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 CONTENTS march
16 Editor’s Letter
20 Object Lesson
23 Discoveries
GWYNETH PALTROW, WEARING A KHAITE
DRESS, GEORGES CHAKRA BELT, FEMME LA
SHOES, AND FOUNDRAE JEWELRY, AT
HOME IN MONTECITO, CALIFORNIA. “SWEET
ESCAPE,” PAGE 58. PHOTOGRAPHY BY
YOSHIHIRO MAKINO. STYLED BY COLIN KING.
FASHION STYLING BY ROB & MARIEL.
10 AR CHDIGE ST.COM
Cini Boeri’s modular ’70s sofa.
BY HANNAH MARTIN
AD visits a quaint fishing cottage
turned creative retreat on the
Irish coast... Favorite florals...
Peter Mabeo’s furniture for
Fendi... Bari Ziperstein’s creative
designs... A new Rosewood
hotel in São Paulo... Brooklyn’s
Narrow House... The tradition-
honoring ceramics of chef-
designer Johnny Santiago Adao
Ortiz-Concha... Paloma
Contreras’s French-accented
lighting for Visual Comfort.
58
GWYNETH PALTROW’S
SUN-DRENCHED
KITCHEN IN MONTECITO,
CALIFORNIA.
58 Sweet Escape
Working with AD100
talents Roman and Williams
and Romanek Design Studio,
Gwyneth Paltrow builds
a serene family sanctuary
in Montecito, California.
BY MAYER RUS
70 Perfect Fit
At this East Hampton
compound, interior designer
Neal Beckstedt unites
classic and contemporary.
BY HANNAH MARTIN
YOSHIHIRO MAKINO
photographed in marrakech, maroc ullajohnson.com
CONTENTS march
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70
COMMENTS
CONTACT US VIA
SOCIAL MEDIA
OR EMAIL US AT
LETTERS@
ARCHDIGEST.COM. AN EAST HAMPTON
RETREAT WITH INTERIORS
BY NEAL BECKSTEDT.

84 Hang Time
NBA star Devin Booker
entertains his towering
teammates and friends in high
style at his expansive home
outside Phoenix. BY NICK MAFI

94 In the Grooves
Brooklyn-based architects
SO–IL have hit their stride—
pushing the boundaries in
projects of all kinds and paving
the way for a new generation
of talent. BY FRED A. BERNSTEIN

100 Paradise Found

FROM TOP: STEPHEN KENT JOHNSON, KASIA GATKOWSKA

Aerin Lauder conjures a

dreamy getaway for her family
on the coast of Panama.
BY JANE KELTNER DE VALLE

112 Resources
The designers, architects, and
products featured this month.

114
114 One to Watch
Designer Audrey Large’s
3D-printed creations.
DESIGNER AUDREY BY HANNAH MARTIN
LARGE IN HER
ROTTERDAM STUDIO.
©2 02 2 WATE RWO R KS IS A R EG IST E R ED T RA DE M AR K O F WAT E RWO R KS I P CO M PAN Y, L LC

INTRODUCING

RIVERUN

WATERWORKS.COM
 AD it yourself FOR MORE SMART IDEAS VISIT
ARCHDIGEST.COM/AD-IT-YOURSELF

WHEELS IN MOTION
EVEN IF A BESPOKE SOLID-STONE BAR
IS NOT IN THE CARDS, YOU CAN
STILL TOAST IN STYLE WITH A CLASSIC
BAR CART. OUR LATEST FAVE IS THIS
SHAGREEN STUNNER BY RH (RH.COM).

BREATHS OF FRESH AIR

DECANTING IS A LOST ART—AND
A CHIC WAY TO REDUCE THE VISUAL
CLUTTER OF BOTTLES. LET’S BRING
IT BACK WITH VESSELS LIKE THIS ONE
BY RICHARD BRENDON (GOOP.COM).

PIERCING EYE
IN BARWARE, AS IN LIFE, THE DETAILS
MAKE ALL THE DIFFERENCE.

INTERIOR: YOSHIHIRO MAKINO. ALL OTHERS COURTESY OF THE COMPANIES.

HUDSON GRACE’S STAINLESS-STEEL
COCKTAIL PICKS ELEVATE ANY
MANHATTAN (HUDSONGRACE.COM).

DESIGN INSPIRATION FROM THE ISSUE

Let’s Raise a Glass

Across her hit platforms, lifestyle oracle Gwyneth Paltrow
has helped fans Goop their bar carts and up their cocktail game, THE GOOD STUFF
one delicious elixir at a time. So it’s no surprise that her own EVERYTHING TASTES BETTER IN
California home (page 58) boasts a bar to rival all bars: an onyx ARTISANAL GLASSWARE. THESE DAYS
WE’RE ESPECIALLY LOVING THE
wonder custom-designed by Roman and Williams. We drank CUT-AND-POLISHED WORK OF HARUYA
it up and have some intoxicating ideas of our own.... HIROSHIMA (RWGUILD.COM).

14 AR CHDIGE ST.COM PROD UCED BY SAM COCHRAN AND MADE LINE O’MAL LEY
 Create Your Paradise
Designing your home shouldn’t stop at the door. Bring the comforts of the indoors out with Frontgate’s one-of-a-kind
furniture and decor – and discover a fresh destination to live, work and play.

Shop our new collection at frontgate.com/outdoor

 editor’s letter 1

1. GWYNETH PALTROW
TAKES A SEAT IN HER NEW
CALIFORNIA KITCHEN WITH
HER HUSBAND, WRITER-
PRODUCER BRAD FALCHUK.
2. NBA STAR DEVIN BOOKER
IN HIS ARIZONA GARAGE.
3. AERIN LAUDER’S PANAMA
POOL. 4. WITH LAUDER IN
PALM BEACH. 5. A HAMPTONS
HOUSE WITH INTERIORS BY
NEAL BECKSTEDT. 6. JING LIU
AND FLORIAN IDENBURG,
THE DUO BEHIND INFLUENTIAL
ARCHITECTURE FIRM SO–IL.
2
3

