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Architectural Digest USA - 10 2018

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THE INTERNATIONAL DESIGN AUTHORITY OCTOBER 2018
THE NEW
CREATIVES
DESIGNERS
ON THE RISE
MICHAEL S. SMITH’S
MANHATTAN MASTERPIECE
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DAVIDYURMAN.COM
888-DYURMAN
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Beauty awakens
Set your shades in motion at sunrise,
sunset and anytime in-between—automatically.
Hunter Douglas shades with PowerView®
Motorization move to schedules you create.
hunterdouglas.com
© 2018 Hunter Douglas. All trademarks used herein are the property of their respective owners.
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Photo Michel Gibert. 1Conditions apply, ask your store for more details. 2Program available on selected items and subject to availability.
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“This collection is a tribute to the adventurer we all dreamed of being. A journey is a transformative experience,
and we wanted each piece to capture the feeling of bringing home worldly treasures from faraway places.”
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Montgolfière, sofa.
+@/@QHRHDMMD,"GDRR, cocktail tables.
Up, lamps.
French Art de Vivre
Design Marcel Wanders.
ƂComplimentary 3D Interior Design Service 1 LjQuick Ship program available 2
www.roche-bobois.com
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CONTENTS october
114
28 Editor’s Letter
32 Object Lesson
How the slim sofa Ludwig Mies van der
Rohe designed for Philip Johnson became
a modern icon.
39 Discoveries
Ashe + Leandro crafts a backdrop for
creativity at Jake Gyllenhaal’s New York
office . . . Tony Duquette’s fantastical designs
charm a new generation . . . Joseph Dirand
helps launch Paris’s new It restaurant . . .
Martina Mondadori Sartogo’s cult lifestyle
brand catches on Stateside . . . A trailblazing
new medical center blends world-class art
with architectural innovation . . . Our favorite
light fixtures . . . Neal Beckstedt uses color
to rev up a Manhattan pied-à-terre . . . How
the 3-D-printed house will transform how
we live and build . . . Inside one family’s fabled
getaway on the Côte d’Azur . . . and more!
(CONTINUED ON PAGE 18)
14
ARC H D IGE S T.COM
MICHAEL MUNDY (2); TOP: ARP © 2018 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/VG BILD-KUNST, BONN
TWO VIEWS OF A
MANHATTAN
RESIDENCE DESIGNED
BY MICHAEL S. SMITH.
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Te xt u re d . To n a l . T ime l e ss.
feat. T H E I D R I S C O L L E C T I O N
Rugs for the thoughtfully layered home.
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CONTENTS october
144
STERLING RUBY IN
HIS LOS ANGELES–
AREA STUDIO.
98
SASHA BIKOFF AT THE
KIPS BAY DECORATOR
SHOW HOUSE.
156
87 New Creatives
The latest crop of design stars upend
convention, celebrate cultural differences,
and revitalize traditions of all kinds.
114 High Style
Under the guidance of Michael S. Smith, one
of Manhattan’s most storied residences gets a
glorious new lease on life. BY JAMES REGINATO
128 Strange Alchemy
Gabriel Hendifar and Jeremy Anderson’s
New York City loft showcases the couple’s
dazzling aesthetic. BY MAYER RUS
136 Homeward Bound
When it came time to design her London
townhouse, young globe-trotter Nina Flohr
enlisted Veere Grenney to help her conjure
domestic bliss. BY GIANLUCA LONGO
(CONTINUED ON PAGE 20)
CLOCKWISE FROM TOP LEFT: JASON SCHMIDT; WILLIAM ABRANOWICZ; AMY LOMBARD
INSIDE A SAN FRANCISCO
HOME WITH INTERIORS BY
CHARLES DE LISLE.
©2018 WATERWORKS IS A REGISTERED TRADEMARK OF WATERWORKS IP COMPANY, LLC
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Cabinetry & Hardware
by Waterworks.
Design Authenticity.
Meticulous Craftsmanship.
Service Excellence.
WATERWORKS.COM
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CONTENTS october
128
144 Supersize It
Sterling Ruby’s vast studio is a testament
to the scope and ambition of the artist’s
practice. BY MAYER RUS
A MANHATTAN
DUPLEX DESIGNED
BY MICHAEL S. SMITH.
“HIGH STYLE,” PAGE
114. PHOTOGRAPHY
BY MICHAEL MUNDY.
STYLED BY CAROLINA
IRVING. FOR DETAILS
SEE RESOURCES.
150 Lush Life
With nature threatening to take over,
Daniel Romualdez called on Miranda Brooks
to tame and transform the acres surrounding
his beloved Connecticut retreat.
BY PAGE DICKEY
FOLLOW @ARCHDIGEST
156 Back to the Future
Marmol Radziner and Charles de Lisle
restore and revive a classic midcentury
home in San Francisco. BY MAYER RUS
168 Resources
The designers, architects, and products
featured this month.
170 Last Word
Ashley Hicks sheds new light on the
legendary quarters of Buckingham Palace.
20
ARC HDIG ES T.CO M
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CORRECTION IN “CAR TALK” (SEPTEMBER), WE INCORRECTLY
IDENTIFIED NICOLA BULGARI AS THE GREAT-GRANDSON OF
BULGARI FOUNDER SOTIRIOS VOULGARIS. HE IS VOULGARIS’S
GRANDSON. WE REGRET THE ERROR.
FROM TOP: FRANÇOIS DISCHINGER; MICHAEL MUNDY; ON COVER: © 2018 THE FRANZ KLINE ESTATE/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
JEREMY ANDERSON
AND GABRIEL
HENDIFAR’S NEW
YORK CITY LOFT.
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S PEC IAL ADVERTIS I N G S EC TI O N
DESIGN STOR IES
1
2
3
SAMUEL & SONS
CHEVALLERIE BY
TIMOTHY CORRIGAN
4
Created by world-renowned interior designer Timothy Corrigan for Samuel & Sons, the
Chevallerie collection is inspired by 18th-century documentary trimmings and successfully
marries European grandeur with a modern aesthetic. Named after Corrigan’s 18th-century
Château de La Chevallerie, located on the northern border of France’s Loire Valley, the
collection employs intricate elements, highly complex weave structures, and a mélange of
sophisticated hues, which are composed of several rich traditional combinations balanced
by the subtle mix of 21st-century palettes.
1. INTERIOR DESIGNER TIMOTHY CORRIGAN
In his projects around the globe, Corrigan carefully mixes furnishings, art, and design from
2. CHEVALLERIE CRETE BORDER IN MARZIPAN
different periods to create spaces that are interesting, beautifully appointed, and inviting.
3. CLOCKWISE: CHEVALLERIE KEY TASSELS IN VERT, BLEU, ORO,
“I think that when you have disparate items in very different styles, there’s a tension that’s
MACARON, BORDEAUX, MARZIPAN, CRÉME, JARDIN,
AMANDE, ARGENT, AND PÉTALE
4. CHEVALLERIE SCALLOP TASSEL FRINGE IN MARZIPAN
created,” he said. “Whether you’re mixing new and old, expensive and inexpensive, or
ornate and simple, I love the exchange that happens whenever you put two very different
pieces together.”
In the Chevallerie collection of passementerie for Samuel & Sons, Corrigan exhibits his
aesthetic of European elegance infused with California casual in both the line’s tactile and
visual elements.
VIEW THESE AND OTHER PRODUCTS AT ARCHDIGEST360.COM
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An Elegant Indu lgence
for t he Home
Timothy Corrigan
FOR SA MU EL & SONS
I S T R I M.
samuelandsons.com
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THE INTERNATIONAL DESIGN AUTHORITY VOLUME 75 NUMBER 9
EDITOR IN CHIEF
Amy Astley
CREATIVE DIRECTOR David Sebbah EDITORIAL OPERATIONS DIRECTOR Diane Dragan
EXECUTIVE EDITOR Shax Riegler EXECUTIVE DIRECTOR, DIGITAL Keith Pollock
INTERIORS & GARDEN DIRECTOR Alison Levasseur STYLE DIRECTOR Jane Keltner de Valle FEATURES DIRECTOR Sam Cochran
DECORATIVE ARTS EDITOR Mitchell Owens WEST COAST EDITOR Mayer Rus
FEATURES
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Sydney Wasserman
ENTERTAINMENT EDITORS
Carson Griffith (Digital), Maxwell Losgar
DESIGN EDITOR, DIGITAL Amanda Sims
EDITOR, DIGITAL David Foxley
HOME EDITOR, DIGITAL Lindsey Mather
DESIGN REPORTER, DIGITAL Hadley Keller
ASSOCIATE FEATURES EDITOR, DIGITAL Nick Mafi
EDITORIAL ASSISTANTS Elizabeth Fazzare,
Katherine McGrath (Digital), Carly Olson
ASSISTANT TO THE EDITOR IN CHIEF Annie Ballaine
MARKET
MARKET DIRECTOR Parker Bowie Larson
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PRODUCTION
PRODUCTION DIRECTOR Kevin Roff
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COPY AND RESEARCH
COPY DIRECTOR Joyce Rubin
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COPY MANAGER Adriana Bürgi
RESEARCH MANAGER Leslie Anne Wiggins
CREATIVE
DESIGN DIRECTOR Natalie Do
VISUALS DIRECTOR Michael Shome
VISUALS EDITOR, DIGITAL Melissa Maria
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Gabrielle Pilotti Langdon
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TOUGH E NOU GH TO VENTURE OUTSIDE
BEAUTIF UL EN O UG H T O LIVE INS IDE .
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editor’s letter
2
1. THE ENTRANCE
HALL OF A GRAND
MANHATTAN APARTMENT DESIGNED BY
MICHAEL S. SMITH.
2. STRAWBERRY FIELDS
IN A SAN FRANCISCO
BEDROOM; INTERIORS
BY CHARLES DE LISLE.
3. ARCHITECT
DANIEL ROMUALDEZ’S
CONNECTICUT
GARDEN, DESIGNED
BY MIRANDA BROOKS.
4. WITH APPARATUS
FOUNDERS JEREMY
ANDERSON AND
GABRIEL HENDIFAR.
3
“The apartment is serene and quiet,
not jumpy. Things reveal themselves to
you slowly.” —Designer Michael S. Smith
In the October issue AD trains our spotlight on fresh forces in the
design world. To that end we present a memorable San Francisco
project by just-under-the-radar California designer Charles de
Lisle, whose singular, hard-to-pin-down vision (haute hippie craft
meets international high design—with a playful twist!) will surely
catapult him to new heights in the field. Gabriel Hendifar and
Jeremy Anderson, the talented duo behind the buzzy NYC lighting
firm Apparatus, are well known in the industry but not yet household names outside it. So it is a distinct pleasure to share the specific,
theatrical, and frankly sexy taste manifested in their New York City
loft. Elsewhere in the magazine is a special section edited by our
own Sam Cochran, featuring the best and the brightest young breakouts in architecture and furniture, landscape, and interior design.
But the house that takes cover honors has nothing to do with the
latest and the greatest. Instead, it represents the most recent high
point in the long-term relationship of three people of superlative
taste and vast experience. AD100 designer Michael S. Smith has
worked harmoniously with these clients, a globe-trotting couple, for
25 years. Over that time, they have created an astonishing number
of impressive residences together, including the sublime art and
antiques–filled New York apartment shown here. Throughout the
nearly five-year journey to bring this enormous space into
shape, the clients remained involved. “Most people don’t
love the process as much as they do and aren’t prepared to
be as brave,” comments Smith. Theirs is clearly that rare
coalition that can stand the test of time—and the strain of
renovation! The result is a home for the ages.
28
AR C H D IGE S T.COM
4
FALL MUST-READ:
ARCHITECTURAL DIGEST:
AUTOBIOGRAPHY OF
A MAGAZINE 1920–2010
(RIZZOLI), BY PAIGE
RENSE, WHO RAN THIS
PUBLICATION FOR
NEARLY FOUR DECADES.
AMY ASTLEY
Editor in Chief
@amytastley
1. MICHAEL MUNDY; © 2018 AGNES MARTIN/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; 2. WILLIAM ABRANOWICZ; 3. NGOC MINH NGO;
4. PAOLO RIOLZI; BOOK: © ARCHITECTURAL DIGEST: AUTOBIOGRAPHY OF A MAGAZINE 1920–2010 BY PAIGE RENSE, RIZZOLI NEW YORK, 2018
1
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featuring 37 color plates. Highlighted artists include: Avery, Bellows, Blakelock, Burchfield,
Cole, Cropsey, Gifford, Hassam, Lever, Moran, Richards, Sloane, Whittredge, and Wiggins.
Eric Sloane (1905–1985)
November Wind
Oil on board
24" h. x 42" w.
Inscribed and signed lower left:
NOVEMBER WIND Eric Sloane
To request a catalogue, call 212-744-3586, email gallery@questroyalfineart.com,
or visit questroyalfineart.com
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THE STORY BEHIND AN ICONIC DESIGN
Pure and Simple
How the slim sofa
Ludwig Mies van der Rohe
designed for Philip Johnson
became a modern icon
INTERIOR DESIGNER
BRUCE BIERMAN
DEPLOYED A LIPSTICKRED BARCELONA
COUCH IN A
MANHATTAN LOFT.
PETER MARGONELLI/COURTESY OF BRUCE BIERMAN DESIGN
object lesson
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EVERY THING WE EVER
I M A G I NE D
AND THEN SOME
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The future is the 2019 RDX.
©2018 Acura. Acura, RDX, A-Spec, Jewel Eye, SH-AWD, and the stylized “A” logo are trademarks of Honda Motor Co., Ltd.
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object lesson
2
1
34
ARC HDIG ES T.COM
3
4
1. ROGER DAVIES; 2. NORMAN MCGRATH; 3. COURTESY OF KNOLL INC.; 4. DOUGLAS FRIEDMAN
I
n 1930, little-known American architect Philip Johnson
asked cutting-edge German talent Ludwig Mies van der
Rohe to design his New York City apartment.
Mies was busy: He had just erected the Barcelona
Pavilion, completed Villa Tugendhat, and been named the
director of the Bauhaus. But he accepted what was more
or less an interior-decorating commission, as an opportunity
to employ some of his newly minted furniture designs Stateside.
The project, it turned out, would render yet another Miesian
icon, its given name as no-nonsense as its form: Couch.
The sleek piece—a hand-tufted cowhide cushion and single
cylindrical bolster laid on an African-mahogany platform with
tubular steel legs—was wildly useful in the small apartment.
“It’s an extremely simple way of delineating space,” explains
Paul Galloway, MoMA’s collection specialist, architecture and
design. “It could sit against the wall or by a window. And because
it’s low, it didn’t block the space.”
It was Johnson’s next place, however—the famous Glass House
completed in 1949 in New Canaan, Connecticut—where the couch
got the most publicity. Here the piece’s low profile allowed a clear
view out the windows to the sweeping vista beyond. Needless to
say, it quickly rose to cult status.
Expensive and difficult to make, the couches were manufactured in minuscule batches in Berlin until 1964, when Knoll took
over production (a new one costs around $10,000). In fact, it was
Knoll—not Mies—that awarded the sofa the name Barcelona in
1987, for its marked resemblance to the Barcelona chair and stool
designed for an international exhibition in Spain in 1929.
While the early editions go for serious sums at auction, “even
without the cushion,” notes Galloway, “it’s strictly due to rarity.
The Knoll ones are actually better made.” Today’s come in a variety
of colors and customizations, including one rather surprising
rendition found in the Shelter Island home of Knoll CEO Andrew
Cogan: a snappy version in pink. knoll.com —HANNAH MARTIN
1. A PINK BARCELONA AT KNOLL CEO ANDREW
COGAN’S SHELTER ISLAND RETREAT. 2. IN CHESTNUT
LEATHER AT PHILIP JOHNSON’S GLASS HOUSE.
3. KNOLL’S BASIC BLACK MODEL. 4. ARCHITECTURAL
DESIGNER SIMON JACOBSEN USED A CREAMY
COUCH IN THIS NANTUCKET HOME.
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Chicago Sectional with Gathering Island
Fine furniture for the way we live today. Handmade in America since 1900.
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Style runs in the family.
Kids’ furnishings now at One Kings Lane.
O N E K I N G S L A N E .CO M / K I D S
S O U T H A M P TO N
S O H O O P E N I N G FA L L 20 1 8
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EDITED BY SAM COCHRAN
RIVA MARKER AND
JAKE GYLLENHAAL
AT THE OFFICE OF
THEIR PRODUCTION
COMPANY, NINE
STORIES. HE SITS IN A
PERCIVAL LAFER CHAIR
FROM 1STDIBS, WHILE
SHE IS ON A KOTI SOFA
BY HEM. THE FLOOR
LAMP IS BY RUEMMLER.
FOR DETAILS
SEE RESOURCES.
GROOMING BY KRISTAN SERAFINO
DISCOVERIES
THE BEST IN SHOPPING, DESIGN, AND STYLE
World of: Jake Gyllenhaal
With the help of Ashe + Leandro, the Hollywood
star and his production partner Riva Marker craft a
backdrop for creativity at their Manhattan offices
P H OTO G R APHY BY SUSANNA HOWE
STYLED BY COLIN KING
ARCHDIGEST.COM
39
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DISCOVERIES world of
1. POSTERS FOR
GYLLENHAAL’S HIT
FILMS HANG IN THE
SCREENING ROOM;
GUILLERME ET
CHAMBRON ARMCHAIR
FROM 1STDIBS.
