2018 Architectural Digest

THE INTERNATIONAL DESIGN AUTHORITY OCTOBER 2018
THE NEW
CREATIVES
DESIGNERS
ON THE RISE
MICHAEL S. SMITH’S
MANHATTAN MASTERPIECE
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CONTENTS october
114
TWO VIEWS OF A
MANHATTAN
RESIDENCE DESIGNED
BY MICHAEL S. SMITH.
MICHAEL MUNDY (2); TOP: ARP © 2018 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/VG BILD-KUNST, BONN
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 HDIG ES T.COM

Text 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.

CONTENTS october
144
STERLING RUBY IN
HIS LOS ANGELES–
AREA STUDIO.
98
SASHA BIKOFF AT THE
KIPS BAY DECORATOR
SHOW HOUSE.
156
INSIDE A SAN FRANCISCO
HOME WITH INTERIORS BY
CHARLES DE LISLE.
87 New Creatives
CLOCKWISE FROM TOP LEFT: JASON SCHMIDT; WILLIAM ABRANOWICZ; AMY LOMBARD
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)
©2018 WATERWORKS IS A REGISTERED TRADEMARK OF WATERWORKS IP COMPANY, LLC
Cabinetry & Hardware

by Waterworks.
Design Authenticity.
Meticulous Craftsmanship.
Service Excellence.
WATERWORKS.COM
CONTENTS october
128
JEREMY ANDERSON
AND GABRIEL
HENDIFAR’S NEW
YORK CITY LOFT.
FROM TOP: FRANÇOIS DISCHINGER; MICHAEL MUNDY; ON COVER: © 2018 THE FRANZ KLINE ESTATE/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
144 Supersize It
Sterling Ruby’s vast studio is a testament
to the scope and ambition of the artist’s A MANHATTAN
practice. BY MAYER RUS DUPLEX DESIGNED
BY MICHAEL S. SMITH.
“HIGH STYLE,” PAGE
150 Lush Life 114. PHOTOGRAPHY
BY MICHAEL MUNDY.
With nature threatening to take over, STYLED BY CAROLINA
Daniel Romualdez called on Miranda Brooks IRVING. FOR DETAILS
SEE RESOURCES.
to tame and transform the acres surrounding
his beloved Connecticut retreat.
FOLLOW @ARCHDIGEST
BY PAGE DICKEY
156 Back to the Future

Marmol Radziner and Charles de Lisle SUBSCRIPTIONS NEWSLETTER
FOR SUBSCRIPTION SIGN UP FOR AD’S
restore and revive a classic midcentury INFORMATION GO TO DAILY NEWSLETTER,
home in San Francisco. BY MAYER RUS ARCHDIGEST.COM, AT ARCHDIGEST.COM/
CALL 800-365-8032, OR NEWSLETTER.
EMAIL SUBSCRIPTIONS@
168 Resources ARCHDIGEST.COM. COMMENTS
CONTACT US VIA SOCIAL
The designers, architects, and products DIGITAL EDITION MEDIA OR EMAIL US AT
featured this month. DOWNLOAD AT LETTERS@ARCHDIGEST.COM.
ARCHDIGEST.COM/APP.
170 Last Word CORRECTION IN “CAR TALK” (SEPTEMBER), WE INCORRECTLY

IDENTIFIED NICOLA BULGARI AS THE GREAT-GRANDSON OF
Ashley Hicks sheds new light on the BULGARI FOUNDER SOTIRIOS VOULGARIS. HE IS VOULGARIS’S
legendary quarters of Buckingham Palace. GRANDSON. WE REGRET THE ERROR.
20 ARC H D IGE S T.COM

S PEC IAL ADVERTIS I N G S EC TI O N
DESIGN STOR IES
1 2
3 4
SAMUEL & SONS

Created by world-renowned interior designer Timothy Corrigan for Samuel & Sons, the
Chevallerie collection is inspired by 18th-century documentary trimmings and successfully
CHEVALLERIE BY 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
TIMOTHY CORRIGAN 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
created,” he said. “Whether you’re mixing new and old, expensive and inexpensive, or
MACARON, BORDEAUX, MARZIPAN, CRÉME, JARDIN,
ornate and simple, I love the exchange that happens whenever you put two very different
AMANDE, ARGENT, AND PÉTALE
pieces together.”
4. CHEVALLERIE SCALLOP TASSEL FRINGE IN MARZIPAN
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

An Elegant Indu lgence
for t he Home
Timothy Corrigan
FOR SA MU EL & SONS
I S T R I M.
samuelandsons.com
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
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DECORATIVE ARTS EDITOR Mitchell Owens WEST COAST EDITOR Mayer Rus
FEATURES MARKET CREATIVE COMMUNICATIONS + EDITORIAL PROJECTS

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London New York Paris Hong Kong Shanghai archdigest360

editor’s letter 2
1. THE ENTRANCE
HALL OF A GRAND
MANHATTAN APART-
MENT 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.
4. PAOLO RIOLZI; BOOK: © ARCHITECTURAL DIGEST: AUTOBIOGRAPHY OF A MAGAZINE 1920–2010 BY PAIGE RENSE, RIZZOLI NEW YORK, 2018
“The apartment is serene and quiet,
1. MICHAEL MUNDY; © 2018 AGNES MARTIN/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; 2. WILLIAM ABRANOWICZ; 3. NGOC MINH NGO;
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 house-
hold names outside it. So it is a distinct pleasure to share the specific,
theatrical, and frankly sexy taste manifested in their New York City 4
loft. Elsewhere in the magazine is a special section edited by our
own Sam Cochran, featuring the best and the brightest young break-
outs 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 FALL MUST-READ:
ARCHITECTURAL DIGEST:
worked harmoniously with these clients, a globe-trotting couple, for AUTOBIOGRAPHY OF
25 years. Over that time, they have created an astonishing number A MAGAZINE 1920–2010
(RIZZOLI), BY PAIGE
of impressive residences together, including the sublime art and RENSE, WHO RAN THIS
antiques–filled New York apartment shown here. Throughout the PUBLICATION FOR
NEARLY FOUR DECADES.
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 AMY ASTLEY
coalition that can stand the test of time—and the strain of Editor in Chief
renovation! The result is a home for the ages. @amytastley

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object lesson 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
PETER MARGONELLI/COURTESY OF BRUCE BIERMAN DESIGN
INTERIOR DESIGNER
BRUCE BIERMAN
DEPLOYED A LIPSTICK-
RED BARCELONA
COUCH IN A
MANHATTAN LOFT.
EVERY THING WE EVER
I M A G I NE D
AND THEN SOME
RDX SH-AWD ® with A-Spec ® Package shown.
I N T RO D U CI N G T H E A L L- N E W 20 1 9 R DX
Great design challenges more than just the eyes; it also challenges the future.
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future of Acura. Low and wide with available 20-inch wheels pushed to the corners,
it has an athletic stance that’s ready to pounce. Up front, a big, bold Diamond
Pentagon Grille juxtaposed by slim, chiseled Jewel Eye ® LED headlights is a
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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.
object lesson 2
1 3
1. A PINK BARCELONA AT KNOLL CEO ANDREW
I
COGAN’S SHELTER ISLAND RETREAT. 2. IN CHESTNUT
LEATHER AT PHILIP JOHNSON’S GLASS HOUSE.
n 1930, little-known American architect Philip Johnson 3. KNOLL’S BASIC BLACK MODEL. 4. ARCHITECTURAL
asked cutting-edge German talent Ludwig Mies van der DESIGNER SIMON JACOBSEN USED A CREAMY
COUCH IN THIS NANTUCKET HOME.
Rohe to design his New York City apartment.
Mies was busy: He had just erected the Barcelona 4
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
1. ROGER DAVIES; 2. NORMAN MCGRATH; 3. COURTESY OF KNOLL INC.; 4. DOUGLAS FRIEDMAN

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 manufac-
tured 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

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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
DISCOVERIES
THE BEST IN SHOPPING, DESIGN, AND STYLE 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
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
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, character-
driven 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 empow-
ered 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 “It’s a place where filmmakers
few humorous moments and lots of personal memorabilia
to inspire him,” says Ashe, who met the actor-producer and artists can feel empowered
when they were teenagers on Martha’s Vineyard. “He’s
actually very funny. He did the best impression of a
to be open, inventive, and
velociraptor when we were kids.” —MAYER RUS collaborative,” says Gyllenhaal.
Inspired by chefs.
Created for you.
Michelin Three Star Chef Christopher Kostow
for Samsung Chef Collection appliances.
© 2018 Samsung Electronics America, Inc.
DISCOVERIES debut
Walk on 4
the Wild Side

T
hink Tony Duquette, and certain
Tony Duquette’s fantastical images spring instantly to mind.

