Blue paint by Farrow & Ball; farrow-ball.com. On vintage Gio Ponti desk, Achille & Pier Giacomo Castiglioni re-edition Snoopy lamp from Flos; usa.flos.com. Charles and Ray Eames Soft Pad desk chair; hermanmiller.com.

Rabari rug by Nipa Doshi + Jonathan Levien for Nanimarquina; nanimarquina.com.

BLOCKBUSTER PAGES 62–71: Interiors by Michael S. Smith Inc.; michaelsmithinc.com. Architecture by HartmanBaldwin Design/Build; hartmanbaldwin.com. Landscape design by Inner Gardens; innergardens.com. PAGES 62–63: McCarren single-tier chandeliers by Ralph Lauren for Visual Comfort; circalighting.com. Kitchen island of Calacatta Gold marble from Stoneland; stonelandusa.com. Custom floor tiles by Native Tile & Ceramics; nativetile.com. On Henri II armless counter stools by Gregorius|Pineo (T); gregoriuspineo.com; Gato faux leather by Kravet (T); kravet.com.

On cabinets, All White paint by Farrow & Ball; farrow-ball.com. Custom vent hood by Inox Creative Metalworks; inoxcm.com.

Range by Wolf; subzero-wolf.com. PAGE 64: Curtains of Indore linen, in nattier, by Pierre Frey (T); pierrefrey.com. Table and chairs (similar) from FAO Schwarz; faoschwarz .com. PAGE 65: Amalfi adjustable chain back sofa and lounge chairs by Janus et Cie; janusetcie.com. On sofa, Indian Garden Plain acrylic, in green, by Jasper (T); michaelsmithinc.com. Sofa pillows of Zambezi Moss and Boardwalk Honey acrylics by Giati Elements (T); giatielements .com. On lounge chairs, Indian Garden acrylic, in green, by Jasper (T). Litchfield cocktail table by Bunny Williams Outdoor for Century Furniture; centuryfurniture.com.

PAGES 66–67: Phoenix chandelier by Paul Ferrante (T); paulferrante.com. On custom club chairs by Jasper (T); michaelsmithinc .com; custom fabric from Studio Four NYC (T); studiofournyc.com. Cocktail table from JF Chen; jfchen.com. Carlyle floor lamp by Jasper (T). Antique black console table from Balsamo Antiques; balsamoantiques.com.

Seventeenth-century Roman mantel from Chateau Domingue; chateaudomingue.com.

PAGE 68: In entry, Domani chandelier by Hélène Aumont Collection (T); heleneaumont.com. On floor, black and white marble tiles from Exquisite Surfaces; xsurfaces.com. In family room, on custom

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. 2. 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.

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sofas by Jasper (T); michaelsmithinc.com; Veneto rayon-cotton, in acorn, by Rose Tarlow Melrose House (T); rosetarlow.com.

On Bobbin lounge chairs by Aesthetic (T); aestheticdecor.com; Indian Block linen, in rose, by Lee Jofa (T); kravet.com. Pair of Quarter Radius cocktail tables by Atelier Démiurge; demiurgenewyork.com. On Negresco stools by Hélène Aumont Collection (T), Palma cowhide leather, in chestnut, by Jasper (T). Curtains of Indore linen, in nattier, by Pierre Frey (T); pierrefrey.com. Antique marquetry cabinet from Burden; jonathanburden.com. PAGE 69: Moon Jar lamps in Verdant Meadow by SCDS (T); scdsltd.com. On walls, African Raffia grasscloth, in capri natural, by Phillip Jeffries (T); phillipjeffries.com; with custom stenciling. Goldney sconces by Collier Webb (T); collierwebb.com. Antique walnut and mahogany console table from Antonio’s Bella Casa; antoniosbellacasa.com. PAGES 70–71: In gallery, curtains of Piedmont embroidered fabric, in sea foam, by Guy Goodfellow Collection; guygoodfellow collection.com. Vecchio hanging lantern by Jerry Pair (T); jerrypair.com. On Key club chairs by Jasper (T); michaelsmithinc.com; Amun Stripe linen, in juniper, by Holland & Sherry (T); hollandsherry.com. On pool deck, on Amalfi chaise longues by Janus et Cie; janusetcie.com; Indian Garden Stripe acrylic, in green, by Jasper (T). On Rafters wicker sofas by Lane Venture from Wicker Paradise; wickerparadise.com; Ishi acrylic, in sunstruck, by Perennials (T); perennialsfabrics.com.

PAGES 80–89: Architecture and interiors by Peter Marino Architect; petermarinoarchitect .com. Landscape design by Nievera Williams Landscape Architecture; nieverawilliams .com. PAGES 82–83: Custom leather game table, club chairs, bronze boxes, sofa, and carpet; all by Peter Marino Architect; petermarinoarchitect.com. Around game table, vintage chairs by Eugéne Printz.