2. IN MARKER’S OFFICE,
A VINTAGE TEAK DESK
FACES CHAIRS BY
MORAN WOODWORKED
FURNITURE, ALL FROM
1STDIBS. 3. IN THE
KITCHEN, WEST ELM
CHAIRS FLANK A
SAARINEN TABLE.
3
1 2
W
hen you’re in the business of producing movies, television,
and theater, you understand the importance of establishing
the right mise-en-scène. Just ask Jake Gyllenhaal and Riva
Marker, founding partners of the New York City–based
production company Nine Stories. Established in 2015 and
named after J. D. Salinger’s 1953 anthology of short fiction,
Nine Stories specializes in what Marker describes as “provocative, characterdriven material that emphasizes both quality and commercial appeal.”
The company’s offices are located in a SoHo apartment that was recently
transformed by the AD100 firm Ashe + Leandro. “We wanted to have a sense
of play in the design. It’s a place where filmmakers and artists can feel empowered to be open, inventive, and collaborative,” Gyllenhaal says. Partners Ariel
Ashe and Reinaldo Leandro responded with a design scheme that eschews the
trappings of slick Hollywood glamour in favor of something moodier, cozier,
and more redolent of Manhattan. “Think of it as the anti-CAA,” Ashe explains,
referring to the Los Angeles offices of the entertainment behemoth Creative
Artists Agency.
The design is a sophisticated mélange of midcentury-modern classics and
vintage desks culled from 1stdibs, abundant artwork and movie posters,
and bespoke elements such as the dapper wood screen that defines one edge
of the communal seating area. Marker’s office has a bright,
feminine quality, in contrast to Gyllenhaal’s darker, more
pensive lair. “Jake’s office feels very serious, but there are a
few humorous moments and lots of personal memorabilia
to inspire him,” says Ashe, who met the actor-producer
when they were teenagers on Martha’s Vineyard. “He’s
actually very funny. He did the best impression of a
velociraptor when we were kids.” —MAYER RUS
“It’s a place where filmmakers
and artists can feel empowered
to be open, inventive, and
collaborative,” says Gyllenhaal.
40
ARC HDIG ES T.COM
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Inspired by chefs.
Created for you.
Michelin Three Star Chef Christopher Kostow
for Samsung Chef Collection appliances.
© 2018 Samsung Electronics America, Inc.
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DISCOVERIES debut
3
2
1
Walk on
the Wild Side
4
Tony Duquette’s fantastical
designs strut their stuff
for a new generation
5
42
ARC HDIG ES T.COM
1. THE LIVING ROOM
OF DAWNRIDGE, TONY
DUQUETTE’S CALIFORNIA
HOME. 2. LAPIS LAZULI
BOX. 3. SUNBURST
CANDLESTICK. 4. SCREEN.
5. CONSOLE TABLE, A
1960s DESIGN FOR ART
COLLECTORS PALMER AND
CHARLES DUCOMMUN.
T
hink Tony Duquette, and certain
images spring instantly to mind.
Folding screens spattered with giant
sunbursts. A coffered ceiling made
of plastic serving trays. Chandeliers
laden with glistening abalone shells.
Then there’s the gilded biomorphic console table
that resembles, depending on one’s vantage point,
a writhing sea creature or a roller coaster on Mars.
Call it Space Age Baroque—and, according to
Duquette’s most ardent fans, it’s the kind of overegging that the world is ready for. “We’re entering
a maximalist epoch, and Tony is a maximalist icon,”
exults Hutton Wilkinson, a designer of interiors
and jewelry who was Duquette’s longtime business
partner and has been the keeper of his 24K-gold
flame since the latter’s death in 1999, at the age of 85.
Sister companies Pearson and Maitland-Smith are
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1. ASIAN EFFECTS
AT DAWNRIDGE. 2. A
CHINOISERIE SIDE CHAIR.
3. SHOOTING STARS
ERUPT FROM A FREEFORM MIRROR.
in full agreement. In association with Wilkinson—
author of the new Abrams salute Tony Duquette’s
Dawnridge—the firms are launching a trove of
delirious Duquettiana, from reproductions
of objects that he created for his own homes
to inspired-by furnishings that nimbly
channel the master’s bizarro magic.
Some designs were conjured up for
clients tobacco-heiress Doris Duke
(Pearson’s Duke sofa) and modern-art
patrons Palmer and Charles Ducommun
(that famous console table, by MaitlandSmith). Others existed as prototypes,
such as the Lotus floor lamp. MaitlandSmith is reproducing it in bronze—though,
Wilkinson notes, Duquette likely would have
used cast resin, one of his go-to materials.
As for the Elsie table, it’s a scaled-up version
of a Japanese antique that Duquette’s mentor,
the decorator Elsie de Wolfe, gave him as a gift.
“My favorite piece must be the hand-painted
malachite-and-brass desk. Or is it the Louis XV–style
bombé chest entirely veneered in abalone shell?”
Wilkinson muses, adding, “Tony used to say, ‘If there
were only one abalone shell in the world, wars would
be fought over it for its beauty.’ ” maitland-smith.com;
pearsonco.com —MITCHELL OWENS
1. © 2018 TIM STREET-PORTER/COURTESY OF ABRAMS; 2. COURTESY OF PEARSON; 3. COURTESY OF MAITLAND-SMITH
2
“We’re entering a
maximalist epoch,
and Tony is a
maximalist icon.”
—Hutton Wilkinson
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DISCOVERIES hot spot
1. AD100 DESIGNER
JOSEPH DIRAND
CONCEIVED THE
INTERIORS AT
GIRAFE; CUSTOM
LIGHT FIXTURES.
2. THE EXPANSIVE
TERRACE AFFORDS
VIEWS OF THE
EIFFEL TOWER.
3. THE BAR WAS
CARVED FROM
A SINGLE PIECE
OF MARBLE.
2
Tour de Force
A
n impressive winning streak continues in
Paris, where Girafe, one of the city’s most
anticipated new restaurants, quietly opened
over the summer. Tucked inside the Palais
de Chaillot—home to the Cité de l’Architecture
et du Patrimoine—the hot spot marks the
latest project from restaurateur Gilles Malafosse, his associate
Laurent de Gourcuff, and AD100 designer Joseph Dirand, the
brain trust behind local favorites Loulou and Monsieur Bleu.
Like those runaway successes, Girafe promises to lure residents
and visitors alike, thanks in no small part to Dirand’s interiors—
intimate, at times theatrical, spaces inspired by the grand
Parisian cafés of the 1930s. A soft palette of beiges and creams
showcases custom ceiling fixtures and sconces, Platner dining
chairs, and organic touches like oak paneling, natural raffia
insets, and a statement bar carved out of a solid piece of marble.
Grab a seat and order one of the many seafood delicacies on
the menu, which features contemporary twists on traditional
brasserie fare. (Think swordfish Milanese, fresh daily catches,
and a traditional steak au poivre.) Or head outside to the huge
terrace and enjoy picture-perfect views of the Eiffel Tower.
girafeparis.com —GAY GASSMANN
48
AR C HDIG ES T.COM
3
1.–3. ADRIEN DIRAND
1
Designer Joseph Dirand
teams up with some favorite
collaborators to create
Paris’s new It restaurant
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Explore the Origin of Extraordinary
Let your passions run wild and re-imagine your daily routine, because there
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1
3
2
4
Cabana Fever
6
5
52
AR C H D IGE S T.COM
T
he magazine is just the shop window,”
explains Italian tastemaker Martina
Mondadori Sartogo of Cabana, the
dreamy, clothbound interiors magazine
she launched in 2014. “The real goal
has always been to create products for
the home that give you the same feeling of flipping
through the pages.”
A mere four years later and she’s done just that,
spinning Cabana’s colorful, mix-and-match ethos into
a full-on lifestyle brand that has included tableware
collaborations with Italian favorites such as Richard
Ginori, Laboratorio Paravicini, and Laguna B. And
what Mondadori Sartogo fondly calls her “big Cabana
family” just keeps growing, as she brings some
kindred spirits into the fold this fall.
“I have been friends with Martina—and a big
fan of Cabana—for many years,” says Aerin Lauder,
founder and creative director of Aerin. Having
spent her teenage years in Vienna, Lauder notes that
Cabana’s Austrian-themed fall issue, inspired by a
trip to the Tyrolean Folk Art Museum, proved “the
perfect time to collaborate.” Together they realized
Viennese style for the table, asking artisans to
1. & 4. MIGUEL FLORES-VIANNA; 2. & 3. SILJA MAGG; 5. & 6. COURTESY OF CABANA
1. MARTINA MONDADORI
SARTOGO AT HOME
OUTSIDE VENICE. 2. TABLE
LINENS FROM CABANA’S
NEW LINE FOR AERIN
(AERIN.COM). 3. THE AERIN
COLLECTION’S BEDSIDE
TUMBLER. 4. THE BREAKFAST NOOK AT MONDADORI
SARTOGO’S LONDON HOME.
5. A TABLE SET WITH HER
DESIGNS. 6. CABANA POUF
IN DEDAR VELVET.
Martina Mondadori Sartogo’s
cult lifestyle brand
catches on Stateside
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DISCOVERIES
1
GOOD WORKS
2
Care Package
3
AND AERIN LAUDER WITH
THEIR NEW COLLECTION.
2. THE DUO’S MEDIUM
VASE. 3. THEIR PRINTED
TABLECLOTH.
hand-paint glassware with the folkloric motifs and
to turn textiles used for traditional dress aprons into
prim table linens.
The collaboration comes on the heels of Cabana’s
international e-commerce launch, which Mondadori
Sartogo has celebrated by bringing a selection of new
products to the seventh floor of Bergdorf Goodman.
(The pop-up runs through October 31.) In addition to
introducing Islamic-inspired Richard Ginori dishes,
linens that riff on Persian rugs, and a velvet pouf
modeled after one by Renzo Mongiardino, she has
asked several friends to make their own contributions. Editrix extraordinaire Marian McEvoy has
brought her cork-covered obelisks and mirrors. (“I
commissioned one for my London home,” Mondadori
Sartogo reveals.) Designer Ashley Hicks has created
hand-painted boxes and resin totems. And photographer Miguel Flores-Vianna has rekindled his old love
for marbleized ceramics, a hobby he picked up years
ago in the Hudson Valley. Upon spotting the originals
in his London home, Mondadori Sartogo insisted:
“You’re going to make these again.”
cabanamagazine.com aerin.com —HANNAH MARTIN
54
ARC HDIG ES T.COM
NATURAL LIGHT is typically low on the priority list for
health-care design. But the sun is shining at NewYorkPresbyterian Hospital’s new ambulatory-care center,
designed for chemotherapy, infusion therapy, and
myriad other outpatient treatments and procedures.
Beyond the tower’s glass–and–obeche wood curtain
wall, visitors find a light-filled triple-height lobby, with
floating stairs and a monumental painting by Beatriz
Milhazes—one of two site-specific commissions by
the Brazilian artist for the facility. Both are among the
nearly 400 works curated by Salon 94 gallery.
This art program is just one innovation on display.
The 734,000-square-foot center champions an architectural model that integrates 21st-century care with
patient-centered design. “A lot of it is focused on
reducing anxiety,” explains Erin Nunes Cooper of the
architecture-engineering firm Ballinger, which collaborated on the building with HOK and Pei Cobb Freed &
Partners. Prep rooms double as recovery rooms, providing continuity for patients and their companions.
Hallways run along the perimeter, taking in sunshine
and city views. And MRI facilities are aboveground,
rather than relegated to the basement, as is usually
the case. Notably, the center is home to New York’s
first MRI-guided linear accelerator, the most accurate
cancer-radiation device.
As treatment options change, so, too, can the
physical architecture. Sections of the swirl-patterned
façade are removable so that old equipment can
be replaced. Says Joe Ienuso, senior vice president of
facilities and real estate at NewYork-Presbyterian:
“Technology will continue to evolve, and the building
anticipates that.” —ELIZABETH FAZZARE
ABOVE LIGHT POURS INTO THE LOBBY OF THE NEWYORKPRESBYTERIAN AMBULATORY-CARE CENTER, DESIGNED BY
BALLINGER, HOK, AND PEI COBB FREED & PARTNERS.
1.–3. SILJA MAGG; FAR RIGHT: ALBERT VECERKA/ESTO
A cutting-edge medical
center blends world-class
art with technical and
architectural innovations
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“We are stronger than you, cancer”
Dr. Terri Woodard | Cancer Physician
At MD Anderson Cancer Center, highly specialized cancer experts from multiple disciplines collaborate
to develop personalized care plans based on each patient’s unique needs. This integrated
approach, pioneered here, ensures that every patient receives the best treatment plan from the very start.
Choose MD Anderson first. Call 1-855-894-0145 or visit MakingCancerHistory.com.
Ranked number one in the
nation for cancer care by
U.S. News & World Report.
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DISCOVERIES shopping
Bright Lights
Rustic, retro, or refined, our
favorite fixtures showcase the
materials of the moment
EARTH STUDIES
In ceramics and clay, these
new lamps reveal the hand
of the artisan
FROM LEFT STONE LAMP BY NATALIE
WEINBERGER ($1,850; STORE.NATALIE-W
.COM). OO LAMP BY ENY LEE PARKER (TO
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TABLE LAMP BY IN COMMON WITH ($1,000;
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TABLE LAMP BY AERIN FOR VISUAL COMFORT
($839; AERIN.COM). DUTCH CERAMIC VESSEL
TABLE LAMP BY RH ($695; RH.COM).
56
AR C H D IGE S T.COM
PHOTOGRAPHY BY PIPPA DRUM M OND
STYLED BY DAVID DE QUEVEDO
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T H E
A R T
O F
E S S E N C E
With its ultra-thin wallpaper design, the LG SIGNATURE OLED TV is technological innovation at its greatest.
World-renowned for its superior picture quality and picture-on-wall design, the TV offers a perfect black canvas that plays host to vibrant, accurate color.
Find your LG SIGNATURE TV at www.LGSIGNATURE.com
Included TV-to-AV Box cable is required for TV operation.
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DISCOVERIES shopping
2
3
1
VENETIAN BAROQUE
6
Streamlined shapes and
unexpected hues usher
Murano’s age-old glass craft
into the future
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4
FINISHING
TOUCH
Contemporary
or traditional,
oxidized-metal
fixtures get the
right reaction
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1
58
2
ARC H D IGE S T.COM
3
3. THE URBAN ELECTRIC
CO. DIAMOND PENDANT
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5
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T H E
A R T
O F
E S S E N C E
The LG SIGNATURE refrigerator's beautiful design goes beyond its stunning exterior to a variety of advanced features.
And with innovations like InstaView™ Door-in-Door®, you can see inside with just two simple knocks.
Find your LG SIGNATURE refrigerator at www.LGSIGNATURE.com
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DISCOVERIES shopping
GROOVE THINGS
Chrome lighting in
1970s silhouettes harks
back to disco days
FROM LEFT MARIPOSA LAMP BY
MARCEL WANDERS FOR ROCHE BOBOIS
(FROM $2,345; ROCHE-BOBOIS.COM).
TIDAL TABLE LAMP BY LEE BROOM
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ECART INTERNATIONAL FOR RALPH PUCCI
($3,000; RALPHPUCCI.NET). DOROTHY
TABLE LAMP BY ANOTHER HUMAN ($2,900;
ANOTHERHUMAN.LA). FONTANNA LED
SCONCE BY SONNEMAN—A WAY OF LIGHT
($460; YLIGHTING.COM).
60
AR C H D IGE S T.COM
PRODUCED BY PARKER BOWIE LARSON
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T H E
A R T
O F
E S S E N C E
With the minimal design of LG SIGNATURE laundry machines, technology is refined to its simplest, most exquisite form.
The TWINWash™ system with LG SideKick™ pedestal washer allows you to wash two loads at once. It's the perfect marriage of convenience and beauty.
Find your LG SIGNATURE laundry machine at www.LGSIGNATURE.com
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DISCOVERIES decorating
1. PAINTS BY
BENJAMIN MOORE
BRIGHTEN THE DINING
ROOM MILLWORK AND
WALLS. THE TERRAZZO
TABLE IS BY MAX
LAMB. 2. GOLD LEAF
ACCENTS THE ENTRY.
VINTAGE GERRIT
RIETVELD ZIG-ZAG
CHAIRS; HSIAO CHIN
PAINTING. 3. IN THE
LIVING ROOM, A 1940s
SCREEN STANDS
BEHIND A CUSTOM
SOFA BY NEAL
BECKSTEDT STUDIO.
2
Rainbow Connection
W
hile not exactly a chromophobe,
Neal Beckstedt was never—by
his own admission—an interior
designer you’d go to for rooms
bursting with color. Known
for warmly modern schemes,
where refined materials, rich textures, and sculptural
furnishings tend to be the statement gestures, he
has typically deployed color with a reserve that falls
somewhere between judicious and parsimonious.
And yet. . . .
When a friend connected him with a Hong Kong–
based couple who were looking to renovate a
Manhattan pied-à-terre, Beckstedt knew right away
that the project was going to take him out of his
chromatic comfort zone. “They loved color,” he says.
“In particular, their art collection was supervibrant
and bold. That became the starting point.”
Situated in a West Side building by architect
Thomas Juul-Hansen, the two-bedroom apartment
features an open living-dining space, with great
natural light and enviable views overlooking the High
Line. After dropping the ceilings a couple of inches
to put in lighting—better for displaying artworks by
the likes of Matthew Brandt, Steven Klein, and Marc
Quinn—and installing some millwork for discreet
62
ARC HDIG ES T.COM
3
1.–3. ERIC PIASECKI
1
Inspired by two international
clients, designer Neal Beckstedt
looks beyond his neutral comfort
zone to find a world of color awaits
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DISCOVERIES decorating
TV cabinets and a bar, Beckstedt turned to the
finishes and furnishings.