Folding screens spattered with giant
designs strut their stuff sunbursts. A coffered ceiling made
of plastic serving trays. Chandeliers
for a new generation 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 over-
1. THE LIVING ROOM egging that the world is ready for. “We’re entering
OF DAWNRIDGE, TONY
5 DUQUETTE’S CALIFORNIA
a maximalist epoch, and Tony is a maximalist icon,”
HOME. 2. LAPIS LAZULI exults Hutton Wilkinson, a designer of interiors
BOX. 3. SUNBURST
CANDLESTICK. 4. SCREEN.
and jewelry who was Duquette’s longtime business
5. CONSOLE TABLE, A partner and has been the keeper of his 24K-gold
1960s DESIGN FOR ART
COLLECTORS PALMER AND
flame since the latter’s death in 1999, at the age of 85.
CHARLES DUCOMMUN. Sister companies Pearson and Maitland-Smith are

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HANDMADE
IN
“We’re entering a
maximalist epoch,
and Tony is a
maximalist icon.”
2
—Hutton Wilkinson
1. © 2018 TIM STREET-PORTER/COURTESY OF ABRAMS; 2. COURTESY OF PEARSON; 3. COURTESY OF MAITLAND-SMITH

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 Maitland-
Smith). Others existed as prototypes,
such as the Lotus floor lamp. Maitland-
Smith is reproducing it in bronze—though,
Wilkinson notes, Duquette likely would have
3 used cast resin, one of his go-to materials.
Tâ¨¾Ä¹Èq¡ÄØ¾Ä¨ÒººØÈº As for the Elsie table, it’s a scaled-up version
¨Ò|È¡ q¨ º¾ÄºqÄ¨·º
}Ä¾ of a Japanese antique that Duquette’s mentor,
q¨ }ºqÄ |Ø%q ¨¾Ä¨ the decorator Elsie de Wolfe, gave him as a gift.
“My favorite piece must be the hand-painted
Call 866 733 8225 malachite-and-brass desk. Or is it the Louis XV–style
bombé chest entirely veneered in abalone shell?”
ÒÒÒąq ¨¾Ä¨ą}§ 1. ASIAN EFFECTS
Wilkinson muses, adding, “Tony used to say, ‘If there
AT DAWNRIDGE. 2. A
CHINOISERIE SIDE CHAIR. were only one abalone shell in the world, wars would
3. SHOOTING STARS
ERUPT FROM A FREE-
be fought over it for its beauty.’ ” maitland-smith.com;
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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.
Tour de Force
Designer Joseph Dirand
teams up with some favorite
collaborators to create
1 Paris’s new It restaurant
A
3
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
1.–3. ADRIEN DIRAND
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

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1
Cabana Fever
Martina Mondadori Sartogo’s
1. MARTINA MONDADORI
SARTOGO AT HOME cult lifestyle brand
OUTSIDE VENICE. 2. TABLE
LINENS FROM CABANA’S
NEW LINE FOR AERIN
catches on Stateside
(AERIN.COM). 3. THE AERIN
T
COLLECTION’S BEDSIDE
6 TUMBLER. 4. THE BREAK-
FAST NOOK AT MONDADORI he magazine is just the shop window,”
SARTOGO’S LONDON HOME. explains Italian tastemaker Martina
5. A TABLE SET WITH HER
DESIGNS. 6. CABANA POUF Mondadori Sartogo of Cabana, the
IN DEDAR VELVET. dreamy, clothbound interiors magazine
she launched in 2014. “The real goal
5
1. & 4. MIGUEL FLORES-VIANNA; 2. & 3. SILJA MAGG; 5. & 6. COURTESY OF CABANA

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

DISCOVERIES
1
GOOD WORKS
2
Care Package
A cutting-edge medical
center blends world-class
art with technical and
architectural innovations
NATURAL LIGHT is typically low on the priority list for
health-care design. But the sun is shining at NewYork-
Presbyterian Hospital’s new ambulatory-care center,
AND AERIN LAUDER WITH
THEIR NEW COLLECTION. designed for chemotherapy, infusion therapy, and
2. THE DUO’S MEDIUM myriad other outpatient treatments and procedures.
3 VASE. 3. THEIR PRINTED Beyond the tower’s glass–and–obeche wood curtain
TABLECLOTH. 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
hand-paint glassware with the folkloric motifs and the Brazilian artist for the facility. Both are among the
to turn textiles used for traditional dress aprons into nearly 400 works curated by Salon 94 gallery.
prim table linens. This art program is just one innovation on display.
The collaboration comes on the heels of Cabana’s The 734,000-square-foot center champions an archi-
tectural model that integrates 21st-century care with
international e-commerce launch, which Mondadori patient-centered design. “A lot of it is focused on
Sartogo has celebrated by bringing a selection of new reducing anxiety,” explains Erin Nunes Cooper of the
products to the seventh floor of Bergdorf Goodman. architecture-engineering firm Ballinger, which collabo-
(The pop-up runs through October 31.) In addition to rated on the building with HOK and Pei Cobb Freed &
Partners. Prep rooms double as recovery rooms, pro-
introducing Islamic-inspired Richard Ginori dishes, viding continuity for patients and their companions.
linens that riff on Persian rugs, and a velvet pouf Hallways run along the perimeter, taking in sunshine
modeled after one by Renzo Mongiardino, she has and city views. And MRI facilities are aboveground,
1.–3. SILJA MAGG; FAR RIGHT: ALBERT VECERKA/ESTO
asked several friends to make their own contribu- rather than relegated to the basement, as is usually
the case. Notably, the center is home to New York’s
tions. Editrix extraordinaire Marian McEvoy has first MRI-guided linear accelerator, the most accurate
brought her cork-covered obelisks and mirrors. (“I cancer-radiation device.
commissioned one for my London home,” Mondadori As treatment options change, so, too, can the
Sartogo reveals.) Designer Ashley Hicks has created physical architecture. Sections of the swirl-patterned
façade are removable so that old equipment can
hand-painted boxes and resin totems. And photogra- be replaced. Says Joe Ienuso, senior vice president of
pher Miguel Flores-Vianna has rekindled his old love facilities and real estate at NewYork-Presbyterian:
for marbleized ceramics, a hobby he picked up years “Technology will continue to evolve, and the building
ago in the Hudson Valley. Upon spotting the originals anticipates that.” —ELIZABETH FAZZARE
in his London home, Mondadori Sartogo insisted:
ABOVE LIGHT POURS INTO THE LOBBY OF THE NEWYORK-
“You’re going to make these again.” PRESBYTERIAN AMBULATORY-CARE CENTER, DESIGNED BY
cabanamagazine.com aerin.com —HANNAH MARTIN BALLINGER, HOK, AND PEI COBB FREED & PARTNERS.
54 AR C H D IGE S T.COM
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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
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Included TV-to-AV Box cable is required for TV operation.
2
6
VENETIAN BAROQUE
Streamlined shapes and
unexpected hues usher
Murano’s age-old glass craft
into the future
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6. ANTHONY BIANCO BLUE-AND-WHITE TOTEM
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FILIGRANA LIGHT: PETER GUENZEL; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES

FINISHING
TOUCH
Contemporary
or traditional,
oxidized-metal
fixtures get the
right reaction
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3. THE URBAN ELECTRIC

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GROOVE THINGS
Chrome lighting in
1970s silhouettes harks
back to disco days
FROM LEFT MARIPOSA LAMP BY
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(FROM $2,345; ROCHE-BOBOIS.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.
Rainbow Connection
Inspired by two international
clients, designer Neal Beckstedt
looks beyond his neutral comfort
1 zone to find a world of color awaits
W
hile not exactly a chromophobe, 3
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
1.–3. ERIC PIASECKI
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 AR C HDIG ES T.COM
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 ani-
mated 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 terms of color, the

question became, ‘How
far are we going to go?’ ”
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
1. & 2. ERIC PIASECKI
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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.
Welcome to the Robot Age

Cutting costs, saving time, and eliminating waste,
the 3-D-printed house has officially arrived
F
or the past several years, talk of 3-D printing 3
revolutionizing the way we build has been mostly
just that—talk. But the promise of printing a habit-
able 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 350-
square-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
1.–3. LUCA ROTONDO
sort, with elegantly plastered interior walls, brass details, and

stylish furnishings. These two projects—using similar tech-
nologies 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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DISCOVERIES architecture
“There are over a billion people without
adequate shelter,” says New Story cofounder
Brett Hagler. “It’s a massive deficit, and tradi-
tional construction methods are not enough
to make a dent. But 3-D printing promises signi-
ficant 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 NEW STORY’S 3-D-
PRINTED PROTOTYPE
and just a couple of days. The charity’s first FOR SHELTER IN THE
large-scale printed project will be 100 homes DEVELOPING WORLD
(NEWSTORYCHARITY.ORG).
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 completely free compared to traditional architecture,” says
future dreams,” Hagler notes of the homes’ flexible layouts, Locatelli. “Go ahead, try to make a curved house with bricks
which are determined by customizable CAD files. “We’re or stone—it’s so complicated. With this you really can create
trying to have better aesthetics—something that’s too often new shapes.”
ignored when it comes to the world’s poorest families.” Locatelli says he has received numerous inquiries, includ-
It’s precisely the aesthetics and creative potential that inspired ing commissions for 100 homes near Washington, D.C., and a
Locatelli, cofounder of the firm CLS Architetti, to erect his 10,000-square-foot house on Sardinia. And the owner of a Lake
3-D-printed house in Piazza Cesare Beccaria. As he explains, Como villa who had hired him to build a guesthouse switched
the project was all about embracing the textures of 3-D- gears after seeing the project in Milan. “He said, ‘I’m not going
printed forms and “exploring the beauty of the new language.” to build in stone anymore. I want the 3-D-printed house,’ ”
Realized in collaboration with concrete specialists recounts the architect, who is working with Arup on how to
Italcementi, the engineering firm Arup, and the Dutch mobile print multilevel structures—something that has never been
3-D-printer maker CyBe Construction, the house took about done. “The relationship between architect and client is going
a week to create, with production lasting roughly 48 hours. to change so much,” says Locatelli. “Probably the architect
Consisting of four rounded volumes (living area, bedroom, is going to become a shrink, more or less, helping give shape
kitchen, bath), all topped by a roof garden, “the shape was to the client’s dreams.” —STEPHEN WALLIS
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DISCOVERIES legacy
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.
L
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 simula-
crum in ocher stucco rather than pale limestone. 4
When Parr died seven years ago, at the age of 81, he left
Sun Splashed
2. & 3. COURTESY OF COWTAN & TOUT
La Casella (Italian for “little house”) to his niece Minnie

