THE INTERNATIONAL DESIGN AUTHORITY MAY 2019
LENNY KRAVITZ GETS CREATIVE IN BRAZIL
GREAT DESIGN AROUND THE GLOBE
SCANDINAVIA, FRANCE, ITALY, BELGIUM & JAPAN
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LENNY KRAVITZ’S BRAZILIAN RETREAT. AT RIGHT, KRAVITZ WEARS A VINTAGE DENIM TOP, GALLERY DEPT. JEANS FROM CHURCH BOUTIQUE, AND A LEE BRENNAN DESIGN RING.
18 Editor’s Letter 20 Object Lesson
How Clara Porset’s riff on the centuries-old butaque chair became a modern Mexican icon.
25 Discoveries
57 Travel
Scandinavia is a feast for the design lover’s eyes, with incredible hotels, fabulous food, and exquisite architecture, both old and new.
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80 Wild Life
Deep in the forests of Brazil, rocker Lenny Kravitz transforms a bygone coffee plantation into an artistic Eden. BY MAYER RUS
90 Fairy-Tale Ending
A historic house outside Paris becomes an escape for American tycoon Chris Burch and his family. BY JANE KELTNER DE VALLE
106 Family Men
Annabelle Selldorf revamps a Victorian-era Manhattan apartment for Stefano Tonchi and David Maupin. BY HOLLY BRUBACH
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SIMON UPTON (2)
Raw-Edges’ smile-making pieces for Louis Vuitton . . . One creative couple’s artfully evocative Sicilian house . . . Designer Ini Archibong’s second furnishings collection for Sé . . . The most luxurious mattresses, linens, and pillows . . . Fashion designer Wes Gordon pays homage to decorator Rose Cumming with a glorious capsule collection . . . Inside Milan’s refreshed Emporio Armani Caffè and Ristorante . . . and more!
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CHRIS BURCH’S HOME IN FRANCE.
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THE RIMOWA X ALEX ISRAEL SUITCASE, PERFECT FOR SUMMER TRAVELS TO SCANDINAVIA; $2,800. RIMOWA.COM.
ON OUR COVERS FOR DETAILS SEE RESOURCES
114 Sea Change
Seeking an escape from Paris, artists Jean-Michel Othoniel and Johan Creten head to the bustling port city of Sète, France. BY GAY GASSMANN
LENNY KRAVITZ, WEARING A VINTAGE LEATHER VEST AND CHROME HEARTS CAMO PANTS, AT HIS BRAZILIAN GETAWAY. “WILD LIFE,” PAGE 80. PHOTOGRAPHY BY SIMON UPTON. STYLED BY KIRSTEN MATTILA. FASHION STYLING BY RODNEY BURNS.
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CHRIS BURCH’S HOME IN SENLIS, FRANCE. “FAIRYTALE ENDING,” PAGE 90. PHOTOGRAPHY BY MIGUEL FLORES-VIANNA.
122 A Fine Romance
In his homeland’s iconic flower, the tulip, garden guru Ronald van der Hilst finds magic where he once felt disdain. BY MITCHELL OWENS
126 Urban Oasis
Patricia Herrera Lansing, with designer Patrick McGrath, brings classic prewar elegance to a loft in a storied building in New York’s Little Italy. BY JANE KELTNER DE VALLE
132 Resources
The designers, architects, and products featured this month.
134 Last Word
Merging the built and natural, Tokyo-based Junya Ishigami expands what architecture can be.
CLOCKWISE FROM TOP LEFT: JASON SCHMIDT; MIGUEL FLORES-VIANNA; COURTESY OF RIMOWA; MIGUEL FLORES-VIANNA; SIMON UPTON; ARTWORK (TOP LEFT): © 2019 DAVID SALLE/VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NY/COURTESY OF SKARSTEDT, NY
ISABELLA AND MAURA TONCHI-MAUPIN IN THEIR FAMILY’S MANHATTAN APARTMENT.
THE INTERNATIONAL DESIGN AUTHORITY VOLUME 76 NUMBER 5
EDITOR IN CHIEF
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FEATURES SENIOR DESIGN WRITER Hannah DEPUTY DIRECTOR, DIGITAL
Martin
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editor’s letter 1. LENNY KRAVITZ IN HIS BRAZILIAN HIDEAWAY. 2. PATRICIA HERRERA LANSING’S DINING ROOM DOES TRIPLE DUTY AS A LIBRARY AND OFFICE. 3. THE LIVING ROOM OF STEFANO TONCHI AND DAVID MAUPIN’S MANHATTAN APARTMENT. 4. WITH STEFANO TONCHI.
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So often the story of a house is really the story of a place. In this, AD’s annual travel issue, the sense of place is strong, starting with coverstar musician and designer Lenny Kravitz at the 1,000-acre, 18th-century Brazilian coffee plantation he has been renovating and freshening for nearly a decade. Kravitz tells writer Mayer Rus that his first visit to the sprawling property turned into a six-month stay. “I learned to ride horses from the cowboys, learned about farming, and reconnected with nature. This farm, this land, they have a life force of their own.” As for American entrepreneur Chris Burch, he dreamed of an apartment on the rue de Seine in Paris but ended up finding bliss in a majestic but neglected 1608 hôtel particulier in Senlis, a picturesque town about an hour from the city. Burch, working with friend and designer Marco Scarani, notes, “We wanted to bring it right back to the way it had been.” That desire encompassed not only the masterfully reborn house but also the vegetable gardens, fruit orchards, and even the barnyards (now home to animals like rabbits and chickens). Less farflung but just as evocative are two New York City apartments we visit this month. Patricia Herrera Lansing, who has lived in the same rambling Little Italy loft with her family for almost 20 years, just recently created the kind of kitchen that city folk fantasize about—enormous, light-filled, with tons of storage—and even outdoor space! Farther uptown, W editor Stefano Tonchi and gallery owner David Maupin devised a modern, art-filled home in the decidedly unmodern 1885 Osborne building. A brilliant blend of past and present, it’s an authentic piece of the Big Apple. Clearly, there is nothing like a trip to kick-start design inspiration. To that end, AD has partnered with Indagare to devise—and host—a selection of “Insider Journeys” to far-ranging destinations that, just like the magazine, offer unparalleled access. Check out our itineraries at indagare.com/AD.
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BELOW WITH THANKS TO FOUNDING SPONSOR DACOR, I’M THRILLED TO ANNOUNCE THE LAUNCH OF AD PRO, OUR NEW DIGITAL DESTINATION FOR DESIGN NEWS AND INDUSTRY INFO: ARCHITECTURAL DIGEST.COM/ADPRO.
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AMY ASTLEY Editor in Chief @amytastley
1. SIMON UPTON; 2. OBERTO GILI; 3. JASON SCHMIDT. ARTWORK: © 2019 DAVID SALLE/VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NY/COURTESY OF SKARSTEDT, NY; 4. NICHOLAS HUNT/WIREIMAGE/GETTYIMAGES; 5. @MSHOMEY
“There was lots of freestyling and trial and error in the decorating. The process was very improvisational, lıke making music.” —Lenny Kravitz
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object lesson
THE STORY BEHIND AN ICONIC DESIGN
Homage to the Chair
SPENCER LOWELL
How Clara Porset’s riff on the centuries-old butaque became a modern Mexican icon
THE FOUR CLARA PORSET–STYLE BUTAQUE CHAIRS IN THE LOBBY OF COMMUNE’S AMERICAN TRADE HOTEL IN PANAMA WERE MADE IN NICARAGUA FROM RECLAIMED WOOD. 20
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object lesson
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fter moving to Mexico in the mid-1930s, Cuban designer Clara Porset began researching the furniture of the region— and one low wooden chair captured her interest. The butaque, a Colonial-era hybrid of Spanish X-frame chairs and preColumbian ritual duhos, appeared in late–16th century Venezuela and proliferated across trade routes from New Orleans to Havana. When the 4
house-museum, sells a reproduction of one of the versions he owned. Mexico’s butaque was right up Porset’s alley. She was attracted, she
tapped artisans to create versions in local materials like oak, mahogany, wicker, and leather. “Her ergonomic adaptation in structure makes it modern,” explains Porset archivist Jorge Vadillo López. Architect Luis Barragán commissioned some of Porset’s butaques, and designer-artists Anni and Josef Albers produced a series of seats based on one. Sourcing a Porset original, though, can be nearly impossible. “The key is provenance,” says curator Ana Elena Mallet, author of Silla Mexicana. She suggests tracing any chair to the house it was made for or locating a metal plate, bearing Porset’s name and address, attached to some designs. Today most butaque admirers have turned to faithful reproductions. Roman Alonso of AD100 firm Commune, who grew up around the ubiquitous design in his native Venezuela, used vintage examples as models for the butaques in Commune’s American Trade Hotel in Panama. Now there’s another option: furnituremaker Luteca’s authorized Porset reproductions (with her estate’s blessing) from $3,790. luteca.com —HANNAH MARTIN
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1. LUTECA’S NEWLY MINTED BUTAQUE IN THE MEXICO CITY HOME OF GALLERIST BETTINA KIEHNLE. 2. CLARA PORSET CIRCA 1952. 3. TWO PORSET-STYLE BUTAQUES IN THE LIBRARY OF THE AMERICAN TRADE HOTEL. 4. AN ORIGINAL PORSET BUTAQUE CHAIR FROM 1950. 5. A BUTAQUE BENCH IN LUIS BARRÁGAN’S MEXICO CITY HOME/ STUDIO; INTERIORS DESIGNED IN COLLABORATION WITH PORSET.
1. PIA RIVEROLA; 2. ESTHER MCCOY PAPERS, 1876–1990, BULK, 1938–1989. ARCHIVES OF AMERICAN ART, SMITHSONIAN INSTITUTION; 3. SPENCER LOWELL; 4. GUILLERMO SOTO; 5. MASSIMO LISTRI
its way to the U.S., where it was called the Campeche (or Campeachy)
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THE BEST IN SHOPPING, DESIGN, AND STYLE
EDITED BY SAM COCHRAN
IN THEIR LONDON STUDIO, YAEL MER AND SHAY ALKALAY OF RAW-EDGES (RAW-EDGES.COM) JOIN TWO OF THEIR NEW DOLLS CHAIRS FOR THE OBJETS NOMADES LINE BY LOUIS VUITTON (LOUISVUITTON.COM).
DEBUT
Serious Fun
Raw-Edges’ smile-making chairs for Louis Vuitton blend humor, history, and craftsmanship PH OTOGRAPHY BY GI ULI O GHIRARD I
ARCHDI GE ST. CO M
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DISCOVERIES
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ew award-winning designers would
cabinet for Arco that folds open like a for Materia Amorim that allows consumers to attach homemade paper shades with pushpins. Then there are the dyed-wood stools that sprout from the floor of the Duke of Devonshire’s sculpture gallery at Chatsworth. At last month’s Salone del Mobile in Milan, the couple’s additions to Louis Vuitton’s Objets Nomades home-furnishings program—they’ve been participants since 2015—took a bow with Dolls: three quirky, made-toorder chairs with interchangeable wooden bases and backs that snap together à la Playmobil. “Dining chairs are usually so boring, the same design repeated six or eight times around a table,” Mer says with just a hint of exasperation. The Objets Nomades seating can be taller or shorter, depending on how the individual elements, some of them skimmed with leather, are combined, making the chairs as varied as the guests seated in them. It’s an unusual approach, though Alkalay says cherchez the Zeitgeist: “People are using one dining chair from a flea market and another from the street anyway.” Honoring the past is part of the Dolls package, too: The upholstery options are velvet, printed linen, or leather, which has been a Louis Vuitton leitmotif since 1854. “Our work is very colorful, but 6 the designs always revolve around a principle,” Mer says, noting that she and her husband are inspired by everything from folk art to the exuberant vision of American textile artist Alexander Girard, subject of a 2016–17 exhibition that the couple creative-directed for Vitra Design Museum. “That’s our guideline,” Alkalay agrees, “but we always want to do something different.” —MITCHELL OWENS
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DISCOVERIES
COLLECTING
Up at the Villa
PLASTER COLUMNS PAINTED TO RESEMBLE GRANITE FRAME THE FRONT DOOR OF ALEXANDRINE AND GRÉGOIRE VERMESSE’S HOUSE IN SICILY; SALVAGED FLOOR TILES.
