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CONTENTS february

Features

34 MODERN FAMILY

A couple and their seven children put down roots in a historic English manor. By Jane Keltner de Valle

48 DOMESTIC BLISS

Ricky Martin sets up house in Beverly Hills with artist Jwan Yosef and their twin sons. By Mayer Rus

56 BOLD CHOICE

Designer Muriel Brandolini gives a classic New York apartment a colorfully modern makeover. By Vicky Lowry

62 NAUGHTY BY NATURE

For Alexandre and Sofía Sanchez de Betak, a SoHo loft provides the perfect lab for creative living. By Mayer Rus

34AN ART-FILLED CORNER

OF BROOKE AND JULIAN METCALFE’S

OXFORDSHIRE HOME.

82EDITOR’S LETTER:

DESIGN MAKING A DIFFERENCE

For this special issue, our editors shed a light on the design visionaries using their powers for good. From a smart landscape

maestro transforming a decaying cemetery into a vibrant park to a starchitect bringing dignity to a public housing complex, these

dreamers remind us that philanthropy is not at odds with beauty. We at AD

have already begun our own efforts. In the December issue, we announced our

partnership with New Story, a nonprofit that builds homes around the world for

families in need—for a mere $6,500 each. One hundred percent of donations goes

toward constructing these houses. We’ve been moved by the outpouring of support for the project thus far, from members of the AD100, the wider design community,

and readers, who have all given generously. As this issue went to press, AD’s New

Story campaign had raised over $156,000—enough for 24 homes! Learn more and contribute at archdigest.com/newstory.

And to our community of socially conscious designers—we can’t wait

to see what’s next.

74 MAGNIFICENT OBSESSION

In November 2000, sculptor Rachel Feinstein began a journey that changed her art—and her life. By Shax Riegler

76 ANGLO ATTITUDE

Kathryn Herman’s Connecticut demesne reflects her passion for classic British landscapes. By Mitchell Owens

82 PRIDE OF PLACE

A new generation of visionaries proves how design can make a difference in New York City. By Sam Cochran

86 UNDER THE TUSCAN SUN

A former convent becomes a boho-chic family getaway for Jacaranda Caracciolo di Melito Falck. By Hamish Bowles

SUBSCRIPTIONS For information go to archdigest.com, call 800-365-8032, or email subscriptions@archdigest.com. Download AD’s digital edition at archdigest.com/app. To sign up for AD’s daily newsletter, go to archdigest.com/newsletter. COMMENTS Contact us via social media or email us at letters@archdigest.com.

AMY ASTLEY Editor in Chief @amytastley

FOLLOW

@archdigest

DAN WOOD AND AMALE ANDRAOS ATOP THE KEW GARDENS HILLS LIBRARY.

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CONTENTS februaryDiscoveries

19 MAKING AN IMPACT

Designer Yinka Ilori gives new life to old furniture . . . Olafur Eliasson’s solar lanterns illuminate the globe . . . the World Monuments Fund protects architectural vestiges of the Civil Rights Movement . . . Dirk Vander Kooij transforms trash into treasure.

28 IN THE LIGHT

After working under the radar for more than 50 years, Mary Corse emerges from the art-world shadows with back-to-back museum and gallery openings. By Sam Cochran

In Every Issue

12 OBJECT LESSON: PALACE REVOLUTION

The story behind Pierre Paulin’s avant-garde Alpha collection. By Hannah Martin

16 DEALER’S EYE: STELLA RUBIN

As quilts make a comeback, the D.C. dealer sheds light on the traditional craft. By Hannah Martin

94 RESOURCES

The designers, architects, and products featured this month.

96 LAST WORD: HOTBED OF CREATIVITY

The Smithsonian’s Renwick Gallery captures the ethos of Burning Man. By Sam Cochran

56INSIDE A COLORFUL NEW YORK CITY APARTMENT DESIGNED BY MURIEL BRANDOLINI.

THIS LAMPSHADE IS MADE FROM UPCYCLED

T-SHIRT FABRICS. ORALU SHADE BY

ASHANTI DESIGN; $350. ASHANTIDESIGN.COM.

FOR MORE PRODUCTS THAT MAKE AN IMPACT,

TURN TO PAGE 19.

RICKY MARTIN AND JWAN YOSEF, WITH MATTEO AND VALENTINO, IN THEIR BEVERLY HILLS HOME. MARTIN WEARS AN ARMANI SHIRT AND CANALI JOGGERS. YOSEF WEARS A LOUIS VUITTON SWEATER AND SHOES AND ARMANI TROUSERS. MATTEO AND VALENTINO WEAR ARMANI JUNIOR TROUSERS. SCULPTURE ON LEFT BY LARRY BELL.

“DOMESTIC BLISS,” PAGE 48. PHOTOGRAPHY BY TREVOR TONDRO. STYLED BY MICHAEL REYNOLDS. FASHION STYLING BY DOUGLAS VANLANINGHAM.

SOFÍA SANCHEZ DE BETAK, WEARING AN EQUIPMENT SHIRT, IN HER NEW YORK CITY LOFT.

“NAUGHTY BY NATURE,” PAGE 62. PHOTOGRAPHY BY FRANÇOIS HALARD. STYLED BY MICHAEL BARGO. FASHION STYLING BY MARTI ARCUCCI.

ON OUR COVERS

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THE INTERNATIONAL DESIGN AUTHORITY VOLUME 75 NUMBER 2

FEATURES

SENIOR DESIGN WRITER Hannah MartinDEPUTY EDITOR, DIGITAL Kristen FlanaganSPECIAL PROJECTS DIRECTOR, DIGITAL

Sydney WassermanENTERTAINMENT EDITOR, DIGITAL Carson GriffithDESIGN EDITOR, DIGITAL Amanda SimsEDITOR, DIGITAL David FoxleyHOME EDITOR, DIGITAL Lindsey MatherDESIGN REPORTER, DIGITAL Hadley KellerASSOCIATE EDITOR, DIGITAL Nick MafiEDITORIAL ASSISTANTS Elizabeth Fazzare, Katherine McGrath (Digital), Carly OlsonASSISTANT TO THE EDITOR IN CHIEF Annie Ballaine

EDITOR IN CHIEF

Amy Astley

CREATIVE DIRECTOR David Sebbah EDITORIAL OPERATIONS DIRECTOR Diane DraganEXECUTIVE EDITOR Shax Riegler EXECUTIVE DIRECTOR, DIGITAL Keith Pollock

INTERIORS & GARDEN DIRECTOR Alison Levasseur STYLE DIRECTOR Jane Keltner de Valle FEATURES DIRECTOR Sam CochranDECORATIVE ARTS EDITOR Mitchell Owens WEST COAST EDITOR Mayer Rus

MARKET

MARKET DIRECTOR Parker Bowie LarsonASSOCIATE EDITOR, MARKET Kathryn GivenASSISTANT EDITOR, MARKET Madeline O’Malley

COPY AND RESEARCH

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Amanda Brooks, Gay GassmannCONTRIBUTORS Fabiola Beracasa Beckman, Derek Blasberg, Peter Copping, Sarah Harrelson, Pippa Holt, Patricia Lansing, Colby Mugrabi, Carlos SouzaEDITOR EMERITA Paige Rense Noland

ARTISTIC DIRECTOR

Anna Wintour

12 ARCHDIGEST.COM

THE STORY BEHIND AN ICONIC DESIGNobject lesson

Palace RevolutionHow Georges Pompidou’s attempt to reinvigorate

the French furniture industry rendered one of today’s most coveted design trophies—Pierre

Paulin’s avant-garde Alpha collection

LOUIS VUITTON ARTISTIC DIRECTOR NICOLAS GHESQUIÈRE HAS A PAIR OF ORIGINAL PIERRE PAULIN SOFAS IN HIS PARIS APARTMENT.

14 ARCHDIGEST.COM

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When Georges Pompidou and Jean

Coural—head of the Mobilier

National, an agency of the French

Ministry of Culture—vowed to

jump-start the nation’s suffering

design industry in the late 1960s,

they knew just what would get the world’s attention:

a buzzy redo of the president’s Élysée Palace apartment

by the young French talent Pierre Paulin.

Paulin delivered. Plopped in his out-of-this-world

rooms were sculptural sofas and chairs molded from

strips of wood wrapped in foam and upholstered in

leather. In no time, visiting dignitaries were ogling

the French furnishings of the future.

A testament to Paulin’s forward thinking, the

series—known to most as Élysée—didn’t gain a cult

following until the early 2000s, when it reemerged

at New York gallery Demisch Danant. “People knew

Paulin, but they didn’t know about the French produc-

tion,” explains Suzanne Demisch. “They were hard to

find, even then.” Louis Vuitton’s Nicolas Ghesquière

snapped up some of the first pieces to resurface. “The

sofa is a beautiful addition to my personal collection,”

he says. The fashionable world soon followed suit.

While the rare originals—put into a brief produc-

tion by French manufacturer Alpha that ended around

1973—didn’t immediately invigorate the nation’s

furniture industry, the renewed interest in

the series has spawned some of the desired

effect: Paulin democratized the design

in 2007, when he devised an easier-to-

manufacture version of the chair

called Pumpkin for French maker

Ligne Roset (ligne-roset.com). And

just last year the Paulin estate reissued

the designs (now called Alpha and

available at gallery Ralph Pucci),

following the original specifications

and made-in-France mandate.

As for a contemporary

collaboration with France’s

new first in command?

“We are in talks with

[Emmanuel] Macron,”

reveals Paulin’s son

Benjamin. “I hope it will

be a good ending.” ralph

pucci.net —HANNAH MARTIN

object lesson1

1. A PUMPKIN SOFA—AN OFFSHOOT REDESIGNED BY PAULIN AND PRODUCED BY LIGNE ROSET IN THE 2000S—IN FLEUR DELESALLE’S

PARIS HOME. 2. PUMPKIN CHAIR IN BLUE. 3. ALPHA CHAIR. 4. A MAGENTA PUMPKIN ELECTRIFIES DAVID OLIVIER’S MADRID APARTMENT.

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SPECIALTY: Nineteenth- and early-

20th-century American quilts.

STITCH IN TIME: The earliest date

back to the 1700s, but most

American quilts were made

between the 1850s and 1870s.

QUILTING CAPITALS: Baltimore and

Lancaster, Pennsylvania. “They

were settled early by people who

were wealthy enough to have the

luxury of time,” Rubin says.

EARLY ACQUISITION: An 18th-

century quilt made from block-

printed Indian palampores.

Now it’s at the International

Quilt Study Center & Museum

in Nebraska.

LOOK FOR: Circles and points. “It’s very difficult to get edges

sharp. There’s a pattern heavy in both called New York Beauty

that is very unusual.”

RARE FIND: “This wreath quilt [see right] is one of the few

pieces in my collection we’ve been able to trace back to

the actual maker. We connected the signature to a mother

and daughter in Vermont, which isn’t known for having

a prevalence of quilters.”

HUNTING: Baltimore album quilts, “which were created between

1845 and 1855 and are known for complex appliqué patterns.”

POPULAR REQUEST: Patriotic quilts. “They were not made

continuously—only at times of war or when a state was

coming into the Union—so they’re hard to find.”

stellarubinantiques.com —HANNAH MARTIN ST

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WHERE ART MEETS COMMERCE

Stella RubinAs quilts make a comeback, the D.C. dealer sheds light on the traditional craft

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1. LONE STAR QUILT, CIRCA 1880. 2. CIRCA-1880 FRIENDSHIP SAMPLER QUILT. 3. CIRCA-1890 ALPHABET QUILT. 4. FLORAL WREATH QUILT, 1860. 5. TRIP AROUND THE WORLD QUILT, CIRCA 1880.