and her husband, Anthony Lindsay, Lord Balniel, a wealth-
management powerhouse, passionate gardener, and heir
apparent to the earldoms of Crawford and Balcarres. Today Rooted in classic Colefax &
the London-based couple and their four grown children spend
as much time there as possible and let it when they can’t. Fowler style, a villa on the
In contrast to the recherché façade, the foyer of La Casella
has a raw modernity, its chic brutalism offset by the severe
Côte d’Azur is one family’s
luxury of black-and-gold furnishings, which include a superb memory-laden getaway
74 ARC H D IGE S T.COM PHOTOGRAPHY BY RICARDO LABOUGLE STYLED BY ANITA SARSIDI
DISCOVERIES legacy
Regency mirror. The decorating of the

salon, however, is absolute English-
gentleman: 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
3
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
4
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
2. & 3. COURTESY OF COWTAN & TOUT
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
1. LA CASELLA’S LIBRARY
that are echoed in the master bedroom’s chintz. FEATURES COLEFAX AND
The Balniels have conserved this legacy with the help of Parr’s onetime colleague FOWLER’S LONGFORD PINK
PATTERN (DISCONTINUED)
Wendy Nicholls, who can identify every chintz that had ever caught Parr’s roving eye. ON THE WALLS. 2. LINCOLN
Thus, his and Scheinert’s sun-spangled paradise has come into its second golden age, LINEN-BLEND. 3. BEAUFORT
COTTON. 4. PLUMBAGO
albeit one with a lively, expanding family splashing in the pool. lacasellacotedazur.com BOUQUET BLOSSOMS IN
—R. LOUIS BOFFERDING THE MASTER BEDROOM.

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DESIGN STOR IES
1 2
INNOVATIONS
“The rich materiality and handcrafted quality of this pattern—not to mention its
geometry—have a very Deco feel,” says Innovations executive Michael Freedman
HANDCRAFTED of the new wallcovering Facet. “Texture, either physical or implied, can transport you
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DESIGN STOR IES
1 2
3 4
50 SCOLLARD
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
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“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
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Mandelbaum, chairman at Lanterra Developments. “All those questions led us in creating
an exclusive and private experience.”
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DESIGN STOR IES
1 2
HÄSTENS
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DESIGN STOR IES
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KINGS•HAVEN
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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 ORT R A IT BY TONY ELIEH

ARCHDIGEST.COM 87
1
David/Nicolas
Working in scales large and small,
the Beirut design duo celebrates
craftsmanship with cerebral élan
David Raffoul and Nicolas Moussallem, hole,” explains Moussallem, noting 1. The firm’s interiors
cofounders of the Beirut-based design that the exhibition comprises two dis- for restaurant Kaléo.
1. MARCO PINARELLI; 2. & 3. COURTESY OF CARPENTERS WORKSHOP GALLERY; 4. DANIELE IODICE

studio David/Nicolas, are obsessed tinct collections of objects. While the 2. Monocle bar cabinet.
with time—a bit surprising for two guys Constellation series is a study in sleek 3. Constellation
who have only just reached their 30s. silhouettes and pristine stone surfaces, table. 4. An armchair
“We are always trying to understand the Monocle series mixes marquetry, designed for Nilufar
how things worked before, how they marble, and glass into intricate composi- gallery in Milan.
are now, and how they might be later,” tions. A case in point is their Monocle
Moussallem explains of their trend- bar cabinet, which debuted in 2017 at
eschewing style, a blend of classic and TEFAF New York, where it caught the
contemporary elements that they’ve attention of designer Richard Petit of
dubbed retrofuturism. AD100 firm The Archers. “It’s a covetable
We call it ahead of the curve. design object, but it’s also a lot to think
Since launching their firm in 2011— about,” he says. “The complex construc-
they first met studying design at the tion is simultaneously postmodern and
Lebanese Academy of Fine Arts— deeply sincere.”
Raffoul and Moussallem have established Other recent projects include
themselves as champions of craftsman- the Beirut restaurant Kaléo, a limited-
ship, tackling projects ranging from edition chair for Nilufar gallery, and the
furniture pieces to automotive design Brussels flagship for luxury lingerie
to shops and restaurants. brand Carine Gilson, the duo’s first fash-
For their current exhibition, ion boutique. Here, as in all their interiors
“Supernova,” on view through October 6 projects, David/Nicolas took a holistic
at Carpenters Workshop Gallery in Paris, approach, custom-designing everything
the duo took their lofty ideas to new from the sumptuous pink seats to the
heights, looking to the cosmos for inspi- pristine glass shelving. Says Raffoul,
ration. “A supernova is basically when “It’s important for us to communicate
a star explodes and creates two kinds of a vision, not just create a product.”
reactions—either a new star or a black davidandnicolas.com —CARLY OLSON 4

Theodore Alexander / Selby Chair
FI N D YOU R SEAT.
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Frida
Escobedo
The Mexico City–based
architect fuses local and
global traditions to spark
cross-cultural dialogues
that acts as a kind of complex clock.

Gray concrete tiles typical of British
roofs are stacked into celosías, or breeze
1 blocks, casting shadows to mark the
passage of time. Rectangular volumes
form an interior courtyard—a nod to
Growing up in Mexico City, Frida Mexican domestic architecture—with
Escobedo would go with her doctor one angled parallel to the prime merid-
father to the hospital, where she would ian. And a reflecting pool, refracted
stare out the windows into neighboring by a curved, mirrored ceiling, gives the
apartments. “I was trying to understand illusion of double height while accentu-
1. GUY BELL/SHUTTERSTOCK; 2. IWAN BAAN
how space reflects people’s personali- ating light. “We were interested in filter-
ties,” says Escobedo, now a locally based ing the landscape into the space,” says
architect. “Those guys are fighting, this Escobedo, adding that the pavilion’s
couple is happy—all that is revealed by metal steel frame “aged and bled” as it
design.” Nowadays, however, Escobedo has developed a patina.
1. Architect Frida has her sights set much farther afield. Escobedo is no stranger to such
Escobedo, at her 2018 This past summer, the rising star debuted temporary, interactive feats. Her 2010
pavilion for London’s her realized design for the 2018 installation at Mexico City’s Museo
Serpentine Gallery. Serpentine Pavilion in London. Experimental El Eco featured movable
2. The structure “My idea was to combine exterior and concrete blocks that could accommo-
remains on view through interior, like a secret place,” Escobedo date lectures and performances. In 2013,
October 7. says of her scheme, a clandestine cloister she created a circular stage for the

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CLASSIC GOLDEN ERA MODERN CONTEMPORARY

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 com-
mission, 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 experimen-
tal 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 1. A storefront and
retreat. She’s also settling into her new signage by LA-Más in the
apartment in an iconic Mario Pani– Wilmington neighborhood
designed building. “I have so many win- of Los Angeles.
dows, which is just fantastic,” she says, 2.(OL]DEHWK7LPPHOHIW
excited to revisit a favorite pastime. and Helen Leung.
“I’m back to my childhood.”
fridaescobedo.net —MICHAEL SLENSKE
1
3. Acapulco’s Hotel Boca Chica,
revamped by Escobedo in 2010.
LA-Más
Blending design and public-policy
solutions, this thought-leading
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neighborhoods in need
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 1. COURTESY OF LA-MÁS; 2. MAGGIE SHANNON; 3: UNDINE PRÖHL
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 scal-
able 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
3 an LA-Más.” mas.la —ELIZABETH FAZZARE

2
1
of the daringly patterned staircase,
“You couldn’t help but dance.”
That urge, you might say, is signature
Sasha When Sasha Bikoff was asked to

create a room for this year’s Kips Bay
Sasha, whose taste for decorating devel-
oped during a semester abroad in Paris,
where she studied painting and lived with
%LNRҬ Decorator Show House, her vision

was clear. “I wanted to design a night-
club on the Upper East Side,” recalls
textile designer Lisa Fine. What started
as a hobby took front seat when, a few
years later, she quit her job at Gagosian
After stealing the 31-year-old New Yorker. There was
only one catch. “I got the staircase.”
to decorate her mother’s apartment in
the Dakota. “She taught me how to deal
the show at Kips Bay, Furniture and window treatments with uptown women,” Bikoff says with
this Manhattanite were out of the question for the space, a laugh.
which—with its limited options—was Since then, her upbeat approach
is shaking up the
2. GENEVIEVE GARRUPPO; 3. NICKOLAS SARGENT
no one’s dream assignment. Undeterred, and unlikely pairings have caught on,
decorating world with Bikoff ran wild, reconstituting 1980s with a villa on Lake Como, five Manhattan
party-girl panache Memphis motifs into psychedelic carpets
by The Rug Company and kaleidoscopic
homes, and four Hamptons houses all
under way. Now she’s making her first
wallpapers by Voutsa, and painting the foray into product design with a series of
floor and ceiling trim in archival Farrow disco-ready rugs produced by Stark and
1. Sasha Bikoff on the & Ball hues. Her eye-popping display sold through 1stdibs.com. “They’re kind of
staircase she designed stole the show and became an immedi- Marie Antoinette–meets–Bianca Jagger,”
for this year’s Kips Bay ate Instagram sensation. “She showed she says of the new collection, which
Decorator Show House. up and she delivered,” praises Voutsa’s includes shiny shag and zodiac-inspired
2. Bikoff’s wool Zodiac rug. George Venson. “I cannot tell you how motifs. “People are going to want to
3. A kaleidoscope of pattern on point she was.” The proof, of course, lie on these carpets and have a cocktail.”
spirals down the stairs. was in the product. As Bikoff reflects sashabikoff.com —HANNAH MARTIN
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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,” 1
says Simone Farresin, the 38-year-old
cofounder of the Amsterdam-based stu-
dio 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 facili-
ties around the world in search of ways
to rethink the recycling process. Commis-
sioned 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 smart-
phones. 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 per-
forming this type of intensive, globe-
spanning research since they graduated
as a duo from Design Academy Eindhoven
(DAE) in 2009. “Design touches econom-
ics, politics, sociology,” reflects Farresin.
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 paint-
ings to Anne Truitt sculptures. “Our stamp is timeless
design that focuses on functionality—how to offer new
materials and new experiences.” Created in collabora-
tions 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
4. A glass cabinet decorated 1. Karin Gustafsson,

