Architectural Digest USA - 04 2019

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THE INTERNATIONAL DESIGN AUTHORITY APRIL 2019
DESIGNERS AT HOME
FRANK GEHRY BUILDS HIS DREAM HOUSE
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CONTENTS april
92
MICHELLE NUSSBAUMER’S
SAN MIGUEL DE
ALLENDE GETAWAY.
24 Editor’s Letter
26 Object Lesson
How tropical foliage
became a staple of postwar
American design.
33 Discoveries
Kerry Washington enlists
RH to transform a bare
apartment into a cozy
family home . . . Carrier and
Co. launch a long-awaited
furniture collection . . .
Kelly Wearstler’s debut
collection for Georg Jensen
. . . Our favorite new fabrics
. . . Designer John Whelan
revives France’s classic
brasseries . . . The Webster
starts selling whimsically
refined furnishings . . .
Picasso biographer John
Richardson is a master of
domestic bliss . . . Kit Kemp
brings her kaleidoscopic
world to Bergdorf
Goodman . . . and more!
75 Great Baths
AD’s editors break down
CLOCKWISE FROM TOP RIGHT: DOUGLAS FRIEDMAN; JASON SCHMIDT; DOUGLAS FRIEDMAN
all the tools needed to
make a splash, from 3-D
tiles to stylish surfaces to
minimalist must-haves.
ON OUR COVERS FOR DETAILS SEE RESOURCES
92 Restoration
Drama
Two ruined buildings in
San Miguel de Allende THE KITCHEN IN THE DINING ROOM IN
MICHELLE NUSSBAUMER’S FRANK GEHRY’S SANTA
are reborn under designer MEXICO HOME. MONICA HOME.
Michelle Nussbaumer. “RESTORATION DRAMA,” “UNCOMMON VISION,” PAGE
PAGE 92. PHOTOGRAPHY BY 108. PHOTOGRAPHY
BY MITCHELL OWENS
DOUGLAS FRIEDMAN. BY JASON SCHMIDT. STYLED
(CONTINUED ON PAGE 18) STYLED BY MIEKE TEN HAVE. BY MICHAEL REYNOLDS.
14 A R C HDIGE S T.COM
ABU DHABI ATHENS ATLANTA BANGKOK BEIJING CHICAGO
JAKARTA KUALA LUMPUR KUWAIT KIEV LONDON LOS ANGELES
RIYADH SAINT PETERSBURG SAN FRANCISCO SANTIAGO SHANGHAI SINGAPORE

DALLAS DETROIT DOHA DUBAI HONG KONG ISTANBUL
MELBOURNE MOSCOW NEW DELHI NEW YORK MIAMI
SYDNEY TAIPEI TOKYO TORONTO VANCOUVER WASHINGTON, DC
theodorealexander.com
CONTENTS april
108 Uncommon
Vision
Legendary architect Frank
Gehry builds a new dream
house in Santa Monica.
BY PAUL GOLDBERGER
118 Statement Piece

In an eye-catching Tribeca
tower, architect Lee F.
Mindel devises an inspired
setting for his collection.
BY PILAR VILADAS
126 Cause and Effect

Milan-based designer
Laura Sartori Rimini
feathers a worldly London
pied-à-terre.
BY MITCHELL OWENS
134 Cool Customer

Designer Robert Stilin’s
SoHo apartment is a love
letter to the art, books, and
furniture that inspire him.
BY MAYER RUS
140 Love Shack

When actor Giovanni
Ribisi hired Pierce & Ward
42
KELLY WEARSTLER
DESIGNS A COLLECTION
to decorate his L.A. house, FOR GEORG JENSEN.
he found his life partner.
BY JANE KELTNER DE VALLE
148 Resources
The designers, architects, FOLLOW @ARCHDIGEST
and products featured
this month.
150 Last Word SUBSCRIPTIONS

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33
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THE INTERNATIONAL DESIGN AUTHORITY VOLUME 76 NUMBER 4
EDITOR IN CHIEF
Amy Astley
CREATIVE DIRECTOR David Sebbah EDITORIAL OPERATIONS DIRECTOR Diane Dragan

EXECUTIVE EDITOR Shax Riegler EXECUTIVE DIRECTOR, DIGITAL Keith Pollock
INTERIORS & GARDEN DIRECTOR Alison Levasseur STYLE DIRECTOR Jane Keltner de Valle FEATURES DIRECTOR Sam Cochran
DECORATIVE ARTS EDITOR Mitchell Owens WEST COAST EDITOR Mayer Rus
FEATURES MARKET CREATIVE COMMUNICATIONS + EDITORIAL PROJECTS

SENIOR DESIGN WRITER Hannah Martin MARKET EDITOR Madeline O’Malley DESIGN DIRECTOR Natalie Do EXECUTIVE DIRECTOR, PUBLIC RELATIONS
DEPUTY DIRECTOR, DIGITAL VISUALS DIRECTOR Michael Shome Erin Kaplan
Kristen Flanagan PRODUCTION VISUALS EDITOR, DIGITAL Melissa Maria DIRECTOR, EDITORIAL PROJECTS
SPECIAL PROJECTS DIRECTOR, DIGITAL EDITORIAL OPERATIONS MANAGER JUNIOR DESIGNER Patricia Preuss Jeffrey C. Caldwell
Sydney Wasserman Nick Traverse VISUALS ASSISTANT Emily Bukowski
ENTERTAINMENT DIRECTOR Dana Mathews PRODUCTION DIRECTOR Jason Roe CONTRIBUTORS
EXECUTIVE FEATURES EDITOR David Foxley CONTRIBUTING PRODUCTION EDITOR VIDEO CONTRIBUTING EDITOR AT LARGE
CLEVER EDITOR Lindsey Mather David Byars Matt Duckor, Sara Snyder,
PRODUCERS Michael Reynolds
ASSOCIATE FEATURES EDITOR, DIGITAL PRODUCTION DESIGNER Cor Hazelaar Chauncey McDougal Tanton, CONTRIBUTING STYLE EDITORS
Nick Mafi ART PRODUCTION EDITOR Katharine Clark Rusty Ward Lawren Howell, Carolina Irving
Elizabeth Fazzare,
EDITORIAL ASSISTANTS CONTRIBUTING EDITORS
Katherine McGrath (Digital), COPY AND RESEARCH ARCHDIGEST.COM Amanda Brooks, Gay Gassmann
Carly Olson COPY DIRECTOR Joyce Rubin ASSOCIATE DIRECTOR OF MARKET DEVELOPMENT CONTRIBUTORS Fabiola Beracasa
ASSISTANT TO THE EDITOR IN CHIEF RESEARCH DIRECTOR Andrew Gillings Erika Owen Beckman, Derek Blasberg,
Gabriela Ulloa COPY MANAGER Adriana Bürgi ANALYST, DIGITAL INTELLIGENCE Kevin Wu Peter Copping, Sarah Harrelson,
RESEARCH MANAGER Leslie Anne Wiggins Pippa Holt, Patricia Lansing,
AD PRO Colby Mugrabi, Carlos Souza
EDITOR Katherine Burns Olson EDITOR EMERITA Paige Rense Noland
DEPUTY EDITOR Allie Weiss
SENIOR STYLE & MARKET EDITOR
Benjamin Reynaert
FEATURES EDITOR Anna Fixsen
REGIONAL NEWS EDITOR Tim Latterner
ASSOCIATE VISUALS EDITOR
Gabrielle Pilotti Langdon
ARTISTIC DIRECTOR
Anna Wintour
CHIEF BUSINESS OFFICER

Eric Gillin
HEAD OF SALES, LIFESTYLE DIVISION Jennifer Mormile

HEAD OF SALES, HOME Jeff Barish HEAD OF MARKETING Bree McKenney VP, FINANCE & BRAND DEVELOPMENT Rob Novick
VP, MARKETING Casey McCarthy HEAD OF OPERATIONS Rob DeChiaro
ASSOCIATE DIRECTORS, MARKETING Caroline Karter, Josh McDonald SENIOR BUSINESS DIRECTOR Jennifer Crescitelli
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editor’s letter 1
1. FRANK GEHRY’S HOUSE—AND FAMOUS

CHAIR—IN SANTA MONICA. 2. DESIGNER
MICHELLE NUSSBAUMER WITH APACHE BURRO
AT HER HOME IN MEXICO. 3. LAURA SARTORI
RIMINI’S LONDON FLAT. 4. WITH DESIGNER
KELLY WEARSTLER AT THE RUG COMPANY, NYC.
5. GEHRY AND HIS SON SAM.
“Sam has truly been a great

partner, and we have
made a once-in-a-lifetime
house.” —Frank Gehry
T
3
his issue brims with big-name
talents at ease in their per- 5
sonal spaces—it is, after all, our 4
annual Designers’ Own Homes
issue. And these MVPs all prove that they practice what they preach. No
1. JASON SCHMIDT; 2. DOUGLAS FRIEDMAN; 3. MIGUEL FLORES-VIANNA;

less a giant than Frank Gehry allows AD an exclusive look into the fascinat-
ing, unconventional, unpretentious, and totally personal Santa Monica house he code-
signed with his son Sam (who works alongside his father at Gehry Partners) for himself
and his wife. A hearty thank-you is in order to critic and historian Paul Goldberger—who
describes Casa Gehry as “a modern version of an Adirondack lodge”—for both writing
4. DAVID X PRUTTING/BFA.COM; 5. JASON SCHMIDT
and shepherding this important story. Among the other mega-players in these pages:
Architect and passionate collector Lee F. Mindel shares his clean-lined apartment in New
York’s so-called Jenga building (designed by Herzog & de Meuron), which he has art-
fully filled with a trove of impressive modernist and contemporary design masterworks.
Then Laura Sartori Rimini, one half of the celebrated Milanese design duo behind Studio
Peregalli, reveals her lush London pied-à-terre that hits all the firm’s signature notes—
romantic, moody, old-world. “I wanted an English home with many layers,” says Sartori
Rimini, who, naturally, achieved it. After nearly three years of waiting patiently, Dallas-
based designer Michelle Nussbaumer takes us on a fantastical journey to her rustic yet
lavish San Miguel de Allende hacienda: Both internationally inspired and authentically AMY ASTLEY
Mexican, it was definitely worth the trip. We also visit AD100 designers Kelly Wearstler, Editor in Chief
Robert Stilin, and Emily Ward, all at home and in their element. Settle in! @amytastley
24 AR C HDIGES T.COM
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object lesson THE STORY BEHIND AN ICONIC DESIGN
ACTRESS POPPY
Top Banana DELEVINGNE’S

LONDON POWDER
ROOM IS WRAPPED,
FLOOR TO CEILING,
SIMON UPTON
How tropical foliage became IN CW STOCKWELL’S