“The kids were much younger

1. YOSHIHIRO MAKINO. 2. CHRISTOPHER STURMAN. 3. ANITA CALERO. 4. JOE SCHILDHORN/BFA.COM. 5. STEPHEN KENT JOHNSON. 6. LELANI FOSTER.
when I embarked on this project,
and I wasn’t married to Brad, so I
was ideating for a future self that 6
didn’t exist yet.”—Gwyneth Paltrow
5
Star power comes in many forms at AD, and this issue
celebrates mega-talents from many fields of expertise—
entertainment, sports, architecture, interior design.
Hollywood heavyweight Gwyneth Paltrow spent six
years building her dream house from the ground up in
beautiful Montecito (“our sweet gem of an escape”).
Collaborating with an AD100 dream team of Roman and
Williams and Romanek Design Studio, Paltrow success-
fully transformed a teardown on a generous lot (“It was
like Grey Gardens. There were wild animals living there
and swarms of bugs, but I fell in love with the land and
the views,” she says) into her specific vision of “a Parisian
apartment set within an old European barn, something
with high ceilings, flooded with light, a place that feels
generous yet manageable at the same time.”
NBA wunderkind Devin Booker, the Phoenix Suns
guard and a budding design sophisticate at only 25 years 4
old, enlisted the AD100’s Clements Design and fellow
Los Angeles firm Karan Brady Interiors to feather his
modern Arizona nest, which features custom 12-foot-long
sofas to accommodate his towering teammates and a
James Turrell LED sculpture on his dining room wall.
A bit farther afield, we visit Aerin Lauder, founder of her namesake lifestyle brand and
the ultimate tastemaking New Yorker, on an ultra-isolated part of the Pacific coast of AMY ASTLEY
Panama, where her family trades city life for “a real adventure escape,” says Lauder. “It’s Editor in Chief
rustic. It’s a fantasy island. You feel like you’re far, far away.” Another sweet gem. @amyastley

16 AR CHDIGE ST.COM
D I O R B O U T I Q U E S 8 0 0 .9 2 9. D I O R ( 3 4 67 ) D I O R . C O M
© 2022 Sotheby’s International Realty. All Rights Reserved. The Sotheby’s International Realty trademark is licensed and used with permission. Each Sotheby’s International Realty
office is independently owned and operated, except those operated by Sotheby’s International Realty, Inc. The Sotheby’s International Realty network fully supports the principles
of the Fair Housing Act and the Equal Opportunity Act. All offerings are subject to errors, omissions, changes including price or withdrawal without notice. Property ID: RE8FHD.
 Move

Nothing Compares.
beyond your
expectations.

S O T H E B YS R E A LT Y.C O M

PRIVATE ESTATE ON THE FORMER GROUNDS OF THE BENEDICTINE MONASTERY OF ST. MAUR INDIANAPOLIS INDIANA
 3

1. STRIPS SEATS BY CINI BOERI IN FRANK GEHRY’S SANTA MONICA

HOME. 2. ITALIAN ARCHITECT CINI BOERI. 3. THE SOFA AT THE
SEA RANCH LODGE, RECENTLY REDESIGNED BY CHARLES DE LISLE.
4. CINI BOERI’S STRIPS SOFA FOR ARFLEX. 5. ACTOR GUSTAVO
SALMERÓN’S HOME IN MADRID.

furniture too, for what it’s worth, but they didn’t exactly
prioritize function.)

1. JASON SCHMIDT. 2. CINI BOERI STUDIO. 3. SAM FROST. 4. COURTESY OF ARFLEX. 5. GONZALO MACHADO.
Boeri did. In 1968 she began experimenting with simple
molded-polyurethane forms that could be encased in removable
quilts, almost like her children’s sleeping bags. The so-called
Strips series, a name derived from that easy-to-undress design,
was practical as ever: “The shell can be slipped off, washed,
5 changed, put back on, and zipped up like a dress over a polyure-
thane body,” she wrote in 1974. Some of the models even

Strip Tease
allowed the user to be zipped cozily inside.
The modular seats, sofas, and beds—which looked like
building blocks wearing puffer coats—were officially unveiled
Italian architect Cini Boeri’s in 1971 with Italian manufacturer Arflex (they still produce
Strips today, from $8,150 for a sofa). By 1979 it had proved itself—
modular ’70s sofa is it was awarded the covetable Italian design award, the

designed to be undressed
Compasso d’Oro and, as Boeri bragged, “Hollywood actors
wanted it,” making it “widely sold in America.”
Today, as the vogue for modular ’70s seating surges,

I
design people across the globe have declared their allegiance.
n the 1960s, avant-garde artist couple Christo and Starchitect Frank Gehry lives with several pieces in his Santa
Jeanne-Claude began wrapping monuments around the Monica home. Britt Moran from AD100 firm Dimorestudio,
world in fabric and rope. A sculpture in the garden of who calls it “a modern classic,” recently placed one in fashion
Rome’s Villa Borghese (1963). A gilded statue on Paris’s designers Dean and Dan Caten’s London living room. And
Place du Trocadéro (1964). The monument to Vittorio AD100 talent Charles de Lisle just used a handful of green ones
Emanuele II in Milan’s Piazza del Duomo (1970). The in his Sea Ranch Lodge redo in California. “I’ve always been
arresting visuals gave Italian architect Cini Boeri an idea: Why in love with modern slipcovered furniture from Italy,” he says,
not wrap a sofa? (Christo and Jeanne-Claude had wrapped calling Strips “modular perfection.” arflex.it —HANNAH MARTIN

20 ARCHDIGE ST.COM
 DISCOVERIES
THE BEST IN SHOPPING, DESIGN, AND STYLE EDITED BY SAM COCHRAN

AD VISITS

Fresh Catch
On a scenic stretch of Irish coast, Orior’s
Ciaran McGuigan transforms a quaint fishing
cottage into a creative retreat
SIMON WATSON

CIARAN AND LOGANN McGUIGAN IN THE LIVING ROOM OF THEIR COUNTRY HOME IN OMEATH, IRELAND; VINTAGE GIUSEPPE
RIVADOSSI ARMCHAIR, CUSTOM-BUILT WALL UNIT, AND AN UNATTRIBUTED PAINTING FOUND IN PARIS.