“It was clear that the clients were attracted to
things that are a little avant-garde,” says the designer,
whose initial acquisitions for the apartment included
an eye-catching Max Lamb dining table made of
engineered terrazzo. Speckling the table’s surface
are flecks of bluish green, golden yellow, and punchy
persimmon red—colors that Beckstedt adopted for
neighboring walls and furniture fabrics. In the living
area, he embellished walls with subtly patterned gold
leaf, upholstered a 1950s Italian sofa in a teal velvet,
and clad an Edward Wormley chaise longue in an
acid-lime velvet with burgundy piping. Joining the
mix are a Johnny Swing coin chair, a Deco-style
folding screen, and vintage Jindrich Halabala lounge
chairs covered in Mongolian sheepskin. The animated ensemble is reflected in the high-gloss ceiling,
into which Beckstedt inserted a recessed oval detail.
“It was all about how we could do a different take
on things,” the designer explains.
In terms of color, the question became, “How far
are we going to go?” Quite a bit further, it turns out.
1. A PUNCHY EGGPLANT WALL MEETS SEAFOAM-GREEN
CURTAINS IN THE MASTER BEDROOM. PHOTOGRAPHS BY
NEWBOLD BOHEMIA. 2. THE GUEST BEDROOM FEATURES
SHADES OF TEAL AND A CUSTOM HEADBOARD.
1
2
In the guest bedroom, Beckstedt used shades of teal
for the bed, walls, and even the ceiling, which he
contrasted with rust-colored curtains. For the master
suite, meanwhile, he opted for a two-tone scheme,
with deep burgundy-meets-aubergine colors on the
bed and walls offset by the pale greens of the ceiling
and curtains.
If this palette marks a departure for Beckstedt,
certain hallmarks remain. “I’m always pushing
pottery—there’s just a warmth and a depth to it,”
says the designer, who chose ceramics ranging from
a modern Berndt Friberg vase to recent sculptural
vessels by the Haas Brothers. Also evident is his
fondness for distinctive details, like the exposed
selvage edges on the master bedroom’s coverlet
and the variations in texture and pile on the living
room carpet. Handwoven in South America, the
rug adds an element of coziness while taking that
space “down a notch, so it didn’t become too glam,”
Beckstedt notes. Clearly, he hasn’t lost all of
his reserve. nbeckstedtstudio.com —STEPHEN WALLIS
1. & 2. ERIC PIASECKI
“In terms of color, the
question became, ‘How
far are we going to go?’ ”
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DISCOVERIES architecture
1. ARCHITECT
MASSIMILIANO LOCATELLI
OUTSIDE THE 3-D-PRINTED
HOUSE HE PRESENTED
DURING APRIL’S SALONE DEL
MOBILE IN MILAN. 2. THE
STRUCTURE INCORPORATES
CURVED WALLS AND A
GREEN ROOF. 3. LOCATELLI
DECORATED THE HOUSE
WITH CONTEMPORARY AND
VINTAGE FURNITURE.
1
2
Welcome to the Robot Age
Cutting costs, saving time, and eliminating waste,
the 3-D-printed house has officially arrived
66
AR C H D IGE S T.COM
3
1.–3. LUCA ROTONDO
F
or the past several years, talk of 3-D printing
revolutionizing the way we build has been mostly
just that—talk. But the promise of printing a habitable house, on demand, in virtually any location,
is becoming a reality. Around the globe, teams of
architects, engineers, and entrepreneurs have
developed robotic arms capable of producing walls for a small
home in as little as 24 hours, with essentially zero waste and
for a fraction of traditional construction costs. Competing to
develop the top technology, industry players are now engaged
in a space race of sorts—literally so, in some cases, with NASA
funding research for printing habitats beyond our planet.
Of more immediate, earthly interest was the recent
unveiling of two of the first-ever homes to be printed on-site.
At Austin’s South by Southwest festival this past March, the
San Francisco–based nonprofit New Story presented a 350square-foot prototype of the low-cost homes it hopes to build
across the developing world. Just a month later, during Milan’s
Design Week, architect Massimiliano Locatelli debuted a
1,100-square-foot residence of a decidedly more luxurious
sort, with elegantly plastered interior walls, brass details, and
stylish furnishings. These two projects—using similar technologies in which robotic arms extrude layers of a concrete
mixture that harden into solid walls—represent opposing
ends of the spectrum for this industry’s potential.
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LAVISHED
Extravagance finds new expression in The Levoir™ Bath
Collection by Brizo. Its sleek curvatures and slender
proportions offer a refined take on opulence. Elegant
details combine with luxurious flow patterns—
creating an indulgent escape from the ordinary.
Available exclusively in showrooms. brizo.com
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DISCOVERIES architecture
“There are over a billion people without
adequate shelter,” says New Story cofounder
Brett Hagler. “It’s a massive deficit, and traditional construction methods are not enough
to make a dent. But 3-D printing promises significant decreases in cost and build time.” To
date, New Story has completed close to 1,000
conventional houses in Bolivia, El Salvador,
Mexico, and Haiti—where it is currently
building a community with support from AD—
with each home requiring around $7,000
and two weeks to finish. Using a 3-D printer
developed with the company Icon, Hagler
expects to reduce those numbers to $4,000
and just a couple of days. The charity’s first
large-scale printed project will be 100 homes
in El Salvador, slated for completion next year.
“We will be able to put a lot of creativity
into the design based on a family’s current situation and their
future dreams,” Hagler notes of the homes’ flexible layouts,
which are determined by customizable CAD files. “We’re
trying to have better aesthetics—something that’s too often
ignored when it comes to the world’s poorest families.”
It’s precisely the aesthetics and creative potential that inspired
Locatelli, cofounder of the firm CLS Architetti, to erect his
3-D-printed house in Piazza Cesare Beccaria. As he explains,
the project was all about embracing the textures of 3-Dprinted forms and “exploring the beauty of the new language.”
Realized in collaboration with concrete specialists
Italcementi, the engineering firm Arup, and the Dutch mobile
3-D-printer maker CyBe Construction, the house took about
a week to create, with production lasting roughly 48 hours.
Consisting of four rounded volumes (living area, bedroom,
kitchen, bath), all topped by a roof garden, “the shape was
NEW STORY’S 3-DPRINTED PROTOTYPE
FOR SHELTER IN THE
DEVELOPING WORLD
(NEWSTORYCHARITY.ORG).
completely free compared to traditional architecture,” says
Locatelli. “Go ahead, try to make a curved house with bricks
or stone—it’s so complicated. With this you really can create
new shapes.”
Locatelli says he has received numerous inquiries, including commissions for 100 homes near Washington, D.C., and a
10,000-square-foot house on Sardinia. And the owner of a Lake
Como villa who had hired him to build a guesthouse switched
gears after seeing the project in Milan. “He said, ‘I’m not going
to build in stone anymore. I want the 3-D-printed house,’ ”
recounts the architect, who is working with Arup on how to
print multilevel structures—something that has never been
done. “The relationship between architect and client is going
to change so much,” says Locatelli. “Probably the architect
is going to become a shrink, more or less, helping give shape
to the client’s dreams.” —STEPHEN WALLIS
TRENDING
Dialed Up
Ornate fantasies loom
large on this season’s most
exceptional timepieces
2
4
3
68
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TOP: REGAN MORTON; 1.–4. COURTESY OF RESPECTIVE COMPANIES
1
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S P E C I A L A DV E R T I S I N G S E C T I O N
Search & shop at homedepot.com
Multitaskers Pantry
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S P E C I A L A DV E R T I S I N G S E C T I O N
STORAGE,
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Create the perfect china cabinet, kitchen pantry
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1
2
3
STYLE IT TO SUIT YOUR NEEDS
No matter the size or shape of your space,
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A DV E RTI S E M E N T
LIEBHERR’S NEW MONOLITH
When the Monolith refrigerator/freezer debuted this past spring, it marked yet another revolutionary design in a long
line of innovations for the renowned German appliance manufacturer. This addition to its suite of technologically
advanced cooling systems is in a class all its own, with features that add convenience and unparalleled customization.
SuperCool & SuperFrost
From your smart device, quickly chill or
freeze just-bought groceries to preserve
freshness and seal in flavor.
InfinityLight
Customized interior lights suit your
preferences, with a soft brightening
efect upon opening the doors and a
pleasing night dimming feature.
InfinitySpring
A seamlessly integrated, flush-mounted
internal water dispenser has a filtration
system that eliminates harmful
contaminants, resulting in crisp,
fresh-tasting water.
PowerCooling & Fresh Air
These innovations allow cold air to circulate
behind the door so items stored there
remain as cold as everything else in the
refrigerator and eliminate odors via a charcoal
filter that purifies the incoming air.
BioFresh-Plus
BioFresh-Plus takes the idea of individually
controlling the temperatures within drawers,
one step further, adding the capability of
setting temperatures as low as 29˚F, which
is ideal for preserving fresh fish and vegetables.
SuperQuiet
Liebherr appliances are some of the quietest in
the industry. So when your family and friends come
over, you can rest assured that the only thing you’ll
hear is the gratifying hum of stimulating conversation.
home.liebherr.com/monolith
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Discover the Next Level
of Cooling Technology – Monolith
A Technical Genius Manifests Itself in Impressive Design
home.liebherr.com/monolith
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DISCOVERIES legacy
3
2
1. A BEDROOM AT LA CASELLA, THE CÔTE D’AZUR HOME OF LORD
AND LADY BALNIEL, INHERITED FROM TOM PARR OF SIBYL COLEFAX
& JOHN FOWLER (SIBYLCOLEFAX.COM). 2. AMELIE LINEN-BLEND,
ONE OF COLEFAX AND FOWLER’S FABRICS FROM COWTAN & TOUT
(COWTAN.COM). 3. TREE POPPY COTTON. 4. THE HOUSE.
1
L
74
ARC H D IGE S T.COM
4
Sun Splashed
Rooted in classic Colefax &
Fowler style, a villa on the
Côte d’Azur is one family’s
memory-laden getaway
PHOTOGRAPHY BY RICARDO LABOUGLE STYLED BY ANITA SARSIDI
2. & 3. COURTESY OF COWTAN & TOUT
ean and tall, with Apollonian looks and an
Olympian temper, Tom Parr was the eminence
of English decorating. From youthful beginnings
selling antiques at General Trading Company,
he became, in the 1960s, chairman and guiding
light of Sibyl Colefax & John Fowler, the London
firm famous for chintzing up rooms for the likes of Grace,
Countess of Dudley, and the 11th Duke of Beaufort, to name
just two of Parr’s titled clients. His proudest, most personal
achievement, lovingly maintained by his family, can be found
on a distant shore: La Casella, a 1960 Côte d’Azur house that
architect Robert Streitz modeled on Madame de Pompadour’s
1753 Fontainebleau pavilion, though he dressed his simulacrum in ocher stucco rather than pale limestone.
When Parr died seven years ago, at the age of 81, he left
La Casella (Italian for “little house”) to his niece Minnie
and her husband, Anthony Lindsay, Lord Balniel, a wealthmanagement powerhouse, passionate gardener, and heir
apparent to the earldoms of Crawford and Balcarres. Today
the London-based couple and their four grown children spend
as much time there as possible and let it when they can’t.
In contrast to the recherché façade, the foyer of La Casella
has a raw modernity, its chic brutalism offset by the severe
luxury of black-and-gold furnishings, which include a superb
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DISCOVERIES legacy
2
1
—R. LOUIS BOFFERDING
76
ARC HDIG ES T.COM
3
4
1. LA CASELLA’S LIBRARY
FEATURES COLEFAX AND
FOWLER’S LONGFORD PINK
PATTERN (DISCONTINUED)
ON THE WALLS. 2. LINCOLN
LINEN-BLEND. 3. BEAUFORT
COTTON. 4. PLUMBAGO
BOUQUET BLOSSOMS IN
THE MASTER BEDROOM.
2. & 3. COURTESY OF COWTAN & TOUT
Regency mirror. The decorating of the
salon, however, is absolute Englishgentleman: yellow trompe l’oeil paneling,
Colefax and Fowler’s iconic Old Rose
chintz, and a cosmopolitan blend of
French and English pieces.
“Would you care to see the house?”
Parr asked me on a long-ago visit after
a vitello tonnato lunch. Chairs were
pushed back, and the tour commenced.
We parsed the line of a chair, the cut
of a valance, and I learned that Cole
Porter had given the humble novecento
creamware on the dining room walls
to the jeweler Duke Fulco di Verdura,
Parr’s late companion.
By the time that Parr and his ultimate
life partner, Claus Scheinert, a retired
German motor-parts salesman, bought
La Casella in 1984, there had been more than one false start with Anglo-Saxon
gardeners. Scheinert had never handled a trowel before but stepped up to the plate
with Teutonic resolve. That he came to master the horticultural arts, late in life and
faute de mieux, revealed his true calling. Pebble-dash walks and elegant flights of
stairs link eight descending terraces, and Scheinert, who died in 2015, planted walls
of cypress and Euclidean spheres of box. The palette is green, rich in hue and
texture, yet enlivened with lashings of white wisteria and tumbles of blue plumbago
that are echoed in the master bedroom’s chintz.
The Balniels have conserved this legacy with the help of Parr’s onetime colleague
Wendy Nicholls, who can identify every chintz that had ever caught Parr’s roving eye.
Thus, his and Scheinert’s sun-spangled paradise has come into its second golden age,
albeit one with a lively, expanding family splashing in the pool. lacasellacotedazur.com
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INDEPENDENT, ADVENTUROUS,
GRACIOUS AND GLORIOUS.
JUST LIKE YOU.
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The Vogue Living furniture collection marries unique designs
with elegant finishes and an unsparing attention to detail.
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Cowtan.com Sofa: Bright Chair Company Table: Lobel Modern Rug: Fort Street Studio
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cowtan.com
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Where I found my
minimalist, mid-century-inspired, quirky-like-me
modern style.
Lumens is modern like you.
Lumens.com
For product information, visit lumens.com/archdigest
844.386.2125
Lumens supports
and the future of design.
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D E S I G N PO R T R A I T.
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constellation
TM
Live Among The Stars… with the celestial imagery and sculptural drama of Constellation, a new
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Multiple U.S. and foreign patents pending.
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ACCESS THE MOST LUXURIOUS NAMES IN INTERNATIONAL DESIGN
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Extremely Handmade. By Tufenkian.
SHORELINE ALABASTER
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© 2018 Design Within Reach, Inc.
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Hlynur Atlason
Designer of the DWR Lína Swivel Chair
www.dwr.com
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S PEC IAL ADVERTIS I N G S EC TI O N
DESIGN STOR IES
1
INNOVATIONS
HANDCRAFTED
WALLCOVERINGS
2
“The rich materiality and handcrafted quality of this pattern—not to mention its
geometry—have a very Deco feel,” says Innovations executive Michael Freedman
of the new wallcovering Facet. “Texture, either physical or implied, can transport you
to a moment in time.”
The Innovations Design Studio is known for creating wallcoverings with depth and
texture, like Facet. The wallcovering’s natural wood veneers, limned with foil, evoke the
meticulously handcrafted surfaces of a bygone era. Like stained glass with luminous colors
lined with lead, the play of matte and metallic in Facet’s tessellation creates depth and
makes a two-dimensional surface seem three dimensional.
1. WALLCOVERING OF WOOD VENEERS, LIMNED WITH FOIL
2. LUMINOUS, GEOMETRIC STAINED GLASS
As the first layer of a sophisticated space, shaped by nostalgia and warm, inviting
materials, Facet makes a beautiful design statement and is an invitation to embrace
your walls.
For more information, visit innovationsusa.com
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S PEC IAL ADVERTIS I N G S EC TI O N
DESIGN STOR IES
50 SCOLLARD
LUXURY COMES HOME
1
2
3
4
50 Scollard is a 41-story architectural masterpiece located in beautiful Yorkville, Toronto.
Not only has Lanterra Developments 64-residence property reshaped the idea of luxury
through its interior and exterior design, it is redefining luxury living through its hotelinspired amenities, curated to provide five-star services every day.
“We asked ourselves: How we could not only support but enhance residents’ lifestyles?
They have such resources and so many options available so what will bring them true
comfort? What services and experiences should our interiors support?” says Mark
Mandelbaum, chairman at Lanterra Developments. “All those questions led us in creating
an exclusive and private experience.”
1. THE EXCLUSIVE PORTE-COCHERE
2. THE CONTEMPORARY WINE ROOM
3. THE MODERN LOUNGE
4. THE EXPANSIVE LOBBY
The services offered are carefully tailored and uniquely designed to be as individual as
each resident’s lifestyle. From daily errands to luxury concierge-like requests, the
50 Scollard service team is there to assist. And the high staff-to-resident ratio ensures
there is always someone to call on, day or night. Other opulent amenities include an
indoor-outdoor pool, porter services, 24-hour valet parking, a pet spa, an underground car
wash, and a state-of-the-art fitness center. In addition, a beautifully stocked wine lounge
and private dining area complement the amenities in this one-of-a-kind property.
