THE INTERNATIONAL DESIGN AUTHORITY APRIL 2019
DESIGNERS AT HOME
FRANK GEHRY BUILDS HIS DREAM HOUSE
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CONTENTS april
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MICHELLE NUSSBAUMER’S SAN MIGUEL DE ALLENDE GETAWAY.
24 Editor’s Letter 26 Object Lesson How tropical foliage became a staple of postwar American design.
33 Discoveries Kerry Washington enlists RH to transform a bare apartment into a cozy family home . . . Carrier and Co. launch a long-awaited furniture collection . . . Kelly Wearstler’s debut collection for Georg Jensen . . . Our favorite new fabrics . . . Designer John Whelan revives France’s classic brasseries . . . The Webster starts selling whimsically refined furnishings . . . Picasso biographer John Richardson is a master of domestic bliss . . . Kit Kemp brings her kaleidoscopic world to Bergdorf Goodman . . . and more!
AD’s editors break down all the tools needed to make a splash, from 3-D tiles to stylish surfaces to minimalist must-haves. ON OUR COVERS FOR DETAILS SEE RESOURCES
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Restoration Drama Two ruined buildings in San Miguel de Allende are reborn under designer Michelle Nussbaumer. BY MITCHELL OWENS (CONTINUED ON PAGE 18)
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THE KITCHEN IN MICHELLE NUSSBAUMER’S MEXICO HOME. “RESTORATION DRAMA,” PAGE 92. PHOTOGRAPHY BY DOUGLAS FRIEDMAN. STYLED BY MIEKE TEN HAVE.
THE DINING ROOM IN FRANK GEHRY’S SANTA MONICA HOME. “UNCOMMON VISION,” PAGE 108. PHOTOGRAPHY BY JASON SCHMIDT. STYLED BY MICHAEL REYNOLDS.
CLOCKWISE FROM TOP RIGHT: DOUGLAS FRIEDMAN; JASON SCHMIDT; DOUGLAS FRIEDMAN
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ATLANTA KUALA LUMPUR
SAINT PETERSBURG
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BANGKOK KUWAIT
BEIJING KIEV
SANTIAGO
CHICAGO LONDON
SHANGHAI
LOS ANGELES SINGAPORE
DETROIT
DALLAS MELBOURNE SYDNEY
DOHA MOSCOW
TAIPEI
DUBAI NEW DELHI
TOKYO
HONG KONG NEW YORK
TORONTO
ISTANBUL MIAMI
VANCOUVER
WASHINGTON, DC
theodorealexander.com
CONTENTS april 108 Uncommon Vision Legendary architect Frank Gehry builds a new dream house in Santa Monica. BY PAUL GOLDBERGER
118 Statement Piece In an eye-catching Tribeca tower, architect Lee F. Mindel devises an inspired setting for his collection. BY PILAR VILADAS
126 Cause and Effect Milan-based designer Laura Sartori Rimini feathers a worldly London pied-à-terre. BY MITCHELL OWENS
134 Cool Customer Designer Robert Stilin’s SoHo apartment is a love letter to the art, books, and furniture that inspire him. BY MAYER RUS
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140 Love Shack When actor Giovanni Ribisi hired Pierce & Ward to decorate his L.A. house, he found his life partner.
KELLY WEARSTLER DESIGNS A COLLECTION FOR GEORG JENSEN.
BY JANE KELTNER DE VALLE
148 Resources The designers, architects, and products featured this month.
150 Last Word
SUBSCRIPTIONS FOR SUBSCRIPTION INFORMATION GO TO ARCHDIGEST.COM, CALL 800-365-8032, OR EMAIL SUBSCRIPTIONS @ARCHDIGEST.COM.
Toshiko Mori Architect builds an elementary school in Senegal.
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THE INTERNATIONAL DESIGN AUTHORITY VOLUME 76 NUMBER 4
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 DEPUTY DIRECTOR, DIGITAL
Martin
Kristen Flanagan
MARKET MARKET EDITOR
SPECIAL PROJECTS DIRECTOR, DIGITAL
PRODUCTION EDITORIAL OPERATIONS MANAGER
Sydney Wasserman
Nick Traverse
ENTERTAINMENT DIRECTOR Dana Mathews EXECUTIVE FEATURES EDITOR David Foxley CLEVER EDITOR Lindsey Mather ASSOCIATE FEATURES EDITOR, DIGITAL
PRODUCTION DIRECTOR Jason Roe CONTRIBUTING PRODUCTION EDITOR
Nick Mafi Elizabeth Fazzare, Katherine McGrath (Digital), Carly Olson
CREATIVE DESIGN DIRECTOR Natalie Do VISUALS DIRECTOR Michael Shome VISUALS EDITOR, DIGITAL Melissa Maria JUNIOR DESIGNER Patricia Preuss VISUALS ASSISTANT Emily Bukowski
Madeline O’Malley
PRODUCTION DESIGNER Cor Hazelaar ART PRODUCTION EDITOR Katharine Clark
Matt Duckor, Sara Snyder, Chauncey McDougal Tanton, Rusty Ward
Gabriela Ulloa
Erin Kaplan DIRECTOR, EDITORIAL PROJECTS
Jeffrey C. Caldwell
Michael Reynolds CONTRIBUTING STYLE EDITORS
Lawren Howell, Carolina Irving CONTRIBUTING EDITORS
EDITORIAL ASSISTANTS
ASSISTANT TO THE EDITOR IN CHIEF
COMMUNICATIONS + EDITORIAL PROJECTS EXECUTIVE DIRECTOR, PUBLIC RELATIONS
CONTRIBUTORS CONTRIBUTING EDITOR AT LARGE
VIDEO PRODUCERS
David Byars
Sam Cochran
COPY AND RESEARCH COPY DIRECTOR Joyce Rubin RESEARCH DIRECTOR Andrew Gillings COPY MANAGER Adriana Bürgi RESEARCH MANAGER Leslie Anne Wiggins
ARCHDIGEST.COM ASSOCIATE DIRECTOR OF MARKET DEVELOPMENT
Erika Owen ANALYST, DIGITAL INTELLIGENCE
AD PRO EDITOR Katherine Burns Olson DEPUTY EDITOR Allie Weiss SENIOR STYLE & MARKET EDITOR
Kevin Wu
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
Benjamin Reynaert FEATURES EDITOR Anna Fixsen REGIONAL NEWS EDITOR Tim Latterner ASSOCIATE VISUALS EDITOR
Gabrielle Pilotti Langdon
ARTISTIC DIRECTOR
Anna Wintour
CHIEF BUSINESS OFFICER
Eric Gillin HEAD OF SALES, LIFESTYLE DIVISION Jennifer Mormile HEAD OF MARKETING Bree McKenney VP, FINANCE & BRAND DEVELOPMENT Rob Novick VP, MARKETING Casey McCarthy HEAD OF OPERATIONS Rob DeChiaro ASSOCIATE DIRECTORS, MARKETING Caroline Karter, Josh McDonald SENIOR BUSINESS DIRECTOR Jennifer Crescitelli
HEAD OF SALES, HOME
HEADS OF SALES FASHION, AMERICAN Amy Oelkers FASHION, INTERNATIONAL David Stuckey BEAUTY Lucy Kriz AUTO Tracey Baldwin MEDIA/ENTERTAINMENT Bill Mulvihill BIZ/FI/TECH Doug Grinspan VICE Laura Sequenzia LUXURY Risa Aronson CPG Jordana Pransky TRAVEL Beth Lusko-Gunderman HEALTH Carrie Moore GOLF Dan Robertson PUBLIC RELATIONS EXECUTIVE DIRECTOR, COMMUNICATIONS Molly Pacala COMMUNICATIONS MANAGER Savannah Jackson
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PROMOTION
SPAIN SIMON WATSON
JUNE 4–9, 2019
Madrid and Toledo’s most private doors open on an exclusive insider tour hosted by Architectural Digest with Indagare Revel in an off-hours visit to the Prado. Marvel at the Duke of Alba’s palace. Dine with AD100 superstars Michael S. Smith, Fernando Caruncho, Lorenzo Castillo, and Isabel López-Quesada, subject to availability. Yes, there’s much more, from private art collections to hidden gardens, but reservations are limited. D E S I G N E R : E . F. C H A P M A N FOR VISUAL COMFORT
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editor’s letter
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1. FRANK GEHRY’S HOUSE—AND FAMOUS CHAIR—IN SANTA MONICA. 2. DESIGNER MICHELLE NUSSBAUMER WITH APACHE BURRO AT HER HOME IN MEXICO. 3. LAURA SARTORI RIMINI’S LONDON FLAT. 4. WITH DESIGNER KELLY WEARSTLER AT THE RUG COMPANY, NYC. 5. GEHRY AND HIS SON SAM.
“Sam has truly been a great partner, and we have made a once-in-a-lifetime house.” —Frank Gehry
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AMY ASTLEY Editor in Chief @amytastley
1. JASON SCHMIDT; 2. DOUGLAS FRIEDMAN; 3. MIGUEL FLORES-VIANNA; 4. DAVID X PRUTTING/BFA.COM; 5. JASON SCHMIDT
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his issue brims with big-name talents at ease in their per5 sonal spaces—it is, after all, our annual Designers’ Own Homes issue. And these MVPs all prove that they practice what they preach. No less a giant than Frank Gehry allows AD an exclusive look into the fascinating, unconventional, unpretentious, and totally personal Santa Monica house he codesigned with his son Sam (who works alongside his father at Gehry Partners) for himself and his wife. A hearty thank-you is in order to critic and historian Paul Goldberger—who describes Casa Gehry as “a modern version of an Adirondack lodge”—for both writing and shepherding this important story. Among the other mega-players in these pages: Architect and passionate collector Lee F. Mindel shares his clean-lined apartment in New York’s so-called Jenga building (designed by Herzog & de Meuron), which he has artfully filled with a trove of impressive modernist and contemporary design masterworks. Then Laura Sartori Rimini, one half of the celebrated Milanese design duo behind Studio Peregalli, reveals her lush London pied-à-terre that hits all the firm’s signature notes— romantic, moody, old-world. “I wanted an English home with many layers,” says Sartori Rimini, who, naturally, achieved it. After nearly three years of waiting patiently, Dallasbased designer Michelle Nussbaumer takes us on a fantastical journey to her rustic yet lavish San Miguel de Allende hacienda: Both internationally inspired and authentically Mexican, it was definitely worth the trip. We also visit AD100 designers Kelly Wearstler, Robert Stilin, and Emily Ward, all at home and in their element. Settle in!
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THE STORY BEHIND AN ICONIC DESIGN
Top Banana How tropical foliage became a staple of postwar American design 26
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ACTRESS POPPY DELEVINGNE’S LONDON POWDER ROOM IS WRAPPED, FLOOR TO CEILING, IN CW STOCKWELL’S MARTINIQUE WALLPAPER.
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THE STORY BEHIND AN ICONIC DESIGN
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B
ack from the Bahamas in 1941, Lucile and Remy Chatain Sr. of CW Stockwell textiles asked illustrator Albert Stockdale: Could he distill the island’s jungly landscapes into a wallpaper? He could: The banana-leaf pattern Martinique, launched the next year, would soon be installed in CW Stockwell’s showroom—and featured in AD. Decorator Don Loper set eyes on CW Stockwell’s striking install—cut around the top to give the surreal sense that plants were sprouting from the floor—and thought it might work in his redo of the Beverly Hills Hotel with architect Paul Williams. In 1949, renovation complete, Martinique famously forested the hotel’s halls, stairwells, and Fountain Coffee Room. “It capitalized on the spirit that the war was newly over, and everyone was looking inward to their homes,” explains CW Stockwell’s new CEO, Katy Polsby, who unveiled three fresh hues of Martinique, the California firm’s signature, in March. The paper is available through CW Stockwell from $228 per roll. Martinique’s major competitor was Schumacher’s Jungle Leaves, a 1947 debut that Manhattan designer Dorothy Draper created for Quitandinha, Brazil’s deluxe gambling resort. Brighter than Martinique, accented with glistening sea grapes, and today called Brazilliance, it is sold through dorothydraperfw.com. The papers reflected the rage for tropicalia that was sweeping the nation—remember Carmen Miranda’s campy movie sets? Today’s influencers, from Nate Berkus to Nicky Hilton Rothschild, are just as entranced. “I first saw Martinique at the Beverly Hills Hotel as a little girl,” recalls the heiress-entrepreneur, who lined her L.A. breakfast room with the pattern. “Then many years later at Bungalow 8.” Proof positive that these leaves show no signs of wilting. —HANNAH MARTIN
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1. MARTINIQUE FLOURISHES AT KALEIDOSCOPE HOUSE, A BED-ANDBREAKFAST IN NORFOLK, ENGLAND. 2. DOROTHY DRAPER’S BRAZILLIANCE, A.K.A. JUNGLE LEAVES. 3. MARTINIQUE IN NAVY BY CW STOCKWELL; CWSTOCKWELL.COM. 4. THE BREAKFAST ROOM IN NICKY HILTON ROTHSCHILD’S FORMER L.A. HOME. 5. THE ICONIC FOUNTAIN COFFEE ROOM AT THE BEVERLY HILLS HOTEL. 6. REMY CHATAIN SR. IN CW STOCKWELL’S SHOWROOM IN 1947.