MARTINIQUE
a staple of postwar American design

WALLPAPER.
26 A R CHDIGE S T.COM
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object lesson THE STORY BEHIND AN ICONIC DESIGN
4
1
B
ack from the Bahamas in 1941, Lucile
and Remy Chatain Sr. of CW Stockwell
textiles asked illustrator Albert Stockdale:
Could he distill the island’s jungly land-
scapes into a wallpaper? He could: The
1. COURTESY OF THEBIGDOMAIN.COM; 2. COURTESY OF 1STDIBS.COM; 3. COURTESY OF STOCKWELL; 4. PAUL COSTELLO/AUGUSTIMAGE;

banana-leaf pattern Martinique, launched
5. COURTESY OF THE BEVERLY HILLS HOTEL; 6. MAYNARD L. PARKER/STOCKWELL/COURTESY OF JOHN F. HABER PUBLISHING CO.
the next year, would soon be installed in CW Stockwell’s
showroom—and featured in AD.
Decorator Don Loper set eyes on CW Stockwell’s
striking install—cut around the top to give the surreal
sense that plants were sprouting from the floor—and
thought it might work in his redo of the Beverly Hills
Hotel with architect Paul Williams. In 1949, renovation
complete, Martinique famously forested the hotel’s
halls, stairwells, and Fountain Coffee Room. 6
“It capitalized on the spirit that the war was newly
over, and everyone was looking inward to their homes,” 5
explains CW Stockwell’s new CEO, Katy Polsby, who

unveiled three fresh hues of Martinique, the California
firm’s signature, in March. The paper is available
1. MARTINIQUE
through CW Stockwell from $228 per roll. FLOURISHES AT
Martinique’s major competitor was Schumacher’s KALEIDOSCOPE
HOUSE, A BED-AND-
Jungle Leaves, a 1947 debut that Manhattan designer BREAKFAST IN
Dorothy Draper created for Quitandinha, Brazil’s NORFOLK, ENGLAND.
2. DOROTHY DRAPER’S
deluxe gambling resort. Brighter than Martinique, BRAZILLIANCE, A.K.A.
accented with glistening sea grapes, and today called JUNGLE LEAVES.
3. MARTINIQUE IN
Brazilliance, it is sold through dorothydraperfw.com. NAVY BY CW
The papers reflected the rage for tropicalia that STOCKWELL;
CWSTOCKWELL.COM.
was sweeping the nation—remember Carmen Miranda’s 4. THE BREAKFAST
campy movie sets? Today’s influencers, from Nate ROOM IN NICKY
HILTON ROTHSCHILD’S
Berkus to Nicky Hilton Rothschild, are just as entranced. FORMER L.A. HOME.
“I first saw Martinique at the Beverly Hills Hotel as 5. THE ICONIC
FOUNTAIN COFFEE
a little girl,” recalls the heiress-entrepreneur, who lined ROOM AT THE
her L.A. breakfast room with the pattern. “Then many BEVERLY HILLS HOTEL.
6. REMY CHATAIN SR.
years later at Bungalow 8.” Proof positive that these IN CW STOCKWELL’S
leaves show no signs of wilting. —HANNAH MARTIN SHOWROOM IN 1947.
30 A R CHDIGES T.COM
DISCOVERIES
THE BEST IN SHOPPING, DESIGN, AND STYLE EDITED BY SAM COCHRAN
WORLD OF
Kerry Washington
After relocating to Manhattan
to star on Broadway, the actress
turned to RH to transform
a bare apartment into a cozy
family home
KERRY WASHINGTON, WEARING A CHLOÉ DRESS, BEA BONGIASCA RING, AND MOVADO WATCH, AT HER NEW YORK APARTMENT,
WHICH WAS DECORATED AND FURNISHED BY RH INTERIOR DESIGN (RH.COM). FASHION STYLING BY SOLANGE FRANKLIN.
PHOTOGR A PHY BY W ILL IAM ABRANOWICZ STYL ED BY CO LIN KING A RCHDI GE ST.COM 33
DISCOVERIES 1
1. MADDOX SOFAS
AND CHAIRS BY
MARMOL RADZINER
FOR RH IN THE GREAT
ROOM; BRUTALIST
CONSTRUCTIVIST
TABLE LAMPS, 17TH
C. MING DYNASTY
COCKTAIL TABLE,
ALPACA POM-POM
PILLOWS, AND 1970s
PETRIFIED SLAB SIDE
TABLE, ALL BY RH.
2. IN THE KITCHEN,
RH'S JAKOB LEATHER
ARMCHAIRS AND
RECLAIMED RUSSIAN
OAK PLANK TABLE.
F
or seven seasons on the ABC hit television show 2
Scandal, actress Kerry Washington played the
HAIR BY TAKISHA STURDIVANT-DREW FOR EXCLUSIVE ARTISTS; MAKEUP BY REBECCA RESTREPO FOR TRACEYMATTINGLY.COM
consummate D.C. insider. But off camera she may
be the quintessential New York success story.
Bronx-born and -raised, Washington has been
lighting up stage and screen for more than a
decade, eventually settling in Los Angeles with her husband,
NFL cornerback turned actor Nnamdi Asomugha, and their
three children. So when Broadway came calling with a lead
role in Christopher Demos-Brown’s searing drama American
Son, it wasn’t just a career opportunity, it was a homecoming.
All she needed was an apartment.
“We spent a lot of time looking for a place that had enough
space for our whole crew, our posse,” Washington reflects
of the citywide search, which led her to a floor-through rental
overlooking the Hudson River on Manhattan’s Upper West
Side. “That view!” she exclaims. “We spend a lot of time
outdoors in L.A., so it was important to me that my family
could still feel that connection.”
Lease signed, she then turned to RH Interior Design, RH’s
in-house studio, available at all the brand’s galleries. Within
a matter of weeks, what were empty, even cold rooms had
been transformed into a cozy family home, brimming with
rich textures, upholstered seating, and rustic touches. “It was
fun to work with a team that pushes you past your comfort
zone,” says Washington, citing the choice of charcoal, as
opposed to her usual off-white, for many of the walls. “RH
created something beautiful and elevated yet totally livable.”
Surrounded by slipcovered chairs, a dining table of reclaimed
oak planks offered the perfect spot for meals with extended
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DISCOVERIES RH'S MODENA SHELTER

BED, CYLINDRICAL COLUMN
ALABASTER TABLE LAMPS,
AND FRAMED NATURAL AGATE
IN THE MASTER BEDROOM.
the art-publishing company founded by

Washington’s friend Portia de Rossi.
The apartment also provided a place
to decompress after emotionally and
physically exhausting days. In American
Son, which closed at the end of January,
Washington’s character experiences
every mother’s worst nightmare: waiting
in a police station to discover the fate
of her missing child. Six days a week, her
powerful performance left her literally
gasping for air. (She’ll repeat the role in
the Netflix adaptation.) Add to that voice
lessons, physical therapy, and family
outings—trips to the zoo, the occasional
musical—and Washington understand-
ably needed a place to kick up her feet.
For Scandal fans, the sight of her
sinking into a sofa—wrapped in cash-
mere, wineglass in hand—remains a
treasured meme. They will be heartened
family and friends (though her kids were just as happy to to know that life does indeed imitate art. “That Cloud couch
perch on RH’s 1940s Vintage Toledo barstools for English- is dangerous—I never wanted to get up,” Washington recalls of
muffin pizzas). Twin seating areas, meanwhile, broke up the family room’s sectional, with pillows piled upon pillows.
the vast great room, welcoming crowds come Thanksgiving It’s tempting to imagine her curled up, surveying her spectacu-
and Christmas, when Washington hosted upwards of 30 lar surroundings, uttering Olivia Pope’s signature line: “It’s
people. A spirit of creativity coursed through the apartment handled!” Do the words ever cross her mind? “You’re not the
in the form of architectural photographs and 3-D-printed first person to ask,” she responds, politely refusing the bait.
paintings from RH’s collaboration with General Public, Nothing gets past a New Yorker. —SAM COCHRAN
GOOD WORKS
IF THESE WALLS COULD TALK

Since 1995, Benjamin Moore has been the go-to
paint supplier for the New York–based nonprofit
Alpha Workshops, which produces handcrafted
wall coverings while providing decorative-arts
education and employment to people in need.
Now the two have made it official: Debuting at the
AD Design Show in New York (March 21 to 24) is
a capsule collection of 15 wallpapers that spotlight
hues from Benjamin Moore’s top-drawer Century
line. “Our paints are still coating the wall; it’s just
a more artistic execution,” says Benjamin Moore’s
Ellen O’Neill, who asked designer Patrick Mele
to use the papers as inspiration for the company’s CLOCKWISE FROM TOP
table at DIFFA’s Dining by Design dinner. $125/ LEFT SPENCER, KIMONO,
TOPOGRAPHY, AND
yard; alphaworkshops.org —HANNAH MARTIN NEWPORT WALLPAPERS.
36 AR CHDIGES T.COM
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DISCOVERIES
DEBUT
Form and
Function
Carrier and Co. translates
its comfortable chic into
a long-awaited furniture
collection
J
esse Carrier and Mara Miller, the husband-and-
wife duo behind the AD100 practice Carrier and
Company Interiors, aren’t exactly newbies when
it comes to furniture. “We’ve been doing custom
pieces for years,” says Miller. “We’ve just never 1
ACTRESS JESSICA
tion since they launched their firm in 2005.

Some of the introductions strike a familiar
tone. The Osborne banquette was adapted
from the tufted settee they created for Jessica
Chastain’s Manhattan dining room, while
the Bee wingback chair is based on one con-
ceived for Vogue’s lobby. (It is named after
Anna Wintour’s daughter, Bee Carrozzini—
like her mother a client.) Throughout the
1. DOUGLAS FRIEDMAN; 2., 3. & 5: COURTESY OF CARRIER AND COMPANY INTERIORS; 4. BFA.COM
collection, a love of historic silhouettes 2
custom are our comfort zone.”
—JANE KELTNER DE VALLE

5
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DISCOVERIES 3
1. KELLY WEARSTLER AT
HOME IN MALIBU. 2. VASES
FROM HER FREQUENCY
COLLECTION FOR GEORG
JENSEN ($195 EACH).
3. A TRIO OF BOWLS (FROM
$95). 4. HURRICANES
(FROM $195).
HAIR BY LELAND FERRELL; MAKEUP BY LEIBI CARIAS FOR CELESTINE AGENCY USING TOM FORD; FLORALS BY ISA ISA
DEBUT
Ripple Effect
Kelly Wearstler looks to the
waves for her new collection
with Georg Jensen
W
hen Kelly Wearstler stainless steel. Each one is wrapped in Wearstler—a longtime collector of
sat down to devel- an undulating motif and hand-finished the brand’s archival silver homeware and
op designs for by Jensen’s artisans. jewelry—is the first American designer
the storied Danish Achieving an effortless flow with to appear on its roster. And this collec-
design company no visible seams, Wearstler explains, tion is just the beginning. “We’re going
Georg Jensen, she “was really challenging, but they pulled to continue to design together,” explains
found a sea of inspiration just outside it off.” Of course, the Georg Jensen Wearstler, who will visit the Georg
her windows. “Our house sits right on team is used to pushing past its comfort Jensen archives this summer in search
the sand,” says the AD100 decorator (and zone. The collection, titled Frequency, of new ideas. For now, she’s quickly
avid surfer) of her family’s Malibu house. is just the latest collaboration for the integrating the first pieces into the house
“The ocean is a big part of my life.” brand, which has been partnering with that inspired their forms: “I’ve already
Taking her cues from the waves, she star designers since it was founded in used them over and over,” she says.
devised six bowls and vessels in one of 1904, recently tapping Patricia Urquiola, “They’re so functional and modern.”
her favorite materials: mirror-polished Ilse Crawford, and Marc Newson. georgjensen.com —HANNAH MARTIN
42 AR C HDIGES T.COM P HOTOGRAP HY BY YOSHIHIRO M AKINO S TYLED BY PAIGE WAS SE L

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DISCOVERIES
ALL IMAGES COURTESY OF RESPECTIVE COMPANIES
SHOPPING A Cut Above

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DISCOVERIES 1
1. FLODERER IN PARIS, ONE OF

SEVERAL BRASSERIES THROUGHOUT
FRANCE THAT HAVE BEEN RESTORED
BY THE GUILD OF SAINT LUKE.
2. BRASSERIE EXCELSIOR IN REIMS.
3. BOUILLON JULIEN IN PARIS.
mural of an 1856 David Roberts painting

of the sun setting over Rome. And at
Bouillon Julien, a landmark on the Rue
du Faubourg Saint-Denis, Whelan and
crew peeled back layers of paint to reveal
the original sea-green wall color, thus
convincing his client that the Wes
3 Anderson–esque hue was not just the
right choice but the only choice.
“It’s like descending into a halluci-
RESTAURANTS
nogenic fish tank,” Whelan reflects.
“That was probably the goal back in the
Bon Appétit day—to make the patrons trip out on
absinthe!” With a fresh coat, he revital-
Designer John Whelan revives ized the historic decor, distinguished by