Alexandrine and Grégoire Vermesse turn a woebegone Sicilian house into an evocation of grand tours past
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ach house is a story,” says the dashing antiques dealer Grégoire Vermesse. When he and his wife, Alexandrine, a decorative artist for the likes of AD100 interior designer Jacques Garcia, lived in France, their house had been constructed during the reign of Louis XVI, so that’s how it was decorated. During a sojourn in Sweden, they settled in a Gustavian residence and honored that stylistic lead when it came to the rooms. For nearly a decade now, though, the Vermesses—joined by their teenage son, Ambroise, a champion show jumper—have lived not far from the baroque Sicilian city of Noto, amid rolling hills where principesse once escaped the summer heat. “It was a five- or six-degree temperature difference,” Grégoire explains of the area, called San Corrado di Fuori. Their circa-1830 villa, two stories tall though vest-pocket in
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scale, is a melting pot like Sicily itself—Italian neoclassical in general aspect but Arabic in its lacy details. And this time around, le style Vermesse has again adapted itself. Inspired by the romance of the 18th-century Grand Tour, when rich young men broadened their minds by immersing themselves in classical cultures far from home, especially Italy, the family lives among treasures that those young milords might have acquired. A marble-topped table in the main salon, for example, is loaded with distinguished red-and-black Greek pottery, a collection that turns out to be the Vermesses’ second in recent years. “I sold the previous collection and had to start a new one,” says Grégoire, who mans a chic shop, Haga Baltique, in Noto. “It’s not difficult to find in this area.” From a gleaming Directoire gueridon to a robust Gustavian settee ornamented with golden sphinxes, French and Swedish antiques followed the Vermesses when they moved
PHOTOGRAPHY BY OBE RTO G IL I
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DISCOVERIES to San Corrado di Fuori in 2011, so Alexandrine could help restore Noto’s Palazzo di Lorenzo Castelluccio (AD, May 2017). They have been joined by Neapolitan ceramic stools, framed plaster seals, classical statuary, and a few contemporary furnishings, notably an award-winning 1990s Swedish metal chair that updates a classical mode. All this fits happily in airy rooms that Alexandrine has ennobled with her brushes. Delicate patterns adapted from ones seen in architect Karl Friedrich Schinkel’s 1840s Roman Baths at Potsdam’s Sanssouci Park frame the doors of the salon. The adjacent orange-red dining room, on the other hand, channels Pompeii. As for the couple’s bedroom, what had been a plain-Jane, white-walled space is now a chinoiserie fantasy, sparked by such romantic capriccios as Palermo’s delirious Casina Cinese. Deft architectural enrichments also help to bring the villa up to picturesque snuff. “It wasn’t a ruin, but nobody had taken care of it,” Grégoire explains. One such enrichment is the aristocratic plaster cornice that now wraps the salon. Another is the black and white tiles—they were salvaged from old houses being demolished in the area—that checkerboard the formerly nondescript floors. “Now it all looks original,” the dealer says of the domestic fantasy. Other plans, though, are afoot. “The garden is too small, and I need to have a new project,” he continues, adding, “Maybe the next house will be modern.” —MITCHELL OWENS ALEXANDRINE PAINTED THE DINING ROOM TO EVOKE POMPEIIAN INTERIORS.
THINK PIECE
“We often overlook the importance of lighting. We see the object it illuminates without thinking about the light falling on that object.” So explains artist Olafur Eliasson, who, throughout much of his career, has counteracted that impulse through immersive installations—from his 2003 Tate Modern commission, The Weather Project, which simulated a giant sun, to his rainbow panorama atop Denmark’s ARoS Aarhus Art Museum. Now Eliasson has taken this interest outside an art context, unveiling a pendant lamp in collaboration with Danish lighting company Louis Poulsen. “It made sense to bring things I was exploring into domestic spaces,” says Eliasson, who grew up in Denmark and Iceland with Poulsen fixtures by the likes of Poul Henningsen and Arne Jacobsen. “Light is essential for pretty much all life on Earth. For humans it provides the very condition for us to see the world around us.” Almost kaleidoscopic, Eliasson’s design nests a reflective polycarbonate polyhedron within a 35"-diameter aluminum skeleton. LED bulbs shine into its core for a softer glow, much the way light bounces off the petals of Henningsen’s iconic artichoke lamp. Notes Eliasson: “While my lamp fulfills the functional set of expectations, it also creates an atmospheric statement.” $18,000; louispoulsen.com —HANNAH MARTIN OLAFUR ELIASSON WITH HIS NEW LIGHT FOR LOUIS POULSEN.
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BOTTOM: MARIE LOUISE MUNKEGAARD
See the Light
AD Beatrice Rossetti - Photo Federico Cedrone
CAMPIELLO SECTIONAL SOFA Antonio Citterio Design
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AGENT FOR USA Antonella Cremonesi Tel. 312 265 1181 antonella@alphaonestudio.com
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ONE TO WATCH
Ini Archibong
The designer stays ahead of the curve with his latest furniture for Sé IT ALL STARTED with a table leg. “I was sanding the
form, preparing to cast it in aluminum, and felt totally connected with my creative side,” recalls Ini Archibong of his eureka moment as a student at Pasadena’s ArtCenter College of Design. “I was Now based in Switzerland, the Nigerian-American
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1. INI ARCHIBONG ON A PROTOTYPE OF HIS SOFA FOR SÉ (SE-COLLECTIONS .COM). 2. EOS TABLE FOR SÉ. 3. ATLAS CHAIR FOR SÉ.
Their latest pieces—curvy, unconventional designs
Unsurprisingly, he has gained plenty of admirers,
—HANNAH MARTIN
WORDS OF WISDOM
“This house presented the opportunity to assume stewardship over a place of architectural significance. And that’s the idea behind Casa Perfect. It’s not a store, not a typical retail experience. It’s cultural. And it’s somebody’s home—I live here. The day that I started Casa in L.A., I knew I had to do it in Manhattan. No kidding, I have seen 100 houses, from Tribeca all the way up to the 90s. I just had to wait for that sensational feeling.” —David Alhadeff, founder of The Future Perfect, talking about the new Casa Perfect New York (his residential retail concept in a David Chipperfield– renovated townhouse). Open by appointment; thefutureperfect.com
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DAVID ALHADEFF AT CASA PERFECT NEW YORK.
FROM TOP: FRANCK JUERY (3); DOUGLAS FRIEDMAN
ON REINVENTING RETAIL . . .
INT RODUCING T HE NEO - CONTOUR CH A ISE | SUT HERL A NDFURNIT URE.COM
lu x ur y a t e ve r y an gl e
DISCOVERIES SWEET DREAMS
PRETTY PATTERNS, ROMANTIC TOUCHES, AND OLD-WORLD ELEGANCE; PICTURED IS TORY BURCH’S HAMPTONS GUEST ROOM.
ZAMBIA SHADES BY ALEXA HAMPTON; PRICE UPON REQUEST. THESHADESTORE.COM
ALEXANDRA PILLOWCASES; $144 FOR STANDARD PAIR. MATOUK.COM
ALL TUCKED IN
The right mattress for every body and spirit. TOTAL LUXURY Vispring’s handmade Masterpiece Superb mattress is filled with cashmere, alpaca, silk—even vicuña wool. From $19,985; vispring.com BALANCING ACT The Original Purple mattress uses a smart grid for firmness and softness where you need it. From $649; purple.com SHAPE-SHIFTER Leesa’s memory-foam mattress cools and contours to the curves of your spine. From $595; leesa.com
The Style of Sleep
LARGE BALL LAMP; TO THE TRADE. PORTAROMANA.COM
BUDGET CONSCIOUS Nectar
Sleep’s blissfully affordable memory-foam mattress arrives vacuum-packed in an easy-to-deliver duffel. From $399; nectarsleep.com
Beautiful bedrooms, the ultimate mattresses, and more elegant essentials for a good night’s rest
PANAMA NOTEBOOK; $145. SMYTHSON.COM T-CLIP STERLING-SILVER BALLPOINT PEN; $185. TIFFANY.COM SARA SIDE TABLE, $2,727. HICKORYCHAIR.COM
BED HEAD
Inspired by the work of Frank Stella, designer Nicole Fuller has created a luxe new frame for Savoir, with channel-tufted velvet upholstery that calls to mind the artist’s shaped canvases and geometric abstractions. $25,499 as shown; savoirbeds.com
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LOWER SLIPPERS; $460. FRETTE.COM PAVILION BED BY CHARLES P. ROGERS, FROM $1,049. CHARLESPROGERS.COM
INTERIOR: OBERTO GILI; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES
SHOPPING
EARTH STUDY Kluft’s Palais Royale Vie de Luxe all-natural mattress is easy on the back and the planet. From $26,700; kluftmattress.com
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DISCOVERIES
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Mitchell Gold + Bob Williams have made a soft landing with their first-ever mattresses: the Dream, Dream Plush, and Dream Firm (from $1,180). Made in North Carolina, the eco-friendly designs are a perfect fit for the brand’s Sussex Scalloped bed ($5,090 as shown) among myriad other offerings. mgbwhome.com
FARRIN SHAM; FROM $145. LUMBAR PILLOW BY ADAM
BOHEMIAN RHAPSODY
HYDRA QUILT; $265. APC-US.COM
ARTISANAL TEXTILES, RUSTIC WOOD, AND HAUTE HIPPIE ACCENTS; PICTURED IS THE LOS ANGELES BEDROOM OF NIKOLAI HAAS AND DJUNA BEL.
CHRIS LEHRECKE CHINESE DAYBED; $12,000. RALPHPUCCI.NET
MELANGE TABLE LAMP BY KELLY WEARSTLER FOR VISUAL COMFORT; $3,509. CIRCALIGHTING.COM MAURICE TRAVEL SLIPPER; $525. LOROPIANA.COM TUFT & NEEDLE BED FRAME; FROM $995. TN.COM
INTERIOR: JASON SCHMIDT; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES
BRIGHT IDEA
Direct-to-consumer mattress pioneer Casper has officially entered new, high-tech territory: smart bedside lighting. Glow, a portable lamp that syncs to your smartphone or tablet, works with your sleep cycle to function as an alarm— gradually dimming to help you power down at bedtime, then waking you up with a soft glow come morning. From $99; casper.com
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horsehair, Hästens’ signature blue-check bed is getting a minimalist makeover by Ilse Crawford, who has used naturally hypoallergenic materials such as hemp and linen on a new headboard, bed skirt, sheets, and lumbar pillow. hastens.com
NORDIC FAIRY TALE
FRITS HENNINGSEN FH419 HERITAGE CHAIR; FROM $5,990. CARLHANSEN.COM CANDLE; $85. BYREDO.COM
NATURAL MATERIALS, SOOTHING HUES, AND THE LATEST SCANDINAVIAN STAPLES; SHOWN IS A STOCKHOLM BEDROOM BY ILSE CRAWFORD.