ARCHDIGEST. COM 23
 DISCOVERIES

1
2

A
famous beauty spot since the 19th century,
the glacial fjord Carlingford Lough cuts
deep into the eastern coast of Ireland mid-
way between Belfast and Dublin, marking
the border between Northern Ireland and
the Republic. At its inner end is the village
of Omeath. Here, overlooking the lough and the cloud-swept
Mountains of Mourne, is what looks like a simple wood-
planked fisherman’s shack. Step inside, though, and you enter
an entirely different world. For this is the home away from
home of Ciaran McGuigan, creative director of Irish furniture
company Orior, and his American wife, Logann.
“I just love the space here,” McGuigan says, “the energy
you get from walking out of the door, being right on the water-
front and seeing that amazing view.” It’s a view he grew up
with in the town of Carlingford next door, where his parents 1. ORIOR’S SHANOG SOFA, ATLANTA CHAIRS, AND LIVIA OTTOMAN
MINGLE IN THE LIVING ROOM; FRAMED ARTWORKS BY
1 & 2. SIMON WATSON. 3. COURTESY OF ORIOR.

still live. Brian and Rosemary McGuigan founded Orior in 1979,

ANDREW HUMKE. 2. DARKENED PLANKS DISTINGUISH THE FAÇADE.
3. WAVY CREDENZA BY ORIOR.
where they moved after school to escape the Troubles
(the three-decade conflict in Northern Ireland). In the
40 years since, Orior has become one of the most
respected furniture companies in Ireland, both for its
own designs and its contract work in Europe and the
States for leading decorators and high-profile projects.
Born in 1989, Ciaran also left Ireland after school,

at the Savannah College of Art and Design—which is

3

24 ARCHDIGE ST.COM
 DISCOVERIES
1. IN THE BEDROOM, ORIOR MOZART CHAIR,
SEUNGJIN YANG PENDANT FROM THE
FUTURE PERFECT, AND LOU ROS PAINTING.
2. THE KITCHEN WINDOW FRAMES A VIEW
OF THE FJORD. 3. GIAN SOFA. 4. IN THE BATH,
OMEATH WALLPAPER BY CIARAN’S SISTER,
KATIE ANN McGUIGAN.

where he met his wife-to-be. He started working for the fam-

ily firm in 2013 and took over the reins as creative director in
2019, opening Orior’s first rebranded U.S. showroom in Tribeca,
refreshing many products with bright new colorways, and
launching a rug collection with his sister, Katie Ann. Though
Ciaran and Logann spend much of the year in Brooklyn, Ireland
remains Orior’s center of production, necessitating regular
trips home, so when a four-acre seafront plot in Omeath came
up for sale in 2016, complete with an old fishing shack, Ciaran
jumped at the chance to buy it and make a place of his own.
Then came the pandemic, when Ciaran found himself back
in Ireland full-time, staying with his parents in Carlingford.
“Suddenly it made sense to do something with the fish shed,”
he says. Working with Logann, who had joined him from New
York, he reconfigured the interior to create an airy kitchen-
and-living area on the ground floor, with a bedroom and bath-
room upstairs and a studio out back. “We didn’t make any major
changes,” Ciaran adds, “not because we didn’t have the budget
but because we wanted to keep as many of the original elements
1, 2 & 4. SIMON WATSON. 3. COURTESY OF ORIOR.

as we could.” Luckily the Orior workshops proved to be a mine

of spare craftspeople and materials, so despite the various lock-
downs, the house was ready to move into by November 2020.
Filled with Orior furniture, from fringed Atlanta lounge chairs
to a brass-trimmed Livia ottoman, it’s as much a showcase as
a second home. It’s also intended to be a place where Ciaran’s
colleagues can spend time exploring new projects and collabo-
rations. But for now it’s just a great place to be. “My old man
loves it,” Ciaran says. “He’s here every weekend. Logann makes
him his porridge; then he’s off windsurfing for the rest of
the day.” oriorfurniture.com —CHRISTOPHER STOCKS
4

26 ARCHDIGE ST.COM
 DISCOVERIES FOR MORE GREAT FINDS VISIT ARCHDIGEST.COM/SHOPPING

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28 ARCHDIGE ST.COM PRODUCE D BY MAD ELINE O’MALL EY

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 DISCOVERIES

1. PETER MABEO WITH HIS KOMPA

COLLECTION FOR FENDI AT DESIGN
DESIGN MIAMI. 2. A MOLD IN WHICH

Come Together
TO MAKE THE FORO CHAIR IN CLAY.
3. THE FORO CHAIR IN WOOD.
4. A CLAY FORO CHAIR IN PROGRESS.
1

Peter Mabeo’s furniture collection

for Fendi unites the best of
contemporary Botswana craft

K
ompa means ‘together,’ ” explains designer Peter
Mabeo, who is based in Gaborone, Botswana. To
demonstrate that holistic idea, Mabeo interlocks
his fingers, creating a circle with his hands. The
word, which Mabeo learned from an artisan in
the nearby village of Hukuntsi, is the name of his
newest furniture collection: 10 pieces made in collaboration
with Italian fashion brand Fendi and unveiled at Design Miami.
“I wanted to bring together different elements, different
materials, and different people,” says Mabeo. Since founding
COURTESY OF MABEO STUDIO

his namesake studio in 1997, he has been teaming up with a

range of Botswana-based makers, among them master wood-
workers, potters, basket weavers, and metalsmiths. For Kompa,
he canvassed the country by car, tapping those same experts
to test the limits of their mediums. In the community of
Mmankgodi, woodworkers used local Panga Panga timber to
create the squiggly Shiya seat and sculptural Maduo chair. 4

30 ARCHDIGE ST.COM
 DISCOVERIES 2

1
3
1. GABI-GABI SEATING SCULPTURE IN GALVANIZED SHEET METAL.
2. MADUO CHAIR IN PANGA PANGA WOOD. 3–4. GABINYANA BRASS LAMP,
COMPLETE AND IN PROGRESS. 5. LOMA STOOL IN PANGA PANGA WOOD.

(Bearing Fendi’s classic F logo, the latter reinterprets a bracelet

design by Delfina Delettrez Fendi, artistic director of jewelry.)
In Molepolole Village, ceramists packed clay into wood-and-
metal frameworks and pit-fired the forms using cow dung for
fuel—an ancient technique that lends the clay a leathery reddish
tint. The resulting Loma and efo stools, with complementary
components that nestle into one another, incidentally, resemble
Mabeo’s circular hand gesture.
4
Several pieces were touched by multiple craftspeople
before they reached their final state of kompa. Take the Foro
chair, which Mabeo executed in wood as well as ceramic.
In order to realize its unusual shape in clay, he enlisted metal-
workers who usually turn scrap into buckets. They created
an elaborate mold that would guide a ceramist’s hand in the
building stages. To give some insight into that process at
Design Miami, Mabeo displayed the seat still attached to the
skeletal structure. (Those same metalworkers also created
the Gabi-Gabi seating sculpture and a small matching lamp.)
Meanwhile, to create the Chichira cabinet far north in Etsha,
metalworkers produced a framework that some 20 basket
weavers sheathed with palm leaves (you can smell their grassy
aroma, even through a mask), all before woodworkers
installed drawers.
“I was immediately drawn to Peter’s considered approach

made a point to document these

networks of craft—and each

collection—in a publication that

COURTESY OF MABEO STUDIO

was presented in Miami. As Silvia 5

Venturini Fendi, the brand’s
artistic director of accessories,
menswear, and kids, explains,
“The work speaks not only
about products but about people.”
fendi.com —HANNAH MARTIN