elaborate murals, stained-glass panels,
France’s classic brasseries one and plaster reliefs.
It’s not every day that you hear
glorious room at a time someone count “watching paint dry”
as a career highlight. But Whelan, an
1. & 2. OSKAR PROCTOR; 3. JOANNA MACLENNAN
Oxford-educated history buff who now
E
picenters of urban life at to return these iconic restaurants to shuttles between London and Paris,
the turn of the 20th century, their former glory. delights in the passage of time—and any
France’s classic brasseries At Brasserie Floderer in the 10th patina that expresses it. When taking on
have too often, in recent arrondissement of Paris, he restored forlorn French institutions, being a Brit
decades, fallen prey to faded frescoes, replaced broken chande- has its advantages, he notes. “The stakes
neglect. But designer John liers, and reproduced original banquettes. might be higher if I were French . . . the
Whelan, founder of the Guild of Saint In Reims, at the Brasserie Excelsior, he pressure of a nation scrutinizing your
Luke, is turning back the hands of time. removed the drop ceiling and revived every move,” he muses. “I have been met
For the past couple of years, he and his 19th-century molding, adorning the walls with surprise and a Gallic shrug.”
team of experts have been on a mission with Limoges porcelain and a wallpaper gsl.works —SARAH HASSAN
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1
A Fashionable Home
Laure Heriard Dubreuil partners
with designer Stéphane Parmentier
to bring whimsically refined
furnishings to The Webster
W
hen Laure Heriard Dubreuil first opened the bou-
PORTRAIT: HUGUES LAURENT; HAIR AND MAKEUP BY CHARLOTTE SARRAY; ALL PRODUCTS COURTESY OF THE WEBSTER
tique The Webster in Miami Beach a decade ago,
she did something almost unthinkable at the time.
Displaying Chanel alongside Superga, she curated
the clothes as if they were her personal wardrobe.
Out went snobbish head-to-toe looks. In came the
mix—all filtered through the French expat’s refined eye.
The Webster has since expanded to five boutiques across the U.S.,
each brimming with design gems such as Pierre Paulin Elysée chairs or a
Gaetano Pesce cabinet. Understandably, her loyal clientele has come to
crave more than just a fashion fix. “The problem is, I get attached,” Heriard 4
Dubreuil says of the statement furniture. “It becomes part of the DNA.”
With the help of interior designer Stéphane Parmentier, she is now
ings that embrace her international, high-low aesthetic. “We’re trying to 6

bring a new flavor that represents the way we live today,” says Parmentier,
the project’s creative director. “Every object, regardless of price, will have
its own strong identity.”
In March, the ground floors of the New York and Miami Beach stores
will be transformed to highlight the rotating home collection. Expect
beaded chairs from Africa, porcelain plates from Japan, and vintage
ceramics. In quite the coup, a rare 1960s Gio Ponti lamp is being reissued
exclusively for The Webster. Sometimes their finds are almost too good.
When Parmentier proposed a pair of antique ceramic lions, Heriard
Dubreuil texted back: “Very good news: I love them. Very bad news: You
have to find others. . . .” Those lions now live in her East Village town-
house. thewebster.us —JANE KELTNER DE VALLE
5
D E S I G N S I N S P I R E D B Y N AT U R E A N D E N G I N E E R E D TO M E E T I T S R E S I L I E N C E
C E L E B R AT I N G T W O D E C A D E S O F S U P E R I O R S H A D E DESIGN
ENGINEERING
I N N OVAT I O N
E X P LO R AT I O N
DISCOVERIES 1
1. A LUCIEN LÉVY-
DHURMER LAND-
SCAPE LOOMS IN
JOHN RICHARDSON’S
NEW YORK LOFT.
2. HIS NEW BOOK.
3. RICHARDSON BY
ANDY WARHOL—
ONE A SILK SCREEN,
THE OTHER AN
ENLARGEMENT OF A
WARHOL POLAROID.
BOOKS
A Knight’s Tale
Apartment to château to
loft, the house-proud Picasso
biographer John Richardson
is a master of domestic bliss
Y
ears ago, I sat next to John Richardson,
the Picasso scholar and art curator, at
a small luncheon at Annette and Oscar
de la Renta’s apartment, and was spell-
bound. His deep, mellifluous voice
seasoned the afternoon with tales that
prompted not only laughter but seriousness as we
discussed politics, literature—even, perhaps surpris-
ingly to some, decorating.
1.–3. FRANÇOIS HALARD/COURTESY OF RIZZOLI
The award-winning man of letters also happens

to be a dab hand when it comes to interiors, as John
Richardson: At Home ($65; Rizzoli) bears eloquent
witness. It’s a candid 224-page memoir of one man’s
life and where he’s lived it, with tart, funny, self-
deprecating, and erudite essays about eight places
he has called home. At one end is his birthplace in
suburban London, outfitted by his elderly father,
a Victorian quartermaster general who “had no taste
whatsoever.” (Sir Wodehouse Richardson died
when his eldest son was five, and, “Almost ninety 3
Introducing
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DISCOVERIES
1. RICHARDSON'S TURQUOISE OFFICE; GLYN PHILPOT PORTRAIT, ANTIQUE

FRENCH CAMPAIGN BED. 2. ARCHITECT ERNESTO BUCH ADDED NEOCLASSICAL
DETAILS, INCLUDING THE LIBRARY'S TOWERING BOOKCASES.
Richardson says of the textiles. Add to that hero-

ically scaled marble busts, grand gilded mirrors,
endless Chinese porcelain jars, and snapshots of
1 him with Picasso and Cocteau and other luminary
friends. (Many of the contents come from previous
residences, like his longtime Connecticut estate,
that have since been sold.) A stuffed turtle wearing
years later, I still miss him.”) At the other is his a red ribbon around its wrinkled neck makes an
present digs near Manhattan’s Union Square. appearance as well, crouching beneath a funky table
Of all the residences remembered, the roman- with legs like tree trunks.
ticism of the 5,000-square-foot converted loft “I like to mix things up so that they galvanize
where Sir John—Queen Elizabeth II knighted each other to life,” Richardson says of his haute
him in 2012 for services to art—now lives stirs me bohème aesthetic. That goes for architecture, too.
the most. Imagine a charismatic explorer wound Though the loft has been ennobled with towering
up in, say, Damascus, armed with Grand Tour spoils pilasters and rusticated wainscot—thank you, archi-
and thousands of books, deployed them within tect Ernesto Buch—the exposed sprinklers and
an architecturally nondescript space that has been steam pipes lend a bracing twist. Like the footnotes
classicized with Greek Doric columns, and then in Richardson’s books, they enrich rather than
1. & 2. FRANÇOIS HALARD/COURTESY OF RIZZOLI; BOTTOM: COURTESY OF B&B ITALIA

flung about dozens of jewel-tone ikats and suzanis. detract, adding their own truth to an autobiography
They give the rooms “a Scheherazade look,” smartly told. —MITCHELL OWENS
OUTDOOR LIVING
Designed by Italian architect Antonio
meanwhile, nod to traditional South
on his travels. bebitalia.com
DISCOVERIES 1
DEBUT
Kit Kemp brings her

color and pattern to
Bergdorf Goodman
K
it Kemp knows the power of a
bold gesture. As the co-owner
6
1. A ROOM AT THE
KIT KEMP–DESIGNED
WHITBY HOTEL IN
MANHATTAN.
ALL IMAGES COURTESY OF RESPECTIVE COMPANIES
2. SAILOR’S FARE-
WELL TABLE LINENS.
3. A FLOOR LAMP
FROM HER BERGDORF
room, and bedroom will be her beloved collections (fabrics for GOODMAN POP-UP.
4. OVER THE MOON
Christopher Farr, tableware for Wedgwood), as well as one-off FABRIC FOR ANDREW
treasures like hand-embroidered sofas and headboards collaged MARTIN. 5. PSYCHO
SPRIG FABRIC FOR
in vintage kimonos. “We have the chance to put together all ANDREW MARTIN.
these things that I’ve been doing organically,” reflects Kemp of 6. WEDGWOOD MYTH-
ICAL CREATURES
the mix, which also includes an array of lighting, upholstered CHINA. 7. SIDE CHAIR.
seating, and much, much more. The results promise to be, like
Kemp, that perfect combination of wit and sophistication.
bergdorfgoodman.com —SAM COCHRAN 7
54 AR CHDIGES T.COM
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Century believes that style and service are personal and best provided by passionate local businesses.
We are proud to be family owned and operated in Hickory, North Carolina since 1947.
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Lumens.com 844.386.2125
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DESIGN STOR IES
1 2 3
4 5 6
LIVEX LIGHTING
For more than 25 years, Livex Lighting has been creating extraordinary decorative
lights, focusing on detail and craftsmanship. Each design is infused with an
LIGHT YOUR LIFE unparalleled passion for the craft as well as undeniable creativity.
With more than 3,500 fashionable styles from which to choose—custom options are
also available—Livex Lighting provides solutions for any space. Each piece features
1. GREENWICH LINEAR CHANDELIER IN NATURAL BRASS FINISH (52045-08)

meticulously hand-applied finishes and is developed with the most current
technologies and design trends. Available in many sizes that are suitable for various
2. OSLO OUTDOOR WALL LANTERN IN BLACK AND BRUSHED
applications, Livex Lighting complements design aesthetics that range from chic and
NICKEL FINISHES (20855-04) 3. MADISON PENDANT CHANDELIER
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IN BRUSHED NICKEL FINISH (40020-91) 4. HILLCREST BATH VANITY IN
POLISHED CHROME FINISH (10362-05) 5. VARICK BATH VANITY WALL Livex Lighting continues to innovate and interpret premium decorative lighting with a
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CHANDELIER IN SATIN BRASS FINISH (40074-12) livexlighting.com for a list of all showroom or ecommerce retailers.

DESIGN STOR IES
1 2
3 4
NEW MOON RUGS

New Moon Rugs’ latest collection takes a subtle cue from the Far East yet makes
a bold statement underfoot.
THE KUMO COLLECTION Eastern Influences

While on a trip to Asia, COO and lead designer Erika Kurtz was captivated by an exhibit of
antique Kimonos, cloth textile fragments, and block print materials she saw in a museum.
“The fluid and organic feel of the designs, the blues in the traditional Shibori dying
techniques, and the antique wood block forms resonated with a history and beauty that
are a perfect complement to the Tibetan rug weaving traditions,” Kurtz says. “Paying
homage to one ancient handwrought art form through the techniques of another
seemed like a perfect union.”
Design Translation
Upon her return, Kurtz was inspired to weave the items she saw abroad into a new line for
New Moon Rugs called, “The Kumo Collection”. These Japanese-inspired rugs effortlessly
blend abstract elements found in nature with stylized block prints in a range of subtle-to-
bold patterns and tones. The 11-rug collection features wave-like patterns, Shibori-inspired
1. SHIBORI, MINERAL: OVERLAPPING LAYERS OF COLOR splashes, and daring abstract designs.
CHARACTERIZE THIS SHIBORI-INSPIRED DESIGN. Commitment to Craft

Known for their hand-woven 100% pure Tibetan rugs, New Moon Rugs is committed to
2. SHIZOKU, IVORY/INDIGO: THIS BOLD PATTERN NODS TO
continuing the age-old craft of Tibetan weaving. They also conceive their designs the old-
JAPANESE BLOCK PRINT DESIGN. 3. SOLERA, STEEL: RIBBONS fashioned way: drawing them by hand via pencil sketches and watercolor paintings. “This
UNDULATE LIKE OCEAN WAVES IN A MUTED MOTIF. ensures that the final rug has an artful and organic feel as opposed to something pixelated
or completely digital,” Kurtz says. The family-owned company procures the wool and has it
4. SHIBORI, MIST: AN ABSTRACT SHIBORI HAND-KNOTTED
carded and spun by hand by artisans in Nepal who use a painstaking “crossed” weaving
PATTERN IS HIGHLIGHTED WITH CHINESE SILK ACCENTS. technique that gives the product a unique finish filled with subtle nuances.