with aluminum computer cases. creative director of COS,
with Studio Swine’s
“New Spring” installation.
2. “Open Sky,” a 2018 proj-
“But the complexity of objects has been ect by Phillip K. Smith III
largely neglected in mainstream design.” in collaboration with COS.
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 refu- 1
gees, 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 plant-
and 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 col-
laboration with Cassina. But even with
more mass-market collections a sense
of thoughtfulness remains. To comple-
ment the 2017 Salone del Mobile debut 2
1. & 2. COURTESY OF COS; 4. IKON
with Flos, for instance, Formafantasma

staged an exhibition across town at
Spazio Krizia that revealed the collec-
tion’s experimental origins—enigmatic
fixtures that played with shadow, light,
Karin Gustafsson
and color. “We went back to the initial Eyeing the understated and the
stage of light,” explains Farresin. “It was
less about the object and more about unexpected, the COS creative
light itself.” formafantasma.com —H.M. director champions collaboration
102 AR C H D IGE S T.COM

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Taher
Asad-Bakhtiari
Traditional Iranian textiles
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of this Tehran-born talent
high-pile rug, the gabbeh. By introduc-

ing 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 Asad-
Bakhtiari 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 uphol-
stery fabrics. Whereas one mimics the
black-and-white motif of Bakhtiari jack-
ets, 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,”
1. Artist-designer tribe. “Everything they have is woven in he says, referring to the long, slender
Taher Asad-Bakhtiari different ways. This is our craft.” tapestries’ repeating triangles and arrows.
with a selection Inspired by that tradition, Asad- “I just made it more bold—I minimized
of his tribal weaves. Bakhtiari—who now splits his time it.” To him, these simplified motifs sym-
1. & 2. ALI ALAVI
2. One of Asad- between New York, Dubai, and Tehran— bolize something greater than his own
Bakhtiari’s colorful launched the Tribal Weave Project, heritage. “They represent all tribes,”
kilims woven by working with Iranian artisans to reinvent he says. “They speak every language.”
Iranian artisans. the kilim and his ancestors’ signature taherasadbakhtiari.com —H.M.

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 gar-
den 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
1 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.
Harris Bugg 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
Studio parterre” composed of “large lumps of triangular topi-
ary,” all reflected by a black-glass studio structure. “It’s
always a challenge in London to create a space that is
Two critically acclaimed Brits very crisp yet very inviting and sensual,” he adds. Bugg
join forces to create soulful explains that the point is not just “a beautiful garden but
one that expands our skills and knowledge.” Chimes in
gardens that are rich with Harris with a grin, “We like tearing things apart to make
meaning, mystery, and relevance them better.” harrisbugg.com —MITCHELL OWENS
1. Harris’s gold-medal Canadian- 2

natives garden for the 2017 RHS
Chelsea Flower Show. 2. A Jordanian
forest inspired Bugg’s award-
winning 2016 Chelsea installation.
3. The partners.
1. ALLAN POLLOK-MORRIS; 2. MARIANNE MAJERUS; 3. MARK WAUGH/RHS

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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
TEXT BY JAMES REGINATO
PHOTOGRAPHY BY MICHAEL MUNDY
STYLED BY CAROLINA IRVING
© 2018 HELEN FRANKENTHALER FOUNDATION, INC./ARTISTS RIGHTS SOCIETY (ARS),
NEW YORK; © 2018 AGNES MARTIN/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
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 relation- “The key to the whole thing was taking out that staircase,”
ships are hard to sustain. Los Angeles–based says the financier. “But who in New York thinks about taking
AD100 designer Michael S. Smith, renowned out a staircase? You have to think outside the box.
for his work at the White House for Barack “Of course, that’s what Michael does, along with [architect]
and Michelle Obama and for many other A-list Oscar [Shamamian],” he continues. “They just took the stair
clients, has enjoyed a solid one with a certain out and put another one over there. And, voilà.”
couple who have been his clients for 25 years. But maybe it was not quite so simple.
The apartment that this pair purchased several “Well, four and half years later. And some money,” the
years ago has been a lengthy undertaking, too. financier adds.
The eight-bedroom duplex, atop an iconic “Oscar and I did a huge victory lap when we figured out how
1920s Rosario Candela–designed building, was we could fuse the apartments,” says Smith. “People in the past,
considered one of Manhattan’s ultimate trophy I think, were held back because they were so enamored—as they
apartments. In fact, the residence had a big should be—of original Candela architecture. But Oscar built this
drawback—it was basically two separate apartments. Its previ- amazing new stair that changed everything and really added to
ous owners, a business mogul and his wife, had bought the the value of Candela’s design because it made everything work.”
adjacent units in the late 1980s and combined them, but only Throughout the years-long odyssey, the couple didn’t flinch.
© 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
in a rudimentary way. “They busted a hole in a wall, but the “Most people don’t love the process as much as they do, and
apartments were never properly integrated,” attests one of the aren’t prepared to be as brave,” says Smith.
new owners—the husband, a financier. Once the engineering hurdles were cleared, the most
The mogul had been stymied—as were many prospective formidable challenge involved integrating the couple’s museum-
purchasers after his widow put it on the market—by a seem- quality collection of art and antiques, much of which has been
ingly insurmountable obstacle: A grand staircase in the center displayed in the dozen or so residences that Smith has designed
of the footprint blocked complete consolidation. 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.

© 2018 THE FRANZ KLINE ESTATE/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK;
© 2018 CALDER FOUNDATION, NEW YORK/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
A LARGE FRANZ KLINE PAINTING
CENTERS THE LIGHT-FILLED LIVING
ROOM. ANTIQUE CHANDELIER;
ALEXANDER CALDER SCULPTURE ON
RUSSIAN NEOCLASSICAL TABLE;
19TH-CENTURY SAVONNERIE RUG.
RIGHT WALL: STELLA © 2018 FRANK STELLA/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
“Tramping “A lot of things have followed them around from house to
house. It’s a really personal group of objects,” says Smith. ABOVE FIREPLACE: LANYON © SHEILA LANYON. ALL RIGHTS RESERVED, DACS,
around for art and

LONDON/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/DACS, LONDON;
“Some things are super-precious and some things are really
simple—picked up in a flea market or a souk in Morocco.”
antiques with The couple’s paintings collection is focused on Old Masters
and modern masters, while their superlative furniture collec-
Michael is probably tion veers mostly to the 18th century, though it does include
stellar 20th-century and contemporary pieces.
my favorite leisure- “I love the 18th century, but an apartment done with
everything from the 18th century is frozen in aspic,” says the
time activity,” says financier. “We like combining that period with modern art
and furniture.”
the homeowner. 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 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 “In every room there is something discordant, that
[my wife and me], she’s the client and I’m the designer. She’s doesn’t belong—that’s fabulous,” he adds. “His stuff is not
not going to go through 100 auction catalogs, but I like to. I’d matchy-matchy.”
rather spend three hours walking through the Rive Gauche; For Smith, the challenge was to bring harmony to this
she’d rather not. In the end, I show her choices, and she picks, collection of spectacular but diverse objects.
say, 15 things she likes. “There are many high points, but not everything is at full
“Tramping around for art and antiques with Michael volume. Overall, the apartment is serene and quiet, not jumpy.
is probably my favorite leisure-time activity,” he continues. Things reveal themselves to you slowly,” says Smith.
“We always have fun. It’s not like it’s work.” On the fast track, Smith has two major auctions at Christie’s
When it comes to putting all these purchases together, featuring contents of residences he designed: “Eaton Square,”
the couple leaves it in Smith’s expert hands. in London, September 12, and “A Tale of Two Cities, New York
“He so knows what we want by now,” says the husband. and Los Angeles,” in New York, September 26. The designer
“But it’s not really accurate to say he gives us what we want. has also created a new blog, The House on Mapleton Drive, to
Why should he give us what we want? We’re not design chronicle the major renovation of his primary residence in
professionals. He gives us things we didn’t know we wanted. Los Angeles, which he shares with James Costos, the former
Sometimes he will keep showing me something I say no to. If I U.S. ambassador to Spain, his life partner of the last 18 years.
say no three times, then I know it must be great, and I say yes. Clearly, Smith is one for long-term relationships.
ARCHDIGEST.COM 121
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
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.
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.
© 2018 BRICE MARDEN/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
ARCHDIGEST.COM 125
IN THE ANTIQUES-
FILLED LIVING
ROOM, A JOSEF
ALBERS PAINTING
HANGS OVER THE
LOUIS XVI MANTEL.
24-ARM LEAF CHANDELIER;