FUSA 45 TABLE LAMP BY LUCA NICHETTO; $2,650. SVENSKTTENN.SE
HAY FOR SONOS ONE SPEAKER;
LIGHTS OUT
LINEN HARDCORE SHEET SET; FROM $423. BROOKLINEN.COM
ARNE JACOBSEN STATION ALARM CLOCK; $139. DWR.COM
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PP250 VALET CHAIR BY HANS WEGNER FOR PP MØBLER; FROM $10,544. SUITENY.COM
Whether you’re seeking total darkness in the land of endless summer days or just trying to sleep in, Hunter Douglas’ innovative Duette LightLock PVC shades block out every ray of sun thanks to the system’s unique U-shaped aluminum side channels. Shown here in Architella Elan Black Onyx; from $866. hunterdouglas.com
PRODUCED BY H ANN AH MARTIN
INTERIOR: MAGNUS MÅRDING; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES
SHADES BOOKMARK; $30. GEORG JENSEN.COM
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DISCOVERIES LEGACY
La Vie en Rose
Carolina Herrera creative director Wes Gordon finds inspiration in the glorious fabrics of decorating legend Rose Cumming
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think there’s a common characteristic among fashion designers, and that is their escapism is interiors,”
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and other motifs deemed garish in her day. “So often, people confuse good taste and chic,” Gordon adds. “Good taste is really quite boring, whereas chic is flirting with bad taste and good and combining the two. She did that in a really fabulous way.” After poring over Cumming’s early– 20th century rooms for American aristocrats and Hollywood royalty like Marlene Dietrich and Mary Pickford, Gordon reached out to Dessin Fournir, keeper of the decorator’s textile designs, and arranged a meeting with its founder, Chuck Comeau. “I was ready to make a big pitch, but he immediately said yes,” Gordon recalls with amusement. (As it turned out, Comeau’s wife’s favorite brand is Carolina Herrera.) The stars aligning, Gordon traveled to the company’s Kansas headquarters, where he unearthed an Aladdin’s cave of archival treasures, including hand-painted swatches that had never been produced. “We were working off scraps in some cases, scanning, creating the repeat,” and, when samples had faded, “boosting the colors.” For an added flourish, Gordon splashed Cumming’s scripted signature across each piece in the collection. As he explains, “Carolina Herrera being founded by a strong, confident New York woman, it felt like fate in a way.” carolinaherrera.com —JANE KELTNER DE VALLE
1. YULIA GORBACHENKO; 2., 4. & 5. COURTESY OF FARFETCH; 3. COLLECTION OF SARAH CUMMING CECIL
dress in his charming pre-fall collection.
1. PRINT; $1,590. 2.
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Thomasville Cabinetry® in Turner Dover & Heather Grey
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DISCOVERIES
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1. EMPORIO ARMANI CAFFÈ AND RISTORANTE IN MILAN. 2. THE MASTER BEDROOM OF GIORGIO ARMANI’S SWITZERLAND RETREAT. 3. ARMANI/CASA ONDA CHAISE LONGUE. 4. THE DESIGNER.
RESTAURANTS
Caffè Society
Giorgio Armani’s newly transformed hot spot merges his myriad passions under one elegant roof
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space on the border of the Brera and Quadrilatero della Moda districts features a ground-level caffè serving pastries and casual lunch. (Try the panna cotta with red fruits.) Up a twisting gilded stair, meanwhile, the gourmet restaurant offers Northern Italian fare like grilled lamb chops with Jerusalem-artichoke cream. The revamp was perfectly timed for this spring’s Salone del Mobile, at which Armani unveiled a host of new furnishings for its popular Armani/Casa line. One such piece, an undulating chaise longue that looks deceptively simple and weightless, is in fact wrapped in woven leather and edged with solid wood. “For me,” Armani explains, “design consists of creating objects, spaces, and clothing that wield enduring charm and help enhance the personality of those who choose them.” armani.com/restaurant —CARLY OLSON
1. DAVIDE LOVATTI; 2. ROGER DAVIES; 3. COURTESY OF ARMANI; 4. RICHARD POWERS
B
y nature, I’ve always been on a quest for perfection,” says Italian fashion icon Giorgio Armani, a guru of pure, modernist design in every application. Case in point: his clean-lined homes, five of which have been featured in the pages of AD over the years—from his alpine getaway in Switzerland to his cliffside Antigua retreat. “For both fashion and design, the underlying philosophy is the same,” he continues. “My ideas are born from the appreciation of pure forms, artisanal craftsmanship, and understated luxury.” Nowhere is that commitment more apparent than in Milan’s newly polished Emporio Armani Caffè and Ristorante, which debuted a redesign by Armani himself this past February. High-gloss black and pops of cherry red were replaced with serene blues and taupes layered with curved banquettes and elegant barrel chairs, while a deep-teal marble fireplace and shimmering screens bring classic Armani drama. “I want people to be fully immersed in the experience of my lifestyle while continuing to appreciate culinary offerings of the highest quality,” says Armani. To that end, the two-story
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THE BROADMOOR The Forbes Five-Star, AAA Five-Diamond Broadmoor has luxurious rooms and suites, championship golf, an award-winning spa, boutique shopping, plus 20 restaurants, cafes and lounges, including the Five-Star Five-Diamond Penrose Room. The Broadmoor Soaring Adventure zip line courses, falconry, and fly-fishing are on-site, and the attraction of The Broadmoor Seven Falls is close by. The Ranch at Emerald Valley, Cloud Camp, and Fly Fishing Camp are all-inclusive, offering mountain experiences, rustic luxury, and The Broadmoor’s legendary service. Learn more at broadmoor.com.
NEIL KERMAN, THE ART OF COLOR CHEMISTRY Neil Kerman is an innovative artist whose works are saturated with color chemistry and emotions. Kerman’s works have been exhibited in museums and galleries, including a solo show at the United Nations. To view and purchase Neil Kerman’s works please contact us at info@itsakerman.com, 212.365.6615, or at itsakerman.com.
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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
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MITCHELL GOLD + BOB WILLIAMS HOT SEATS
When it comes to furniture, Mitchell Gold + Bob Williams does not take a back seat to design. Their statement-making, classic-modern pieces are front and center in every space. To honor 30 years of design and innovation, Mitchell Gold + Bob Williams is celebrating with a special anniversary line of Les Petite Seats for the Spring 2019 Collection. These small-scale, chic seats let you play with proportion, color, and pattern in a big way. Perfect for cozy nooks or larger conversation areas, the smartly scaled chairs are available in fresh styles. Cheery hues, plush velvet and chenille fabrics, and posh patterns play up vintage and modern motifs. Choose from in-stock options or customize in 300+ fabrics and leathers to suit your space and taste.
1. CUSTOM COCO SOFA AND CLEO PULL-UP TABLE
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INTRODUCING
les petite seats
Create a cozy nook or bring everyone closer together with these chic and smartly scaled accent chairs.
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DESIGN STOR IES 1
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SONNEMAN A WAY OF LIGHT
In 1989, lighting designer Robert Sonneman had a vision. He imagined a modular lighting system of interconnected elements and suspended lights that could be customized as individual sconces or constructed as one-tiered sculptures with endless configurations. But Sonneman’s idea was ahead of its time—it would take decades to turn his dream into reality. Enter LED technology and the availability of a low-voltage, high-performance electrical system, which enabled Sonneman’s idea to come to life as the Suspenders lighting system. Comprised of three primary parts—horizontal power bars, vertical hangers, and suspended or attached luminaires—these components can be combined and delicately scaled to form myriad structures, whether in a small space or built across a broad expanse. The Suspenders system includes multiple styles of functional and decorative luminaires, providing the ability to add focused light or the soft glow of indirect illumination to any application. Designed as one of eight primary configuration categories, from the
1. OFFSET RING VERTICAL MATRIX SHOWN WITH GLASS CLUSTER LUMINAIRES 2. GRIDSCAPE™ SHOWN WITH POWER PRECISE DIRECT MOUNT CYLINDER LUMINAIRE WITH BEVEL TRIMS 3. GRIDSCAPE™ SHOWN WITH MONOLINE™ DOMED BALL LUMINAIRES
architecturally scalable Truss to the intricate and sweeping planes of Gridscape, Suspenders has become an encompassing solution to scalable lighting for any space. And these are just a starting point: Numerous power-bar styles and hundreds of mounting and assembly components can expand the applications, utility, and sculptural variety of Suspenders installations to infinite possibilities.
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TECHO-BLOC ART FLOORS FOR THE OUTDOORS
As a young boy watching his father work as a landscaper, Charles Ciccarello became captivated by the craft. From the age of eight, he spent every summer honing his skills and turning ordinary properties into extraordinary parcels. But, Ciccarello felt limited by the materials he had to work with—so he decided to make his own. Consumed with the idea of manufacturing a better paver, Ciccarello broke the mold of the everyday patio stone by creating Techo-Bloc, a company that makes pavers in different shapes, sizes, colors, and textures—so that no homeowner, contractor, or designer would ever feel stuck with their options. Today, thanks to imaginative designs and surfaces from around the globe, Techo-Bloc is changing the landscape of what we’ve come to expect for patio spaces into something inspired. From outdoor flooring and garden walls to fire features and paving stones, Techo-Bloc provides a haven for new outdoor design possibilities. By mixing and matching gamechanging high-definition textures with rich color palettes and surprising plays on scale, the company paves the way for decorative art lovers and design-savvy creatives to curate a bespoke look for any outdoor space.
1. OCEAN GRANDE SLAB HD2 GREYED NICKEL 2. TRAVERTINA RAW SLAB HD2 IVORY 3. BOREALIS SLAB HD2 SAUVIGNON-OAK 4. CHARLES CICCARELLO
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 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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SPECTACULAR LANDSCAPES www.te ch o -bl oc .co m
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SPOTTED ON SOCIAL:
INSPIRED STYLE A well-appointed space is equal parts creativity and standout furnishings – just ask tastemakers Aly McDaniel of @thedowntownaly and Dabito of @Dabito. Each has developed a cult following on Instagram for their covetable decor stylings. The other thing they have in common: shopping on Perigold, a high-end online destination for luxurious, statement pieces. Take your cue from their favorite Perigold finds.
Globetrotter Dabito’s eclectic space. “This Jonathan Adler chandelier has so much personality. It’s sculptural and playful at the same time.” Shop the Jonathan Adler Caracas Chandelier at perigold.com
McDaniel channels a Parisian-style loft. “These elegant-yet-casual Selamat chairs bring my dining room to life.” Shop the Selamat Designs Britton Dining Chair at perigold.com
“ Shopping on Perigold is like shopping with an expert. You get to explore a whole new world of possibilities.” - Aly McDaniel
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never been a better time to go....
OPERAKÄLLAREN MAIN DINING ROOM.
CLOCKWISE FROM TOP LEFT: SIMON BAJADA; ANNA DANIELSSON/COURTESY OF THE NATIONAL MUSEUM (2)
NATIONALMUSEUM, INSIDE AND OUT (BELOW).
meanwhile, are flocking to the new Bank Hotel thanks to its cozy cocktail bars, roof terraces, and—in what was once a bank lobby— Instagrammable Mediterranean restaurant (bankhotel.se).
Stockholm Preserving historic buildings while charting its next chapter, this city of islands stays true to its past With its cobblestone streets and fairy-tale façades, Stockholm can feel a bit like a time warp—just how locals like it. Whereas other cities are embracing radical change, the urban archipelago is taking care not to disturb its distinctive architectural fabric. Last October, the Nationalmuseum reopened after a five-year, $130 million renovation by Wingårdhs and Wikerstål Arkitektur. Courtyards, previously filled by a restaurant and clumsy 1960s additions, have been reborn as airy lecture and exhibition spaces; climate controls have been updated, allowing for three times as many works to be on view; and windows, long covered, now usher light into the galleries, repainted bold colors with salon-style displays installed. A similarly ambitious restoration, meanwhile, is under way at Östermalms Saluhall, a 19th-century food hall slated to reopen in 2020. Frozen in amber, however, the city is not. New towers by the likes of OMA and Bjarke Ingels punctuate the skyline, and construction has started on Foster + Partners’ Slussen master plan, a network of plazas, pathways, and restaurants that will link Gamla Stan’s 18th-century streetscape to its hipster neighbors on Södermalm. —SAM COCHRAN
WHERE TO EAT
WHERE TO STAY
Make yourself at home at Ett Hem, an Ilse Crawford– designed gem set in a 1910 Arts & Crafts townhouse (etthem.se). Peace and quiet await at Hotel Skeppsholmen, whose spare rooms occupy onetime military barracks at the tip of a verdant island (hotelskeppsholmen .se). Locals and visitors alike,
Meatballs are still Swedish staples— for some of the best, head to the opera house’s bar and pocket restaurant (operakallaren.se). These days, however, health-obsessed Stockholmers go for vegetarian fare. Mathias Dahlgren, a pioneer of New Nordic cuisine, transforms fresh produce into prix fixe menus at Rutabaga (mdghs .se). And chef Paul Svensson’s restaurant at the Fotografiska photography museum is a must for the flavor combinations and water views. Carnivores, fear not; there are meat additions available (fotografiska.com).