SUNAHAMA, INDIGO
DESIGN STOR IES
1 2
KINGS•HAVEN
Transforming the notion of lighting and décor for both interiors and exteriors is the forte
of KingsHaven. This involves conceptualizing innovative product designs to enhance how
HANDCRAFTED
illumination and shapes interact in traditional, transitional and contemporary spaces.
KingsHaven proudly introduces a new standard in lifestyle lighting and décor with a
LIFESTYLE distinctly original offering that combines luxury lighting, fine furniture and decorative
accessories in a perfect blend of harmony and design.
LIGHTING & DÉCOR Each KingsHaven lighting fixture or other exquisite accent is created with exceptional
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INTERIOR: TREVOR TONDRO; TOWELS: CHELSEA KYLE; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES
12
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ROBE HOOK; $21. EMTEK.COM 7 Kohler Konnect’s
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OSGERBY LANE TILE; PRICE
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78 A D GR E AT DES IG N AWARDS 201 9

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SCHUMACHER Persephone SOANE BRITAIN Coquelicots

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Standing Proud
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82 AD GR EAT DE S IGN AWARDS 2019

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BOOKMATCHED
QUARTZITE WALL PANELS
IN A CALIFORNIA BATH
BY JAMIE BUSH + CO.
Keep on Rockin’
Designed by Roger
Thomas for Labrazel, the
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among them a soap
dispenser, tissue-box
cover, and wastebasket—
with your bathroom’s
2
stone surfaces. Crafted in
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Earth Studies with subtle fluting. From
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With painterly veining,
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1. CORIAN DESIGN Solid
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3
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2. FIANDRE Maximum
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4. COSENTINO Sensa stone
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4 sensabycosentino.com
5. NEOLITH BY THESIZE
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stone; price upon
request. neolith.com
Behold the $350K Tub

Hand-carved in Portugal from Pele de Tigre
marble, this one-of-a-kind Haas Brothers bathtub
5 is, as Nikolai Haas explains, “like a sculpture
you can bathe in.” Playful but not lightweight, the
statement piece tips the scale at nearly 5,000
pounds—floor reinforcement required—and costs
a cool $350K. Available from R & Co.;
r-and-company.com
84 A D GR E AT DE S IGN AWARDS 2019

X INDIA MAHDAVI
FOR RALPH PUCCI
Vera Cruz
AN E15 SIDE TABLE Power Behind

AND THE WATER
MONOPOLY TUB IN the Throne
A LUIS LAPLACE Inspired by the shape
BATHROOM
OVERLOOKING THE of a pebble, Toto’s
FRENCH ALPS. new Neorest NX2
toilet boasts cleaning
technology that
integrates UV light
and mists the bowl
with electrolyzed
water after each flush.
Classic Toto features,
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X HOLLY HUNT seats, auto-open-and-
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Cesar
PUNCTUATION MARKS
Sculptural side tables in bold
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WKDWIXQFWLRQDO¿QLVKLQJWRXFK
Instant Classics
Thomas O’Brien and Waterworks celebrate 20 years of collaboration
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TOP INTERIOR: MATTHIEU SALVAING; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES

In 1999, designer Thomas 4
O’Brien and Waterworks
teamed up on Aero, a
hit array of bath fittings
named after his cult
shop. As Waterworks CEO
Peter Sallick tells it, “The
collaboration never really
stopped.” Two decades 2
later they now unveil Foro,
a collection of fittings,
hardware, and lighting that 1
nods to classical wonders
big and small, from the
Roman Forum to Georgian
moldings. waterworks.com
1. AERO DOUBLE ROBE HOOK.

2. FORO SHOWER ROSE. 3. AERO
THERMOSTATIC THREE-WAY
DIVERTER VALVE TRIM WITH
METAL CROSS HANDLE. 4. FORO
DECK MOUNTED FAUCET. 3
86 AD GR EAT DE S IGN AWARDS 2019

suspenders®
truss
Suspenders, a delicately scaled moldular system of LED luminaires, provides a broad range of
architectural lighting capabilities. Here a dramatically powerful, lightly scaled truss brings
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New for Spring 2019. Explore the possibilities.
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Multiple U.S. and foreign patents granted and pending.
1 2 3
4 5 6
FIRM GRIPS
S THE TILE SHOP
Yara metal
$IDEXORXVIDXFHW¿[WXUH
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tileshop.com MOUNTAINHARDWARE.COM 2. GROHE ATRIO
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3. ROHL BELLIA HIGH NECK WIDESPREAD FAUCET
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T ANN SACKS
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annsacks.com KALLISTA.COM 6. DXV VIBRATO 3-D-PRINTED
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VINTAGE GIO
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WEXQUISITE
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Three-dimensional La Terre Couture
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T SUN VALLEY Total
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88 A D GR E AT DE S IGN AWARDS 2019

L U X U R Y
P E R F O R M A N C E
P A S S I O N
Artisan Fire Pizza Oven by Kalamazoo 888 373 0945

Crafted without compromise kalamazoogourmet.com
EHRM A N NEEDL EP OIN T K I T S
Soothing Stitching
YUZEN PINES
Victoria & Albert Museum
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$130.00
Join the growing number who are taking up needlepoint for relaxation.
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Order Line: 888 826 8600
www.ehrmantapestry.com
Mathieu Matégot (1910-2001)

Tricolor
Circa 1950
Number 1 from a series of 8
Woven by Pinton Fréres, Aubusson
With woven Matégot signature and Pinton Fréres monogram, lower left
5’7” x 7’7” (170 x 231cm)
Fuller Building 595 Madison Avenue, New York, NY 10022 Tel 212.688.2265 Fax 212.688.2384 www.beauvaiscarpets.com
ART
EST. 1870
F I N D L AY
Francisco Street, Summer I 2003, 2003 • Oil based pigments on canvas • 54 x 48 Inches • FG©138730
Frank Lobdell: Beyond Words

Exclusively Representing the Estate of Frank Lobdell (1921 - 2013)
N E W Y O R K E X H I B I T I O N
F I N D L AY G A L L E R I E S
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The Design Team at
www.interiorsbysteveng.com
2818 Center Port Circle Pompano Beach, FL 33064 P 954.735.8223 | FL State Licensed Designer IB13000407
INTERIORS BY
STEVEN G. INC.
Residential|Commercial
Hospitality
PROJECTS | MODELS:
South Beach at
Long Branch, NJ
Privé
Pier 27|Toronto
Orange Theory
Corporate
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Turnberry Ocean Club
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Centro
Ritz Carlton Residenses BIOGRAPHICAL PROFILE: FOUNDER: Dade County Boutique Residential and
The Plaza at
Steven Gurowitz Interiors by Steven G|1984 Showroom commercial projects
Oceanside
Trump Hollywood ASID IIDA Debt Free Firm Recipient of numerous throughout the world
Blairs East|Maryland Born in New York 100,000 sq ft Showroom Design awards
Resident of Florida|1972 Warehouse | Antique Gallery LEED Certified
RESIDENTIAL
LOCATIONS:
Throughout Florida
Houston, Midland, TX
Luanda, Angola
Mahwah, NJ
Washington
Virginia, Greenwich, CT
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Montreal
Oyster Bay Cove, NY
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Manhattan, NY
North Carolina
Des Moines, IA
Chicago, Los Angeles
Maryland, Trinidad
Tobago, Saudi Arabia
Honduras, Barbados
Sao Paulo, Brazil
Panama
PROJECT DESIGNERS:
Steven G with Julia Chi
PROJECT:
Privé Island Estates
PHOTOGRAPHY:
Barry Grossman
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305.521.1367 PARK - GROVE . COM
EXCLUSIVE MARKETING AND SALES AGENT DOUGLAS ELLIMAN DEVELOPMENT MARKETING

This condominium is being developed by 2701 Bayshore One Park Grove LLC, a Florida limited liability company (“Developer”), which has a limited right to use the trademarked names and logos of Terra and Related. Any and all statements, disclosures and/or representations shall be
deemed made by Developer and not by Terra and Related and you agree to look solely to Developer (and not to Terra and Related and/or reach of their affiliates) with respect to any and all matters relating to the marketing and/ or development of the Condominium and with respect to
the sales of units in the Condominium. ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED
BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. These materials are not intended to be an offer to sell, or solicitation to buy a unit in the condominium. Such an offering shall only be made pursuant to the prospectus (offering
circular) for the condominium and no statements should be relied upon unless made in the prospectus or in the applicable purchase agreement. In no event shall any solicitation, offer or sale of a unit in the condominium be made in, or to residents of, any state or country in which
such activity would be unlawful.
CHESNEYS
presents
The
Jeffrey Bilhuber
Collection
chesneys.com sales@chesneys.com 646.840.0609

RESTORATION DRAMA
Two ruined buildings in San Miguel de Allende are
colorfully reborn as Dallas designer Michelle Nussbaumer’s
latest domestic flight of fancy
TEXT BY MITCHELL OWENS PHOTOGRAPHY BY DOUGLAS FRIEDMAN STYLED BY MIEKE TEN HAVE
IN THE MASTER BEDROOM, THE BED’S CORONA, HEADBOARD, THROW PILLOWS, AND QUILT ALL COME FROM NUSSBAUMER’S
DALLAS SHOWROOM, CEYLON ET CIE; 17TH- AND 18TH-CENTURY PAINTINGS. FOR DETAILS SEE RESOURCES.
LEFT THE TERRACE OFF

THE POOLHOUSE IS SET
FOR ALFRESCO DINING.
1960s CHAIRS; PILLOWS
ON THE STONE BENCH
WEAR VINTAGE FABRICS;
STAR LANTERNS FROM
CEYLON ET CIE.
AR CH DIG E ST. CO M 95
NUSSBAUMER (FAR
RIGHT) AND HER
DAUGHTER ANAIS
ON A 19TH-CENTURY
MEXICAN BENCH.
OPPOSITE A 1940s
MEXICAN WROUGHT-
IRON TABLE AND
CHAIRS STAND IN A
COURTYARD.
TABLECLOTH BY
SIMRANE; CUSTOM
LARGE-SCALE
PLANTER FROM
CEYLON ET CIE.
N othing Michelle Nussbaumer had seen in San Miguel

de Allende, the romantic Spanish Colonial city in
Mexico’s Bajío mountains, was pleasing her exacting
eye. “I want something unusual,” the Dallas decorator
told a real-estate agent a dozen years ago, at the start
of her search for a getaway. “A ruin, even.” Instead,
she found herself trudging through glossily renovated
houses that were “just plain weird.”
One afternoon Nussbaumer spotted a dilapidated
wall and decided to climb over it. Behind it, the stylish
could remember. Forlorn, malodorous, shaded by
sickly trees—it was absolutely perfect. With the help
of friends, she tracked down the “totally adorable”
owner, who had forgotten that the woebegone acreage
was among his numerous properties.
“I bought it on a handshake, which is so unusual
in Mexico,” Nussbaumer recounts. Thus the name
that she and her husband, Bernard—a movie producer
and cofounder of Texas’s Buda Juice beverage bars—
chose for their new home away from home: Hacienda
trespasser discovered a U-shape building, much of it Buena Fe, the House of Good Faith.
dating from the 16th century, that included a hacienda Today the property’s buildings have been restored,
and a multi-chamber granary with barrel-vaulted connected, expanded, and augmented, here wrapping
ceilings rising more than 30 feet high. As for the lot, around fountained courtyards, there sprouting sunny
it had been used as a dump site for as long as anyone terraces and shady loggias. Additional buildings have
A FOUNTAIN CENTERS
ONE OF THE HOUSE’S
SEVERAL COURTYARDS.
“I bought it on
a handshake,"
Nussbaumer recounts
of the woebegone
property that caught
her imagination.
joined them, from a poolhouse to guest quarters

to pavilions. The abundant gardens—also created
by Nussbaumer, though she admits that she has
no training in that regard—seem to go on for miles.
(Frankly, to document it all would take a special issue
of AD.) Though the compound gives off the authen-
tic Mexican vibe that the decorator desired, many
of the details bear witness to her inspiringly magpie
approach to design, architecture, and landscapes.
“Whenever I’m traveling, I take pictures of any
details I think I can use,” Nussbaumer says, going on
to compare her cherry-picking to that of explorers
“from a long time ago who would find plants in Fiji
and then try to grow them in England.” That intrepid
spirit informs Ceylon et Cie, her Dallas Design
District showroom, where cultures collide and colors
coruscate, and it’s showcased in her exuberant 2016
book, Wanderlust: Interiors That Bring the World Home
($50; Rizzoli). “How can you not document the
things you see and reproduce them in some way?”
Nussbaumer says. “Or at least reinvent them?”
Some of her photographic aide-mémoires have
been adapted by an army of local craftsmen, who
battered the building materials so Hacienda Buena Fe
would look aged rather than new. “Whatever you can
dream up, they can do,” the decorator explains. “I
would show them fireplaces in the Topkapi Palace in
Istanbul or the arches in a fab place in Morocco, and
they’d say, ‘OK, sure, señora.’ Sometimes the results
would be the wrong scale and have to be torn out,
and sometimes they would be perfect and amazing.”
Though the rusticated lava-rock pilasters that
flank a pedimented door reference something similar
that Nussbaumer had seen in Rome, and the living
room’s painted floor is a rustic take on geometric
marble paving at Château de Versailles, many of her
ABOVE A TURKISH LANTERN FROM CEYLON ET CIE HANGS OVER A LIVING ROOM DECORATED WITH VINTAGE BILLY
BALDWIN SLIPPER CHAIRS, AND CUSTOM ARMCHAIRS AND SOFA (RIGHT), ALL IN A KRAVET WOOL-BLEND. OPPOSITE CUSTOM
TILES BY NUSSBAUMER FROM CEYLON ET CIE COVER THE KITCHEN. MIX OF VINTAGE AND NEW JARS.