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WORLD OF
Kerry Washington After relocating to Manhattan to star on Broadway, the actress turned to RH to transform a bare apartment into a cozy family home
DISCOVERIES
THE BEST IN SHOPPING, DESIGN, AND STYLE
EDITED BY SAM COCHRAN
KERRY WASHINGTON, WEARING A CHLOÉ DRESS, BEA BONGIASCA RING, AND MOVADO WATCH, AT HER NEW YORK APARTMENT, WHICH WAS DECORATED AND FURNISHED BY RH INTERIOR DESIGN (RH.COM). FASHION STYLING BY SOLANGE FRANKLIN.
PHOTOGR A PHY BY W ILL IAM ABRANOWICZ
STYL ED BY CO LIN KING
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DISCOVERIES
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1. MADDOX SOFAS AND CHAIRS BY MARMOL RADZINER FOR RH IN THE GREAT ROOM; BRUTALIST CONSTRUCTIVIST TABLE LAMPS, 17TH C. MING DYNASTY COCKTAIL TABLE, ALPACA POM-POM PILLOWS, AND 1970s PETRIFIED SLAB SIDE TABLE, ALL BY RH. 2. IN THE KITCHEN, RH'S JAKOB LEATHER ARMCHAIRS AND RECLAIMED RUSSIAN OAK PLANK TABLE.
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or seven seasons on the ABC hit television show Scandal, actress Kerry Washington played the consummate D.C. insider. But off camera she may be the quintessential New York success story. Bronx-born and -raised, Washington has been lighting up stage and screen for more than a decade, eventually settling in Los Angeles with her husband, NFL cornerback turned actor Nnamdi Asomugha, and their three children. So when Broadway came calling with a lead role in Christopher Demos-Brown’s searing drama American Son, it wasn’t just a career opportunity, it was a homecoming. All she needed was an apartment. “We spent a lot of time looking for a place that had enough space for our whole crew, our posse,” Washington reflects of the citywide search, which led her to a floor-through rental overlooking the Hudson River on Manhattan’s Upper West Side. “That view!” she exclaims. “We spend a lot of time outdoors in L.A., so it was important to me that my family could still feel that connection.” Lease signed, she then turned to RH Interior Design, RH’s in-house studio, available at all the brand’s galleries. Within a matter of weeks, what were empty, even cold rooms had been transformed into a cozy family home, brimming with rich textures, upholstered seating, and rustic touches. “It was fun to work with a team that pushes you past your comfort zone,” says Washington, citing the choice of charcoal, as opposed to her usual off-white, for many of the walls. “RH created something beautiful and elevated yet totally livable.” Surrounded by slipcovered chairs, a dining table of reclaimed oak planks offered the perfect spot for meals with extended
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DISCOVERIES
family and friends (though her kids were just as happy to perch on RH’s 1940s Vintage Toledo barstools for Englishmuffin pizzas). Twin seating areas, meanwhile, broke up the vast great room, welcoming crowds come Thanksgiving and Christmas, when Washington hosted upwards of 30 people. A spirit of creativity coursed through the apartment in the form of architectural photographs and 3-D-printed paintings from RH’s collaboration with General Public,
RH'S MODENA SHELTER BED, CYLINDRICAL COLUMN ALABASTER TABLE LAMPS, AND FRAMED NATURAL AGATE IN THE MASTER BEDROOM.
the art-publishing company founded by Washington’s friend Portia de Rossi. The apartment also provided a place to decompress after emotionally and physically exhausting days. In American Son, which closed at the end of January, Washington’s character experiences every mother’s worst nightmare: waiting in a police station to discover the fate of her missing child. Six days a week, her powerful performance left her literally gasping for air. (She’ll repeat the role in the Netflix adaptation.) Add to that voice lessons, physical therapy, and family outings—trips to the zoo, the occasional musical—and Washington understandably needed a place to kick up her feet. For Scandal fans, the sight of her sinking into a sofa—wrapped in cashmere, wineglass in hand—remains a treasured meme. They will be heartened to know that life does indeed imitate art. “That Cloud couch is dangerous—I never wanted to get up,” Washington recalls of the family room’s sectional, with pillows piled upon pillows. It’s tempting to imagine her curled up, surveying her spectacular surroundings, uttering Olivia Pope’s signature line: “It’s handled!” Do the words ever cross her mind? “You’re not the first person to ask,” she responds, politely refusing the bait. Nothing gets past a New Yorker. —SAM COCHRAN
GOOD WORKS
IF THESE WALLS COULD TALK
Since 1995, Benjamin Moore has been the go-to paint supplier for the New York–based nonprofit Alpha Workshops, which produces handcrafted wall coverings while providing decorative-arts education and employment to people in need. Now the two have made it official: Debuting at the AD Design Show in New York (March 21 to 24) is a capsule collection of 15 wallpapers that spotlight hues from Benjamin Moore’s top-drawer Century line. “Our paints are still coating the wall; it’s just a more artistic execution,” says Benjamin Moore’s Ellen O’Neill, who asked designer Patrick Mele to use the papers as inspiration for the company’s table at DIFFA’s Dining by Design dinner. $125/ yard; alphaworkshops.org —HANNAH MARTIN 36
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CLOCKWISE FROM TOP LEFT SPENCER, KIMONO, TOPOGRAPHY, AND NEWPORT WALLPAPERS.
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TECHO-BLOC ART FLOORS FOR THE OUTDOORS
Techo-Bloc is breaking the mold of what we have come to expect of outdoor design, encouraging decorative art lovers and design-savvy creatives to extend their passion to their outdoor space. This imaginative landscaping lineup offers design flexibility to create custom stonework patterns. The outdoors represents a world of new design possibilities. Mix and match gamechanging high-definition textures with rich color palettes and surprising plays on scale to create a clearly bespoke look for your outdoor stone flooring. Techo-Bloc’s HD2 technology uses special anti-aging properties to ensure long-lasting looks—so that not even the harshest of climates or de-icing salts are a match for
1. ABERDEEN OUTDOOR SLABS & VILLAGIO COBBLESTONE PAVER 2. DIAMOND PAVER 3.TRAVERTINA OUTDOOR SLABS & BOREALIS WOOD-LOOK-A-LIKE
these high-quality landscaping collections. Crafted by design experts for design lovers, Techo-Bloc gives anyone the materials to transform regular outdoor spaces into works of art at the ground level.
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Industria Smooth Slab
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Form and Function Carrier and Co. translates its comfortable chic into a long-awaited furniture collection
tion since they launched their firm in 2005. Some of the introductions strike a familiar tone. The Osborne banquette was adapted from the tufted settee they created for Jessica Chastain’s Manhattan dining room, while the Bee wingback chair is based on one conceived for Vogue’s lobby. (It is named after Anna Wintour’s daughter, Bee Carrozzini— like her mother a client.) Throughout the collection, a love of historic silhouettes
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1. DOUGLAS FRIEDMAN; 2., 3. & 5: COURTESY OF CARRIER AND COMPANY INTERIORS; 4. BFA.COM
J
esse Carrier and Mara Miller, the husband-andwife duo behind the AD100 practice Carrier and Company Interiors, aren’t exactly newbies when it comes to furniture. “We’ve been doing custom pieces for years,” says Miller. “We’ve just never
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DISCOVERIES
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1. KELLY WEARSTLER AT HOME IN MALIBU. 2. VASES FROM HER FREQUENCY COLLECTION FOR GEORG JENSEN ($195 EACH). 3. A TRIO OF BOWLS (FROM $95). 4. HURRICANES (FROM $195).
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Ripple Effect Kelly Wearstler looks to the waves for her new collection with Georg Jensen
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hen Kelly Wearstler sat down to develop designs for the storied Danish design company Georg Jensen, she found a sea of inspiration just outside her windows. “Our house sits right on the sand,” says the AD100 decorator (and avid surfer) of her family’s Malibu house. “The ocean is a big part of my life.” Taking her cues from the waves, she devised six bowls and vessels in one of her favorite materials: mirror-polished
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stainless steel. Each one is wrapped in an undulating motif and hand-finished by Jensen’s artisans. Achieving an effortless flow with no visible seams, Wearstler explains, “was really challenging, but they pulled it off.” Of course, the Georg Jensen team is used to pushing past its comfort zone. The collection, titled Frequency, is just the latest collaboration for the brand, which has been partnering with star designers since it was founded in 1904, recently tapping Patricia Urquiola, Ilse Crawford, and Marc Newson.
Wearstler—a longtime collector of the brand’s archival silver homeware and jewelry—is the first American designer to appear on its roster. And this collection is just the beginning. “We’re going to continue to design together,” explains Wearstler, who will visit the Georg Jensen archives this summer in search of new ideas. For now, she’s quickly integrating the first pieces into the house that inspired their forms: “I’ve already used them over and over,” she says. “They’re so functional and modern.” georgjensen.com —HANNAH MARTIN
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PRODUCED BY M ADELINE O ’MA LL E Y
ALL IMAGES COURTESY OF RESPECTIVE COMPANIES
DISCOVERIES
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RESTAURANTS
Bon Appétit Designer John Whelan revives France’s classic brasseries one glorious room at a time
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picenters of urban life at the turn of the 20th century, France’s classic brasseries have too often, in recent decades, fallen prey to neglect. But designer John Whelan, founder of the Guild of Saint Luke, is turning back the hands of time. For the past couple of years, he and his team of experts have been on a mission
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to return these iconic restaurants to their former glory. At Brasserie Floderer in the 10th arrondissement of Paris, he restored faded frescoes, replaced broken chandeliers, and reproduced original banquettes. In Reims, at the Brasserie Excelsior, he removed the drop ceiling and revived 19th-century molding, adorning the walls with Limoges porcelain and a wallpaper
mural of an 1856 David Roberts painting of the sun setting over Rome. And at Bouillon Julien, a landmark on the Rue du Faubourg Saint-Denis, Whelan and crew peeled back layers of paint to reveal the original sea-green wall color, thus convincing his client that the Wes Anderson–esque hue was not just the right choice but the only choice. “It’s like descending into a hallucinogenic fish tank,” Whelan reflects. “That was probably the goal back in the day—to make the patrons trip out on absinthe!” With a fresh coat, he revitalized the historic decor, distinguished by elaborate murals, stained-glass panels, and plaster reliefs. It’s not every day that you hear someone count “watching paint dry” as a career highlight. But Whelan, an Oxford-educated history buff who now shuttles between London and Paris, delights in the passage of time—and any patina that expresses it. When taking on forlorn French institutions, being a Brit has its advantages, he notes. “The stakes might be higher if I were French . . . the pressure of a nation scrutinizing your every move,” he muses. “I have been met with surprise and a Gallic shrug.” gsl.works —SARAH HASSAN
1. & 2. OSKAR PROCTOR; 3. JOANNA MACLENNAN
1. FLODERER IN PARIS, ONE OF SEVERAL BRASSERIES THROUGHOUT FRANCE THAT HAVE BEEN RESTORED BY THE GUILD OF SAINT LUKE. 2. BRASSERIE EXCELSIOR IN REIMS. 3. BOUILLON JULIEN IN PARIS.
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A Fashionable Home
W
hen Laure Heriard Dubreuil first opened the boutique The Webster in Miami Beach a decade ago, she did something almost unthinkable at the time. Displaying Chanel alongside Superga, she curated the clothes as if they were her personal wardrobe. Out went snobbish head-to-toe looks. In came the mix—all filtered through the French expat’s refined eye. The Webster has since expanded to five boutiques across the U.S., each brimming with design gems such as Pierre Paulin Elysée chairs or a Gaetano Pesce cabinet. Understandably, her loyal clientele has come to crave more than just a fashion fix. “The problem is, I get attached,” Heriard Dubreuil says of the statement furniture. “It becomes part of the DNA.” With the help of interior designer Stéphane Parmentier, she is now ings that embrace her international, high-low aesthetic. “We’re trying to bring a new flavor that represents the way we live today,” says Parmentier, the project’s creative director. “Every object, regardless of price, will have its own strong identity.” In March, the ground floors of the New York and Miami Beach stores will be transformed to highlight the rotating home collection. Expect beaded chairs from Africa, porcelain plates from Japan, and vintage ceramics. In quite the coup, a rare 1960s Gio Ponti lamp is being reissued exclusively for The Webster. Sometimes their finds are almost too good. When Parmentier proposed a pair of antique ceramic lions, Heriard Dubreuil texted back: “Very good news: I love them. Very bad news: You have to find others. . . .” Those lions now live in her East Village townhouse. thewebster.us —JANE KELTNER DE VALLE
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PORTRAIT: HUGUES LAURENT; HAIR AND MAKEUP BY CHARLOTTE SARRAY; ALL PRODUCTS COURTESY OF THE WEBSTER
Laure Heriard Dubreuil partners with designer Stéphane Parmentier to bring whimsically refined furnishings to The Webster
D E S I G N S I N S P I R E D B Y N AT U R E A N D E N G I N E E R E D TO M E E T I T S R E S I L I E N C E
C E L E B R AT I N G T W O D E C A D E S O F S U P E R I O R S H A D E
DESIGN ENGINEERING I N N OVAT I O N E X P LO R AT I O N
DISCOVERIES
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1. A LUCIEN LÉVYDHURMER LANDSCAPE LOOMS IN JOHN RICHARDSON’S NEW YORK LOFT. 2. HIS NEW BOOK. 3. RICHARDSON BY ANDY WARHOL— ONE A SILK SCREEN, THE OTHER AN ENLARGEMENT OF A WARHOL POLAROID.