1

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Rescue MissionThe British-Nigerian designer Yinka Ilorigives new life to old furniture

ARCHDIGEST.COM 19

1. DESIGNER YINKA ILORI IN HIS LONDON STUDIO.

2. & 3. UPCYCLED CHAIRS FROM HIS 2017

PROJECT WITH RESTORATION STATION.

THE BEST IN CULTURE, DESIGN, AND STYLE EDITED BY SAM COCHRAN

DISCOVERIES

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DISCOVERIES

IT’S BEEN NEARLY 15 YEARS since Olafur Eliasson’s career-catapulting

installation The Weather Project, wherein the artist transformed Tate

Modern’s Turbine Hall into its own radiant atmosphere, conjuring sun and

sky. These days he continues to spread light, albeit on a global scale.

Launched in 2012 with engineer Frederik Ottesen, his nonprofit Little Sun

Foundation helps bring electricity to the billion-plus people living without it,

distributing solar-powered LED lanterns and chargers throughout the world.

This past September, the initiative launched its third device, the gem-

like Little Sun Diamond (available through MoMA Design Store; momastore

.org). For every device sold, another is made affordable to those in need,

the impact of which is manifold. “The trickle-down effect is real,” Eliasson

says, referring to the myriad educational, economic, and health effects.

Access to light, he explains, allows students to study after sundown. Light

improves safety, and the lamp reduces a household’s need to burn firewood

or kerosene, ameliorating air quality and living conditions. Moreover,

charging a lamp alerts people to their own footprint. “If you can show peo-

ple what energy is, you can make them understand consumption,” says

Eliasson. So far, he estimates, Little Sun has touched the lives of more than

one million people, among them thousands of recent hurricane victims in

Puerto Rico. Talk about lighting the way. littlesun .com —SAM COCHRAN

1. & 2. MORE OF ILORI’S COLORFUL CHAIRS.

Bright Ideas

Yinka Ilori can’t turn away a stray. “I see a chair by the road and

hear it shouting, ‘Pick me up! There’s more in me!’ ” jokes the British-

Nigerian designer, who began upcycling discarded seats while studying

at London Metropolitan University. This past fall, he burst onto

the scene at London Design Festival. Collaborating with Restoration

Station, a not-for-profit that teaches recovering addicts to repair

furniture, Ilori gave bright new futures to some broken-down chairs.

Frames were restored, then painted in happy hues, and seats were

covered in Dutch wax prints. Outside CitizenM hotel, meanwhile, Ilori

created a playground of Technicolor slides and swings. That, too, is

getting repurposed, having found a home among Bow Arts’ affordable

studio spaces at Royal Albert Wharf. yinkailori.com —HANNAH MARTIN

3. OLAFUR ELIASSON AT

WORK IN HIS COPENHAGEN

STUDIO. 4. LITTLE SUN

DIAMOND, THE NEWEST

ADDITION TO HIS SERIES

OF SOLAR LANTERNS.

5. A GROUP OF LITTLE

SUN ORIGINALS.

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PORTRAIT BY RASMUS WENG KARLSEN

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DISCOVERIES

Forward MarchThe World Monuments Fund steps up to help protect Alabama’s architectural vestiges of the Civil Rights Movement

1. THE BARBERSHOP

AT BEN MOORE HOTEL

IN MONTGOMERY,

ALABAMA, A FAVOR-

ITE MEETING SPOT

OF MARTIN LUTHER

KING JR. AND HIS

FELLOW ACTIVISTS.

2. DR. KING

LEADING A MARCH

FROM SELMA

TO MONTGOMERY

IN 1965.

The buildings are humble, functional. There are

sturdy, redbrick churches and modest houses

with deep porches beneath overhangs that ward

off the heavy Southern heat. There’s even a

barbershop, its row of seats where customers

wait like a congregation kneeling before an altar.

Seemingly unremarkable pieces of 20th-century America,

these structures are in fact quite the contrary: extraordinary

artifacts of the Civil Rights Movement, places where Martin

Luther King Jr. preached, where Freedom Riders found shelter

from mobs, and where social-justice activists huddled to

strategize their nonviolent quest for human rights. More than

a dozen such structures in Selma and Montgomery, Alabama,

have now been placed on the 2018 World Monuments Watch,

a biennial list of cultural sites at risk of decay or destruction.

The World Monuments Fund (WMF), which administers

the Watch, is most often associated with preserving places

of undisputed beauty, like the Taj Mahal, or archaeological

significance, such as Machu Picchu. Indeed, among the 24

other places on the 2018 Watch are a 12th-century minaret

in Mosul, Iraq, and the Jewish Quarter in Essaouira, Morocco.

Joshua David, WMF’s president and CEO, says the Alabama

locations fit into an evolving mission to recognize “places

that reflect the most treasured human values.

“We tend to know this part of American history through

individuals—Martin Luther King, Rosa Parks—or particular

actions, like the voting-rights march and bus boycott,” says

David. “We have less of an understanding of the community

in which they took place. To see the physical context of these

lives and this movement is incredibly engaging and inspiring.”

Valda Harris Montgomery, daughter of prominent local

leader Dr. Richard H. Harris Jr., remembers when King,

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24 ARCHDIGEST.COM

DISCOVERIES

3. MELTINGPOT BISTRO

TABLE. 4. CHANGING

VASE. 5. MELTINGPOT

SIDE TABLE. ALL

AVAILABLE FROM THE

FROZEN FOUNTAIN.

FROZENFOUNTAIN.COM

PLASTIC ARTS“I want to create furniture without guilt,” says Dutch designer Dirk Vander Kooij, whose custom robots can squeeze thick strings of plastic into a chair, bench, or chandelier. The ingredients? Discarded refrigerators, garden chairs, CDs, and more. “Anyone can make a beautiful object out of bronze,” he notes. “The real challenge is to turn garbage into a museum piece.” dirkvanderkooij.com —H.M.

then the new pastor of the Dexter

Avenue Baptist Church, moved into

the parsonage just doors down from

her childhood home in 1954, and

when 33 Freedom Riders, protesting

segregation on interstate buses,

were attacked in 1961. “The National

Guard brought them here to our

home, all bloodied and beaten,” she

says. “My family housed and fed

them. My daddy was a pharmacist,

so he could provide medicine.”

The young activists stayed for several days, during which

King and fellow leaders Ralph Abernathy, James Farmer,

John Lewis, and Diane Nash gathered to pray and strategize,

eventually deciding to continue with the dangerous mission.

The house, the parsonage, and the church are now on the

Watch list, as are other churches and houses, in addition to

the Ben Moore Hotel, where black travelers found respite

at a time when whites-only hotels turned them away.

Several of the sites already have landmark status, but with

government funding for preservation uncertain, community

organizers hope that the Watch designation will help attract

philanthropy. “These sites are very important not just to

African-American history but to American history and the

history of nonviolent social change,” says Andrea L. Taylor,

president and CEO of the Birmingham Civil Rights Institute.

The Alabama consortium’s nomination predated the August

rally in Charlottesville, Virginia, that resulted in the death

of a counterprotester. But as the nation delves deeper into

a debate over the legitimacy of Confederate monuments, it

is impossible to ignore the symbolism of the WMF’s memori-

alizing sites where civil-rights crusaders lived and worked.

“Even with all the victories of the Civil Rights Movement,

the legacies of slavery and racism continue to play a definitive

role,” David says. “We need to look at all of the sites related

to this part of American history—its most troubling and

inspirational hours.” —JULIE L. BELCOVE

1. MONTGOMERY’S DEXTER

AVENUE KING MEMORIAL

BAPTIST CHURCH.

2. BROWN CHAPEL A.M.E.

CHURCH, IN SELMA.

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PHOTOGRAPHY BY JOÃO CANZIANI

Nestled in a canyon on the outskirts of Los

Angeles, artist Mary Corse’s house and studio

are a short drive—but a world away—from

the city’s hustle and bustle. Cell service cuts

out en route to her home, which is reached

via a single-lane bridge and winding dirt road.

Neighbors are few and far between, affording Corse ample

room to paint in private. Which is what she’s been doing—

quietly, steadily—for more than five decades, building an

important body of work while innovating on pace with

established pioneers of the Light and Space movement. This

May, however, she will take an overdue step center stage,

with a long-term installation at Dia:Beacon and a debut show

at London’s Lisson Gallery, followed by her first solo museum

survey at the Whitney in June.

“Mary’s work eschews easy categorization,” says Alexis

Lowry, an associate curator at Dia. “As early as 1966, she was

making light-based work that was as advanced as anything by

more recognizable figures like Doug Wheeler or James Turrell.

But she was also radically different, using paint to harness

light and make space within her paintings that extends beyond

the physical.” The art world, Lowry notes, is only now giving

Corse the attention she has long deserved. “A lot of Dia’s recent

focus has been looking at work made by women in the sixties

and seventies that has been underappreciated.”

Born in Berkeley, California, Corse started painting at the

age of five, finding teenage inspiration in the abstract work of

Josef Albers, Hans Hofmann, and Willem de Kooning. In 1964,

she moved to L.A. to study at the Chouinard Art Institute, now

CalArts, where she began using white to express light while

experimenting with abstract-shaped canvases. Early all-white

paintings encased in Plexiglas (so as to create pockets of space)

eventually gave way to illuminated boxes that employed

In the LightAfter working under the radar for more than 50 years, Mary Corse emerges from the art-world shadows with back-to-back museum and gallery openings

THE FAÇADE OF MARY

CORSE’S L.A. STUDIO

FEATURES HER 2016

INSTALLATION UNTITLED

(WHITE LIGHT BANDS).

BELOW THE ARTIST.

DISCOVERIES

30 ARCHDIGEST.COM

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fluorescent lights, then argon-filled neon tubes. Eager to do

away with wires, she enrolled in physics classes, engineering

her own high-frequency generators using Tesla coils.

Her eureka moment came in 1968, when Corse observed

reflective road markings and realized she could use the same

glass microspheres found in highway paint. “I was able to

put light in the painting, not just make a picture of light,” she

recalls. Incorporating the prismatic material in bands and

arches, she has since created nuanced abstract fields that shift

depending on ambient light and the position of the viewer.

“I want to express an experience, a moment of truth,” she

says. “Perception needs to be in the painting.”

The technique has arguably defined her practice ever since,

sparking evolutions in primary colors and—using acrylic

squares—black, as well as forays into ceramics. This past

September, her latest paintings debuted in New York and

L.A., with simultaneous shows at Lehmann Maupin

and Kayne Griffin Corcoran galleries. The latter

exhibition featured a light box placed in a refrigerated

room, one of several ambitious projects, long gestating,

that she is now realizing. “The cold heightens your

consciousness,” explains Corse, who also completed her

first outdoor installation, a 2016 composition of bands

on the exterior of her studio.

“You can see the focused progression of her work,”

says Lowry. “There is a vocabulary of forms and a means

of applying paint that she is able to revisit, rethink, and

reframe.” Underpinning Corse’s practice is a desire to

escape the ego and the tyranny of relentless thought. “All

my work is really about inner vision, about going inside

yourself,” she notes. “For me, painting is about the human

condition. I paint so I can experience that.” —SAM COCHRAN

1. A 2013 PAINTING IN HER STUDIO.

2. AN ARRAY OF BRUSHES, WHICH

CORSE CUSTOMIZES. 3. CORSE’S

HAND REACHING INTO A BUCKET

OF HER SIGNATURE ACRYLIC

SQUARES. 4. UNTITLED (DNA

SERIES), 2017, INSTALLED AT L.A.’S

KAYNE GRIFFIN CORCORAN

GALLERY THIS PAST SEPTEMBER.