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Energized by bold new architecture, the Finnish capital offers 21st-century attractions rooted in tradition
THE SAVOY RESTAURANT’S ALVAR AALTO PENDANT.
Helsinki boasts some of the world’s best buildings: Eliel Saarinen’s 1919 Central Station, Alvar Aalto’s 1971 Finlandia Hall, Steven Holl’s 1998 Kiasma art museum. Into that mix comes Oodi, a stunning libraryplus by ALA Architects, where you can gaze out from spectacular terraces, watch movies or live performances, try 3-D printers, and dine in the two cafés. The project debuted this winter right on the heels of Amos Rex, a new underground art museum that incorporates a splendidly renovated (aboveground) Art Deco movie theater and restaurant. In Helsinki, great design is everywhere— from Aalto’s iconic Savoy restaurant to communal saunas like the angular Löyly and Lonna. And at newcomer Uusi Sauna, co-owner Kimmo Helistö enforces the rule (“The only rule of Finnish saunas is to be comfortable”) while towel-clad visitors alternate between hot sweats and frosty beers. As the black-and-white photos of 19th-century saunas make clear, Finns are honoring the past while embracing everything new under the Nordic sun. —FRED A. BERNSTEIN
AMOS REX MUSEUM.
WHERE TO EAT
Helsinki chefs are making astonishing use of local ingredients. At Ultima, herbs are grown hydroponically while mushrooms double as centerpieces. The futuristic restaurant is a collaboration between sibling architects Kivi and Tuuli Sotamaa and chefs Henri Alén and Tommi Tuominen, known for dishes like Jerusalem artichoke with sunflower praline (restaurant-ultima .fi). Opposite in ambience, though equal in excellence, is homey, Michelinstarred Ora, where chef Sasu Laukkonen
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explains every dish to every diner. “It tastes like Finland,” he says of grilled beetroot with reindeer salami— and it does (orarestaurant.fi). LONNA SAUNA.
WHERE TO STAY
Set in a historic building, the yearold Hotel St. George groups 153 sleek but soft-edged rooms around a glassroofed courtyard. An Ai Weiwei sculpture in the entry signals the hotel’s ambitions; so do the superb bakery, FinnishTurkish restaurant, and pool and sauna (stgeorge helsinki.com).
OODI LIBRARY.
CLOCKWISE FROM TOP LEFT: TUOMAS UUSHEIMO/COURTESY OF HELSINKI MARKETING; CARL KLEINER; JULIA KIVELA/COURTESY OF HELSINKI MARKETING; TUOMAS UUSHEIMO/COURTESY OF HELSINKI MARKETING
Helsinki
2 0 1 9 CO L L E C TIO N
furniture | lighting | accessories
Copenhagen On the heels of the city’s culinary pioneers, a new generation of hoteliers is redefining what it means to be hygge NOMA.
HOTEL SANDERS.
WHERE TO EAT Noma (noma.dk) is
well worth the hype, but if you can’t snag a reservation, don’t fret. Its innovative alums have opened their own hot spots, from Danish-Mexican mash-up Sanchez (lovesanchez.com) to organic pizzeria Bæst (baest.dk) to tasting-menu tours de force like Amass (amassrestaurant .com) and 108 (108 .dk). And the unerring hipsters behind Café Atelier September (cafe atelierseptember .com) and Apollo Bar(apollobar.dk) continue to expand their empire, having unveiled Kafeteria, designed by artist Danh Vo, at the Statens Museum for Kunst (smk.dk).
WHERE TO SHOP
After requisite stops at Danish heritage brands Georg Jensen, Royal Copenhagen, and Louis Poulsen, be sure to hit up Hay’s
two-level furniture showroom (hay.dk); Studio Oliver Gustav,
with its array of unique finds (olivergustav.com); and Etage Projects, a showcase for pieces by leading lights like Sabine Marcelis and Soft Baroque (etageprojects.com).
Hotel
GEORG JENSEN’S KOPPEL PITCHER.
—S.C.
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CLOCKWISE FROM TOP LEFT: COURTESY OF HOTEL SANDERS; RASMUS HJORTSHOJ; COURTESY OF GEORG JENSEN; COURTESY OF THE APARTMENT
THE APARTMENT.
L U X U R Y P E R F O R M A N C E P A S S I O N
The Hybrid Fire Grill by Kalamazoo
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Gas, wood & charcoal in one incredible grill
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PAINTING THE CITY: A NEW YORK STATE OF MIND An exhibition and sale, on view May 9–24 at Questroyal Fine Art’s expansive galleries at 903 Park Avenue, Painting the City: A New York State of Mind will present the varied visions of American painters working in the iconic city in the 19th and 20th centuries. Featured artists include Paul Cornoyer, Henry Martin Gasser, Childe Hassam, Ernest Lawson, Hayley Lever, John Marin, Reginald Marsh, and Guy C. Wiggins.
Hayley Lever (1876–1958) 66th Street, Looking West, New York, 1935 Oil on board 8 7/8 x 11 7/8 inches Signed and dated lower left: Hayley Lever 35; on verso label: 66th St Looking West. / Park Ave Corner Hayley Lever. / New York 1935
To request a brochure, visit questroyalfineart.com, email gallery@questroyalfineart.com, or call 212.744.3586.
LIFESTYLE LIGHTING Empowering you to create the look and lifestyle you love, KingsHaven designs lighting, furnishings, and decorative accessories as customized art and as a reflection of elegant style for residential, hospitality, and commercial settings. KingsHaven’s products are created with exceptional craftsmanship by talented artisans. Many stylish, in-stock selections are available for expedited shipping. KingsHaven also provides bespoke finishes, virtually any color choice, and fully custom options to suit all interior or outdoor space design themes. Pictured: Equestrian Ring Sconce. For more information, visit KingsHaven.com.
TECHO-BLOC’S NEW JEWEL FOR MODERN LANDSCAPES Inspired by of-the-moment geometric patterns influencing contemporary interiors, the Diamond paver by Techo-Bloc brings the trend outside into modern landscape design. With its custom motifs, including chevron, zigzag, and cubic illusions, combined with contrasting colors and rich textures, Diamond pavers create an eye-catching kaleidoscopic effect on outdoor flooring. Techo-Bloc’s HD2 (high-definition and density) technology ensures great looks will last—even through the harshest of climates. Discover the possibilities. Visit techo-bloc.com/diamond to learn more.
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MADE IN THE USA WITH IMPORTED TOP FABRIC
LENNY KRAVITZ, WEARING A VINTAGE SHIRT AND VINTAGE TOM FORD FOR YVES SAINT LAURENT JEANS, AT HIS BRAZILIAN RETREAT. FASHION STYLING BY RODNEY BURNS. OPPOSITE ANGELIM WOOD CHAIRS AND CHAISE LONGUES BY KRAVITZ DESIGN SURROUND THE POOL. FOR DETAILS SEE RESOURCES.
wild life Deep in the forests of Brazil, rocker Lenny Kravitz transforms a bygone coffee plantation into an artistic Eden TEXT BY
MAYER RUS
PHOTOGRAPHY BY
SIMON UPTON
STYLED BY
KIRSTEN MATTILA
IN THE LIVING ROOM, AN ANTIQUE PEWTER CANDELABRA SITS ATOP A RECLAIMED REDWOOD TABLE FROM TODD MERRILL STUDIO. MURALS BY ARTIST CHRIS WYRICK; CIRCA1960s SWIVEL CHAIRS; CUSTOM SPANISHCEDARWOOD SHELVING BY KRAVITZ DESIGN; MICHEL DUCAROY FOR LIGNE ROSET SOFA.
“I just sent containers of things that I like— some pieces worked, others didn’t. The process was very improvisational.”
“This is a place to unplug, reset your life, and take the time to be quiet and actually hear yourself.” THE GUESTHOUSE BOASTS A COVERED TERRACE. CHAIRS BY KRAVITZ DESIGN. OPPOSITE A PAIR OF LEATHER-AND-WALNUT WINGBACK CHAIRS BY KRAVITZ DESIGN LINES THE GALLERY. ON LEFT WALL, PHOTOGRAPH OF KRAVITZ’S MOTHER, ACTRESS ROXIE ROKER; SERGIO RODRIGUES TAUARI-WOOD BENCH; ON FAR WALL, PHOTOGRAPH BY KRAVITZ.
L
enny Kravitz knows a thing or two about seduction. As a Grammy Award–winning musician—and as a designer— he has crafted an extraordinarily idiosyncratic vision that fuses disparate genres, periods, styles, and influences. The 54year-old rocker remains one of the coolest cats on the planet, constantly upending expectations and forging new paths of artistic expression. In the 16 years since founding Kravitz Design, he has fashioned public spaces and suites for hotels in Miami, Las Vegas, and
Toronto and developed products ranging from furniture and door hardware to wallpaper and ceramic tile. He even devised a camera for Leica and a watch for Rolex. And he is currently overseeing the interiors for 75 Kenmare, a new condo building in New York’s Nolita neighborhood. One of his most intriguing personal projects has been the ongoing reimagining of an 18th-century Brazilian coffee plantation outside Rio de Janeiro. Kravitz’s Brazilian idyll began about a decade ago, while he was on tour. “I was traveling all over the country, becoming increasingly attracted to the people, the culture, the music, and the land as well. There’s something incredibly powerful and majestic about this place,” he recalls. At the end of his tour, less than 24 hours before he and his band were set to depart for Miami, Kravitz received a call from a friend inviting him to
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ABOVE COCONUT PALMS SHADE MANGALARGA MARCHADOR HORSES AND KRAVITZ’S LABRADOR, NEON, ON THE LAWN. RIGHT PALM-INSPIRED MURALS BY WYRICK COVER THE WALLS OF THE MASTER SUITE. PAIR OF WOOD CHAIRS BY ZANINI DE ZANINE; WILLY RIZZO LACQUERED COCKTAIL TABLE.
check out a property in the countryside. “Everyone was ready to go home, but something told me, ‘Have an adventure.’ So we got there at night, and the next morning I awoke in the most spectacularly lush, beautiful landscape you can imagine. We were nestled in a valley, surrounded by mountains, with waterfalls, cows, horses, monkeys, fruit groves, and vegetable fields—the whole panoply of nature,” he continues. The brief excursion into Eden took on a life of its own. One day turned into a week, then a week into a month. “I ended up staying for six months. It was extraordinary. I just dropped out of life, learned to ride horses from the cowboys, learned
about farming, and reconnected with nature,” he says. “I’d never felt more calm, peaceful, and closer to God. It was a magical time. I thought, I’m done with the hustle and the bustle. I’m going to be a farmer.” Reality, of course, has a way of intruding on dreams, and Kravitz eventually returned to his life of touring and making music. But Brazil was still in his blood, and two years later he once again heeded its siren call. This time around, he purchased the nearly 1,000-acre spread that had ensorcelled him so completely, determined to maintain the farm’s operations while creating a personal retreat for family, friends,
and collaborators, where art and nature could exist in perfect harmony. Kravitz describes it as “a place to unplug, reset your life, and take the time to be quiet and actually hear yourself.” The sprawling property encompasses a veritable village of 19th-century Portuguese colonial-style farmhouses and outbuildings, some of which Kravitz converted into guest quarters, a gym, a poolhouse, and a recording studio. He began his renovation efforts simply by lightening and brightening the existing structures. “The interiors were very old-school colonial—matching wallpaper and upholstery, and lots of heavy wood furniture. My first impulse was to clean it all up,
strip the wallpaper, weed out the endless armoires, and upgrade the plumbing and electrical,” he explains. Over the course of the following years, Kravitz visited the property frequently to supervise the renovation and, when he was busy touring, collaborated with workers on-site through FaceTime. He also began shipping furniture and art to inhabit the newly freshened rooms. “I just sent containers of things that I like. Some of the pieces worked out beautifully, and others didn’t. The process was very improvisational, like making music. You have to play what you feel. Sometimes it’s about what you don’t play,” he avers.