BOOKS
A Knight’s Tale Apartment to château to loft, the house-proud Picasso biographer John Richardson is a master of domestic bliss
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ears ago, I sat next to John Richardson, the Picasso scholar and art curator, at a small luncheon at Annette and Oscar de la Renta’s apartment, and was spellbound. His deep, mellifluous voice seasoned the afternoon with tales that prompted not only laughter but seriousness as we discussed politics, literature—even, perhaps surprisingly to some, decorating. The award-winning man of letters also happens to be a dab hand when it comes to interiors, as John Richardson: At Home ($65; Rizzoli) bears eloquent witness. It’s a candid 224-page memoir of one man’s life and where he’s lived it, with tart, funny, selfdeprecating, and erudite essays about eight places he has called home. At one end is his birthplace in suburban London, outfitted by his elderly father, a Victorian quartermaster general who “had no taste whatsoever.” (Sir Wodehouse Richardson died when his eldest son was five, and, “Almost ninety
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DISCOVERIES
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years later, I still miss him.”) At the other is his present digs near Manhattan’s Union Square. Of all the residences remembered, the romanticism of the 5,000-square-foot converted loft where Sir John—Queen Elizabeth II knighted him in 2012 for services to art—now lives stirs me the most. Imagine a charismatic explorer wound up in, say, Damascus, armed with Grand Tour spoils and thousands of books, deployed them within an architecturally nondescript space that has been classicized with Greek Doric columns, and then flung about dozens of jewel-tone ikats and suzanis. They give the rooms “a Scheherazade look,”
OUTDOOR LIVING
Designed by Italian architect Antonio
meanwhile, nod to traditional South on his travels. bebitalia.com
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Richardson says of the textiles. Add to that heroically scaled marble busts, grand gilded mirrors, endless Chinese porcelain jars, and snapshots of him with Picasso and Cocteau and other luminary friends. (Many of the contents come from previous residences, like his longtime Connecticut estate, that have since been sold.) A stuffed turtle wearing a red ribbon around its wrinkled neck makes an appearance as well, crouching beneath a funky table with legs like tree trunks. “I like to mix things up so that they galvanize each other to life,” Richardson says of his haute bohème aesthetic. That goes for architecture, too. Though the loft has been ennobled with towering pilasters and rusticated wainscot—thank you, architect Ernesto Buch—the exposed sprinklers and steam pipes lend a bracing twist. Like the footnotes in Richardson’s books, they enrich rather than detract, adding their own truth to an autobiography smartly told. —MITCHELL OWENS
1. & 2. FRANÇOIS HALARD/COURTESY OF RIZZOLI; BOTTOM: COURTESY OF B&B ITALIA
1. RICHARDSON'S TURQUOISE OFFICE; GLYN PHILPOT PORTRAIT, ANTIQUE FRENCH CAMPAIGN BED. 2. ARCHITECT ERNESTO BUCH ADDED NEOCLASSICAL DETAILS, INCLUDING THE LIBRARY'S TOWERING BOOKCASES.
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DEBUT
Kit Kemp brings her color and pattern to Bergdorf Goodman
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room, and bedroom will be her beloved collections (fabrics for Christopher Farr, tableware for Wedgwood), as well as one-off treasures like hand-embroidered sofas and headboards collaged in vintage kimonos. “We have the chance to put together all these things that I’ve been doing organically,” reflects Kemp of the mix, which also includes an array of lighting, upholstered seating, and much, much more. The results promise to be, like Kemp, that perfect combination of wit and sophistication. bergdorfgoodman.com —SAM COCHRAN
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1. A ROOM AT THE KIT KEMP–DESIGNED WHITBY HOTEL IN MANHATTAN. 2. SAILOR’S FAREWELL TABLE LINENS. 3. A FLOOR LAMP FROM HER BERGDORF GOODMAN POP-UP. 4. OVER THE MOON FABRIC FOR ANDREW MARTIN. 5. PSYCHO SPRIG FABRIC FOR ANDREW MARTIN. 6. WEDGWOOD MYTHICAL CREATURES CHINA. 7. SIDE CHAIR.
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K
it Kemp knows the power of a bold gesture. As the co-owner
YOUR STYLE, YOUR WAY!
Maracanda Carpet in color Champagne (top), Seville Custom Rug in color Storm (bottom)
Roatan Runner in color Platinum
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1. GREENWICH LINEAR CHANDELIER IN NATURAL BRASS FINISH (52045-08) 2. OSLO OUTDOOR WALL LANTERN IN BLACK AND BRUSHED NICKEL FINISHES (20855-04) 3. MADISON PENDANT CHANDELIER IN BRUSHED NICKEL FINISH (40020-91) 4. HILLCREST BATH VANITY IN POLISHED CHROME FINISH (10362-05) 5. VARICK BATH VANITY WALL SCONCE IN BRUSHED NICKEL FINISH (40693-91) 6. CIRCULO PENDANT CHANDELIER IN SATIN BRASS FINISH (40074-12)
meticulously hand-applied finishes and is developed with the most current technologies and design trends. Available in many sizes that are suitable for various applications, Livex Lighting complements design aesthetics that range from chic and contemporary to timeless and traditional. Livex Lighting continues to innovate and interpret premium decorative lighting with a unique personality. To view and experience any Livex Lighting products, please visit livexlighting.com for a list of all showroom or ecommerce retailers.
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NEW MOON RUGS THE KUMO COLLECTION
1. SHIBORI, MINERAL: OVERLAPPING LAYERS OF COLOR CHARACTERIZE THIS SHIBORI-INSPIRED DESIGN. 2. SHIZOKU, IVORY/INDIGO: THIS BOLD PATTERN NODS TO JAPANESE BLOCK PRINT DESIGN. 3. SOLERA, STEEL: RIBBONS UNDULATE LIKE OCEAN WAVES IN A MUTED MOTIF. 4. SHIBORI, MIST: AN ABSTRACT SHIBORI HAND-KNOTTED PATTERN IS HIGHLIGHTED WITH CHINESE SILK ACCENTS.
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New Moon Rugs’ latest collection takes a subtle cue from the Far East yet makes a bold statement underfoot. Eastern Influences While on a trip to Asia, COO and lead designer Erika Kurtz was captivated by an exhibit of antique Kimonos, cloth textile fragments, and block print materials she saw in a museum. “The fluid and organic feel of the designs, the blues in the traditional Shibori dying techniques, and the antique wood block forms resonated with a history and beauty that are a perfect complement to the Tibetan rug weaving traditions,” Kurtz says. “Paying homage to one ancient handwrought art form through the techniques of another seemed like a perfect union.” Design Translation Upon her return, Kurtz was inspired to weave the items she saw abroad into a new line for New Moon Rugs called, “The Kumo Collection”. These Japanese-inspired rugs effortlessly blend abstract elements found in nature with stylized block prints in a range of subtle-tobold patterns and tones. The 11-rug collection features wave-like patterns, Shibori-inspired splashes, and daring abstract designs. Commitment to Craft Known for their hand-woven 100% pure Tibetan rugs, New Moon Rugs is committed to continuing the age-old craft of Tibetan weaving. They also conceive their designs the oldfashioned way: drawing them by hand via pencil sketches and watercolor paintings. “This ensures that the final rug has an artful and organic feel as opposed to something pixelated or completely digital,” Kurtz says. The family-owned company procures the wool and has it carded and spun by hand by artisans in Nepal who use a painstaking “crossed” weaving technique that gives the product a unique finish filled with subtle nuances.
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KINGS•HAVEN HANDCRAFTED LIFESTYLE LIGHTING & DÉCOR
Transforming the notion of lighting and décor for both interiors and exteriors is the forte of KingsHaven. This involves conceptualizing innovative product designs to enhance how illumination and shapes interact in traditional, transitional and contemporary spaces. KingsHaven proudly introduces a new standard in lifestyle lighting and décor with a distinctly original offering that combines luxury lighting, fine furniture and decorative accessories in a perfect blend of harmony and design. Each KingsHaven lighting fixture or other exquisite accent is created with exceptional craftsmanship by talented, worldwide artisans. Hand-forged iron and wood-crafted choices range from historic reproductions of fine European antiques to highly creative modern designs. Many elegant, in-stock selections are available to satisfy specific design solutions and for expedited shipping. KingsHaven’s extensive options for lighting and furnishings include made-to-measure sizes, bespoke finishes and fully custom designs. KingsHaven’s enduring perspective is focused upon the thoughtful style blending of old and new, spanning both curated and created offerings of eye-catching beauty and
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Henry Clarke, October 1, 1968, Vogue
We complement your outlook. From pergolas and trellis, to planters, arbors, fence, and more, Walpole will meet your custom design needs. Crafted in AZEKÂŽ. Call 800-343-6948.
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THE TRAVERTINECLAD MASTER BATH AT THE LOS ANGELES HOME OF ARCHITECT RON RADZINER.
to bathroom renovations, today’s top tastemakers are rewriting the rules— blurring the lines between classic and contemporary, retro and refined. AD’s 2019 Great Design Awards break down that wisdom into the best inspiration and products: from 3-D tiles to stylish surfaces to minimalist must-haves. In other words, all the tools needed to make a splash. . . .
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PINTURA WALL ART
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WHERE IT ALL COMES TOGETHER. Now there’s more kinds of doing with decor at The Home Depot.® Get free and flexible delivery* with easy in-store returns on more than 10,000 decor items. It’s whole home improvement from start to finish. *Free delivery on select items over $45
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BOFFI TUB WITH VOLA FITTINGS IN THE MASTER BATH OF A MCLEAN QUINLAN–DESIGNED HOME IN WYOMING.
and hippie vibes, the new minimalism is spare, never soulless
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1. SHERLE WAGNER INTERNATIONAL CONICAL STONE VESSEL BASIN; $4,959. SHERLEWAGNER.COM 2. KOHLER OMBRÉ FAUCET; $613. KOHLER.COM 3. BRIZO VETTIS CONCRETE FAUCET; $2,500. BRIZO.COM 4. EMTEK ROBE HOOK; $21. EMTEK.COM 5. SERENA & LILY HUMBOLDT SIDE TABLE; $398. SERENAAND LILY.COM 6. MATOUK KIRAN BATH TOWELS; $54 EACH. MATOUK.COM 7. BARBER & OSGERBY LANE TILE; PRICE UPON REQUEST. MUTINA.IT 8. BALDWIN HARDWARE PALM SPRINGS CABINET KNOB; $17. BALDWINHARDWARE.COM 9. DURAVIT VERO AIR FREESTANDING BATHTUB; FROM $5,125. DURAVIT.US 10. DELTA LED PENDANT RAINCAN SHOWER HEAD; FROM $772. DELTAFAUCET.COM 11. PARIS CERAMICS FRENCH OAK; PRICE UPON REQUEST. PARISCERAMICSUSA.COM 12. MICHAEL ANASTASSIADES FOR FLOS IC LIGHT; FROM $595. YLIGHTING.COM
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Something to Talk About
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Kohler Konnect’s DTV+ shower system allows you to adjust water temperature, steam, lighting, and even music with simple spoken commands. Plus, users can preset their shower preferences through the accompanying app. From $3,300; us.kohler.com
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Custom solutions for better living californiaclosets.com
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Wet and Wild
LINED CURTAINS IN A SWAVELLE/MILL CREEK FABRICS IKAT AND A DEVON&DEVON TUB AT A TUSCAN ESTATE.
Shower curtains crafted in boldly patterned fabrics dazzle the eye
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SOANE BRITAIN Coquelicots
fabric; to the trade. fschumacher.com
linen; $230 per meter. soane.com
BRUNSCHWIG & FILS Solanum embroidery; to the trade. brunschwig.com
FABRICUT Wittman linen; to the trade. fabricut.com
The Thaddeus washstand by Julie Lawrence for RH pays homage to Diego Giacometti, with hand-hammered legs of forged iron or brass and a natural stone basin (available in 11 options). As Lawrence says, “Contrast makes everything more interesting.” From $4,195; rh.com 1
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INTERIOR: FRANÇOIS HALARD; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES
Standing Proud
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BOOKMATCHED QUARTZITE WALL PANELS IN A CALIFORNIA BATH BY JAMIE BUSH + CO.