IN DAUGHTER NILE’S
BEDROOM, NUSSBAUMER
CONCEIVED A MURAL
BASED ON A PATTERN
FROM A 1940s MEXICAN
PLATE. RAJASTHANI
HANGINGS FORM A CANOPY
FOR THE NUSSBAUMER-
DESIGNED BED. VINTAGE
MEXICAN CHAIR.
ARCHDI GE ST.COM 103

LEFT IN THE CHAPEL, VINTAGE MEXICAN CHAIRS

LINE UP AT AN 18TH-CENTURY SPANISH COLONIAL
TABLE. ABOVE THE FAMILY BURRO, APACHE. 1940s
MEXICAN CHANDELIER. OPPOSITE A CUSTOM
UMBRELLA SHADES A PAIR OF CUSTOM CHAISE
LONGUES BY THE POOL.
grace notes are Arabic at heart. “Arab style made “So instead I had a lot of fun with tiles and painting.”
its way to Spain and then across to Mexico,” she In daughter Nile’s bedroom—the Nussbaumers
observes. “That was my impetus for the house. To my have four children—a mural takes its cue from a
mind, Mexico is America’s Morocco, and Morocco pattern found on 1940s Mexican pottery. “I just blew
is Europe’s Mexico.” it up,” the decorator says. She did the same for a
Scallops cribbed from Andalusia’s historic Mudéjar loggia wall, painting on an overscale emulation of the
architecture create a jaunty ridge atop the former Mexican cut-paper banners known as papel picado
granary. The tub in the master bath is framed by an (real ones crisscross the dining room). Cairene motifs
elaborate Mudéjar lobed arch like those at Tordesillas’ were brushed around windows and doors. As for the
14th-century Royal Convent of Santa Clara. Other tiles, Nussbaumer designed them, too. Her grandest
Arab arches trim a loggia and shape doorways that glazed expression can be found in the kitchen, where
had been punched through thick walls in the develop- blue-and-white tiles copied from examples at
ment of a hospitable floor plan. churches in Puebla, Mexico, patchwork every inch.
The exotic masonry accents are complemented by “I love bringing timeworn techniques into a
sprightly hand-painted patterns that are deployed modern era,” Nussbaumer says. Then, recalling that
to smile-inducing effect indoors and out. “I love wall- long-ago house tour, she adds, “and the last thing this
paper, but you can’t use that here,” says Nussbaumer. place needed was a marble kitchen.”
104 A RC HDIGE ST.COM

design notes THE DETAILS THAT MAKE THE LOOK
There’s
no beauty
without
ugliness—it’s
better when
things are a
little off.”
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19TH-CENTURY GILDED LOUIS XVI–

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PRO DUCE D BY MADELINE O’M ALLEY ARCHDI GE ST.COM 107

UNCOMMO
Nearly four decades after
creating a still-astounding,
statement-making home
in Santa Monica, legendary
architect Frank Gehry
builds a new dream house
TEXT BY PAUL GOLDBERGER
PHOTOGRAPHY BY JASON SCHMIDT
STYLED BY MICHAEL REYNOLDS
N VISION
THE STREET-FACING
FAÇADE OF FRANK
AND BERTA GEHRY’S
HOUSE IN SANTA
MONICA, CALIFORNIA.
FOR DETAILS
SEE RESOURCES.
DOUGLAS-FIR BEAMS FRAME THE DINING ROOM. FISH LAMPS, LAMINATED PLYWOOD TABLE, AND LEATHER
BENCHES BY FRANK GEHRY; AT FAR LEFT, KEN PRICE SCULPTURE; STONEWARE VASE BY PETER VOULKOS.
CINI BOERI FOR ARFLEX SOFAS SURROUND A GEHRY-

DESIGNED GLASS TABLE IN THE LIVING ROOM. ON PEDESTALS,
KEN PRICE SCULPTURES. OPPOSITE FRANK GEHRY.
T he house Frank Gehry created

for himself and his wife, Berta,
in 1978 on a highly visible street
corner in Santa Monica, and
which he renovated and updated
again in the early 1990s, helped
make his reputation as one of
the most potent creative forces
in 20th-century architecture.
An assemblage of glass, plywood,
corrugated metal, and chain-
link fencing that enveloped an
old Dutch Colonial that remained, slightly disembodied, at
its core, the Gehry house was hailed as an icon of residential
design from its earliest days, and the architect lived happily
in it for decades. He and his wife
raised two sons there, and the
family learned to more or less
ignore the tourists and architec-
ture students who came by to
with a solution. By then Sam Gehry, an architectural designer,
was working at his father’s firm, and Frank decided that he and
his son would design the house together. If Berta and Frank
chose not to move in when it was finished, they would declare
it a spec project and sell it. There was little to lose, and either
way, it would be a family effort.
And so it was. Gehry’s work has evolved considerably since
his earlier Santa Monica house, which was finished long before
the Guggenheim Museum in Bilbao, Spain, the Walt Disney
Concert Hall in Los Angeles, the Fondation Louis Vuitton in
Paris, and the other large projects that have come to define is
legacy. As the first house had been a kind of design laboratory at
an earlier phase of his career, he wanted the new one to reflect
his current formal preoccupations. Sam, who has played a major
role in the firm since he was given charge of the design for the
Serpentine Gallery Pavilion in
London’s Hyde Park in 2008, was
deeply familiar with all of the
Gehry office’s current work, and
he conceived of a design that
gawk at his creation. merged the sumptuous qualities
With their sons grown and the of a grand villa with the crisp,
Gehrys getting older—he turned fresh energy of one of his father’s
90 in February—they began to sculptural essays. With multiple
wonder about the practicality of angled, gabled roofs, expanses of
remaining in their longtime home, glass, and an internal structure
contented though they continue of heavy diagonal timbers of
to be with it. Gehry, whose inter- Douglas fir similar to the ones in
national architectural practice the Fondation Louis Vuitton,
for years has left him little oppor- the house has the air of a modern
tunity for designing houses, was version of an Adirondack lodge,
intrigued by the notion of being larger and more luxurious than
his own client again, this time the older Gehry house, but with
with a house that would work the same sense of being at once
for him and his wife at a more unconventional and enthusiasti-
advanced stage of their lives. cally welcoming. Sam, deter-
He produced a design for a site mined that it be more sustainable
on the edge of Venice, only to than its predecessor, designed
abandon it after Berta had some the house to be passively cooled,
worries about the neighborhood. and included nine geothermal
Then he came across an old wells to provide energy for
house on a prime lot on one of heating. As architecture, it both
Santa Monica’s finest streets, celebrates the notion of a tradi-
overlooking Santa Monica Canyon, with a view of the ocean. tional villa and subverts it: Like so much of the firm’s work,
Even more enticing for the architect, the house was undistin- this house refuses to choose between comfort and challenge,
guished. He could tear it down without guilt, giving him a and seems intent on offering both.
broad canvas to work with. As the design evolved, “the spec-house idea went out the
The challenge this time would be very different from the window,” Berta said. “We have only one bedroom—that’s not
original house, not only because the Gehrys were older and very spec-y.” Sam thinks his father would never have been
wanted both an elevator and space for possible live-in help. comfortable designing a true spec house. “He would come in
They continued to be so happy in their old house that they and say, ‘Let’s do this, let’s add that,’ ” Sam recalled. “It kept
were not sure they really wanted to move, however sensible getting more personal and more fun.”
the idea might be. Gehry, trying to navigate between his Navigating between his father as design partner and his
desire to create another house and the ambivalence that he mother as client, Sam devised a scheme for a house in two
and his wife shared about leaving their old one, came up distinct parts. First, facing the street and the view is a large
A RCH DI GE ST.CO M 113

RIGHT CUSTOM
GRANADA TILE COVERS
THE KITCHEN FLOOR.
WOLF RANGE AND HOOD;
ROTARY-CUT DOUGLAS-
FIR PLYWOOD CABINETRY.
OPPOSITE A BESPOKE
STEINWAY & SONS
GRAND PIANO ANCHORS
THE MUSIC ROOM.
front wing wrapped around a landscaped patio that Frank would invite musicians to play at the new house, and perhaps
refers to as the “entertainment plaza,” which he envisioned to stay there as well. Gehry’s friend Michael Eisner, for whom
as a place for outdoor parties that could take advantage of he designed a pavilion at the former Disney chairman’s house
the ocean view; within the front wing, facing outward, are a near Aspen, returned the favor by ordering a custom-made
large, high-ceilinged living room and a dining room hung Steinway for the new house’s music room in a color of Frank’s
with Frank’s famous fish lamps as chandeliers. A family room, choosing, which turned out to be bright green.
a kitchen with a vibrant tile floor—a special request from “My fantasy was that Mitsuko Uchida would live there,”
Berta—and a study are tucked behind these major rooms and Frank said, referring to the celebrated Japanese-British pianist
look toward a rear garden. Upstairs, with balconies overlook- and conductor. “She’s offered to come and play. So has
ing the other rooms and the ocean but out of sight of visitors, Emanuel Ax.”
is a sprawling master suite. So far the Gehrys have hosted a couple of concerts in
The second part of the house sits at some distance behind the space, including, he says, an event for Daniel Barenboim’s
that structure, separated by an expansive garden with a lap West-Eastern Divan orchestra, made up of Israeli and Arab
pool and a long pathway covered by a Gehry-esque trellis. students. “We had 50 people there, and it was really great,”
The rear wing contains a large music room suitable for small he said.
chamber-music concerts, a gym, two guest rooms, and a suite “You didn’t invite me,” Sam noted.
for long-term visitors that could also be used for live-in help. “Of course not; you never invite your architect,” Frank said
Both Frank and Berta are fond of classical music—since his with a laugh. He paused for a moment. “Well, now you see
Walt Disney Concert Hall opened in downtown Los Angeles in what Sam has had to put up with from me. He has truly been
2003, they have had regular seats at Los Angeles Philharmonic a great partner, and we have made a once-in-a-lifetime house.
concerts—and one of his fantasies, he has said, is that he I have really loved working with him.”
ARCH DIG ES T. CO M 115

© ED RUSCHA
ABOVE THE STUDY’S ALCOVE FEATURES A MATTRESS COVERED IN A COLORFUL STRIPE. OPPOSITE ART BY (FROM LEFT) ED RUSCHA, ALEJANDRO
GEHRY, CARRIE JENKINS, CECILY BROWN, AND RUSCHA IS DISPLAYED IN THE LIVING ROOM. ON BLUE CABINET, SCULPTURES BY KEN PRICE.

STATEMENT
PIECE
MARC FORNES/THEVERYMANY; NOGUCHI: © 2019 THE ISAMU NOGUCHI FOUNDATION AND GARDEN MUSEUM, NEW YORK/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
In an eye-catching
Tribeca tower, architect
Lee F. Mindel devises an
inspired setting for his
discerning collection of
art and design
TEXT BY PILAR VILADAS PHOTOGRAPHY BY FRANÇOIS DISCHINGER STYLED BY LILI ABIR REGEN
ABOVE ON THE OUTDOOR TERRACE, A BRONZE SCULPTURE BY JOEL FISHER (LEFT) JOINS A
GALVANIZED-STEEL CHAIR BY ISAMU NOGUCHI AND A DIGITALLY FABRICATED SCREEN BY MARC
FORNES. OPPOSITE A CLOSE-UP OF THE SCREEN. FOR DETAILS SEE RESOURCES.
© 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK

