THE INTERNATIONAL DESIGN AUTHORITY MARCH 2021

POWER PLAYERS
SERENA WILLIAMS
dazzles at home in florida

TADAO ANDO
completes his paris
masterpiece
L.A. legend
SUZANNE RHEINSTEIN
dreams big
JACQUES GRANGE
reinvents french chic
PLUS rising stars
coast to coast
HERE FOR THE FUTURE Humanitarian Indira Scott in Christopher John Rogers
hunterdouglas.com

©2020 Hunter Douglas

FEEL LIGHT TRANSFORMED™
Innovative window treatments with PowerView® Automation transform the natural light Silhouette® Shadings with
in your home to create the perfect mood, whenever the moment. PowerView® Automation
CONTENTS march
98
A MONTECITO HOME
TAKES IN THE SANTA
YNEZ MOUNTAINS.

16 Editor’s Letter
18 Object Lesson
How Charlotte Perriand’s
simple 1960s reading light became
a dazzling insider favorite.
BY HANNAH MARTIN

21 Discoveries
AD visits designer Michelle R.
Smith’s home... David Yurman’s

56
Elements collection embraces
the healing power of the circle...
Our favorite accent pillows...
Kelly Wearstler teams up with POOLSIDE AT
Farrow & Ball... A dream day in SERENA WILLIAMS’S
FROM TOP: LAURA RESEN. LELANIE FOSTER.

FLORIDA RESIDENCE.
London... Glass sculptor Hugh
Findletar’s fantastic creations...
Zandra Rhodes’s collaboration FOLLOW @ARCHDIGEST SUBSCRIPTIONS NEWSLETTER SIGN
with Savoir... A state-of-the-art FOR SUBSCRIPTION UP FOR AD’S DAILY
INFORMATION GO TO NEWSLETTER, AT
museum honors Edvard Munch... ARCHDIGEST.COM, ARCHDIGEST.COM/
Radnor, a mecca for artisanal CALL 800-365-8032, OR NEWSLETTER.
EMAIL ARDCUSTSERV@
treasures, settles into a Manhattan CDSFULFILLMENT.COM. COMMENTS CONTACT
aerie... Botswana’s Xigera Safari US VIA SOCIAL MEDIA OR
DIGITAL EDITION EMAIL US AT LETTERS@
Lodge... Ulla Johnson’s new DOWNLOAD AT ARCHDIGEST.COM.
showroom... and more! ARCHDIGEST.COM/APP.

10 AR CHDI GE ST.COM
From the first toast to the final bite, savor every
moment with Sub-Zero refrigeration, Wolf cooking,
and Cove dishwashing. Complete your kitchen with
thoughtfully designed, innovative appliances, crafted
to last for decades of delicious, memorable meals.
CONTENTS march
OLD WORLD MEETS NEW
56 Glam Slam
64 Put a Ring on It
76 Play Time
SERENA WILLIAMS IN
GUCCI AND SERENA WILLIAMS
JEWELRY. “GLAM SLAM,”
PAGE 56. PHOTOGRAPHY BY
LELANIE FOSTER. STYLED
BY MIEKE TEN HAVE. FASHION
STYLING BY KESHA MCLEOD.
12 AR CHDI GE ST.COM
64
IN A PARIS MANSION.
76
AN L.A. DWELLING
EVOKES AN ELABORATE
TREEHOUSE.
Serena Williams serves high
glamour in a house designed
in collaboration with her sister
Venus. BY ELAINE WELTEROTH
Inside a Paris mansion, Jacques
Grange presides over an eye-
popping marriage of past and
present. BY MITCHELL OWENS
Breakout Angeleno architect
Jerome Byron steps into the
spotlight with an experimental
guesthouse in Los Feliz.
BY HANNAH MARTIN
80 Double Vision
Tadao Ando, alongside François
Pinault, reimagines Paris’s Bourse
de Commerce as an extraordinary
art space. BY DANA THOMAS
84 Forward Thinking
FROM LEFT: FRANÇOIS HALARD, © 2021 RICHARD SERRA / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK. YE RIN MOK.
Looking back to envision a
hopeful future, Apparatus crafts
its most ambitious collection yet.
BY HANNAH MARTIN
86 Wild at Heart
Charlap Hyman & Herrero
channels the outré sensibility of
its clients in a Los Angeles abode.
BY MAYER RUS
98 Personal Best
With an assist from Bories &
Shearron Architecture, doyenne
of L.A. decorating Suzanne
Rheinstein crafts a getaway in
Montecito. BY MICHAEL BOODRO
110 Resources
The designers, architects, and
products featured this month.
112 One to Watch
Megumi Shauna Arai’s hand-
stitched textiles spark the
imagination. BY HANNAH MARTIN
 get clever FOR MORE SMART IDEAS VISIT @GETCLEVER ON INSTAGRAM OR ARCHDIGEST.COM/CLEVER

STROKES OF GENIUS
PAINTERLY AND PASTEL,
WONDER WALLPAPER FROM
CALICO’S REVERIE COLLECTION
LEAVES US IN AWE.
CALICOWALLPAPER.COM

ISLAND BREEZE
STYLIZED FRONDS LEND
LOVELY RHYTHM TO SERENA &
LILY’S GRANADA MOTIF
IN BURNT ORANGE/SAND.
SERENAANDLILY.COM

SPRING FORWARD
THE FLORAL SPRAYS OF
RIFLE PAPER CO.’S
HAWTHORNE PATTERN IN ROSE

INTERIOR: NGOC MINH NGO. ALL OTHERS COURTESY OF THE COMPANIES.

FEEL TIMELESS YET FRESH.
RIFLEPAPERCO.COM

DIY INSPIRATION FROM THE ISSUE

Making an Entrance
For her own home in Bellport, New York (page 21),
interior designer Michelle R. Smith set the mood by lining IN FULL BLOOM
the stair hall in Hamilton Weston’s Charlecote Trellis— VOUTSA’S ANTOINETTE
a pretty, pared-back wallpaper that’s equal parts charm and WALLPAPER IN METALLIC
WHITE IS PLAYFUL BUT
sophistication. Looking to make a similarly polished POLISHED, ENLIVENING ANY
statement? Here are some favorite patterns that sing just so.... ROOM. VOUTSA.COM

14 AR CHDI GE ST.COM PROD UCE D BY SAM COCHRA N AND MA DE LINE O’MAL LE Y

 editor’s letter 1

3
1. A TRIPPY WOODLAND-
THEMED BEDROOM
BY CHARLAP HYMAN &
HERRERO IN AN L.A.
HOUSE. 2. THE SALON IN
A PARIS HOME DESIGNED
BY JACQUES GRANGE. 2
3. SERENA WILLIAMS
HOLDS COURT IN FLORIDA.
4. WILLIAMS’S WATER-
FRONT POOL. 5. WITH SUPERSTAR SWAGGER. Serena Williams has it, and so does
COVER STORY WRITER her house. Working with her sister Venus—and her design
ELAINE WELTEROTH (IN
BERET) AND MARIE SUTER firm V Starr—the pair spent three years gut-renovating a
AND PHILLIP PICARDI. sprawling waterfront Florida property, transforming it into
6. SUZANNE RHEINSTEIN’S
MONTECITO, CALIFORNIA, Serena’s specific vision of nirvana, which includes a hidden
GETAWAY. karaoke bar, a private trophy room, and an unexpected,
airy modern-art gallery where the living room used to be.
“Serena is not formal,” Venus tells writer Elaine Welteroth.
“She is fun-loving, she’s very free.” That independent spirit
sets the tone for an issue brimming with confident owners
living large and on their own terms. Describing the wishes
of his Russian client, the new owner of an opulent, historic
hôtel particulier in Paris, AD100
6 4
Hall of Fame design legend Jacques
Grange says simply, “He wanted

1. LAURE JOLIET. 2. FRANÇOIS HALARD. 3 & 4. LELANIE FOSTER. 5. AMY ASTLEY. 6. LAURA RESEN.
a palace, not a house.” Stateside,
the newly inducted AD100 firm
Charlap Hyman & Herrero fash-
ioned a witty, maximalist play-
ground for an L.A. couple who also
used the word fun in their design
brief. Of his Technicolor fantasy
land, owner Yoram Heller notes,
“This house gives people permission
not to take things too seriously.” I
teared up reading Michael Boodro’s
5 touching story of L.A. decorating
doyenne Suzanne Rheinstein (recall her lovely, influen-
tial Los Angeles store Hollyhock) and the serenely
beautiful, very personal Montecito getaway she has
created expressly to suit herself, at this precise moment
in her life. She too invoked fun. A word to live by.

AMY ASTLEY
Editor in Chief
@amyastley

16 AR CHDI GE ST.COM
D I O R B O U T I Q U E S 8 0 0 .9 2 9. D I O R ( 3 4 67 ) D I O R . C O M
 object lesson THE STORY BEHIND AN ICONIC DESIGN

Open and Shut

How Charlotte Perriand’s simple
1960s reading light became
a dazzling designer favorite

I
n the midst of building her
own chalet in the French Alps,
in the early 1960s, the endlessly
innovative designer Charlotte
Perriand needed a small lamp
for reading in bed that wouldn’t
1 irritate her husband. She placed a
wall-mounted bulb behind a simple
aluminum shutter that could swivel
to send light up or down, varying
in brightness. The so-called applique
à volet pivotant, or wall lamp with
swivel shutter, is a perfect example
of what Perriand’s daughter, Pernette
Perriand-Barsac, calls “architect’s
lighting, which plays with volumes
3
and proportions as an architectural
element to make space sing,” a
2
common theme in Perriand’s projects.
It did, indeed, make the room sing.
1. CHARLOTTE PERRIAND SCONCES ACCENT A NEW YORK CITY HOME
DECORATED BY JULIE HILLMAN. 2. THE BATH IN A SÃO PAULO RESIDENCE And not just her own. In the 1970s the appliques
BY ISAY WEINFELD. 3. CHARLOTTE PERRIAND’S APPLIQUE À VOLET PIVOTANT. were installed in the living quarters of the Perriand-

4. A CEILING FIXTURE COMPOSED OF PERRIAND SCONCES IN FASHION
DESIGNER STEFANO PILATI’S PARIS HOME.
“that their own taste and way of thinking is aligned
1. MANOLO YLLERA. 2. NGOC MINH NGO. 3. COURTESY OF THE COMPANY. 4. BJÖRN WALLANDER.
designed ski resort Les Arcs in Savoie. And in the
years to come, a modular system emerged (three
different sizes and a range of colors) and was used
en masse, to beautiful effect.
Despite its utilitarian spirit and friendly price tag,
Perriand’s applique, produced in small batches by
engineer Steph Simon and a string of local artisans,
didn’t find mass distribution until recently. In 2011,
Italy’s Nemo Lighting began producing the fixture
at an industrial scale (from $423).
“It’s very seldom that an architect creates some-
thing for their own house that becomes so universal,”
explains Nemo’s owner and CEO, Federico Palazzari,
with the needs of the human being.” But Perriand’s
design did just that, catching the eyes of tastemakers
like the late Italian Vogue editor Franca Sozzani and
fashion designer Stefano Pilati. AD100 talent Julie
Hillman praises its versatility. “I’ve used 20 of a single
color on a wall in one project and eight multicolored
ones in another,” she explains. “The possibilities are
unlimited.” nemolighting.com —HANNAH MARTIN

4
18 AR CHDI GE ST.COM
FIVE HUNDRED POUNDS OF STEEL AND BRONZE.

ONE THOUSAND DEGREES OF INTENSE H E AT.

THE REST OF THE WORLD DISAPPEARS.

THE HYBRID FIRE GRILL + 1 . 888 . 761 . 2 83 0 K A L A M A ZO O G O U R M E T.CO M

 DISCOVERIES
THE BEST IN SHOPPING, DESIGN, AND STYLE EDITED BY SAM COCHRAN

DESIGNER MICHELLE R. SMITH WITH

HER DOG, INGY, AT HOME IN BELLPORT,
NEW YORK; THE LEAVES OF HER
ANTIQUE CHARLES DUDOUYT TABLE
OPEN TO CREATE A DOUBLE DESK
WHENEVER HER TEAM COMES TO VISIT.

AD VISITS

Leaving Her Mark

At home on Long Island, designer Michelle R. Smith
flouts convention with personality and poise
P HOTOGRAPHY BY N GOC MI NH NGO ARCHDIGEST. COM 21
 DISCOVERIES 1

1. BRUNO WIDMANN PAINTINGS HANG ABOVE THE LIVING

ROOM’S SOFA, AN AUCTION FIND; SHEER CURTAINS OF B&J
FABRIC. 2. SMITH AND INGY WITH HER SON, BASH, BY THE

C
ORIGINAL FRONT DOOR. 3. THE KITCHEN FEATURES STANDING
WORK TABLES IN PLACE OF CABINETRY; VINTAGE PENDANT.
overing up a window, forgoing proper kitchen
cabinetry, painting shutters to match the 3
clapboard façades.… Such notions are, to the
pearl-clutching decorati, anathema. But
designer Michelle R. Smith has never been
one to abide by convention. Case in point:
the 1857 house that she recently transformed in Bellport, New
York, a charm-filled village on the south shore of Long Island.
Over a matter of weeks, this rising star updated the Greek
Revival residence into an eclectic nest for her young family,
cleverly challenging the rules of good taste along the way.
The four-bedroom property, though historic, had lan-
guished on the market on account of its formal interiors and
outdated systems. “There was no air-conditioning, no laundry
room,” she recalls. “It seemed overwhelming to a lot of people,
but I was like, ‘This is the perfect project.’ ” After buying the
home in late 2018, she set about tweaking the layout—adapting
the kitchen as a laundry room, carving out a second upstairs
bathroom, and reimagining what had been a music room as an
eat-in kitchen, with freestanding worktables in lieu of cabinetry.
At its center, Børge Mogensen chairs pull up to a farm table,
with unexpectedly industrial fixtures shining overhead, among
them a vintage pendant for film lighting. But a Nancy Meyers
movie set this is not.
“I don’t like a kitchen that screams kitchen,” muses Smith,
noting that a pantry and open shelving in an adjacent hallway
provide ample storage. “That doesn’t work with a lot of clients,
but it works for me.” Throughout the house, she relished
that freedom. To add closets to a bedroom, she covered over
a window with wallpapered doors. Against others’ advice,
she painted the shutters in the same white as the façade. And
whereas purists might have torn down an awkward addition,
she thought jackpot—a playroom for her two-year-old son,
Bash. “It’s really nice to not have to be so precious about things.”