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Keep on Rockin’
Earth Studies With painterly veining, our favorite solid and quartz surfaces are a cut above 1. CORIAN DESIGN Solid Surface in Evening Prima; price upon request. corian.com 2. FIANDRE Maximum porcelain surface in Azul Macaubas; price upon request. granitifiandre.com 3. CAESARSTONE Excava 4046 quartz; price upon request. caesarstoneus.com 4. COSENTINO Sensa stone in Verde Aquarius; from $36 per square foot. sensabycosentino.com
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Mar del Plata sintered stone; price upon request. neolith.com
Behold the $350K Tub Hand-carved in Portugal from Pele de Tigre marble, this one-of-a-kind Haas Brothers bathtub is, as Nikolai Haas explains, “like a sculpture you can bathe in.” Playful but not lightweight, the statement piece tips the scale at nearly 5,000 pounds—floor reinforcement required—and costs a cool $350K. Available from R & Co.; r-and-company.com
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Designed by Roger Thomas for Labrazel, the Acropolis collection allows you to coordinate your vanity accessories— among them a soap dispenser, tissue-box cover, and wastebasket— with your bathroom’s stone surfaces. Crafted in arabescato marble, each vessel nods to Ancient Greece’s classical columns with subtle fluting. From $565; labrazel.com
X INDIA MAHDAVI FOR RALPH PUCCI
Vera Cruz
Power Behind the Throne
AN E15 SIDE TABLE AND THE WATER MONOPOLY TUB IN A LUIS LAPLACE BATHROOM OVERLOOKING THE FRENCH ALPS.
Inspired by the shape of a pebble, Toto’s new Neorest NX2 toilet boasts cleaning technology that integrates UV light and mists the bowl with electrolyzed water after each flush. Classic Toto features, like heated bidet seats, auto-open-andclose lids, deodorizers, and warm-air dryers, continue to surprise and delight. $13,000; totousa.com
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Peso side table; to the trade. hollyhunt.com
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PUNCTUATION MARKS Sculptural side tables in bold hues or luxe materials add WKDW IXQFWLRQDO ¿QLVKLQJ WRXFK
Instant Classics In 1999, designer Thomas O’Brien and Waterworks teamed up on Aero, a hit array of bath fittings named after his cult shop. As Waterworks CEO Peter Sallick tells it, “The collaboration never really stopped.” Two decades later they now unveil Foro, a collection of fittings, hardware, and lighting that nods to classical wonders big and small, from the Roman Forum to Georgian moldings. waterworks.com 1. AERO DOUBLE ROBE HOOK. 2. FORO SHOWER ROSE. 3. AERO THERMOSTATIC THREE-WAY DIVERTER VALVE TRIM WITH METAL CROSS HANDLE. 4. FORO DECK MOUNTED FAUCET.
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Thomas O’Brien and Waterworks celebrate 20 years of collaboration ZLWK D QHZ FROOHFWLRQ RI EDWK ¿[WXUHV
suspendersÂŽ truss Suspenders, a delicately scaled moldular system of LED luminaires, provides a broad range of architectural lighting capabilities. Here a dramatically powerful, lightly scaled truss brings the grit of Industrial Modernism into the refinement of sophisticated urban setting. New for Spring 2019. Explore the possibilities.
www.sonnemanawayoflight.com Multiple U.S. and foreign patents granted and pending.
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FIRM GRIPS
$ IDEXORXV IDXFHW ¿[WXUH to suit every taste
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Yara metal silver hex ceramic wall tile; price upon request. tileshop.com
1. ROCKY MOUNTAIN HARDWARE LAVATORY HANDLE; $2,079 FOR FAUCET SET. ROCKY MOUNTAINHARDWARE.COM 2. GROHE ATRIO CROSS HANDLE; $124 FOR SET. GROHE.US 3. ROHL BELLIA HIGH NECK WIDESPREAD FAUCET CROSS HANDLE; $989 FOR FAUCET SET. ROHLHOME.COM 4. THE NANZ CO. BASIN 32 ART DECO HANDLE; PRICE UPON REQUEST. NANZ.COM 5. KALLISTA SCRIPT COLLECTION MATTE BLACK PORCELAIN KNOB HANDLE; PRICE UPON REQUEST. KALLISTA.COM 6. DXV VIBRATO 3-D-PRINTED FAUCET HANDLE; $19,890 FOR FAUCET SET. DXV.COM
T ANN SACKS
Made Modern Ribbed tile; from $80 per square foot. annsacks.com
Feeling Groovy
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EXQUISITE SURFACES
Three-dimensional tiles in geometric patterns throw high style into sharp relief
La Terre Couture 6 tile; $15 per tile. xsurfaces.com
T SUN VALLEY
BRONZE BT-4STN
stone tile; $68 per tile. sun valleybronze.com W MICHAEL BERMAN
FOR WALKER ZANGER Studio
Moderne Ambassador Deco tile; $58 per square foot. walkerzanger.com
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Total Transformation Scavolini’s new Tratto collection by Vuesse includes all you need for a full makeover, from the vanity down to the taps. Endlessly customizable, the bath system pairs brass frames with faux concrete surfaces for an urbane, industrial-style look. Price upon request; scavoliniusa.com
TOP INTERIOR: AMBROISE TÉZENAS; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES
VINTAGE GIO PONTI TILE IN THE PARIS HOME OF JULIE DE LIBRAN.
L U X U R Y P E R F O R M A N C E P A S S I O N
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EHRM A N NEEDL EP OIN T K I T S
Soothing Stitching
YUZEN PINES
Victoria & Albert Museum 16.5” x 16.5”. 12 holes to the inch canvas $130.00
Join the growing number who are taking up needlepoint for relaxation. In our busy world stitching one of these canvases is a great way to unwind and like reading a book you do it at a pace to suit yourself. It is a craft for our times attracting talented contemporary designers bringing a fresh approach to this traditional pastime. With only one simple stitch involved you don’t need to be an expert and, at the end of the day, you have something beautiful which you have made yourself. The kit comes with everything you need: the 100% cotton canvas printed in full color, all the wools required (100% pure new wool), a needle, a color chart and an easy to follow guide to get you underway.
Ehrman Order Line: 888 826 8600 www.ehrmantapestry.com
Mathieu Matégot (1910-2001) Tricolor Circa 1950 Number 1 from a series of 8 Woven by Pinton Fréres, Aubusson With woven Matégot signature and Pinton Fréres monogram, lower left 5’7” x 7’7” (170 x 231cm)
Fuller Building
595 Madison Avenue, New York, NY 10022
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The Design Team at
www.interiorsbysteveng.com
2818 Center Port Circle Pompano Beach, FL 33064 P 954.735.8223 | FL State Licensed Designer IB13000407
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 Julia Chi PROJECT: Privé Island Estates 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
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PARK - GROVE . COM EXCLUSIVE MARKETING AND SALES AGENT DOUGLAS ELLIMAN DEVELOPMENT MARKETING
This condominium is being developed by 2701 Bayshore One Park Grove LLC, a Florida limited liability company (â&#x20AC;&#x153;Developerâ&#x20AC;?), which has a limited right to use the trademarked names and logos of Terra and Related. Any and all statements, disclosures and/or representations shall be deemed made by Developer and not by Terra and Related and you agree to look solely to Developer (and not to Terra and Related and/or reach of their affiliates) with respect to any and all matters relating to the marketing and/ or development of the Condominium and with respect to the sales of units in the Condominium. 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.
CHESNEYS presents
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TEXT BY
MITCHELL OWENS PHOTOGRAPHY BY
DOUGLAS FRIEDMAN STYLED BY
MIEKE TEN HAVE
Two ruined buildings in San Miguel de Allende are colorfully reborn as Dallas designer Michelle Nussbaumer’s latest domestic flight of fancy
RESTORATION DRAMA
IN THE MASTER BEDROOM, THE BED’S CORONA, HEADBOARD, THROW PILLOWS, AND QUILT ALL COME FROM NUSSBAUMER’S DALLAS SHOWROOM, CEYLON ET CIE; 17TH- AND 18TH-CENTURY PAINTINGS. FOR DETAILS SEE RESOURCES.
LEFT THE TERRACE OFF THE POOLHOUSE IS SET FOR ALFRESCO DINING. 1960s CHAIRS; PILLOWS ON THE STONE BENCH WEAR VINTAGE FABRICS; STAR LANTERNS FROM CEYLON ET CIE.
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NUSSBAUMER (FAR RIGHT) AND HER DAUGHTER ANAIS ON A 19TH-CENTURY MEXICAN BENCH. OPPOSITE A 1940s MEXICAN WROUGHTIRON TABLE AND CHAIRS STAND IN A COURTYARD. TABLECLOTH BY SIMRANE; CUSTOM LARGE-SCALE PLANTER FROM CEYLON ET CIE.
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othing Michelle Nussbaumer had seen in San Miguel de Allende, the romantic Spanish Colonial city in Mexico’s Bajío mountains, was pleasing her exacting eye. “I want something unusual,” the Dallas decorator told a real-estate agent a dozen years ago, at the start of her search for a getaway. “A ruin, even.” Instead, she found herself trudging through glossily renovated houses that were “just plain weird.” One afternoon Nussbaumer spotted a dilapidated wall and decided to climb over it. Behind it, the stylish trespasser discovered a U-shape building, much of it dating from the 16th century, that included a hacienda and a multi-chamber granary with barrel-vaulted ceilings rising more than 30 feet high. As for the lot, it had been used as a dump site for as long as anyone
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could remember. Forlorn, malodorous, shaded by sickly trees—it was absolutely perfect. With the help of friends, she tracked down the “totally adorable” owner, who had forgotten that the woebegone acreage was among his numerous properties. “I bought it on a handshake, which is so unusual in Mexico,” Nussbaumer recounts. Thus the name that she and her husband, Bernard—a movie producer and cofounder of Texas’s Buda Juice beverage bars— chose for their new home away from home: Hacienda Buena Fe, the House of Good Faith. Today the property’s buildings have been restored, connected, expanded, and augmented, here wrapping around fountained courtyards, there sprouting sunny terraces and shady loggias. Additional buildings have
A FOUNTAIN CENTERS ONE OF THE HOUSE’S SEVERAL COURTYARDS.
“I bought it on a handshake," Nussbaumer recounts of the woebegone property that caught her imagination. joined them, from a poolhouse to guest quarters to pavilions. The abundant gardens—also created by Nussbaumer, though she admits that she has no training in that regard—seem to go on for miles. (Frankly, to document it all would take a special issue of AD.) Though the compound gives off the authentic Mexican vibe that the decorator desired, many of the details bear witness to her inspiringly magpie approach to design, architecture, and landscapes. “Whenever I’m traveling, I take pictures of any details I think I can use,” Nussbaumer says, going on to compare her cherry-picking to that of explorers “from a long time ago who would find plants in Fiji and then try to grow them in England.” That intrepid spirit informs Ceylon et Cie, her Dallas Design District showroom, where cultures collide and colors coruscate, and it’s showcased in her exuberant 2016 book, Wanderlust: Interiors That Bring the World Home ($50; Rizzoli). “How can you not document the things you see and reproduce them in some way?” Nussbaumer says. “Or at least reinvent them?” Some of her photographic aide-mémoires have been adapted by an army of local craftsmen, who battered the building materials so Hacienda Buena Fe would look aged rather than new. “Whatever you can dream up, they can do,” the decorator explains. “I would show them fireplaces in the Topkapi Palace in Istanbul or the arches in a fab place in Morocco, and they’d say, ‘OK, sure, señora.’ Sometimes the results would be the wrong scale and have to be torn out, and sometimes they would be perfect and amazing.” Though the rusticated lava-rock pilasters that flank a pedimented door reference something similar that Nussbaumer had seen in Rome, and the living room’s painted floor is a rustic take on geometric marble paving at Château de Versailles, many of her
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ABOVE A TURKISH LANTERN FROM CEYLON ET CIE HANGS OVER A LIVING ROOM DECORATED WITH VINTAGE BILLY BALDWIN SLIPPER CHAIRS, AND CUSTOM ARMCHAIRS AND SOFA (RIGHT), ALL IN A KRAVET WOOL-BLEND. OPPOSITE CUSTOM TILES BY NUSSBAUMER FROM CEYLON ET CIE COVER THE KITCHEN. MIX OF VINTAGE AND NEW JARS.
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IN DAUGHTER NILEâ&#x20AC;&#x2122;S BEDROOM, NUSSBAUMER CONCEIVED A MURAL BASED ON A PATTERN FROM A 1940s MEXICAN PLATE. RAJASTHANI HANGINGS FORM A CANOPY FOR THE NUSSBAUMERDESIGNED BED. VINTAGE MEXICAN CHAIR.