50 Scollard is now accepting appointments. Secure your place at fiftyscollard.com
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S PEC IAL ADVERTIS I N G S EC TI O N
DESIGN STOR IES
1
2
3
HÄSTENS
BEDS FOR WHATEVER
YOUR DAY BRINGS
We all need to sleep. To survive, you can really sleep on anything: bare soil, a stone floor,
a blanket, a foam mattress, in a hammock, or in your bed. But what’s the point of merely
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resting place really allows every part of your body to have its essential rest and recovery.
Or if it secretly steals energy and, in turn, enjoyment from your day.
1. NATURE’S FINEST MATERIALS
2. YOUR PERSONAL CHARGING STATION
3. THE ICONIC CHECK PATTERN
Hästens manufactures world-class, handcrafted beds. What you experience as a
comforting embrace when springs, horsetail hair, wool fibers, cotton tassels, pieces of
flax, and wooden joints cooperate is, in fact, the fruit of nearly 170 years of relentless
work. Because that’s what it takes to make a platform for a better day.
For more information, visit hastens.com
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EMBRACE CHAOS.
The bed that prepares you for whatever your day has in store.
Be awake for the first time in your life. www.hastens.com
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S PEC IAL ADVERTIS I N G S EC TI O N
DESIGN STOR IES
1
KINGS•HAVEN
HANDCRAFTED
LIFESTYLE
LIGHTING & DÉCOR
2
3
4
5
Transforming the notion of lighting and décor for both interiors and exteriors is the forte
of KingsHaven. This involves conceptualizing innovative product designs to enhance how
illumination and shapes interact in traditional, transitional, and contemporary spaces.
KingsHaven proudly introduces a new standard in lifestyle lighting and décor with a
distinctly original offering that combines luxury lighting, fine furniture, and decorative
accessories in a perfect blend of harmony and design.
Each KingsHaven lighting fixture or other exquisite accent is created with exceptional
craftsmanship by talented, worldwide artisans. Hand-forged iron and wood-crafted
choices range from historic reproductions of fine European antiques to highly creative
modern designs. Many elegant, in-stock selections are available to satisfy specific design
solutions and for expedited shipping. KingsHaven’s extensive options for lighting and
1. LUNA GLOBE
2. METRIQUE PENDANT
3. ATWATER OCCASIONAL TABLE
4. KINGS•HAVEN DECORATIVE FIREPLACE SCREEN
5. MONTPARNASSE OCTAGON PENDANT
furnishings include made-to-measure sizes, bespoke finishes, and fully custom designs.
KingsHaven’s enduring perspective is focused on the thoughtful style blending of old
and new, spanning both curated and created offerings of eye-catching beauty and
hand-chosen quality.
Learn more at KingsHaven.com.
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Next level—that’s just one way to
describe the latest crop of design
stars, a group of international talents
upending convention, celebrating
FXOWXUDOGLҬHUHQFHVDQGUHYLWDOL]LQJ
traditions of all kinds
EDITED BY SAM COCHRAN
Nicolas Moussallem (left) and David Raffoul of the Lebanese design
studio David/Nicolas pose in their Beirut office.
P ORTR A IT BY TONY ELIEH
ARCHDIGEST.COM
87
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1
2
3
David/Nicolas
David Raffoul and Nicolas Moussallem,
cofounders of the Beirut-based design
studio David/Nicolas, are obsessed
with time—a bit surprising for two guys
who have only just reached their 30s.
“We are always trying to understand
how things worked before, how they
are now, and how they might be later,”
Moussallem explains of their trendeschewing style, a blend of classic and
contemporary elements that they’ve
dubbed retrofuturism.
We call it ahead of the curve.
Since launching their firm in 2011—
they first met studying design at the
Lebanese Academy of Fine Arts—
Raffoul and Moussallem have established
themselves as champions of craftsmanship, tackling projects ranging from
furniture pieces to automotive design
to shops and restaurants.
For their current exhibition,
“Supernova,” on view through October 6
at Carpenters Workshop Gallery in Paris,
the duo took their lofty ideas to new
heights, looking to the cosmos for inspiration. “A supernova is basically when
a star explodes and creates two kinds of
reactions—either a new star or a black
90
ARC H D IGE S T.COM
hole,” explains Moussallem, noting
that the exhibition comprises two distinct collections of objects. While the
Constellation series is a study in sleek
silhouettes and pristine stone surfaces,
the Monocle series mixes marquetry,
marble, and glass into intricate compositions. A case in point is their Monocle
bar cabinet, which debuted in 2017 at
TEFAF New York, where it caught the
attention of designer Richard Petit of
AD100 firm The Archers. “It’s a covetable
design object, but it’s also a lot to think
about,” he says. “The complex construction is simultaneously postmodern and
deeply sincere.”
Other recent projects include
the Beirut restaurant Kaléo, a limitededition chair for Nilufar gallery, and the
Brussels flagship for luxury lingerie
brand Carine Gilson, the duo’s first fashion boutique. Here, as in all their interiors
projects, David/Nicolas took a holistic
approach, custom-designing everything
from the sumptuous pink seats to the
pristine glass shelving. Says Raffoul,
“It’s important for us to communicate
a vision, not just create a product.”
davidandnicolas.com —CARLY OLSON
1. The firm’s interiors
for restaurant Kaléo.
2. Monocle bar cabinet.
3. Constellation
table. 4. An armchair
designed for Nilufar
gallery in Milan.
4
1. MARCO PINARELLI; 2. & 3. COURTESY OF CARPENTERS WORKSHOP GALLERY; 4. DANIELE IODICE
Working in scales large and small,
the Beirut design duo celebrates
craftsmanship with cerebral élan
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Theodore Alexander / Selby Chair
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ADVERTISEMENT
LU XURY
RE IMAGINED
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on Crystal Serenity
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Silk Kitchen & Bar on Crystal Serenity
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EL EVATED EN TERTAINMENT
Crystal Symphony welcomes Broadway producer Kevin
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Symphony has a glamorous new look for its stages and
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designed to welcome guests aboard featuring the
talented Crystal Ensemble.
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Frida
Escobedo
The Mexico City–based
architect fuses local and
global traditions to spark
cross-cultural dialogues
1
1. Architect Frida
Escobedo, at her 2018
pavilion for London’s
Serpentine Gallery.
2. The structure
remains on view through
October 7.
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AR C H D IGE S T.COM
Growing up in Mexico City, Frida
Escobedo would go with her doctor
father to the hospital, where she would
stare out the windows into neighboring
apartments. “I was trying to understand
how space reflects people’s personalities,” says Escobedo, now a locally based
architect. “Those guys are fighting, this
couple is happy—all that is revealed by
design.” Nowadays, however, Escobedo
has her sights set much farther afield.
This past summer, the rising star debuted
her realized design for the 2018
Serpentine Pavilion in London.
“My idea was to combine exterior and
interior, like a secret place,” Escobedo
says of her scheme, a clandestine cloister
that acts as a kind of complex clock.
Gray concrete tiles typical of British
roofs are stacked into celosías, or breeze
blocks, casting shadows to mark the
passage of time. Rectangular volumes
form an interior courtyard—a nod to
Mexican domestic architecture—with
one angled parallel to the prime meridian. And a reflecting pool, refracted
by a curved, mirrored ceiling, gives the
illusion of double height while accentuating light. “We were interested in filtering the landscape into the space,” says
Escobedo, adding that the pavilion’s
metal steel frame “aged and bled” as it
has developed a patina.
Escobedo is no stranger to such
temporary, interactive feats. Her 2010
installation at Mexico City’s Museo
Experimental El Eco featured movable
concrete blocks that could accommodate lectures and performances. In 2013,
she created a circular stage for the
1. GUY BELL/SHUTTERSTOCK; 2. IWAN BAAN
2
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ART
Classic Impressionism Be a part of the scene
in this reimagining of the Classic Movement.
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2
Lisbon Architecture Triennale, followed
two years later by a series of mirrored
surfaces for the courtyard of London’s
V&A museum. But the Serpentine commission, she admits, presented “quite a
challenge,” all the more so considering
the 39-year-old is the youngest architect
ever to receive it.
While Escobedo finds the experimental nature of pavilions rewarding, she
is now tackling two private homes and
a housing complex. For her second hotel
with Grupo Habita, meanwhile, she is
transforming an 1890s residence in the
Mexican city of Puebla into a wellness
retreat. She’s also settling into her new
apartment in an iconic Mario Pani–
designed building. “I have so many windows, which is just fantastic,” she says,
excited to revisit a favorite pastime.
“I’m back to my childhood.”
fridaescobedo.net —MICHAEL SLENSKE
1. A storefront and
signage by LA-Más in the
Wilmington neighborhood
of Los Angeles.
2.(OL]DEHWK7LPPHOHIW
and Helen Leung.
1
3. Acapulco’s Hotel Boca Chica,
revamped by Escobedo in 2010.
LA-Más
3
96
ARC H D IGE S T.COM
If implementing good neighborhood design seems like a no-brainer,
you’d be surprised. Reports end up shelved. Plans don’t move
beyond renderings. But constructive change has come to Frogtown,
Koreatown, and other underserved neighborhoods of Los Angeles
thanks to LA-Más, an innovative nonprofit—part design studio, part
public-policy think tank—dedicated to improving urban conditions
and supporting vulnerable populations in the face of gentrification.
“Adding furniture, signage, and bus shelters may all sound simple,
but it requires major moving of the bureaucracy,” says Helen Leung,
a Frogtown native and graduate of Harvard’s Kennedy School, who
leads LA-Más with architectural designer and fellow Harvard grad
Elizabeth Timme. Projects thus far have included updating the visual
identities of local storefronts, formalizing businesses through proper
permitting, and enhancing streetscapes by incorporating furniture
and designating pedestrian space.
Their latest venture addresses the housing crisis through a scalable program of Section 8 backyard accessory dwelling units—a.k.a.
“granny flats.” The pilot unit will be completed this fall, with eight
more in the pipeline. “We’re hoping to inspire the city to simplify its
processes,” says Leung, who serves as a liaison between community
representatives and policymakers while Timme spearheads design
and execution. “Our goal is for more communities to do this without
an LA-Más.” mas.la —ELIZABETH FAZZARE
1. COURTESY OF LA-MÁS; 2. MAGGIE SHANNON; 3: UNDINE PRÖHL
Blending design and public-policy
solutions, this thought-leading
QRQSURºWUHYLWDOL]HV/RV$QJHOHV
neighborhoods in need
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2
3
Sasha
%LNRҬ
After stealing
the show at Kips Bay,
this Manhattanite
is shaking up the
decorating world with
party-girl panache
1. Sasha Bikoff on the
staircase she designed
for this year’s Kips Bay
Decorator Show House.
2. Bikoff’s wool Zodiac rug.
3. A kaleidoscope of pattern
spirals down the stairs.
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ARC H D IGE S T.COM
When Sasha Bikoff was asked to
create a room for this year’s Kips Bay
Decorator Show House, her vision
was clear. “I wanted to design a nightclub on the Upper East Side,” recalls
the 31-year-old New Yorker. There was
only one catch. “I got the staircase.”
Furniture and window treatments
were out of the question for the space,
which—with its limited options—was
no one’s dream assignment. Undeterred,
Bikoff ran wild, reconstituting 1980s
Memphis motifs into psychedelic carpets
by The Rug Company and kaleidoscopic
wallpapers by Voutsa, and painting the
floor and ceiling trim in archival Farrow
& Ball hues. Her eye-popping display
stole the show and became an immediate Instagram sensation. “She showed
up and she delivered,” praises Voutsa’s
George Venson. “I cannot tell you how
on point she was.” The proof, of course,
was in the product. As Bikoff reflects
of the daringly patterned staircase,
“You couldn’t help but dance.”
That urge, you might say, is signature
Sasha, whose taste for decorating developed during a semester abroad in Paris,
where she studied painting and lived with
textile designer Lisa Fine. What started
as a hobby took front seat when, a few
years later, she quit her job at Gagosian
to decorate her mother’s apartment in
the Dakota. “She taught me how to deal
with uptown women,” Bikoff says with
a laugh.
Since then, her upbeat approach
and unlikely pairings have caught on,
with a villa on Lake Como, five Manhattan
homes, and four Hamptons houses all
under way. Now she’s making her first
foray into product design with a series of
disco-ready rugs produced by Stark and
sold through 1stdibs.com. “They’re kind of
Marie Antoinette–meets–Bianca Jagger,”
she says of the new collection, which
includes shiny shag and zodiac-inspired
motifs. “People are going to want to
lie on these carpets and have a cocktail.”
sashabikoff.com —HANNAH MARTIN
PORTRAIT BY AM Y LOM BARD
2. GENEVIEVE GARRUPPO; 3. NICKOLAS SARGENT
1
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Formafantasma
Adopting an anthropological, research-driven
approach to object making, the Amsterdam-based
studio tackles the complex issues of our time
“A smartphone is really hard to recycle,”
says Simone Farresin, the 38-year-old
cofounder of the Amsterdam-based studio Formafantasma. “Each component
is extremely small, difficult to access,
and glued in place.” As a result, explains
his partner, Andrea Trimarchi, 35, “every
time you recycle a phone, you have to
grind it up and make new raw materials—
it’s so stupid.”
Where others are resigned to waste,
Formafantasma sees opportunity to
innovate. For the last two years the
Italian-born designers have visited facilities around the world in search of ways
to rethink the recycling process. Commissioned by Melbourne’s National Gallery
of Victoria, their research has given way
to a growing collection of objects, titled
Ore Streams, which debuted during
the museum’s inaugural triennial last
December. Among the pieces are a glass
cabinet filled with reclaimed computer
cases; an aluminum chair trimmed in
gold from electronic waste; and a table
that incorporates stacks of old smartphones. Next March, additional works
and documentary footage will appear
as part of an exhibition curated by Paola
Antonelli for Milan’s Triennale museum.
Farresin and Trimarchi, who met as
undergrads in Florence, have been performing this type of intensive, globespanning research since they graduated
as a duo from Design Academy Eindhoven
(DAE) in 2009. “Design touches economics, politics, sociology,” reflects Farresin.
1
2
3
100
AR C HDIG ES T.COM
1. SIMON; 2. & 3. IKON
Andrea Trimarchi
(left) and Simone
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Wandering through Dia:Beacon this past May, during its
annual spring benefit, Karin Gustafsson paused before
a painting by Mary Corse. “She expresses so much with
so little,” noted Gustafsson, the creative director of COS.
You could say the same of her. Since taking the helm
of the fashion label two years ago, after working behind
the scenes for nearly a decade, Gustafsson has made
a roar with a whisper—masterminding both the spare,
sophisticated collections for which COS is known and
the multisensory installations that have established it
as an incubator for cutting-edge talents. “We’ve always
been rooted in minimalism,” said the designer, who has
found inspiration in everything from Agnes Martin paintings to Anne Truitt sculptures. “Our stamp is timeless
design that focuses on functionality—how to offer new
materials and new experiences.” Created in collaborations with rising-star designers
and artists, the latter include
Studio Swine’s bubble-yielding
tree sculpture (traveling to
Shanghai this October) and
Phillip K. Smith III’s wall of
mirrors, mounted in Milan last
April. “You have to see it in
person,” said Gustafsson. “Only
then do you feel the full wow.”
cosstores.com —SAM COCHRAN
4
1. Karin Gustafsson,
creative director of COS,
with Studio Swine’s
“New Spring” installation.
2. “Open Sky,” a 2018 project by Phillip K. Smith III
in collaboration with COS.
4. A glass cabinet decorated
with aluminum computer cases.
102
AR C HDIG ES T.COM
1
2
Karin Gustafsson
Eyeing the understated and the
unexpected, the COS creative
director champions collaboration
1. & 2. COURTESY OF COS; 4. IKON
“But the complexity of objects has been
largely neglected in mainstream design.”
For their graduation project at DAE,
they examined the European refugee
crisis through the lens of Sicily’s Testa di
Moro vases—popular souvenirs bearing
faces of the Moorish people who once
conquered the island. Formafantasma’s
riffs featured the faces of modern refugees, calling attention to the hypocrisy
baked into the island’s centuries-old
craft. In 2011 the pair traced the history
of plastic back to the 18th century and
created vessels inspired by early plantand animal-derived polymers. And after
Sicily’s Mount Etna erupted in 2013, they
explored lava—turning excavated hunks
into objects of desire.
The duo’s blatant deviation from
the mainstream design world has won the
attention of some of its titans. In 2017
the designers unveiled lighting with Flos;
in April they introduced ceramics with
Bitossi; and they will soon reveal a collaboration with Cassina. But even with
more mass-market collections a sense
of thoughtfulness remains. To complement the 2017 Salone del Mobile debut
with Flos, for instance, Formafantasma
staged an exhibition across town at
Spazio Krizia that revealed the collection’s experimental origins—enigmatic
fixtures that played with shadow, light,
and color. “We went back to the initial
stage of light,” explains Farresin. “It was
less about the object and more about
light itself.” formafantasma.com —H.M.
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Taher
Asad-Bakhtiari
Traditional Iranian textiles
ºQGDPRGHUQYRLFHLQWKHZRUN
of this Tehran-born talent
1. Artist-designer
Taher Asad-Bakhtiari
with a selection
of his tribal weaves.
2. One of AsadBakhtiari’s colorful
kilims woven by
Iranian artisans.
104
ARC H D IGE S T.COM
high-pile rug, the gabbeh. By introducing unexpected materials like lace,
polyurethane, and metallic threads, he
has elevated functional floor coverings
into fine art. “I wanted to work within
this craft and evolve it,” explains AsadBakhtiari of the labor-intensive process.