32 ARCHDIGE ST.COM
THE FINE BALANCE BETWEEN ART & INTERIORS | ARTERIORSHOME.COM
 DISCOVERIES 1
2

1. THE SALES OFFICE

AT BARI ZIPERSTEIN’S
NEW SHOWROOM/
STUDIO, DESIGNED BY
FOSS HILDRETH.
2–3. MELTING PLANE
AND JOINED SIDE
TABLES FROM THE
FUTURE PERFECT
(THEFUTUREPERFECT
.COM). 4. BZIPPY
LARGE DIAMOND VASE.
5. ZIPERSTEIN
WITH SCULPTURES
IN PROGRESS.
3

I the Los Angeles–based artist. “I’m constantly looking at

industrial processes and structures, and how things are
made.” Eyeing a strange building or the pylons that hold
up the freeway, she’ll wonder: Could I do that in clay?
She’s applied the same working-in-reverse spirit to
her business. Ziperstein is, first and foremost, a fine artist. But
in 2008 she started making brutalist planters, furniture, and
tableware as a side hustle under the name BZippy. It took off,
allowing her to resume her art practice. Since 2019, she has
also created works of collectible design for The Future Perfect.
It has all now come together under one roof at her new
studio and showroom, where she and her team can fabricate the
works (hand-built using hump-molded and extruded slabs of
clay, then fired on-site) between client appointments, order ful-
fillments, and sketching sessions. The 9,000-square-foot building,
furnished by the local design duo Foss Hildreth, merges indus-
trial capabilities with creative flair. The public-facing spaces,
open for appointments, are outfitted with vintage gems like Joe
Colombo’s plastic Universale chairs and a Mario Bellini sofa.
These areas double as laboratories for new products, including 5
1 & 5. LAURE JOLIET. 2-4. COURTESY OF BZIPPY.

forthcoming sconces and kitchen tiles.

For the first time in 10 years, Ziperstein also has her own
fine-art studio, where she spent much of last fall prepping for IN THE STUDIO

All Zipped Up
her current solo show at the Vielmetter gallery. To realize the
hulking sculptures, she carved intricate patterns inspired by
Russian textiles into the clay, firing and glazing them, paint-by-
numbers style. Like many of the brutalist buildings she has
long referenced, the Cold War–era textiles were commissioned Bari Ziperstein unites all her
by the government. “They’re propaganda,” she explains. “I’m creative callings at a new
workspace and showroom
interested in thinking about our historical past and how it talks
about our current state.” bzippyandcompany.com —HANNAH MARTIN

34 ARCHDIGE ST.COM
Gregory XL sectional sofa Flexform New York Flexform San Francisco Also available
T 212 355 2328 T 415 800 6576 at selected dealers in
Antonio Citterio Design Austin, Boston, Chicago,
Made in Italy Flexform Los Angeles Flexform Miami coming soon Dallas, Denver, Houston,
flexform.it T 310 424 5460 T 786 631 4835 La Jolla, Seattle
 1
PARADISE
PERFECTED
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the everyday and a portal
to all that’s exceptional
and unforgettable.
Paradise has never felt
so perfect .
COVEATLANTIS.COM/AD
877.485.0871
HOTELS
Born
This Way
Following its completion in 1943,
the Condessa Filomena Matarazzo
Maternity hospital in São Paulo
would go on to deliver an estimated
half million babies. Today, the former
medical complex is welcoming new
life once more—reimagined as the 2
glamorous Rosewood São Paulo
hotel and the anchor for the Cidade Matarazzo luxury community, the
brainchild of entrepreneur Alexandre Allard. Comprising 160 guest rooms
and 100 residences, Rosewood’s first property in Latin America spans the
historic structure and a new tower by Pritzker Prize–winner Jean Nouvel,
the overlapping trellises and brise-soleils of which frame a vertical forest.
Landscapes by fellow AD100 Hall of Famer Louis Benech juxtapose Atlantic
plantings with mature olive trees, while Starck’s interiors pay homage to
Brazil, with curves in the spirit of Oscar Niemeyer and handcrafted touches
by some 4,000 local artisans. “What is really interesting and fascinating
in Brazil are the bursts of joy, the enthusiasm,” says Starck. True to that
pride of place, the complex displays 450 artworks by 57 Brazilians. Lobby
tapestries by Regina Silveira muse on regional wildlife. Lining the rooftop
pool are bespoke green-and-white tiles by Sandra Cinto. And the 1922
Chapel of Santa Luzia, revived by architect Roberto Toffoli Simoens da Silva,
now features a rose window by Vik Muniz. (The building’s original circular
fenestration, discovered during the restoration, had previously been
covered over.) There, proverbial wedding bells will ring. What better place
to start a family? rosewoodhotels.com —SAM COCHRAN
1. A SUITE AT ROSEWOOD SÃO PAULO, OUTFITTED BY PHILIPPE STARCK.
2. A RENDERING OF THE JEAN NOUVEL–DESIGNED TOWER, A VERTICAL FOREST.
PARADISE IS CALLING.
PACK LIGHT.
COVEATLANTIS.COM/AD | 877.485.0871
 DISCOVERIES

1. ONLY IF COFOUNDERS
KAROLINA CZECZEK
AND ADAM FRAMPTON
WITH THEIR DOG,
NIKITA, IN THEIR NEWLY
COMPLETED BROOKLYN
HOME, NARROW HOUSE.
2. A PERFORATED-METAL
CENTRAL STAIRCASE
LINKS THE OPEN ROOMS.