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LEFT IN THE CHAPEL, VINTAGE MEXICAN CHAIRS LINE UP AT AN 18TH-CENTURY SPANISH COLONIAL TABLE. ABOVE THE FAMILY BURRO, APACHE. 1940s MEXICAN CHANDELIER. OPPOSITE A CUSTOM UMBRELLA SHADES A PAIR OF CUSTOM CHAISE LONGUES BY THE POOL.
grace notes are Arabic at heart. “Arab style made its way to Spain and then across to Mexico,” she observes. “That was my impetus for the house. To my mind, Mexico is America’s Morocco, and Morocco is Europe’s Mexico.” Scallops cribbed from Andalusia’s historic Mudéjar architecture create a jaunty ridge atop the former granary. The tub in the master bath is framed by an elaborate Mudéjar lobed arch like those at Tordesillas’ 14th-century Royal Convent of Santa Clara. Other Arab arches trim a loggia and shape doorways that had been punched through thick walls in the development of a hospitable floor plan. The exotic masonry accents are complemented by sprightly hand-painted patterns that are deployed to smile-inducing effect indoors and out. “I love wallpaper, but you can’t use that here,” says Nussbaumer.
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“So instead I had a lot of fun with tiles and painting.” In daughter Nile’s bedroom—the Nussbaumers have four children—a mural takes its cue from a pattern found on 1940s Mexican pottery. “I just blew it up,” the decorator says. She did the same for a loggia wall, painting on an overscale emulation of the Mexican cut-paper banners known as papel picado (real ones crisscross the dining room). Cairene motifs were brushed around windows and doors. As for the tiles, Nussbaumer designed them, too. Her grandest glazed expression can be found in the kitchen, where blue-and-white tiles copied from examples at churches in Puebla, Mexico, patchwork every inch. “I love bringing timeworn techniques into a modern era,” Nussbaumer says. Then, recalling that long-ago house tour, she adds, “and the last thing this place needed was a marble kitchen.”
design notes
THE DETAILS THAT MAKE THE LOOK
There’s no beauty without ugliness—it’s better when things are a little off.” ALHAMBRA LANTERN; TO THE TRADE. VAUGHANDESIGNS.COM
TILE BY MICHELLE NUSSBAUMER FOR THE E/S20 COLLECTION; $28 PER SQUARE FOOT. XSURFACES.COM
A GUEST ROOM FEATURES PAINTED MOTIFS, CUSTOM BEDSPREADS, FEZ PILLOWS, AND BED SKIRTS, ALL BY NUSSBAUMER. CANOPY BY WISTERIA; ANTIQUE ENGLISH SETTEE. HAND-PAINTED MEXICAN BLUEAND-WHITE DINNERWARE; FROM $48. MICHELLENUSSBAUMER.COM DOUBLE-DECKER UMBRELLA; $4,500. SANTABARBARADESIGNS.COM
IKAT ON LINEN BY MICHELLE NUSSBAUMER; $116 PER YARD. MICHELLE NUSSBAUMER.COM
AMALFI CHAISE LONGUE; $6,470. JANUSETCIE.COM
19TH-CENTURY GILDED LOUIS XVI– STYLE SETTEE IN VINTAGE SUZANI UPHOLSTERY FROM CEYLON ET CIE; $6,264. 1STDIBS.COM
A BATHROOM’S SINK AND TUB ARE CUSTOM. VINTAGE TERRA-COTTA SCONCES FROM TAJAN.
A 19TH-CENTURY PAINTING HANGS OVER THE CUSTOM POLISHED-CONCRETE TUB. TILES BY NUSSBAUMER.
HAND-CARVED ACCENT MIRROR BY WORLDS AWAY; $600. PERIGOLD.COM
MOCHE STRIPE COTTON; $111 PER YARD. RALPHLAUREN HOME.COM
INTERIORS: DOUGLAS FRIEDMAN; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES
SERIES S IBIZA TILES; FROM $18. BALINEUM.CO.UK
MONTECITO RUG BY MARK D. SIKES FOR MERIDA; TO THE TRADE. MERIDASTUDIO.COM
GOA SIDE TABLE; $248. SERENAAND LILY.COM MARIGOT CHANDELIER BY E. F. CHAPMAN FOR VISUAL COMFORT; FROM $1,109. CIRCALIGHTING.COM
PALERMO COTTON THROW; $228. SERENAANDLILY.COM
PRO DUCE D BY MADELINE O’M ALLEY
I wanted this place to be romantic but a bit shabby.”
CHARLOTTE ACCENT CHAIR; $1,035. ONEKINGSLANE.COM
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UNCOMMO Nearly four decades after creating a still-astounding, statement-making home in Santa Monica, legendary architect Frank Gehry builds a new dream house TEXT BY PAUL GOLDBERGER PHOTOGRAPHY BY JASON SCHMIDT STYLED BY MICHAEL REYNOLDS
N VISION
THE STREET-FACING FAÇADE OF FRANK AND BERTA GEHRY’S HOUSE IN SANTA MONICA, CALIFORNIA. FOR DETAILS SEE RESOURCES.
DOUGLAS-FIR BEAMS FRAME THE DINING ROOM. FISH LAMPS, LAMINATED PLYWOOD TABLE, AND LEATHER BENCHES BY FRANK GEHRY; AT FAR LEFT, KEN PRICE SCULPTURE; STONEWARE VASE BY PETER VOULKOS.
CINI BOERI FOR ARFLEX SOFAS SURROUND A GEHRYDESIGNED GLASS TABLE IN THE LIVING ROOM. ON PEDESTALS, KEN PRICE SCULPTURES. OPPOSITE FRANK GEHRY.
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he house Frank Gehry created for himself and his wife, Berta, in 1978 on a highly visible street corner in Santa Monica, and which he renovated and updated again in the early 1990s, helped make his reputation as one of the most potent creative forces in 20th-century architecture. An assemblage of glass, plywood, corrugated metal, and chainlink fencing that enveloped an old Dutch Colonial that remained, slightly disembodied, at its core, the Gehry house was hailed as an icon of residential design from its earliest days, and the architect lived happily in it for decades. He and his wife raised two sons there, and the family learned to more or less ignore the tourists and architecture students who came by to gawk at his creation. With their sons grown and the Gehrys getting older—he turned 90 in February—they began to wonder about the practicality of remaining in their longtime home, contented though they continue to be with it. Gehry, whose international architectural practice for years has left him little opportunity for designing houses, was intrigued by the notion of being his own client again, this time with a house that would work for him and his wife at a more advanced stage of their lives. He produced a design for a site on the edge of Venice, only to abandon it after Berta had some worries about the neighborhood. Then he came across an old house on a prime lot on one of Santa Monica’s finest streets, overlooking Santa Monica Canyon, with a view of the ocean. Even more enticing for the architect, the house was undistinguished. He could tear it down without guilt, giving him a broad canvas to work with. The challenge this time would be very different from the original house, not only because the Gehrys were older and wanted both an elevator and space for possible live-in help. They continued to be so happy in their old house that they were not sure they really wanted to move, however sensible the idea might be. Gehry, trying to navigate between his desire to create another house and the ambivalence that he and his wife shared about leaving their old one, came up
with a solution. By then Sam Gehry, an architectural designer, was working at his father’s firm, and Frank decided that he and his son would design the house together. If Berta and Frank chose not to move in when it was finished, they would declare it a spec project and sell it. There was little to lose, and either way, it would be a family effort. And so it was. Gehry’s work has evolved considerably since his earlier Santa Monica house, which was finished long before the Guggenheim Museum in Bilbao, Spain, the Walt Disney Concert Hall in Los Angeles, the Fondation Louis Vuitton in Paris, and the other large projects that have come to define is legacy. As the first house had been a kind of design laboratory at an earlier phase of his career, he wanted the new one to reflect his current formal preoccupations. Sam, who has played a major role in the firm since he was given charge of the design for the Serpentine Gallery Pavilion in London’s Hyde Park in 2008, was deeply familiar with all of the Gehry office’s current work, and he conceived of a design that merged the sumptuous qualities of a grand villa with the crisp, fresh energy of one of his father’s sculptural essays. With multiple angled, gabled roofs, expanses of glass, and an internal structure of heavy diagonal timbers of Douglas fir similar to the ones in the Fondation Louis Vuitton, the house has the air of a modern version of an Adirondack lodge, larger and more luxurious than the older Gehry house, but with the same sense of being at once unconventional and enthusiastically welcoming. Sam, determined that it be more sustainable than its predecessor, designed the house to be passively cooled, and included nine geothermal wells to provide energy for heating. As architecture, it both celebrates the notion of a traditional villa and subverts it: Like so much of the firm’s work, this house refuses to choose between comfort and challenge, and seems intent on offering both. As the design evolved, “the spec-house idea went out the window,” Berta said. “We have only one bedroom—that’s not very spec-y.” Sam thinks his father would never have been comfortable designing a true spec house. “He would come in and say, ‘Let’s do this, let’s add that,’ ” Sam recalled. “It kept getting more personal and more fun.” Navigating between his father as design partner and his mother as client, Sam devised a scheme for a house in two distinct parts. First, facing the street and the view is a large
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RIGHT CUSTOM GRANADA TILE COVERS THE KITCHEN FLOOR. WOLF RANGE AND HOOD; ROTARY-CUT DOUGLASFIR PLYWOOD CABINETRY. OPPOSITE A BESPOKE STEINWAY & SONS GRAND PIANO ANCHORS THE MUSIC ROOM.
front wing wrapped around a landscaped patio that Frank refers to as the “entertainment plaza,” which he envisioned as a place for outdoor parties that could take advantage of the ocean view; within the front wing, facing outward, are a large, high-ceilinged living room and a dining room hung with Frank’s famous fish lamps as chandeliers. A family room, a kitchen with a vibrant tile floor—a special request from Berta—and a study are tucked behind these major rooms and look toward a rear garden. Upstairs, with balconies overlooking the other rooms and the ocean but out of sight of visitors, is a sprawling master suite. The second part of the house sits at some distance behind that structure, separated by an expansive garden with a lap pool and a long pathway covered by a Gehry-esque trellis. The rear wing contains a large music room suitable for small chamber-music concerts, a gym, two guest rooms, and a suite for long-term visitors that could also be used for live-in help. Both Frank and Berta are fond of classical music—since his Walt Disney Concert Hall opened in downtown Los Angeles in 2003, they have had regular seats at Los Angeles Philharmonic concerts—and one of his fantasies, he has said, is that he
would invite musicians to play at the new house, and perhaps to stay there as well. Gehry’s friend Michael Eisner, for whom he designed a pavilion at the former Disney chairman’s house near Aspen, returned the favor by ordering a custom-made Steinway for the new house’s music room in a color of Frank’s choosing, which turned out to be bright green. “My fantasy was that Mitsuko Uchida would live there,” Frank said, referring to the celebrated Japanese-British pianist and conductor. “She’s offered to come and play. So has Emanuel Ax.” So far the Gehrys have hosted a couple of concerts in the space, including, he says, an event for Daniel Barenboim’s West-Eastern Divan orchestra, made up of Israeli and Arab students. “We had 50 people there, and it was really great,” he said. “You didn’t invite me,” Sam noted. “Of course not; you never invite your architect,” Frank said with a laugh. He paused for a moment. “Well, now you see what Sam has had to put up with from me. He has truly been a great partner, and we have made a once-in-a-lifetime house. I have really loved working with him.”
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© ED RUSCHA
ABOVE THE STUDY’S ALCOVE FEATURES A MATTRESS COVERED IN A COLORFUL STRIPE. OPPOSITE ART BY (FROM LEFT) ED RUSCHA, ALEJANDRO GEHRY, CARRIE JENKINS, CECILY BROWN, AND RUSCHA IS DISPLAYED IN THE LIVING ROOM. ON BLUE CABINET, SCULPTURES BY KEN PRICE.
In an eye-catching Tribeca tower, architect Lee F. Mindel devises an inspired setting for his discerning collection of art and design TEXT BY
PILAR VILADAS
PHOTOGRAPHY BY
FRANÇOIS DISCHINGER
STYLED BY
LILI ABIR REGEN
ABOVE ON THE OUTDOOR TERRACE, A BRONZE SCULPTURE BY JOEL FISHER (LEFT) JOINS A GALVANIZED-STEEL CHAIR BY ISAMU NOGUCHI AND A DIGITALLY FABRICATED SCREEN BY MARC FORNES. OPPOSITE A CLOSE-UP OF THE SCREEN. FOR DETAILS SEE RESOURCES.
MARC FORNES/THEVERYMANY; NOGUCHI: © 2019 THE ISAMU NOGUCHI FOUNDATION AND GARDEN MUSEUM, NEW YORK/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
STATEMENT PIECE
BERTIL HERLOW SVENSSON © 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
VINTAGE ALVAR AALTO ARMCHAIRS IN A KVADRAT FABRIC FACE MAURO LIPPARINI FOR ZANOTTA SOFAS IN THE LIVING ROOM. ON JOE D’URSO SIDE TABLE, VERNER PANTON CHROME TABLE LAMP; ON CHARLOTTE PERRIAND BENCH, JOHN HOGAN VESSEL; V’SOSKE AND CHILEWICH RUGS.