“I was able to put light in the painting, not just make a picture of light.” —Mary Corse

1

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ARCHDIGEST.COM 35

A CUSTOM TABLE

ANCHORS THE DINING

ROOM OF BROOKE

AND JULIAN METCALFE’S

OXFORDSHIRE HOME.

A NEEDLEPOINT RUG LIES

ATOP A SISAL CARPET

THAT BROOKE PAINTED

WITH STRIPES. 1920S

PALM-TREE LAMPS FLANK

A PAINTING BY ALBERT

LOUDEN; FLOWERS AND

GLASS VASES FROM

FLOWERBX; TIFFANY &

CO. PLATES. FOR DETAILS

SEE RESOURCES.

36 ARCHDIGEST.COM

riter Brooke Metcalfe has deco-

rated many beautiful homes over

the years—in New York, Buenos

Aires, London, and beyond—but

when she met her future husband,

Julian Metcalfe, ten years ago, her

primary concern wasn’t restoring

a crumbling palace to pristine

condition. It was creating a sanctuary for what would

be their own Brady Bunch: “We had seven children to

make feel at home immediately,” she explains.

The couple wanted a weekend place that wasn’t

too far from their primary residence in London

or the children’s boarding schools. And it had to be

in a setting that wouldn’t feel too rural or desolate.

“Neither of us rides horses or actually even owns

a pair of Hunter boots,” quips Brooke. “So as much

as we like to think we’re going to the country, it’s

really a rather urban escape.” But a necessary one

nonetheless, particularly for Julian, a cofounder of

the fresh–fast food chains Pret A Manger and Itsu.

“My husband is very involved in his work, and when

we’re in London, every corner he turns he sees one

of his shops,” Brooke continues. “So staying there on

a weekend was not his idea of fun.”

The Metcalfes had placed a bid on a property

when Julian suggested an impromptu drive through

the South Oxfordshire village of Great Haseley,

where his grandmother—the alluring Baba Metcalfe,

youngest daughter of George Curzon, former Viceroy

of India, and a high-society heartbreaker par excel-

lence—once had a weekend place. Among charming

thatched cottages lay a stately 17th-century manor,

right next to the parish church. As Brooke recounts,

“We stood up on the wall, looked in, and thought,

Oh, my God, it’s perfect. Imagine if it were for sale.”

It wasn’t—but somehow a tour of the house was

arranged. “It was just so beautiful, I couldn’t stand

it,” Brooke says, giddy at the memory of the rooms’

perfect William and Mary proportions and elegant

woodwork. “I thought, This is so nice, I’m going

to die. And suddenly Julian said to me, ‘We have to

have this.’ We put an offer in right then and there.”

The house was turnkey ready, which left only the

task of decorating. “Time was really important,” says

Brooke. “We had to create bonds between our kids and

our families. That was more important than anything,

so we decorated the place in literally about four

months.” They had the luck of starting with lovely

light and good bones: high ceilings, original mantels

and cornices. Beyond that, she says, “we threw out

all rules. Because we both like an eclectic look,

there was nothing we could do that would go wrong,

because nothing had to fit any pattern or mood.”

Off they went—pooling art and furniture from

previous homes and scouring auctions, flea markets,

and “maddeningly expensive” London shops.

“There’s no law or rhyme or reason to it, which was

w

BROOKE ARRANGES HYDRANGEAS ON THE BOFFI

KITCHEN ISLAND BENEATH DISCO BALLS.

A MODEL OF THE TITANIC SITS ATOP THE CABINET;

FLORENCE BROADHURST WALLPAPER COVERS

THE REFRIGERATOR DOORS. OPPOSITE THE REAR

OF THE 17TH-CENTURY HOUSE.

ARCHDIGEST.COM 39

IN THE SITTING ROOM,

GEORGE SMITH SOFAS,

ONE UPHOLSTERED WITH

PAKISTANI MARRIAGE

QUILTS (LEFT) AND THE

OTHER A BRUNSCHWIG

& FILS VELVET, FACE

AN OTTOMAN CLAD IN

A JOSEF FRANK FABRIC.

THE TRI-ARM FLOOR

LAMP AND FLOWER LAMP

ARE LONDON ANTIQUES-

MARKET FINDS; PAR

PUZZLE ON BACK TABLE;

PAINTINGS BY TADASHI

KAWAMATA, AXEL KULLE,

AND BILLY METCALFE.

The gardens are severe, “but it means that we aren’t fussing over dead flowers,” Brooke explains.AN ANTONY GORMLEY SCULPTURE FACES THE POOL, WHICH IS FRAMED

WITH SLATE. LANDSCAPE DESIGN BY CHRISTOPHER BRADLEY-HOLE.

“We threw out all rules,” Brooke says. “Nothing had to fit any pattern or mood.”

ARCHDIGEST.COM 43

really liberating,” Brooke explains. “We’ve got disco

balls in the kitchen and fake rhinoceros heads that

come from the set of the original Jumanji. In the

past, I studied things more,” she adds. “For my first

New York apartment, I bought a mirrored dining

table, and it took me a year to find the right chairs

for it, so we sat on nothing until then.”

With stints at Sotheby’s and Vogue and traveling

in a glamorous circle of style cognoscenti, many of

whom Brooke has documented in her Bright Young

Things tomes about the homes of the chic and

stylish—a third edition is on its way—she possesses

a well-trained eye. There’s an artful insouciance in

what she might call haphazardness. In the dining

room, which is painted a pale blush, a dozen “nothing

chairs” (her words) are draped with linen slipcovers

of varying confectionary hues. When the family dogs

urinated on the room’s sisal carpet, Brooke painted

over the stains with chocolate-brown and hot-pink

stripes. A faded needlepoint rug is layered on top, too,

and the resulting effect is so dreamy, you can’t help

wanting to thank the offending pups.

The family-friendly nature of the house reflects

the values that Brooke and Julian hold dear. With its

LEFT IN A GUEST

ROOM, CUSTOM

MIRRORS WRAPPED

IN WALLPAPER FLANK

A LINEN-COVERED

FOUR-POSTER. VINTAGE

CHESTS, JAPANESE

LAMPS, AND NEEDLE-

POINT RUG. ABOVE THE

PARISH CHURCH RISES

BEYOND THE POOL.

44 ARCHDIGEST.COM

squashy sofas, and oversize ottoman covered in

vintage Josef Frank fabric, the sitting room is the

perfect place to sit around a cozy fire with a book,

play Legos, or work on a puzzle. Brooke is partial

to the hand-carved thousand-plus-piece examples

from Par Puzzles that date back to her own child-

hood and take months to finish. A painting by Billy

Metcalfe, her stepson, hangs there alongside works

by Tadashi Kawamata and Axel Kulle.

Outside, the kids amuse themselves with soccer,

biking, hide-and-seek, and capture the flag amid

grounds that are green as far as the eye can see.

The Metcalfes enlisted English landscape designer

Christopher Bradley-Hole, who had worked on a

restoration of the property for its previous owner.

For his new clients he planted a dramatic allée of

linden trees—not for nothing is one of Bradley-Hole’s

books called The Minimalist Garden.

“It’s quite severe and architectural,” Brooke

admits of the paucity of blooms, “but it means that

we aren’t fussing over dead flowers.” Now more time

can be spent in the stone-edged lap pool, presided

over by an Antony Gormley sculpture.

Still, the heart of the Metcalfes’ home remains

indoors. “Much of the weekend is based around

meals,” Brooke explains, noting that she and the

kids often gather in the kitchen, which acts as a test

lab for concoctions for Julian’s culinary ventures.

“We spend a lot of time in there watching him mix

and make potions, whether it’s flavors for popcorns

or yogurt-pot combinations or green smoothies.”

(Having already swept London, Itsu opens its first

New York outpost this spring.)

As for the dining room, “it’s where we all sit, all

ages, and everything is shared,” Brooke observes.

“I think that’s really where the tying together of the

family has happened, at the dining table.” She fondly

recalls one Christmas morning when Julian and

the children raced their new Segways around the

table with the dogs chasing behind them.

The Saturday after I visited Brooke, I receive an

email with a picture of a finished puzzle, the same

one that had lain in disarray on a table in the sitting

room some months before, when AD had photo-

graphed the house. There was no body text. The

subject line simply stated: Puzzle complete.

ABOVE BLUE BRAZILIAN MARBLE AND SHEEPSKIN RUGS GLAMORIZE THE MASTER BATH. OPPOSITE BROOKE’S CHILDREN ISABEL, INES,

AND MARINA LOUNGE ON THE SOFA BENEATH OIL PAINTINGS BY GRACE PAILTHORPE. WARREN PLATNER FOR KNOLL COFFEE TABLE.

design notes THE DETAILS THAT MAKE THE LOOK

“We both like an eclectic

look,” says Brooke. INT

ER

IOR

S:

RIC

AR

DO

LA

BO

UG

LE

; A

LL

OT

HE

RS

C

OU

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ES

Y O

F R

ES

PE

CT

IVE

CO

MP

AN

IES

JOSEF FRANK CITRUS GARDEN

WALLPAPER IN PRIMARY; TO THE

TRADE. FSCHUMACHER.COM

ASTORIA FLAT

MIRROR IN

POLISHED

CHROME; FROM

$395. RH.COM

AURA INTERIOR PAINT

IN PINK FAIRY; $70.

BENJAMINMOORE.COM

IN A GUEST ROOM, WATERCOLOR

BOTANICAL PRINTS ARE ECHOED IN

JOSEF FRANK FLORAL PATTERNS.

CABBAGE DESSERT PLATE IN

GREEN BY BORDALLO PINHEIRO;

$18. MICHAELCFINA.COM

DANDY RED

PITCHER; $313.

STORE .NASON

MORETTI.IT

FREY DRESSER OF FAUX SHAGREEN

AND CERUSED OAK; $4,200. MECOX.COM

WILDFLOWER BOTANICAL

PRINT BY NAPA HOME

& GARDEN; $320 FOR SET

OF SIX. THEMINE.COM

ARCHDIGEST.COM 47

“I love the fact

that it feels very comfortable but holds an aesthetic structure.”

PLATNER COFFEE TABLE BY

WARREN PLATNER FOR

KNOLL; $1,614. DWR.COM

1941-01C CHAIR IN

POLAND PEONY;

$2,170. LEE

INDUSTRIES .COM

AN AXEL KULLE PAINTING IS DISPLAYED

ON A REDUNDANT DOOR; A PAR PUZZLE

IN PROGRESS ON A TABLE WITH A

BRUNSCHWIG & FILS FABRIC TABLECLOTH.

LARGE PARK

AVENUE TOLE

POTTED PLANT;

$2,400. CREEL

ANDGOW.COM

VINTAGE DISCO BALL;

$2,200. 1STDIBS .COM

SWATI PILLOW; $195.

ABCHOME .COM

SMITH SOFA UPHOLSTERED

IN AVIGNON IN MERLOT;

$3,030. MGBWHOME .COM

PAR PUZZLES

SIGNATURE

SILHOUETTES;

FROM $2,000 PER

PUZZLE. PAR

PUZZLES.COM

IN THE SUNLIT LIBRARY, A POUL

KJÆRHOLM–STYLE DAYBED, ARMCHAIRS

IN A KNOLLTEXTILES FABRIC WITH

PILLOWS BY COMMUNE DESIGN, AND A

VINTAGE RATTAN CHAIR. CANDLE BY

BAOBAB COLLECTION ON KRAVET TABLE;

RUG BY RH. FOR DETAILS SEE RESOURCES.