BERTIL HERLOW SVENSSON -
VINTAGE ALVAR AALTO ARMCHAIRS IN A KVADRAT FABRIC FACE MAURO LIPPARINI FOR ZANOTTA SOFAS IN THE
LIVING ROOM. ON JOE D’URSO SIDE TABLE, VERNER PANTON CHROME TABLE LAMP; ON CHARLOTTE PERRIAND BENCH,
JOHN HOGAN VESSEL; V’SOSKE AND CHILEWICH RUGS.
f or many New York luxury-

apartment dwellers today, taller
is better: Witness the appeal of
buildings that reach, ever higher,
to the sky. But for the architect
Lee F. Mindel of the New York firm
SheltonMindel, home is a bit more
down-to-earth. His sixth-floor
apartment in the so-called Jenga
building—the arresting 60-story
condominium tower in Tribeca by
the Swiss architects Herzog & de
Meuron—welcomes the city’s energy,
while Mindel’s insightful renovation
produced an open, light-drenched interior that
showcases his very personal collections of modern
and contemporary design and art.
Mindel, who shares the apartment with his
partner, José Marty—an architectural designer
who was a consultant on this project—got to know
the building’s architecture when SheltonMindel
designed its sales office. One apartment in particu-
lar—a 3,000-square-foot, three-bedroom unit, just
above the enormous, polished metal “bean” sculp-
ture, by Anish Kapoor, that will be tucked under the
building’s northeast corner—caught Mindel’s eye.
“Most units in this building belong to the sky,” he
explains, “but this one belongs to the street.” Mindel
imagined an interior that would embody what
he calls “the continuity of sculpture,” connecting
interior and exterior.
Mindel made two architectural moves that
completely transformed the space. First, he designed
an enfilade of doorways to connect the rooms along
the window wall, in addition to the existing access
through a hallway from the apartment’s foyer. (He also
turned one bedroom into an open dining area that
connects to the library.) Sliding panels can close off
the rooms for privacy, but even when they’re open,
Mindel says, “you never see a bed; you see more light
and air.” Second, around each of the apartment’s
raw concrete columns, Mindel devised a cove, illumi-
nated with LEDs, to give the illusion that the columns
continue upward, making the ten-feet-four-inch
ceilings appear even loftier.
The resulting flow of space creates the perfect
setting for Mindel’s collections. At the entry, you’re
met by an Ai Weiwei bicycle sculpture and a table
by Zaha Hadid. The “gallery,” a corridor to the living/
dining/kitchen space, is lined with more art, culmi-
nating in a red-painted sculpture by Alexander
Liberman, a minimalist daybed by the Belgian archi-
tect Juliaan Lampens, and Stéphane Barbier Bouvet’s
take on Achille and Pier Giacomo Castiglioni’s classic
ARCH DIG E ST. CO M 121

NOGUCHI: © 2019 THE ISAMU NOGUCHI FOUNDATION AND GARDEN MUSEUM, NEW YORK/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
ABOVE IN THE ENTRY FOYER, A BICYCLE SCULPTURE BY AI WEIWEI IS SHOWN ABOVE A ZAHA HADID
MARBLE LOW TABLE. OPPOSITE A GALVANIZED-STEEL SCULPTURE BY NOGUCHI STANDS IN THE LIVING ROOM.
JOS DEVRIENDT LAMP; KENNETH SNELSON STAINLESS-STEEL SCULPTURE.

RIGHT LEE MINDEL (LEFT) AND JOSÉ

MARTY. BELOW A JASPER MORRISON FOR
FLOS LAMP COMMANDS THE DINING
ROOM. JEAN PROUVÉ FOR VITRA TABLE;
KNOLL DINING CHAIRS; FRANCESCA
PASQUALI PLASTIC STRAWS ARTWORK.
Arco floor lamp—not to mention one of the coveted

bronze-topped versions of Eero Saarinen’s Tulip
tables that were made for the bar of the original Four
Seasons restaurant.
Keep going and you’ll find three sculptures and
a chair, in galvanized metal, by Isamu Noguchi.
There is furniture by a veritable who’s who of design,
including Alvar Aalto, Charlotte Perriand, Verner
Panton, and Joe D’Urso; a table lamp by the contem-
porary Belgian designer Jos Devriendt; and a proto-
type of Herzog & de Meuron’s light fixtures for their
National Stadium in Beijing. And that’s just the living
room. The dining area boasts a unique, gold-plated
example of Jasper Morrison’s Superloon light for Flos,
and a brass console by Gabriella Crespi that echoes
the elongated capsule shape found throughout the
building’s design, including in the kitchen islands and
the bathroom tiles.
The balcony is home to an undulating, painted
aluminum screen by the architect Marc Fornes,
which Mindel likens to “an urban hedge,” as well as
furniture by Donald Judd and another Noguchi chair.
Along with works by the masters of modernist
and contemporary design—“my DNA,” Mindel says—
are pieces by younger designers, like Barbier Bouvet’s
light, and a stack of drawers from the Italian design
duo Formafantasma’s Ore Streams series, which
recycles precious metals salvaged from electronic
waste into sleek, slightly unsettling furnishings. And
there are personal moments, like the sheet music—
a tribute to Mindel’s dear friend the late, legendary
ALBERS: © THE JOSEF AND ANNI ALBERS FOUNDATION/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK 2019
lyricist and screenwriter Betty Comden—that shares
the marble shelves of Angelo Mangiarotti’s bookcase
with lights from Saint-Louis and Jansen. There
are also—a testament to Mindel’s ecumenical side—
high-low moments like the Home Depot rugs in the
master bedroom, CB2 throw pillows on the sofas,
or the Container Store coat rack, used for robes, in
the master bathroom.
Having recently completed the Manhattan offices
of Soros Capital, Mindel is now at work on a New
York City apartment for Sting and Trudie Styler, the
amenity spaces and condominium units of Parcel F—
a not-yet-built, mixed-use tower in San Francisco by
Pelli Clarke Pelli Architects (designers of the nearby
Salesforce Tower), and an apartment on the 48th
floor of his building. But when he’s not on the road
(or in the air), Mindel can savor the home he’s
created. “It’s a collage of the city and its context,”
he says. The challenge of working in high-rise
apartment buildings, he adds, is “how you can look
at the potential of these spaces and not just fill them.”
And the measure of his success here, Mindel says, is
that, his enviable collections notwithstanding, “the
space looks really good empty.”
124 AR CHDIGE S T.COM

IN THE LIBRARY, JOSEF

ALBERS PRINTS ARE
DISPLAYED ABOVE AN
ANTONIO CITTERIO
BOOKCASE. PROUVÉ
FOR VITRA STOOLS;
ROOM & BOARD TABLE.
CAUSE and
EFFECT
MAKEUP AND HAIR BY SONIA BHOGAL USING SISLEY PARIS; LOUISE BOURGEOIS: © 2019 THE EASTON FOUNDATION/LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NY
With her daughter at school in England,

Milan-based designer Laura Sartori Rimini feathers
a worldly London pied-à-terre for herself
TEXT BY MITCHELL OWENS PHOTOGRAPHY BY MIGUEL FLORES-VIANNA STYLED BY HAMISH BOWLES
DESIGNER LAURA
SARTORI RIMINI IN HER
LONDON HOME.
OPPOSITE A RESTORED
18TH-CENTURY
CHINOISERIE WALLPAPER
COVERS THE DINING
ROOM. DRAWINGS BY
LOUISE BOURGEOIS
AND TOMASO BUZZI. IN
HALLWAY BEYOND,
PHOTO BY INGE MORATH
AND SKETCH BY HERVÉ
VAN DER STRAETEN. FOR
DETAILS SEE RESOURCES.
BELOW A NICHE IN THE BEDROOM HOLDS ARTWORKS BY CECIL BEATON,

CHRISTIAN BÉRARD, LILA DE NOBILI, AND ANH DUONG. 19TH-CENTURY FRENCH
CABINET WITH JAPANESE-STYLE LACQUER. RIGHT THE LIVING ROOM FEATURES
ANTIQUE ARTWORKS HUNG ON 17TH-CENTURY LEATHER WALL PANELS.
o ne half of the AD100 design

firm Studio Peregalli, Laura
Sartori Rimini was perfectly
happy jetting to London
from her home base in Milan
and checking into a hotel—
usually Claridge’s or Blakes—
when projects required her attention. But that habit came
into question a few years ago when her daughter, Vittoria,
announced that she wanted to attend school in England.
“It was a little bit of a shock because she was supposed to
finish her studies in Italy, high school and then university,”
says Sartori Rimini, a lean, elegant blonde with the looks of a
1930s movie siren, though one with a perpetual half-smile. Her
husband, Emanuele, a dashing attorney and professor of law
at Milan’s Università degli Studi, disagreed with their daughter’s
surprising change of plans, but his wife smoothed the familial
waters. “If she was asking, then she needed to do it,” Sartori
Rimini says. “So I think, as a mother, I had to help her.” She did,
and eventually establishing a pied-à-terre sprang to mind,
“to have a little shelter for Vittoria, for me if I was going to visit
her, for the family, for anyone. And, then, also for my job.”
Since Sartori Rimini’s career entails decors perfumed with
old-fashioned connoisseurship and uncanny evocations of
the long ago—see her and business partner Roberto Peregalli’s
2018 book, Grand Tour: The Worldly Projects of Studio Peregalli—
CHRISTIAN BÉRARD: © 2019 ARTISTS RIGHTS SOCIETY (ARS),
NEW YORK/ADAGP, PARIS
it stands to reason that she would end up in Tite Street, a pretty chic,” expensively neutral decors that have become de rigueur
thoroughfare of tawny-brick, late–19th century townhouses for international oligarchs in London. “England is a little
where avatars of the Aesthetic Movement, among them Oscar country,” she continues, “but they conquered half of the world
Wilde, James McNeill Whistler, and John Singer Sargent, once and brought back a lot of remembrances.”
held all of London spellbound. Whistler actually lived next door Her flat’s jewel-box settings, achieved with Peregalli’s
to Sartori Rimini’s building, and given the darkly glimmering input, were sparked by a set of antique gilded and hand-
harmonies of her one-bedroom flat, the firebrand impression- painted leather panels that once belonged to the Duchesse
ist would surely find much to recommend. One can easily de Berry, Charles X of France’s intriguing daughter-in-law.
imagine a smitten Whistler coaxing a bemused Sartori Rimini Possibly Spanish or maybe Venetian, the “very, very ruined”
to sit for a portrait chez elle and calling the resulting master- panels were spotted at an auction, restored, and then installed
work Arrangement in Amber and Ruby. in Sartori Rimini’s living room. Patterned with a whirlwind
“I wanted an English home with many layers,” says the of flowers, the wall covering might seem extravagant for such
designer, who bemoans what one could describe as “stateless a modest bolt-hole, but that’s rather the point.
A RCH DIG ES T. CO M 129

IN THE OTHERWISE
ANTIQUES-LADEN LIVING
ROOM, AN HERVÉ VAN
DER STRAETEN LAMP
STANDS OUT ATOP A
19TH-CENTURY FRENCH
DESK. JAPANESE
SUDARE SHADES;
ENGLISH (LEFT) AND
ITALIAN ARMCHAIRS.
Sartori Rimini
had a single
decorative goal:
“I wanted an
English home with
many layers.”
BOOK COVER: © GRAND TOUR: THE WORLDLY PROJECTS OF STUDIO PEREGALLI BY LAURA SARTORI RIMINI AND ROBERTO PEREGALLI, RIZZOLI NEW YORK, 2018
ABOVE THE BEDROOM’S CUSTOM WALL COVERING IS AN HOMAGE TO MADELEINE CASTAING. THE BED HAS A LATE 19TH–CENTURY
BRASS HEADBOARD AND ANTIQUE TUSCAN AND INDIAN LINENS. BELOW THE COVER OF STUDIO PEREGALLI’S LATEST BOOK ($85; RIZZOLI).
“A pied-à-terre is not a house you live in every Given the evidence, that means framed
day,” Sartori Rimini observes. That being said, Spanish tiles, antique monochrome etchings
she adds, “You should just open the door and feel of mythological scenes, curious English and
cozy—all you need are fresh flowers.” European architectural drawings, and a 19th-
Blossoms of the eternal variety fill her rooms, century crystal decanter pressed into service
dappling walls, an 18th-century Persian carpet as a vase for a spray of delphiniums. Sartori
(“a little bit faded and shabby”), mismatched Rimini has a passion for Orientalist evocations
cushions, chair seats, even a tapestry fire screen. of turbaned men, so an 18th-century painting of
“I always love nature in the house,” says the one can be found in the living room; another
designer, who delights in the knowledge that the is displayed in the bedroom above a 19th-century
annual RHS Chelsea Flower Show takes place Japanese-style chest of drawers. In the entrance
just a few blocks away. Japanese watercolors of irises bloom in hall, now ennobled by an arched ceiling, a Safavid vase of
the bath, and the mignon dining room is wrapped in a Chinese great beauty sits beneath a big gold mirror by Alessandro Diaz
Export garden of peonies, cherry trees, and star magnolias. de Santillana, the late Venice glass artist. “I love having things
Within this abiding springtime, the designer has assembled made by friends,” the designer says.
things old and things new—“as always I like to do”—such as Another fond relationship brought into play in her Tite
a ringed bronze table lamp by Hervé Van der Straeten. Many Street home is embodied in the creative tricks—the jacquard
of her most beloved possessions, though, are small, requiring stripes appliquéd on the bedroom walls, the patchworked red
close inspection to appreciate their enrapturing charms. “I am velvet cushions—that she and Peregalli were taught by their
not a rich person; I am a working person,” says Sartori Rimini, mentor, the master atmospherist Renzo Mongiardino. “From
no fan of “simple interiors with a piece of art that cost millions.” him we learned that you can play with cutting fabrics and
As she observes, “You can do nice houses without spending putting them back together, you can play with borders, you can
a lot of money, in the sense of finding nice-quality objects but play with trimmings—you can just play,” Sartori Rimini says.
not necessarily costly ones.” “The idea is that something was made just for you.”