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or many New York luxuryapartment dwellers today, taller is better: Witness the appeal of buildings that reach, ever higher, to the sky. But for the architect Lee F. Mindel of the New York firm SheltonMindel, home is a bit more down-to-earth. His sixth-floor apartment in the so-called Jenga building—the arresting 60-story condominium tower in Tribeca by the Swiss architects Herzog & de Meuron—welcomes the city’s energy, while Mindel’s insightful renovation produced an open, light-drenched interior that showcases his very personal collections of modern and contemporary design and art. Mindel, who shares the apartment with his partner, José Marty—an architectural designer who was a consultant on this project—got to know the building’s architecture when SheltonMindel designed its sales office. One apartment in particular—a 3,000-square-foot, three-bedroom unit, just above the enormous, polished metal “bean” sculpture, by Anish Kapoor, that will be tucked under the building’s northeast corner—caught Mindel’s eye. “Most units in this building belong to the sky,” he explains, “but this one belongs to the street.” Mindel imagined an interior that would embody what he calls “the continuity of sculpture,” connecting interior and exterior. Mindel made two architectural moves that completely transformed the space. First, he designed an enfilade of doorways to connect the rooms along the window wall, in addition to the existing access through a hallway from the apartment’s foyer. (He also turned one bedroom into an open dining area that connects to the library.) Sliding panels can close off the rooms for privacy, but even when they’re open, Mindel says, “you never see a bed; you see more light and air.” Second, around each of the apartment’s raw concrete columns, Mindel devised a cove, illuminated with LEDs, to give the illusion that the columns continue upward, making the ten-feet-four-inch ceilings appear even loftier. The resulting flow of space creates the perfect setting for Mindel’s collections. At the entry, you’re met by an Ai Weiwei bicycle sculpture and a table by Zaha Hadid. The “gallery,” a corridor to the living/ dining/kitchen space, is lined with more art, culminating in a red-painted sculpture by Alexander Liberman, a minimalist daybed by the Belgian architect Juliaan Lampens, and Stéphane Barbier Bouvet’s take on Achille and Pier Giacomo Castiglioni’s classic
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NOGUCHI: © 2019 THE ISAMU NOGUCHI FOUNDATION AND GARDEN MUSEUM, NEW YORK/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
ABOVE IN THE ENTRY FOYER, A BICYCLE SCULPTURE BY AI WEIWEI IS SHOWN ABOVE A ZAHA HADID MARBLE LOW TABLE. OPPOSITE A GALVANIZED-STEEL SCULPTURE BY NOGUCHI STANDS IN THE LIVING ROOM. JOS DEVRIENDT LAMP; KENNETH SNELSON STAINLESS-STEEL SCULPTURE.
Arco floor lamp—not to mention one of the coveted bronze-topped versions of Eero Saarinen’s Tulip tables that were made for the bar of the original Four Seasons restaurant. Keep going and you’ll find three sculptures and a chair, in galvanized metal, by Isamu Noguchi. There is furniture by a veritable who’s who of design, including Alvar Aalto, Charlotte Perriand, Verner Panton, and Joe D’Urso; a table lamp by the contemporary Belgian designer Jos Devriendt; and a prototype of Herzog & de Meuron’s light fixtures for their National Stadium in Beijing. And that’s just the living room. The dining area boasts a unique, gold-plated example of Jasper Morrison’s Superloon light for Flos, and a brass console by Gabriella Crespi that echoes the elongated capsule shape found throughout the building’s design, including in the kitchen islands and the bathroom tiles. The balcony is home to an undulating, painted aluminum screen by the architect Marc Fornes, which Mindel likens to “an urban hedge,” as well as furniture by Donald Judd and another Noguchi chair. Along with works by the masters of modernist and contemporary design—“my DNA,” Mindel says— are pieces by younger designers, like Barbier Bouvet’s light, and a stack of drawers from the Italian design duo Formafantasma’s Ore Streams series, which recycles precious metals salvaged from electronic waste into sleek, slightly unsettling furnishings. And there are personal moments, like the sheet music— a tribute to Mindel’s dear friend the late, legendary lyricist and screenwriter Betty Comden—that shares the marble shelves of Angelo Mangiarotti’s bookcase with lights from Saint-Louis and Jansen. There are also—a testament to Mindel’s ecumenical side— high-low moments like the Home Depot rugs in the master bedroom, CB2 throw pillows on the sofas, or the Container Store coat rack, used for robes, in the master bathroom. Having recently completed the Manhattan offices of Soros Capital, Mindel is now at work on a New York City apartment for Sting and Trudie Styler, the amenity spaces and condominium units of Parcel F— a not-yet-built, mixed-use tower in San Francisco by Pelli Clarke Pelli Architects (designers of the nearby Salesforce Tower), and an apartment on the 48th floor of his building. But when he’s not on the road (or in the air), Mindel can savor the home he’s created. “It’s a collage of the city and its context,” he says. The challenge of working in high-rise apartment buildings, he adds, is “how you can look at the potential of these spaces and not just fill them.” And the measure of his success here, Mindel says, is that, his enviable collections notwithstanding, “the space looks really good empty.”
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ALBERS: © THE JOSEF AND ANNI ALBERS FOUNDATION/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK 2019
RIGHT LEE MINDEL (LEFT) AND JOSÉ MARTY. BELOW A JASPER MORRISON FOR FLOS LAMP COMMANDS THE DINING ROOM. JEAN PROUVÉ FOR VITRA TABLE; KNOLL DINING CHAIRS; FRANCESCA PASQUALI PLASTIC STRAWS ARTWORK.
IN THE LIBRARY, JOSEF ALBERS PRINTS ARE DISPLAYED ABOVE AN ANTONIO CITTERIO BOOKCASE. PROUVÃ&#x2030; FOR VITRA STOOLS; ROOM & BOARD TABLE.
With her daughter at school in England, Milan-based designer Laura Sartori Rimini feathers a worldly London pied-à-terre for herself TEXT BY
MITCHELL OWENS
PHOTOGRAPHY BY
MIGUEL FLORES-VIANNA
STYLED BY
HAMISH BOWLES
MAKEUP AND HAIR BY SONIA BHOGAL USING SISLEY PARIS; LOUISE BOURGEOIS: © 2019 THE EASTON FOUNDATION/LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NY
CAUSE and EFFECT
DESIGNER LAURA SARTORI RIMINI IN HER LONDON HOME. OPPOSITE A RESTORED 18TH-CENTURY CHINOISERIE WALLPAPER COVERS THE DINING ROOM. DRAWINGS BY LOUISE BOURGEOIS AND TOMASO BUZZI. IN HALLWAY BEYOND, PHOTO BY INGE MORATH AND SKETCH BY HERVÃ&#x2030; VAN DER STRAETEN. FOR DETAILS SEE RESOURCES.
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ne half of the AD100 design firm Studio Peregalli, Laura Sartori Rimini was perfectly happy jetting to London from her home base in Milan and checking into a hotel— usually Claridge’s or Blakes— when projects required her attention. But that habit came into question a few years ago when her daughter, Vittoria, announced that she wanted to attend school in England. “It was a little bit of a shock because she was supposed to finish her studies in Italy, high school and then university,” says Sartori Rimini, a lean, elegant blonde with the looks of a
1930s movie siren, though one with a perpetual half-smile. Her husband, Emanuele, a dashing attorney and professor of law at Milan’s Università degli Studi, disagreed with their daughter’s surprising change of plans, but his wife smoothed the familial waters. “If she was asking, then she needed to do it,” Sartori Rimini says. “So I think, as a mother, I had to help her.” She did, and eventually establishing a pied-à-terre sprang to mind, “to have a little shelter for Vittoria, for me if I was going to visit her, for the family, for anyone. And, then, also for my job.” Since Sartori Rimini’s career entails decors perfumed with old-fashioned connoisseurship and uncanny evocations of the long ago—see her and business partner Roberto Peregalli’s 2018 book, Grand Tour: The Worldly Projects of Studio Peregalli—
CHRISTIAN BÉRARD: © 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/ADAGP, PARIS
BELOW A NICHE IN THE BEDROOM HOLDS ARTWORKS BY CECIL BEATON, CHRISTIAN BÉRARD, LILA DE NOBILI, AND ANH DUONG. 19TH-CENTURY FRENCH CABINET WITH JAPANESE-STYLE LACQUER. RIGHT THE LIVING ROOM FEATURES ANTIQUE ARTWORKS HUNG ON 17TH-CENTURY LEATHER WALL PANELS.
it stands to reason that she would end up in Tite Street, a pretty thoroughfare of tawny-brick, late–19th century townhouses where avatars of the Aesthetic Movement, among them Oscar Wilde, James McNeill Whistler, and John Singer Sargent, once held all of London spellbound. Whistler actually lived next door to Sartori Rimini’s building, and given the darkly glimmering harmonies of her one-bedroom flat, the firebrand impressionist would surely find much to recommend. One can easily imagine a smitten Whistler coaxing a bemused Sartori Rimini to sit for a portrait chez elle and calling the resulting masterwork Arrangement in Amber and Ruby. “I wanted an English home with many layers,” says the designer, who bemoans what one could describe as “stateless
chic,” expensively neutral decors that have become de rigueur for international oligarchs in London. “England is a little country,” she continues, “but they conquered half of the world and brought back a lot of remembrances.” Her flat’s jewel-box settings, achieved with Peregalli’s input, were sparked by a set of antique gilded and handpainted leather panels that once belonged to the Duchesse de Berry, Charles X of France’s intriguing daughter-in-law. Possibly Spanish or maybe Venetian, the “very, very ruined” panels were spotted at an auction, restored, and then installed in Sartori Rimini’s living room. Patterned with a whirlwind of flowers, the wall covering might seem extravagant for such a modest bolt-hole, but that’s rather the point.
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IN THE OTHERWISE ANTIQUES-LADEN LIVING ROOM, AN HERVÃ&#x2030; VAN DER STRAETEN LAMP STANDS OUT ATOP A 19TH-CENTURY FRENCH DESK. JAPANESE SUDARE SHADES; ENGLISH (LEFT) AND ITALIAN ARMCHAIRS.
Sartori Rimini had a single decorative goal: â&#x20AC;&#x153;I wanted an English home with many layers.â&#x20AC;?
“A pied-à-terre is not a house you live in every day,” Sartori Rimini observes. That being said, she adds, “You should just open the door and feel cozy—all you need are fresh flowers.” Blossoms of the eternal variety fill her rooms, dappling walls, an 18th-century Persian carpet (“a little bit faded and shabby”), mismatched cushions, chair seats, even a tapestry fire screen. “I always love nature in the house,” says the designer, who delights in the knowledge that the annual RHS Chelsea Flower Show takes place just a few blocks away. Japanese watercolors of irises bloom in the bath, and the mignon dining room is wrapped in a Chinese Export garden of peonies, cherry trees, and star magnolias. Within this abiding springtime, the designer has assembled things old and things new—“as always I like to do”—such as a ringed bronze table lamp by Hervé Van der Straeten. Many of her most beloved possessions, though, are small, requiring close inspection to appreciate their enrapturing charms. “I am not a rich person; I am a working person,” says Sartori Rimini, no fan of “simple interiors with a piece of art that cost millions.” As she observes, “You can do nice houses without spending a lot of money, in the sense of finding nice-quality objects but not necessarily costly ones.”
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Given the evidence, that means framed Spanish tiles, antique monochrome etchings of mythological scenes, curious English and European architectural drawings, and a 19thcentury crystal decanter pressed into service as a vase for a spray of delphiniums. Sartori Rimini has a passion for Orientalist evocations of turbaned men, so an 18th-century painting of one can be found in the living room; another is displayed in the bedroom above a 19th-century Japanese-style chest of drawers. In the entrance hall, now ennobled by an arched ceiling, a Safavid vase of great beauty sits beneath a big gold mirror by Alessandro Diaz de Santillana, the late Venice glass artist. “I love having things made by friends,” the designer says. Another fond relationship brought into play in her Tite Street home is embodied in the creative tricks—the jacquard stripes appliquéd on the bedroom walls, the patchworked red velvet cushions—that she and Peregalli were taught by their mentor, the master atmospherist Renzo Mongiardino. “From him we learned that you can play with cutting fabrics and putting them back together, you can play with borders, you can play with trimmings—you can just play,” Sartori Rimini says. “The idea is that something was made just for you.”
BOOK COVER: © GRAND TOUR: THE WORLDLY PROJECTS OF STUDIO PEREGALLI BY LAURA SARTORI RIMINI AND ROBERTO PEREGALLI, RIZZOLI NEW YORK, 2018
ABOVE THE BEDROOM’S CUSTOM WALL COVERING IS AN HOMAGE TO MADELEINE CASTAING. THE BED HAS A LATE 19TH–CENTURY BRASS HEADBOARD AND ANTIQUE TUSCAN AND INDIAN LINENS. BELOW THE COVER OF STUDIO PEREGALLI’S LATEST BOOK ($85; RIZZOLI).
AN HERVÃ&#x2030; VAN DER STRAETEN CONSOLE SUPPORTS A PAIR OF JAPANESE CANDLESTICKS, MOUNTED AS LAMPS. ANTIQUE ENGLISH CHAIRS WEAR AN INDIAN COTTON.