22 ARCHDI GE ST.COM
 T H E V I C TO R I A H AG A N CO L L EC T I O N
AVA I L A B L E F O R R O M A N S H A D E S A N D D R A P E R Y E XC L U S I V E LY AT T H E S H A D E S TO R E
S H O W R O O M S N AT I O N W I D E T H E S H A D E S TO R E .C O M 8 0 0 . 7 5 4 .1 4 5 5
 DISCOVERIES
That carefree vibe radiates throughout the rooms, which
eschew trends in favor of comfortable furnishings, all but a
handful of them repurposed from her previous house in Sag
Harbor. “I barely had a mood board,” she recalls. “I would just
throw things on the trays in our office.” Those included client
castoffs like the Charlecote Trellis wallpaper by Hamilton
Weston that lines the stair hall. Fabrics run the gamut from
fine (elegantly wrinkled Christian Fischbacher silk for curtains)
to fuss-free (pleasantly affordable finds from B&J for sheers
and a bedspread). And artwork tends toward the abstract and
inexpensive, with a $10 anonymous painting from a frame
shop joining several auction finds.
In many ways, her style is a study in second chances and
defied expectations. By her own admission, she is “not a pillow
person.” She’s vehemently “anti–recessed lighting.” And she
forgoes down comforters, which she finds look messy, in favor
of crisply tailored coverlets. “I’m trying to bring people back
to dressing the bed. It’s often the most square footage in the
room, and yet everybody waits until the very last minute to
design it.” Meanwhile, traces of her Louisiana roots remain,
1 among them an affinity for screened porches and a fish that
she caught on a trip to Costa Rica—proof that you can take the
girl out of the bayou but not the bayou out of the girl. Home,
thankfully, is where you can keep things spontaneous, surpris-
ing, and personal. Says Smith: “The great thing about doing
your own house is you don’t have to wait for an answer from
anyone else.” —SAM COCHRAN

1. COLEFAX AND 3. IN BASH’S ROOM,

FOWLER WALLPAPER VINTAGE SCONCES
LINES A BEDROOM ACCENT BUILT-IN
WHERE SMITH BOLDLY BUNK BEDS; CURTAINS
COVERED A WINDOW OF HOLLAND &
WITH CLOSETS. SHERRY FABRIC.
2. THE SCREENED
PORCH NODS TO HER
LOUISIANA ROOTS.

24 ARCHDI GE ST.COM
WE’VE COLLECTED THE BEST
DESIGNERS TO DESIGN
THE BEST COLLECTIONS.

FROM THE DESCENDANTS OF STONECUTTERS TO BURGEONING

MODERN DESIGNERS, ROHL DISCOVERS THE FINEST CRAFT. OUR
DESIGNERS FIND INSPIRATION FROM MANY PLACES AND PERIODS
OF TIME, RESULTING IN PRODUCTS THAT ARE TRULY TIMELESS.
OUR EXQUISITE COLLECTIONS ARE MADE BY THE WORLD’S
LEADING ARTISANS EMPLOYING TECHNIQUES PASSED DOWN
THROUGH GENERATIONS.

GRACELINE BY DESIGNER MICHAEL BERMAN

HOUSEOFROHL .COM

A DISTINCTIVE
MEMBER OF THE
HOUSE OF ROHL

©2021
 DISCOVERIES

DETAIL ORIENTED

You Spin Me Round

David Yurman embraces the healing
power of the circle
“The circle is a powerful symbol of unity, a line that never ends, so we decided going forward that it
would become our messenger, carrying our vision of inclusivity, wholeness, and hope,” says jewelry
designer, sculptor, and philanthropist David Yurman, recalling a creative process that took place
during a highly tumultuous 2020. What resulted is the new Elements collection, conceived with his
painter wife, Sybil, cofounder and co-CEO of the eponymous Manhattan-based company that they
established as newlyweds 41 years ago. (Son Evan is chief creative officer.) Expanding on the brand’s
hallmark cable motif, Elements’ unisex gold or silver hoop necklace can be left unadorned or hung
with reversible pendants fashioned of malachite, mother-of-pearl, tigereye, and other semiprecious
stones, as well as pavé diamonds. The effect is transportingly classical—one can easily imagine
seeing it at all the best places in ancient Greece—but it also offers a modern simplicity that can go
from boardroom to beach. “Like all our jewelry, it’s about harmony, balance, and what really touches
us,” Sybil explains. “Stones are elements, and the disc you choose is a reflection of your emotional
self.” And, of course, the color of the outfit you’re wearing. davidyurman.com —MITCHELL OWENS

26 ARCHDI GE ST.COM PRODUCED BY JANE KELTNER DE VALLE PHOTOGRAPHY BY JONG HYUP

 READY TO SLEEP ORGANIC?

Avocado organic certified mattresses are handmade in sunny Los Angeles using the finest natural latex, wool
and cotton from our own farms. With trusted organic, non-toxic, ethical and ecological certifications, our
products are as good for the planet as they are for you. Now offering a personalized video retail experience!
Start your 1-year organic mattress trial* at AvocadoGreenMattress.com.

* Restrictions apply.
CU 861640 CU 861640 AD AVO-1368
 FOR MORE GREAT FINDS VISIT ARCHITECTURALDIGEST.COM/SHOPPING

ARDMORE FEATHER PILLOW; $350. ASHANTI DESIGNS PUMLA CUSHION; ASHISH SEQUINED CROCHETED CUSHION;
NGALATRADING.COM FROM $47. ASHANTIDESIGN.COM $690. MATCHESFASHION.COM

BOLÉ ROAD TEXTILES GEY PILLOW; $235. GERGEI ERDEI URNA CON STELLA PILLOW; JOHN ROBSHAW NADITA DECORATIVE
BOLEROADTEXTILES.COM $255. GERGEIERDEI.COM PILLOW; $150. JOHNROBSHAW.COM

YINKA ILORI: ANDY STAGG. ALL OTHERS COURTESY OF THE COMPANIES.

MARIGOLD LIVING BIRDS ON VINE BLOSSOM SAVED NY HOME SWEET HOME PILLOW; $575. YINKA ILORI OMI CUSHION COVER; $100.
PILLOW COVER; $50. MARIGOLDLIVING.COM SAVED-NY.COM YINKAILORI.COM

SHOPPING

Fair and Square

Boldly patterned or downright pretty,
our favorite accent pillows hit all the right angles
28 ARCHDI GE ST.COM PRODUCE D BY MAD ELINE O’MA LL EY
 THE COMFORT OF BEING YOU

Custom designed for and with you. Made by artisans of comfort in our North Carolina factories. Meeting you wherever you are.
Available in our stores, online, in-home and by virtual design appointment. virtualinhome@mgbwhome.com
 DISCOVERIES 1

1. KELLY WEARSTLER AT THE FARROW & BALL LABORATORY IN

DEBUT DORSET, ENGLAND. 2. HAZY. 3. FADED TERRACOTTA. 4. A WEARSTLER-
DESIGNED LIVING ROOM PAINTED IN CITRONA. 5. FADED TERRACOTTA

Ray of Light
MAKES A SUBTLE SPLASH IN A DINING ROOM BY WEARSTLER.

Kelly Wearstler spreads a little

sunshine in her new palette of
paint colors for Farrow & Ball

I
f there are two things that Kelly Wearstler knows all about,
they are color and California. When the paint mavens at Farrow
& Ball tapped the Los Angeles–based AD100 talent to conceive a
palette of signature hues—the company’s first collaboration with
an outside designer since its founding in 1946—it’s no wonder

1. HARRY CROWDER. 2 & 3. COURTESY OF THE COMPANY. 4 & 5. TREVOR TONDRO.

that she immediately turned to the Golden State for inspiration.
“People think of California as the land of free spirits and dreamers, the
place you look for the new, next thing,” she muses. “I wanted to capture
the essence of that romantic image in colors that reflect California’s
incredible light and beauty.”
The eight hues in Wearstler’s initial offering take their cues from
everything from sunbaked highways (Tar) to lemon trees (Citrona) to
the crystalline residue of the Pacific air (Salt). “Kelly’s colors may be
a bit of a departure for us, but they work beautifully with our traditional
palette. All of the colors have significant amounts of black, lots of depth,
and a chalky quality that are consistent with the Farrow & Ball aesthetic,”
explains Charlotte Cosby, the company’s head of creative.
For Wearstler, the timing of the new collection seems right on the
money. “I wanted to create a range of hues that feel optimistic and evoca-
tive. Even the neutrals capture that feeling,” she insists. “When I was
working at the Farrow & Ball lab in Dorset, the days were dark and dreary,
typically English, but the colors felt bright and cheerful. After the year
we just had, who doesn’t want a little cheer?” farrow-ball.com —MAYER RUS

5
30 ARCHDI GE ST.COM
SUNBRELLA IS A REGISTERED TRADEMARK OF GLEN RAVEN, INC. VISIT SUNBRELLA.COM FOR DETAILS.

Fabrics designed to be desired.

THE MOST COMPREHENSIVE WARRANTY IN THE INDUSTRY. Learn More

We design custom solutions for the stories

of today. Together with us, the space

where you live becomes the place you love.

Find yourself at home

with California Closets
Free Virtual or In-Home Design Consultation | californiaclosets.com | 866.370.2209
 DISCOVERIES
INSIDER LONDON
Given Robin Standefer and
Stephen Alesch’s recent com-
missions in London—Grafton
Square, a private club, is under
way—it’s no wonder that the
husband-and-wife principals
of Roman and Williams have
taken the city to heart. “Two
favorite places are Sir John
Soane’s Museum, which has
such a sense of compression
and expansion, and the
Chelsea Physic Garden, which
is refined and precise but
accessible,” Standefer says.
Tucked away in a mews,
34 ARCHDI GE ST.COM
TOAST OF THE TOWN
Cozy Up
Raising a glass to a
dream day in London ...
W
hen the U.K. is safely
abuzz with revelers
once more, there will
be no cozier spot
for a nightcap than
NoMad London,
American hotelier Andrew Zobler’s new
British outpost. Occupying the looming
old Bow Street Magistrates’ Courts, where
Oscar Wilde was tried for “gross indecency”
in 1895, it features a lush bar and dining
space called the Fireplace Room. Located
off the jungle-like atrium (the former
police yard) and wrapped with a blossom-
ing Zuber wallpaper, “it is a jewel of a space,
an interpretation of a garden that you enter
from a real garden room, stepping from
something grand into something that’s
almost a whisper, which is a guiding prin-
ciple of our work,” says Robin Standefer
of AD100 firm Roman and Williams, which
blended bleached English oak, blue velvet,
and, yes, a vast fireplace. “It feels very
domestic and collected, like the country
houses we visited when we were planning
the British Galleries at the Metropolitan
Museum of Art.” The Fireplace’s signature
Royal Martini, though, is pure NoMad,
an urbane quaff composed of gin, an
herb-infused wine, sherry, pear brandy,
Benedictine, and a soupçon of saffron.
thenomadhotel.com —MITCHELL OWENS
Petersham Nurseries (right)
“has the most wonderful plants,
INTERIOR: SIMON UPTON. EXTERIOR: KEIKO OIKAWA.
plus a restaurant and shop.”
The study galleries at the
Victoria and Albert Museum
are like “a million art-history
classes rolled into one: I love
the cases, the density of
objects, and the colors.” Come
dinnertime, Standefer and
Alesch head to Wiltons, a posh
little seafood spot that dates
to 1742. “It’s not trendy in the
best way. My rule of thumb is if
the cool kids question some-
thing you like, you know you’ve
done the right thing.” —M.O.
©2 02 1 WAT E RWO R KS I S A R E GI ST E R E D T R AD E MA R K O F WAT ERWO RKS IP CO MPA NY, L LC

Mixed Metals
WAT E R W O R K S . C O M

Introducing
 DISCOVERIES
ART SCENE
Face Value
Glass sculptor Hugh Findletar turns
heads with anthropomorphic vessels
of exuberant spirit and beauty
H
and-blown in the form of friendly faces,
Hugh Findletar’s signature glass vases are so
full of personality that he refers to them as
Flowerheadz. “I’m creating a population,”
reflects the Jamaican-born artist, now based
between Milan and Venice and working out
of the historic Murano ateliers. “The glass takes on its own
form based on the heat, so the control you have is limited.
One brother will come out a certain way, and its sister will
come out looking a little different. It becomes like a family.”
36 ARCHDI GE ST.COM
THE JAMAICAN-BORN
ARTIST HUGH FINDLETAR
IN A MURANO GLASS
STUDIO WITH SOME OF
HIS MOST RECENT
FLOWERHEADZ VASES.
Trained as a fine-art photographer,
with a focus on floral still lifes, Findletar
arrived at his current calling thanks
to a vision. After returning from a trip to
Kenya, where he picked up a number
of wooden masks at a Maasai market, he
was inspired to sculpt his own versions
from glass, one of which he set on his bedside table. “I was lying
down one day, and the mask started talking to me,” he recalls.
“It was like, ‘Oh, my goodness, if I was on a vase with flowers
on top it would be wow.’ ”
When he approached the island’s master artisans with the
idea, he recalls, “everything was a ‘No, we can’t do it.’ So you
go, ‘Yes! Let’s do it!’ ” To create a single vessel—which can
weigh up to 50 pounds—requires the labor-intensive help of
eight craftsmen, with each step veiled in secrecy. “The person
who mixes the formula will never tell you his family recipe,”
PHOTOGRAPHY BY VALE NTINA SOMMA RIVA
 THE NEW SLEEP NUMBER 360 SMART BED
®

Get almost 100 hours more proven quality sleep per year.*

Discover the first bed in the world designed to help you fall asleep faster and proven to provide more restful sleep.
Enjoy your own personal microclimate as it gently balances surface temperature to keep you both blissfully asleep.