(A single textile can take up to four
months to complete.) “My goal was to
give it a new identity.”
His approach resonated across the
globe, from Beirut, where he shows with
1
Carwan Gallery, to New York, where
he just made his Stateside debut at the
International Contemporary Furniture
Fair. Collaborating with Bernhardt Design,
Asad-Bakhtiari has reinterpreted Iranian
weaves into six industrial-grade upholstery fabrics. Whereas one mimics the
black-and-white motif of Bakhtiari jackets, another is flecked with shimmering
silver yarn, nodding to the metallic
accents of traditional Iranian clothing.
“My people weave their tents, their beds, And in June, he unveiled a series of
their blankets, their clothes,” reflects
graphic, riotously colorful textiles—woven
textile artist Taher Asad-Bakhtiari, who
by artisans in Afghanistan—at the Met
was born in Tehran and descends from
Breuer shop.
members of Iran’s seminomadic Bakhtiari
“Geometry is the basis of all weaves,”
tribe. “Everything they have is woven in
he says, referring to the long, slender
different ways. This is our craft.”
tapestries’ repeating triangles and arrows.
Inspired by that tradition, Asad“I just made it more bold—I minimized
it.” To him, these simplified motifs symBakhtiari—who now splits his time
bolize something greater than his own
between New York, Dubai, and Tehran—
heritage. “They represent all tribes,”
launched the Tribal Weave Project,
he says. “They speak every language.”
working with Iranian artisans to reinvent
taherasadbakhtiari.com —H.M.
the kilim and his ancestors’ signature
1. & 2. ALI ALAVI
2
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1
Harris Bugg
Studio
Two critically acclaimed Brits
join forces to create soulful
gardens that are rich with
meaning, mystery, and relevance
2
1. ALLAN POLLOK-MORRIS; 2. MARIANNE MAJERUS; 3. MARK WAUGH/RHS
1. Harris’s gold-medal Canadiannatives garden for the 2017 RHS
Chelsea Flower Show. 2. A Jordanian
forest inspired Bugg’s awardwinning 2016 Chelsea installation.
3. The partners.
Whether the commission is a cubistic backyard for
fashion model Cara Delevingne or an Islam-infused
botanical oasis the size of a small country, Charlotte
Harris and Hugo Bugg have one goal: to make the
best garden possible. “Our approach to landscape is
very much about immersing ourselves in the spirit of
the place,” says Harris, one half of London’s Harris Bugg
Studio, a two-year-old partnership between the RHS
Chelsea Flower Show gold medalists. “Not just how it
feels when we’re standing in it but being aware of the
site’s history, geology, vernacular, and plantings as well
as the stories of the people who have inhabited that
space for thousands of years.” Their two-acre public garden for the RHS Garden Bridgewater, near Manchester,
England—currently under way and part of a 154-acre
series of interconnected gardens master-planned by
British landscape star Tom Stuart-Smith that will open
in 2020—speaks of the city’s industrial heritage. Thus,
the scheme is an abstracted plan of the area’s canal
network, layered within a long-ago duke’s 19th-century
kitchen garden. But it’s more than just pretty. “People
must be able to take ideas home,” Bugg continues, to be
inspired by everything from scented plantings to edible
forestry, one of the most ancient forms of agriculture.
Delevingne’s London plot, on the other hand, is tucked
behind the model’s Georgian townhouse (AD, May 2018)
and centered on what Bugg describes as “a modern
parterre” composed of “large lumps of triangular topiary,” all reflected by a black-glass studio structure. “It’s
always a challenge in London to create a space that is
very crisp yet very inviting and sensual,” he adds. Bugg
explains that the point is not just “a beautiful garden but
one that expands our skills and knowledge.” Chimes in
Harris with a grin, “We like tearing things apart to make
them better.” harrisbugg.com —MITCHELL OWENS
3
106
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CHARLIE KAPLAN
Pleasing Curves
Soaring, 2018
September 28 – October 26, 2018
Sidney Mishkin Gallery
135 East 22nd Street, NYC
646.660.6652
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NEIL
KERMAN
Master of Abstract Chemistry
Neil Kerman’s paintings are an avant-garde
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Neil Kerman describes his paintings as a
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Today, Neil Kerman’s works are present
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HIGH
STYLE
Under the
masterful
guidance
of Michael S.
Smith, one of
Manhattan’s
most storied
residences gets
a glorious new
lease on life
© 2018 HELEN FRANKENTHALER FOUNDATION, INC./ARTISTS RIGHTS SOCIETY (ARS),
NEW YORK; © 2018 AGNES MARTIN/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
TEXT BY JAMES REGINATO
PHOTOGRAPHY BY MICHAEL MUNDY
STYLED BY CAROLINA IRVING
IN THE EAST GALLERY,
ANTIQUES MIX WITH
CONTEMPORARY AND
MODERN ARTWORKS BY
HELEN FRANKENTHALER
(ON BACK WALL), AGNES
MARTIN (AT RIGHT), AND
HENRI MATISSE (ON
CONSOLE). FOR DETAILS
SEE RESOURCES.
I
n these challenging times, long-term relationships are hard to sustain. Los Angeles–based
AD100 designer Michael S. Smith, renowned
for his work at the White House for Barack
and Michelle Obama and for many other A-list
clients, has enjoyed a solid one with a certain
couple who have been his clients for 25 years.
The apartment that this pair purchased several
years ago has been a lengthy undertaking, too.
The eight-bedroom duplex, atop an iconic
1920s Rosario Candela–designed building, was
considered one of Manhattan’s ultimate trophy
apartments. In fact, the residence had a big
drawback—it was basically two separate apartments. Its previous owners, a business mogul and his wife, had bought the
adjacent units in the late 1980s and combined them, but only
in a rudimentary way. “They busted a hole in a wall, but the
apartments were never properly integrated,” attests one of the
new owners—the husband, a financier.
The mogul had been stymied—as were many prospective
purchasers after his widow put it on the market—by a seemingly insurmountable obstacle: A grand staircase in the center
of the footprint blocked complete consolidation.
“The key to the whole thing was taking out that staircase,”
says the financier. “But who in New York thinks about taking
out a staircase? You have to think outside the box.
“Of course, that’s what Michael does, along with [architect]
Oscar [Shamamian],” he continues. “They just took the stair
out and put another one over there. And, voilà.”
But maybe it was not quite so simple.
“Well, four and half years later. And some money,” the
financier adds.
“Oscar and I did a huge victory lap when we figured out how
we could fuse the apartments,” says Smith. “People in the past,
I think, were held back because they were so enamored—as they
should be—of original Candela architecture. But Oscar built this
amazing new stair that changed everything and really added to
the value of Candela’s design because it made everything work.”
Throughout the years-long odyssey, the couple didn’t flinch.
“Most people don’t love the process as much as they do, and
aren’t prepared to be as brave,” says Smith.
Once the engineering hurdles were cleared, the most
formidable challenge involved integrating the couple’s museumquality collection of art and antiques, much of which has been
displayed in the dozen or so residences that Smith has designed
for them over the past quarter-century.
A PICASSO PAINTING
HANGS ABOVE A
CUSTOM ARMLESS SOFA
IN A FORTUNY COTTON.
OPPOSITE STENCILED
RATTAN PANELS COVER
THE FAMILY-ROOM
WALLS. GEORGE III
LEATHER-TOPPED GAME
TABLE; CHAIRS IN AN
EMIL ROTTER FABRIC.
116
ARC H D IGE S T.COM
© 2018 ESTATE OF PABLO PICASSO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; FRAMED STILL LIFE: JANSSEN © 2018 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/VG BILD-KUNST, BONN
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© 2018 THE FRANZ KLINE ESTATE/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK;
© 2018 CALDER FOUNDATION, NEW YORK/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
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A LARGE FRANZ KLINE PAINTING
CENTERS THE LIGHT-FILLED LIVING
ROOM. ANTIQUE CHANDELIER;
ALEXANDER CALDER SCULPTURE ON
RUSSIAN NEOCLASSICAL TABLE;
19TH-CENTURY SAVONNERIE RUG.
“Tramping
around for art and
antiques with
Michael is probably
my favorite leisuretime activity,” says
the homeowner.
“A lot of things have followed them around from house to
house. It’s a really personal group of objects,” says Smith.
“Some things are super-precious and some things are really
simple—picked up in a flea market or a souk in Morocco.”
The couple’s paintings collection is focused on Old Masters
and modern masters, while their superlative furniture collection veers mostly to the 18th century, though it does include
stellar 20th-century and contemporary pieces.
“I love the 18th century, but an apartment done with
everything from the 18th century is frozen in aspic,” says the
financier. “We like combining that period with modern art
and furniture.”
Busy as he is, it’s the husband here who parses over
aesthetic matters with Smith. His wife, who’s an investor
behind a thriving fashion brand, is happy to delegate these
concerns to her spouse and Smith. (Their two adult children
have left the nest.)
ABOVE FIREPLACE: LANYON © SHEILA LANYON. ALL RIGHTS RESERVED, DACS,
LONDON/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/DACS, LONDON;
RIGHT WALL: STELLA © 2018 FRANK STELLA/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
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ABOVE IN THE KITCHEN, CUBE LIGHTS BY JEAN PERZEL HANG FROM THE PEWTER
LEAF–COVERED CEILING. LEFT BRONZE CLAUDE LALANNE CANDELABRA ADORN
THE DINING TABLE. CHINESE EXPORT PADAUK WOOD CHAIRS WEAR A HOLLAND &
SHERRY FABRIC; PAINTINGS BY PETER LANYON (LEFT) AND FRANK STELLA.
“I do the heavy lifting,” the husband explains. “Between
[my wife and me], she’s the client and I’m the designer. She’s
not going to go through 100 auction catalogs, but I like to. I’d
rather spend three hours walking through the Rive Gauche;
she’d rather not. In the end, I show her choices, and she picks,
say, 15 things she likes.
“Tramping around for art and antiques with Michael
is probably my favorite leisure-time activity,” he continues.
“We always have fun. It’s not like it’s work.”
When it comes to putting all these purchases together,
the couple leaves it in Smith’s expert hands.
“He so knows what we want by now,” says the husband.
“But it’s not really accurate to say he gives us what we want.
Why should he give us what we want? We’re not design
professionals. He gives us things we didn’t know we wanted.
Sometimes he will keep showing me something I say no to. If I
say no three times, then I know it must be great, and I say yes.
“In every room there is something discordant, that
doesn’t belong—that’s fabulous,” he adds. “His stuff is not
matchy-matchy.”
For Smith, the challenge was to bring harmony to this
collection of spectacular but diverse objects.
“There are many high points, but not everything is at full
volume. Overall, the apartment is serene and quiet, not jumpy.
Things reveal themselves to you slowly,” says Smith.
On the fast track, Smith has two major auctions at Christie’s
featuring contents of residences he designed: “Eaton Square,”
in London, September 12, and “A Tale of Two Cities, New York
and Los Angeles,” in New York, September 26. The designer
has also created a new blog, The House on Mapleton Drive, to
chronicle the major renovation of his primary residence in
Los Angeles, which he shares with James Costos, the former
U.S. ambassador to Spain, his life partner of the last 18 years.
Clearly, Smith is one for long-term relationships.
ARCHDIGEST.COM
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ABOVE FIREPLACE: ARP © 2018 ARTISTS RIGHTS SOCIETY (ARS),
NEW YORK/VG BILD-KUNST, BONN; BESIDE BED: VANTONGERLOO © 2018
ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/PROLITTERIS, ZURICH
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A GARDEN-SCENE
WALLPAPER BY ZUBER
WRAPS THE MASTER
BEDROOM, WHERE THE
CUSTOM-PATINATED
BRONZE BED BY CAROLE
GRATALE WEARS
D. PORTHAULT LINENS.
PAINTINGS BY JEAN ARP
(LEFT) AND GEORGES
VANTONGERLOO.
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© 2018 BRICE MARDEN/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
ABOVE IN THE SUNROOM, A CUSTOM PLASTER LANTERN BY PHILIPPE ANTHONIOZ HANGS OVER A DINING TABLE BY HERVÉ VAN DER
STRAETEN AND MIDCENTURY CHAIRS. BRICE MARDEN PAINTING. BELOW INDIAN MINIATURES DECORATE THE HUSBAND’S DRESSING ROOM;
PANELING DESIGNED BY FERGUSON & SHAMAMIAN. OPPOSITE THE WIFE’S DRESSING ROOM FEATURES A PAUL FRANKL DAYBED.
ARCHDIGEST.COM
125
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IN THE ANTIQUESFILLED LIVING
ROOM, A JOSEF
ALBERS PAINTING
HANGS OVER THE
LOUIS XVI MANTEL.
24-ARM LEAF CHANDELIER;
$12,450. CHARLESEDWARDS.COM
SNAKE CHARMER
FABRIC; TO THE TRADE.
POLLACKASSOCIATES.COM
ANTIQUE FRENCH
LOUIS XVI MANTEL;
$35,000. JAMB.CO.UK
HALLE DAYBED BY MICHAEL S.
SMITH FOR JASPER; TO THE
TRADE. MICHAELSMITHINC.COM
SODALITE BLUE STONE SLAB; PRICE
UPON REQUEST. ANTOLINI.COM
PRODUCED BY M ADELINE O’M ALLEY
INTERIORS: MICHAEL MUNDY; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES;
© THE JOSEF AND ANNI ALBERS FOUNDATION/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK 2018
When you
walk in, you
immediately
get a sense of
who lives here,”
says Smith.
“It’s eclectic,
but it all
holds together.”
BRASS OBELISKS
BY CORBIN CRUISE
X MARY NELSON
SINCLAIR; FROM
$400. KRBNYC.COM
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ARTIST NANCY LORENZ CREATED CUSTOM WALL PANELS
FOR THE BREAKFAST ROOM. LOUIS XVI MAHOGANY TABLE;
SQUARE GERRIT LANTERN BY STUDIO VAN DEN AKKER.
LES JARDINS FRANÇAIS
WALLPAPER; TO THE
TRADE. ZUBER.FR
BORGHESE MIRROR BY
MICHAEL S. SMITH FOR
JASPER; TO THE TRADE.
MICHAELSMITHINC.COM
TREVISO
ARMCHAIR BY
MICHAEL S.
SMITH FOR
JASPER; TO
THE TRADE.
MICHAELSMITH
INC.COM
DROPLET WOOL RUG
(8' X 10'); $8,700.
ORLEYSHABAHANG.COM
H. THEOPHILE
CABINET PULL
HT9300-HT3182;
TO THE TRADE.
HTHEOPHILE.COM
There’s
an element of
serendipity
in shopping
for antiques,”
notes the homeowner. “You
can’t just order
things up.”
A GUEST BATH IS COVERED
IN A STRIATED CREMA
TIRRENO MARBLE. JUAN
GRIS DRAWING.
ARO BARSTOOL BY
LIEVORE ALTHERR
MOLINA FOR
BERNHARDT DESIGN;
FROM $1,177.
YLIVING.COM
TORSADE
CANDLESTICK;
$14,000 PER PAIR.
BUCCELLATI.COM
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STRANGE
ALCHEMY
Gabriel Hendifar and Jeremy Anderson of
Apparatus transform their New York
Cıty loft into a dazzling showcase
of the couple’s signature aesthetic
MAYER RUS
FRANÇOIS DISCHINGER
STYLED BY MICHAEL REYNOLDS
TEXT BY
PHOTOGRAPHY BY
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A ZAK + FOX COTTON
VELVET LINES THE
BEDROOM IN THE HOME
OF APPARATUS FOUNDERS
JEREMY ANDERSON
AND GABRIEL HENDIFAR.
THE LATTER DESIGNED THE
CUSTOM BED. PAINTING BY
ALESSANDRO TOMASSETTI;
LANTERN PENDANTS
BY APPARATUS; VINTAGE
CHAIR AND RUG. FOR
DETAILS SEE RESOURCES.
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AN ALBERT EMIEL MURAL
WRAPS WALLS IN THE
FOYER AND DINING ROOM,
WHERE THE CONSOLE
(LEFT), PENDANT, DINING
TABLE, CANDLESTICKS,
AND DOUBLE VASE ARE
BY APPARATUS. 1970s
DINING CHAIRS. CUSTOM
SHUTTERS BY HENDIFAR.
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T
marble. Plus, I really got off on designing the hardware
that holds it in place,” Hendifar explains.
The apartment’s second defining feature is a series of
custom oak shutters punched with symmetrical apertures.
The repeating circle motif nods to Jean Prouvé’s ribbedaluminum porthole panels, but the scale of the pattern and
the inset rings of hand-finished brass keep the design squarely
within Apparatus territory. “The first thing we did when we
got this place was take down the roller shades on the giant,
nine-foot-tall windows. The shutters immediately unified and
elevated the architecture,” says Anderson.
Throughout the home, the designers paired Apparatus
lighting and furniture with sympathetic vintage pieces both
pedigreed and unattributed. The living room, a tour de force
he New York City home of Apparatus founders Gabriel Hendifar of eccentric chic, exemplifies the duo’s sensibility. Midcentury
and Jeremy Anderson feels very much like one of the company’s sofas by Milo Baughman are covered in a black faux-bois moiré
signature lighting designs. They share a strange kind of beauty, fabric that provides a dramatic counterpoint to the warm
red-toned wood shutters. The room is anchored by an imposing
highly refined and seriously seductive. A similar vibe pervades
Apparatus’s famously swanky Manhattan showroom, as well as Hendifar-designed cabinet constructed of brass mesh, wood,
and eel skin, set atop turned legs of solid brass. Flanking the
the lavish annual fête that Hendifar and Anderson throw there
every spring. At a time of increasing sameness, when designers cabinet are two folk-art liquor cupboards in the shape of human
figures, acquired from a hunting lodge in Maine. Hendifar
across the globe draw from a communal digital well of inspirations and influences, the Apparatus aesthetic remains blissfully, bumped up the surrealism of the ensemble by adding a custom
marble-topped cocktail table in the shape of a three-toed foot.
unapologetically idiosyncratic.