$12,450. CHARLESEDWARDS.COM
BRASS OBELISKS
BY CORBIN CRUISE
X MARY NELSON
When you SINCLAIR; FROM
$400. KRBNYC.COM
walk in, you
immediately
get a sense of
who lives here,”
says Smith.
“It’s eclectic,
but it all
holds together.”
SNAKE CHARMER ANTIQUE FRENCH

FABRIC; TO THE TRADE. LOUIS XVI MANTEL;
© THE JOSEF AND ANNI ALBERS FOUNDATION/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK 2018
POLLACKASSOCIATES.COM $35,000. JAMB.CO.UK
INTERIORS: MICHAEL MUNDY; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES;
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

LES JARDINS FRANÇAIS ARTIST NANCY LORENZ CREATED CUSTOM WALL PANELS
WALLPAPER; TO THE FOR THE BREAKFAST ROOM. LOUIS XVI MAHOGANY TABLE;
TRADE. ZUBER.FR SQUARE GERRIT LANTERN BY STUDIO VAN DEN AKKER.
BORGHESE MIRROR BY
MICHAEL S. SMITH FOR TREVISO
JASPER; TO THE TRADE. ARMCHAIR BY
MICHAELSMITHINC.COM 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 ARO BARSTOOL BY
LIEVORE ALTHERR
for antiques,” MOLINA FOR
BERNHARDT DESIGN;
notes the home- FROM $1,177.
YLIVING.COM
owner. “You
can’t just order
things up.”
TORSADE
A GUEST BATH IS COVERED CANDLESTICK;
IN A STRIATED CREMA $14,000 PER PAIR.
TIRRENO MARBLE. JUAN BUCCELLATI.COM
GRIS DRAWING.
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
TEXT BYMAYER RUS
PHOTOGRAPHY BYFRANÇOIS DISCHINGER
STYLED BY MICHAEL REYNOLDS
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.
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.
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 ribbed-
aluminum 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
highly refined and seriously seductive. A similar vibe pervades red-toned wood shutters. The room is anchored by an imposing
Apparatus’s famously swanky Manhattan showroom, as well as Hendifar-designed cabinet constructed of brass mesh, wood,
the lavish annual fête that Hendifar and Anderson throw there and eel skin, set atop turned legs of solid brass. Flanking the
every spring. At a time of increasing sameness, when designers cabinet are two folk-art liquor cupboards in the shape of human
across the globe draw from a communal digital well of inspira- figures, acquired from a hunting lodge in Maine. Hendifar
tions and influences, the Apparatus aesthetic remains blissfully, bumped up the surrealism of the ensemble by adding a custom
unapologetically idiosyncratic. marble-topped cocktail table in the shape of a three-toed foot.
“Many of our product designs and collections evolved The look of the couple’s master bedroom can be summed
directly from pieces we made for ourselves. As much as this up in two words: come-hither. Sheathed in rust-colored velvet
loft functions as a creative laboratory, it’s also our home. We and centered on a brass bed with a Persian lamb bolster set
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
out into the world,” says Hendifar, who serves as Apparatus’s of disco-era debauchery. Even the mirror-fronted closets
creative director. “Besides, we always need a project to chew and the meshugenah Vladimir Kagan Omnibus lounge in the
on to keep the creative juices flowing.” adjacent dressing room have an undercurrent of 1970s louche.
Located on the top floor of an erstwhile industrial building As a final flourish, a small painting of Anderson’s ear that
in the Flatiron District, the loft speaks volumes about the Hendifar commissioned for his partner’s 40th birthday hangs
Apparatus brand and the passions of its protagonists. Filled above the bed. “It was the perfectly right wrong thing to put
with prototypes, custom pieces, peculiar objets de vertu, there,” Hendifar avers.
The bedroom carpet—
an unexpectedly traditional
“We set a high bar for the things we American design from the
1940s—is something the
live with and the things we put out couple acquired when they
lived in Los Angeles, before
into the world.” —Gabriel Hendifar the pair took Manhattan
by storm in 2011. Likewise,
the large French Deco–
and compelling architectural details, the residence strikes a ish cabinet that presides over the entry hall and the curious GROOMING BY NICOLE ELLE USING TOM FORD AND LA MER
delicate balance between the raw and the cooked. “We wanted Asian-inflected altar table in the dining area are both L.A.
to experiment with living in a semiformal way in a space that imports. “They’re not only great designs but also mementos of
resists formality. Basically, we tried to make it feel less like a our shared life and history. We always find a place for them,”
loft,” Anderson says of the couple’s design approach. Anderson says.
Two primary architectural interventions set the tone for the Indeed, as the story of the couple and the brand they
experience. The first is a semi-freestanding wall that defines created continues to evolve, the loft contains hints of what
a generous entry vestibule off the elevator. Paneled in quarter- we might expect to see from them in the future. Anderson,
sawn oak on one side, the wall snakes into the heart of the loft, for instance, has quietly been experimenting with ceramics,
where it discreetly delineates individual areas—dining room, and the fruits of his labors are on display throughout the
kitchen, master suite—within the open expanse. In a decora- apartment. True to form, his subtly anthropomorphic vessels
tive coup de théâtre, Hendifar and Anderson adhered a 15- have a peculiar poetry that jibes with the overall spirit and
foot-long, unframed, 1930s Danish canvas to the meandering allure of the couple’s work. To borrow a phrase from Marvin
divider. “We loved the idea of this giant pastoral painting of Gaye and Tammi Terrell, when it comes to strange beauty,
cows and milkmaids juxtaposed with all the sleek brass and “Ain’t nothing like the real thing, baby.”

ABOVE ANDERSON BELOW IN THE
(LEFT) AND HENDIFAR. DRESSING ROOM,
RIGHT 1950s A VLADIMIR KAGAN
BARSTOOLS STAND LOUNGE AND
AT THE BRASS-CLAD, OTTOMAN WEAR A
SAINT LAURENT TOYINE SELLERS
MARBLE-TOPPED FABRIC. SIDE TABLE
KITCHEN ISLAND. BY APPARATUS.
IN THE LIVING ROOM, MILO
BAUGHMAN SOFAS AND AN
OTTOMAN WITH A BOLSTER
SURROUND MARBLE-
TOPPED 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.
The living room, a tour de force of eccentric
chic, exemplifies the duo’s sensibility.
A LANDSCAPE PAINTING BY CARL
FREDERIK AAGAARD SITS ATOP
THE GARDEN’S FIREPLACE. JINNY
BLOM DESIGNED THE LANDSCAPE.
FOR DETAILS SEE RESOURCES.
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
HAIR BY ADAM EMBLETON FOR JOSH WOOD COLOUR;
MAKEUP BY SONIA BHOGAL USING DR. HAUSCHKA
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
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 own firm. Since then, he has forged a path as one of the
world traveler needs a leading torchbearers for the great English tradition of
place to stow her luggage creating rooms that are both beautiful and comfortable, many
and rest her head. In of which can be seen in the just published Veere Grenney:
other words, a place to A Point of View (Rizzoli). “Nina came to my office with her
call home. A couple of inspiration book—nearly 200 images!—which included
years ago, when her father plenty of my own work,” Grenney recalls. “I was so flattered,
decided to give up his I couldn’t refuse.”
house in central London, Nestling into the living room’s green Fortuny-clad sofa,
Nina Flohr decided to Flohr starts to describe her brief for the space. “I grew up
let go of her Notting Hill here, so it has lots of familiarity, but I had to make changes.”
flat and take the opportu- Refurbished in the 1990s, the interiors of the Regency-era
nity to make the family neoclassical beauty were rather minimal—“contemporary,”
home her own. in Flohr’s description.
“I’ve always admired the way the English dress their She and Grenney dove right in, reconfiguring the floor plan.
houses, the great estates with their Colefax & Fowler furnish- What had been the main drawing room on the second floor
ings and eccentric flourishes,” says the Swiss-born Flohr, was transformed into Flohr’s bedroom and bath. (A separate,
who until 2016 served as the creative director of VistaJet, the fancifully “tented” dressing room is just upstairs.) Her former
fleet of superstylish private planes founded by her father in bedroom in the basement was given over to creating a zone
2004. “I wanted to take that inspiration and create a beautiful dedicated to cooking, dining, and entertaining. (In contrast to
space that reflects my personal style and taste, an easy place most renovations these days, they actually made the new
to entertain, and a cozy nest to return to after my travels.” kitchen smaller, in order to steal more space for the dining and
To help her realize her vision, Flohr turned to London- bar area.) The ground floor was divided into living room,
based AD100 designer Veere Grenney, who worked at Sibyl library, and a cozy fabric-lined TV room Flohr calls the “snug,”
Colefax & John Fowler in the 1990s before opening his while the top-floor study became a pair of guest rooms.