Because proven quality sleep is life-changing sleep.

NEW Temperature balancing

SleepIQ Score
®

NEW Smart 3D fabric is Adjustable comfort Automatically Personalized insights 15-Year Limited 100-Night Trial§
up to 50% more breathable on each side responds to you for even better sleep Warranty ‡
for a cooler sleep surface†

REQUEST SPECIAL OFFERS | 1-877-246-9686 | sleepnumber.com/archdigest

Upholstered furniture and adjustable base available at additional cost. Prices higher in AK and HI. *Based on internal analysis of sleep sessions assessing sleepers who use multiple features of Sleep Number products. Claim based on sleepers achieving over 15 more minutes of restful sleep per sleep
session. †Compared to ordinary mattresses, based on independent tests performed by the CSIRO. Available on select models. ‡Limited warranty available at sleepnumber.com. §Restrictions and exclusions apply. Does not apply to adjustable bases, upholstered furniture, closeout/clearance
or demo/floor model purchases or mattresses already exchanged under another In-Home Trial period. You pay return shipping. Refunds will be made to the original method of payment less original shipping/delivery fees. Visit sleepnumber.com for complete details. SLEEP NUMBER, SLEEPIQ,
SLEEP NUMBER 360, the Double Arrow Design, and SELECT COMFORT are registered trademarks of Sleep Number Corporation. ©2021 Sleep Number Corporation
 DISCOVERIES
1. AN ASSORTMENT
OF HIS LATEST
FLOWERHEADZ
VASES, SO NAMED
FOR THE BOUQUETS
HE ADDS TO THEM.
2. IN A DEPARTURE,
NEW PIECES ASSUME
ANIMALISTIC FORMS,
LIKE THIS HORSE-
SHAPED VESSEL.

a piece after attending an exhibition in Paris in 2019. Findletar’s

creations have also taken center stage in the windows at Dolce
& Gabbana and Pomellato boutiques around the world. “My
girls are working like models,” jokes the artist, who has tapped
leading international floral designers like Eric Buterbaugh and
Stéphane Chapelle to style the works. “It’s like having Jimmy
Paul coming in to do the heads.”
On the horizon is a collaboration with French candlemaker
1 Buly 1803, as well as tumblers, which, Findletar explains, will
be made especially for whomever is drinking from them.
(“Each family member will pick their color. It’ll take two weeks
says Findletar, noting that one collaborator is a sixth-generation and then ships.”) He’s also been exploring animalistic forms,
glassblower. Compared to that, he laughs, “I’m in kindergarten, such as owls like the one who would seemingly call his name
even after 10 years.” from outside his grandparents’ window in Jamaica. “Hoo,
Taste-making collectors might beg to differ. Miuccia Prada hoo, hoo,” he echoes. “I was frightened out of my mind. Then
was among the first to discover Findletar’s work, after a mutual I grew up and realized this bird is about wisdom.” Findletar
friend bought a vase en route to dinner at her home. Then is represented by The Spaceless Gallery; thespacelessgallery.com
came the Missonis and Naomi Campbell, who commissioned —JANE KELTNER DE VALLE

THINK PIECE

Dream Team
“Savoir is the emperor of beds,” says none other
than Dame Zandra Rhodes, the pink-haired
English fashion and textile designer. As the latest
creative force to team up with the U.K. brand,
she has reimagined her famous 1971 field-of-lilies
motif (worn by everyone from Twiggy to Lauren
SAVOIR: ALEXANDER JAMES

Bacall to Carrie Bradshaw) for Savoir’s beloved

beds. Clad in luxe cotton-velvet or textured
linen, the design is available in eight hues (and
custom colorways) including the grassy green
that Rhodes chose for her own colorful London
penthouse. As she gleefully reports over Zoom
from a pile of pillows, “the bed is very happy
here.” savoirbeds.com —HANNAH MARTIN

38 ARCHDI GE ST.COM
 March 11– April 3, 2021

The Historic Hudson River School

AMERICAN INNOVATION
An Exhibition and Sale*
featuring nearly 100 paintings
by our nation’s master
nineteenth-century artists.
Treasured in three centuries, these
works by our nation’s master
painters mark the inception of a
uniquely American art.

REQUEST YOUR CATALOGUE

Sanford Robinson Gifford (1823–1880)

Study for “Morning in the Adirondacks, 1867 ”
Asking price: $175,000

*view virtually or visit the gallery by appointment

Q U E S T R O YA L F I N E A RT, L LC
Important American Paintings
903 Park Avenue (at 79th Street), Third Floor, New York, NY 10075 T: (212) 744-3586 F: (212) 585-3828
Hours: Monday–Friday 10– 6, Saturday 10–5 and by appointment
EMAIL: gallery @ questroyalfineart.com www.questroyalfineart.com
 DISCOVERIES
ARCHITECTURE

Rise and Shine

At the edge of Oslo,
a state-of-the-art new
museum honors legendary
painter Edvard Munch

S
pring was a recurring source
of inspiration for Edvard
Munch, whose vernal land-
scapes offered hopeful
counterpoints to anguished
icons like The Scream. But this
spring marks an especially fresh start for
Norway’s most famous painter (1863–1944).
Along the radically transformed Bjørvika
waterfront, finishing touches are being made
to the new Munch museum, an eagerly
anticipated showcase for the artist’s legacy.
The striking structure—13 stories tall,
with a cranked silhouette that bows to the
city center—replaces the museum’s longtime
home, where cramped quarters did inad-
equate justice to a painter in thrall to light
and nature. Designed by the international
architecture firm Estudio Herreros, the new
museum features 11 exhibition halls of varied
ceiling heights and square footages, offering
diverse and dynamic showcases for a collec-
tion that comprises some 42,300 personal
objects, including 26,000 works by the artist.
(Highlights include versions of The Scream 1

and The Sun, Munch’s monumental mural at

the University of Oslo.) In addition to long-term displays
from this considerable trove, programming will include
exhibitions devoted to kindred artistic spirits, both modern

EXTERIOR: ADRIÀ GOULA. ART: COURTESY OF THE MUNCH MUSEUM.

and contemporary.
Built to Passive House standards, the museum is also a
model of energy efficiency, with a goal to reduce greenhouse gas
emissions by 50 percent over the life of the building. Natural
ventilation, distinct climate zones, and innovative heating/
cooling systems all play their part, as do low-carbon materials,
concrete among them. Enigmatic cladding of perforated,
recycled aluminum, for instance, shields the interiors from the
harsh Nordic sun, helping to prevent temperature fluctuations
while seemingly shifting in color over the course of the day.
“We knew that to propose a vertical museum was a risk,”
says architect Juan Herreros, acknowledging local grumblings
about the building’s nearly 200-foot height. But Munch of all 2
people might approve. Nowadays there’s no better vantage 1. OSLO’S NEW MUNCH MUSEUM, SLATED TO OPEN THIS
SUMMER, WAS DESIGNED BY ESTUDIO HERREROS.
point from which to take in the city and seascape that inspired 2. THE SUN (1912) BY EDVARD MUNCH, A VERSION OF THE
him. munchmuseet.no —SAM COCHRAN MURAL HE CREATED FOR THE UNIVERSITY OF OSLO.

40 ARCHDI GE ST.COM
 A CENTURY OF STYLE
From editor-in-chief Amy Astley and Architectural Digest, AD at 100
FROM LEFT: ANTHONY COTSIFAS; JASON SCHMIDT; OBERTO GILI

celebrates the most incredible homes of the past century, showcasing

the work of top designers and offering rare looks inside the private worlds
of artists, celebrities, and other fascinating personalities.

Marc Jacobs, Jennifer Aniston, Diana Vreeland, India Mahdavi, Peter Marino,
Kelly Wearstler, Oscar Niemeyer, Axel Vervoordt, Frank Lloyd Wright, Elsie de Wolfe,

abramsbooks.com/AD100
 DISCOVERIES
2 really excites this Nashville-born poly-
DESIGN
Makers’ Mark
Radnor, a mecca for
artisanal treasures, settles
into a Manhattan aerie 3
4 architecture is critical.” So too is the art,
5 Created with Radnor Made, the series
6 a petite bedside table, both wrapped
1. RADNOR FOUNDER
SUSAN CLARK AT THE
BRAND’S NEW UPPER
EAST SIDE SHOWROOM.
2. PEBBLE PENDANT
BY TEZONTLE. 3. CORE
TABLE BY SUSAN CLARK.
4. PARALLAX COCKTAIL
TABLE BY KARL ZAHN.
5. RIVIERA RUG BY MIKSI.
6. MOLDED LOUNGE
CHAIR BY DANNY HO FONG.
S
usan Clark understands
how things are made.
Over the years, she has
studied glassblowing,
metalwork, weaving, and
architecture. But what
math, who launched the furniture brand
Radnor in 2016, is collaboration. “I knew
I wanted to bring my own work forward,
but I didn’t want to be isolated in my
own making,” says Clark, who named
the company after the Tennessee nature
stand the scale of these works, the
curated by David Zwirner gallery.
Roberts has seized the opportunity to
debut her first-ever furniture collection.
includes a diminutive writing desk—
the perfect size for a single laptop—and
PORTRAIT: MATTHEW WILLIAMS. ALL OTHERS COURTESY OF RADNOR.
in solid walnut veneer; an exquisitely
upholstered pouf; and a series of rugs.
(All are honed versions of pieces she has
lived with during quarantine.) They play
well with cocktail tables of meticulously
folded brass by Karl Zahn; pebble lamps
by Tezontle; a charred-maple credenza
by Loïc Bard; and Clark’s own designs,
among them tables milled from breccia
stazzema, an Italian marble sourced
from a collector in Kentucky. Reflecting
on their minimalist shapes, Clark notes,
“Sometimes the thing that looks the
simplest is the most difficult to produce.”
radnor.co —HANNAH MARTIN
 DISCOVERIES

1. A LOUNGE AT XIGERA
SAFARI LODGE, NOW
HOME TO A COLLECTION
OF CONTEMPORARY
AFRICAN ART AND
DESIGN. 2. THE BAOBAB
TREE HOUSE, WHERE
GUESTS CAN SLEEP
BENEATH THE STARS.
3. ONE OF 12 SUITES
AT THE RESORT.
4. A VIEW OF THE MAIN
LODGE, SET IN THE
OKAVANGO DELTA.
2

S
leeping in a tree house above roaming elephants
and lions might not seem like a dream night’s
rest. Unless, that is, you’re beneath a canopy of
stars at the Baobab, a three-story, open-air lodg-
ing at the newly refreshed Xigera Safari Lodge
in Botswana’s Okavango Delta. Rising 33 feet
above the ground (and safely out of reach), the striking struc-
ture mimics the branching form of its namesake deciduous
African tree, with steel limbs that will rust over time, blending
into the bush while nodding to the landscapes of legendary
South African painter Jacobus Hendrik Pierneef. This off-the-
4 grid sleep-out is just a quick mokoro, or canoe, ride, from the
main lodge, itself a gallery as much as a resort. Transformed
by architect Anton de Kock and architectural designer Philip
TRAVEL Fourie, the property now brims with treasures by some 30

Delta Status
African artists—including ceramics by Andile Dyalvane and
COURTESY OF XIGERA SAFARI LODGE.

Zizipho Poswa, bronze sculptures by Sarah Heinemann, and

timber pieces by Adam Birch and David Krynauw. (Hotelier

Reimagined as a showcase
for African art and design,
Xigera puts a sophisticated
Toni Tollman and the Cape Town–based gallery Southern
Guild also collaborated on the program.) Guests can recline
on the Porky Hefer nests that punctuate the outdoor deck,
gather around the hand-beaten copper fireplace in the lounge,
or wake to the sight of birds passing overhead at the Baobab.

spin on the safari vacation

Typically, people go on safari to be among animals, not art. At
Xigera, one needn’t choose. xigera.com —MARY HOLLAND

44 ARCHDI GE ST.COM
 DISCOVERIES
STYLE

Free Spirits
Ulla Johnson taps
Rafael de Cárdenas to
1. ULLA JOHNSON conjure an oasis
AT HER BRAND’S
NEW SHOWROOM,
DESIGNED BY RAFAEL
of comfort and flair
DE CÁRDENAS.

I
2. IN ONE LOUNGE
AREA, INGO MAURER
PENDANT LAMP, ’m always resistant to the idea
ANGELO MANGIAROTTI that my studio has a specific
TABLE, KAZUNORI
HAMANA VESSEL, AND style,” says AD100 talent Rafael
RAFAEL DE CÁRDENAS de Cárdenas. “But Ulla definitely
SOFA. 3. HANDMADE
GOLD GLASS TILES does.” He is referring to the fash-
LINE AN ACCESSORIES ion designer Ulla Johnson, whose
DISPLAY; DE SEDE
SOFAS, TUAREG RUG. brand of refined bohemian garments
1
is now celebrating 22 years in business.
And what better way to mark the occa-
sion than with a new private showroom
for her downtown Manhattan headquar-
ters—a place for collaborators and VIP
guests to connect. Johnson, of course, is
well known for her spaces, whether her
exquisitely crafted boutiques or her
blush-toned Brooklyn brownstone (AD,
September 2019). “We have a well-
articulated point of view, but we always
want to evolve,” she says. “It’s important
to challenge ourselves, work with new
people, have different conversations.”
Part of what drew her to de Cárdenas
was how seamlessly his practice, whose
clients include Cartier and Glossier,
straddles commercial and residential
projects. “He’s uniquely well positioned
to know how those things can speak
to each other. From the beginning of our
2 conversations it was like, How can we
3 not work off the traditional model?” The
answer becomes clear upon entering the
expansive loft, where a series of inviting
lounges unfold. Pearlescent plaster cre-
ates what Johnson calls “cloudlike move-
ment” across walls; expressive stone
forms beams and displays; and hand-
carved mahogany screens by Green
River Project nimbly divide the recep-
tion area. “I wanted air for everything
to breathe and express itself, but also
moments of intimacy,” says Johnson.
PERNILLE LOOF

Adds de Cárdenas: “Ulla treats her busi-

ness in a way that most people treat a
home. It’s very personal to her.”
ullajohnson.com —JANE KELTNER DE VALLE
 MAXALTO IS A B&B ITALIA BRAND.
COLLECTION DESIGNED AND COORDINATED BY ANTONIO CITTERIO.
WWW.MAXALTO.IT
 E L I Z A B E T H H A R R O D , S O L O I S T, T H E R O Y A L B A L L E T

savoirbeds.com
Walls
 The Design Team at

interiorsbysteveng.com

Model: 321 Water’s Edge

A SLICE OF PURE TRANQUILITY

Imagine open spaces, exquisite appointments and breathtaking views —
IBSG captures a lifestyle that embraces taste, style and originality.