DOMESTIC BLISS

Globe-trotting superstar Ricky Martintrades in his nomadic existence to set up house in Beverly Hills with artist Jwan Yosef and their twin sons

TEXT BY MAYER RUS PHOTOGRAPHY BY TREVOR TONDROSTYLED BY MICHAEL REYNOLDS

“Even though the house had been greatly expanded over the years, we still wanted to respect its original vision,” Martin says. H

AIR

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ARCHDIGEST.COM 51

ABOVE FURNITURE

BY TEAK WAREHOUSE,

CUSHIONED IN A

SUNBRELLA FABRIC, SITS

POOLSIDE. CONCRETE

CYLINDERS BY RH.

CANDLES BY BAOBAB

COLLECTION. RIGHT THE

PATH TO THE FRONT DOOR.

OPPOSITE THE FAMILY

GATHERS IN THE ENTRY.

MARTIN WEARS A SHIRT,

SWEATER, AND TROUSERS

BY CANALI AND SHOES

BY GIORGIO ARMANI;

YOSEF IS IN A JIL SANDER

SHIRT AND GIORGIO

ARMANI TROUSERS;

MATTEO (NEAR LEFT) AND

VALENTINO BOTH WEAR

ARMANI JUNIOR. FASHION

STYLING BY DOUGLAS

VANLANINGHAM.

o say that the 40-something Ricky Martin

maintains a boyish appeal may be the under-

statement of the year. The Puerto Rican

superstar seized the spotlight as an angelic

12-year-old phenom in the boy band Menudo,

beloved by teenyboppers and grandmothers

alike. He has rarely been out of the public

eye since. Fresh off a blockbuster 2017 resi-

dency at the Monte Carlo Resort and Casino

in Las Vegas, Martin’s latest star turn has him

portraying Gianni Versace’s boyfriend Antonio

D’Amico in producer Ryan Murphy’s The Assassination

of Gianni Versace: American Crime Story, on FX this January.

Yet for all his success, Martin’s greatest joy lies in the

happy home life he has built with fiancé Jwan Yosef, a Syrian-

born Swedish artist, and their nine-year-old twins, Matteo and

Valentino. The couple met two years ago in London, where

Yosef was living at the time, and spent the next twelve months

traveling the globe on Martin’s One World Tour. The children

were with them for the entire ride.

“Tino and Matteo were born on the road. They’re used to

spending two weeks in one place and then moving on,” Martin

says. “Our kids are stable when we are together. Wherever

we happen to be, that’s home.”

Today, however, the family’s concept of home has an

actual address, specifically in Beverly Hills. “We were

considering living in London or New York City, but then we

decided to rent in Los Angeles for a month, to get a feel for

the vibe. L.A. totally caught us off guard—we loved it. By the

end of the month, we knew we wanted to be here,” Yosef

recalls. After a marathon three-day house-hunting expedi-

tion, the couple settled on the first place they had scouted,

a serene, modernist residence with a surprising architectural

pedigree. At the core of the 11,000-square-foot dwelling was

a 3,000-square-foot home designed by acclaimed midcentury

architect Gregory Ain for psychiatrist Fred Feldman and

his wife, Elaine, in 1953.

“Even though the house had been greatly expanded over

the years, we still wanted to respect its original vision—the

clean lines, the openness, and the sense of calm,” Martin says.

With less than two months from purchase to move-in, the

couple enlisted AD100 designer Nate Berkus, whom they had

met through mutual friends, to facilitate the process.

Fortunately for everyone involved, Martin and Yosef neither

required nor desired a miraculous makeover.

“We weren’t interested in a completely decorated home

with a specific look done to the last detail. We wanted to

get the basics covered so it would be comfortable for us and

t

ARCHDIGEST.COM 53

the kids, but we left plenty of room for the house to grow

and evolve in the years to come,” Yosef explains.

Berkus seconds the notion. “Ricky and Jwan are both

artists, and they have very particular ideas about how they

want to live,” the designer observes. “Ultimately, I helped

give them a solid, neutral foundation that they can cultivate

together to make the home truly theirs. The sense of place

is all about the future of their family.”

The foundation that Berkus and his clients laid relies

heavily on classic modern designs of the 20th century—

including signature pieces by Ray and Charles Eames, Milo

Baughman, and Hans Wegner—invigorated by an array of

spruce contemporary furnishings by the likes of BassamFellows

and Tom Dixon. The mix also encompasses a few sentimental

favorites, among them the long wood dining table, an erstwhile

desk that Martin acquired in 1996.

“It was my first real piece of furniture, and it works per-

fectly here,” the singer says. “Jwan has impeccable taste, so I

give him most of the credit for how good everything looks,”

he adds. “My main concern was for comfort and practicality,

and I think we’ve accomplished that.”

One of the delights of moving into their new home was

the ability to incorporate works from the couple’s nascent but

growing art collection, which largely eschews the predictable

trophies of contemporary acquisition in favor of intriguing,

lesser-known young artists’ creations.

“I’m a young artist myself, and it’s fun to live with work

created by my friends and fellow artists,” says Yosef, whose

own compelling paintings and prints are displayed to great

advantage on the crisp white walls. Meanwhile, Martin’s

musical background is reflected in a series of black-and-white

photographs of legendary singers on the order of Janis Joplin,

David Bowie, John Lennon, Louis Armstrong, and Frank

Sinatra. The idiosyncratic assemblage also includes a few blue-

chip pieces, such as a recently acquired sculpture by Larry

Bell and a fantastic canvas by Cuban artist Wifredo Lam that

Martin purchased in 1998, when he began collecting Latin

American art in earnest.

The home’s former yoga room has now been converted

into an artist’s atelier for Yosef, and Martin has plans to

build a recording studio on the property. As for Matteo and

Valentino, the kids are looking forward to serious playtime

in a tree house that has yet to be installed amid the branches

of one of the gorgeous specimens that dot the estate.

“There’s so much potential for crafting a vibrant, creative

environment for our family,” Martin says. “You can never

be sure what the future will bring, but I can’t wait to

find out.”

LEFT A DAYBED BY

BASSAMFELLOWS SITS

ADJACENT TO AN

EAMES CHAIR IN THE

MASTER BEDROOM.

CERAMIC VESSEL BY

ERIC ROINESTAD FOR

THE FUTURE PERFECT;

SHAG RUG BY WOVEN.

FAR LEFT ARTWORK

BY KERRY SKARBAKKA

HANGS ABOVE THE RH

BED. FLOOR CUSHIONS

BY ADAM POGUE FOR

COMMUNE DESIGN;

PENDANTS BY TOM DIXON.

54 ARCHDIGEST.COM

CLOCKWISE FROM ABOVE BISTRO CHAIRS BY TEAK WAREHOUSE SURROUND A CUSTOM CONCRETE TABLE BY JAMES DE WULF. IN THE LIVING ROOM,

A WIFREDO LAM PAINTING HANGS OVER A CHAISE LONGUE BY RH MODERN; FLOOR LAMP BY AERIN; STOOL BY NOIR. HANS WEGNER CHAIRS IN THE

DINING ROOM; RUG BY WOVEN. A LAMP BY SCHOOLHOUSE ELECTRIC & SUPPLY CO. AND A GLASS SCULPTURE BY JOHN HOGAN FOR THE FUTURE

PERFECT TOP A VINTAGE MAISON RAPHAEL CONSOLE IN THE ENTRY; PAINTING BY CORYDON COWANSAGE.

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“We weren’t interested in a completely decorated home with a specific look done to the last detail,” Yosef explains.

ABOVE IN THE BOYS’ BEDROOM, A FLATWEAVE RUG BY RH COVERS THE FLOOR.

BUNK BED BY RH TEEN; HANGING CHAIR BY PIER 1 IMPORTS WITH SHEEPSKIN THROW BY CB2.

★ EXCLUSIVE VIDEO: RICKY MARTIN AT HOME, ARCHDIGEST.COM.

Designer Muriel Brandolini gives a classic New York apartment

a colorfully modern makeover

IN THE DEN, TWO GIANFRANCO FRATTINI ARMCHAIRS SIT ASTRIDE A WOOD-GRAIN COCKTAIL TABLE BY

LUDWIG & DOMINIQUE. CHANDELIER BY GINO SARFATTI; ÉRIC GIZARD SOFA IN A SAHCO FABRIC;

ARTWORKS BY SCOTT PETERMAN (LEFT) AND MILTON AVERY. FABRIC BORDER, IVORY #15 BY MURIEL

BRANDOLINI FOR HOLLAND & SHERRY. FOR DETAILS SEE RESOURCES.

BOLD CHOICE

TEXT BY VICKY LOWRY PHOTOGRAPHY BY CHRISTOPHER STURMANSTYLED BY MICHAEL BARGO

ARCHDIGEST.COM 57

irds of a feather,” as the saying goes, “flock

together.” But when opposites attract, the

relationship can be downright electrifying.

AD100 interior designer Muriel

Brandolini—an ardent enthusiast of

arresting colors and madcap patterns—

couldn’t be more different in temperament

from one of her longtime New York clients,

a cerebral, business-minded woman who

initially discovered Brandolini’s work in a magazine and picked

up the telephone. “I’m a very analytical, linear thinker,” says the

client, who asked the Manhattan-based decorator to revitalize

an Upper West Side apartment she and her husband had bought

a few years ago. “Muriel leads with passion and feeling. I wanted

to ask questions, and she would just say, ‘It’s beautiful. I can’t

tell you why it will work, but it will.’ ”

The couple’s duplex apartment, on high floors in a hand-

some prewar redbrick building—boldface residents have

included Harrison Ford and Georgina Bloomberg—boasted

fantastic views and abundant light. Darkness, in fact, was

the primary reason they vacated their previous Brandolini-

designed apartment, which they had shared with their children

for 15 years. But the rooms in the new place generally were

small (except for the sprawling second-story master bedroom),

and the coffered ceilings throughout, while classically elegant,

were low. The clients considered undertaking a major renova-

tion—to take down some walls and better reconfigure the

spaces—but ultimately chose a more cosmetic approach. “The

interiors were very traditional and not really our style—we

prefer things more modern,” explains the wife, who, with her

husband, has a strong collection of art, including works by

Agnes Martin, Milton Avery, Fay Ray, and Caio Fonseca. “But

we thought we could make it distinctive with Muriel.”

Bold, eclectic interiors are the calling card of the designer,

the daughter of a French-Venezuelan mother and a Vietnamese

father. She was raised in Saigon and then on Martinique, studied

fashion in Paris, and married a debonair Italian financier,

Nuno Brandolini. She didn’t train to be a decorator, so she’s not

beholden to some set formula about furniture placement or

how high artworks should hang on a wall. She does, however,

have a prescription for rooms lacking volume: “When a ceiling

is low, if you don’t create busyness, you see misery.”

One thing decorator and client do have in common is an

allergy to beige, monochromatic interiors. “My husband and I

like things to be interesting and energetic. We like furniture

and design that make you think,” says the wife. In her office/

guest bedroom, one wall is covered in red felt, another in a

ABOVE A FABRIC BY HARLEQUIN COVERS AN OFFICE/GUEST

BEDROOM. CORK BED BY CITY JOINERY; CUSTOM PILLOWS BY

BRENDA COLLING IN HOLLAND & SHERRY CORDUROYS; RUG

BY FEDORA DESIGN. LEFT ARTWORKS BY ALLAN MCCOLLUM

HANG IN A FOYER. STAIR RUNNER (EXECUTED BY STUDIO

FOUR NYC) AND RUG BY FEDORA DESIGN.