The look of the couple’s master bedroom can be summed
“Many of our product designs and collections evolved
up in two words: come-hither. Sheathed in rust-colored velvet
directly from pieces we made for ourselves. As much as this
and centered on a brass bed with a Persian lamb bolster set
loft functions as a creative laboratory, it’s also our home. We
set a high bar for the things we live with and the things we put into the headboard, the space echoes the crazy-sexy-cool vibe
of disco-era debauchery. Even the mirror-fronted closets
out into the world,” says Hendifar, who serves as Apparatus’s
and the meshugenah Vladimir Kagan Omnibus lounge in the
creative director. “Besides, we always need a project to chew
adjacent dressing room have an undercurrent of 1970s louche.
on to keep the creative juices flowing.”
As a final flourish, a small painting of Anderson’s ear that
Located on the top floor of an erstwhile industrial building
Hendifar commissioned for his partner’s 40th birthday hangs
in the Flatiron District, the loft speaks volumes about the
above the bed. “It was the perfectly right wrong thing to put
Apparatus brand and the passions of its protagonists. Filled
there,” Hendifar avers.
with prototypes, custom pieces, peculiar objets de vertu,
The bedroom carpet—
an unexpectedly traditional
American design from the
1940s—is something the
couple acquired when they
lived in Los Angeles, before
the pair took Manhattan
by storm in 2011. Likewise,
the large French Deco–
ish cabinet that presides over the entry hall and the curious
and compelling architectural details, the residence strikes a
delicate balance between the raw and the cooked. “We wanted Asian-inflected altar table in the dining area are both L.A.
imports. “They’re not only great designs but also mementos of
to experiment with living in a semiformal way in a space that
our shared life and history. We always find a place for them,”
resists formality. Basically, we tried to make it feel less like a
Anderson says.
loft,” Anderson says of the couple’s design approach.
Indeed, as the story of the couple and the brand they
Two primary architectural interventions set the tone for the
created continues to evolve, the loft contains hints of what
experience. The first is a semi-freestanding wall that defines
a generous entry vestibule off the elevator. Paneled in quarter- we might expect to see from them in the future. Anderson,
for instance, has quietly been experimenting with ceramics,
sawn oak on one side, the wall snakes into the heart of the loft,
where it discreetly delineates individual areas—dining room, and the fruits of his labors are on display throughout the
apartment. True to form, his subtly anthropomorphic vessels
kitchen, master suite—within the open expanse. In a decorahave a peculiar poetry that jibes with the overall spirit and
tive coup de théâtre, Hendifar and Anderson adhered a 15allure of the couple’s work. To borrow a phrase from Marvin
foot-long, unframed, 1930s Danish canvas to the meandering
Gaye and Tammi Terrell, when it comes to strange beauty,
divider. “We loved the idea of this giant pastoral painting of
“Ain’t nothing like the real thing, baby.”
cows and milkmaids juxtaposed with all the sleek brass and
132
AR C HDIG ES T.COM
GROOMING BY NICOLE ELLE USING TOM FORD AND LA MER
“We set a high bar for the things we
live with and the things we put out
into the world.” —Gabriel Hendifar
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ABOVE ANDERSON
(LEFT) AND HENDIFAR.
RIGHT 1950s
BARSTOOLS STAND
AT THE BRASS-CLAD,
SAINT LAURENT
MARBLE-TOPPED
KITCHEN ISLAND.
BELOW IN THE
DRESSING ROOM,
A VLADIMIR KAGAN
LOUNGE AND
OTTOMAN WEAR A
TOYINE SELLERS
FABRIC. SIDE TABLE
BY APPARATUS.
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IN THE LIVING ROOM, MILO
BAUGHMAN SOFAS AND AN
OTTOMAN WITH A BOLSTER
SURROUND MARBLETOPPED COCKTAIL TABLES
DESIGNED BY HENDIFAR.
TWO HAND-CARVED LIQUOR
CUPBOARDS ON COPPER
PLINTHS FLANK AN EEL
SKIN–AND–BRASS CABINET
BY HENDIFAR. ARTWORK BY
ROBERT MORELAND.
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The living room, a tour de force of eccentric
chic, exemplifies the duo’s sensibility.
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A LANDSCAPE PAINTING BY CARL
FREDERIK AAGAARD SITS ATOP
THE GARDEN’S FIREPLACE. JINNY
BLOM DESIGNED THE LANDSCAPE.
FOR DETAILS SEE RESOURCES.
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HAIR BY ADAM EMBLETON FOR JOSH WOOD COLOUR;
MAKEUP BY SONIA BHOGAL USING DR. HAUSCHKA
NINA FLOHR, WEARING A
CHANEL SWEATER, LOUNGES
IN HER LONDON HOME. THE
CUSTOM SOFA, BY VEERE
GRENNEY ASSOC., AND WALLS
ARE COVERED IN A BENNISON
PRINTED LINEN.
Homeward
Bound
When it came time to design her
London townhouse, young globe-trotter
Nina Flohr enlisted Veere Grenney
to help her conjure domestic bliss
TEXT AND STYLING BY
GIANLUCA LONGO
PHOTOGRAPHY BY
SIMON UPTON
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RIGHT IN A DINING
AREA, A SERGE
MOUILLE LIGHT
HANGS OVER THE
MARBLE-TOPPED
SAARINEN TABLE.
CUSTOM BANQUETTE.
OPPOSITE A TILED
TERRACE. OUTDOOR
FURNITURE BY
VEERE GRENNEY
ASSOC.; CURTAINS
AND PELMET OF A
PAOLO MOSCHINO
FOR NICHOLAS
HASLAM LTD. LINEN.
E
ven the most intrepid
world traveler needs a
place to stow her luggage
and rest her head. In
other words, a place to
call home. A couple of
years ago, when her father
decided to give up his
house in central London,
Nina Flohr decided to
let go of her Notting Hill
flat and take the opportunity to make the family
home her own.
“I’ve always admired the way the English dress their
houses, the great estates with their Colefax & Fowler furnishings and eccentric flourishes,” says the Swiss-born Flohr,
who until 2016 served as the creative director of VistaJet, the
fleet of superstylish private planes founded by her father in
2004. “I wanted to take that inspiration and create a beautiful
space that reflects my personal style and taste, an easy place
to entertain, and a cozy nest to return to after my travels.”
To help her realize her vision, Flohr turned to Londonbased AD100 designer Veere Grenney, who worked at Sibyl
Colefax & John Fowler in the 1990s before opening his
138
ARC HDIG ES T.COM
own firm. Since then, he has forged a path as one of the
leading torchbearers for the great English tradition of
creating rooms that are both beautiful and comfortable, many
of which can be seen in the just published Veere Grenney:
A Point of View (Rizzoli). “Nina came to my office with her
inspiration book—nearly 200 images!—which included
plenty of my own work,” Grenney recalls. “I was so flattered,
I couldn’t refuse.”
Nestling into the living room’s green Fortuny-clad sofa,
Flohr starts to describe her brief for the space. “I grew up
here, so it has lots of familiarity, but I had to make changes.”
Refurbished in the 1990s, the interiors of the Regency-era
neoclassical beauty were rather minimal—“contemporary,”
in Flohr’s description.
She and Grenney dove right in, reconfiguring the floor plan.
What had been the main drawing room on the second floor
was transformed into Flohr’s bedroom and bath. (A separate,
fancifully “tented” dressing room is just upstairs.) Her former
bedroom in the basement was given over to creating a zone
dedicated to cooking, dining, and entertaining. (In contrast to
most renovations these days, they actually made the new
kitchen smaller, in order to steal more space for the dining and
bar area.) The ground floor was divided into living room,
library, and a cozy fabric-lined TV room Flohr calls the “snug,”
while the top-floor study became a pair of guest rooms.
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“I’ve always admired the way the
English dress their houses, those great
estates with their Colefax & Fowler
furnishings and eccentric flourishes.”
—Nina Flohr
ABOVE LOAFERS SURROUND A VINTAGE SWEDISH TABLE IN FLOHR’S DRESSING ROOM.
VINTAGE INLAID MOROCCAN CHAIRS; WALLS AND CURTAINS OF A SISTER PARISH
DESIGN LINEN-COTTON. RIGHT IN THE MASTER BEDROOM, A CANOPY OF A BESPOKE
BENNISON PRINT DRAPES THE CUSTOM BED; 19TH-CENTURY BENCH.
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CLOCKWISE FROM LEFT A GHANAIAN SCULPTURE STANDS ON AN ANTIQUE
CONSOLE TABLE IN THE ENTRANCE HALL. CHANEL (LEFT) AND VALENTINO
FROCKS HANG IN THE DRESSING ROOM. THE LIVING-ROOM SOFA IS
UPHOLSTERED IN A FORTUNY COTTON.
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141
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LEFT A BENNISON
PRINT ENVELOPS
A GUEST ROOM.
VINTAGE STRIPED
ARMCHAIR FROM
ROBERT KIME;
MOROCCAN RUG.
Over the course of the project, the duo grew quite comfortable in their constructive back-and-forth. When Flohr
proposed lacquering the walls of the ground floor, Grenney
installed simple paneling first to create more visual interest
in the low-ceilinged space; she suggested contrast piping
for his pleated lampshades; he had the flamboyant Bennison
fabrics she chose recolored to create sumptuously bespoke
environments.
“Nina’s taste is very eclectic, and she believes in quality and
details,” says Grenney. “She is also a keen organizer and likes
functionality. We had fun with color and pattern, but we also
had to make it all work.” Great details and fine craftsmanship
abound. The living room is swathed in a moss-green silk velvet,
the same material the curtains are made of. A Bennison linen
envelops the TV room’s walls and Turkish-style sofa. (The
space was inspired by Cecil Beaton’s iconic 1966 portrait of
Lee Radziwill with her daughter in their Renzo Mongiardino–
designed house in London.) The dressing room is tented
in light-green striped fabric, with Flohr’s tidy closets hidden
behind the draped fabric that lines the walls.
Flohr’s personality is seen in the array of artworks and
souvenirs on display: An Op Art painting by Victor Vasarely in
shades of green—Flohr’s favorite color—hangs on a staircase
landing; edgy contemporary artworks by Koen van den Broek
142
ARC H D IGE S T.COM
BELOW A CARLTON
DAVIDSON ANTIQUES
CHANDELIER HANGS
ABOVE A TUB BY THE
WATER MONOPOLY
IN THE MASTER BATH.
and Clare Rojas adorn the bedroom; a vintage Fornasetti
chest of drawers sits in the living room. Throughout the house,
a visitor spots many photographs, artwork, and crafts from
countries all around Africa; Flohr has nurtured a passion for
the continent since she first visited Kenya at age 15. Since then,
she has returned again and again. And a few years ago, she
established the Kisawa Sanctuary, a nonprofit marine-research
facility and community-empowerment program, on an island in
Mozambique. (A luxury hotel is scheduled to open there in 2019.)
Keeping in mind her respect for the local vernacular,
inclination toward vibrant colors, prints, and patterns, and
taste for African objects and midcentury furniture, Grenney
has conceived a glamorous yet down-to-earth space where
the young entrepreneur can really feel at home. “This house is
definitely Nina,” says the designer. “If you met her at a party
when she’s all glammed up in beautiful clothes and accessories
and she invited you over for tea, you would not be surprised.”
Flohr interjects, “The house feels very much like an
extension of me, a visualization of who I am and what I
represent.” What more could anyone ask from their home?
“My best clients are what I call ‘inspired amateurs,’ and
Nina is for sure one of them,” adds Grenney. “She loves clothes,
furniture, gardens, pictures—she loves beauty wherever she
finds it!”
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IN A GUEST ROOM,
BED AND CANOPY
DESIGNED BY VEERE
GRENNEY ASSOC.
FLOHR PICKED UP THE
BLANKET IN INDIA.
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supersiz
THE ENORMOUS SCALE
OF THE GALLERY AT
STERLING RUBY’S STUDIO
PROVIDES THE ARTIST
WITH AMPLE SPACE TO
STUDY HIS WORK. HE CAN
ALSO INSTALL EXHIBITION
MOCK-UPS BY TAPING
OFF FLOOR PLANS THAT
APPROXIMATE GALLERY
AND MUSEUM ROOMS.
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e it
Sterling Ruby’s
vast studio outside
Los Angeles is a
testament to the scope
and ambition of
the artist’s practice
MAYER RUS
JASON SCHMIDT
STYLED BY MICHAEL REYNOLDS
TEXT BY
PHOTOGRAPHY BY
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s
terling Ruby seems
to enjoy pricking the
membrane of esoterica
and fabulousness that
shrouds the contemporaryart world. Despite his
ascension to its highest
echelons, he chafes at
the shibboleths and notso-subtle snobbery of
the fickle international
art scene. Prodigious output across a wide range of media;
a refusal to choose between spectacle and sincerity; outsize
ambition; phenomenal commercial success attained early
in a career—all of these tend to raise eyebrows among the art
world’s traditional gatekeepers. But Ruby takes it all cum
grano salis. He’s just doing his thing.
Consider the artist’s vast studio in Vernon, California, a
small industrial city of warehouses, factories, and the occasional adult-entertainment superstore, just five miles south of
downtown Los Angeles. The complex sits on four acres, with
roughly 122,000 square feet of indoor space. Ruby purchased
the property six years ago and spent three years on renovations, which included the replacement of 116 skylights. There
are massive studios dedicated to work in various media, along
with viewing rooms and storage and support facilities (e.g.,
woodworking and welding). Just off the entry to the compound,
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AR C HDIG ES T.COM
CLOCKWISE FROM
FAR LEFT A GROUP
OF RUBY’S CERAMIC
TOTEMS. TWO
CERAMIC BASKETS.
ONE OF THE ARTIST’S
BASIN THEOLOGY
SCULPTURES BEING
LOADED INTO THE
LARGEST OF THE
STUDIO’S SIX KILNS.
Ruby has a 10,000-square-foot gallery with a 40-foot ceiling,
where he can study his work and install exhibition mock-ups
at full scale.
Even by the XXL standards of the art world of 2018—where
galleries operate like multinational conglomerates and museums can’t stop hawking their latest starchitect makeovers—the
scale of Ruby’s enterprise feels audacious. “I was on top of
myself in my old studio. I never had room to look at things with
space around them. To photograph one thing, we’d have to
move everything else,” the artist says. “Now I have more time
and space to make decisions when I’m finishing a piece or
a series. I can sit back and take a valuation of the colors, the
palette, the patterns, as well as what the work means to me
and where I feel it comes from. I can figure out if I need to
throw a red herring into the mix.”
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RIGHT RUBY BESIDE
ONE OF HIS FLUORESCENT MONOLITHS
IN THE COMPOUND’S
SPRAWLING OUTDOOR
SPACE. BOTTOM A
WALL-HANGING
CERAMIC HEART.
“I wanted to
make something
expressive where
you can see the
tactility, something
with chance
in the process.”
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“I can sit back and take a valuation of the colors, the
as well as what the work means to me and where I
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ARC HDIG ES T.COM
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RUBY SURVEYING
HIS WORK IN THE
STUDIO DEDICATED
TO DRAWING
AND SMALL-SCALE
PAINTING.
palette, the patterns,
feel it comes from.”
The four primary art studios are allocated to painting
(specifically large-scale canvases), drawing (including collage
and small-scale painting), ceramics, and textiles (soft sculpture, tapestries, and garment construction). At any given time,
certain studios show signs of active production while others
remain completely quiet. Despite his team of 16 assistants, one
gets the impression that Ruby often inhabits the space alone,
roaming from studio to studio as inspiration strikes, occasionally crossing paths with a kiln technician or seamstress. “I get
manic, so I like to move around,” he explains.
In recent months, the ceramics studio has kicked into high
gear in preparation for the first museum exhibition devoted
exclusively to Ruby’s work in that medium. Organized by the
Des Moines Art Center, the show, titled simply “Sterling Ruby:
Ceramics,” debuted in Iowa this past summer. It moves to New
York City’s Museum of Arts and Design for a five-and-a-halfmonth run starting on October 3.
Given the recent surge of interest in ceramics among
contemporary artists and collectors, and the backlash from the
established ceramics community—they decry the arrivistes’
insistence on wonkiness as a signifier of authenticity—Ruby is
quick to point out that he has worked in clay for nearly two
decades. “Honestly, I don’t think I would have done ceramics if
I’d started five or six years ago. When I first became interested
in the material, it felt like uncharted territory. Clay was still
seen as craft, with none of the conceptual imperative that
dominated contemporary-art theory and practice,” he insists.
“I wanted to make something expressive where you can see
the tactility, something with chance in the process, particularly
in the firing,” he adds.
Ruby’s connection to ceramics dates back to his youth.
When the German-born artist was a child, his family moved
from Europe (where his American father was stationed with
the U.S. Air Force) and ended up at a farm near New Freedom,
Pennsylvania, in the heart of Pennsylvania Dutch country.