IBSG Headquarters: 2818 Center Port Circle Pompano Beach, FL 33064 P 954.735.8223
FL State License IB13000407 LEED accredited. Established 1984
 차종례
C H A J O N G RY E
E X C L U S I V E LY A T

LONG-SHARP GALLERY

Cha Jong Rye

Expose Exposed 190301
2019
White birch plywood
55 x 35.5 x 8 inches
(140 x 90 x 20 cm)

Photography © Ed Stewart

L O N G S H A R P G A L L E R Y . C O M

8 6 6 .3 7 0 . 1 6 0 1

Design advice for real life.
INTERIOR BY WELCOME PROJECTS; PHOTO BY LAURE JOLIET
Renovation guides.
Before-and-after inspiration.
Material sources.
Everything you need to
make a home your own—
from the editors of
Architectural Digest.
@getclever
archdigest.com/clever
ADVERTISEMENT
George Henry Smillie (1840–1921)
The Catskills from Hudson, 1867
Oil on canvas
6 1/16 x 10 1/16 inches
Initialed and dated lower left: G. H. S. ‘67
Asking price: $24,000
THE HISTORIC
HUDSON RIVER SCHOOL:
AMERICAN INNOVATION
The largest Hudson River School
exhibition and sale of the year,
American Innovation opens for both
in-person and virtual viewing on
March 11th, 2021. Treasured in three
centuries, these nearly 100 works
by our nation’s 19th-century Master
painters mark the inception of
a uniquely American art. Featured
artists include Bierstadt, Bricher,
Church, Cole, Colman, Cropsey,
Doughty, Gifford, Hart, Herzog,
Johnson, Kensett, Moran, Richards,
Silva, Sonntag, Whittredge, Wyant,
and many others. Questroyal Fine
Art, LLC, is an established American
art gallery specializing in quality
American paintings from the 19th and
20th centuries, with an inventory of
more than 500 artworks.
To request a copy of the catalogue,
visit questroyalfineart.com,
email gallery@questroyalfineart.com,
or call 212-744-3586.
 GLAM

MAKEUP BY NATASHA GROSS USING DIOR BEAUTY;

WILLIAMS, POOLSIDE IN
GUCCI AND SERENA
WILLIAMS JEWELRY. THE
MARKET EDITOR: ALEX MANIGAT

TERRACE IS CLAD IN WHITE

HAIR BY ANGELA MEADOWS;

FALDA PORCELAIN TILE.

LANDSCAPE DESIGN BY
LUCIDO & ASSOC. FASHION
STYLING BY KESHA MCLEOD.
OPPOSITE THE INFINITY
POOL CREATES A CLEAN
TRANSITION BETWEEN
INDOORS AND OUT. FOR
DETAILS SEE RESOURCES.
SLAM

At home in Florida, Serena Williams

holds court in a house designed
in collaboration with her sister Venus
TEXT BY ELAINE WELTEROTH PHOTOGRAPHY BY LELANIE FOSTER STYLED BY MIEKE TEN HAVE
A GROUPING OF PENDANT
LAMPS BY TOM DIXON
(BRASS) AND SIMON
LEGALD FOR NORMANN
COPENHAGEN (GLASS)
SETS THE TONE IN THE
DINING ROOM. ARTWORK
BY SERENA WILLIAMS.
It's
yet another cozy Sunday afternoon during quarantine, and
Serena Williams is lounging in her newly decorated home
office on Zoom with her big sister Venus. It’s just two months
after the tennis titans went toe to toe at the Top Seed Open
in Kentucky, which was their first time back on the court since
the forced hiatus due to the COVID-19 pandemic. The world-
famous pair, who have played many roles in each other’s lives
in the 23 years since their first match against each other—
best friends, former teammates, competitors, and longtime
roommates—are giggling as they reflect on the five-year
journey of collaborating on their greatest joint effort yet:
designing Serena’s dream home.
After co-owning a Palm Beach Gardens property where
the Grand Slam duo lived together on and off since 1998,
with Serena splitting her time between secondary homes
from Bel-Air to Paris, she purchased a sprawling waterfront
property of her own, with breathtaking views in a coveted THE SÉRÉNADE KARAOKE ROOM FEATURES A BESPOKE NEON SIGN
DESIGNED BY V STARR. WALL COVERING BY PHILLIP JEFFRIES;
enclave north of Miami, just minutes away from Venus and CUSTOM BANQUETTE AND FAMA CHAIRS IN A BRENTANO VELVET.
their parents. To help make the house ideal for her own
family, naturally she turned to V Starr, Venus’s world-class
design firm.
“I was moving away from Venus for the first time in my Though, they all maintain, it was mostly Serena’s singular
life, so I wanted it to be really meaningful,” Serena says. imagination—with guidance from V Starr—that spearheaded
While mixing family with business can be risky, the secret to the design.
their success as siblings and creative collaborators is simple: “We had just met,” Serena says regarding Ohanian. “And I
“You have to know your lane. I’m really good at playing tennis; wasn’t going to be like, ‘Hey, let’s do this together.’ That would
I’m not as good at interiors. But I was able to learn through have been really weird for him,” she says with a chuckle.
just watching Venus.” “Yeah. That would’ve been kind of creepy,” Venus chimes in.
As with any other client, Venus says, her priority was
catering to Serena’s vision—which did a complete 180 during WHILE OHANIAN PLAYED the easygoing, supporting role to
the design process. After she purchased the 14,500-square- Serena’s more hands-on approach, one space the doting dad
foot Spanish Mediterranean–style home, Serena’s traditional took the lead on perfecting was their three-year-old daughter’s
tastes suddenly felt out of step with this new phase of life. bedroom. Both parents agree the pièce de résistance of their
She credits her love of modern art and technology for ushering entire home is Olympia’s pink custom-designed castle bed
in a more modern, minimalist aesthetic. Then, of course, there complete with a built-in slide and an equally spectacular, one-
was the burgeoning romance with tech tycoon Alexis Ohanian. of-a-kind chandelier created by blown-glass artist Josh Fradis.
The high-profile couple had only recently begun dating just Indeed, it is positively fit for a princess.
after Serena embarked upon this massive real estate project, “She goes down the slide every night while we’re thinking,
but Sonya Haffey, principal of V Starr, says Serena’s future Man, we shouldn’t have done that, because now at bedtime,
family goals were an integral part of the design plans all along. she just wants to slide,” Serena admits. “But whatever makes
Last July—after three years, including a gut renovation— her happy makes me happy.”
Serena finally moved into the completely reimagined, ultra- While Olympia’s room is decidedly the most extravagant
modern, intracoastal property with a husband and toddler space in the house, Serena insisted on exercising a bit more
in tow. As the old adage goes, “If you build it, they will come.” restraint in other areas. The marriage of sleek, clean lines and

ARCHDIGEST. COM 59
 ABOVE RH PENDANT LIGHTS HANG ABOVE A
TRAPEZOIDAL TABLE. OFFICINE GULLO APPLIANCES;
BRIZO SINK FITTINGS; CAESARSTONE COUNTERTOP.

high-end features with warm woods and casual touches that

complement Serena’s laid-back vibe resulted in a cohesive
visual narrative that embodies Serena’s newly evolved design
aesthetic, which Haffey calls “livable luxury,” adding that
the client was a well of creativity, serving up references from
hotels she’s stayed at all over the world.
“Serena is not formal,” Venus notes. “She’s fun-loving; she’s
very free, and not someone who wants to sit in a chair and
serve someone tea. So it had to be a very welcoming space.”
At Serena’s request, the V Starr team came up with an
LEONARDO DREW. RADCLIFFE BAILEY. DAVID KRACOV.

out-of-the-box design solution to refashion what was once a

classical Floridian-style foyer and formal sitting room with
beautiful chairs no one sat in, into a colorful art space with
eccentric pieces on display. “When you walk in, it’s like walking
into an art gallery,” says Serena. “That’s my favorite part of
the house. It’s so unique. I’ve never seen anything like it.”
Venus adds: “I am not a fan of just having spaces to have
them. Maybe some people use their formal living rooms,
but we don’t. So we created a space that she can actually use
and enjoy and live with the art, and invite other people to
absorb it and have that emotional connection as soon as you
walk in. It sets the tone for the rest of the home.”

60 ARCHDI GE ST.COM
 ABOVE ART ON DISPLAY IN THE GALLERY INCLUDES WORKS BY (FROM LEFT) LEONARDO DREW,
RADCLIFFE BAILEY, AND DAVID KRACOV, AS WELL AS A KAWS x CAMPANA CHAIR, A LIVE-EDGE WOOD BENCH,
A PIECE FROM THE KONYAK NAGA TRIBE OF INDIA, AND A VINTAGE WURLITZER PIANO.

“When you walk in, it’s like walking into

an art gallery,” says Serena Williams.
“That’s my favorite part of the house.”
 BELOW CUSTOM SHELVING BY GRAFTON FURNITURE
LINES THE TROPHY ROOM. RIGHT A TERRACE OUTFITTED
WITH RH FURNITURE OVERLOOKS THE WATER.

That very grand entrance then unfolds into an airy, open Venus shares. “So we had to find that balance within the
floor plan drenched with sunlight pouring in from soaring design.” Devised in consultation with Serena’s private chef,
28-foot-tall windows. Among the many standout features of it was outfitted by V Starr with the finest appliances, including
the home are heated floors in the bathrooms, a sauna in the Gaggenau wall ovens, an Officine Gullo cooktop, and custom-
gym, a wine cellar the size of a small NYC apartment, an ized gold and black marble backsplash in a diamond-pattern
expansive terrace offering indoor/outdoor living spaces that mosaic that over-delivers in wow factor.
overlooks an infinity pool complete with submerged chaise Tennis, tech, and fashion empire-building aside, one of
longues, Serena’s 620-square-foot closet fashioned after a luxe Serena’s favorite Williams family pastimes is karaoke. After
retail space, and a private trophy room to house the superstar winning the U.S. Open, the world champions would celebrate
athlete’s many awards. But there is one amenity that’s notice- in a private karaoke room on 50th Street in Manhattan.
ably absent: a tennis court. Naturally, Serena had to have one of her own. So, just off the
gallery, behind a secret doorway disguised as a bookshelf,
“I WANTED TO SEPARATE home from work,” Serena says. “I love lies a karaoke room. This unusual amenity features a small
being home. When you have our job, you never get time to relax. stage, a plush aquamarine velvet banquette, and foliage
So it’s good for me to be able to sit still and not do anything.” framing a neon sign that spells sérénade, a playful tribute
Moving into your dream home during a global pandemic no to Serena’s karaoke persona.
doubt has its challenges, but for this jet-setting athlete and Of course, she and her sister even sing karaoke like it’s a
mogul, being unexpectedly homebound for months has offered competitive sport. House rules? No “Bohemian Rhapsody.”
a welcome reprieve. The perks include ample quality time No “Love Shack.” No “I Will Survive.” No “Don’t Stop Believin’.”
nesting with her young family, and a chance to hone her According to Serena and Venus, this room is reserved for
cooking chops. To that end, nailing the kitchen design was of “serious karaoke singers only.”
supreme importance to Serena, who is the self-proclaimed “We all like to have a really good time,” Venus declares.
cook of the family. The remit: “Somewhere in-between ‘super “Our friends all have this very same attitude of loving great
impressive’ and ‘Come in and grab something out of the fridge,’ ” design, but not taking themselves too seriously.”

62 ARCHDI GE ST.COM
A VICTORIA + ALBERT TUB STANDS IN THE BATH.
BRIZO TUB AND SHOWER FITTINGS. ON SHOWER
WALLS AND FLOOR, MARBLE FROM CERAMIC MATRIX.
IN FOREGROUND, MOSAIC TILE BY NEW RAVENNA.
PUT A RING ON IT
Inside a 19th-century Paris mansion, Jacques Grange
presides over an eye-popping marriage of past and present
TEXT BY MITCHELL OWENS PHOTOGRAPHY BY FRANÇOIS HALARD
THE SALON OF A PARIS MANSION DECORATED
BY JACQUES GRANGE IS FURNISHED WITH
CUSTOM-EMBROIDERED VELVET UPHOLSTERY,
AS WELL AS A GRANGE-DESIGNED CARPET.
FOR DETAILS SEE RESOURCES.
 The house’s
biggest work
of art is
James Turrell’s
underground
light installation.
© JAMES TURRELL

ARTIST JAMES TURRELL

SET THE BASEMENT-LEVEL
SWIMMING POOL AGLOW;
GRANGE DESIGNED THE
MARBLE FLOOR.

ARCHDIGEST. COM 67
 RIGHT A BIRD CHAIR BY
FRANÇOIS-XAVIER LALANNE
STANDS BY THE FRONT DOOR.
LEFT IN THE GALLERY, A JOE
BRADLEY PAINTING SURMOUNTS
A CAMPANA BROTHERS
SOFA; ERNST KÜHN CHAIRS.