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ARCHDIGEST.COM 59

RIGHT A VLADIMIR

KAGAN CHAISE JOINS

A CONSOLE BY HERVÉ

VAN DER STRAETEN

IN A COLORFUL

BEDROOM. ON WALLS,

HAND-STITCH FABRIC

BY QUADRILLE.

BELOW BRANDOLINI

TOOK INSPIRATION

FROM SRI LANKAN

CANDLESTICKS FOR

THE DINING ROOM’S

STRIPED COLUMNS.

TABLE BY CITY JOINERY;

CHAIRS BY ROLAND

RAINER; DINNERWARE

BY L’OBJET; NAPKINS

BY SFERRA.

large leaf-pattern print, and the bedspread is a busy stripe.

Matchy-matchy it is not. The husband’s office features

three different corduroy wall coverings, and the moldings

have three shades of paint, while a lemon-yellow quilted

wall cocoons that massive master bedroom. And forget about

making the dining room’s four decorative columns, installed

by previous owners, disappear by, say, painting them the

same bronze color as the walls. Inspired by wood candlesticks

she had seen in Sri Lanka, Brandolini had each column

painstakingly hand-painted in stripes—every one a different

width and hue. “If I didn’t go for it enough with color, she

would say, ‘Go for it more,’ ” Brandolini recalls.

For the couple’s first apartment collaboration, the designer

took her client to Milan to scour the design boutiques and

vintage shops. “She wanted to see every inch of the city,”

Brandolini remembers. “She was always, ‘What’s next? What’s

next?’ ” This time around the women dug deeper, visiting

warehouses and garages in Milan and Turin that held furnish-

ings from 1900 through the midcentury that would eventually

get scooped up by dealers. They weren’t shopping for expen-

sive pieces, just ones with good bones—such as 1960s floor

lamps, a 1950s French desk—amid the broken chair legs and

frayed fabrics. “They’re common things that come from the

grandmother, or an uncle who has passed,” Brandolini says.

“Italy is so secret. I go to these dark, out-of-the-way ware-

houses and I wonder if I’m not going to be murdered,” she

observes with a laugh.

But it was while simply walking on a street in Milan that

the two women spied through the door of an architectural

firm a 1960s light fixture made of various white-glass shapes

dangling at different lengths. It was exactly what they wanted

for the apartment’s central stairway. So they entered the office,

Brandolini negotiated with the owner, and a week later it was

on its way to New York.

During the process the husband had few requests, just

that the seating be comfortable and the apartment feel homey.

“We wanted furniture that you could put coffee cups on—not

precious or delicate—and Muriel totally embraced that,” says

the wife. “I’m laughing,” she continues, “because my husband

was not very involved, and the decor would have ended up

80 percent the same even if I wasn’t involved. This is how it

works with Muriel. She immerses herself in a project and

moves very quickly. Yet she is very deliberate. She trusts her

eye, and we trusted it too.”

MURIEL’S SPARKWhatever the space, Brandolini brings her

signature mıx of pattern and color

MURIEL BRANDOLINI.

FABRIC BORDER,

WHITE #27 BY MURIEL

BRANDOLINI FOR

HOLLAND & SHERRY.

RIGHT IVORY #16 COTTON

BY MURIEL BRANDOLINI FOR

HOLLAND & SHERRY. TO THE

TRADE. HOLLANDSHERRY.COM.

A SOPHISTICATED PAIRING OF GEOMETRIC

AND FLORAL IN A NEW YORK CITY HOME.

ABOVE SILK MATKA #7 BY MURIEL

BRANDOLINI FOR HOLLAND & SHERRY.

BELOW WHITE #22

COTTON BY MURIEL

BRANDOLINI FOR

HOLLAND & SHERRY.

ARCHDIGEST.COM 61

A BIRD SOARS ACROSS THE WALL OF

A 51ST-FLOOR APARTMENT IN A

MIDTOWN MANHATTAN HIGH-RISE.

IN THE KITCHEN OF BRANDOLINI’S

MANHATTAN TOWNHOUSE, VINTAGE CZECH

CHAIRS SURROUND A JEAN DUNAND TABLE.

RANGE BY VIKING.

A RICH GREEN CEILING ENLIVENS

THE LIVING ROOM OF BRANDOLINI’S

HAMPTONS BEACH HOUSE.

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SOFÍA SANCHEZ DE BETAK, IN AN EQUIPMENT

SHIRT, PEERS INTO THE MIRROR-PANELED LOUNGE

OF THE HOME SHE SHARES WITH HER HUSBAND,

ALEXANDRE. VINTAGE CABINET, TABLE, AND SOFA.

OPPOSITE LINEN-COVERED SOFAS BY ALEXANDRE

DE BETAK ENVELOP THE TATAMI ROOM. VINTAGE

JAPANESE MONSTER FIGURINES ARE DISPLAYED

THROUGHOUT THE SPACE. FASHION STYLING

BY MARTI ARCUCCI. FOR DETAILS SEE RESOURCES.

ARCHDIGEST.COM 63

Naughty by Nature

For Alexandre and Sofía Sanchez de Betak, an old-school SoHo loft provides the perfect lab for creative living and unconventional style

TEXT BY MAYER RUS PHOTOGRAPHY BY FRANÇOIS HALARD STYLED BY MICHAEL BARGOHA

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64 ARCHDIGEST.COM

Take one step inside the

Manhattan loftof Alexandre de Betak and his wife, Sofía Sanchez de Betak,

and you know you’re not in Kansas anymore. The epic social/

entertaining space at the heart of the home—“living room”

doesn’t begin to describe it—feels like a set for a Pina Bausch

performance or some outré production of an Ionesco or

Pirandello play. Among the dramatis personae are postmodern

chairs by Peter Shire and Marinus A. Vljim, freestanding

chain lamps by artist Franz West, pyramidal light sculptures

by André Cazenave, and a Louis Durot seat in the form of a

woman’s upturned torso and legs. There’s also a Vespa parked

by one of the columns and a swing hanging from the ceiling.

The mise-en-scène is redolent of drama and possibility.

Given the homeowners’ résumés, the eccentric milieu

should come as no surprise. Alexandre built his reputation

THE MASSIVE KITCHEN

ISLAND WAS MADE TO

ALEXANDRE’S EXACTING

SPECIFICATIONS. SINK

FITTINGS BY CHICAGO

FAUCETS; ÉTIENNE

FERMIGIER BARSTOOLS.

SOFÍA WEARS A VALENTINO

DRESS AND GOLDEN

GOOSE SNEAKERS;

ALEXANDRE WEARS A SAVE

KHAKI UNITED SHIRT.

OPPOSITE PHOTOGRAPHS

ARE PINNED

UP IN A CORRIDOR.

A VINTAGE THROW FROM

PAULA RUBENSTEIN LTD.

COVERS AN ALEXANDRE

DE BETAK BED. PIERLUIGI

GHIANDA CHAIR; STOOL

BY LOUIS DUROT.

OPPOSITE A WELDED

STEEL LAMP BY FRANZ

WEST STANDS IN THE

MAIN LIVING AREA.

THE FLOORING IS

WEATHERED BARN

WOOD FROM CREATIVE

FLOOR SOLUTIONS.

ARCHDIGEST.COM 67

transgressing the boundaries between the worlds of fashion,

art, and design. His namesake firm, Bureau Betak, has pro-

duced some of the most indelible fashion shows, events, and

exhibitions of the past three decades—with the impresario

himself taking on the roles of art director and designer. His

Argentine-born wife, the former Sofía Sanchez Barrenechea,

plotted her own trajectory through the beau monde as a

high-profile art director, travel guru, and fashion maven. The

couple’s 2014 wedding in Patagonia featured ushers sporting

Darth Vader helmets and a giant blow-up of the Star Wars

villain—a bit of cheeky pop culture to leaven the glamour of

the bride’s Valentino couture gown and the resplendent

natural beauty of the setting.

Playfulness and humor are clearly essential parts of the

de Betak program. Witness the tatami room in their Manhattan

loft, which includes three types of sake on tap, a video projec-

tor, and a hydraulic table that rises mysteriously from the floor

for casual dining. Or the proliferation of vintage Japanese toys

throughout the home. “I have a big family of robots. They’re

my little friends, my little monsters,” Alexandre says of his long-

time collecting obsession. For more adult divertissements,

there’s a handy stripper pole in a hidden, mirror-paneled lounge

where guests retire for postprandial high jinks. “You can’t

build an apartment from scratch and not make a secret room,”

Sofía explains matter-of-factly.

The fun continues in the bedrooms of Alexandre’s two

teenage sons, Amael and Aidyn. One room is tucked discreetly

in a loft space above the mirrored bar; when the kids are in

residence, the stripper pole becomes more of a fireman’s pole,

perfect for fast escapes. The other bedroom is constructed

of metal scaffolding, Erector Set–style, with platform beds and

an integrated desk below. “This was my dream when I was a

kid,” Alexandre muses. As for the child he and Sofía are expect-

ing, he says they’ve considered setting up a baby tent in the

middle of the loft.

For gastronomic pleasures, Alexandre created the ultimate

chef’s kitchen, centered on a monumental stainless-steel island

that is the ne plus ultra of bespoke cookery. “The kitchen was

custom fabricated, cabinet by cabinet, by a Chinese metalwork-

ing shop in Brooklyn. I spent a year with those guys, driving

them nuts,” he recalls. Predictably, the couple enjoys entertain-

ing, and the kitchen allows them to do so on a grand scale,

whether that means cooking pasta for 100 for a book launch or

making paella for a throng of fashion-forward guests.

But for all of its sybaritic bells and whistles, the apartment

hews more closely to the rough-and-ready SoHo artists’

“The loft has a minimalist feel, raw but warm,” Alexandre says.

LOUIS DUROT’S SCULPTURAL SAINT-SIÈGE CHAIR IS A FOCUS OF THE

LIVING AREA, WHICH ALSO FEATURES A SUITE OF UPHOLSTERED

ARMCHAIRS AND A SOFA FROM GALERIE BERGER. CASHMERE THROW BY

GABRIELA HEARST ON SOFA; ANDRÉ CAZENAVE PYRAMID LAMPS.

70 ARCHDIGEST.COM

dwellings of the 1960s and ’70s than it does to today’s so-

called luxury lofts. The deliberately unfussy materials palette

includes weathered floorboards reclaimed from an upstate

New York barn; cabinetry of brushed oak with linen-backed

copper grilles; and stainless steel for a dash of early-1980s high-

tech realness. Pipes and radiators are largely left exposed,

as are the original wood columns and beams. The layout of the

space has a similarly old-school loft vibe, particularly in the

open-plan core, where one could easily picture the mandarins

of Abstract Expressionism performing their alchemy on

heroically scaled canvases.

“We wanted to respect the history of this place and not

try to make it something that it isn’t,” Alexandre says. “The

huge room is incredibly versatile, not just for entertaining

but also for mounting installations and playing around with

different elements from the shows I design. It’s the kind of

space that begs for creative experimentation.”

Which brings us back to the swing dangling from the

ceiling between the living and kitchen areas. For this whimsi-

cal amenity, Sofía has a perfectly rational explanation:

“It’s very important to have a swing nearby when you feel

like swinging.”

CLOCKWISE FROM LEFT SOFÍA IN THE

MAIN LIVING AREA,

WEARING A LINGUA

FRANCA SWEATER,

RE/DONE JEANS, AND

GOLDEN GOOSE

SNEAKERS. ALEXANDRE

WEARS A SAVE KHAKI

UNITED SHIRT AND SAINT

LAURENT JEANS. SAKE

TAPS IN THE TATAMI

ROOM. GAETANO PESCE

CHAIRS AT A WORKTABLE

IN THE MAIN ROOM.

TUB BY DRUMMONDS.