1
2

ARCHITECTURE

Slim Chance
Two rising stars find ample
opportunity on an unusually
tight plot in Brooklyn

I
t was the sort of lot most people would walk
by without even noticing. Set on a quiet block
in Brooklyn’s Bedford-Stuyvesant neighbor-
hood, the vacant parcel measured just 13 feet
4 inches wide—barely more than a few strides.
But for Adam Frampton and Karolina Czeczek,
the husband-and-wife founders of the architecture
firm Only If, that was plenty of room to dream. After
a search for a future home that had led them to apart-
ments and industrial structures in need of renovations,
the duo thrilled to the prospect of a clean slate and a
ground-up project. The only question was, would the
city allow one?
On this particular block, as throughout much of
New York, zoning codes prohibit development on
unused pieces of land measuring less than 18 feet wide.
“The lot itself was very undervalued, but it involved
a lot of risk,” recalls Czeczek. “We went in kinda
blindly.” As part of the sale, she and Frampton had 30
days to determine whether or not they could build
on the site. Poring over city records and zoning reso-
IWAN BAAN

lutions, they discovered that because the parcel in its

current form had been owned separately by a critical
date in the early 1960s, construction could proceed.
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 DISCOVERIES
Today their newly completed home, christened
Narrow House, is stopping passersby in their tracks.
Come dusk, the property glows like some pristine
minimalist lantern, its large window walls revealing
the diagonal supports that provide lateral bracing,
and the airy rooms beyond. “Every design decision,”
Frampton explains, “was a logical outcome of the
constraints.” The broad expanses of glass help bring
light into the razor-thin structure, whose concrete
walls shave the living spaces to just 11 feet wide.
A central, split-level staircase divides the vertical
void into a series of rooms, each one in effect just a
landing. On the garden side, the couple’s shared
42 ARCHDIGE ST.COM
1. A VIEW OF THE MEZZANINE OFFICE
AND ROOF TERRACE ABOVE; DESK BY
LENSVELT. 2. STREET-FACING WINDOWS
REVEAL LATERAL BRACING.
mezzanine office floats above
the living area. On the street side,
meanwhile, two identical bedrooms
stack above the dining area, both
anchored by a plywood-enclosed
volume that contains a closet and
bathroom. Says Czeczek of the
seamless sequence: “There is an
embedded flexibility.”
With the exception of pocket
doors that can seal off the bed-
rooms and bathrooms, there is no
separation of living spaces. The
staircase’s perforated metal coaxes
sunshine deeper inside, while
1
poured-polyurethane floors and
wall-mounted fixtures bounce light
throughout the house. Composite-metal decks (used
at the material’s widest possible unsupported span)
form ceilings. On the main level, the kitchen consists
of a simple swath of cabinetry, with terrazzo counter-
tops of integrated appliances.
Nimble though Frampton and Czeczek might be
in a bind, they each cut their teeth designing at a city
scale. The two met in 2010 while working for OMA,
the international architecture firm founded by Rem
Koolhaas. At the time, Frampton was based in Hong
IWAN BAAN
Kong, immersed in large-scale projects on the order
of the Taipei Performing Arts Center. Czeczek began
in OMA’s Rotterdam office, collaborating on the
(CONTINUED ON PAGE 52)
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 A CENTURY OF STYLE
From editor-in-chief Amy Astley and Architectural Digest, AD at 100
FROM LEFT: ANTHONY COTSIFAS; JASON SCHMIDT; OBERTO GILI

celebrates the most incredible homes of the past century, showcasing

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

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

abramsbooks.com/AD100
 DISCOVERIES 1

1. PLYWOOD VOLUMES
CONTAINING CLOSETS AND
BATHS ANCHOR EACH
BEDROOM. 2. THE TERRAZZO-
Amsterdam headquarters of G-Star Raw, among CLAD BATH CAN BE CLOSED
other projects, before relocating to Hong Kong, OFF VIA POCKET DOORS.
3. THE REAR FAÇADE’S
where she contributed to a number of urban master PIVOTING WINDOW WALL.
plans. “We are indebted to our education at OMA,” 2
3
reflects Frampton, who had previously studied at
Princeton. (Czeczek, born and raised in Poland,
studied at the Cracow University of Technology and
later Yale.) “The rigor and method have been super
influential. We used what we learned to find our own
language, working in a very local and hands-on way.”
While in Asia, Frampton coauthored the book
Cities Without Ground, which explored Hong Kong’s
network of walkways, underpasses, lobbies, and
atriums—an otherwise unmapped system of pedes-
trian public and semipublic domains. “The city is so
dense that to get from point A to point B you don’t
walk on streets,” he notes of the study, a collaboration
with Clara Wong and Jonathan D. Solomon. “What
at first appeared purely circulatory was in fact much
more than that. It functioned as a novel form of
public space.”
Narrow House has catalyzed a similar mapping
of New York City. With the aid of GIS software,
Frampton and Czeczek have discovered roughly
3,600 unused irregular plots throughout the five
boroughs. Some are slivers of land like their own.
Others are small or otherwise oddly shaped parcels.
But where conventional zoning wisdom has seen
challenges, Only If sees opportunities, in particular
for emerging architects such as themselves—prac-
tices with big ideas but without the resources, name
recognition, or client base to allow for ground-up
IWAN BAAN

experiments. “It’s beyond housing,” notes Frampton.

“More generally it’s about thinking creatively about
vacant space.” only-if.com —SAM COCHRAN

52 ARCHDIGE ST.COM
 H I S V I S I O N CONTINUES

I N P A R T N E R S H I P W I T H T H E F R A N K L L O Y D W R I G H T F O U N D AT I O N | B R I Z O .C O M
® 2022, Frank Lloyd Wright Foundation. All rights reserved.
 DISCOVERIES

LIGHTING

BRIGHT FUTURE
French antiques have long
fascinated Paloma Contreras,
the Houston-based designer
and founder of the hit Texas
concept store Paloma & Co.
So when Visual Comfort
tapped the Lone Star State
sensation to create a lighting
line all her own, Contreras
looked to classics, updating
timeless silhouettes for
the present day. The results?
Magnifique, of course.
circalighting.com —SAM COCHRAN

1. ORSAY LARGE RING

CHANDELIER; $4,189.
2. ORSAY SMALL TABLE
LAMP; $1,249. 3. MAXIME
TABLE LAMP; $899.

CRAFT

One With the Land

PORTRAIT: MAIDA BRANCH. ALL OTHERS COURTESY OF VISUAL COMFORT.
“Our style is just raw micaceous clay,” muses the creative poly-
math Johnny Santiago Adao Ortiz-Concha, describing the ceramic
traditions of Taos Pueblo, New Mexico, the Native American
community and UNESCO World Heritage Site where he grew up.
(He now lives and works in the area.) “The material is so beautiful
it doesn’t need anything else.” He digs up that clay not far from
his home, hand-shaping it into tableware that he fires using cedar
from nearby mountains, usually during a full moon. The results are 3
oven-cured with elk marrow and beeswax. “Everything is rooted
in this place,” notes Ortiz-Concha, who is also a chef, having honed
his skills at notable restaurants like Saison in San Francisco and
Alinea in Chicago. (He is pictured at his new studio with recent
ceramic works, available through Object & Thing and Maida Goods,
operated by his partner, Maida Branch.) In 2017, he returned to the
area and, with a few friends, started Shed Project, a dinner series 2
based on indigenous ingredients and practices that will return this
spring. Plates flecked with mica might contain young peas, melon,
and canyon grape, with a swirl of foraged weeds. On any given
day, Ortiz-Concha dedicates himself to local living, milking cows,
baling hay, or plastering the walls of his centuries-old adobe
house. The goal: to create everything he needs from the land,
just like his ancestors. shed-project.com —HANNAH MARTIN

54 ARCHDIGE ST.COM
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Elevate Everything.
Working with AD100
talents Roman and Williams
and Romanek Design Studio,
Gwyneth Paltrow builds a
serene family sanctuary in
Montecito, California
TEXT BY MAYER RUS PHOTOGRAPHY BY YOSHIHIRO MAKINO STYLED BY COLIN KING
 SWEET
ESCAPE

A FREESTANDING ONYX BAR BY ROMAN

AND WILLIAMS HOLDS ONE SIDE OF THE
LIVING ROOM WHILE A LINDSEY
ADELMAN LIGHTING INSTALLATION
ACTIVATES THE CEILING PLANE. CHARLES
JOHN BALDESSARI. D’LISA CREAGER.