S tepping inside an 1870s hôtel particulier in Paris, where tall

windows overlook the river Seine and the Musée du Louvre,
is to be transported back in time, to the Third Republic that
followed the fall of Napoléon III, back when courtesans set the
fashion and balls were the rule rather than the exception.
Walls, ceilings, beams, doors, and floors pullulate with patterns
and motifs: painted, gilded, dripping with trompe l’oeil pearls,
swirling vegetation, swags of faux fabric, and great lashings of
wedding-cake plasterwork. Mythological narratives are
recounted in polychromatic terms, with Hercules attending
to his labors across one ceiling as lissome Muses, from Erato
to Urania, strike attitudes on walls.
“He wanted a palace, not a house,” AD100 interior decora-
for a rich engineer, it was later home to Victor Laloux, the
architect of the opulent train station that is now the Musée
d’Orsay. Until recently, it was pressed into service as corporate
offices. Still, Grange continues, “You cannot change it; you
can only restore it.” That being said, an official who turned out
to be a fan of his work granted him permission to replace the
skylit gallery’s “boring stone floor” with an expanse of black
and white marble inlaid in the manner of Byzantine mosaics.
Powerfully graphic, its outsize diamond pattern perfectly
complements the gallery’s mirror-paneled Renaissance Revival
envelope—as does the unexpected injection of modernity
through a plump Campana brothers sofa with a spiky golden
frame, voluptuous armchairs by Ernst Kühn, and the splashy
tor Jacques Grange says of the Russian businessman who is 2011 canvas by American artist Joe Bradley that’s mounted
the mansion’s present owner, a connoisseur of contemporary behind them.
art who also “respects a range of artistic achievement.” Even To bring the soaring rooms back to their original appear-
when one of those achievements turns out to be an entire ance, Grange called on Atelier Mériguet-Carrère, a third-
building that is protected by federal legislation. “The City of generation Paris studio of decorative painters that is known
Paris won’t allow you to touch a thing,” Grange explains of for working with legendary French designers such as Emilio
© JOE BRADLEY

the multi-story house, on which he worked in collaboration Terry and Georges Geffroy, as well as helping to restore the
with architect Jean-François Bodin. (It will be featured in Palais Garnier. “All the decors on the walls were in very bad
the designer’s forthcoming monograph, to be published by condition when I arrived, all the surfaces,” says the designer,
Rizzoli in September.) Built between 1870 and 1872, by and a talent with a contemporary outlook who nonetheless is no

ARCHDIGEST. COM 69
© 2021 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / SIAE, ROME. MARK GROTJAHN.
GOTHIC REVIVAL ARMCHAIRS JOIN
CUSTOM-MADE BOOKSHELVES IN
THE LIBRARY; GRANGE-DESIGNED
CARPET. OPPOSITE REGENCY-STYLE
CHAIRS IN THE DINING ROOM,
WITH A LUCIO FONTANA PAINTING
AND ANOTHER GRANGE CARPET.
 “You cannot change it; you can
only restore it,” Jacques Grange says
of the landmarked house.
72 AR CHDI GE ST.COM
 LEFT A NEW INLAID
MARBLE FLOOR WAS INSPIRED
BY BYZANTINE MOSAICS.
RIGHT IN A LAVISHLY GILDED
BEDROOM, ANDRÉ GROULT
ARMCHAIRS FLANK AN INLAID
CABINET OF THE SAME
PERIOD; GRANGE DESIGNED
THE CARPET. BELOW CUSTOM-
EMBROIDERED CURTAINS
SEEM TO PULL THE FROSTED
ARCHITECTURE DOWN INTO
ANOTHER BEDROOM.
© JENNY SAVILLE 2021 ARTISTS RIGHTS SOCIETY (ARS),
NEW YORK / DACS, LONDON

stranger to revitalizing the glories of the past or incorporating
them into his rooms: One of the designer’s recent restoration
projects is the couture salons at 31 rue Cambon, which has been
the headquarters of Chanel since 1918.
SINCE THE RUSSIAN clients’ house is “a little theatrical,” Grange
says with a chuckle, “you have to do something similarly strong
to balance the architecture and the murals.” Neutrals would
have been the safest scheme, but the owner’s stylish wife
wanted “something glamorous, something couture.” Originally
a boudoir, the room that artist Charles Lameire and his staff
populated with the Muses in the 1870s has become a “very raf-
finé” salon. In colors taken from Lameire’s imagery, jewel-tone
fabrics—a lavishly embroidered emerald-green silk velvet and
a sapphire-blue damask—upholster the sofas and armchairs.
Pale-yellow silk curtains frame the windows, the shade echoing
the splendidly gilded panels and woodwork. Spread across the
parquet floor is one of several carpets that Grange designed for
the house, this one speckled with oversized stylized thistles and
woven in multiple shades of blue relieved by off-white accents.
Despite preservation rules, Grange and Bodin, when
challenged, managed to skirt them with considerable flair and
74 AR CHDI GE ST.COM
ABOVE SCULPTED MARBLE SINKS STAND IN A BATH.
LEFT GYPSUM CABINETS AND FREESTANDING,
ARTFULLY CAMOUFLAGED FIXTURES TRANSFORM
A SALON INTO A BATH.
no little ingenuity. “If you imagine what a room could become,
then it’s easy,” the designer explains. Case in point is a spacious
salon that has been nimbly transformed into a bath thanks to
freestanding elements (as well as inventive plumbing solutions)
that make no visible inroads into the floor or walls: Gypsum-
clad cabinets designed by Grange offer storage, while screen-
like fabric partitions shield the shower, the tub, and the toilet.
Similarly, towering metal bookshelves turn another room into
a library, their skeletal sleekness offset by quirky furnishings,
such as a pair of 19th-century neo-Gothic armchairs where
spikes meet curves. “I love this period, but nobody wants it,”
Grange says in a tone of disbelief.
There were no restrictions on creativity, though, when it
came to dealing with the mansion’s utilitarian basement level.
There, Bodin and Grange carved out a minimalist swimming
pool for which artist James Turrell designed atmospheric
lighting that shifts from orange to white to blue. “When Turrell
arrived, I stopped,” Grange says respectfully, adding that,
unlike so many subterranean splashdowns, “it doesn’t look like
a nightclub.” Instead, it is mysterious and otherworldly, a
secret complement to a house that is a work of art designed
to hold works of art.
BELOW PAINTED DOORS OPEN TO THE KITCHEN AND BREAKFAST AREA, WHICH IS FURNISHED WITH AN ANGLO-INDIAN TABLE
AND CHAIRS; AN APPROPRIATELY THEMATIC ROY LICHTENSTEIN STILL LIFE HANGS BESIDE THE WINDOW.
PLAY TIME
Breakout Angeleno
design star Jerome Byron
steps into the spotlight
with an experimental
guesthouse in the hills
of Los Feliz
TEXT BY HANNAH MARTIN PHOTOGRAPHY BY YE RIN MOK

LOS ANGELES–BASED
ARCHITECTURAL DESIGNER
JEROME BYRON INSIDE
HIS FIRST GROUND-UP
PROJECT: AN OFFICE, PLAY
AREA, AND GUEST SPACE
FOR A YOUNG FAMILY.
OPPOSITE THE CEDAR-CLAD
STRUCTURE EMERGES
FROM A LANDSCAPE BY THE
AD100 FIRM TERREMOTO.
FOR DETAILS SEE RESOURCES.

three
years ago, Jerome Byron, a young architectural designer in Los
Angeles, got a call from landscape designer David Godshall of
the AD100 firm Terremoto. He and his colleague Diego Lopez
were in the midst of designing a client’s backyard in Los Feliz,
and their plans included a blank box labeled “guesthouse.”
Would Byron come meet the clients and take a look at the site?
The grounds were rather bare—big and open, with a
stepped lawn and a few low shrubs—but they would soon be a
veritable jungle, teaming with agave, cacti, palms, ferns, and
other native plants. At the rear was the designated plot, some
13 by 18 feet, on which a structure would rise. “At some point
I realized, ‘Oh, wow, I’m doing my first ground-up structure,’”
reflects Byron, now 33 years old, who studied architecture at
Pratt and Harvard University Graduate School of Design and
cut his teeth working for Francis Kéré and Barkow Leibinger.
78 AR CHDI GE ST.COM
LEFT WHEN IT’S NOT BEING
USED TO ACCESS THE SLEEPING
LOFT, A CUSTOM-MADE LADDER
LEADS TO A LUSH LOOKOUT.
The brief was playful. Clients Brandi Dougherty, a writer,
and Joe Fernandez, an entrepreneur, needed a spot to work
from home and stash Joe’s collection of pinball machines—
maybe someplace their kids would like too. Byron’s mind
immediately jumped to his own childhood hideaways. “Mine
were pretty basic—a couple of two-by-fours up a tree with
a little platform,” recalls the designer, who grew up in New
York and Ohio. “I always had a fantasy of a really elaborate
tree house.”
Now was his chance to bring that dream to life. Invisible
from the street, the cedar-clad volume (a visual continuation of
the decking Terremoto installed for the main house) emerges
from the lush landscape, with a dynamic roofline and irregular
windows. “The house appears to be floating,” explains Byron.
“It’s raised about a foot and a half from the ground, with a
clearing beneath it. You can see plants pop out.”
TO BREAK GROUND at Byron’s age is no small feat, but he’s
casual about the accomplishment, which marks something
of a full-circle moment. In 2014, Byron moved to L.A. to work
for Skidmore, Owings & Merrill with one goal: Build things.
At the time, he had become expert at conceiving and digitally
rendering big ideas but had yet to really get his hands dirty.
Learning the ropes of construction on SOM job sites, he became
fascinated with materials and making things himself. A few
years later, he developed a series of thin, curved stools of
fiberglass-reinforced concrete, pieces he calls “a result of pure
experimentation.” When a friend of a friend tapped him
to design the interiors of Color Camp, a hip manicure bar
on Beverly Boulevard, it was the push he needed to start his
own eponymous studio. In nearly four years since, he has
also worked on and off for the buzzy L.A. firm Willo Perron
& Associates.
It has all fed the guesthouse project, another material study
of sorts. On the façade, open-joint cladding leaves negative
space between each wooden plank, lending the 275-square-
foot structure a sense of verticality and lightness. A pocketing
window wall and sliding, slotted-timber screen invite light
and nature into the space—an ongoing conversation with the
landscape. Inside, walls are sheathed in warm plywood,
and a movable, taxicab-yellow ladder takes the place of stairs,
ushering visitors up to the sleeping loft. (When not in use,
it leads more whimsically to an elevated viewpoint.) Looking
out, windows thoughtfully frame Terremoto’s plantings.
Looking in, an Isamu Noguchi Akari paper lantern glows like
the moon. Simple built-in furnishings nod to the holistic
designs of Richard Neutra and Frank Lloyd Wright.
The structure was finished in summer 2020, perfect timing
for the homeowners, who, like so many others, were clocking
a lot more hours working from home. “Joe is on video calls all
day, and it looks really trippy—his camera looks at the ladder,”
explains Byron, now hard at work on more residential and
commercial projects, including a midcentury renovation in Ojai.
“He says every day people ask, ‘Where are you?’ They think it’s
a Zoom background.” Nope, just his very own tree house.
 THIS PAGE, FROM TOP
AN ISAMU NOGUCHI
AKARI LAMP ILLUMINATES
THE PLYWOOD-LINED
INTERIOR. BELOW THE
CLIENTS’ PINBALL
MACHINES INSIDE THE
CEDAR-CLAD STRUCTURE.
A BUILT-IN DAYBED IN
THE LOFT SPACE.

“I always had a
fantasy of a
really elaborate
tree house,” says
Byron. Now
was his chance
to bring that
dream to life.
DOUBLE VIS
 LEGENDARY ARCHITECT
INTERIOR: PATRICK TOURNEBOEUF. PORTRAIT: TAKAY.

TADAO ANDO.
OPPOSITE THE PRITZKER
PRIZE–WINNER TRANS-
FORMED THE HISTORIC
BOURSE DE COMMERCE
INTO A SUBLIME PARIS
HOME FOR THE PINAULT
COLLECTION.

Reimagined as an extraordinary
art space, the Bourse de Commerce

ION
in Paris is the culmination of a
decades-long collaboration between
architect Tadao Ando and his client
François Pinault TEXT BY DANA THOMAS
 LEFT, FROM TOP AN AERIAL VIEW OF THE BOURSE DE COMMERCE,
PREVIOUSLY A COMMODITIES EXCHANGE BUILDING. FRANÇOIS PINAULT
WITH HIS SON FRANÇOIS-HENRI AT THE BOURSE DE COMMERCE DURING
CONSTRUCTION (VOGUE, APRIL 2020). BELOW A DRAWING BY ANDO FOR AD
JUXTAPOSES THE BOURSE DE COMMERCE WITH THE PUNTA DELLA DOGANA
IN VENICE, WHICH HE ALSO UPDATED FOR THE PINAULT COLLECTION.