ARCHDIGEST.COM 71

“We wanted to respect the history of this place and not try to make it something

that it isn’t,” Alexandre says.

72 ARCHDIGEST.COM

design notes THE DETAILS THAT MAKE THE LOOK

CHAIR BY

MARINUS

A. VLJIM.

BIKSADY.COM

ALEXANDRE’S RUNWAY DESIGN FOR

CHRISTIAN DIOR FALL/WINTER 2013 IN

FASHION SHOW REVOLUTION.

INT

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BETAK: FASHION SHOW

REVOLUTION, BY

ALEXANDRE DE BETAK

AND SALLY SINGER; $100.

PHAIDON.COM

“I found the French sofa in

the bedroom on Instagram. I’d much rather look at furniture than see what people ate that morning,” notes Alexandre.

JAPANESE PORCELAIN VASE

BY OEO STUDIO; $950.

ATELIERCOURBET.COM

SOFÍA’S WALK-IN

WAS DESIGNED

BY CALIFORNIA

CLOSETS.

VINYL WARS SOFUBI

GODZILLA; $83. TOYWIZ.COM

BROADWAY CHAIR

BY GAETANO PESCE

FOR BERNINI; PRICE

UPON REQUEST.

1STDIBS.COM

I’m a travel freak. Every trip I take expands my view of the world

and feeds my soul,” says Sofía.“

MÉRIDA, MEXICO, PICTURED

IN TRAVELS WITH CHUFY.

TUFTY-TIME

MODULAR SEATING

BY PATRICIA

URQUIOLA FOR B&B

ITALIA; $11,795.

BEBITALIA.COM

MAGDALENE

SECRETARY WITH

CHINOISERIES;

$22,350. RALPH

LAURENHOME.COM

EBONY GEOMETRIC

OBJECT BY MARK

D. SIKES FOR

HENREDON; SET OF

FOUR SHAPES FOR

$735. HENREDON.COM

SAINT-SIÈGE

CHAIR BY

LOUIS DUROT.

CORNETTE

DESAINTCYR.FR

A PARTY-READY TABLESCAPE IN THE LIVING AREA.

FRIENDS GATHER OVER DINNER

TO CELEBRATE SOFÍA’S BOOK

LAUNCH AND CLOTHING LINE.

TWIST HIGHBALL

GLASS BY NOUVEL

STUDIO; $34.

BARNEYS.COM

TRAVELS WITH CHUFY:

CONFIDENTIAL DESTINATIONS,

BY SOFÍA SANCHEZ DE BETAK;

$50. ASSOULINE.COM

ILLUMINATE WORLD GLOBE;

$99. LANDOFNOD.COM

MAGNIFICENT

ike a character in a fairy tale, during a 2000 trip artist

Rachel Feinstein fell under the spell of Bavaria’s

picturesque towns, sublime landscapes, fantastical

castles, and rococo churches. Further enchantment

ensued in Munich at Nymphenburg, the legendary

porcelain factory on the grounds of the royal family’s once-

upon-a-time summer palace. There she succumbed to her own

maladie de porcelaine, the fabled “porcelain sickness” that

possessed so many aesthetes in the 18th century.

Feinstein, whose work has included architectural stage flats,

period room–inspired installations, and immersive environ-

ments, found herself drawn to the exuberant figurines modeled

by Franz Anton Bustelli in the 1750s. But rather than the

graceful, colorful characters themselves, the swelling, curva-

ceous pedestals upon which they stood were what moved her.

“What’s so fabulous is how one curve gives into another,”

notes Feinstein, who envisioned replicating Bustelli’s organic

forms at life size. “They practically killed me, because every

time I would get something perfect from one side, I’d go to

the other side and find it didn’t look right and have to fix the

whole thing. I became obsessed with getting it perfect.”

So much so that she had her first attempts—fabricated

in foam for a 2014 fashion portfolio in Garage, the biannual

art-and-fashion magazine—destroyed. “The big question for

me was, How can they really be like ceramic?”

The problem of fabrication continued to haunt Feinstein

until one day this past July, while working in her Maine studio,

she suddenly thought, Why can’t I just do them the way

Nymphenburg does? and shot off a note to the factory’s general

email address. Even though Nymphenburg has a record of

collaborating with contemporary artists, she was still surprised

when a response came that same night. “I nearly fell off my

seat,” she recalls. By summer’s end she had shipped her models

to Germany, and she made her first working trip in September.

Crafting and firing such large-scale ceramic pieces presents

many technical issues. Feinstein credits Ingrid Harding, a

Kentucky native who now heads the production department

at Nymphenburg, for committing to the vision. While four of

these pieces will be on view this month at Gagosian Gallery in

Los Angeles, Feinstein has big plans for further work, includ-

ing a piece that will measure some 12 by 15 feet: “As long as

Ingrid is into it, I have tons of crazy ideas.”

L

ARCHDIGEST.COM 75

OBSESSIONIn November 2000, sculptor Rachel Feinstein began a journey that changed her art—and her life

OPPOSITE RACHEL FEINSTEIN IN NYMPHENBURG WITH THE PIECE CALLED

OTTAVIO AFTER IT EMERGED FROM ITS FIRST FIRING IN THE KILN.

BELOW SHE SHAPES A PAIR OF SHOES ALONGSIDE ONE OF FRANZ ANTON

BUSTELLI’S COMMEDIA DELL’ARTE FIGURES, WHICH INSPIRED THE PROJECT.

TEXT BY SHAX RIEGLER PHOTOGRAPHY BY MARKUS JANS

LEFT THE ARTIST

WORKING AT

NYMPHENBURG.

BELOW OTTAVIO,

GLAZED AND

AWAITING SHIPMENT

TO THE GAGOSIAN

GALLERY IN LOS

ANGELES, WHERE IT’S

ON VIEW THROUGH

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ROOM WITH A VIEWKATHRYN HERMAN’S

BEDROOM OVERLOOKS

A DRAMATIC GARDEN

ROOM HOSTING COLOR-

THEME PERENNIALS.

FOR DETAILS

SEE RESOURCES.

Garden star Kathryn Herman’s

Connecticut demesne reflects her passion for classic British landscapes

NGLO ATTITUDE

TEXT BY MITCHELL OWENS

A

78 ARCHDIGEST.COM

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early two decades ago, Kathryn Herman—a

high-flying American landscape designer with

round-the-world clients—spent a transforma-

tive week in England’s Somerset County, taking

in the genius of husband-and-wife horticul-

turalists Sandra and Nori Pope, creators of the

acclaimed gardens at Hadspen House.

“They are colorists, and I was hugely impressed by the subtle

gradations they had established,” Herman recalls. “And I said,

that’s what I’m going to do for myself when I get the opportunity.”

The Popes had transformed 18th-century Hadspen House’s

huge, dilapidated potager into dynamic color-themed gardens

that bedazzled novelist and gardener Jamaica Kincaid, who

once wrote, “Nothing matched in a way that I understood.”

But after the Popes decamped to their native Canada in 2005,

their landlord bulldozed the couple’s Arcadia to make way

for a new garden—which, ironically, was never planted.

Hadspen’s glories may be gone, but an echo can be found

at Herman’s Connecticut residence, the remodeled groom’s

cottage of a 1920s estate. There the designer has installed

“a garden that is as true to an English-style garden as I can

make it.” That would be a 114-foot-long garden room, packed

with perennials and backed by mature trees, among them the

pepperidge trees that gave the property—and original owners

Margaret and Henry Rudkin’s famous bread business—its name.

“A garden room is a wonderful thing—it’s embracing, it’s

structure,” says Herman, who tours English gardens every year

with James Doyle, her coprincipal at Doyle Herman Design

Associates, for ideas. “And if you don’t have structure, what do

you have?” A tall beech hedge defines Herman’s garden

room, which has been subdivided by flying buttresses, also of

beech, into compartments that shelter flower beds. The dense

greenery, sheared once a year to keep it tidy, recalls similarly

architectonic enclosures at Staffordshire’s Biddulph Grange

and Warwickshire’s Coughton Court.

Referencing the Popes’ thematic plantings, eight of Herman’s

compartments are each dedicated to a single color: white, pink,

purple, blue, yellow, chartreuse, apricot, and black (really dark

maroon). Here froth leopard lilies, Buckeye Belle peonies, Gold

Bullion cornflowers, and much more: 150 different varieties and

counting. “As new plants strike my fancy,” Herman says, “I work

them in.” The two remaining compartments are “still moments,”

she says, “filled with one really large boxwood surrounded by

Alchemilla mollis.”

The perennial garden was planned to be the first thing

that Herman and her financier husband, Ron, would see every

morning from their second-floor bedroom. “I don’t have to

walk through it to enjoy it,” the designer explains. The garden

room is also on axis with the living room’s bay window, which

frames another entrancing view. “I think hard about the inside

and the outside,” Herman says. “It’s important to make a

connection between them.”

Though the garden’s polychrome delights last but from

spring to fall, Herman notes that its cold-weather countenance,

when the beech leaves turn a fawn color and hang on nearly all

winter, pleases too. “After all the perennials fade away, what’s

left is the structure—beech hedge and rounded boxwood,” she

says. “No matter what, it’s a really pretty garden.”

N

ABOVE THE HERMANS’ HOUSE IS A FORMER GROOM’S COTTAGE AT CONNECTICUT’S LEGENDARY PEPPERIDGE FARM.

OPPOSITE A STONE WALL, GARLANDED WITH CHINESE WISTERIA, ENCLOSES THE DISCREET SWIMMING POOL.

“A garden room is structure,” Herman says. “And if you don’t have structure, what do you have?”

THE GARDEN’S FLORAL COMPARTMENTS ARE

SEPARATED BY FLYING BUTTRESSES OF SHAPED BEECH.

82 ARCHDIGEST.COM

WORKac—KEW GARDENS HILLS LIBRARYAs part of New York’s Design and Construction Excellence program—an initiative to improve public architecture—Amale Andraos and Dan Wood (above) recently completed a sculptural update and extension to this Queens public library, attracting some 2,000 visitors to its opening this past September. Topped by a sloping green roof and clad with a rippling GRFC façade, a faceted envelope now frames the library’s original footprint, creating light-filled reading rooms for adults, children, and teens. “Libraries are places where everyone feels at home,” says Wood, noting that the building has become a beloved gathering spot for the neighborhood’s diverse population— including immigrants and youth who can now make use of the branch’s English-language courses, tax-preparation seminars, and after-school programming. “It’s not a given that a city would show this interest in design,” says Andraos. Adds Wood, “What they found is that it doesn’t cost much more to build something good.”

BIG–Bjarke Ingels Group

—DRYLINECharged with protecting ten

miles of Manhattan’s waterfront in the aftermath of Hurricane Sandy,

AD100 architect Ingels (right) has envisioned a ribbon of community

and cultural spaces that would both engage the public and withstand

future floods. Nicknamed the Dryline, his forthcoming park—winner of the

local Rebuild by Design competition—will combine a raised landscape of

protective berms and resilient plants with re creational features such as

skate parks, undulating double benches, and winding bicycle paths.

In the event of rising waters, art walls deploy as shutters, serving as an

emergency barrier. Rain or shine, the Dryline promises to do the city proud.

PRIDE OF PLACEA new generation of architecture and

landscape visionaries is showing how design can make a difference in New York City—

one library, one park, and one housing complex at a time. Meet today’s public defenders.

TEXT BY SAM COCHRAN

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Nelson Byrd Woltz—NAVAL CEMETERY LANDSCAPEThanks to Thomas Woltz (above), what was once a cemetery on the outskirts of the Brooklyn Navy Yard now serves as a verdant park along the Brooklyn waterfront’s network of bike paths. “Because this was sacred land, one of the stipulations was to not disturb the ground—no heroics of earthmoving,” says Woltz, who was enlisted by the Brooklyn Greenway Initiative and collaborated with Marvel Architects.