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ABOVE WYRICK ALSO PAINTED THE MURAL IN THE GUESTHOUSE’S GREAT ROOM. KRAVITZ DESIGN SOFA; JORGE ZALSZUPIN BRAZILIANROSEWOOD COCKTAIL TABLE. OPPOSITE DRAWINGS BY KRAVITZ AND FRIENDS COVER THE WALLS OF A ROOM ON THE LOWER LEVEL. CIRCA-1970 SWIVEL CHAIR BY LEON ROSEN; EARLY–20TH CENTURY ARMCHAIR AND SETTEE, BOTH BY LOUIS MAJORELLE. ★ EXCLUSIVE VIDEO LENNY KRAVITZ AT HOME, ARCHDIGEST.COM.
Furnishings by Brazilian masters on the order of Oscar Niemeyer, Sergio Rodrigues, and Jorge Zalszupin, along with classic Brazilian tiles and other local flourishes, pay homage to the site. In characteristically exuberant style, Kravitz added an array of midcentury furnishings—including pieces by Warren Platner and Eero Saarinen—along with custom pieces from his namesake design firm and glamorous accents such as vintage Paco Rabanne wall hangings and a Kawai clear-acrylic grand piano. “The pace down here is slow, so I had a chance to live with everything and see how I interact with it. There was lots of freestyling and trial and error in the decorating,” he says. Kravitz also invited artist friends to visit and make their own contributions, notably several foliate murals adorning the walls. The musician himself naturally made his own mark. “I was looking at a wall one night and felt it needed something. So I started painting huge triangles. I like triangles!” he says. The end result of his ministrations is a vibe that bounces happily between earthy organic and crazysexycool. But for Kravitz, the ongoing renovation is less about newfangled aesthetics than preserving the spiritual energy of his remote oasis: “This farm, this land, they have a life force all their own. You can’t fake that with design.”
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CHRIS BURCH CALLED ON MARCO SCARANI AND MICHEL PINET TO HELP RESTORE THE 1608 HOUSE. IN THE GRAND SALON, ANTIQUES INCLUDE AN 18TH-CENTURY CHANDELIER, THE COCKTAIL TABLE’S PIETRA DURA TOP, DELFT CERAMICS, AND A LOUIS XV CONSOLE. THE SOFAS AND CHAIRS WEAR BRAQUENIÉ PRINTS. FOR DETAILS SEE RESOURCES.
FAIRY-TALE ENDING
A historic house outside Paris becomes an inviting escape for high-flying American tycoon Chris Burch and his family TEXT BY
JANE KELTNER DE VALLE
PHOTOGRAPHY BY
MIGUEL FLORES-VIANNA
“It was enough property to do very special gardens, but it's not remote at all. You walk out the gates, take a left, and you’re in town." —Chris Burch A 17TH-CENTURY GATED WALL SURROUNDS THE GARDEN, WHICH WAS DESIGNED BY TANIA COMPTON.
CHRIS BURCH WITH HIS DAUGHTERS (FROM LEFT), IZZIE, POOKIE, AND LOUISA. OPPOSITE IN THE BREAKFAST ROOM, WINDSOR CHAIRS FLANK A MICHEL PINET TABLE; MC POTS.
a
merican entrepreneur Chris Burch had long dreamed of having an apartment in Paris. He knew the precise floor plan he would inhabit in the exact building on rue de Seine. The problem was that no such place was available. “In France, if you want a beautiful apartment with a garden in the best neighborhood, you need to be patient,” says Burch’s friend Marco Scarani, who, with his partner, Jamie Creel—purveyor behind the beloved Manhattan curiosity shop Creel and Gow— possesses such a unicorn dwelling. A few years ago, while Burch was visiting the couple in Paris, the three men took a day trip to Senlis, a cobblestoned village outside the city. Scarani and Creel had always been tickled by the idea of having their own pile there, and having been told by a friend that a majestic 1608 hôtel particulier was for sale, they went to see the place with Burch in tow. “It was absolutely stunning,” says Scarani, “but it was too big
for us and too much work.” Burch, on the other hand, was sold. “It needed renovation; it needed everything,” he concedes. “But you could just feel it was wonderful.” As the father of six children, Burch hoped the home could one day serve as a family respite. Says Scarani, reflecting on what admittedly began as an impulse buy: “Chris is very spontaneous. It’s part of his secret to success.” The 10,000-square-foot house has the rare distinction of being landmarked on both the exterior and much of the interior. As such, it still possessed many of its 17th- and 18thcentury floors, paneling, and beams. Yet it had also undergone patchy renovations over time. “We wanted to bring it right back to the way it had been,” notes Burch. Scarani had spent three years tending to the interiors of Nihi, Burch’s luxury surf resort in Indonesia, and beyond that has conjured up his own sublime homes. “I never would have bought the house unless I knew he was there,” Burch admits. Scarani, who doesn’t consider himself an interior designer, describes his role as that of “creative director—I source and put the concept together.” To that end, he immediately
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“You want a house that looks like it’s been there forever, like you’ve lived in it.” —Marco Scarani reached out to French architect and decorator Michel Pinet, something of a national treasure for his masterly work restoring several of the country’s most prized monuments historiques, Château de Versailles among them. He is also a specialist in the field of antique wallpapers and fabrics, many of which he and Scarani used to outfit Burch’s Senlis abode. The most historically significant papier peint, though, had been secured before Pinet came onto the scene: a complete set of Joseph Dufour’s 1805 scenic panoramic depicting the voyages of Captain Cook, which Scarani spotted in a Christie’s catalogue. Burch, he says, “bought them for nothing.” Stunned by the acquisition, Pinet redesigned the original moldings and columns in the formal dining room to perfectly frame the panels. Maintaining the feeling of a historic home while instilling it with all the functionality of a new one was the duo’s modus operandi. Four exquisite hand-carved doors dating back to the 1600s that had been randomly dispersed throughout the house have been reunited in a guest bedroom. The nine bathrooms and two kitchens, which had undergone “horrible” renovations in the 1950s and ’70s, were reimagined as they might have existed 300 years ago, save for brand-new plumbing. In the main kitchen (which, Burch admits, “I haven’t stepped foot in”), Scarani and Pinet reproduced antique tiles and sourced ancient stone. The fabric cushioning the rustic chairs is an antique Braquenié check dating to the 1700s; Pinet had just enough in his archive to cover the eight seats. To say that everything has been executed with scrupulous accuracy would be an understatement. Yet the atmosphere is relaxed. “It’s definitely not precious,” Burch says. “That’s one thing I don’t like at all.” Scarani was of the same mind-set.
“Usually French is formal and uncomfortable,” he observes. “I said to Chris, ‘You want a home that looks like it’s been there forever, like you’ve lived in it.’ ” Burch leans toward the cozy English country look, which is expressed in furnishings you can sink into, though here, there’s not a chintz in sight. French textiles seulement. “There are no flowers,” Scarani emphasizes. “Chris is a man. That’s why in his bedroom we used the Tree of Life, which can be feminine or masculine.” Still, liberties were taken, as with the curtains of a Madeleine Castaing climbing-vine pattern that frame the
ABOVE ANTIQUE JOSEPH DUFOUR ET CIE WALLPAPER PANELS THE DINING ROOM. 19TH-CENTURY FRENCH CHANDELIER; DIRECTOIRE CHAIRS CUSHIONED IN A LE MANACH COTTON AND PASSEMENTERIE VERRIER TRIM. OPPOSITE THE MAIN FAÇADE.
breakfast room’s windows. “They’re 19th century,” Scarani says, “but so iconic of a French interior.” They’re also a nod to Burch’s daughter Louisa, a classicist with a soft spot for the late grande dame of design. The businessman relays that the house has become a beloved gathering place for his three daughters. “My sons [by former wife Tory Burch] fell in love with the surf resort, so now I have something for my girls.” Days unfold in a leisurely fashion. Jet lag means visitors often don’t roll out of bed before noon. Some head into the village to visit museums or shop, while others play tennis or
curl up with a book. Cocktails are served on the loggia, furnished with a mix of iron from France and rattan from Tangier, where Scarani and Creel have a home. English landscape designer Tania Compton handled the gardens, with French topiaries giving way to a wild meadow. There’s a vegetable patch, pear and apple orchards, chickens, and even a rabbit. “As I’ve gotten older, I’ve gone from loving the ocean to loving the earth,” Burch says, adding that at Senlis, “I wanted to really make an effort to do things the way they were done a long time ago.”
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ABOVE AN ATELIER D’OFFARD WALLPAPER STRIPES A GUEST BATH. ANTIQUE TUB; VINTAGE BRASS LAMP AND TABLE. OPPOSITE IN BURCH’S BEDROOM, A BRAQUENIÉ COTTON IS USED EN SUITE, FROM THE MICHEL PINET BED TO THE LOUIS XV CHAISE LONGUE.
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ABOVE THE SKYLIT KITCHEN’S 19TH-CENTURY TABLE AND CHAIRS ARE ORIGINAL TO THE HOUSE. LA CORNUE RANGE; 19TH-CENTURY FRENCH GLASS PENDANT; 18TH-CENTURY TILE AND CERAMICS. OPPOSITE THE TENNIS COURT.
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ABOVE A LE MANACH COTTON BRIGHTENS A GUEST ROOM’S BED, CANOPY, HEADBOARD, AND BERGÈRE. OPPOSITE A COZY 18TH-CENTURY LIT À LA POLONAISE COMBINES FABRICS BY LE MANACH AND BRAQUENIÉ WITH ANTIQUE LINENS. LOUIS XVI NIGHTSTAND.
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HANGING WESTBROOK LANTERN; TO THE TRADE. CHARLESEDWARDS.COM
The Madeleine Castaing curtains and painted chairs feel fresh and crisp.” —Marco Scarani IN THE ORIGINAL ORANGERIE, THE BREAKFAST ROOM BOASTS HUGE WINDOWS.
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LE GRAND CORAIL VERMICULÉ NÉGATIF COTTON BY BRAQUENIÉ; TO THE TRADE. PIERREFREY.COM
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THE TABLE IS SET WITH VINTAGE SILVER, GLASS, AND CHINA FROM THE SAINT-OUEN FLEA MARKET IN PARIS.
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FRENCH 1940s EMPIRE-STYLE SWAN SCONCE; $600 FOR A SET OF TWO. CREELANDGOW.COM
18TH-CENTURY LOUIS XV MANTEL IN JASPER MARBLE; $24,000. JAMB.CO.UK
IRON WORKS HISTORIC BATH; $3,392. US.KOHLER.COM A PINEAPPLE-PRINT WALLPAPER FROM ATELIER D’OFFARD ENLIVENS A POWDER ROOM.