I t all began at Karl Lagerfeld’s Left Bank

apartment in 1997. The award-winning
Japanese architect Tadao Ando was invited
to dinner, and when he arrived, he met,
there in the 18th-century entrance hall,
the French financier François Pinault,
a noted collector of contemporary art.
“Was he aware that I would be there?”
Ando muses now. “I am not sure. I sensed
that Mr. Pinault might have asked Mr.
Lagerfeld to introduce me to him, to understand what kind
of person and architect I was.”
Pinault obviously was impressed: Over the last 20 years,
he has enlisted Ando to design a suite of major art centers,
including the Palazzo Grassi in Venice, and now the Bourse de
Commerce–Pinault Collection, a private museum situated
in the former commodities exchange in central Paris. A three-
story circular edifice topped with an enormous glass cupola,
the Bourse de Commerce has undergone many iterations since
and a top-floor restaurant. The centerpiece of Ando’s refit is
a 30-foot-tall cylinder of concrete—one of Ando’s preferred
materials, which he manages to make appear light as chiffon.
Its curves mirror the building’s existing structure and create
a restful central gallery awash in natural light. “I love Tadao
Ando’s minimalist aesthetic. His architecture is silent,” Pinault
says. “No artifice, no unnecessary detail disturbs his architec-
tural gesture, which succeeds in combining absolute simplicity
and extreme complexity.”
Ando was born in Osaka in 1941, the first of male twins.
As a teen in the mid-1950s, he visited the Imperial Hotel in
Tokyo, an epic Mayan Revival structure designed by Frank
Lloyd Wright. (It has since been torn down.) Wowed, Ando
gave up his pursuit of professional boxing and turned to
carpentry, then architecture. He skipped formal training,
instead studying buildings by such modern masters as Wright,
Le Corbusier, and Mies van der Rohe. Ando established his
firm in 1969 and developed a style rooted in purity, beauty, and
Japanese culture. For decades he worked almost exclusively
it was first constructed as the Hôtel de Soissons for Catherine in his homeland, attracting international attention for projects
de’ Medici in the 16th century. It took its most recent form, like his 1989 Church of the Light and 1984 Koshino House.
purpose, and name in 1889, the year of the world’s fair that also By the early 2000s, however, he was busy designing buildings
gave Paris the Eiffel Tower. abroad, among them the Pulitzer Arts Foundation in St. Louis,
Ando has restored and transformed the building into a Giorgio Armani’s headquarters in Milan, and the Modern
multi-use space, with seven galleries, a 284-seat auditorium, Art Museum of Fort Worth.
 THIS PAGE, CLOCKWISE FROM ABOVE THE STAIRHALL
AT PALAZZO GRASSI, WHICH ANDO UPDATED FOR PINAULT
IN 2006. A BIRD’S-EYE VIEW OF PUNTA DELLA DOGANA,
ONCE A VENETIAN CUSTOMS BUILDING. IN 2013, ANDO
ADDED THE TEATRINO TO PALAZZO GRASSI.
IN 2000, ANDO WON a competition mounted by Pinault to
conceive a museum on the Île Seguin, a slim, crescent-shaped
LA BOURSE: GUIGNARD/AIR-IMAGES. PORTRAIT: ROBERT POLIDORI. PALAZZO GRASSI: MATTEO DE FINA.
islet in the Seine, southwest of Paris, formerly the site of
a Renault automobile factory. From the outset, there was a
genuine complicity between two men. “We are both self-
taught and share a common sensitivity to the impermanence
and fragility of life,” explains Pinault, whose brief for the
project was audacious. As Ando recalls, “He imagined the kind
of architecture which ‘combines the qualities of a Gothic
cathedral and a Romanesque chapel, with a dignified appear-
PUNTA DELLA DOGANA & TEATRINO: © ORCH ORSENIGO_CHEMOLLO.
ance and a tranquil, introspective space.’ I interpreted his
words to mean an ‘eternal’ architecture—that is, a place with
power that will remain in people’s hearts and minds forever.”
Five years later, after much French political red tape,
Pinault abandoned the $195 million project. He asked Ando
to instead revamp Palazzo Grassi, the 1772 palace overlooking
the Grand Canal that Pinault had recently acquired to display
his art. (Today, the collection totals more than 10,000 works
by nearly 380 artists.) Pinault then tapped Ando for another
Venice endeavor: the Punta della Dogana, a former customs
building that Pinault leased from the city for 33 years to serve
as a second exhibition space. Around the time of its comple-
tion, Ando discovered he had cancer. Following his successful
treatment, he visited Paris and Pinault. Pleased to see his
friend ready to work again, Pinault made a proposition: “I have
a project in Paris in the planning stages. Can you design it?”
That project was the Bourse de Commerce. “Without hesita-
tion, I told him I would do it,” Ando says. “I thought that the
responsibility of revitalizing architecture for society would
color my life with vitality.”
Pinault was hands-on. “A true collaborator,” Ando says,
“standing on the site from the early stages of construction to see
the space come into reality, bit by bit.” For logistics meetings,
they spoke through interpreters. But when on their own, they’d
banter in their own languages, with a bit of English thrown in,
and understood each other well. “Mr. Pinault’s overwhelming
enthusiasm for building spaces for art, combined with his
strong willpower always to persevere, never ceases to inspire
me,” Ando says. “At the root of it all is his absolute love and
trust for ‘art’ and his pure philanthropic spirit of sharing its
culture with everyone. He is a rare leader who carries a great
deal of responsibility in this day and age, yet still looks far
into the future.”
Due to COVID-19 global lockdowns, Ando has not seen
the Bourse de Commerce completed, with artworks installed.
But he is sure that he will, and that it won’t be his final Pinault
project. “Although I haven’t heard anything specific from
him,” Ando says, “his eyes are filled with the same hope for the
future since our first meeting. I was fortunate to have met a
person like Mr. Pinault early on in my half-century career.”
ARCHDIGEST. COM 83
 FORWAR
TEXT BY
HANNAH MARTIN
PHOTOGRAPHY BY
STEPHEN KENT JOHNSON

GABRIEL HENDIFAR, THE CREATIVE DIRECTOR

OF APPARATUS, WITH LIGHTING, FURNITURE,
AND RUGS FROM THE STUDIO’S NEW COLLECTION,
ACT IV (APPARATUSSTUDIO.COM).
D THINKING
Looking to the past to envision a hopeful future,
Apparatus crafts its most ambitious collection yet

i was interested in a time when there was a greater sense of

wonder and optimism about the future,” Apparatus creative
director Gabriel Hendifar explained at the brand’s Manhattan
headquarters last February. “And that brought me back to the
1960s.” This era of hippie idealism, Space Age ambition, and
color television was the starting point for the company’s new
collection of furnishings—the largest to date—which, delayed by the
pandemic, has been waiting patiently for takeoff ever since.
On that visit last year, Hendifar and his team were trying their
best to maintain that positive outlook. Italy had just confirmed its first
cases of COVID-19, and the fate of Salone del Mobile—Milan Design
Week, where the firm planned to introduce the new pieces—hung in
the balance. Salone was eventually canceled, leaving Apparatus and
its designer peers scrambling to reschedule their debuts. The launch
is back on track for spring (though it will take its cues from the ever-
changing COVID-19 restrictions). Such plot twists could not have been
better suited to the new collection, ACT IV—a nod to the current cli-
mate of global economic, environmental, and political suspense. When
we regrouped this past November, nine months into a global pandemic,
anxiously anticipating the results of the presidential election, Hendifar
reiterated, “We’re still waiting to see what’s next.”
Thankfully, Apparatus has always risen to the occasion. When
Hendifar and his now-husband, Jeremy Anderson, founded the com-
pany in 2011, they were focused on more immediate needs. Having just
moved in together and unable to find any lighting they wanted, the
couple worked with off-the-shelf components to develop unexpected
yet eye-pleasing fixtures (among them runaway hits like the Cloud
chandelier and Highwire series) that felt both industrial and handmade.
In the years since, their designs have grown decidedly more theatri-
cal—as emphasized by their annual parties—and narrative-driven, with
inspirations ranging from Austria’s Wiener Werkstätte to Iranian
decorative arts.
The latest collection reshapes a 1960s fantasia with human hands.
“It’s like a model of the future rendered in plaster,” Hendifar reflected.
Modular rugs of hand-tufted silk and wool can be joined using brass
clasps reminiscent of the late Pierre Cardin’s Space Age fashions. Orb-
shaped lights sheathed in satin and suede, meanwhile, evoke the plastic
fixtures of Joe Colombo. And seating calls to mind, as Hendifar puts it,
Regency robots, its metalwork and leather upholstery so precise it almost
appears injection-molded. Describing one drinks table that doubles
as an incense burner, Hendifar recalled a scene from PlayTime, Jacques
Tati’s 1967 film. Its protagonist, a Frenchman befuddled by the modern-
izing world, visits the glass-encased home of a friend. His host delight-
edly lifts the shade of a table lamp to reveal his stash of cigarettes. “This
ridiculous function makes you smile,” noted Hendifar, adding, “While
things shift all around us, these moments of joy are so important.”

ARCHDIGEST. COM 85
wild at hear
 Charlap Hyman & Herrero
channels the outré sensibility of its
clients in a Los Angeles home
where too much is never enough
TEXT BY MAYER RUS PHOTOGRAPHY BY LAURE JOLIET STYLED BY AMY CHIN

t THE ANGELINO HEIGHTS HOME OF YORAM

HELLER AND ELEANOR WELLS INCLUDES
THE PRIMARY 1907 CRAFTSMAN RESIDENCE
(RIGHT) AND AN 1880s CARRIAGE HOUSE.
GARDEN SEATING BY PATRICIA URQUIOLA
FOR GAN RUGS; VINTAGE WILLY GUHL
PLANTERS. FOR DETAILS SEE RESOURCES.
c all it a meeting of the minds—
eccentric, design-obsessed,
slightly demented minds.
The story begins at a Los
Angeles gym, where entre-
preneur Yoram Heller and
architect Andre Herrero
struck up what can only be
described as a bromance.
Heller had been working on
his 1907 Craftsman house
in Angelino Heights, renovating it room by room, for a couple
of years. Realizing he needed assistance in turning his madcap
plans into reality, he invited Herrero to work, at least initially,
on the primary bathroom. “I’m totally comfortable trying and
failing, but I was already in construction and getting out of my
depth,” recalls Heller, whose investment interests include the
cannabis company Sunday Goods, Yola Mezcal, and the groovy
coffee-bar chain Go Get Em Tiger.
The bathroom assignment went swimmingly, and the
project began to snowball, as these things often do. Eventually
Herrero was joined by Adam Charlap Hyman, the architect’s
New York–based partner in the AD100 firm Charlap Hyman &
Herrero, which has built a reputation for idiosyncratic, avant-
garde homes, stores, products, stage sets, and exhibition designs.
The last piece of the puzzle arrived in the person of Heller’s
girlfriend, vintage-fashion sibyl Eleanor Wells, whose sensibil-
ity dovetailed neatly with the overall mood of aesthetic
muchness. “I’m a maximalist by nature. I like to dial it up to
11 whenever possible,” Wells says.
The fun begins, naturally, at the front door, which Charlap
Hyman & Herrero designed as a vivid plane of stained glass
in shades of electric blue, yellow, and orange. Inside, the walls
and ceiling of the small seating areas that flank the entry are
SAM FALLS.
 ABOVE A MARIO BELLINI NUVOLA PENDANT FOR NEMO HANGS ABOVE A PRESTON SHARP FOR BLACKMAN CRUZ TABLE IN THE DINING ROOM.
GRETA MAGNUSSON GROSSMAN CHAIRS ARE COVERED IN A MAHARAM MOHAIR VELVET. ARTWORK BY SAM FALLS. OPPOSITE THE ENTRY IS
WRAPPED IN A FORNASETTI WALLPAPER BY COLE & SON. CUSTOM CHH STAINED-GLASS DOOR FABRICATED BY DAVID SCHEID.

covered in classic Fornasetti cloud wallpaper. Even the
window blinds were custom-printed in the cloud pattern to
complete the enveloping effect. Just beyond, the dining room
is centered on a monumental Preston Sharp boulder table—
which, given its weight, required structural reinforcement of
the foundation—set beneath a Mario Bellini cloud light.
FULL IMMERSION IN the Heller/Wells Technicolor playground
unfolds in the living room, where Ubald Klug Terrazza sofas
are joined by sprightly Philippe Starck gnome and tree-stump
tables, a fanciful Nicola L eye lamp, and an array of dreamy
artworks. “The living room is on axis with the pool. We installed
a blue carpet and completely opened up the wall to the outside
to accentuate the connection between indoors and out—blue
carpet becomes blue pool,” Herrero explains. Charlap Hyman
adds, “Each room is vaguely themed in geographic terms.
The living room is the lake, the dining room is the mountain,
the entry is the sky, and the primary bedroom is the forest.”
The bedroom’s woodland theme is expressed in a wall-
paper and fabric pattern developed by the designers during an
artists’ residency at a castle in Austria, which they applied to
the walls, ceiling, and window shades. Hidden in the pattern of
flowing vines is an assortment of insects variously copulating
and devouring one another. The trippy vibe is underscored by
an anthropomorphic bed designed by Italian sculptor Mario
Ceroli, which is set on a leopard-print carpet for an extra dose of
daffy chic. “In my world, animal print is a neutral,” Heller jokes.
Wells puts a finer point on the subject: “I’m really Peg from
Married With Children,” she confesses, referring to the famously
vulgar Fox sitcom. “You need to throw a little trashy into the mix.”

ARCHDIGEST. COM 89
 “Each room is vaguely them
The living room is the lake.”

ANNE LIBBY. ARIANA PAPADEMETROPOULOS.

IN THE LIVING ROOM,

VINTAGE DE SEDE TERRAZZA
SOFAS ARE JOINED BY
PHILIPPE STARCK GNOME
TABLES FOR KARTELL AND A
NICOLA L EYE LAMP ON A
PATTERSON FLYNN MARTIN
CARPET. CURTAIN FABRIC
BY GASTÓN Y DANIELA.
ARTWORKS BY ANNE LIBBY
(FAR RIGHT) AND ARIANA
PAPADEMETROPOULOS.
ed in geographic terms.
—Adam Charlap Hyman
 CLOCKWISE FROM TOP A MARIO CEROLI BED SITS
ON A COURISTAN LEOPARD-PRINT CARPET IN A ROOM
WRAPPED IN CHH WALLPAPER AND FABRIC FOR
CALICO. A RICHARD LINDNER PAINTING HANGS ABOVE
A CUSTOM BENCH OF MAX LAMB TERRAZZO IN THE
LIVING ROOM. THE PRIMARY BATH HAS A ZEN BATHWORKS
SOAKING TUB AND WATERWORKS FITTINGS.