COOL CUSTOMER Designer Robert Stilinâ&#x20AC;&#x2122;s SoHo apartment is a love letter to the art, books, and furniture that inspire him TEXT BY
MAYER RUS
PHOTOGRAPHY BY
STEPHEN KENT JOHNSON
TWO WADE GUYTON PRINTS ANCHOR ROBERT STILINâ&#x20AC;&#x2122;S ART-LINED AND BOOK-FILLED DINING ROOM. GUILLERME ET CHAMBRON TABLE; VINTAGE CHAIRS AND FLOOR LAMP. FOR DETAILS SEE RESOURCES.
“I just let the art and the furnishings, with all their sculptural quality, do the talking,” Stilin explains. ABOVE IN THE LIVING ROOM, A DEER SKULL AND A KURT COBAIN PORTRAIT BY MARK SELIGER FLANK A PHOTOGRAPH BY DAVID HAXTON. THE CUSTOM SOFA WEARS A LORO PIANA ALPACA WOOL; A HOLLAND & SHERRY WOOL COVERS THE SLIPPER CHAIR AT RIGHT. OPPOSITE STILIN.
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here’s no shortage of pedigreed pretty things in the New York City apartment of AD100 designer Robert Stilin. Aficionados of design will recognize stools by Charlotte Perriand and Poul Kjærholm, a classic Paul Laszlo chrome-plated desk lamp, and a sweet little wooden side chair by Pierre Chapo, to name a few. Likewise, amid the kaleidoscopic display of artworks, there are plenty of easily identifiable pieces by artists on the order of Wade Guyton, Wolfgang Tillmans, Joe Bradley, John Waters, and Rob Wynne. One would expect as much from the home of a designer with a reputation for integrating compelling contemporary art into his interiors. But the main allure of Stilin’s deftly layered and curated home lies in the furnishings and artworks that defy obvious classification: a boxy, De Stijl–inflected, wood-framed club chair; an imposing French cocktail table with steel legs and a highly textured schist top; a set of rustic dining chairs that look as if they came from a French country house or Tyrolean
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hunting lodge; and a strangely hypnotic photograph of a river, which hangs in the master bedroom. “Everything has a personal connection to me and my life,” the designer explains. “Everything is meaningful, everything is something, even if I don’t know precisely who made it.” Formerly based in East Hampton, New York, where he still maintains a home and shop, Stilin acquired his SoHo apartment as a Manhattan pied-à-terre nine years ago. Two years later, when his son, Dylan, went off to college at New York University, the designer made the dwelling his primary residence. “It’s basically a white box in a typically modern building by Gwathmey Siegel. The space provides a calm backdrop for things I’ve collected over 30 years. I didn’t do much to the interior architecture. I just let the art and the furnishings, with all their sculptural quality, do the talking,” Stilin explains. Beyond their aesthetic appeal, the chairs and tables on view play a part in Stilin’s exercise in decorating-as-autobiography as symbols of longtime friendships he has maintained with various prominent decorative-arts dealers throughout his career. The dining chairs, for example, came from Amy Perlin, the late, beloved vintage-furniture maven renowned for her unerring eye. Stilin acquired the mahogany-and-Formica desk in his master bedroom—a 1967 design by Frenchman Jean-Claude Duboys—from Suzanne Demisch of the New York gallery Demisch Danant. The idiosyncratic, cubistic Swiss chair in the living room was purchased from Russ Steele of East Hampton’s R. E. Steele Antiques. “Amy was a close friend and an early champion of mine. Suzanne was still a picker when I first met her. I remember
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buying chairs out of the back of her car. I love her taste. And I’ve been friends with Russ for years out in the Hamptons,” Stilin says of his coterie of preferred dealers. “We all grew up together, and we’ve all tried to support each other’s work.” As for his eye for art, Stilin has a litmus test for paintings, drawings, and photographs before they enter his collection. “If I hesitate at all, I won’t buy it. But if I keep thinking about it, I’ll figure out a way to bring it into my life,” he says. Consider the Peter Hujar photograph of Paul Thek that now hangs in the designer’s office. Stilin first encountered it in a New York gallery some 15 years ago. Over the following decade or so, he’d see the picture at various art fairs and exhibitions. Eventually the moment felt right to bring the image home. Then there’s the large-scale print with the words pay nothing until april, which at first glance seems to be a classic work by Ed Ruscha. Closer inspection, however, reveals that the mountains in the background are not Ruscha’s but an image lifted from Gerhard Richter’s photo painting of the Himalayas. The collaged artwork is by Mishka Henner. “I like art that has depth, personality, and a little humor. I can’t afford a big Richter or Ruscha, so I have this,” Stilin confesses. “It’s pretty funny.” And what of that mesmerizing photograph of water that hangs in the designer’s bedroom? “It’s an image of the Río de la Plata, the river that separates Uruguay and Argentina, taken by Marcelo Brodsky. Apparently that’s where the bodies of a lot of political prisoners ended up. I’m often attracted to beautiful artwork with serious, sometimes dark undertones,” Stilin explains. As for why he chose to install the piece directly above his bed, that’s between the designer and Dr. Freud.
JOHN CHAMBERLAIN: © 2019 FAIRWEATHER & FAIRWEATHER LTD/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; PIERRE SABATIER: © 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/ADAGP, PARIS; OPPOSITE: CÉSAR: © 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/ADAGP, PARIS; STARN: © 2019 MIKE AND DOUG STARN/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
ABOVE A MISHKA HENNER WORK HANGS ABOVE A WOOD-FRAMED ARMCHAIR. ON CHAIR, CASHMERE THROW BY DENIS COLOMB LIFESTYLE. OPPOSITE IN THE MASTER BEDROOM, A CUSTOM BED BY STILIN IS UPHOLSTERED IN A LORO PIANA WOOLCASHMERE. SFERRA LINENS; READING LAMPS BY WALLIGRAPH; ABOVE BED, PHOTOGRAPH BY MARCELO BRODSKY.
LOVE SHA When actor Giovanni Ribisi hired Pierce & Ward to decorate his Los Angeles house, he didn’t just embark on a design journey, he found his life partner in firm cofounder Emily Ward TEXT BY JANE KELTNER DE VALLE PHOTOGRAPHY BY TREVOR TONDRO STYLED BY AMY CHIN
A PENDANT BY APPARATUS ILLUMINATES THE LIVING ROOM, WHERE A COLLAGE OF ARTWORKS HANGS ON THE WALL. VINTAGE ARMCHAIRS, SIDE TABLE, LEATHER-TOPPED STOOLS, AND COCKTAIL TABLE. FOR DETAILS SEE RESOURCES.
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JASON LEE: © 2019 ARTISTS RIGHTS SOCIETY (ARS), NY/IVARO, DUBLIN
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young drifters: Pierce managed a spa, among other odd jobs; Ward was an assistant to an actress. They exchanged numbers in what Pierce calls “a late-night blur in a bar,” and the fast friends eventually uprooted to Nashville together with their significant others. Their own homes there would serve as their first projects. Neither was trained in interior design, but both had grown up with mothers who had an eye for it. (By Pierce’s calculations, she had moved nine times by the age of eight in order to satisfy her mom’s enthusiasm for fixing up new places.) Nashville resident Karen Elson, the model, was the duo’s first client (AD, April 2017), followed by model-rocker couple Lily Aldridge and Caleb Followill (AD, September 2018). The celebrity commissions kept rolling in. When Ward, a California native, split from her then husband, and the office landed Leonardo DiCaprio’s beach house in Malibu, she relocated to Los Angeles, meeting Ribisi shortly after.
HAIR AND MAKEUP BY GINA RIBISI
J
ust one month into their courtship, Giovanni Ribisi popped the question to Emily Ward: “I was showing him pictures of our design work,” she recalls, “and he was like, ‘Oh, my God, my house has been under construction for so long. It’s never going to end. Can you please help me?’ ” Did she ever. Ward and design partner Louisa Pierce spent the next year resurrecting Ribisi’s 1939 Monterey Revival, and Ward moved in with him upon its completion. The couple welcomed twins Enzo and Maude last December. The house’s evolution from bachelor pad to family home is a fitting metaphor for the AD100 duo’s own serendipitous journey as a practice. The founders met in New York City as
ABOVE IN THE KITCHEN, H.D. BUTTERCUP STOOLS SIT AT A CUSTOM DOUGLAS-FIR ISLAND BY PIERCE & WARD. BENJAMIN MOORE’S GALVESTON GRAY PAINT COVERS CUSTOM CABINETRY. OPPOSITE EMILY WARD AND GIOVANNI RIBISI CRADLE THEIR TWINS IN A LOUNGE OFF THE KITCHEN.
The actor was a year and a half into a dead-end construction project. “I’d go work out of town for several months, then come back and nothing would be done,” he recalls. Beyond timing, there was the question of taste. “We saw the renderings and were like, ‘Ahhh, don’t do that!’ ” says Pierce. Ribisi confesses, “It was a bit more antiseptic than I would like to admit.” Situated on a flat plain in the Hollywood Hills, the house is partly cast in shadow throughout the day—an effect that renders it “romantic and moody,” says Ward. “Rather than force dark rooms to be bright by painting them white,” she and Pierce drenched the walls in evocative grays and greens. “It almost feels like you’re in England. Someone came over the other night and said, ‘If Jane Austen lived in Hollywood, she would live in this house.’ ” A refreshing disregard for convention unfolds in the way objects come together, where a Picasso painting might share
space with tables found at T.J. Maxx. “We’re not snobby about where we find things,” notes Ward at the mention of the discount department-store chain. Pierce chimes in with a laugh: “I like looking through a bunch of shit to find the treasure.” (This elicits a “Watch your mouth!” from Ward.) They don’t floor-plan rooms either; they work purely on instinct. “When we’re shopping, we never know where anything’s going,” says Pierce. “We’ll frame 70 pieces of art, all in different frames, and have no clue where any of it is hanging—and then it looks so purposefully done.” Never in a self-consciously decorated way, though. There’s an effortless, lived-in quality to Pierce & Ward projects, which one can imagine their high-profile clientele find a sense of comfort in. It’s a style that lends itself well to the presence of children, too. Ward freely admits, “I was always envisioning this as a family home.” Still, some changes were called for when she
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GOTTFRIED HELNWEIN: © 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/VG BILD KUNST, BONN; PICASSO: © 2019 ESTATE OF PABLO PICASSO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
“When we’re shopping, we never know where anything’s going,” declares Louisa Pierce. “We just buy stuff we like.”
ABOVE IN THE MASTER BEDROOM, AN RH PENDANT HANGS ABOVE THE CUSTOM BED. ARTWORKS BY (FROM CENTER) GOTTFRIED HELNWEIN, PABLO PICASSO, AND MARTIN MULL. RIGHT THE MASTER BATH FEATURES A SIGNATURE HARDWARE TUB AND FITTINGS. HAZEL KING DRAWING ON RIGHT. OPPOSITE A MORRIS & CO. WALLPAPER WRAPS THE NURSERY. POTTERY BARN KIDS ARMCHAIR AND OTTOMAN; CRATE AND KIDS CRIBS.
“We’re always like, ‘Where should we go for dinner?’ ” says Emily Ward. “And we end up having amazing meals in the backyard.”
and Ribisi discovered they were expecting twins. The nursery had been Pierce & Ward’s former L.A. office, which is now headquartered down a pebble path in the guesthouse. The formal dining room off the open kitchen was repurposed as a den. “With kids, you’re not going to be using a huge, grand dining table,” Ward says. “The kitchen is where we are all the time.” The living room, anchored by a fireplace flanked by two perfectly peeling club chairs, now houses the 18th-century French dining table, which does double duty as a workstation. “We end up using it so much more now,” she says. As for the children’s room, it’s a magical oasis wrapped in a historic bird-and-pomegranate wallpaper by Morris & Co. and festooned with a menagerie of papier-mâché animal heads. “I wanted it to be gender neutral, so I thought animals would be a nice theme,” Ward notes. “Thank God I love it so much, because I don’t leave it.” The new parents may not get out a lot these days, but they welcome guests often. Two of Ribisi’s sisters (one of them is his fraternal twin) live a short walk away with their families, resulting in many communal brunches and dinners. “I come from a big family of Sicilian farmers,” he says, “so I appreciate
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that sense of community. And this is part and parcel of Emily and Louisa’s philosophy, too,” he notes. “Their homes aren’t just paranoid comfort that becomes vacuous, and you wake up one day, and it’s like the Talking Heads’ ‘This is not my beautiful house!’ There’s actual, legitimate communion. It feels like home. I feel like I belong here.” So did he know when he hired the design duo that he would one day be sharing the house with Ward? “There’s that thing somebody said that you fall in love in the first three seconds and the rest is denial,” he responds. “I knew that we would be together. It felt like it was this thing that wasn’t forced and it wasn’t hastened. It was just this natural evolution that happened.”
HAIR BY MAKIKO NARA FOR WALTER SCHUPFER MANAGEMENT USING DAVINES; MAKEUP BY GINA RIBISI
ABOVE LOUISA PIERCE AND EMILY WARD, PARTNERS IN PIERCE & WARD, IN THE HOME’S OUTDOOR DINING AREA. VINTAGE PICNIC TABLE; BENCHES FROM TERRAIN. OPPOSITE A BOWL BY RIBISI’S MOTHER SITS ATOP AN 18TH-CENTURY FRENCH DINING TABLE.