ZANA SOFA THROUGH THE INVISIBLE

COLLECTION, JAN EKSELIUS LOUNGE
CHAIRS, JULIAN MAYOR COCKTAIL TABLE,
RICK OWENS CHAIR, AND CARPET BY
WOVEN. ARTWORKS INCLUDE A PAINTING
BY JOHN BALDESSARI ABOVE THE
FIREPLACE AND A D’LISA CREAGER WIRE
SCULPTURE. EXTERIOR DOORS BY
RIVIERA BRONZE, MANTEL BY CHESNEYS,
PAINT BY FARROW & BALL, AND
BAR FAUCET BY WATERWORKS. FOR
DETAILS SEE RESOURCES.
 UMBRELLAS FROM NICHE
BEVERLY AND CUSTOM
CHAISE LONGUES ARE ARRAYED
ALONG THE POOL DECK.

First,
a caveat.
AND DIOR FOREVER FOUNDATION FOR THE WALL GROUP; MANICURE BY ASHLIE JOHNSON FOR THE WALL GROUP.
the kids there for holidays. It was our

HAIR BY MARK TOWNSEND FOR A-FRAME AGENCY; MAKEUP BY GEORGIE EISDELL USING GOOP SKINCARE
sweet gem of an escape in the U.S.,”
she says. On one visit in 2015, Paltrow
checked in on Redfin, her “favorite
pornography app,” and discovered a
generous lot for sale with a teardown
Anyone hoping to find an array of caricatured, Goop-arific but tons of potential. “It was like Grey Gardens,” she recalls.
novelty features in the Montecito home that Gwyneth Paltrow “There were wild animals living there and swarms of bugs,
shares with her husband, writer-producer Brad Falchuk, is but I fell in love with the land and the views.”
sure to be disappointed. There’s no plant-based, toxin-leaching, And so Paltrow set out to fulfill the dream of building her
zero-gravity pod, no fermenting cabana, no crystal-powered first ground-up house. “That was chapter one of a long and
sweat lodge. There are, to be sure, myriad elements specifically arduous journey,” she notes wryly, citing the many technical
designed to nurture mind, body, and soul; they just happen to complexities, unforeseen setbacks, and existential quandaries
be far more discreet—things like Vitruvian proportions, sacred that inevitably arise in the process of home building. To tackle
geometries, and a host of finely crafted architectural details the assignment, Paltrow tapped her longtime collaborators
that together represent a nuanced interpretation of wellness Robin Standefer and Stephen Alesch of Roman and Williams,
by design. the AD100 firm that had previously designed the actress’s
“The strength of the house is in the subtleties of light and Tribeca loft, the first Goop pop-up shop, and the company’s
space,” Paltrow says. “We spent a lot of time assessing family first permanent boutique, in the Brentwood Country Mart.
patterns, how we really live, what makes us most comfortable. “Robin and Stephen brought a real elegance to a very spec-y
The focus was on the experience, the emotion.” New York apartment, and I wanted to replicate the feeling
Paltrow first fell under the spell of Montecito during her of serenity they managed to conjure,” Paltrow says. “The kids
two semesters at UC Santa Barbara, before she decamped were much younger when I embarked on this project, and I
to pursue a career in acting. “I’ve always gravitated toward wasn’t married to Brad, so I was ideating for a future self that
Santa Barbara. Even when I was living in London, we’d take didn’t exist yet,” she adds.

60 A R CHDIGE ST.COM
 GWYNETH PALTROW, IN AN
A.W.A.K.E. MODE OUTFIT AND
SHOES BY JESSICA RICH,
AND BRAD FALCHUK, WEARING
KOIO SHOES, IN THE KITCHEN.
CUSTOM BENCHES PULL UP
TO AN ANTIQUE TRESTLE TABLE.
MILLWORK AND CABINETRY BY
ROMAN AND WILLIAMS; PLATES
BY HERMÈS; SCONCES BY
ALLIED MAKER; MONOGRAM
PROFESSIONAL RANGE. FASHION
STYLING BY ROB & MARIEL.
IN THE DINING ROOM, A THOMAS NEWMAN STUDIO CHANDELIER CROWNS
A MARTIN MASSÉ TABLE FOR KOLKHOZE WITH GAMFRATESI CHAIRS FOR PORRO.
WALLPAPER BY MJ ATELIER, CONSOLES BY ROBERT KUO, 18TH-CENTURY
FIREPLACE MANTEL FROM CHATEAU DOMINGUE, ACCESSORIES FROM RW GUILD.

“Gwyneth was more interested in substance
than style per se. Yes, it had to be pretty, but she
was most concerned with things like mood and
movement,” observes designer Brigette Romanek.
PALTROW DESCRIBES THE PRÉCIS for the design of the house
as “a Parisian apartment set within an old European barn,
something with high ceilings, flooded with light, a place that
feels generous yet manageable at the same time.” Drawing
inspiration from the humble forms and rugged grace of Old
World barns, the team from Roman and Williams responded
with a scheme that deftly bridges the classical and the contem-
porary—a long, lean monolithic structure, laid out largely on
one floor, with a shingled roof and stone walls that approxi-
mate the irregular rhythms and timeworn texture of dry-stack
construction. The property is powered on solar energy, with
a gray-water system.
“A home should reflect the physicality and ethos of its
owner, and this house takes its cues from Gwyneth’s height,
beauty, and focus on distillation. You see it in the tall bones,
the attenuated proportions, the radiused corners, and the
A JIM ZIVIC HAMMOCK FOR RALPH
PUCCI AND AN ALEXANDER DÍAZ
ANDERSSON LOUNGE CHAIR GRACE
THE LIVING ROOM.
slender molding profiles,” Standefer avers. “The house is built
around extremely precise, thoughtful spaces that we refined
again and again for years.”
Standefer emphasizes the importance of craft and
materiality in establishing the home’s soulful spirit and its
particular sense of place, from the custom pewter-finished
bronze doors to the antique fireplace mantels to the sculp-
tural, freestanding onyx bar that anchors the capacious living
room. The sybaritic home spa—think Baths of Caracalla
meets Aman luxury—makes a particularly compelling case
for Roman and Williams’s dexterous handling of form, flow,
proportion, material, color, and texture. “It’s like an ancient
bathhouse unexpectedly sheathed in these beautiful pale-
green tiles with an Arts and Crafts vibe. We love investigating
the tension and voltage between things you don’t normally
see combined,” Standefer says.
ARCHDIGEST. COM 63
 “It’s like an ancient bathhouse
beautiful pale-green tiles with an
Robin Standefer says of