“I grew up in a place that highly valued craft. My mother, who
was Dutch, brought a lot of her West German pottery and
dishware to the States. It was typically lumpy and thickly glazed.
In regard to my autobiography,” he continues, “I felt like I
had a history with that particular material that I should play
up in my art.”
The current exhibition surveys a broad range of Ruby’s
ceramic sculptures, from the hefty basins that he fills with
shards of earlier works that failed in construction or firing to
smaller works that he describes as totems, soldiers, and
ashtrays. Certain pieces riff on the shape of a heart, beautifully
glazed in a broad range of hues. The heart sculptures may
be a sly undermining of the outmoded conflation of clay and
craft—akin to something one might encounter at the local
art fair, down the aisle from the batik ponchos and driftwood
lamps. Or perhaps it’s just a red herring.
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lush life
With nature threatening to take over,
architect Daniel Romualdez enlisted
landscape designer Miranda Brooks to tame
and transform the acres surrounding his
beloved Connecticut retreat
TEXT BY
PAGE DICKEY
PHOTOGRAPHY BY
NGOC MINH NGO
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MOWN PATHS LEAD
TO THE ORCHARD.
THE MEADOW GRASS
IS DOTTED WITH
MOUNT EVEREST
ALLIUM. FOR DETAILS
SEE RESOURCES.
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A PYRAMID, CONSTRUCTED USING STONES FOUND ON THE PROPERTY, SITS AT THE FOOT
OF AN ALLÉE OF FIELD MAPLES. SOME 20 FEET TALL, THE FOLLY CAN BE SEEN FROM THE HOUSE
IN WINTER AND SERVES AS A PLEASANT DESTINATION FOR A WALK DURING WARMER MONTHS.
I
never thought a garden would be part
of my life,” the AD100 architect and
interior designer Daniel Romualdez
says about his weekend home in northwest Connecticut. “I have no skills
with gardening, no landscape vision,”
he adds modestly. But ten years ago
Romualdez asked his friend the landscape designer Miranda Brooks to
make something of the property around
the 18th-century house he had recently
purchased, where he and his husband,
investment banker Michael Meaghar,
planned to spend fall, winter, and early spring. Once
famously the home of fashion great Bill Blass, the
handsome fieldstone-and-clapboard house had become
shrouded with overgrown rhododendrons, the sky
darkened by towering conifers. No design of the
outdoors had ever been undertaken. There was no
view, no place outside to sit. Brooks changed all that.
“It was exciting making a winter garden,”
Brooks says, concentrating on green architecture
and perspectives, on the forms of trees and shrubs,
planting roses more for their colorful hips through
fall and winter than for their flowers. But what she
proposed was a huge project. Construction ensued,
152
AR C HDIG ES T.COM
as major walls were built and grades were changed to
conquer a dramatic descent on the south side of the
house and allow for a series of garden spaces. Steps
now lead down from the south-facing sunroom to a
terrace laid randomly with granite slabs and planted
lushly with box bushes, amsonias, grasses, Japanese
anemones, peonies, and lilacs around a cluster of
garden chairs. More comfortable seating and a dining
table are shaded by a bamboo-covered pergola at the
end of the terrace.
Pots of rosemary and figs mark steps descending
to a formal garden space enclosed by tall hornbeam
hedges. Four bold box parterres are centered here
in an expanse of lawn and simply filled almost to the
edges with more boxwood, clipped slightly higher.
The gaps between the inner boxwood and the outer
are filled with a grass, Molinia caerulea—moorhexe—
that waves above the parterres, seemingly laughing
at the stolid blocks of green. The journey continues
past these strict hedges and opens out onto a pastoral
scene of high grass and fruiting trees, an old apple
orchard threaded with paths on one side, woods and
blue hills beyond. Romualdez wanted a focal point
that he could see from the house in winter, and that
led to the construction of a folly—a stone pyramid
at the end of an allée carved out of the woods.
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Walking back from the pyramid, you glimpse the
white steeple of a church rising above the garden.
Brooks brought an understated elegance to the
north, more public side of the house. “I wanted to
make the front supersimple,” she says. The façade
was cleaned of old shrubbery and now is viewed from
the road sitting plainly on its bed of lawn, ledge rocks,
and ferns, shaded by ancient sugar maples. “I’m an
architect and want to see the house,” Romualdez
says. Brooks redirected the entrance driveway, giving
it no fanfare—no stone posts, no gates, no lampposts.
Now it’s merely two strips of gravel set in lawn,
but placed charmingly on axis with the 19th-century
stone church across the street. Pleached lindens
enclose the small parking area that leads to the front
door of the house.
Romualdez says what appeals to him about
Brooks’s gardens is that there’s strict architecture and
yet “she knows when to let go. Miranda also knows
how people live and how to help them to live better,”
he notes, referring to the sitting areas she carved
out below the house. “We love to read in the garden.”
Romualdez spends many hours beneath the pergola,
“lunch, after lunch, dinner—it’s literally our living
room.” Brooks adds, “Even in winter, Daniel is out
there, covered with blankets!” From the pergola, he
looks out onto the stone terrace and its plantings, and
down the long view to the hills and the sky. “After
Miranda did the garden, I really felt like I was in the
country. I’m in love. We rush home on the weekends
to see what’s new. It changed the way we live.”
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ARC HDIG ES T.COM
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“After Miranda did the garden, I really
felt like I was in the country,” says
Romualdez. “I’m in love.”
ABOVE A FORMAL HORNBEAM-ENCLOSED PARTERRE OF BOXWOOD INTERPLANTED WITH MOORHEXE GRASS SITS BELOW THE HOUSE
AND STONE TERRACE. OLD TREES AND WILDER MEADOWS LIE JUST BEYOND. OPPOSITE LEFT A CLOSE-UP VIEW INTO THE HORNBEAM HEDGES.
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Marmol Radziner’s
meticulous architectural
restoration of a classic
midcentury home in
San Francisco provides an
unexpectedly hospitable
backdrop for avant-garde
interiors by designer
Charles de Lisle
MAYER RUS
WILLIAM ABRANOWICZ
STYLED BY MICHAEL REYNOLDS
TEXT BY
PHOTOGRAPHY BY
Back to the
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THE SPACIOUS LIVING AREA
OFFERS A SWEEPING VIEW
OF THE SAN FRANCISCO BAY.
BELOW, VINTAGE ERCOL
DINING CHAIRS SURROUND
A CUSTOM MARMOLEUM
TABLE BY MARTINO GAMPER;
CUSTOM ABACA FLOORING.
FOR DETAILS SEE RESOURCES.
Future
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w
hen you’re a professional
shelter-magazine writer,
certain clichés come with
the territory. There’s the
house that’s modern but
surprisingly warm; the house
that blurs the boundaries
between indoors and out; the
house in which every object
and design detail tells a story. The San Francisco
home of Jessica and Aaron Sittig is all of the above—
but there’s nothing clichéd about it.
“This was one of the most thoughtful and deliberate
design processes we’ve ever been through. Aaron and
Jessica wanted to drill down into every aspect of the
project—conceptual, narrative, aesthetic, mechanical,
and functional,” says Leo Marmol of Marmol Radziner,
the Los Angeles–based AD100 architecture firm and
restoration specialist tasked with the rehab of the
Sittigs’ classic midcentury residence in San Francisco.
His partner, Ron Radziner, seconds that emotion: “The
level of rigor reminded me of the conversations we had
when we were restoring Neutra’s Kaufmann House.
We almost never get the opportunity to go this deep.”
158
ARC HDIG ES T.COM
ABOVE JESSICA AND AARON SITTIG
IN THE ENTRYWAY. LEFT ORIGINALLY
DESIGNED IN 1963 BY ARCHITECTURE
FIRM SCHUBART AND FRIEDMAN,
THE STRUCTURE IS CLAD IN REDWOOD
SIDING AND STUCCO.
Interior designer Charles de Lisle, who spent five
years working in close collaboration with the homeowners and Marmol Radziner, is equally rhapsodic.
“Jessica and Aaron approached the design process
with a kind of intellectual curiosity beyond compare.
We’d have eight-hour meetings about a door handle
and hinges,” he recalls. “What makes them so extraordinary is that they don’t feel beholden to conventional
wisdom about objects and rooms. They wanted to
question everything.”
The Sittigs are a young power couple in the
technology world, although they’d undoubtedly
be mortified to find themselves described as such.
They’d much rather be known, if at all, for their
dedication to design, particularly as design development has always been part of their professional
milieu. “We’re interested in how something great
comes to be—whether it’s a perfectly placed tree,
a piece of software, or a chair,” Jessica says.
Originally built in 1963, the Sittigs’ house is
composed of stacked rectilinear volumes of redwood
and glass, projecting from a steep San Francisco
hillside. The taut modernist structure had barely
been touched in the half-century since it arose in
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THE LIVING ROOM’S BAR IS
SWATHED IN A CUSTOM
DE GOURNAY SILK. VINTAGE
BORIS LACROIX SCONCE;
CUSTOM INDIGO-DYED ASH
CABINET WITH BRASS
COUNTERTOP AND SHELVES
BY DE LISLE; VINTAGE
MAURICE DUFRÈNE ARMCHAIR.
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ABOVE, FROM LEFT THE POWDER ROOM FEATURES A HAND-CARVED ELM SINK; BLACK LACQUERED ROSEWOOD PANELING ON WALLS. A HIPPO TOY
BY RENATE MÜLLER STANDS WATCH IN FRONT OF A FREESTANDING PLYWOOD SLEEPING POD IN THE KIDS’ ROOM. BELOW, FROM LEFT GLIMPSED
THROUGH A PORTHOLE, THE READING NOOK IS DECORATED WITH BENJAMIN MOORE AND PRATT & LAMBERT PAINTS, VINTAGE TEXTILES, AND CUSTOM
CASEWORK BY DE LISLE. A BETTY WOODMAN WALL-MOUNTED CERAMIC SCULPTURE OVERLOOKS A PIERRE CHAPO COCKTAIL TABLE.
160
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A STRAWBERRY PRINT
DEVISED BY DE LISLE
COVERS THE GUEST ROOM’S
WALLS, HEADBOARD, AND
QUILT; DUVET COVER
AND SHAMS OF ROGERS &
GOFFIGON FABRICS;
MARTINO GAMPER CHAIR.
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THE KIDS’ BATH IS
LINED WITH ADJUSTABLE SHELVES OF
CLEAR RED BIRCH,
WALNUT, AND CEDAR.
CUSTOM BLUESTONE
SINK BY MAX LAMB.
“The design process gave
us insight into how we want
to raise our kids and how
we want to live.” —Jessica Sittig
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IN THE MASTER BEDROOM, A CUSTOM BED BY
GLITHERO FEATURES
BUILT-IN NIGHTSTANDS.
CUSTOM QUILT COMPOSED
OF VINTAGE FABRICS;
VINTAGE DANISH ROCKING
CHAIR; SILK RUG BY STARK.
a neighborhood better known for Victorian and
Beaux Arts finery. Its architect, Hank Schubart of
Schubart and Friedman, apprenticed under Frank
Lloyd Wright and worked in the studio of influential
Bay Area maestro William Wurster.
In typically fastidious fashion, the Sittigs drew
up a detailed spreadsheet of nearly 100 architects
before ultimately alighting on Marmol Radziner. “We
wanted to work with people we could have a conversation with—people deeply invested in research,”
Aaron explains. A similarly exhaustive process led
the couple to de Lisle, a San Francisco interior and
product designer. “Charles is more chaotic and
willing to improvise. We thought he’d be a good foil
to the architects,” Jessica says.
Indeed, the extraordinary character of the home
emerges from the tension between the meticulous
architectural restoration and the wild panoply of
decorative elements contained within. Deferring to
the spirit of Schubart’s plans, the Sittigs and their
design team essentially gutted and rebuilt the house,
invisibly introducing necessary mechanical and
seismic upgrades while replicating and refining
its original design details.
Since many of the original off-the-rack hinges,
knobs, and pulls went out of production decades
ago—midcentury architects loved a good hardware
store—the Sittigs had them remade. When a particular architectural lighting fixture could not be
procured, the couple went through the process of
obtaining a UL listing for a custom version. “The stove
top was our Waterloo,” Jessica laments, referring to a
complex and as yet unresolved engineering challenge
involving flush-mounted burners.
The homeowners’ fascination with craft and
process naturally extended from humble hinges to
the splashier furnishings and decorative flourishes
that coalesce in de Lisle’s kaleidoscopic assemblage.
For pure sex appeal (as design nerds would understand the phrase), it’s hard to beat the commodious
living/dining room, with its panoramic view, massive
retractable skylight, and huge glass sliders. Along one
side of the room, panels of figured red birch veneer
conceal a seriously seductive bar, bookshelves, and a
ARCHDIGEST.COM
163
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A HALLWAY LEADS TO A SEMI-CONTAINED MOSS GARDEN. WICKER STOOL
BY FABIEN CAPPELLO; ANTIQUE BEECH SETTEE; CUSTOM RUG BY MAX LAMB.
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small work station. Floating within the open expanse
is an ever-changing landscape of toothsome vintage
furnishings by the likes of Gio Ponti, Ward Bennett,
Joe Colombo, Maurice Dufrène, and Pierre Chapo,
all set atop a sprawling carpet of abaca tiles. A custom
de Gournay wallpaper of pine trees in fog, as delicate
as a Japanese ink drawing, lines the bar interior.
In addition to orchestrating this heady mix,
de Lisle made his own contribution in the form of
custom sofas that nod to both Northern California
and Japanese craft traditions. De Lisle also served
as a conduit between the Sittigs and the myriad
designers, artists, and master craftsmen they enlisted
to create custom pieces. Consider the bespoke dining
table by Martino Gamper. De Lisle took his clients
“We wanted to work
with people we could
have a conversation
with.” —Aaron Sittig
to London to meet the designer, and after more than
a year and a half of conversations, sketches, and
on-site mock-ups, Gamper fabricated a series of supersite-specific tables made of teak-banded Marmoleum
set on powder-coated aubergine legs.
Max Lamb, another London-based design star,
contributed a monolithic freestanding sink in the
children’s bathroom. Cut from a solid block of Belgian
bluestone, hand-finished, and embellished with an
array of whimsical brass fixtures, the massive piece
required plumbing to be rerouted and structural
reinforcement of the floor.
Beyond boldface names on the international
scene, the Sittigs engaged master artisans with deep
ties to the California craft movement. In the stunning
powder room off the kitchen, where the walls of riftcut redwood are lacquered black in a nod to Japanese
urushi, Rick Yoshimoto fashioned a hand-carved
elm sink of de Lisle’s design that feels like a high
altar in a pocket temple. Now based in New Mexico,
Yoshimoto worked for years alongside California
craft titan J. B. Blunk. The homeowners also commissioned designer Tripp Carpenter, son of the revered
woodworker Arthur Espenet Carpenter, to create
a desk for the Sittigs’ guest room, where de Lisle’s
madcap strawberry pattern adorns the headboard,
walls, and bed linens.
“Our joy comes from working with people
we admire, giving them our story and the story of
the house, and seeing what they come up with.
It’s not about collecting,” Jessica says of the couple’s
extraordinary design odyssey. Aaron puts a finer
point on the process: “It was our job to care more
than anyone else.”
ARCHDIGEST.COM
165
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design notes
THE DETAILS THAT MAKE THE LOOK
LINDEN STICK
LIGHT BY CHARLES
DE LISLE FOR THE
FUTURE PERFECT;
$5,050. THEFUTURE
PERFECT.COM
GUEST-BEDROOM NOOK. VINTAGE PAAVO TYNELL
PENDANT; CLARO WALNUT DESK BY TRIPP CARPENTER.
BUCKLAND LINEN
BY COLEFAX AND
FOWLER; TO THE
TRADE. COWTAN.COM
CUSTOM ACNE
STUDIOS RUG BY
MAX LAMB FOR
KASTHALL. SIMILAR
AVAILABLE AT
KASTHALL.COM
STRAWBERRY TREE
WALLPAPER BY COLE
& SON; TO THE TRADE.
LEEJOFA.COM
THERAPEUTIC TOY
HIPPOPOTAMUS
BY RENATE MÜLLER;
PRICE UPON
REQUEST. R-ANDCOMPANY.COM
CAP 1 KNIGHT
AND IAN MOTOR
YHCYC LES. THE
THIRD AND
LATEST FALCON,
in the crazy stuff.” —Charles de Lisle
PRODUCED BY M ADELINE O’M ALLEY
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What excited us was
finding out what excited the
designers.” —Jessica Sittig
RABARBER LINEN
BLEND; $170 PER
METER. JOBSHAND
TRYCK.SE
CARA SOFA BY PAUL MATHIEU FOR LUXURY
LIVING; $15,530. LUXURYLIVINGGROUP.COM
ACRYLIC SCULPTURE BY
PHILLIP LOW; PRICE UPON
REQUEST. SIMILAR AVAILABLE
AT THEFUTUREPERFECT.COM
HAND-PAINTED
ABSTRACT PINES
SILK WALLPAPER;
$1,043 PER PANEL.
DEGOURNAY.COM
VINTAGE WARD
BENNETT CLUB
CHAIRS FACE OFF IN
THE LIVING ROOM.
SILVIA CHAIR BY
PAOLO TILCHE FOR
ARCHIVIO STORICO
BONACINA 1889,
REISSUED BY DE
PADOVA; $7,520.