“Restrictions lead to innovation.” Studying the ecological and cultural histories of the site, he tailored his scheme to achieve maximum fecundity. Added cherry trees nod to a long-gone orchard; an elevated timber walkway echoes the sinuous creek that once rippled through wetlands; and grasses and pollinator plants draw bees, birds, and bats from the neighborhood, this lush meadow changing season to season.

“What we commemorate is the human condition, these cycles of life and death,” says Woltz. “People have really responded to this tiny, low-budget park. It slows down your heart rate. It calms you.” T

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Adjaye Associates—SUGAR HILL PROJECTAs one of the most sought-after architects of his generation, AD100 honoree Sir David Adjaye (below) has designed homes for the likes of art stars and celebrities. But in the case of this 2015 complex, he created shelter for some of New York’s poorest and most vulnerable citizens. Distinguished by sculptural setbacks, daring cantilevers, and concrete façade panels embossed with floral patterns, Sugar Hill comprises 124 subsidized apartments, with irregular windows that frame sweeping city views. “My primary consideration has been dignity,” Adjaye says of public housing. “Too often, generic design has created isolating and dehumanizing environments.” In a further departure, the project features a range of public programming, with a children’s museum and an early-childhood center. “The hope is that it can provide a model for a more integrated approach,” explains Adjaye.

Cornell Tech Campus, Architecture by HANDEL ARCHITECTS, MORPHOSIS, and WEISS/MANFREDIMaster Plan by SKIDMORE, OWINGS & MERRILLLandscape Design byJAMES CORNER FIELD OPERATIONS

At the graduate school’s new eco-friendly campus on Roosevelt Island, unveiled this past September, buildings not only support one another, they bolster the city at large. More than 2,000 photovoltaic panels crown the Morphosis-designed academic center (above) and Weiss/Manfredi–designed innovation hub, with power generated from both channeled toward the center, helping the building reach its ambitious net-zero goal. A residential tower by Handel Architects, meanwhile, boasts ultralow energy consumption. The goal for the campus is to help reestablish New York as a center of the tech indus-try, melding entrepreneurship and academia on this green (in every sense) stretch of city.— Cary Leeds Center for Tennis & Learning, Architecture by GLUCK+

Tennis lovers of all back-grounds converge at this socially conscious Bronx complex, comprising 22 courts and a glass-and-steel clubhouse. Terraced into the earth, the center operates as the flagship for New York Junior Tennis & Learning— a nonprofit offering free lessons and tutoring to

underserved youth. On any given day, these kids can be found practicing their backhand or perfecting their footwork alongside other members of the local com-munity. In the center’s first year alone, some 7,000 chil-dren and 1,000 adults used the facility, with 6,000 hours of court time provided to youth in need. Now that’s what we call a strong serve. —New York City AIDS Memorial,Architecture by STUDIO AI ARCHITECTS

Only a couple of years ago, there was no permanent trib-ute to AIDS victims, care-givers, and activists in New York, a city that has lost more than 100,000 people to the disease and which birthed the activist movement. This memorial filled that void. Completed in December 2016,

the striking steel canopy wel-comes visitors to St. Vincent’s Triangle, opposite what was the hospital with Manhattan’s first AIDS ward. An installa-tion of pavers by artist Jenny Holzer, meanwhile, reveals the engraved words of Walt Whitman’s beloved poem “Song of Myself.” All offer a vivid reminder not just of the toll taken by the epidemic, but also the work still to be done.

FOR THE GREATER GOODJust three of the many more local additions having an impact

UNDER THE TUSCAN SUN

A pink-walled former convent becomes a

boho-chic family getaway for Jacaranda Caracciolo

di Melito Falck and her rollicking clan

TEXT AND STYLING BY HAMISH BOWLES PHOTOGRAPHY BY FRANÇOIS HALARD P

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ARCHDIGEST.COM 87

JACARANDA CARACCIOLO

DI MELITO FALCK’S HOUSE WAS

DECORATED WITH TOMMASO

ZIFFER. MADELINE WEINRIB RUGS,

CUSHIONS OF GREEN DEDAR

VELVET. OPPOSITE PINK ROSES

TUMBLE OVER A STONE WALL.

FOR DETAILS SEE RESOURCES.

alling between Florence to the north

and Rome to the south, Maremma was

once an impoverished hinterland, its

Tuscan hills rolling down to malarial

marshes. Mussolini may have had the

swampland drained, but in the postwar

period it was the country’s left-wing

intelligentsia who discovered the humble

houses, ripe for conversion, in the

medieval hilltop town of Capalbio.

An old convent crowning a nearby

hill assumes special architectural prominence among the

modest farmsteads. Circled by groves of towering pines and

citrus and olive trees, it caught the eye of a noble Italian

couple (he was married, but not to her) who used it as their

love nest after World War II. Then in 1960 it was acquired as a

holiday retreat—the area is now considered the Hamptons of

Rome—by Don Filippo Caracciolo, eighth Prince of Castagneto

and third Duke of Melito. Today the terra-cotta-pink former

convent makes a convivial setting for Don Filippo’s grand-

daughter Jacaranda Caracciolo di Melito Falck, a dynamic

journalist, television producer, and philanthropist, and her

children, Alessandro, Sofia, and India Borghese.

Jacaranda grew up in a “very cozy” Milanese house that

her mother, Anna Cataldi, an associate producer of the movie

Out of Africa, decorated with Renzo Mongiardino, layered

with treasures brought back from India and Africa, where

Jacaranda spent much of her childhood. When she married a

Borghese prince and moved to Rome, she began to spend more

time at the old convent, which she eventually inherited.

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ARCHDIGEST.COM 89

“I like the buzz of the farm,” says Jacaranda, who claims

to be practically self-sufficient.

CLOCKWISE FROM FAR LEFT STUART BARFOOT

DESIGNED THE GAR-

DENS. JACARANDA,

AT RIGHT IN MISSONI,

STROLLS WITH HER

CHILDREN ALESSANDRO

AND INDIA, WHO

WEARS PHILOSOPHY

DI LORENZO SERAFINI.

IN ALESSANDRO’S

BATH, AN IKAT PRINT BY

SWAVELLE/MILL CREEK

FABRICS CURTAINS THE

DEVON&DEVON TUB;

CEMENT WALL TILES BY

MOSAIC DEL SUR. IN A

LIVING ROOM, BESPOKE

SOFAS WEAR WILLIAM

YEOWARD FOR DESIGN-

ERS GUILD FABRICS.

MARIO SCHIFANO

PAINTING, MADELINE

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Jacaranda’s style owes something to the unpretentious chic

of her American grandmother.

A PORTRAIT OF JACARANDA’S GRANDMOTHER

SURVEYS THE LIBRARY. TOM DIXON PENDANT LIGHT,

TERRA-COTTA SCULPTURE BY NIKI DE SAINT PHALLE.

OPPOSITE DACHSHUNDS ARTÙ AND NIKI STAND

GUARD IN THE DINING ROOM, WHERE A MADELEINE

CASTAING BY BRUNSCHWIG & FILS WALLPAPER

BORDER CREATES A FRAME. ENGLISH REGENCY

DINING TABLE AND CHAIRS, VOCATURI SCONCE.

92 ARCHDIGEST.COM

LEFT A GUCCI DRESS

IS LAID ON AN ITALIAN

EMPIRE BED OUTFITTED

WITH ADA GIOVANNELLI

LINENS. ANTIQUE

ITALIAN ARMCHAIRS

ARE CUSHIONED WITH

A VINTAGE PRINTED

COTTON; TUSCAN

EMPIRE COMMODES.

OPPOSITE IN A SALON,

A BENCH AND ARM-

CHAIRS ARE DRESSED IN

A MANUEL CANOVAS

VELVET. DOGS LOUNGE

AMONG SILK CUSHIONS.

MOROCCAN BRASS

PENDANT, NEAPOLITAN

TILE FLOOR.

“I like the buzz of the

farm,” the indefatigable

Jacaranda explains—she

claims to be practically self-sufficient and is cofounder of

Wellbeing by Giaca, an organic-supplement company—but

a path on the property leads to a wonderland that’s far from

rustic. In 1979 her father, Carlo, and uncle Nicola gave the

feminist artist Niki de Saint Phalle the land on which to realize

a Tarot-inspired sculpture garden. (Its writhing wonders

inspired Maria Grazia Chiuri’s spring 2018 Dior collection.)

Jacaranda is continuing the family’s cultural philanthropy:

Last July she brought Ilya and Emilia Kabakov’s itinerant

Ship of Tolerance sculpture, which has life-size sails painted

by local schoolchildren, to Maremma. “We want to keep our

hearts open to those who need to migrate now,” she says.

Urbane Roman decorator Tommaso Ziffer helped with the

house, although the interventions are minimal. For inspiration,

Jacaranda assembled favorite images on a Pinterest board—

stripes, toiles de Jouy, and the daintily high-style interiors of

the decorator Madeleine Castaing, who also celebrated the

unusual greens and blues in which Jacaranda delights. Artists

transformed the drawing room’s whitewashed walls with a

eucalyptus wash and painted the library arsenic-green. The

latter spot is filled with old bound volumes of the innovative

leftist newspaper La Repubblica and the weekly magazine

L’Espresso, both cofounded by Jacaranda’s father and famed

for their powerful graphics.

The house also owes something to the style of her American

grandmother Margaret Clarke (born to a mayor of Peoria,

Illinois), whose meltingly pretty debutante portrait hangs in the

library. The Midwestern princess’s taste for unpretentious

comfort was instilled in Jacaranda’s aunt Marella Agnelli,

who deflated the splendor of her own world-class artworks by

hanging them in roomscapes of wicker furniture and sprigged

cotton. Similarly, Jacaranda and Ziffer sleuthed kinetic uphol-

stery fabrics (“the funkier, the better!” she declares) to dress

the commodious sofas and armchairs that came with the house.

The most dramatic change, Jacaranda confesses, is the

garden. “It was fantastic but very claustrophobic,” she recalls.

“My father didn’t like to eat outside. A little bit of outside air to

have a drink, perhaps, and then he’d repair inside to play chess

and watch videos.” Visitors bemoaned the want of a view, so

Jacaranda fearlessly toppled stone walls and axed shadowing

trees. “The first few months, it looked like a lunar landscape,”

she recalls. “I thought I had made the biggest mistake on Earth.”

Today the house commands a scintillating vista down the

hill to a World Wildlife Fund nature reserve and the azure

waters of the Tyrrhenian Sea. (It’s not all sunbathing, though—

a hip nightclub is being planned that will be a locus for the

region’s social life.) The refreshed garden, meanwhile, created

with landscape designer Stuart Barfoot, is already a mass of

crimson and blush-white roses.

“This open space changed our life,” says Jacaranda, survey-

ing her bucolic domain. “Because we have so many in the house

in summer, we always plan lunch and dinner for 25.” In the

balmy heat of high summer, essential protection is provided by

a new pergola, tumbling with white wisteria and shaded by—

what else?—a jacaranda tree, its spreading branches engulfed

by a cloud of flamboyant purple blossoms.

When it came to fabrics, “the funkier, the better,” Jacaranda says.