“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.
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.
ARCHDIGEST.COM 141
LEFT A BENNISON BELOW A CARLTON
PRINT ENVELOPS DAVIDSON ANTIQUES
A GUEST ROOM. CHANDELIER HANGS
VINTAGE STRIPED ABOVE A TUB BY THE
ARMCHAIR FROM WATER MONOPOLY
ROBERT KIME; IN THE MASTER BATH.
MOROCCAN RUG.
Over the course of the project, the duo grew quite com- and Clare Rojas adorn the bedroom; a vintage Fornasetti
fortable in their constructive back-and-forth. When Flohr chest of drawers sits in the living room. Throughout the house,
proposed lacquering the walls of the ground floor, Grenney a visitor spots many photographs, artwork, and crafts from
installed simple paneling first to create more visual interest countries all around Africa; Flohr has nurtured a passion for
in the low-ceilinged space; she suggested contrast piping the continent since she first visited Kenya at age 15. Since then,
for his pleated lampshades; he had the flamboyant Bennison she has returned again and again. And a few years ago, she
fabrics she chose recolored to create sumptuously bespoke established the Kisawa Sanctuary, a nonprofit marine-research
environments. facility and community-empowerment program, on an island in
“Nina’s taste is very eclectic, and she believes in quality and Mozambique. (A luxury hotel is scheduled to open there in 2019.)
details,” says Grenney. “She is also a keen organizer and likes Keeping in mind her respect for the local vernacular,
functionality. We had fun with color and pattern, but we also inclination toward vibrant colors, prints, and patterns, and
had to make it all work.” Great details and fine craftsmanship taste for African objects and midcentury furniture, Grenney
abound. The living room is swathed in a moss-green silk velvet, has conceived a glamorous yet down-to-earth space where
the same material the curtains are made of. A Bennison linen the young entrepreneur can really feel at home. “This house is
envelops the TV room’s walls and Turkish-style sofa. (The definitely Nina,” says the designer. “If you met her at a party
space was inspired by Cecil Beaton’s iconic 1966 portrait of when she’s all glammed up in beautiful clothes and accessories
Lee Radziwill with her daughter in their Renzo Mongiardino– and she invited you over for tea, you would not be surprised.”
designed house in London.) The dressing room is tented Flohr interjects, “The house feels very much like an
in light-green striped fabric, with Flohr’s tidy closets hidden extension of me, a visualization of who I am and what I
behind the draped fabric that lines the walls. represent.” What more could anyone ask from their home?
Flohr’s personality is seen in the array of artworks and “My best clients are what I call ‘inspired amateurs,’ and
souvenirs on display: An Op Art painting by Victor Vasarely in Nina is for sure one of them,” adds Grenney. “She loves clothes,
shades of green—Flohr’s favorite color—hangs on a staircase furniture, gardens, pictures—she loves beauty wherever she
landing; edgy contemporary artworks by Koen van den Broek finds it!”

IN A GUEST ROOM,
BED AND CANOPY
DESIGNED BY VEERE
GRENNEY ASSOC.
FLOHR PICKED UP THE
BLANKET IN INDIA.
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.
Sterling Ruby’s
e it
vast studio outside
Los Angeles is a
testament to the scope
and ambition of
the artist’s practice
MAYER RUS
TEXT BY
PHOTOGRAPHY BYJASON SCHMIDT
CLOCKWISE FROM
FAR LEFT A GROUP
OF RUBY’S CERAMIC
TOTEMS. TWO
CERAMIC BASKETS.
ONE OF THE ARTIST’S
BASIN THEOLOGY
SCULPTURES BEING
s
LOADED INTO THE
LARGEST OF THE
STUDIO’S SIX KILNS.
terling Ruby seems

to enjoy pricking the
membrane of esoterica
and fabulousness that
shrouds the contemporary-
art world. Despite his
ascension to its highest
echelons, he chafes at
the shibboleths and not-
so-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 Ruby has a 10,000-square-foot gallery with a 40-foot ceiling,
ambition; phenomenal commercial success attained early where he can study his work and install exhibition mock-ups
in a career—all of these tend to raise eyebrows among the art at full scale.
world’s traditional gatekeepers. But Ruby takes it all cum Even by the XXL standards of the art world of 2018—where
grano salis. He’s just doing his thing. galleries operate like multinational conglomerates and muse-
Consider the artist’s vast studio in Vernon, California, a ums can’t stop hawking their latest starchitect makeovers—the
small industrial city of warehouses, factories, and the occa- scale of Ruby’s enterprise feels audacious. “I was on top of
sional adult-entertainment superstore, just five miles south of myself in my old studio. I never had room to look at things with
downtown Los Angeles. The complex sits on four acres, with space around them. To photograph one thing, we’d have to
roughly 122,000 square feet of indoor space. Ruby purchased move everything else,” the artist says. “Now I have more time
the property six years ago and spent three years on renova- and space to make decisions when I’m finishing a piece or
tions, which included the replacement of 116 skylights. There a series. I can sit back and take a valuation of the colors, the
are massive studios dedicated to work in various media, along palette, the patterns, as well as what the work means to me
with viewing rooms and storage and support facilities (e.g., and where I feel it comes from. I can figure out if I need to
woodworking and welding). Just off the entry to the compound, throw a red herring into the mix.”

RIGHT RUBY BESIDE
ONE OF HIS FLUORES-
CENT 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.”
“I can sit back and take a valuation of the colors, the
as well as what the work means to me and where I
RUBY SURVEYING
HIS WORK IN THE
STUDIO DEDICATED
TO DRAWING
AND SMALL-SCALE
PAINTING.
The four primary art studios are allocated to painting

(specifically large-scale canvases), drawing (including collage
and small-scale painting), ceramics, and textiles (soft sculp-
ture, 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, occasion-
ally 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-half-
month 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
palette, the patterns, be a sly undermining of the outmoded conflation of clay and
craft—akin to something one might encounter at the local
feel it comes from.” art fair, down the aisle from the batik ponchos and driftwood
lamps. Or perhaps it’s just a red herring.
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
MOWN PATHS LEAD
TO THE ORCHARD.
THE MEADOW GRASS
IS DOTTED WITH
MOUNT EVEREST
ALLIUM. FOR DETAILS
SEE RESOURCES.
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 as major walls were built and grades were changed to
of my life,” the AD100 architect and conquer a dramatic descent on the south side of the
interior designer Daniel Romualdez house and allow for a series of garden spaces. Steps
says about his weekend home in north- now lead down from the south-facing sunroom to a
west Connecticut. “I have no skills terrace laid randomly with granite slabs and planted
with gardening, no landscape vision,” lushly with box bushes, amsonias, grasses, Japanese
he adds modestly. But ten years ago anemones, peonies, and lilacs around a cluster of
Romualdez asked his friend the land- garden chairs. More comfortable seating and a dining
scape designer Miranda Brooks to table are shaded by a bamboo-covered pergola at the
make something of the property around end of the terrace.
the 18th-century house he had recently Pots of rosemary and figs mark steps descending
purchased, where he and his husband, to a formal garden space enclosed by tall hornbeam
investment banker Michael Meaghar, hedges. Four bold box parterres are centered here
planned to spend fall, winter, and early spring. Once in an expanse of lawn and simply filled almost to the
famously the home of fashion great Bill Blass, the edges with more boxwood, clipped slightly higher.
handsome fieldstone-and-clapboard house had become The gaps between the inner boxwood and the outer
shrouded with overgrown rhododendrons, the sky are filled with a grass, Molinia caerulea—moorhexe—
darkened by towering conifers. No design of the that waves above the parterres, seemingly laughing
outdoors had ever been undertaken. There was no at the stolid blocks of green. The journey continues
view, no place outside to sit. Brooks changed all that. past these strict hedges and opens out onto a pastoral
“It was exciting making a winter garden,” scene of high grass and fruiting trees, an old apple
Brooks says, concentrating on green architecture orchard threaded with paths on one side, woods and
and perspectives, on the forms of trees and shrubs, blue hills beyond. Romualdez wanted a focal point
planting roses more for their colorful hips through that he could see from the house in winter, and that
fall and winter than for their flowers. But what she led to the construction of a folly—a stone pyramid
proposed was a huge project. Construction ensued, at the end of an allée carved out of the woods.

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.”

“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.
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
TEXT BYMAYER RUS
PHOTOGRAPHY BYWILLIAM ABRANOWICZ
Back to the
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
ABOVE JESSICA AND AARON SITTIG
IN THE ENTRYWAY. LEFT ORIGINALLY
DESIGNED IN 1963 BY ARCHITECTURE
FIRM SCHUBART AND FRIEDMAN,
w
THE STRUCTURE IS CLAD IN REDWOOD
SIDING AND STUCCO.
hen you’re a professional Interior designer Charles de Lisle, who spent five
shelter-magazine writer, years working in close collaboration with the home-
certain clichés come with owners and Marmol Radziner, is equally rhapsodic.
the territory. There’s the “Jessica and Aaron approached the design process
house that’s modern but with a kind of intellectual curiosity beyond compare.
surprisingly warm; the house We’d have eight-hour meetings about a door handle
that blurs the boundaries and hinges,” he recalls. “What makes them so extraor-
between indoors and out; the dinary is that they don’t feel beholden to conventional
house in which every object wisdom about objects and rooms. They wanted to
and design detail tells a story. The San Francisco question everything.”
home of Jessica and Aaron Sittig is all of the above— The Sittigs are a young power couple in the
but there’s nothing clichéd about it. technology world, although they’d undoubtedly
“This was one of the most thoughtful and deliberate be mortified to find themselves described as such.
design processes we’ve ever been through. Aaron and They’d much rather be known, if at all, for their
Jessica wanted to drill down into every aspect of the dedication to design, particularly as design develop-
project—conceptual, narrative, aesthetic, mechanical, ment has always been part of their professional
and functional,” says Leo Marmol of Marmol Radziner, milieu. “We’re interested in how something great
the Los Angeles–based AD100 architecture firm and comes to be—whether it’s a perfectly placed tree,
restoration specialist tasked with the rehab of the a piece of software, or a chair,” Jessica says.
Sittigs’ classic midcentury residence in San Francisco. Originally built in 1963, the Sittigs’ house is
His partner, Ron Radziner, seconds that emotion: “The composed of stacked rectilinear volumes of redwood
level of rigor reminded me of the conversations we had and glass, projecting from a steep San Francisco
when we were restoring Neutra’s Kaufmann House. hillside. The taut modernist structure had barely
We almost never get the opportunity to go this deep.” been touched in the half-century since it arose in

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.
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.