CLAD IN TILES BY BANTAM TILEWORKS, THE SPA HAS WATERWORKS R.W. ATLAS SHOWER
FIXTURES, SHIPLIGHTS SCONCES, AND WILLY GUHL PLANTERS.
unexpectedly sheathed in these
Arts and Crafts vibe,” designer
the sybaritic home spa.

WHEN IT CAME TIME to furnish the house, Paltrow, a self-
proclaimed “furniture obsessive,” originally planned to do
the decorating herself. “I thought I’d get a few great pieces
and it would all be fine, but as time went by, I realized
that there were so many layers, so many things that needed
attention, that I couldn’t pull it off by myself,” she recalls.
Paltrow eventually called upon AD100 designer Brigette
Romanek, a close friend of more than two decades, to join
the adventure. “Brigette’s more contemporary than I am,
but I wanted to push myself. Plus, I knew it would be fun,”
the actress notes.
“Gwyneth knew exactly what she wanted. She knew the
feeling, the energy, the narrative. It was my job to express
those ideas in ways that would bring joy and beauty,” Romanek
says of her purview. Like the architecture, the decor eludes
antiquated definitions of traditional and contemporary, instead
finding harmony in understated colors, organic textures, and
strong, simple forms. The push and pull between old and
new, soft and hard, delicate and muscular, comes to the fore
in the elegant dining room, where a romantic hand-painted
scenic wallpaper wraps an unfussy composition of striking
66 A RCH DIGES T.COM
LEFT THE ENTRY HAS AN ABOVE IN A POWDER ROOM,
18TH-CENTURY FIREPLACE HAND-PAINTED WALLPAPER
MANTEL AND RECLAIMED- AND MIRROR BY MJ ATELIER,
STONE FLOORS FROM SCONCES BY GIOPATO &
CHATEAU DOMINGUE. THE COOMBES THROUGH
AKIKO HIRAI VESSEL ON STUDIOTWENTYSEVEN, AND
THE CENTER TABLE IS FROM ANTIQUE MARBLE SINK
RW GUILD. FROM STONE OBJECTS WITH
THG FIXTURES.
contemporary lighting and furniture. “Gwyneth was more
interested in substance than style per se. Yes, it had to be
pretty, but she was most concerned with things like mood
and movement,” Romanek observes.
Many of the furnishings have particular personal reso-
nance for Paltrow. The Lindsey Adelman lighting installation
on the living room ceiling, for example, was one of the first
items she commissioned for the house. “I told Lindsey, ‘Here’s
the room, make what you want.’ It’s an artistic intervention
into this incredibly calm space, like a gorgeous field of punk-
rock jewelry,” Paltrow says of the sinuous composition. The
Jim Zivic hammock that hangs along one side of the room—
a transplant from her Brentwood home in L.A.—has its own
jewelry-like details, albeit expressed in a far more butch,
industrial vocabulary.
Asked about any big takeaways from her six-year journey,
Paltrow offers some battle-tested advice: “There will always
be pain points in a project like this, but keep your eyes on the
big picture,” she says. “This house has taught me so much
about patience and gratitude. If you commit to design integrity
and character, you’ll never be sorry.”
 PALTROW, WEARING A CHANEL DRESS AND JEWELRY
BY FOUNDRAE, SITS ON A CUSTOM CHARLES ZANA
SOFA THROUGH THE INVISIBLE COLLECTION. PAINTING
BY ED RUSCHA, WIRE SCULPTURE BY D’LISA CREAGER.

★ EXCLUSIVE VIDEO
GWYNETH PALTROW AT HOME,
ARCHDIGEST.COM.
ED RUSCHA. D’LISA CREAGER.
 design notes THE DETAILS THAT MAKE THE LOOK

A JIM ZIVIC HAMMOCK

FOR RALPH PUCCI HANGS
IN THE LIVING ROOM.
CARPET BY WOVEN.

OSCAR PENDANT;
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RWGUILD.COM
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R.W. ATLAS EXPOSED

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Gwyneth is drawn to
classics, but she also has a
taste for the clean and
modern.” —Brigette Romanek

68 A R CH DIGE ST.COM
 THE LIVING ROOM IS
CRYSTAL QUEENS’ FURNISHED WITH A
HALL GLASS BY CHARLES ZANA SOFA
SAINT-LOUIS; $520 THROUGH THE INVISIBLE
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CETI RUG; PRICE

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WOVEN.IS

I’m a furniture
obsessive.”
—Gwyneth Paltrow

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 perfect

At this East Hampton compound,

interior designer Neal Beckstedt
unites classic and contemporary
TEXT BY HANNAH MARTIN PHOTOGRAPHY BY STEPHEN KENT JOHNSON
fit
IN AN EAST HAMPTON
PROPERTY WITH INTERIORS
BY NEAL BECKSTEDT, THE
FARMHOUSE’S DOUBLE-
HEIGHT DINING ROOM
WALLS ARE COVERED IN A
FLORAL JOSEF FRANK LINEN.
VINTAGE RATTAN CHAIRS
AND SEATS BY CHARLOTTE
PERRIAND GATHER ROUND
THE 17TH-CENTURY
SPANISH DINING TABLE. FOR
DETAILS SEE RESOURCES.
“East Hampton is our
escape,” says the client.
“It’s where we go
to breathe and relax.”
NEW YORK CITY–BASED FIRM ARCHITECTURE OUTFIT RESTORED THE
19TH-CENTURY SHINGLE-CLAD SALTBOX AND CREATED THE CONTEMPORARY
GLASS HOUSE AND CABANA FROM THE GROUND UP.
in one family’s Long Island
compound, two hallmarks of
Hamptons architecture stand
side by side—a 19th-century
Shingle Style saltbox festooned
with hydrangeas (they call it
the farmhouse) and its super-
modern foil, heavy on the
glass, by New York City firm
Architecture Outfit.
“East Hampton is our escape; it’s where we go to breathe