PAGE 85: Lighting by Johanna Grawunder; grawunder.com. Custom Mozambique wood dining tables by Peter Marino Architect; petermarinoarchitect.com. On Kaare Klint chairs, custom appliqué by Peter Marino Architect. Bronze box console by Peter Marino Architect. PAGE 86: Custom marble and travertine flooring by Peter Marino Architect; petermarinoarchitect.com. PAGE 87: In master bath, custom sink, fittings, and stainless-steel vanity; all by Peter Marino Architect; petermarinoarchitect.com. In master bedroom, custom bed and headboard, side tables, and carpet; all by Peter Marino Architect. PAGE 88: Wendell Castle Triad chair (similar) from Friedman Benda; friedmanbenda.com. Low Quartz cocktail table by Juan and Paloma Garrido; garrido gallery.com. Custom sofa, in hand-painted silks; leather armchairs; and carpet; all by Peter Marino Architect; petermarino architect.com. Custom pillows, in antique Japanese textile, by Peter Marino Architect.

PAGE 89: Pool design by Peter Marino Architect; petermarinoarchitect.com.

Adjustable chaise longues by Richard Schultz for Knoll; knoll.com.

PAINTERLY TOUCH

DADDY TIME

PAGES 72–79: Interiors by John Derian of

PAGES 94–99: Architecture by G. P. Schafer Architect; gpschafer.com. PAGE 94: On sofa, Salinan Herringbone acrylic, in olive, by Ralph Lauren Home; ralphlaurenhome.com.

On cocktail table, Speakeasy Damask cottonblend, in carbon, by Ralph Lauren Home.

PAGE 95: On antique sofas, fabric from Mood Fabrics; moodfabrics.com. Custom steel doors by G. P. Schafer Architect; gpschafer .com; fabricated by Optimum Window; optimumwindow.com. PAGE 96: Custom hood and cabinetry by G. P. Schafer Architect; gpschafer.com. Château 165 range

by La Cornue; lacornueusa.com. Restored vintage holophane ceiling lights from AnnMorris Inc.; annmorrislighting.com. Fireclay farmhouse sink by Shaws; rohlhome.com. On walls, Metro tiles by Nemo Tile Co.; nemotile .com. PAGE 97: In living room, Bonneville motorcycle by Triumph; triumphmotorcycles .com. In breakfast area, banquette by G. P. Schafer Architect; gpschafer.com. PAGE 98: In master bedroom, on walls, custom handpainted Chinese-design wallpaper by Gracie (T); graciestudio.com. Bed (similar) by RH; rh.com. Palmer bedding by Ralph Lauren Home; ralphlaurenhome.com. At foot of bed, TV console cabinet by G. P. Schafer Architect; gpschafer.com. In bath, tub (with custom surround) and fittings by Waterworks; waterworks.com. Curtains of suiting fabric from B. Black & Sons; bblackandsons.com. PAGE 99: Custom mantel

by G. P. Schafer Architect; gpschafer .com. Throw pillows (similar) by Ralph Lauren Home; ralphlaurenhome.com.

John Derian Co.; johnderian.com. Vintage furniture, decorative objects, lighting, textiles, and rugs throughout from John Derian Co. Throws throughout by Jeanette Farrier; jeanettefarrier.com. PAGE 72–73: Plume chairs by John Derian for Cisco Brothers; ciscobrothers.com. On vintage settee (left), embroidered pillows by Anke Drechsel from John Derian Co.; johnderian .com. On mantel, paper Hollyhock by the Green Vase from John Derian Co. On walls, Drop Cloth paint by Farrow & Ball; farrowball.com. PAGE 74: Butterfly armchair by John Derian for Cisco Brothers; ciscobrothers.com. PAGE 76–77: In kitchen, Mirror Shade pendants and Candy Light fixture (over sink), all by Robert Ogden for John Derian Co.; johnderian.com. In living area, Field bench and Cove sofas, all by John Derian for Cisco Brothers; ciscobrothers .com. On antique console (in background), antique lamp, reimagined by Robert Ogden for John Derian Co. PAGES 78–79: On antique armchair (left), pillow from Antoinette Poisson; antoinettepoisson.com.

On Brook sofa by John Derian for Cisco Brothers; ciscobrothers.com; embroidered pillows by Anke Drechsel from John Derian Co.; johnderian.com. On walls, Mole’s Breath paint by Farrow & Ball; farrow-ball.com. On Plume slipper chair by John Derian for Cisco Brothers, linen, in sable, by Libeco (T); libeco.com. Vintage oil lamp (as pendant) by Robert Ogden for John Derian Co.

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