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.
THE KIDS’ BATH IS
LINED WITH ADJUST-
ABLE 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
IN THE MASTER BED-
ROOM, 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 seismic upgrades while replicating and refining
Beaux Arts finery. Its architect, Hank Schubart of its original design details.
Schubart and Friedman, apprenticed under Frank Since many of the original off-the-rack hinges,
Lloyd Wright and worked in the studio of influential knobs, and pulls went out of production decades
Bay Area maestro William Wurster. ago—midcentury architects loved a good hardware
In typically fastidious fashion, the Sittigs drew store—the Sittigs had them remade. When a parti-
up a detailed spreadsheet of nearly 100 architects cular architectural lighting fixture could not be
before ultimately alighting on Marmol Radziner. “We procured, the couple went through the process of
wanted to work with people we could have a conver- obtaining a UL listing for a custom version. “The stove
sation with—people deeply invested in research,” top was our Waterloo,” Jessica laments, referring to a
Aaron explains. A similarly exhaustive process led complex and as yet unresolved engineering challenge
the couple to de Lisle, a San Francisco interior and involving flush-mounted burners.
product designer. “Charles is more chaotic and The homeowners’ fascination with craft and
willing to improvise. We thought he’d be a good foil process naturally extended from humble hinges to
to the architects,” Jessica says. the splashier furnishings and decorative flourishes
Indeed, the extraordinary character of the home that coalesce in de Lisle’s kaleidoscopic assemblage.
emerges from the tension between the meticulous For pure sex appeal (as design nerds would under-
architectural restoration and the wild panoply of stand the phrase), it’s hard to beat the commodious
decorative elements contained within. Deferring to living/dining room, with its panoramic view, massive
the spirit of Schubart’s plans, the Sittigs and their retractable skylight, and huge glass sliders. Along one
design team essentially gutted and rebuilt the house, side of the room, panels of figured red birch veneer
invisibly introducing necessary mechanical and conceal a seriously seductive bar, bookshelves, and a
ARCHDIGEST.COM 163
A HALLWAY LEADS TO A SEMI-CONTAINED MOSS GARDEN. WICKER STOOL
BY FABIEN CAPPELLO; ANTIQUE BEECH SETTEE; CUSTOM RUG BY MAX LAMB.
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 super-
site-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 rift-
cut 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 commis-
sioned 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
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
CUSTOM ACNE BY COLEFAX AND
STUDIOS RUG BY FOWLER; TO THE
MAX LAMB FOR TRADE. COWTAN.COM
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-AND-
COMPANY.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
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
HAND-PAINTED
REQUEST. SIMILAR AVAILABLE
ABSTRACT PINES
AT THEFUTUREPERFECT.COM
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
ARNOLD CIRCUS
STOOL BY MARTINO
GAMPER; $132.
KARENWALKER.COM
JOE KRAMM/COURTESY OF R & CO.; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES
INTERIORS: WILLIAM ABRANOWICZ; SILVIA CHAIR: TOMMASO SARTORI; HIPPOPOTAMUS:
CRANFORD CRIMSON RUG;