92
 CLOCKWISE FROM LEFT HELLER AND WELLS
WITH DISCO THE DOG. A POWDER ROOM IS CLAD
FLOOR TO CEILING IN MAX LAMB TERRAZZO;
FITTINGS BY WATERWORKS. CHH PILLOWS MADE
FROM ANTIQUE KIMONOS ADORN A MARC HELD
BED IN A GUEST ROOM.
© 2021 RICHARD LINDNER / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / ADAGP, PARIS.
 “When people get older, they often lose
their playful spirit. I want to hold on to the fun.”
—Yoram Heller
THE STRATEGY OF ENVELOPING a room in a single pattern
or material extends throughout the home. The kitchen, for
example, is sheathed in a dark forest-green Heath Ceramics
tile, with a highly figured cork floor for chromatic and textural
contrast. A powder room on the first floor takes the idea even
further—its walls, door, ceiling, floor, sink, and waste bin are all
clad in designer Max Lamb’s Marmoreal large-aggregate ter-
razzo. “It’s like sealing yourself in a Max Lamb tomb,” Heller
notes. An all-white guest bath/steam room on the floor above
embraces the same concept, albeit with a system of prefabri-
cated shaped tiles. “It looks like something out of a Socialist
headquarters in Paris,” observes Charlap Hyman.
In addition to the Starck gnomes and Ceroli bed, the
home’s furnishings—many collected by Heller himself over
the years, and others he sourced with Wells—predictably
fall along Surrealist lines. There’s the sunglasses sconce that
94 ARCHDI GE ST.COM
hangs above a Marc Held molded-fiberglass bed in the
guest room; a Narciso silhouette mirror designed by Claudio
Platania for the late Pierre Cardin in the upper hall; and
custom outdoor umbrellas that look like they’ve been plucked
out of a mai tai at Trader Vic’s. Into this heady brew, Herrero
and Charlap Hyman added examples of their own product
designs, including their abaca snake and constellation rugs
for Patterson Flynn Martin, and a paper lantern hand-painted
with mushrooms and insects by Charlap Hyman’s mother,
artist Pilar Almon.
“When people get older, they often lose their playful spirit.
I want to hold on to the fun,” Heller says of his approach to
decorating and, indeed, life. “I like things that are colorful and
weird. I’m much less interested in, say, the purity of the perfect
Scandinavian chair. This house gives people permission not
to take things too seriously.”
THIS PAGE AND OPPOSITE THE KITCHEN
IS WRAPPED IN HEATH CERAMICS TILE.
GAE AULENTI TABLE AND CHAIRS, CORK
FLOOR BY DURO DESIGN, WATERWORKS
FITTINGS, AND VINTAGE ANDRÉ ROTTE
PENDANTS FOR RAAK.
 design notes THE DETAILS THAT MAKE THE LOOK

OUTDOOR SEATING BY
PATRICIA URQUIOLA FOR GAN
RUGS PERKS UP THE GARDEN.
ESPIRAL RUG BY
CHARLAP HYMAN &
HERRERO FOR
PATTERSON FLYNN
MARTIN; $1,399.
PATTERSONFLYNN
MARTIN.COM

GROTTO LANTERN BY
CHARLAP HYMAN &
HERRERO AND PILAR
ALMON; $4,800.
CH-HERRERO.COM

The clients
kept pushing
us to crank up
the volume.”
—Andre Herrero

GREGG FLOOR
MIX & MATCH
LAMP; $1,708.
FOSCARINI.COM

GARDEN LAYERS
DIAGONAL ROLL
BY PATRICIA ROUND OPERA PILLOW
URQUIOLA FOR BY CHARLAP HYMAN &
GAN RUGS; $930. HERRERO; $185.
SAINT ESPRIT STOOL CH-HERRERO.COM
GAN-RUGS.COM BY PHILIPPE STARCK
FOR KARTELL; $370.
KARTELL.COM HOME: LAURE JOLIET. ALL OTHERS COURTESY OF THE COMPANIES.

NUVOLETTE WALLPAPER
BY FORNASETTI FOR
COLE & SON; TO THE
TRADE. LEEJOFA.COM

BOCCA DELLA VERITÀ

WOODEN BED BY MARIO
ATTILA STOOL BY PHILIPPE CEROLI FOR POLTRONOVA;
STARCK FOR KARTELL; $420. $13,760. 1STDIBS.COM
KARTELL.COM

96 ARCHDI GE ST.COM
 NUVOLA PENDANT BY LOLO COTTON BY
MARIO BELLINI FOR LORENZO CASTILLO
NEMO LIGHTING; $4,331. FOR GASTON Y
NEMOLIGHTING.COM DANIELA; TO THE
TRADE. KRAVET.COM

TOMATO RED PAINT;

$75 PER GALLON.
BENJAMINMOORE.COM
AN ALESSANDRO BECCHI
SOFA IS JOINED BY A
CLAUDIO PLATANIA MIRROR
FOR PIERRE CARDIN.
LOCUS SOLUS
CHAIR BY
GAE AULENTI FOR
EXTETA; $970.
1STDIBS.COM

MARMOREAL
TERRAZZO BY
MAX LAMB FOR
DZEK; PRICE
UPON REQUEST.
DZEKDZEKDZEK.COM

I like
things that
are colorful
and weird.”
CLUNY CLASSIQUE RANGE
—Yoram Heller
BY LACANCHE; $9,600.
FRENCHRANGES.COM

JADE MANGANESE
DUAL GLAZE TILE; $68
PER SQUARE FOOT.
HEATHCERAMICS.COM

KITCHEN CABINETS
HOLD VINTAGE SERVING
WARE BY MASSIMO
VIGNELLI FOR HELLER.

P RODUCE D BY MAD ELI NE O ’M ALLE Y

IN THE LIVING ROOM OF
SUZANNE RHEINSTEIN’S
MONTECITO HOME, A BESPOKE
COCKTAIL TABLE LACQUERED
IN FARROW & BALL’S MOUSE’S
BACK STANDS IN FRONT OF
A CUSTOM SOFA UPHOLSTERED
WITH VICTORIA HAGAN LINEN.
THE 18TH-CENTURY FRENCH
CHAISE LONGUE IS COVERED IN
A CLAREMONT FABRIC WITH

person
SAMUEL & SONS TRIM, AND THE
SLIPPER CHAIRS WEAR A FABRIC
BY CAROLINA IRVING TEXTILES.
AT REAR, CUSTOM WALL LIGHT BY
STUDIO GIANCARLO VALLE.
FOR DETAILS SEE RESOURCES.

LUCIO FONTANA © 2021 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / SIAE, ROME.
© 2021 ESTATE OF PABLO PICASSO / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK.
al best

With an assist from Bories &

Shearron Architecture, doyenne of
L.A. decorating Suzanne Rheinstein
crafts a getaway in Montecito
TEXT BY MICHAEL BOODRO PHOTOGRAPHY BY LAURA RESEN
For Rheinstein, a passionate gardener,
the outside was as crucial
and considered as the inside.
 LOUNGE CHAIRS FROM
ANTHROPOLOGIE, PAINTED
IN FARROW & BALL’S INDIAN
YELLOW WITH CUSHIONS
OF A NOMI FABRIC, LINE UP
ALONGSIDE THE CUSTOM-
COLORED POOL. LANDSCAPE
DESIGN BY NANCY GOSLEE
POWER & ASSOC.
N
o one would ever accuse designer Suzanne Rheinstein of
being a minimalist. Her work merges a love of English country
style, the gracious hospitality of her native New Orleans, and
the laid-back attitude of Los Angeles. In her store, Hollyhock,
for three decades she shared her passion for painted furniture,
George III mahogany, blue-and-white porcelain, and plush
upholstery. Her fabric line for Lee Jofa is full of fresh interpre-
tations of florals, paisleys, and ikats.
And yet the getaway that she recently created for herself in
an influential television entrepreneur. “I had been trying for
years to convince Fred. But he always thought I was trying to
put him out to pasture,” she says with a laugh.
Her desire intensified when, two years after her husband’s
death, she suffered an accident that shattered her left foot
and elbow, required two major surgeries, and left her virtually
immobile for months. “I was in the hospital, coming out of
surgery and still anesthesia-addled, when I saw photos and a
floor plan of this house,” she says. “It hit the market on a
Montecito is pared down, serene, and almost startling in its Friday, and that Monday I put in a bid without even seeing it.”
simplicity. Rheinstein had long been hoping to find a house in The house, built in 1971, “was in pretty horrible shape,” she
the area, even before the death in 2013 of her husband, Fred, admits. “But it had fantastic views of the Santa Ynez mountains.
 IN THE PRIMARY BEDROOM, A CUSTOM IRON BED FRAME IS DRESSED WITH FABRICS
BY ROSE TARLOW AND CLAREMONT. BEDDING BY JULIA B. LINENS; THROW BY
JENNI KAYNE; LOUIS XVI SETTEE IN A HAZELTON HOUSE PRINT. OPPOSITE SUZANNE
RHEINSTEIN ON A VINTAGE WROUGHT-IRON CHAIR IN THE GARDEN.

The property was sad and overgrown, but it had a huge back-
yard with a circular pool—I joked it would be great for senior
synchronized swimming.”
She turned for help to the AD100 team of Bories & Shearron
Architecture. “From the outside, the house had a kind of 1970s
Fire Island aesthetic,” says James Shearron. “It was totally of
its moment, but it also had a kind of abstract, sculptural quality.”
Adds Richard Bories, “The more we looked at it, the more we
realized that it related to the early Montecito Spanish vernac-
ular. There was real form underneath all that fashion of its
moment. Now the house looks and feels shockingly different,
even though we kept the building envelope.”
THIS WAS A VERY PERSONAL PROJECT, so Rheinstein could
adjust the layout to reflect exactly how she wanted to live.
What had been the dining room became a reading room—
“One thing I knew for sure about this house was that I wasn’t
about to be giving any formal dinners,” she says. The main
bedroom and the guest room switched roles. “Now I can lie in
bed and see the mountains.” The kitchen chairs are on wheels
because her three granddaughters like to scoot around the
room on them.
The reading room is centered by a tall mattress she refers
to as her “ ‘Princess and the Pea’ bed,” where she sprawls with
her granddaughters, who share her love of reading. “I think

ARCHDIGEST. COM 103

 RIGHT IN THE READING
ROOM, THE OVERSIZED
LOUNGE CHAIR WEARS A
FABRIC FROM RHEINSTEIN’S
COLLECTION WITH LEE
JOFA. CUSTOM BOOKCASES
INSPIRED BY THOSE OF
HUBERT DE GIVENCHY.
ON WALL, PLATES FROM
ROBERT KIME; VINTAGE
RATTAN CHAIRS FROM
WILLIAM LAMAN.

KINUKO IMAI HOFFMAN. © 2021 RICHARD SMITH /

ARTISTS RIGHTS SOCIETY (ARS), NEW YORK.

LEFT IN THE KITCHEN, A 1960s RESTAURANT

LIGHT FIXTURE HANGS OVER A TABLE FROM
MARCH AND CHAIRS FROM WILLIAM LAMAN.
ISLAND OF BASALT STONE; WATERWORKS SINK
FITTINGS. ABOVE A METROSIDEROS TREE
GROWS IN THE GRAVEL-COVERED COURTYARD.
ABOVE RATTAN PIECES FOUND ON CHAIRISH AND ETSY SIT UNDER THE PERGOLA.
CUSHIONS OF NOMI AND PINDLER FABRICS. RH COCKTAIL TABLES.

ARCHDIGEST. COM 105

 ABOVE A FREESTANDING LAUFEN TUB FORMS A STRIKING CONTRAST WITH ANTIQUES IN THE BATH. CUSTOM-PLATED WATERWORKS TUB FILLER.

of that room as my cabinet of curiosities,”

“I always say, go Rolex or go
she says, full as it is of Morandi prints,
Japanese brush pots, and Indian architec- Timex,” Rheinstein observes
tural fragments. Of the den, she admits,
“It’s the first time in my life I have hung of her high-low mix. “It’s the
a TV above the fireplace. But it’s the place
I spend time alone in the winter.” The middle of the road that is
custom banquette is perfect for lounging
languidly, she points out.
The furnishings throughout are a
the kiss of death.”
worldly mix, including boldly sculptural
Portuguese furniture, antique Italian mirrors, African spears, the garden designer Nancy Goslee Power, and looked to two
and Etruscan wine vessels. Everything stands out against the favorite landscape designers, Piet Oudolf and Álvaro de la
simple planes and pale monochromatic walls, and small details Rosa, for inspiration.
take on large import, so she could justify splurging on hand- The retreat has taken on even more importance since
cast brass hardware and iron latches by van Cronenburg, a Rheinstein was diagnosed with cancer in 2019. “But life is
foundry based in Ghent, Belgium. But she also happily points good now,” she says. “My cancer is stable, and I am having
out light fixtures from Pottery Barn: “I always say, go Rolex or fun.” She finds herself spending more time at the house than
go Timex. It’s the middle of the road that is the kiss of death.” she expected, sometimes staying for two weeks at a time.
The place, like a Matisse cutout or a late Joan Mitchell drawing,
RHEINSTEIN IS A PASSIONATE GARDENER, and as a board member stands as a distillation of Rheinstein’s art, a reflection of her
of the Garden Conservancy she has toured many of the world’s hard-won knowledge of who she is, what she loves, and how
most famous gardens. For her, the outside was as crucial and she wants to live. It is the work of a master who has nothing
considered as the inside. She sought the advice of her friend to prove, and only the joy of her creativity to express.

106 ARCHDIGE S T.CO M

 ABOVE RATTAN CHAIRS BY PALECEK SURROUND AN 18TH-CENTURY FRENCH IRON TABLE IN THE GARDEN.
BELOW IN THE GUEST ROOM, ANTIQUE ITALIAN SIDE CABINETS FLANK A CUSTOM BED UPHOLSTERED IN A ROSA BERNAL
FABRIC. BEDDING BY JULIA B. AND DEBORAH SHARPE LINENS; ROOM & BOARD THROW.
 design notes THE DETAILS THAT MAKE THE LOOK
OUTFITTED WITH A GRANITE
KICK PENDANT WITH
REEDED SHADE; $448.
SINK AND ZINC COUNTERTOP, JAMB.CO.UK
THE FLOWER ARRANGING ROOM
OPENS OFF THE GARDEN.

ASSISI FLAT SIDE PLATE;

$85. ILBUCO.COM

AMALFI GOLDENROD
PILLOW; FROM
$125. HEATHERTAYLOR
HOME.COM

CHINOISERIE TABLE
BY SUZANNE
EBONIZED BLACK WALNUT RHEINSTEIN FOR THE
BENCH BY SAWKILL CO.; LACQUER COMPANY;
$7,200. MARCHSF.COM $1,250. KRBNYC.COM

BOLINAS LOUNGER; $898.