94 ARCHDIGEST.COM

MODERN FAMILYPAGES 34–47: Landscape design by Bradley-Hole Schoenaich Landscape; bhsla.co.uk. PAGES 34–35: On chairs, various linens from the Cloth Shop;theclothshop.net. Flowers and vases from Flowerbx; flowerbx.com. PAGE 37: Xila kitchen by Boffi; boffi.com. PAGES 38–39: On walls, (similar) Grasscloth wallpaper, in wheat, by Hinson & Co. from Donghia (T); donghia.com. On ottoman, (similar) Josef Frank Exotic Butterfly fabric by Schumacher (T); fschumacher.com. 2-seater Standard Arm Signature sofa by George Smith (T) (at left); georgesmith.com. On 3-seater Standard Arm Signature sofa by George Smith (T) (at right), Lubeck cotton velvet, in eggplant, by Brunschwig & Fils (T); brunschwig.com. Wooden jigsaw puzzle by Par Puzzles; parpuzzles .com. PAGES 42–43: Bed curtain and canopy of linen from the Cloth Shop; theclothshop.net. Bedding from Monogrammed Linen Shop;monogrammedlinenshop.com. PAGE 44: New Zealand sheepskin rug, in ivory, from the Conran Shop;conranshop .co.uk. PAGE 45: Stella Corner sofa by Sofa.com; sofa.com.Warren Platner coffee table by Knoll; knoll.com.

DOMESTIC BLISSPAGES 48–55: Interiors by Nate Berkus Assoc.; nateberkus.com. Architecture by Core Development Group; coredgroup.com. Custom curtains throughout by Interior Specialties Group (T); interiorspec .com. PAGES 48–49: Poul Kjærholm–style PK80 daybed from Modern Classics Furniture; modernclassics.com. On armchairs, Cato wool-blend, in ivory, by KnollTextiles; knoll.com. Japanese Sakiori lumbar pillows by Commune Design; communedesign .com. Aurum candle by Baobab Collection; baobabcollection.com. Set of three Viva brushed brass tables by Kravet (T); kravet.com. Jute rug and Charlton floor lamp, both by RH;rh.com. Kreten side tables by Isaac Friedman-Heiman from Souda;soudasouda.com. PAGE 50: Pendant Leaner mirror by RH; rh.com. Raw concrete bench by Teak Warehouse;teakwarehouse.com. PAGE 51: In pool area, Kuba teak sun loungers (in foreground) and armless club chairs

(in background) by Teak Warehouse;teakwarehouse.com; all in acrylic fabric, in white, by Sunbrella;sunbrella.com. Cast concrete cylinders by RH; rh.com. Platinum candle by Baobab Collection; baobabcollection.com. PAGES 52–53: In master bedroom, Sullivan platform bed by RH; rh.com. Floor cushions by Adam Pogue for Commune Design;communedesign .com. Melt copper pendant lights by Tom Dixon;tomdixon.net. Reclaimed Russian Oak Closed nightstands and Milo Baughman Model #3418 chair, both by RH. Dunne stool by Kravet (T);kravet .com. Cuir de Russie candle by Baobab Collection; baobabcollection .com. Chunky braided wool rug by RH. In master-bedroom sitting area, CB-457 Geometric daybed by BassamFellows; bassamfellows.com. Charles and Ray Eames Molded Plywood Lounge chair by Herman Miller; hermanmiller.com. Ceramic vessel by Eric Roinestad for the Future Perfect; thefutureperfect.com. Shag wool rug by Woven (T); woven .is. Cowhide Fino rug by RH.PAGE 54: In outdoor dining area, Bistro Modern dining chairs by Teak Warehouse; teakwarehouse.com. Custom concrete table by James De Wulf; jamesdewulf.com. In living room, Royce Fabric Chaise, in bisque, by RH Modern; rhmodern.com. Clarkson floor lamp by Aerin from Circa Lighting; circalighting.com. Full polished fossil stool by Noir;noirfurniturela.com. Cowhide rug by Gaucho Cowhide Rugs; gaucho cowhides.com. In dining room, Hans Wegner Wishbone chairs for Carl Hansen & Son from Design Within Reach; dwr.com. Tulu wool rug by Woven (T); woven.is. Katy pendant lighting by Light Cookie from Etsy; etsy.com. In entry, Matter lamp by Schoolhouse Electric & Supply Co.;schoolhouse.com. Glass sculpture by John Hogan for the Future Perfect;thefutureperfect.com. Vintage Maison Raphael console from 1stdibs; 1stdibs .com. PAGE 55: Pinstripe Flatweave rug, in blue/ivory, by RH; rh.com. Callum bunk bed by RH Teen; rhteen .com. Willow Swingasan hanging chair by Pier 1 Imports; pier1.com. Icelandic sheepskin throw by CB2;cb2.com. Natalia side table by CFC; customfurniturela.com. Helix Acacia bookcase by CB2.

BOLD CHOICEPAGES 56–61: Interiors by Muriel Brandolini; murielbrandolini.com.Architecture by Labo Design Studio; labodesignstudio.com. PAGES 56–57:Tranche cocktail table by Ludwig & Dominique; ludwigetdominique.com.Gino Sarfatti for Arteluce 2042/6

chandelier from Galerie Kreo; galeriekreo.com. Sofa by Éric Gizard; ericgizard.com; in Giorgio viscose velvet, in yellow ochre, by Sacho from Donghia (T); donghia.com. PAGE 58:In office/guest bedroom, on walls, Zosa cotton, in chalk stone leaf, by Harlequin from Style Library (T); stylelibrary.com. On custom cork bed by City Joinery; cityjoinery .com;Compartment cotton, in 466154–002 golden, by Maharam (T); maharam .com. Custom pillows by Brenda Colling; brendacolling.com; in corduroys by Holland & Sherry (T); hollandsherry.com. Rug by Fedora Design; fedoradesign.com. In foyer, rug and custom stair runner by Fedora Design. Runner fabricated by Studio Four NYC; studiofournyc .com. PAGE 59: In bedroom, Erica chaise by Vladimir Kagan from Holly Hunt (T); hollyhunt.com.Propogation console by Hervé Van der Straeten from Ralph Pucci; ralphpucci.net. On walls, patterned Adobe Handstitch Sunbrella acrylic, in navy ecru, by Quadrille (T); quadrillefabrics.com. Carpet by Studio Four NYC; studiofournyc.com. In dining room, Roland Rainer dining chairs from 1stdibs; 1stdibs.com.Custom table by City Joinery; cityjoinery.com. Dinnerware by L’Objet; l-objet.com. Napkins by Sferra; sferra.com. On walls, Mechanism fabric, in bronze, by Maharam (T); maharam.com.

NAUGHTY BY NATUREPAGES 62–73: Custom pieces throughout by Alexandre de Betak. PAGE 62: Vintage ceiling lights from Off the Wall Antiques; offthewallantiques.com. Pole by Platinum Stages; platinumstages.com.On walls, mirrors by Olde Good Things; ogtstore.com. On table, lights from Canal Lighting and Parts; 212-343-0218. PAGE 63: Custom sofas fabricated by Tania Kovalenko; taniakovalenkoltd.com; in fabric by Gray Lines Linen; graylinelinen.com.Custom tatami mats by Miya Shoji; miyashoji.com. PAGES 64–65:In kitchen, sink fittings by Chicago Faucets; chicagofaucets.com. Étienne Fermigier for Mirima barstools from Pamono; pamono.com. Pendant light from Galerie Meubles et Lumières; meublesetlumieres.com. PAGE 66:On bed, vintage throw from Paula Rubenstein Ltd.; paularubenstein .com.Curtains of fabric by Gray Lines Linen; graylinelinen.com; fabricated by Tania Kovalenko; taniakovalenkoltd.com.PAGE 67: Floor lamp by Franz West from 1stdibs; 1stdibs.com. Flooring from Creative Floor Solutions; creativefloorsolutions.com. Velvet armchairs from Galerie Berger;

+33-3-8022-0979. PAGES 68–69:Armchairs and sofa from Galerie Berger; +33-3-8022-0979. Cashmere throw by Gabriela Hearst; gabrielahearst.com. Vintage stool from Paula Rubenstein Ltd.; paularubenstein.com. PAGE 70: In bath, cast-iron skirted bathtub and towel rack by Drummonds; drummonds-uk.com.Tub filler by Lefroy Brooks; lefroybrooks.com. Vintage mirror and stools from Paula Rubenstein Ltd.; paularubenstein.com. PAGE 71: In main room, Broadway chairs by Gaetano Pesce from 1stdibs; 1stdibs .com. Crane lamp by Curtis Jeré from 1stdibs.

ANGLO ATTITUDEPAGES 76–81: Landscape design by Doyle Herman Design Assoc.; dhda.com.

UNDER THE TUSCAN SUNPAGES 86–93: Architecture and interiors by Tommaso Ziffer; tommasoziffer.it. Landscape design by Stuart Barfoot Garden and Landscape Design; stuartbarfoot.com.PAGES 86–87: On chairs, pillows of Romeo & Giulietta silk velvet, in pino, by Dedar (T); dedar.com. Brooke Tibetan rugs by Madeline Weinrib; madelineweinrib.com. PAGES 88–89:In living room, on sofas (similar, left to right), Bude fabric, in ink, and Elena Denim fabric by William Yeoward for Designers Guild (T); designersguild.com. Mandala Tibetan carpet, in blue, by Madeline Weinrib; madelineweinrib.com. Lampshade by L.A.R.; paralumi.it. In Alessandro’s bathroom, shower curtain of Atoosa fabric, in dark denim, by Swavelle/Mill Creek Fabrics (T); swavellehospitality.com. On walls, 10593 tiles, in white, dark gray, camel, and brown, by Mosaic del Sur; mosaicdelsur.com.Draycott tub by Devon&Devon; devon-devon.com. Tub filler by Ponsi; ponsi.it. Shower enclosure ring by Hudson Reed; hudsonreed.com.Terra-cotta floor tiles by Fornace Biritognolo; fornacebiritognolo.it.PAGE 90: Wall finish by Philippe Gandon; +39-3-4838-11848. Lola Montez wallpaper border, in emerald/blue, by Madeleine Castaing from Brunschwig & Fils (T); brunschwig.com. Sconce by Vocaturi; vocaturi artedelferro.it. PAGE 91: Copper Shade pendant light by Tom Dixon; tomdixon.net. On walls, paint finish by Picta Lab; pictalab.com. PAGE 92:Bedding by Ada Giovannelli; adagiovannelli.com. Lampshades by L.A.R.; paralumi.it. PAGE 93:Lampshade by L.A.R.; paralumi.it.On bench and armchairs, (similar) Texas cotton blend, in cardinal, by Manuel Canovas (T); cowtan.com.

Items pictured but not listed here are not sourceable. Items similar to vintage and antique pieces shown are often available from the dealers listed.

(T) means the item is available only to the trade.

resources

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last word

Hotbed of CreativityEvery August, some 70,000 creative souls descend upon Nevada’s Black Rock Desert for Burning Man, a week-

long festival of self-expression, total inclusion, and communal living. Radical dwellings and infrastructure

appear out of nowhere only to then be completely disassembled, vanishing without a trace. Those of us who

have never had the pleasure—or perhaps courage—to go will soon have the opportunity to live vicariously at

the Smithsonian American Art Museum’s Renwick Gallery in Washington, D.C. Opening on March 30, its new

exhibition “No Spectators: The Art of Burning Man” captures the experimental ethos through three stories of

archival photographs, ephemera, jewelry, and costumes, as well as installations by the likes of Leo Villareal,

Christopher Schardt, and Michael Garlington and Natalia Bertotti. (Pictured is Totem of Confessions, Garlington

and Bertotti’s 2015 chapel of paper, plaster, and wood.) Seasoned Burners, meanwhile, can expect to find

the same free spirit—just none of the dust. Through September 16; americanart.si.edu —SAM COCHRAN