BLUE FLUTED HALF LACE TUREEN; $1,200. ROYAL COPENHAGEN.COM
It’s a wonderful place to entertain my friends. They all want to come.” —Chris Burch PRODUCED BY MADE LI NE O’MA LL EY
CORNUFÉ 110 RANGE; $10,450. LACORNUE USA.COM
LE GRAND GENOIS PANNEAU COTTON BY BRAQUENIÉ; TO THE TRADE. PIERREFREY.COM
FAMILY MEN Stefano Tonchi and David
Maupin enlist architect Annabelle Selldorf to revamp a Victorian-era Manhattan apartment into an elegant setting for modern lıving HOLLY BRUBACH
PHOTOGRAPHY BY
JASON SCHMIDT
STYLED BY
MICHAEL BARGO
GROOMING BY KATY WALSH FOR THE BROMLEY GROUP; SALLE: © 2019 DAVID SALLE/VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NY COURTESY OF SKARSTEDT, NY
TEXT BY
A MURANO GLASS CHANDELIER BY SEGUSO FOR VICA ILLUMINATES THE FOYER. OPPOSITE STEFANO TONCHI (LEFT) AND DAVID MAUPIN WITH DAUGHTERS ISABELLA AND MAURA IN THE LIVING ROOM. PAINTING BY DAVID SALLE; VICA ARMCHAIRS IN A HANDWOVEN CORK BLEND BY SYLVIE JOHNSON PARIS. FOR DETAILS SEE RESOURCES.
GILBERT & GEORGE, BAS: COURTESY OF THE ARTIST AND LEHMANN MAUPIN, NEW YORK, HONG KONG, AND SEOUL
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LEFT A CUSTOM SOFA IN THE LIBRARY. GILBERT & GEORGE ARTWORK. BELOW A HERNAN BAS PAINTING HANGS ABOVE THE ORIGINAL MANTEL. ON WILLIAM HAINES TABLE, KLARA KRISTALOVA SCULPTURE. OPPOSITE EXPANSIVE AMUNEAL SHELVING COVERS A WALL OF THE LIBRARY. VINTAGE CLUB CHAIR AND COCKTAIL TABLES.
ight years ago, when David Maupin and Stefano Tonchi were expecting twin girls, they set out in search of a bigger apartment. Friends and colleagues figured they would land in one of Manhattan’s glamorous buildings famous for their design pedigree, given the couple’s standing in the worlds of art and fashion: Maupin as cofounder of the Lehmann Maupin gallery, Tonchi as the editor of W magazine. And, indeed, they considered moving to the U.N. Plaza, a beacon of Miesian modernism on the East River. In the end, however, they opted for the Osborne, a mid-rise, brownstone-clad Gilded Age mishmash of styles and materials. All the more surprising: They invited their friend AD100 architect Annabelle Selldorf to work with them (and Selldorf brought in architect Matthew Schnepf, a former associate at her firm, to assist). The rigor and elegant restraint that have come to characterize Selldorf ’s work are a far cry from the first impression made by the Osborne’s lobby—a brass, stucco, marble, Tiffany-style glass, mosaic, gold-leaf, and glazed terra-cotta phantasmagoria in the style of Aladdin. “Utterly ridiculous but totally beautiful,” Selldorf calls it—an opinion Maupin and Tonchi share. They join the ranks of high-profile New Yorkers who have called the building home, among them Leonard Bernstein, Van Cliburn, Peter Beard, Sylvia Miles, Lynn Redgrave, Phil Jackson, Bobby Short, Fran Lebowitz, and Jessica Chastain.
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“The space is traditional," Tonchi says," but that doesn't mean it has to be conservative."
THE KITCHEN BANQUETTE WEARS A MOORE & GILES LEATHER. LEVAGGI CHAIRS; SEAT CUSHIONS AND PILLOWS OF FORTUNY FABRICS; CONCRETE FLOOR TILES BY CLÉ.
ABOVE LEFT IN THE KITCHEN, A VINTAGE SHELVING SYSTEM BY OSVALDO BORSANI CONTAINS AN INTEGRATED BAR BY ADRIANO DI SPILIMBERGO. ABOVE RIGHT A FORNASETTI FOR COLE & SON WALL COVERING ANIMATES THE GIRLS’ BEDROOM.
Since 1885, when the Osborne was built, Maupin and Tonchi’s apartment had changed hands only three times, and many of the original features were still intact. With Selldorf, they agreed to leave the Arts and Crafts details: leaded-glass windows, geometric transoms above the doors, carved moldings, ceramictile fireplace surrounds. They restored the parquet and retained the 14-foot ceilings in the living room. For the architect, the apartment obliged them to weigh “the merit of invention as opposed to absorbing what may already exist, for good reason.” While other residents have taken their decorative cues from the building’s period references, outfitting their apartments with William Morris–style wallpaper and favrile-glass lamps, the three friends chose a different route. “The space is traditional,” Tonchi says, “but that doesn’t mean it has to be conservative.” Walls were painted white, as a backdrop for the art, in silent conversation with the furniture and fixtures. Most works are by artists from Maupin’s gallery, with its diverse stable of talent from around the world. In the living room above the mantel hangs a David Salle painting from his Pastoral series, utilizing a theatrical backdrop from an 18th-century
opera, with the shadows and contours delineated in areas of flat, vivid color. In the study, Gilbert & George’s Lover, a mixed-media grid printed with tabloid headlines, faces a grid of a different kind— a wall of custom bookshelves with brass uprights and black shelves. In the dining room are two large square tables Selldorf covered with mirrored glass to create luminosity and reflect Teresita Fernández’s site-specific installation, a constellation of 5,000 small rocks of raw, mined graphite, each with a handdrawn mark extending beneath it. The furniture is mostly midcentury modern in its lines, but, Tonchi notes, “the colors are a little off ”—green, orange, and turquoise taken from the tile around the fireplaces. Some pieces are custom; others come from Vica, the company Selldorf started in 2004 to sell her own furniture. (She named it after the design firm founded by her grandmother in Cologne in the 1930s.) As clients, Selldorf says, Tonchi and Maupin “feel like family. There were no differences of opinion. We had this serendipitous relationship, playing off each other’s ideas.” They shared not only a frame of reference that spans contemporary art and midcentury
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PORTRAIT (ABOVE), DINING ROOM INSTALLATION (OPPOSITE): COURTESY OF THE ARTIST AND LEHMANN MAUPIN, NEW YORK, HONG KONG, AND SEOUL
CLOCKWISE FROM ABOVE THE CALACATTA PAONAZZO MARBLE– CLAD MASTER BATH. A CATHERINE OPIE PORTRAIT OF MAURA AND ISABELLA. IN THE MASTER BEDROOM, A GIAMBATTISTA VALLI STRIPED SILK COVERS THE BED AND DAYBED PILLOWS.
Italian design but also certain obsessions—the work of Gio Ponti, Venetian glass by Seguso, Venini, and Carlo Moretti. Says Maupin: “We kind of read each other’s minds and agreed.” Tonchi and Maupin would send Selldorf photos of design ideas they encountered in the course of their extensive travels. An antique Tiffany hanging lamp Tonchi saw in a Madrid artist’s residence became the inspiration for chandeliers Selldorf designed in collaboration with the artisans at Seguso. Upstairs are the private quarters: a slick black dressing room lined with enough closets to accommodate a fashion veteran’s copious wardrobe; and the adjoining bedroom, with its leather-tiled wall and a bedcover made from ivory-and-black-silk matelassé Tonchi discovered when Giambattista Valli used it in his couture show for a ball gown. Isabella and Maura, Tonchi and Maupin’s daughters, now in second grade, share a room that bears none of the hallmarks that often designate a space for children—no primary colors, no goofy animals or cartoon superheroes. “I think kids are people,” Selldorf says. She refuses to design down to them. Instead, she used Fornasetti wallpaper to create a whimsical landscape for the imagination, with hotair balloon curtains floating among grisaille clouds; framed butterfly specimens act as punctuation. A leather-upholstered club chair matches the ones in the living room. Everyone has settled in now. Selldorf calls the finished product “a portrait of Stefano and David.” Maupin marvels at the serendipity that brought together the three of them—from California, Italy, and Germany—to create a home in a building that has contained so much of the city’s history. “It’s a New York family apartment,” Tonchi says, “and we’re a new type of family.”
A TERESITA FERNÁNDEZ GRAPHITE INSTALLATION COVERS THE DINING ROOM WALLS. TABLES BY VICA.
SEA CHANG Seeking an escape from Paris, artists Jean-Michel Othoniel and Johan Creten head to the bustling port city of Sète, France TEXT BY GAY GASSMANN PHOTOGRAPHY BY SIMON WATSON STYLED BY SEBASTIAN SERGEANT
ORIGINAL WALL TILES IN THE KITCHEN SHOW THE CITY OF SÈTE’S COAT OF ARMS. GEORGE JONES MAJOLICA VASES, C. 1875; SMEG RANGE AND TOASTER; COLETTE GUEDEN PLATES; DELPHIN MASSIER FRUIT STAND; CHAIRS BY DRUCKER. FOR DETAILS SEE RESOURCES.
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ABOVE THE VERANDA FEATURES A FIREPLACE THAT WAS INSPIRED BY THE MONSTROUS SCULPTURES IN ITALY’S GARDENS OF BOMARZO. ANDIRONS BY CRETEN; 1950s MOSAIC-TOP TABLE. OPPOSITE THE COLORFUL FROSTED-GLASS WINDOW (RIGHT), ART DECO SKYLIGHT, AND MOLDINGS ARE ORIGINAL TO THE RESIDENCE.
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gardens of Versailles (in collaboration with landscape architect Louis Benech), and will mount a small exhibition of new work this summer at the Louvre. Creten, a Belgian known for his work in ceramics, has also shown extensively around the world. His output is characterized by a constant pushing of the boundaries of clay, a medium he helped pioneer in the context of contemporary art. Based in Paris with separate studios and an apartment near the Picasso Museum in the Marais, the artists decided they wanted a house to get away to, where they could experiment and make things, but also rest and dream—“a place,” in the words of Creten, “to think and create.” And Sète, a port city in southern France about four hours by train from Paris, was a natural choice. They had already spent a great deal of time there. “Thirty years ago, we were both invited to work here,” Othoniel explains.
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culptors Jean-Michel Othoniel and Johan Creten, who first met some 30 years ago, have dedicated their lives to art and creation. The French Othoniel has spent his career expressing himself in a variety of materials, but is best known for his works in glass, especially the pieces evoking long strings of colorful beads. Extraordinarily productive, he has been the subject of dozens of solo exhibitions, including a mid-career retrospective that started at the Pompidou in Paris and traveled around the world. He has also designed a station entrance for the Paris Métro, created a new permanent installation in the
A MURANO CHANDELIER CROWNS THE LIVING ROOM; SCULPTURES BY CRETEN AND OTHONIEL. OPPOSITE HOMEOWNERS JOHAN CRETEN (LEFT) AND JEAN-MICHEL OTHONIEL. 1930 OSWALD DUBACH FOR RUDOLF STEINER CHAIRS; PIET HEIN AND BRUNO MATHSSON TABLE.