DEPADOVA.COM
INTERIORS: WILLIAM ABRANOWICZ; SILVIA CHAIR: TOMMASO SARTORI; HIPPOPOTAMUS:
JOE KRAMM/COURTESY OF R & CO.; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES
ARNOLD CIRCUS
STOOL BY MARTINO
GAMPER; $132.
KARENWALKER.COM
VINTAGE TOPO TASK
LAMP BY JOE COLOMBO
FOR STILNOVO; $1,400.
TWOENLIGHTEN.COM
CRANFORD CRIMSON RUG;
TO THE TRADE.
STARKCARPET.COM
ARCHDIGEST.COM
167
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resources
Items pictured but not listed here are not
sourceable. Items similar to vintage and
antique pieces shown are often available from
the dealers listed.
(T) means the item is available only to the trade.
WORLD OF: JAKE GYLLENHAAL
PAGES 39–40: Interiors by Ashe + Leandro;
asheleandro.com. PAGE 39: Percival Lafer
lounge club chair from 1stdibs; 1stdibs.com.
Koti 2 Seater Sofa by Hem; hem.com. 548
Standing Lamp by Ruemmler; ruemmler.us.
PAGE 40: In screening room, vintage Guillerme
et Chambron armchair from 1stdibs; 1stdibs
.com. Corbett coffee table by Room & Board;
roomandboard.com. Q rug, in black, by
Studio Woven; woven.is. In Marker’s office,
teak desk from Horseman Antiques; horse
manantiques.net. Banded Barrel Back chairs
by Moran Woodworked Furniture; shop
.moranwoodworked.com. Stairway bookshelves,
in white, by CB2; cb2.com. In kitchen, Classic
Café upholstered dining chair by West Elm;
westelm.com. Eero Saarinen round dining table
for Knoll from Design Within Reach; dwr.com.
HIGH STYLE
COVER, PAGES 114–127: Interiors by Michael
S. Smith; michaelsmithinc.com. Architecture
by Ferguson & Shamamian Architects;
fergusonshamamian.com. COVER: In bar,
antique Venetian mirror from Galerie Aveline;
aveline.com. Vintage Emilio Terry mantel
from Féau & Cie; feauboiserie.fr. Vintage Paul
Belvoir andirons from Bonhams; bonhams.com.
Custom chandelier by Junko Mori from Adrian
Sassoon; adriansassoon.com. Table Grecque
by Diego Giacometti from Liz O’Brien (T);
lizobrien.com. Artworks by Franz Kline
(left, top) and Joaquin Torres-Garcia (right).
Custom silk rug by Beauvais Carpets (T);
beauvaiscarpets.com. PAGE 116: On custom
armless sofa, Malmaison cotton, in chocolate
& gold stripes on slate blue, by Fortuny (T);
fortuny.com. PAGE 117: On chairs, Apollon
horsehair-blend, in mixed light brown, by Emil
Rotter (T); emil-rotter.de. On bronze commode
facette by Ingrid Donat from Carpenters
Workshop Gallery; carpentersworkshopgallery
.com; vintage Karl Springer table lamp, in ocher
crackle finish, from Liz O’Brien (T); lizobrien
.com. PAGES 118–19: Curtains of custom linensilk by Michael S. Smith; michaelsmithinc.com.
Shades of hand-woven fabric, in ivory, with
metallic banding by Anne et Vincent Corbière
(T); av-corbiere.com. On sofas (at center),
custom silk by Soie de Lune (T); soiedelune
.com. On George III giltwood armchairs, Jaspe
cotton-linen, in fern, by Cowtan & Tout (T);
cowtan.com. PAGE 120: On chairs, Abaca fabric,
in cream & plum, by Holland & Sherry (T);
hollandsherry.com. Custom bronze mantel by
Philippe Anthonioz; philippe-anthonioz.com.
PAGE 121: Cabinetry by Lico Contracting;
licocontracting.com. Window shades of Grace
linen-blend, in windswept; by Pollack (T);
pollackassociates.com; fabricated by Interiors
by J.C. Landa; interiorsbyjclanda.com. Aro
stools by Lievore Altherr Molina for Bernhardt
Design; bernhardtdesign.com. PAGES 122–23:
On walls, Les Jardins Français wallpaper,
in blue-green custom grisaille-style color, by
Zuber (T); zuber.fr. Custom patinated-bronze
bed by Carole Gratale; carolegratale.com.
Headboard of fabrics by Rogers & Goffigon
(T); rogersandgoffigon.com. Custom Taiga
bed linens by D. Porthault (T); dporthaultparis
.com. Swing-arm sconces by Chameleon Fine
Lighting (T); chameleonhome.com. PAGE 124:
On daybed, Veneto rayon-cotton, in lichen,
by Rose Tarlow Melrose House (T); rosetarlow
.com. Jacques Quinet side table from Maison
Gerard; maisongerard.com. Custom églomisé
doors by Miriam Ellner; miriamellner.com.
Custom Monolithe crystal light fixtures by
Mathieu Lustrerie; mathieulustrerie.com.
Shards I wool-and-dull silk carpet by Tai Ping
(T); houseoftaiping.com. PAGE 125: In sunroom,
custom lantern by Philippe Anthonioz; philippeanthonioz.com. Bubble Gum dining table
by Hervé Van der Straeten; vanderstraeten.fr.
On midcentury chairs, custom fabric by Toyine
Sellers (T); toyinesellers.com. Curtains of
custom panels by Robert Crowder & Co. (T);
robertcrowder.com; fabricated by Interiors
by J.C. Landa; interiorsbyjclanda.com. Custom
rug by Tai Ping (T); houseoftaiping.com. In
husband’s dressing room, on walls, paneling
by Ferguson & Shamamian Architects;
fergusonshamamian.com. On stool, Kimmel
silk-blend, in rust/blue, by Christopher
Hyland (T); christopherhyland.com.
STRANGE ALCHEMY
PAGES 128–135: Interiors and custom
furniture throughout by Gabriel Hendifar of
Apparatus; apparatusstudio.com. PAGES 128–
29: On walls, Bayan cotton-blend velvet, in
alim, by Zak + Fox (T); zakandfox.com. Lantern
pendants by Apparatus; apparatusstudio.com.
Side tables by Lumifer; lumifer.us. PAGES
130–31: Segment 6 console, in lacquer and
resin; 20" Median 1 pendant; Portal dining
table, in marble; Candle Blocks, in brass; and
Block double vase (right), all by Apparatus;
apparatusstudio.com. On dining chairs, suede
from Dualoy Leather (T); dualoy.com. Custom
rift-cut oak-and-brass shutters by Gabriel
Hendifar of Apparatus. On console, ceramic
sculptures by Jeremy Anderson of Apparatus.
On vintage brass chair (at left), Amazonia
cotton with wool embroidery, in brown, by
Clarence House (T); clarencehouse.com.
Custom rugs by Gabriel Hendifar with Studio
Four NYC (T); studiofournyc.com. PAGE 133:
In kitchen, on walls and cabintery, custom
paints by Benjamin Moore; benjaminmoore
.com. Custom hardware by Apparatus;
apparatusstudio.com. Cylinder extended down
lights by Apparatus. On vintage chair, leather
by Dualoy Leather (T); dualoy.com. In Paul
Mayen aluminum chrome planters, plants
from Harrison Green; harrisongreen.com.
In dressing room, on Vladimir Kagan sofa
and ottoman (similar at Holly Hunt (T);
hollyhunt.com), Cent Six viscose-blend by
Toyine Sellers (T); toyinesellers.com. Pars
cocktail table, in oil-rubbed bronze and Nero
Gold marble; and Metronome articulating
floor lamp (in background), in black suede;
both by Apparatus. In cast-iron planters,
plants from Harrison Green. Custom rug by
Studio Four NYC (T); studiofournyc.com.
PAGES 134–35: Atop custom cabinet, Shiraz
vessel by Apparatus; apparatusstudio.com.
On custom pillows, fabrics by Studio Four NYC
(T); studiofournyc.com; and Zak + Fox (T);
zakandfox.com. On floor pillow, Bayan cottonblend velvet, in nuru, by Zak + Fox (T). Side
table by Julian Chichester; julianchichester.com.
ARCHITECTURAL DIGEST AND AD ARE REGISTERED TRADEMARKS OF
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ALL RIGHTS RESERVED. PRINTED IN THE U.S.A.
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division of Advance Magazine Publishers Inc.
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HOMEWARD BOUND
PAGES 136–143: Nina Flohr of Kisawa
LUSH LIFE
PAGES 150–55: Daniel Romualdez of
Sanctuary; kisawasanctuary.com. Interiors
by Veere Grenney Assoc.; veeregrenney.com.
Landscape design by Jinny Blom Ltd.;
jinnyblom.com. PAGE 137: On walls, pillows,
and on custom sofa by Veere Grenney Assoc.;
veeregrenney.com. Coromandel linen by
Bennison (T); bennisonfabrics.com. On other
pillows, silk velvet, in golden yellow, by
de Gournay (T); degournay.com; and Fez
weave, in sage, by Guy Goodfellow Collection;
guygoodfellowcollection.com. Moroccan
sconces by Veere Grenney Assoc. PAGE 138:
Serge Mouille three-arm ceiling lamp from
Guéridon; gueridon.com. Eero Saarinen round
dining table for Knoll from Design Within
Reach; dwr.com. On custom banquette by Veere
Grenney Assoc.; veeregrenney.com; Natural
Maroc goat leather, in poppy, by Howe;
36bournestreet.com. Droit bistro chairs by
Philippe Model Maison; philippemodelmaison
.com. Convex mirror by Collier Webb (T);
collierwebb.com. Curtains of Tajmahal cotton,
in grenat, by Braquenié from Pierre Frey (T);
pierrefrey.com. PAGE 139: Outdoor furniture
by Veere Grenney Assoc.; veeregrenney.com.
Curtains and pelmet of Aurora on Nivelles
linen, in oyster-green, by Paolo Moschino for
Nicholas Haslam (T); nicholashaslam.com.
PAGES 140–41: In dressing room, vintage
Swedish table from Modernity; modernity.se.
Vintage Moroccan chairs from Guinevere;
guinevere.co.uk. Walls and curtains of Dot
cotton-linen, in fern, by Sister Parish Design
(T); sisterparishdesign.com. Vintage chandelier
from Carlton Davidson Antiques; carlton
davidson.co.uk. Orange trunk by Globe-Trotter;
globe-trotter.com. Antique rug from Robert
Stephenson; robertstephenson.co.uk. In master
bedroom, on custom bed by Veere Grenney
Assoc., veeregrenney.com; Pomegranate fabric,
in a custom blue, by Bennison (T); bennison
fabrics.com. On antique bench from Timothy
Langston Fine Art & Antiques; timothylangston
.com; Maestro silk velvet, in ciel, by Lelièvre
(T); lelievreparis.com. In entrance hall, console
table from Arcadia Antiques; arcadiaantiques
.co.uk. Bubble Lantern pendant by Rose
Uniacke; roseuniacke.com. In living room,
on sofa by Veere Grenney Assoc., Orsini
Egyptian cotton, in bayou green on parchment,
by Fortuny (T); fortuny.com. On ottoman
by Veere Grenney Assoc., African weave,
in olive, by Guy Goodfellow Collection;
guygoodfellowcollection.com. On vintage
Aldo Morbelli armchair from 1stdibs; 1stdibs
.com; Duke mohair velvet, in moutarde, by
Pierre Frey (T); pierrefrey.com. PAGE 142:
In guest room, walls and curtains of Palampore
linen-cotton, in charcoal blue on oyster, by
Bennison (T); bennisonfabrics.com. Vintage
striped armchair from Robert Kime;
robertkime.com. MID070 writing desk by
Chelsea Textiles; chelseatextiles.com. Vintage
floor lamp from Modernisten; modernisten
.com. In master bath, vintage Murano-glass
chandelier from Carlton Davidson Antiques;
carltondavidson.co.uk. Paris bathtub without
feet and custom antique French bow-front
basin with Soho fittings by the Water Monopoly;
thewatermonopoly.com. Curtains and pelmet
of Bray linen, in ecru, by Zoffany (T);
stylelibrary.com. PAGE 143: On bed and canopy
by Veere Grenney Assoc.; veeregrenney.com.
On bookcase, Vista 5 wallpaper by Brian Yates
from Jane Clayton & Co.; janeclayton.co.uk.
Antique side table from Westenholz Antiques;
westenholz.co.uk.
Daniel Romualdez Architects; 212-989-8429.
Landscape design by Miranda Brooks
Landscape Design; mirandabrooks.com.
FOR SUBSCRIPTIONS, ADDRESS CHANGES, ADJUSTMENTS, OR BACK ISSUE
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BACK TO THE FUTURE
PAGES 156–167: Interiors by Charles
de Lisle; charlesdelisle.com. Architecture
and landscape design by Marmol Radziner;
marmol-radziner.com. PAGES 156–57:
Custom dining table by Martino Gamper;
martinogamper.com. On custom sofa by
Charles de Lisle; charlesdelisle.com; Keaton
linen, in vintage rose, by Kerry Joyce (T);
kerryjoyce.com. Vintage rattan floor lamp
from Paris Underground; parisunderground
.com. PAGE 159: Custom silk wall covering
by de Gournay (T); degournay.com. Vintage
Boris Lacroix sconce from Galerie Pascal
Cuisinier; galeriepascalcuisinier.com. Custom
bar cabinet by Charles de Lisle; charlesdelisle
.com. On vintage Maurice Dufrène armchair
from Magen H Gallery; magenxxcentury.com;
custom fabric from Scalamandré (T);
starkcarpet.com. PAGE 160: In powder room,
custom wall paneling and sink by Charles
de Lisle; charlesdelisle.com. Vintage sconce by
Bruno Gatta from Galerie Kreo; galeriekreo
.com. At low right, custom laminate storage
cabinet by Martino Gamper; martinogamper
.com. In kids’ room, custom hippopotamus
toy by Renate Müller from R & Co.; r-andcompany.com. Custom plywood sleeping pod
by Charles de Lisle. Custom wool rug by Stark
(T); starkcarpet.com. Through porthole,
walls and shelves in paints by Benjamin Moore;
benjaminmoore.com; and Pratt & Lambert;
prattandlambert.com. Custom casework by
Charles de Lisle. Outside porthole, on custom
bench by Charles de Lisle, fabric by Lee Jofa
(T); kravet.com. Vintage Dieter Gullert
child’s chair from Kinder Modern. In living
room, vintage Pierre Chapo table (similar)
from 1stdibs; 1stdibs.com. On sofa, Brentwood
velvet, in jadestone, by Décor de Paris (T);
decordeparis.com. Custom sconces by Charles
de Lisle. At right, Marmoreal side table by
Max Lamb; maxlamb.org. PAGE 161: Custom
linen wall covering, headboard, and quilt by
Charles de Lisle; charlesdelisle.com. Custom
duvet cover and shams by Rogers & Goffigon
(T); rogersandgoffigon.com. Sessel chair by
Martino Gamper; martinogamper.com. Custom
Claro walnut desk by Tripp Carpenter from
Espenet Furniture; espenetfurniture.com.
Vintage Paavo Tynell pendant from Kabinet
Hubert; kabinethubert.com. PAGE 162: Custom
cabinetry and shower curtain by Charles
de Lisle; charlesdelisle.com. Custom bluestone
sink by Max Lamb; maxlamb.org. Custom
brass sink fittings by Max Lamb fabricated by
Barber Wilsons & Co.; barwil.co.uk. Vintage
children’s chair by Thonet from Kinder Modern;
kindermodern.com. PAGE 163: Custom bed
by Glithero; glithero.com. On headboard, Baa
Baa wool, in basco, by Rogers & Goffigon
(T); rogersandgoffigon.com. Custom quilt by
Charles de Lisle; charlesdelisle.com. Vintage
rocking chair by Hans Olsen for Juul
Kristiansen from 1stdibs; 1stdibs.com. Custom
silk rug by Stark (T); starkcarpet.com. Curtains
of alpaca linen by Rosemary Hallgarten (T);
rosemaryhallgarten.com. PAGES 164–65:
Wicker stool by Fabien Cappello; fabiencappello
.com. Custom rug by Max Lamb; maxlamb.org.
Antique settee from H. Blairman & Sons;
blairman.co.uk.
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Palace Coup
One might think that interior designer Ashley Hicks would know Buckingham Palace inside and
out, given that his grandfather Lord Mountbatten was Prince Philip’s uncle. Think again. “As
children we used to go once a year, to see my grandfather ride in the queen’s birthday parade,”
he explains, “go into the courtyard to give his horse a sugar lump, and then have a drink in the
wonderful chinoiserie Centre Room behind the balcony. I had almost never seen the state rooms.”
So when Hicks was asked to produce Buckingham Palace: The Interiors (Rizzoli, $55), the first
book about the royal digs in decades, he jumped at the chance. Armed with a Canon Digital SLR,
he snapped 21 spaces in about ten days—and all, for once, in natural light. Pictured is the skylit
corridor that leads to the State Dining Room. “I spent a great deal of time getting people to turn
lights off,” Hicks says, noting that the palace serves as a home, museum, and place of business
at the same time. “I’d be ready to take a picture, and suddenly in come the Lord Chamberlain’s
Office officials to work out the state banquet for the king of Spain.” —MITCHELL OWENS
170
ARC H D IGE S T.COM
FROM BUCKINGHAM PALACE: THE INTERIORS, BY ASHLEY HICKS; © 2018 RIZZOLI. PHOTOGRAPHY © ROYAL COLLECTION TRUST/ASHLEY HICKS
last word
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