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.
RESTORATION DRAMA COVER (NEWSSTANDS), PAGES 92–107:
Architectural design, interiors, and landscape design by Michelle Nussbaumer; michellenussbaumer .com. Select fabrics, furniture, lighting, decorative painting, pillows, planters, rugs, tiles, and murals throughout by Michelle Nussbaumer for Ceylon et Cie; ceylonetcie.com. PAGES 92–93: Custom bed curtains of antique Persian textiles and Dublin linen, in linen, by Kravet (T); kravet .com. Large shams by Pandora de Balthazár; pandoradebalthazar.com. Sconces (at left) from Casa Armida; casa-armida.mx. On antique Syrian bench, Palampur Parrot linen, in custom colorway, by Michelle Nussbaumer for Design Legacy; michellenussbaumer.com. Bokhara rug (in foreground) from Tajan; tajan.com. Antique Caucasian rug (in background) from Farzin Rugs; farzinrugs.com. PAGES 94–95: On vintage chairs, vintage fabric cushions by Christopher Fallon Design; +52-415-154-5075. PAGE 96: Antique bench from La Buhardilla; arteyantiguedades.mx. PAGE 97: Vintage wrought-iron table and chairs from La Buhardilla; arteyantiguedades.mx. Tablecloth by Simrane; simrane.com. Throw from Country Garden Antiques; 214-741-9331. PAGE 100: On vintage Billy Baldwin slipper chairs, and custom armchairs and sofa (at right) by Michelle Nussbaumer; michellenussbaumer.com; Jefferson wool-blend, in matador, by Kravet (T); kravet.com. Vintage brass table lamps (flanking sofa) from Adeeni Design Group; adeenidesign group.com. Fez pillows from Pura Vida Home; puravidahome.com. Cocktail table by Wisteria; wisteria.com. Antique Moroccan lantern (as sconce) from Tajan; tajan.com. Antique Persian rug from Farzin Rugs; farzinrugs.com. COVER, PAGE 101: Fabric skirt of Champa Nalini linen by Michelle Nussbaumer for Design Legacy; michellenussbaumer.com. PAGES 102– 03: On iron Mexican Colonial bed by Michelle Nussbaumer; michelle nussbaumer.com; bedcover by Wisteria; wisteria.com; and blue pillow by Oscar de la Renta Home; oscardelarenta.com. Vintage deco chair from La Buhardilla; artey antiguedades.mx. PAGE 104: In chapel, vintage starburst mirror from Abell; abell.com. Curtains of Dublin linen,
in cream, by Kravet (T); kravet.com. In entrance hall, vintage Mexican chandelier from Dragonette Ltd.; dragonetteltd.com. PAGE 105: Pool design by Michelle Nussbaumer; michellenussbaumer.com. On custom iron lounges by Michelle Nussbaumer; Forge outdoor fabric, in platinum, by Sunbrella; sunbrella.com.
UNCOMMON VISION COVER (SUBSCRIBERS), PAGES 108–117:
Architecture and interiors by Gehry Partners, LLP; foga.com. Landscape design by Olin; theolinstudio.com. Custom pieces throughout by Frank Gehry. PAGE 112: Strips sofas by Cini Boeri for Arflex from the Future Perfect; thefutureperfect.com. Green rug by Frank Gehry for Ferreira de Sá; ferreiradesa.pt. PAGE 114: Custom Steinway & Sons grand piano; steinway.com. PAGE 115: Wolf range and hood; subzero-wolf.com. Countertop by Caesarstone; caesarstoneus .com. Custom tile flooring by Granada Tile; granadatile.com.
STATEMENT PIECE PAGES 118–125: Interiors and interior architecture by SheltonMindel; sheltonmindel.com. Architecture by Herzog & de Meuron; herzog demeuron.com. PAGES 120–21: On armchairs, fabric by Kvadrat (T); kvadrat.dk. Beta sofas by Mauro Lipparini for Zanotta; miliashop.com. On sofas, pillows by CB2; cb2.com. Joe D’Urso side table for Knoll from 1stdibs; 1stdibs.com. Panthella Mini table lamp in Chrome (similar) by Verner Panton for Louis Poulsen; louispoulsen.com. Water Lens vessel, in black, by John Hogan for the Future Perfect; thefutureperfect.com. Wool rug by V’Soske (T); vsoske.com; atop custom rug by Chilewich; chilewich .com. PAGE 122: White oak mounted wall cabinet by SheltonMindel; sheltonmindel.com; fabricated by Atelier Prelati; atelierprelati.com. PAGE 123: Jos Devriendt glazed ceramic lamp from Pierre Marie Giraud; pierremariegiraud.com. Water Lens vase, in white, by John Hogan for the Future Perfect; thefuture perfect.com. On chair, mohair blanket by Lena Rewell; lenarewell.fi. PAGE 124: In dining room, Superloon floor lamp by Jasper Morrison for Flos (similar); flos.com. Jean Prouvé for Vitra dining table (similar); vitra .com. Richard Meier for Knoll dining chairs from 1stdibs; 1stdibs.com. Mini Basketweave rug, in sandstone, by Chilewich; chilewich.com. PAGE 125: Infinity bookcase by Antonio Citterio for Flexform; flexform.it. Guéridon
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. 4. 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. Robert A. Sauerberg, Jr., President & Chief Executive Officer; David E. Geithner, Chief Financial Officer; Pamela Drucker Mann, Chief Revenue & Marketing Officer. Periodicals postage paid at New York, NY, and at additional mailing offices. Canada Post Publications Mail Agreement No. 40644503. Canadian Goods and Services Tax Registration No. 123242885-RT0001. POSTMASTER: Send all UAA to CFS. (See DMM 507.1.5.2); NON-POSTAL AND MILITARY FACILITIES: Send address corrections to ARCHITECTURAL DIGEST, P.O. Box 37641, Boone, IA 50037-0641.
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stools by Jean Prouvé for Vitra; vitra .com. Aria round table by Room & Board; roomandboard.com. Mini Basketweave rug, in sandstone, by Chilewich; chilewich.com.
CAUSE AND EFFECT PAGES 126–133: Interiors by Studio Peregalli; studioperegalli.com. PAGE 126: In hallway beyond, wallpaper by Studio Peregalli; studioperegalli.com. PAGES 130–31: On antique desk, bronze lamp by Hervé Van der Straeten (similar) from Ralph Pucci; ralphpucci.net. Small wood side table by Studio Peregalli; studioperegalli .com. PAGE 133: Zen console by Hervé Van der Straeten from Ralph Pucci; ralphpucci.net.
COOL CUSTOMER Interiors by Robert Stilin; robertstilin.com. PAGES 134– 35: Vintage Guillerme et Chambron table from Robert Stilin; 1stdibs.com/ dealers/robert-stilin. Vintage 20th century Surveyor floor lamp from Paula Rubenstein; paularubenstein .com. Vintage prototype bench by Jean-Michel Wilmotte for Tecno from Donzella; donzella.com. Vintage kilim rug from Double Knot; double-knot .com. PAGES 136–37: In living room, on custom sofa by Robert Stilin; robert stilin.com; Incas alpaca-wool by Loro Piana Interiors (T); loropiana.com. On vintage slipper chair, Chamonix wool, in light gray, by Holland & Sherry (T); hollandsherry.com. Vintage Ignazio Gardella wingback armchair from Flair; flairhomecollection .com. On custom armchair (far left) by Robert Stilin; Altai Unito woolcashmere, in shaded brown, by Loro Piana Interiors (T). Vintage kilim rug from Double Knot; double-knot.com. PAGE 138: On custom bed by Robert Stilin; robertstilin.com; Altai Unito wool-cashmere, in shaded brown, by Loro Piana Interiors (T); loropiana .com. Grande Hotel sheets, in white/ navy blue, by Sferra; sferra.com. Articulated desk lamps by Walligraph from Wyeth; wyeth.com. On vintage Formica and mahogany desk by JeanClaude Duboys from Demisch Danant; demischdanant.com; vintage midcentury American metal lamp from Robert Stilin; 1stdibs.com/dealers/ robert-stilin. Vintage kilim rug from Double Knot; double-knot.com. PAGE 139: Vintage Swiss wood framed armchair from R. E. Steele Antiques; 631324-7812. Cashmere throw by Denis Colomb Lifestyle; deniscolomb.com. PAGES 134–39:
LOVE SHACK Interiors by Pierce & Ward; pierceandward.com. Antique rugs throughout from Nasir’s Oriental Rug Gallery; nasir-moharami.format .com. PAGES 140–41: Cloud 19 pendant
PAGES 140–47:
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by Apparatus; apparatusstudio.com. Mira round mirror from Organic Modernism; organicmodernism.com. PAGES 142–43: In lounge, custom bench and Whidbey Fancy pillows by Pierce & Ward; pierceandward.com. Custom curtains of Monterey linen, in alabaster, by Fabricut (T); fabricut .com. On walls, Galveston Gray paint by Benjamin Moore; benjaminmoore .com. In kitchen, stools from H.D. Buttercup; hdbuttercup.com. Custom Douglas fir island and cabinetry by Pierce & Ward, fabricated by the French Tradition; thefrenchtradition .com. On cabinetry, Galveston Gray paint by Benjamin Moore. Sink by Rohl; rohlhome.com. Fittings by Waterstone; waterstoneco.com. CornuFé 110 range by La Cornue; lacornueusa.com. On custom bench by Pierce & Ward, cushion of Integral rayon-blend, in charcoal, by Fabricut (T). Josef Hoffmann for Wiener Werkstätte pendant (far right) from Neue Galerie; shop.neuegalerie.org. PAGE 144: On walls, Bird & Pomegranate wallpaper by Morris & Co.; stylelibrary.com. Merced Glider armchair and ottoman by Pottery Barn Kids; potterybarnkids.com. Hampshire cribs, in olive; and Roxy Marj Woodland Animal Baby quilts; all by Crate and Kids; crateandbarrel .com. On custom bookshelves by Pierce & Ward; pierceandward.com; fabricated by the French Tradition; thefrenchtradition.com; Retreat paint by Sherwin Williams; sherwinwilliams.com. Roman shades of Linen Slub linen-rayon, in slate, by Robert Allen (T); robertallendesign.com. PAGE 145: In master bedroom, Capiz Shell 36" pendant by RH; rh.com. Custom bed by Pierce & Ward; pierceandward .com. Studio swing arm wall lights, in antique brass, by Visual Comfort & Co.; circalighting.com. Cleo brass tripod table lamp by Crate and Barrel; crateandbarrel.com. In master bath, tub and fittings by Signature Hardware; signaturehardware.com. Perrin & Rowe oval undermount bowl sink, and Acqui fittings, in polished nickel; all by Rohl; rohlhome.com. Custom mirrors by Pierce & Ward, fabricated by Sherman Gallery; shermangallery.net. On custom vanity by Pierce & Ward, Kendall Charcoal paint by Benjamin Moore; benjaminmoore.com. PAGE 146: Custom Roman shades by Pierce & Ward; pierceandward.com; of Subdivision linen-cotton, in natural, by Fabricut (T); fabricut.com. On custom bench by Pierce & Ward (right), Pearson linen-cotton, in domino, by Pindler (T); pindler.com. PAGE 147: Picnic benches from Terrain; shopterrain.com.
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Luigi Lucioni (1900–1988) Andante in Yellow and Green, 1975 Oil on canvas 22 1/8 x 26 1/8 inches Signed and dated lower left: Luigi Lucioni 1975
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School Pride climbed to 105 degrees in Fass, Senegal, some ten hours by car and canoe from Dakar. But it was 15 degrees cooler inside the village’s new elementary school, designed by Toshiko Mori Architect for the nonprofit Le Korsa. Students celebrating its opening flocked to the circular structure, whose thatched roofs, courtyard, and mud-brick walls helped cool the sub-Saharan air. “It is a wonderful building, an extraordinary building,” says Nicholas Fox Weber, founder of Le Korsa and executive director of its parent organization, the Josef & Anni Albers Foundation. “It’s a breakthrough.” Plans for the school emerged over years, as Weber met with local religious leaders to discuss expanding education beyond traditional Koranic studies. As a result, some 200 students in a historically illiterate pocket of the world are now learning to read and write in Pulaar and French, while gaining skills like carpentry and cooking. Composed of three buildings— one for coed classrooms, the others for restrooms and teacher housing— the complex references vernacular multifamily dwellings. To construct it, Mori and Weber relied on the same artisans with whom they had worked on Thread, a Senegalese artist residency. Funding, meanwhile, was provided by Le Korsa supporters Laurel Hixon and Michael Keane, a couple who became aware of the cause and asked guests at their 2016 wedding to donate to it. Plans are now under way for more schools. Says Weber, “People are learning. This is just the beginning.” aflk.org —SAM COCHRAN
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IWAN BAAN
THIS PAST February, temperatures
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