AN HERVÉ VAN DER

STRAETEN CONSOLE
SUPPORTS A PAIR OF
JAPANESE CANDLE-
STICKS, MOUNTED AS
LAMPS. ANTIQUE
ENGLISH CHAIRS WEAR
AN INDIAN COTTON.
COOL CUSTOMER
Designer Robert Stilin’s SoHo
apartment is a love letter to the art,
books, and furniture that inspire him
TEXT BY MAYER RUS PHOTOGRAPHY BY STEPHEN KENT JOHNSON
TWO WADE GUYTON

PRINTS ANCHOR ROBERT
STILIN’S ART-LINED AND
BOOK-FILLED DINING
ROOM. GUILLERME ET
CHAMBRON TABLE;
VINTAGE CHAIRS AND
FLOOR LAMP. FOR
DETAILS SEE RESOURCES.
“I just let the art and the furnishings, with

all their sculptural quality, do the talking,”
Stilin explains.
ABOVE IN THE LIVING ROOM, A DEER SKULL AND A KURT COBAIN PORTRAIT BY MARK SELIGER FLANK
A PHOTOGRAPH BY DAVID HAXTON. THE CUSTOM SOFA WEARS A LORO PIANA ALPACA WOOL; A HOLLAND
& SHERRY WOOL COVERS THE SLIPPER CHAIR AT RIGHT. OPPOSITE STILIN.
T here’s no shortage of
pedigreed pretty things
in the New York City
apartment of AD100
designer Robert Stilin.
Aficionados of design
will recognize stools
by Charlotte Perriand
and Poul Kjærholm,
a classic Paul Laszlo
chrome-plated desk lamp, and a sweet little wooden side chair
by Pierre Chapo, to name a few. Likewise, amid the kaleido-
scopic display of artworks, there are plenty of easily identifi-
able pieces by artists on the order of Wade Guyton, Wolfgang
Tillmans, Joe Bradley, John Waters, and Rob Wynne. One
would expect as much from the home of a designer with a
reputation for integrating compelling contemporary art
into his interiors.
But the main allure of Stilin’s deftly layered and curated
home lies in the furnishings and artworks that defy obvious
classification: a boxy, De Stijl–inflected, wood-framed club
chair; an imposing French cocktail table with steel legs and a
highly textured schist top; a set of rustic dining chairs that
look as if they came from a French country house or Tyrolean
ARCHDIG E ST. COM 137

hunting lodge; and a strangely hypnotic photograph of a river, buying chairs out of the back of her car. I love her taste. And
which hangs in the master bedroom. “Everything has a I’ve been friends with Russ for years out in the Hamptons,”
personal connection to me and my life,” the designer explains. Stilin says of his coterie of preferred dealers. “We all grew up
“Everything is meaningful, everything is something, even if together, and we’ve all tried to support each other’s work.”
I don’t know precisely who made it.” As for his eye for art, Stilin has a litmus test for paintings,
Formerly based in East Hampton, New York, where he drawings, and photographs before they enter his collection.
still maintains a home and shop, Stilin acquired his SoHo “If I hesitate at all, I won’t buy it. But if I keep thinking about
apartment as a Manhattan pied-à-terre nine years ago. Two it, I’ll figure out a way to bring it into my life,” he says.
years later, when his son, Dylan, went off to college at New Consider the Peter Hujar photograph of Paul Thek that now
York University, the designer made the dwelling his primary hangs in the designer’s office. Stilin first encountered it
residence. “It’s basically a white box in a typically modern in a New York gallery some 15 years ago. Over the following
building by Gwathmey Siegel. The space provides a calm decade or so, he’d see the picture at various art fairs and
backdrop for things I’ve collected over 30 years. I didn’t do exhibitions. Eventually the moment felt right to bring the
much to the interior architecture. I just let the art and the image home. Then there’s the large-scale print with the
furnishings, with all their sculptural quality, do the talking,” words pay nothing until april, which at first glance seems
Stilin explains. to be a classic work by Ed Ruscha. Closer inspection, how-
Beyond their aesthetic appeal, the chairs and tables on view ever, reveals that the mountains in the background are not
play a part in Stilin’s exercise in decorating-as-autobiography as Ruscha’s but an image lifted from Gerhard Richter’s photo
symbols of longtime friendships he has maintained with various painting of the Himalayas. The collaged artwork is by Mishka
prominent decorative-arts dealers throughout his career. The Henner. “I like art that has depth, personality, and a little
dining chairs, for example, came from Amy Perlin, the late, humor. I can’t afford a big Richter or Ruscha, so I have this,”
beloved vintage-furniture maven renowned for her unerring Stilin confesses. “It’s pretty funny.”
eye. Stilin acquired the mahogany-and-Formica desk in his And what of that mesmerizing photograph of water that
master bedroom—a 1967 design by Frenchman Jean-Claude hangs in the designer’s bedroom? “It’s an image of the Río
Duboys—from Suzanne Demisch of the New York gallery de la Plata, the river that separates Uruguay and Argentina,
Demisch Danant. The idiosyncratic, cubistic Swiss chair in the taken by Marcelo Brodsky. Apparently that’s where the bodies
living room was purchased from Russ Steele of East Hampton’s of a lot of political prisoners ended up. I’m often attracted to
R. E. Steele Antiques. beautiful artwork with serious, sometimes dark undertones,”
“Amy was a close friend and an early champion of mine. Stilin explains. As for why he chose to install the piece directly
Suzanne was still a picker when I first met her. I remember above his bed, that’s between the designer and Dr. Freud.
138 A RC HDIGE S T.COM

JOHN CHAMBERLAIN: © 2019 FAIRWEATHER & FAIRWEATHER LTD/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; PIERRE SABATIER: © 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/ADAGP, PARIS;
OPPOSITE: CÉSAR: © 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/ADAGP, PARIS; STARN: © 2019 MIKE AND DOUG STARN/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
ABOVE A MISHKA HENNER WORK HANGS ABOVE A WOOD-FRAMED ARMCHAIR. ON CHAIR, CASHMERE THROW BY DENIS
COLOMB LIFESTYLE. OPPOSITE IN THE MASTER BEDROOM, A CUSTOM BED BY STILIN IS UPHOLSTERED IN A LORO PIANA WOOL-
CASHMERE. SFERRA LINENS; READING LAMPS BY WALLIGRAPH; ABOVE BED, PHOTOGRAPH BY MARCELO BRODSKY.
LOVE SHA
When actor
Giovanni Ribisi
hired Pierce &
Ward to decorate
his Los Angeles
house, he didn’t
just embark on
a design journey,
he found his
life partner in
firm cofounder
Emily Ward
TEXT BY JANE KELTNER DE VALLE
PHOTOGRAPHY BY TREVOR TONDRO
STYLED BY AMY CHIN
A PENDANT BY APPARATUS
ILLUMINATES THE LIVING
ROOM, WHERE A COLLAGE OF
ARTWORKS HANGS ON THE
WALL. VINTAGE ARMCHAIRS,
SIDE TABLE, LEATHER-TOPPED
STOOLS, AND COCKTAIL TABLE.
FOR DETAILS SEE RESOURCES.
140 A RC HDIGE ST.COM

JASON LEE: © 2019 ARTISTS RIGHTS SOCIETY (ARS),
NY/IVARO, DUBLIN
CK
J ust one month into their courtship,

Giovanni Ribisi popped the question
to Emily Ward: “I was showing him
pictures of our design work,” she
recalls, “and he was like, ‘Oh, my God,
my house has been under construc-
tion for so long. It’s never going to
end. Can you please help me?’ ”
Did she ever. Ward and design
partner Louisa Pierce spent the next
year resurrecting Ribisi’s 1939 Monterey Revival, and Ward
moved in with him upon its completion. The couple welcomed
twins Enzo and Maude last December.
The house’s evolution from bachelor pad to family home
is a fitting metaphor for the AD100 duo’s own serendipitous
journey as a practice. The founders met in New York City as
young drifters: Pierce managed a spa, among other odd jobs;
Ward was an assistant to an actress. They exchanged numbers
in what Pierce calls “a late-night blur in a bar,” and the fast
friends eventually uprooted to Nashville together with their
significant others. Their own homes there would serve as their
first projects. Neither was trained in interior design, but both
had grown up with mothers who had an eye for it. (By Pierce’s
calculations, she had moved nine times by the age of eight in
order to satisfy her mom’s enthusiasm for fixing up new places.)
Nashville resident Karen Elson, the model, was the duo’s
first client (AD, April 2017), followed by model-rocker couple
Lily Aldridge and Caleb Followill (AD, September 2018). The
celebrity commissions kept rolling in. When Ward, a California
native, split from her then husband, and the office landed
Leonardo DiCaprio’s beach house in Malibu, she relocated to
Los Angeles, meeting Ribisi shortly after.
HAIR AND MAKEUP BY GINA RIBISI
ABOVE IN THE KITCHEN, H.D. BUTTERCUP STOOLS SIT AT A CUSTOM DOUGLAS-FIR ISLAND BY PIERCE & WARD. BENJAMIN MOORE’S GALVESTON
GRAY PAINT COVERS CUSTOM CABINETRY. OPPOSITE EMILY WARD AND GIOVANNI RIBISI CRADLE THEIR TWINS IN A LOUNGE OFF THE KITCHEN.
The actor was a year and a half into a dead-end construction space with tables found at T.J. Maxx. “We’re not snobby
project. “I’d go work out of town for several months, then come about where we find things,” notes Ward at the mention of
back and nothing would be done,” he recalls. Beyond timing, the discount department-store chain. Pierce chimes in with
there was the question of taste. “We saw the renderings and a laugh: “I like looking through a bunch of shit to find the
were like, ‘Ahhh, don’t do that!’ ” says Pierce. Ribisi confesses, treasure.” (This elicits a “Watch your mouth!” from Ward.)
“It was a bit more antiseptic than I would like to admit.” They don’t floor-plan rooms either; they work purely on
Situated on a flat plain in the Hollywood Hills, the house is instinct. “When we’re shopping, we never know where
partly cast in shadow throughout the day—an effect that renders anything’s going,” says Pierce. “We’ll frame 70 pieces of art,
it “romantic and moody,” says Ward. “Rather than force dark all in different frames, and have no clue where any of it is
rooms to be bright by painting them white,” she and Pierce hanging—and then it looks so purposefully done.” Never in a
drenched the walls in evocative grays and greens. “It almost self-consciously decorated way, though. There’s an effortless,
feels like you’re in England. Someone came over the other lived-in quality to Pierce & Ward projects, which one can
night and said, ‘If Jane Austen lived in Hollywood, she would imagine their high-profile clientele find a sense of comfort in.
live in this house.’ ” It’s a style that lends itself well to the presence of children,
A refreshing disregard for convention unfolds in the way too. Ward freely admits, “I was always envisioning this as a
objects come together, where a Picasso painting might share family home.” Still, some changes were called for when she
ARCH DIG E ST. CO M 143

“When we’re
shopping, we
never know
where anything’s
going,” declares
Louisa Pierce.
GOTTFRIED HELNWEIN: © 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/VG BILD KUNST, BONN; PICASSO: © 2019 ESTATE OF PABLO PICASSO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
“We just buy

stuff we like.”
ABOVE IN THE MASTER

BEDROOM, AN RH
PENDANT HANGS ABOVE
THE CUSTOM BED.
ARTWORKS BY (FROM
CENTER) GOTTFRIED
HELNWEIN, PABLO
PICASSO, AND MARTIN
MULL. RIGHT THE MASTER
BATH FEATURES A
SIGNATURE HARDWARE
TUB AND FITTINGS. HAZEL
KING DRAWING ON RIGHT.
OPPOSITE A MORRIS & CO.
WALLPAPER WRAPS THE
NURSERY. POTTERY BARN
KIDS ARMCHAIR AND
OTTOMAN; CRATE AND
KIDS CRIBS.
and Ribisi discovered they were expect- “We’re always like, ‘Where
ing twins. The nursery had been Pierce
& Ward’s former L.A. office, which is
now headquartered down a pebble path
should we go for dinner?’ ”
in the guesthouse. The formal dining
room off the open kitchen was repur-
says Emily Ward. “And we end
posed as a den. “With kids, you’re not
going to be using a huge, grand dining
up having amazing meals in
table,” Ward says. “The kitchen is where
we are all the time.” The living room,
the backyard.”
anchored by a fireplace flanked by two
perfectly peeling club chairs, now houses
the 18th-century French dining table, which does double duty that sense of community. And this is part and parcel of
as a workstation. “We end up using it so much more now,” she Emily and Louisa’s philosophy, too,” he notes. “Their homes
says. As for the children’s room, it’s a magical oasis wrapped aren’t just paranoid comfort that becomes vacuous, and you
in a historic bird-and-pomegranate wallpaper by Morris & Co. wake up one day, and it’s like the Talking Heads’ ‘This is not
and festooned with a menagerie of papier-mâché animal my beautiful house!’ There’s actual, legitimate communion.
heads. “I wanted it to be gender neutral, so I thought animals It feels like home. I feel like I belong here.”
would be a nice theme,” Ward notes. “Thank God I love it so So did he know when he hired the design duo that he
much, because I don’t leave it.” would one day be sharing the house with Ward? “There’s
The new parents may not get out a lot these days, but they that thing somebody said that you fall in love in the first
welcome guests often. Two of Ribisi’s sisters (one of them is three seconds and the rest is denial,” he responds. “I knew
his fraternal twin) live a short walk away with their families, that we would be together. It felt like it was this thing that
resulting in many communal brunches and dinners. “I come wasn’t forced and it wasn’t hastened. It was just this natural
from a big family of Sicilian farmers,” he says, “so I appreciate evolution that happened.”