TO THE TRADE.
STARKCARPET.COM
VINTAGE TOPO TASK
LAMP BY JOE COLOMBO
FOR STILNOVO; $1,400.
TWOENLIGHTEN.COM
ARCHDIGEST.COM 167
resources
Items pictured but not listed here are not bed linens by D. Porthault (T); dporthaultparis HOMEWARD BOUND LUSH LIFE
sourceable. Items similar to vintage and .com. Swing-arm sconces by Chameleon Fine PAGES 136–143: Nina Flohr of Kisawa PAGES 150–55: Daniel Romualdez of
antique pieces shown are often available from Lighting (T); chameleonhome.com. PAGE 124: Sanctuary; kisawasanctuary.com. Interiors Daniel Romualdez Architects; 212-989-8429.
the dealers listed. On daybed, Veneto rayon-cotton, in lichen, by Veere Grenney Assoc.; veeregrenney.com. Landscape design by Miranda Brooks
by Rose Tarlow Melrose House (T); rosetarlow Landscape design by Jinny Blom Ltd.; Landscape Design; mirandabrooks.com.
(T) means the item is available only to the trade. .com. Jacques Quinet side table from Maison jinnyblom.com. PAGE 137: On walls, pillows, BACK TO THE FUTURE
Gerard; maisongerard.com. Custom églomisé and on custom sofa by Veere Grenney Assoc.; PAGES 156–167: Interiors by Charles
doors by Miriam Ellner; miriamellner.com. veeregrenney.com. Coromandel linen by de Lisle; charlesdelisle.com. Architecture
WORLD OF: JAKE GYLLENHAAL Custom Monolithe crystal light fixtures by Bennison (T); bennisonfabrics.com. On other and landscape design by Marmol Radziner;
PAGES 39–40: Interiors by Ashe + Leandro; Mathieu Lustrerie; mathieulustrerie.com. pillows, silk velvet, in golden yellow, by marmol-radziner.com. PAGES 156–57:
asheleandro.com. PAGE 39: Percival Lafer Shards I wool-and-dull silk carpet by Tai Ping de Gournay (T); degournay.com; and Fez Custom dining table by Martino Gamper;
lounge club chair from 1stdibs; 1stdibs.com. (T); houseoftaiping.com. PAGE 125: In sunroom, weave, in sage, by Guy Goodfellow Collection; martinogamper.com. On custom sofa by
Koti 2 Seater Sofa by Hem; hem.com. 548 custom lantern by Philippe Anthonioz; philippe- guygoodfellowcollection.com. Moroccan Charles de Lisle; charlesdelisle.com; Keaton
Standing Lamp by Ruemmler; ruemmler.us. anthonioz.com. Bubble Gum dining table sconces by Veere Grenney Assoc. PAGE 138: linen, in vintage rose, by Kerry Joyce (T);
PAGE 40: In screening room, vintage Guillerme by Hervé Van der Straeten; vanderstraeten.fr. Serge Mouille three-arm ceiling lamp from kerryjoyce.com. Vintage rattan floor lamp
et Chambron armchair from 1stdibs; 1stdibs On midcentury chairs, custom fabric by Toyine Guéridon; gueridon.com. Eero Saarinen round from Paris Underground; parisunderground
.com. Corbett coffee table by Room & Board; Sellers (T); toyinesellers.com. Curtains of dining table for Knoll from Design Within .com. PAGE 159: Custom silk wall covering
roomandboard.com. Q rug, in black, by custom panels by Robert Crowder & Co. (T); Reach; dwr.com. On custom banquette by Veere by de Gournay (T); degournay.com. Vintage
Studio Woven; woven.is. In Marker’s office, robertcrowder.com; fabricated by Interiors Grenney Assoc.; veeregrenney.com; Natural Boris Lacroix sconce from Galerie Pascal
teak desk from Horseman Antiques; horse by J.C. Landa; interiorsbyjclanda.com. Custom Maroc goat leather, in poppy, by Howe; Cuisinier; galeriepascalcuisinier.com. Custom
manantiques.net. Banded Barrel Back chairs rug by Tai Ping (T); houseoftaiping.com. In 36bournestreet.com. Droit bistro chairs by bar cabinet by Charles de Lisle; charlesdelisle
by Moran Woodworked Furniture; shop husband’s dressing room, on walls, paneling Philippe Model Maison; philippemodelmaison .com. On vintage Maurice Dufrène armchair
.moranwoodworked.com. Stairway bookshelves, by Ferguson & Shamamian Architects; .com. Convex mirror by Collier Webb (T); from Magen H Gallery; magenxxcentury.com;
in white, by CB2; cb2.com. In kitchen, Classic fergusonshamamian.com. On stool, Kimmel collierwebb.com. Curtains of Tajmahal cotton, custom fabric from Scalamandré (T);
Café upholstered dining chair by West Elm; silk-blend, in rust/blue, by Christopher in grenat, by Braquenié from Pierre Frey (T); starkcarpet.com. PAGE 160: In powder room,
westelm.com. Eero Saarinen round dining table Hyland (T); christopherhyland.com. pierrefrey.com. PAGE 139: Outdoor furniture custom wall paneling and sink by Charles
for Knoll from Design Within Reach; dwr.com. by Veere Grenney Assoc.; veeregrenney.com.
STRANGE ALCHEMY de Lisle; charlesdelisle.com. Vintage sconce by
HIGH STYLE PAGES 128–135: Interiors and custom
Curtains and pelmet of Aurora on Nivelles Bruno Gatta from Galerie Kreo; galeriekreo
COVER, PAGES 114–127: Interiors by Michael furniture throughout by Gabriel Hendifar of linen, in oyster-green, by Paolo Moschino for .com. At low right, custom laminate storage
S. Smith; michaelsmithinc.com. Architecture Apparatus; apparatusstudio.com. PAGES 128– Nicholas Haslam (T); nicholashaslam.com. cabinet by Martino Gamper; martinogamper
by Ferguson & Shamamian Architects; PAGES 140–41: In dressing room, vintage
29: On walls, Bayan cotton-blend velvet, in .com. In kids’ room, custom hippopotamus
fergusonshamamian.com. COVER: In bar, alim, by Zak + Fox (T); zakandfox.com. Lantern Swedish table from Modernity; modernity.se. toy by Renate Müller from R & Co.; r-and-
antique Venetian mirror from Galerie Aveline; pendants by Apparatus; apparatusstudio.com. Vintage Moroccan chairs from Guinevere; company.com. Custom plywood sleeping pod
aveline.com. Vintage Emilio Terry mantel Side tables by Lumifer; lumifer.us. PAGES guinevere.co.uk. Walls and curtains of Dot by Charles de Lisle. Custom wool rug by Stark
from Féau & Cie; feauboiserie.fr. Vintage Paul 130–31: Segment 6 console, in lacquer and
cotton-linen, in fern, by Sister Parish Design (T); starkcarpet.com. Through porthole,
Belvoir andirons from Bonhams; bonhams.com. resin; 20" Median 1 pendant; Portal dining (T); sisterparishdesign.com. Vintage chandelier walls and shelves in paints by Benjamin Moore;
Custom chandelier by Junko Mori from Adrian table, in marble; Candle Blocks, in brass; and from Carlton Davidson Antiques; carlton benjaminmoore.com; and Pratt & Lambert;
Sassoon; adriansassoon.com. Table Grecque Block double vase (right), all by Apparatus; davidson.co.uk. Orange trunk by Globe-Trotter; prattandlambert.com. Custom casework by
by Diego Giacometti from Liz O’Brien (T); apparatusstudio.com. On dining chairs, suede globe-trotter.com. Antique rug from Robert Charles de Lisle. Outside porthole, on custom
lizobrien.com. Artworks by Franz Kline from Dualoy Leather (T); dualoy.com. Custom Stephenson; robertstephenson.co.uk. In master bench by Charles de Lisle, fabric by Lee Jofa
(left, top) and Joaquin Torres-Garcia (right). rift-cut oak-and-brass shutters by Gabriel bedroom, on custom bed by Veere Grenney (T); kravet.com. Vintage Dieter Gullert
Custom silk rug by Beauvais Carpets (T); Hendifar of Apparatus. On console, ceramic Assoc., veeregrenney.com; Pomegranate fabric, child’s chair from Kinder Modern. In living
beauvaiscarpets.com. PAGE 116: On custom sculptures by Jeremy Anderson of Apparatus. in a custom blue, by Bennison (T); bennison room, vintage Pierre Chapo table (similar)
armless sofa, Malmaison cotton, in chocolate On vintage brass chair (at left), Amazonia fabrics.com. On antique bench from Timothy from 1stdibs; 1stdibs.com. On sofa, Brentwood
& gold stripes on slate blue, by Fortuny (T); cotton with wool embroidery, in brown, by Langston Fine Art & Antiques; timothylangston velvet, in jadestone, by Décor de Paris (T);
fortuny.com. PAGE 117: On chairs, Apollon .com; Maestro silk velvet, in ciel, by Lelièvre decordeparis.com. Custom sconces by Charles
Clarence House (T); clarencehouse.com.
horsehair-blend, in mixed light brown, by Emil (T); lelievreparis.com. In entrance hall, console de Lisle. At right, Marmoreal side table by
Custom rugs by Gabriel Hendifar with Studio
Rotter (T); emil-rotter.de. On bronze commode table from Arcadia Antiques; arcadiaantiques Max Lamb; maxlamb.org. PAGE 161: Custom
Four NYC (T); studiofournyc.com. PAGE 133:
facette by Ingrid Donat from Carpenters In kitchen, on walls and cabintery, custom .co.uk. Bubble Lantern pendant by Rose linen wall covering, headboard, and quilt by
Workshop Gallery; carpentersworkshopgallery paints by Benjamin Moore; benjaminmoore Uniacke; roseuniacke.com. In living room, Charles de Lisle; charlesdelisle.com. Custom
.com; vintage Karl Springer table lamp, in ocher .com. Custom hardware by Apparatus; on sofa by Veere Grenney Assoc., Orsini duvet cover and shams by Rogers & Goffigon
crackle finish, from Liz O’Brien (T); lizobrien apparatusstudio.com. Cylinder extended down Egyptian cotton, in bayou green on parchment, (T); rogersandgoffigon.com. Sessel chair by
.com. PAGES 118–19: Curtains of custom linen- lights by Apparatus. On vintage chair, leather by Fortuny (T); fortuny.com. On ottoman Martino Gamper; martinogamper.com. Custom
silk by Michael S. Smith; michaelsmithinc.com. by Dualoy Leather (T); dualoy.com. In Paul by Veere Grenney Assoc., African weave, Claro walnut desk by Tripp Carpenter from
Shades of hand-woven fabric, in ivory, with Mayen aluminum chrome planters, plants in olive, by Guy Goodfellow Collection; Espenet Furniture; espenetfurniture.com.
metallic banding by Anne et Vincent Corbière from Harrison Green; harrisongreen.com. guygoodfellowcollection.com. On vintage Vintage Paavo Tynell pendant from Kabinet
(T); av-corbiere.com. On sofas (at center), In dressing room, on Vladimir Kagan sofa Aldo Morbelli armchair from 1stdibs; 1stdibs Hubert; kabinethubert.com. PAGE 162: Custom
custom silk by Soie de Lune (T); soiedelune and ottoman (similar at Holly Hunt (T); .com; Duke mohair velvet, in moutarde, by cabinetry and shower curtain by Charles
.com. On George III giltwood armchairs, Jaspe hollyhunt.com), Cent Six viscose-blend by Pierre Frey (T); pierrefrey.com. PAGE 142: de Lisle; charlesdelisle.com. Custom bluestone
cotton-linen, in fern, by Cowtan & Tout (T); Toyine Sellers (T); toyinesellers.com. Pars In guest room, walls and curtains of Palampore sink by Max Lamb; maxlamb.org. Custom
cowtan.com. PAGE 120: On chairs, Abaca fabric, cocktail table, in oil-rubbed bronze and Nero linen-cotton, in charcoal blue on oyster, by brass sink fittings by Max Lamb fabricated by
in cream & plum, by Holland & Sherry (T); Gold marble; and Metronome articulating Bennison (T); bennisonfabrics.com. Vintage Barber Wilsons & Co.; barwil.co.uk. Vintage
hollandsherry.com. Custom bronze mantel by floor lamp (in background), in black suede; striped armchair from Robert Kime; children’s chair by Thonet from Kinder Modern;
Philippe Anthonioz; philippe-anthonioz.com. both by Apparatus. In cast-iron planters, robertkime.com. MID070 writing desk by kindermodern.com. PAGE 163: Custom bed
PAGE 121: Cabinetry by Lico Contracting; plants from Harrison Green. Custom rug by Chelsea Textiles; chelseatextiles.com. Vintage by Glithero; glithero.com. On headboard, Baa
licocontracting.com. Window shades of Grace Studio Four NYC (T); studiofournyc.com. floor lamp from Modernisten; modernisten Baa wool, in basco, by Rogers & Goffigon
linen-blend, in windswept; by Pollack (T); PAGES 134–35: Atop custom cabinet, Shiraz
.com. In master bath, vintage Murano-glass (T); rogersandgoffigon.com. Custom quilt by
pollackassociates.com; fabricated by Interiors vessel by Apparatus; apparatusstudio.com. chandelier from Carlton Davidson Antiques; Charles de Lisle; charlesdelisle.com. Vintage
by J.C. Landa; interiorsbyjclanda.com. Aro On custom pillows, fabrics by Studio Four NYC carltondavidson.co.uk. Paris bathtub without rocking chair by Hans Olsen for Juul
stools by Lievore Altherr Molina for Bernhardt (T); studiofournyc.com; and Zak + Fox (T); feet and custom antique French bow-front Kristiansen from 1stdibs; 1stdibs.com. Custom
Design; bernhardtdesign.com. PAGES 122–23: zakandfox.com. On floor pillow, Bayan cotton- basin with Soho fittings by the Water Monopoly; silk rug by Stark (T); starkcarpet.com. Curtains
On walls, Les Jardins Français wallpaper, blend velvet, in nuru, by Zak + Fox (T). Side thewatermonopoly.com. Curtains and pelmet of alpaca linen by Rosemary Hallgarten (T);
in blue-green custom grisaille-style color, by table by Julian Chichester; julianchichester.com. of Bray linen, in ecru, by Zoffany (T); rosemaryhallgarten.com. PAGES 164–65:
Zuber (T); zuber.fr. Custom patinated-bronze stylelibrary.com. PAGE 143: On bed and canopy Wicker stool by Fabien Cappello; fabiencappello
bed by Carole Gratale; carolegratale.com. by Veere Grenney Assoc.; veeregrenney.com. .com. Custom rug by Max Lamb; maxlamb.org.
Headboard of fabrics by Rogers & Goffigon On bookcase, Vista 5 wallpaper by Brian Yates Antique settee from H. Blairman & Sons;
(T); rogersandgoffigon.com. Custom Taiga from Jane Clayton & Co.; janeclayton.co.uk. blairman.co.uk.
Antique side table from Westenholz Antiques;
westenholz.co.uk.
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FROM BUCKINGHAM PALACE: THE INTERIORS, BY ASHLEY HICKS; © 2018 RIZZOLI. PHOTOGRAPHY © ROYAL COLLECTION TRUST/ASHLEY HICKS
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2018 Architectural Digest

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