“My very first exhibition was at the Villa Saint Clair, an artistresidency program in town. At the end of the ’80s, it was a bit underground and full of creative people. It was a very joyful time. And we have come back every summer for the past ten years.” Creten calls it a “living” city. “We have a theater, bookshops, artists, a daily market, a poetry festival,” he enthuses. “I wanted a place where I could buy The New York Times in the morning, and there are two places where I can do that! It is a small city, but not a village.” And although within close proximity to happening cultural centers like Arles and Nîmes, Sète is still under the radar and affordable. At first, they hoped to find a villa on the hill overlooking the port, with a garden and a pool. Instead they ended up with the exact opposite, a house down on the tightly packed waterfront. But as Othoniel points out, from their side of the city,
they have spectacular views of the water and that villa-laden hill, the Mont Saint Clair and its Virgin statue. The house they bought had been built in 1840 for the family of the painter Frédéric Bazille, a friend of Monet, Degas, and Cézanne. It had originally been part of a much larger compound that had passed into the hands of industrial wine merchants, who transformed the ground floor into a warehouse. While the bones were great, it was completely run-down, so they set off on a yearlong renovation project. Othoniel wanted to conserve the original structure and bring back the original “circulation” of the house. They opened up two doors that had been closed off and completely redid the two bathrooms. The huge ground floor, with ceilings more than 17 feet high and tall doors opening directly onto the port, has been converted into studio spaces. In renovating, the artists decided to conserve traces of the house’s many transformations over the years including a floor
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LEFT THE FRENCH PORT CITY OF SÈTE IS BORDERED BY A SALTWATER LAGOON. BELOW A 16TH-CENTURY TAPESTRY HANGS ON A BEDROOM WALL. TONY DUQUETTE ABALONE CHANDELIER; SIDE TABLES BY OTHONIEL; LAMPS BY CRETEN. OPPOSITE A GLASS–AND–STAINLESS STEEL SCULPTURE BY OTHONIEL STANDS AT THE FOOT OF THE STAIRWAY; GLAZED STONEWARE SCULPTURE BY CRETEN IN ARCHED NICHE.
Offering opportunities to experiment, the new home has inspired Othoniel and Creten to create site-specific art. from the 1970s, some Art Deco elements, a couple of mirrors, the original kitchen tiles, and all of the colored-glass elements. They also delighted in the opportunity to put on display pieces of their work and those by other artists. “Here we have space,” Othoniel explains. “We had works that had been in storage for the past ten years. These are works from our personal collections, and it was a big step for us to decide to live with them.” Offering opportunities to experiment, the new home has inspired them to create site-specific art. Creten first conceived the spectacular sculptural mantelpiece in the living room several years ago and was finally able to fabricate it for this house. Both artists have also crafted light fixtures: Creten did the lamps in the master bedroom, and Othoniel made the hanging lanterns for the hallways. “This is really the first time we are sharing our private space with anyone outside our circle of friends and family,” Othoniel says. And they hope that this place will be the first step in establishing a foundation for their work. Indeed, they want this to be an open, welcoming, rejuvenating house. “A happy place,” says Creten, “but also a place where we can slow down and live a bit differently.”
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NEARLY 100 VARIETIES OF TULIPS (BOTH WILD AND CULTIVATED) BLOOM IN RONALD VAN DER HILST’S 2012 GARDEN FOR BELGIUM’S ARBORETUM KALMTHOUT. FOR DETAILS SEE RESOURCES.
A FINE ROMANCE
In his homeland’s iconic flower, the tulip, garden guru Ronald van der Hılst finds magic where he once felt disdain TEXT BY
MITCHELL OWENS
the ground-hugging Duc van Tol Red and Yellow (created in 1595, it’s the oldest-known cultivar) and Lac van Rijn (ivory with a flame-shape pink stripe, 1620). “That’s how it started: I realized that there were living antiques that I could sell,” says van der Hilst, who opened his Antwerp firm in 1995 (AD100 icon Axel Vervoordt is a client). It has since expanded into tulip-theme product design with hand-painted tiles for Ceramica Bardelli, screen-printed oak flooring for Xilo1934, and special vases known as tulipières for Belgian glassmaker Val St. Lambert and Holland’s Mobach rowing up in the Ceramics. As for the bulbs that van der Hilst purveys to clients Netherlands, Ronald van der Hilst was never and collectors around the world, some are so rare that they particularly fond of the change hands one precious specimen at a time. Naturally, tulips punctuate his commissions but usually kingdom’s gift to spring in intriguingly unexpected deployments. One of his gardens gardens around the featured 50,000 white tulips, the six varieties set in wide world. “I saw tulips as concentric circles inspired by the ripples made by a drop of the cheapest flowers, water. For Antwerp’s Arboretum Kalmthout several years ago, so clichéd, just one of the symbols of Holland, he created an ephemeral garden with thousands of colorful flowers bursting through unmown grass, inspired by the way along with windmills and wooden shoes,” the tulips grow in Iran’s Zagros Mountains. Lasting only three months, the confetti-like extravaganza mingled different shapes, landscape designer explains with a wince. He was also rankled by the standard-issue planting of tulips in tightly packed mono- colors, and heights. “I had areas with only botanical tulips chromatic beds or thick borders of unrelieved yellow or red or and other areas with cultivated tulips, so you could see the difference between what’s natural and what humans have white: “You almost forget that they’re flowers.” made over the centuries,” van der Hilst says. “The concept Today that youthful state of disenchantment has made way was to see the tulips as individuals, not as a block of color.” for something that could be described as a fine romance. Van Recently he has turned his attentions to a 4,840-square-foot der Hilst, now based in the Belgian port city of Antwerp, has walled garden in Antwerp, where he has plant and bulb sales, become a champion of the genus Tulipa ever since he learned hard by the 1850s neo-Gothic St. George’s Church. Last fall that the first bulbs had made their way into Western Europe he planted more than 3,000 bulbs, amounting to 90 different via Antwerp in 1562, more than 30 years before tulips began varieties. One is a luminous white flower that celebrated blooming back home. “Most people think they’re Dutch or Turkish, and neither is correct,” he says. “They grow wild in the Dutch grower Jan Ligthart named in his honor three years ago, when he turned 50. Like the landscape architect himself, high mountains of Iran. I’ve been to see them, and I thought I was in paradise.” Even more exciting to him was the fact that Tulipa Ronald van der Hilst stands surprisingly tall, its bloom perched atop a stem that’s nearly three feet in height—an some of the varieties that were painted by old-master artists during the Dutch Golden Age are still in cultivation, including exquisite tribute to one man and his tulipmania.
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OPENING SPREAD: ALLAN POLLOK-MORRIS; THIS SPREAD, PORTRAIT: MICHEL VAEREWIJCK; ALL OTHERS: MICHAEL JAMES O’BRIEN
FAR LEFT VAN DER HILST CARRIES A WHITE TULIP NAMED AFTER HIM. LEFT HIS VASE ISPHAHAN TULIPIÈRE FOR MOBACH CERAMICS. OPPOSITE A TULIP GARDEN INSPIRED BY THE RIPPLES MADE WHEN A RAINDROP FALLS INTO A POND.
urban oasis
Patricia Herrera Lansing, with designer Patrick McGrath, brings classic prewar elegance to a loft in a storied Little Italy building TEXT BY
JANE KELTNER DE VALLE
PHOTOGRAPHY BY
OBERTO GILI
STYLED BY
MIEKE TEN HAVE
CUSTOM MAHOGANY BOOKSHELVES LINE PATRICIA HERRERA LANSING’S NEW YORK CITY DINING ROOM. CUSTOM TABLE; VINTAGE DINING CHAIRS; PETER DAVIES ARTWORK. FOR DETAILS SEE RESOURCES.
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ne could reasonably expect Patricia Herrera Lansing, the creative consultant and society fixture, to reside in a historic prewar building in an apartment that’s spacious, warm, and richly layered—and indeed she does. The fact that it is in Little Italy, tucked behind a graffiti-splashed brick exterior that once housed a holding cell, just goes to show that you can’t always judge a book by its cover. “I haven’t lived uptown since school,” notes Patricia, tracking her journey from Caracas, where she was born, to the Upper East Side, where she spent her formative years, to the West Village and, finally, this residence, where she joined husband Gerrity Lansing after their engagement. Constructed circa 1871 smack in the vortex of
what was then the crime-infested Five Points slum—think Gangs of New York, minus Leonardo DiCaprio and Cameron Diaz—the building originally served as a precinct station for the New York City Police Department. Sometime in the early 1980s, Gerrity’s art-collector parents purchased part of it to warehouse their collection. (Like Patricia, he was raised on the more genteel Upper East Side.) When Gerrity finished college in 1995, he requested the keys and has lived there ever since. To say the residence has evolved over the past two-plus decades would be an understatement. “We got engaged here and brought our children home here,” notes Patricia. “We’ve seen the neighborhood change dramatically, our apartment change dramatically, and us change dramatically.” When Carolina, Gerrit, and Magnus, now 15, 13, and 11, entered the picture, the couple rejiggered the layout and eventually expanded into an apartment above theirs. “It’s rare in New York to stay in one place that long. We’ve celebrated so many milestones here.”
HAIR AND MAKEUP BY ALEXA RODULFO USING CLÉ DE PEAU BEAUTÉ AND ORIBE
LEFT HERRERA LANSING, IN AN ISABEL MARANT TOP, MADEWELL JEANS, AND ANA KHOURI JEWELRY, ARRANGES FLOWERS AT A ROHL SINK IN THE KITCHEN. FASHION STYLING BY JESSICA SAILER VAN LITH. RIGHT DAMIAN LOEB ARTWORKS (LEFT AND CENTER) HANG IN THE LIVING ROOM, WHERE MATCHING SOFAS WEAR A PIERRE FREY VELVET.
At first Patricia undertook the decorating duties herself, working with architect David Bae on the various expansion projects. For the third, and what she deems final, renovation she sought out rising young interior designer Patrick McGrath to help polish it off. The two had met at a birthday celebration for Alexi Ashe Meyers in Turks and Caicos. McGrath’s life partner is Reinaldo Leandro, one half of the AD100 firm Ashe Leandro; the other half, Ariel Ashe, is Meyers’s sister. Recalls Patricia: “I said to Ariel, ‘I love your world and wish I lived in it, but I don’t. And I need some help with my world.’ ” Hers would be a landscape of color, pattern, and what she calls artfully layered “clutter.” McGrath, who cut his teeth at the office of acclaimed designer Frank de Biasi and led visuals for Giorgio Armani North America before going out on his own three years ago, shares a similar aesthetic philosophy. Where some decorators might balk at the idea of repurposing existing furnishings, he was energized by the concept. “To collaborate with a client who has such incredible taste is a
dream,” he says. “If you’re already working with good pieces, why start from scratch?” The project began with a field trip uptown to the townhouse of Patricia’s parents, fashion designer Carolina Herrera and aesthete Reinaldo Herrera. “I wanted him to see context,” explains Patricia, noting the way her mother mixes colors that don’t necessarily go together, her stylish yet never trendy approach to decorating (she’s had the same upholstered sofa for 20 years, and it still looks fabulous), and even the way she arranges the art. “On the third floor where the guest rooms are, that big Warhol portrait of Mrs. Herrera is just hanging casually in a hallway,” reports McGrath. Back downtown, a mind-set of dusting off the old and purposefully adding to it to create a sophisticated yet familyfriendly space informed the whole process. The grand living room, which had formerly encompassed the dining area, was divided into four quadrants. A pair of red velvet sofas— one dating to Patricia’s first bachelorette pad and another
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LEFT A 1940s DESK AND ANTIQUE CHAIR SIT BELOW A 19TH-CENTURY GILTWOOD MIRROR IN THE MASTER BEDROOM. RUG BY CROSBY STREET STUDIOS. BELOW HERRERA LANSING’S CHILDREN PLAY IN A HALLWAY WRAPPED
custom-made to mirror it—anchor the space, while a burlwood center table McGrath found at an auction separates two of the seating areas. As such, it feels both intimate and vast, a perfect space for entertaining, like when Patricia hosted a cocktail party for 150 guests last spring to welcome new Carolina Herrera creative director Wes Gordon. The library was transformed into a dining room, which doubles as Patricia’s office and a homework zone for the children. “I really hate the idea that you have a room you don’t use, and I feel like dining rooms often become that,” she says of the multipurpose arrangement. “My mom was the one who said, ‘You should move the dining table in here.’ And she was right!” That space leads into a family room clad with a wonderfully charming vintage seersucker fabric. On any given weekend, it’s piled with teenagers, and even hosted young Carolina’s eighth-grade graduation party. The apartment used to end here, but in the last remodeling the Lansings added a spacious eat-in kitchen and terrace by cantilevering off the back of the building. The tiered outdoor space features a ping-pong table set against a climbing vine and a proper dining milieu under a pergola for entertaining alfresco. “I like noise, music, flowers, food, and just life in my house,” says Patricia. The bedrooms are housed up a gracious staircase, the
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IN A CY TWOMBLY– INSPIRED WALLPAPER BY ROBERT PASSAL; CAROLINA (FRONT) WEARS AN LHD DRESS. OPPOSITE A VINTAGE LANTERN CROWNS THE KITCHEN; CUSTOM TABLE BY FOUNDRYWOOD.
landing of which is peppered with contemporary art and family photographs. Patricia credits her husband as the curator. “Everything that’s on the walls he does; everything that’s off the walls I do,” she asserts, adding that he has marked each year of their children’s lives with some kind of a portrait, ranging from Nicolas Sanchez’s ballpoint-pen drawings to a Duane Michals photo series. In the master bedroom, McGrath reupholstered an existing sofa and chairs to create a comfortable seating area on one end, and installed a black Directoire desk and an oversize gilded Louis Philippe mirror at the other. “When it arrived,” Patricia says of the mirror, “I was like, ‘Patrick, it’s the whole wall.’ He was like, ‘Just live with it.’ ” Reflecting on the collaborative process, she adds, “We had so much fun and generally agreed on everything. He’s super talented and has such a great, refined eye, but it’s also moved with the times. I wish I had many houses and unlimited budgets,” she continues, “and I would do everything with him.” She did briefly consider heading uptown after she and Gerrity had children, and friends kept asking when they were moving. But ultimately “there was never anything I liked more. Space is a commodity in New York, and I love that this one is unexpected,” she says. “Most people walking by would never know this apartment exists.”