SERENANDLILY.COM

DINIAN ZAG FABRIC BY

SUZANNE RHEINSTEIN FOR
LEE JOFA; TO THE TRADE.
LEEJOFA.COM

THE HONEYSUCKLE-
COVERED PERGOLA
CONNECTS INDOORS
AND OUT.

HARGETT BRIDGE-
ARM FLOOR LAMP
BY J. RANDALL
POWERS FOR
VISUAL COMFORT;
$1,089. CIRCA
LIGHTING.COM
GUSTO PAINTED VILLA
ALL OTHERS COURTESY OF THE COMPANIES.

KERYLOS CHEST BY CASA

GUSTO; PRICE UPON
REQUEST. GETTHEGUSTO.COM

For me, it’s not

INTERIORS: LAURA RESEN.

important that furniture

pieces have provenance;
they only need presence.”
—Suzanne Rheinstein
108 ARCHDIGE S T.COM PRODUCE D BY MAD ELINE O’MA LL EY
 MONTECITO FLORAL FABRIC BY
SUZANNE RHEINSTEIN FOR LEE JOFA;
TO THE TRADE. LEEJOFA.COM

FLOAT LAMP BY
STUDIO GIANCARLO A GIANCARLO VALLE
VALLE AND L&G LIGHT FIXTURE HANGS
STUDIO; $16,700. ABOVE A GERALD
GIANCARLOVALLE.COM BLAND TABLE IN THE
LIVING ROOM.

We spent so much
time looking for the
perfect color for the
walls. Finally Suzanne
picked up a handful
of sand and said,
‘That’s the color!’ ”
—Richard Bories

TABURETT; $675.
CHELSEA
TEXTILES.COM

SEVILLA AZUL
OCRE LINEN
BY ROSA BERNAL;
TO THE TRADE.
CLAREMONT
FURNISHING.COM

CIRCULAR STEEL CENTER TABLE; PRICE

UPON REQUEST. GERALDBLANDINC.COM

WAVERLY MIRROR;
TO THE TRADE.
MADEGOODS.COM

SUMMER VASE
BY FRANCES
PALMER; $1,900.
KRBNYC.COM

LANARE PAISLEY FABRIC BY

SUZANNE RHEINSTEIN FOR LEE JOFA;
TO THE TRADE. LEEJOFA.COM
 resources
64
PAGE 63: In bath, Barcelona tub; Cork floor; duro-design.com.
vandabaths.com. Litze bath fittings; Fittings; waterworks.com. Vintage
brizo.com. Marble tiles; ceramic Andre Rotte pendants by Raak;
matrix.com. Simone mosaic tile; 1stdibs.com.
THE ENTRANCE HALL newravenna.com.
OF A GRAND HÔTEL PERSONAL BEST
PARTICULIER IN PARIS. PUT A RING ON IT PAGES 98–109: Interior design
PAGES 64–75: Interior Design by by Suzanne Rheinstein; suzanne
Jacques Grange; +33-1-55-80-75-40 rheinstein.com. Architectural
renovation by Bories & Shearron
PLAY TIME Architecture; boriesandshearron.
PAGES 76–79: Architecture by com. Landscape design by
Jerome Byron; jeromebyron.com. Nancy Goslee Power & Assoc.;
Landscape Design by Terremoto; nancypower.com.
terremoto.la. PAGES 98–99: In living room,
PAGE 79: Akari ceiling lamp by custom bronze and lacquer cocktail
Isamu Noguchi; shop.noguchi.org. table; quintushome.com. Mouse’s
Back paint; farrow-ball.com. On
WILD AT HEART sofa, linen; victoriahagancollections
PAGES 86–97: Interior Design .com. On chaise longue, fabric;
by Charlap Hyman & Herrero; claremontfurnishing.com, and trim;
ch-herrero.com. samuelandsons.com. Fabric on
PAGES 86–87: In garden, Antique slipper chairs; carolinairvingtextiles
planters by Willy Guhl; 1stdibs.com. .com. Custom Float Lamp;
Patricia Urquiola Garden Layers giancarlovalle.com.
sofa set; shop.gan-rugs.com. Sauna; PAGES 100-101: Poolside, lounge
almostheaven.com chairs; anthropologie.com. Cushion
PAGE 88: In entry, wallpaper fabric; nomiinc.com. India Yellow
by Fornasetti for Cole & Sons; paint; farrow-ball.com.
leejofa.com. Custom stained glass PAGE 102–3: In bedroom, custom
door fabricated by David Scheid; bedframe; diospri.com. Fabrics;
davidscheidstainedglass.com. rosetarlow.com and claremont
PAGE 89: In dining room, table; furnishing.com. Bedding; juliab.com.
blackmancruz.com. Mohair Velvet Throw; jennikayne.com. Printed
upholstery fabric; maharam.com. fabric on Louis XVI settee;
Nuvola pendant light by Mario hazeltonhouse.com
Bellini and antique rock lamps by PAGE 104: In reading room,
Andre Cazenave; 1stdibs.com. on lounge, Indian Zag by Suzanne
PAGE 90–91: In living room, vintage Rheinstein; leejofa.com. Plates;
De Sede Terrazza sofas by Ubald robertkime.com. Vintage rattan
Klug; 1stdibs.com. Lolo Curtains; chairs; williamlaman.com.
gastonydaniela.com. Rug; patterson In kitchen, 1960s light fixture
All products have been identified PAGE 59: Bespoke neon sign; flynnmartin.com. Philippe Starck from Richard Shapiro Antiques;
by the designer of each residence. manhattanneon.com. Granite Gnome tables; kartell.com. studiolo.com. Table by Sawkille
Items similar to vintage and Stone-Platino wall covering; PAGE 92: In bedroom, Couristan Co.; marchsf.com; Chairs;
antique pieces are often available phillipjefries.com. Chair; leopard-print rug; chelseafloors williamlaman.com.
from the dealers listed. Contact famaliving.com. Gem velvet in .com. Antique Bocca Della Verita PAGE 105: In pergola, vintage
information was up to date at time Lapis; brentanofabrics.com. bed by Mario Ceroli; 1stdibs.com. rattan; chairish.com and etsy.com.
of publication. PAGE 60: In kitchen, Aquitaine Overgrow wallpaper and fabric Cushion fabrics; nomiinc.com and
pendant; rh.com. Appliances; by Charlap Hyman & Herrero; pindler.com. Cocktail tables; rh.com.
GLAM SLAM officinegullo.com. Litze sink fittings; calicowallpaper.com. In primary PAGE 106: In bath, freestanding
PAGES 56–63: Interior design brizo.com. Calacatta Nuvo bath, soaking tub; zenbathworks tub; laufen.com. Tub filler;
by V Starr; vstarr.com. Landscape countertop; caesarstoneus.com. .com. Fittings; waterworks.com. waterworks.com.
design by Lucido & Assoc.; PAGE 61: In gallery, PAGE 93: In powder room, terrazzo PAGE 107: In the garden,
lucidodesign.com. KAWSxCampana chair; cladding; maxlamb.org. In guest 18th-century French iron
PAGE 56: White Falda porcelain friedmanbenda.com. room, antique Kimono Pillows; table; getthegusto.com. Chairs;
tile by Pental Surfaces; pental PAGE 62: Custom shelving; ch-herrero.com. Antique Marc palecek.com. In guest room,
online.com. graftonfurniture.com. On terrace, Held bed for Prisunic; 1stdibs.com custom bed; valleydrapery.com,
PAGE 58: Beat pendants by Havana lounge chairs and PAGE 94–95: In kitchen, Jade in fabric; therosabernalcollection.
Tom Dixon; tomdixon.net. Marbella teak sectional sofa; Manganese Field tile; heathceramics com. Bedding; juliab.com and
Amp pendants by Simon Legald; rh.com. .com. Oven range; lacanche.co.uk. deborahsharpelinens.com. Throw;
normann-copenhagen.com. Locus Solus table and chairs by roomandboard.com.
Gae Aulenti; 1stdibs.com.

ARCHITECTURAL DIGEST AND AD ARE REGISTERED TRADEMARKS OF
ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT © 2021 CONDÉ NAST.
ALL RIGHTS RESERVED. PRINTED IN THE U.S.A.
VOLUME 78, NO. 3. ARCHITECTURAL DIGEST (ISSN 0003-8520) is published
monthly except for combined July/August issues by Condé Nast, which is a
FOR SUBSCRIPTIONS, ADDRESS CHANGES, ADJUSTMENTS, OR BACK ISSUE
INQUIRIES: Please write to ARCHITECTURAL DIGEST, P.O. Box 37641, Boone, IA
50037-0641, call 800-365-8032, or email subscriptions@archdigest.com.
Please give both new address and old address as printed on most recent label.
SUBSCRIBERS: If the Post Office alerts us that your magazine is undeliverable,
we have no further obligation unless we receive a corrected address within
TO SUBSCRIBE TO OTHER CONDÉ NAST MAGAZINES: Visit condenastdigital.com.
Occasionally we make our subscriber list available to carefully screened
companies that offer products and services that we believe would interest our
readers. If you do not want to receive these offers and/or information, please
advise us at P.O. Box 37641, Boone, IA 50037-0641 or call 800-365-8032.
FRANÇOIS HALARD.

division of Advance Magazine Publishers Inc.
PRINCIPAL OFFICE: Condé Nast, 1 World Trade Center, New York, NY 10007.
Roger Lynch, Chief Executive Officer; Pamela Drucker Mann, Global Chief
Revenue Officer & President, U.S. Revenue; Jason Miles, Chief Financial
Officer (INTERIM). Periodicals postage paid at New York, NY, and at additional
mailing offices. Canada Post Publications Mail Agreement No. 40644503.
Canadian Goods and Services Tax Registration No. 123242885-RT0001.
POSTMASTER: Send all UAA to CFS. (See DMM 507.1.5.2);
NON-POSTAL AND MILITARY FACILITIES: Send address corrections to
ARCHITECTURAL DIGEST, P.O. Box 37641, Boone, IA 50037-0641.
one year. If during your subscription term or up to one year after the magazine
becomes undeliverable, you are ever dissatisfied with your subscription, let us
know. You will receive a full refund on all unmailed issues. First copy of new
subscription will be mailed within eight weeks after receipt of order. Address
all editorial, business, and production correspondence to ARCHITECTURAL
DIGEST, 1 World Trade Center, New York, NY 10007.
FOR REPRINTS: Please email reprints@condenast.com or call Wright’s Media,
877-652-5295. For reuse permissions, please email contentlicensing@condenast
.com or call 800-897-8666. Visit us online at archdigest.com.
ARCHITECTURAL DIGEST IS NOT RESPONSIBLE FOR THE RETURN OR LOSS OF,
OR FOR DAMAGE OR ANY OTHER INJURY TO, UNSOLICITED MANUSCRIPTS,
UNSOLICITED ARTWORK (INCLUDING, BUT NOT LIMITED TO, DRAWINGS AND
PHOTOGRAPHS), OR ANY OTHER UNSOLICITED MATERIALS REGARDLESS
OF MEDIA IN WHICH IT IS SUBMITTED. THOSE SUBMITTING MANUSCRIPTS,
PHOTOGRAPHS, ARTWORK, OR OTHER MATERIALS FOR CONSIDERATION
SHOULD NOT SEND ORIGINALS UNLESS SPECIFICALLY REQUESTED TO DO
SO BY ARCHITECTURAL DIGEST IN WRITING. MANUSCRIPTS, PHOTOGRAPHS,
AND OTHER MATERIALS SUBMITTED WILL NOT BE RETURNED.

110 ARCHDIGE S T.COM

 Fire Flowers
$110 now $88

Unique & beautiful needlepoint kits

from the world’s leading textile designers

T
wo stunning designs by Kaffe Fassett are on sale this fall
with many more on our new website.

Crafts are experiencing a resurgence of interest at the moment.

In these stressful times the soothing pleasure of stitching a
canvas with wool has never been more welcome and the kit,
with everything you need, is delivered to your door. Bright Tumbling Blocks
$110 now $88

TOLLFREE ORDER LINE: 888 826 8600

www.ehrmantapestry.com
 one to watch
Megumi
Shauna Arai
Raw. Imperfect. Gestural. Emotional.
These are words Megumi Shauna Arai
uses to describe textiles that inspire
her—whether traditional Japanese boro,
19th-century American crazy quilts, or
patchwork marvels by the women of Gee’s
Bend, Alabama. But this self-taught artist
could just as well be describing her own
make-do confections, hand-stitched in her
112 ARCHDIGE S T.COM
Brooklyn studio using vintage fabrics,
rough-edged scraps, and colorful silks.
(She dyes them herself with natural agents
like logwood, indigo, and cochineal, jars
of which fill her shelves.) Arai’s intuitive,
pieceworked technique turned heads last
fall at the 1955 Eliot Noyes House in New
Canaan, Connecticut, where one of her
tapestries was spread across the bed as
part of an exhibition by Blum & Poe, Mendes
Wood DM, and Object & Thing. This spring,
she’ll infiltrate our imaginations and
Instagram feeds again when she unveils
her nuanced take on noren, Japanese
textiles hung in windows or doorways, for
her solo show at the roving art-and-design
purveyor TIWA Select, which represents
Arai’s work.
Growing up between Tokyo and the
Pacific Northwest—her father is Japanese;
her mother is Jewish-American—Arai credits
her love of textiles to noren. “They’re very
ordinary, but there’s something so special
about that,” she explains. “It’s amazing
when something reminds you of what you’re
doing in the moment, even if it’s just step-
ping through a doorway.” In line with that
thinking, she and TIWA Select will open the
show (likely in an upstate New York space
commissioned for the occasion) on May Day,
originally a pagan holiday that celebrates
another ordinary transition—the shift from
winter to spring. megumi-arai.com
—HANNAH MARTIN
PHOTOGRAPHY BY SEA N PRESSL EY
serenaandlily.com