HAIR BY MAKIKO NARA FOR WALTER SCHUPFER MANAGEMENT USING DAVINES; MAKEUP BY GINA RIBISI
ABOVE LOUISA PIERCE AND EMILY WARD, PARTNERS IN PIERCE & WARD, IN THE HOME’S OUTDOOR DINING AREA. VINTAGE PICNIC
TABLE; BENCHES FROM TERRAIN. OPPOSITE A BOWL BY RIBISI’S MOTHER SITS ATOP AN 18TH-CENTURY FRENCH DINING TABLE.
resources
Items pictured but not listed here are in cream, by Kravet (T); kravet.com. stools by Jean Prouvé for Vitra; vitra by Apparatus; apparatusstudio.com.
not sourceable. Items similar to In entrance hall, vintage Mexican .com. Aria round table by Room & Mira round mirror from Organic
vintage and antique pieces shown are chandelier from Dragonette Ltd.; Board; roomandboard.com. Mini Modernism; organicmodernism.com.
often available from the dealers listed. dragonetteltd.com. PAGE 105: Pool Basketweave rug, in sandstone, PAGES 142–43: In lounge, custom
design by Michelle Nussbaumer; by Chilewich; chilewich.com. bench and Whidbey Fancy pillows by
(T) means the item is available only michellenussbaumer.com. On custom Pierce & Ward; pierceandward.com.
to the trade. iron lounges by Michelle Nussbaumer; CAUSE AND EFFECT Custom curtains of Monterey linen,
Forge outdoor fabric, in platinum, PAGES 126–133: Interiors by Studio in alabaster, by Fabricut (T); fabricut
by Sunbrella; sunbrella.com. Peregalli; studioperegalli.com. PAGE 126: .com. On walls, Galveston Gray paint
In hallway beyond, wallpaper by by Benjamin Moore; benjaminmoore
RESTORATION DRAMA UNCOMMON VISION Studio Peregalli; studioperegalli.com. .com. In kitchen, stools from H.D.
COVER (NEWSSTANDS), PAGES 92–107: Buttercup; hdbuttercup.com. Custom
COVER (SUBSCRIBERS), PAGES 108–117: PAGES 130–31: On antique desk,
Architectural design, interiors, and Architecture and interiors by Gehry bronze lamp by Hervé Van der Douglas fir island and cabinetry by
landscape design by Michelle Partners, LLP; foga.com. Landscape Straeten (similar) from Ralph Pucci; Pierce & Ward, fabricated by the
Nussbaumer; michellenussbaumer design by Olin; theolinstudio.com. ralphpucci.net. Small wood side table French Tradition; thefrenchtradition
.com. Select fabrics, furniture, Custom pieces throughout by Frank by Studio Peregalli; studioperegalli .com. On cabinetry, Galveston Gray
lighting, decorative painting, pillows, Gehry. PAGE 112: Strips sofas by Cini .com. PAGE 133: Zen console by Hervé paint by Benjamin Moore. Sink
planters, rugs, tiles, and murals Boeri for Arflex from the Future Van der Straeten from Ralph Pucci; by Rohl; rohlhome.com. Fittings by
throughout by Michelle Nussbaumer Perfect; thefutureperfect.com. Green ralphpucci.net. Waterstone; waterstoneco.com.
for Ceylon et Cie; ceylonetcie.com. rug by Frank Gehry for Ferreira de CornuFé 110 range by La Cornue;
PAGES 92–93: Custom bed curtains of lacornueusa.com. On custom bench
Sá; ferreiradesa.pt. PAGE 114: Custom COOL CUSTOMER
antique Persian textiles and Dublin Steinway & Sons grand piano; PAGES 134–39: Interiors by Robert by Pierce & Ward, cushion of Integral
linen, in linen, by Kravet (T); kravet steinway.com. PAGE 115: Wolf range Stilin; robertstilin.com. PAGES 134– rayon-blend, in charcoal, by Fabricut
.com. Large shams by Pandora de and hood; subzero-wolf.com. Counter- 35: Vintage Guillerme et Chambron (T). Josef Hoffmann for Wiener
Balthazár; pandoradebalthazar.com. top by Caesarstone; caesarstoneus table from Robert Stilin; 1stdibs.com/ Werkstätte pendant (far right) from
Sconces (at left) from Casa Armida; .com. Custom tile flooring by Granada dealers/robert-stilin. Vintage 20th Neue Galerie; shop.neuegalerie.org.
casa-armida.mx. On antique Tile; granadatile.com. century Surveyor floor lamp from PAGE 144: On walls, Bird &
Syrian bench, Palampur Parrot linen, Paula Rubenstein; paularubenstein Pomegranate wallpaper by Morris &
in custom colorway, by Michelle STATEMENT PIECE .com. Vintage prototype bench by Co.; stylelibrary.com. Merced Glider
Nussbaumer for Design Legacy; PAGES 118–125: Interiors and interior Jean-Michel Wilmotte for Tecno from armchair and ottoman by Pottery
michellenussbaumer.com. Bokhara rug architecture by SheltonMindel; Donzella; donzella.com. Vintage kilim Barn Kids; potterybarnkids.com.
(in foreground) from Tajan; tajan.com. sheltonmindel.com. Architecture by rug from Double Knot; double-knot Hampshire cribs, in olive; and Roxy
Antique Caucasian rug (in background) Herzog & de Meuron; herzog .com. PAGES 136–37: In living room, on Marj Woodland Animal Baby quilts;
from Farzin Rugs; farzinrugs.com. demeuron.com. PAGES 120–21: On custom sofa by Robert Stilin; robert all by Crate and Kids; crateandbarrel
PAGES 94–95: On vintage chairs, .com. On custom bookshelves by
armchairs, fabric by Kvadrat (T); stilin.com; Incas alpaca-wool by Loro
vintage fabric cushions by Christopher kvadrat.dk. Beta sofas by Mauro Piana Interiors (T); loropiana.com. Pierce & Ward; pierceandward.com;
Fallon Design; +52-415-154-5075. Lipparini for Zanotta; miliashop.com. On vintage slipper chair, Chamonix fabricated by the French Tradition;
PAGE 96: Antique bench from thefrenchtradition.com; Retreat paint
On sofas, pillows by CB2; cb2.com. wool, in light gray, by Holland &
La Buhardilla; arteyantiguedades.mx. Joe D’Urso side table for Knoll from Sherry (T); hollandsherry.com. Vintage by Sherwin Williams; sherwin-
PAGE 97: Vintage wrought-iron table williams.com. Roman shades of Linen
1stdibs; 1stdibs.com. Panthella Mini Ignazio Gardella wingback armchair
and chairs from La Buhardilla; table lamp in Chrome (similar) by from Flair; flairhomecollection Slub linen-rayon, in slate, by Robert
arteyantiguedades.mx. Tablecloth by Verner Panton for Louis Poulsen; .com. On custom armchair (far left) Allen (T); robertallendesign.com. PAGE
Simrane; simrane.com. Throw from louispoulsen.com. Water Lens vessel, by Robert Stilin; Altai Unito wool- 145: In master bedroom, Capiz Shell
Country Garden Antiques; 214-741-9331. in black, by John Hogan for the Future cashmere, in shaded brown, by Loro 36" pendant by RH; rh.com. Custom
PAGE 100: On vintage Billy Baldwin bed by Pierce & Ward; pierceandward
Perfect; thefutureperfect.com. Wool Piana Interiors (T). Vintage kilim rug
slipper chairs, and custom armchairs rug by V’Soske (T); vsoske.com; atop from Double Knot; double-knot.com. .com. Studio swing arm wall lights,
and sofa (at right) by Michelle custom rug by Chilewich; chilewich PAGE 138: On custom bed by Robert in antique brass, by Visual Comfort &
Nussbaumer; michellenussbaumer.com; .com. PAGE 122: White oak mounted Stilin; robertstilin.com; Altai Unito Co.; circalighting.com. Cleo brass
Jefferson wool-blend, in matador, by wall cabinet by SheltonMindel; wool-cashmere, in shaded brown, by tripod table lamp by Crate and Barrel;
Kravet (T); kravet.com. Vintage brass sheltonmindel.com; fabricated by Loro Piana Interiors (T); loropiana crateandbarrel.com. In master bath,
table lamps (flanking sofa) from Atelier Prelati; atelierprelati.com. .com. Grande Hotel sheets, in white/ tub and fittings by Signature Hardware;
Adeeni Design Group; adeenidesign PAGE 123: Jos Devriendt glazed navy blue, by Sferra; sferra.com. signaturehardware.com. Perrin &
group.com. Fez pillows from Pura Vida ceramic lamp from Pierre Marie Articulated desk lamps by Walligraph Rowe oval undermount bowl sink, and
Home; puravidahome.com. Cocktail Giraud; pierremariegiraud.com. Water from Wyeth; wyeth.com. On vintage Acqui fittings, in polished nickel; all by
table by Wisteria; wisteria.com. Lens vase, in white, by John Hogan Formica and mahogany desk by Jean- Rohl; rohlhome.com. Custom mirrors
Antique Moroccan lantern (as sconce) for the Future Perfect; thefuture Claude Duboys from Demisch Danant; by Pierce & Ward, fabricated by
from Tajan; tajan.com. Antique Persian perfect.com. On chair, mohair blanket demischdanant.com; vintage mid- Sherman Gallery; shermangallery.net.
rug from Farzin Rugs; farzinrugs.com. by Lena Rewell; lenarewell.fi. century American metal lamp from On custom vanity by Pierce & Ward,
COVER, PAGE 101: Fabric skirt of Kendall Charcoal paint by Benjamin
PAGE 124: In dining room, Superloon Robert Stilin; 1stdibs.com/dealers/
Champa Nalini linen by Michelle floor lamp by Jasper Morrison for robert-stilin. Vintage kilim rug from Moore; benjaminmoore.com. PAGE 146:
Nussbaumer for Design Legacy; Flos (similar); flos.com. Jean Prouvé Double Knot; double-knot.com. PAGE Custom Roman shades by Pierce &
michellenussbaumer.com. PAGES 102– for Vitra dining table (similar); vitra 139: Vintage Swiss wood framed arm- Ward; pierceandward.com; of
03: On iron Mexican Colonial bed Subdivision linen-cotton, in natural,
.com. Richard Meier for Knoll dining chair from R. E. Steele Antiques; 631-
by Michelle Nussbaumer; michelle chairs from 1stdibs; 1stdibs.com. Mini 324-7812. Cashmere throw by Denis by Fabricut (T); fabricut.com. On
nussbaumer.com; bedcover by Basketweave rug, in sandstone, by Colomb Lifestyle; deniscolomb.com. custom bench by Pierce & Ward
Wisteria; wisteria.com; and blue Chilewich; chilewich.com. PAGE 125: (right), Pearson linen-cotton, in
pillow by Oscar de la Renta Home; Infinity bookcase by Antonio Citterio LOVE SHACK domino, by Pindler (T); pindler.com.
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