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.
WILD LIFE
COVER (NEWSSTANDS), PAGES 80–89: Select pieces throughout by
Kravitz Design; kravitzdesign.com. Hammock (similar) by L’aviva Home; lavivahome.com. PAGES 82–83: Vintage redwood table from Todd Merrill Studio; toddmerrillstudio.com. Togo sofa by Michel Ducaroy for Ligne Roset; ligne-roset.com. Mural by Chris Wyrick; chriswyrick.com. PAGE 85: Mucki Bench by Sergio Rodrigues; espasso.com. Bamboo blinds (similar) from Leroy Merlin; leroymerlin.co.za. PAGES 86–87: Murals by Chris Wyrick; chriswyrick .com. Wooden lounge chairs (similar) by Zanini de Zanine; espasso.com. Vintage Willy Rizzo lacquered cocktail table; willyrizzo.com. Maxx speaker system by Wilson Audio; wilsonaudio.com. In background, Eero Saarinen round dining table for Knoll from Design Within Reach; dwr.com. PAGES 88–89: In guesthouse great room, mural by Chris Wyrick; chriswyrick.com. Petalas cocktail table by Jorge Zalszupin; espasso.com. Shag rug by Unique Carpets Ltd.; uniquecarpetsltd.com. In basement, Leon Rosen for Pace swivel chair from 1stdibs; 1stdibs.com. Horse bust from Church Boutique; churchboutique.com.
FAIRY-TALE ENDING
COVER (SUBSCRIBERS), PAGES 90–105: Interiors by Marco Scarani;
917-963-1332; in collaboration with Michel Pinet; michel-pinet.fr. Architecture by Michel Pinet. Landscape design by Tania Compton; taniacompton.co.uk. PAGES 90–91: On sofas and Louis XV chairs, Les Indiennes linen by Braquenié (T); pierrefrey.com. PAGE 94: Table by Michel Pinet; michel-pinet.fr. Pots by MC Pots; +212-662-066-119. PAGES 96–97: In dining room, on Directoire mahogany chairs,
cushions of Damier cotton by Le Manach (T); pierrefrey.com; with trim by Passementerie Verrier (T); passementerie-verrier.com. Curtains with trim by Passementerie Verrier (T). COVER, PAGE 98: Canopy bed by Michel Pinet; michel-pinet.fr; fabric for curtains, walls, Louis XV chaise longue, canopy, and Louis XVI chair; Le Grand Genois cotton by Braquenié (T); pierrefrey.com. Bed linens by Alexandre Turpault; alexandre-turpault.com. PAGE 99: On walls, wallpaper by Atelier d’Offard (T); atelierdoffard.com. On antique armchairs, Balmoral cotton, in bleu, by Le Manach (T); pierrefrey.com. PAGE 101: Range by La Cornue; lacornueusa.com. PAGE 102: On bergère, and bed, headboard, and curtains of; Greuze cotton, in bleu rouge, by Le Manach (T); pierrefrey.com. Canopy of (outer curtains) Greuze cotton, in bleu rouge, and (inner curtains) Pekin Rayure silk, in pink; both by Le Manach (T). On walls, Le Grand Corail Vermiculé Négatif cotton, in nattier, by Braquenié (T). PAGE 103: Lit à la polonaise of (outer curtains) Butterfly cotton, in red, by Le Manach (T); pierrefrey.com; and (inner curtains) Rambouillet silk, in bleu tomette, by Braquenié (T).
FAMILY MEN
PAGES 106–113: Interiors by Selldorf Architects; selldorf.com. Interior architecture by Selldorf Architects with Matthew Schnepf Architect; matthewschnepf.com. PAGE 106: On 360° armchairs by Vica; vica.com; custom handwoven cork-blend by Sylvie Johnson Paris; sylvie-johnson-paris.com. Custom Murano glass Seguso for Vica chandelier; vica.com. PAGE 107: Custom Murano glass Seguso for Vica chandelier; vica.com. Michel Mangematin glass and bronze cocktail table from 1stdibs; 1stdibs .com. PAGE 108: Collector’s shelving system by Amuneal; amuneal.com. Vintage 1930s French club chair from Karl Kemp Antiques; karlkemp .com. Vintage Paul McCobb cocktail tables (similar) from 1stdibs; 1stdibs .com. Custom hand-knotted silk carpet by Joseph Carini Carpets; josephcarinicarpets.com. PAGE 109: In library, on custom sofa by Vica; vica.com; Bosforo cotton velvet, in muschio, by Brochio (T); brochier.it.
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. 5. 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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Pillows of Gran Battocchio cottoncashmere, in funghi & gold, by Fortuny (T); fortuny.com. In living room, William Haines table and chairs (similar) from 1stdibs; 1stdibs.com. On Pouffe ottoman by Vica; Paso horsehair fabric by John Boyd Textiles (T); donghia.com. On Bean sofa by Vica, cotton velvet by Gretchen Bellinger; gretchen bellinger.com. PAGE 110: On custom banquette by Selldorf Architects; selldorf.com; Echo leather, in Mediterranean, by Moore & Giles (T); mooreandgiles.com. Campanino classica chairs, in beechwood black lacquer, by F.lli Levaggi; levaggisedie.it. Seat cushions and pillows of fabric by Fortuny (T); fortuny.com. Concrete floor tiles by Clé; cletile.com. Miele gas cooktop; miele.com. PAGE 111: In kitchen, vintage Osvaldo Borsani and Adriano di Spilimbergo shelving from Nicholas Kilner; nicholaskilner.com. In girls’ bedroom, Fornasetti II Nuvolette wallpaper by Cole & Son from Kravet; kravet.com. PAGE 112: In master bath, rain showerhead by Dornbracht; dornbracht.com. Custom cabinetry with Vica fittings; vica.com. In master bedroom, on daybed and headboard, Cambon wool blend, in lamb, by Rogers & Goffigon (T); rogersandgoffigon.com. PAGE 113: Custom mirror and brass tables by Vica; vica.com. Campanino classica chairs, in beechwood black lacquer, by F.lli Levaggi; levaggisedie.it.
SEA CHANGE
PAGES 114–121: Artworks throughout by Johan Creten and Jean-Michel Othoniel; perrotin.com. PAGES 114–15: Chairs by Drucker; drucker.fr. Victoria range and toaster by Smeg; smegusa.com. PAGE 117: Bronze andirons by Johan Creten; perrotin.com. PAGES 118–19: In living room, floor lamp (left) by Nanda Vigo; nandavigo.com. Bronze andirons and stools, all by Johan Creten; perrotin.com. PAGE 120: In bedroom, aluminum and Saint Laurent marbletopped side tables by Jean-Michel Othoniel; perrotin.com. Glazed stoneware lamps by Johan Creten.
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A FINE ROMANCE
PAGES 122–25: Landscape design by Ronald van der Hilst; ronaldvanderhilst.com.
URBAN OASIS
PAGES 126–131: Interiors by Patrick McGrath Design; patrickmcgrath design.com. Architecture by David Bae Architect; davidbae.net. PAGES 126–27: On custom dining table, vases from Global Table; globaltable .com. Chandelier by Jonathan Adler; jonathanadler.com. On millwork, Mistral paint by Benjamin Moore; benjaminmoore.com. On custom bench, Lysette Reverse linen, in navy on tan, by Quadrille (T); quadrille fabrics.com. PAGES 128–29: In kitchen, sink and fittings by Rohl; rohlhome.com. In living room, on sofas, velvet by Pierre Frey (T); pierrefrey.com. Chairs (center) by Meg Braff; megbraffdesigns.com. On blue-painted armchairs (left, background), Batik Raisin cotton by Le Manach (T). On console (left, background), antique Uzbek silk ikat (as tablecloth) from Xenomania; 212-249-3990; and Barley Twist Candlestick table lamps by Vaughan (T); vaughandesigns.com. Burl-wood table (center, background) from Dessin Fournir (T); dessinfournir .com. PAGE 130: In master bedroom, rug by Crosby Street Studios; crosbystreetstudios.com. Curtains and pillow of Bordure Cheverny cotton, in indigo, by Braquenié (T); pierrefrey.com. In hallway, on walls, wallpaper by Robert Passal Interior Design; putnammason.com. Toy bear from FAO Schwarz; faoschwarz.com. Lighting by Visual Comfort from Circa Lighting; circalighting.com. PAGE 131: On custom table by Foundrywood; foundrywood.com; dinnerware by Royal Copenhagen; royalcopenhagen.com; and flatware by Christofle; christofle.com. TwoValve still and sparkling water tap by Crysalli; crysalli.com. On brick wall, Blacktop paint by Benjamin Moore; benjaminmoore.com. On cabinetry, Philipsburg Blue paint by Benjamin Moore. Range and microwave by Viking; vikingrange .com. Wine refrigerator by Sub-Zero; subzero-wolf.com.
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W E ’ R E G O I N G TO C O LO M B I A a n d yo u s h o u l d j o i n u s ! M ay 1 1 t h - 1 9 t h / J u n e 1 5 t h - 2 3 r d
Photograph / Amanda Villarosa
C A R TAG E N A + M E D E L L Í N 9 - DAY I T I N E R A RY
B O O K YO U R S P O T N O W a t e l c a m i n o .t r a v e l / w o m e n - w h o - t r a v e l
last word
When construction on a resort in Japan’s Tochigi prefecture called for the removal of hundreds of trees, Tokyo-based architect Junya Ishigami saw to it that Mother Nature prevailed. Relocating the endangered specimens to an adjacent meadow, he set about creating a breathtaking new landscape, inspired by the site’s former lives as a paddy field and forest. Water, drawn from an existing irrigation system, now fills countless irregularly spaced ponds—their curvilinear forms nestled into the moss-covered ground amid the arboreal transplants. A poetic layering of past upon present, the Water Garden, completed last summer at the Art Biotop hotel and artist residency, reflects Ishigami’s ongoing investigations merging the natural and built environments. As he writes, “I wish to think about architecture freely; to expand my perspective on architecture as flexibly, broadly, and subtly as possible, beyond the stereotypes of what architecture is considered to be.” This June, he’ll defy expectations yet again when he unveils the 2019 Serpentine Pavilion, a sloping slate roof that rises from the land like a “hill made out of rocks.” —SAM COCHRAN
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IWAN BAAN
Rescue Mission