in 2018 and knew they wanted a more contemporary counter-

point. “We needed to find an interior designer who could tie
together these two very different structures.”
Luckily, the clients have a family member in the design
“laid-back luxury,” a look he honed for a decade working for
and relax,” explains the client, who lives here with her husband favorite Kips Bay Show House sitting room.
and two sons. They acquired the tumbledown farmhouse
world—tastemaking shop owner Kate Rheinstein Brodsky
(AD featured her own Hamptons place in May 2020)—and
she knew the perfect guy for the job. Brodsky had recently
clicked with New York City–based decorator Neal Beckstedt at
a dinner party, so she made the intro and the rest is history.
The client responded to Beckstedt’s knack for what she calls
architect Russell Groves before launching his own business in
2010. An early project for fashion designer Derek Lam (AD,
September 2015) set the groundwork for his practice, and, as
Beckstedt reports, “it’s been bananas ever since,” one client
leading to the next, with a little help from Instagram and a cult-
For this project, Beckstedt recalls, “the client wanted
something that was understated and livable—not stuffy. A new
approach to the Hamptons.” And most importantly, “they were
not afraid of color.”
As the main house was being built, the decorating started
in the farmhouse, a landmarked timber-framed structure that
 ABOVE IN THE MAIN LIVING ROOM, A 1950s DAYBED BY EJNER LARSEN AND AKSEL BENDER MADSEN,
A SOFA BY VLADIMIR KAGAN, AND A PAIR OF CHAIRS BY PIERRE PAULIN SURROUND A 1970s COCKTAIL TABLE
BY ANGELO MANGIAROTTI. OPPOSITE THE FAMILY IN THE CABANA.

Architecture Outfit restored to its original footprint. Here,
Beckstedt leaned into the traditional architecture, indulging
some of his more fanciful ideas. A heavy linen floral by Josef
Frank was applied to the walls in the double-height dining
room. The kitchen got a tumbling block tile backsplash. A fleet
of whimsical Swedish antiques filled the bedrooms, and crisp
ginghams and stripes—a Hamptons classic—were applied to
the walls. The clients were down for all of it. In fact, the rather
playful interiors were a perfect backdrop for a handful of
charming still-life paintings by the husband’s grandmother.
“There’s a bit of a point-counterpoint relationship going on,”
explains Thaddeus Briner, principal of Architecture Outfit, of
the pair of houses situated between two parcels of conserva-
tion land. “Both have shingles and gables, for instance, and the
sizes of both buildings are fairly humble. But there it sort of
stops.” And those differences extend to the interiors. In the
sun-washed main house, with a pavilion-like structure and
giant sliding 12-foot-tall glass walls, the decoration is more
subdued. Spaces were oriented toward the landscapes—exqui-
sitely planted by LaGuardia Design Group—and Beckstedt
took care to give those views ample room to breathe. Here, he
used large planes of primary colors (a nod to international
style architects like Le Corbusier and Gerrit Rietveld), taking
color cues from a 1952 sculpture by Fernand Léger and
ceramic artists from Ateliers Brice.
“The client loves to joke, though it’s not really a joke, that
he built a house for that sculpture,” recalls Beckstedt, who
injected colors from the artwork throughout the house—an
olive green wall, goldenrod Pierre Paulin chairs, cobalt-blue
kitchen cabinets. He balanced out those bold hues with more

ARCHDIGEST. COM 75
THE DOOR OF THE CEDAR-
SHINGLED FARMHOUSE IS PAINTED
IN BENJAMIN MOORE’S BLUE
JEAN. LAGUARDIA DESIGN GROUP
HANDLED THE LANDSCAPING.
 POTTERY BARN STOOLS
AND PLATES BY DALILA
CHESSA ADD FLAVOR TO
THE BLUE KITCHEN. BELOW
A RATTAN PENDANT BY
ATELIER VIME HANGS
ABOVE AN EERO SAARINEN

“I wanted a
TABLE BASE AND CHAIRS.
BELOW LEFT INTERIOR
DESIGNER NEAL BECKSTEDT.

modern take on
that very traditional
decorating move
of hanging plates
on the wall,” Neal
Beckstedt explains.

ARCHDIGEST. COM 77
 Beckstedt had an epiphany:
“We need to do the
whole sunken lounge area
out of denim!”
78 AR CHDIGE ST.COM
OPPOSITE THE SUNKEN
LOUNGE IS OUTFITTED WITH
A CUSTOM SOFA SYSTEM
COVERED IN JAPANESE DENIM.
THE RUG IS MOROCCAN.
LEFT A 19TH-CENTURY FOUR-
POSTER BED WITH VINTAGE
LAMP AND RATTAN SIDE
TABLE IN A GUEST ROOM.

CLOCKWISE FROM TOP

RIGHT A 1940s ARMCHAIR,
FLOS SCONCES, AND TURKISH
RUG IN THE BATH. A 1960s
DESK BY AXEL EINAR HJORTH
AND LAMP BY SIDSE WERNER
IN THE OFFICE. A CUSTOM
BED IS FLANKED BY INGO
MAURER’S UCHIWA SCONCES
AND BAMBOO CHESTS BY
TOM ROBINSON MODERN.
 ABOVE IN THE FARMHOUSE, AN ANTIQUE SWEDISH CABINET SITS WITH A 1960s FRENCH ARMCHAIR. THE FLOOR LAMP
BY ORREFORS IS TOPPED WITH A BASKET. OPPOSITE A VINTAGE TWIG TABLE AND HARVEY PROBBER HEADBOARD IN THE
GINGHAM-WRAPPED GUEST ROOM. THE PAINTINGS ARE BY THE HOMEOWNER’S GRANDMOTHER.

rustic materials, such as the 1960s vintage pine desk by Axel
Einar Hjorth in the study, a rattan pendant light by Atelier
Vime in the kitchen, and a pair of Ingo Maurer’s cult-favorite
Uchiwa fan sconces in the bedroom. A suite of vintage textiles
adds even more warmth—rugs from Marrakech and Turkey,
loads of African prints and patterns sourced on Etsy—giving
the place a global, eclectic feel the client wanted.
“My husband and I have roots in many different parts of
the Middle East, mainly Lebanon,” explains the client, who
brought a handful of family heirlooms, including mother-
of-pearl chests and mirrors from Syria and Lebanon, to the
project. “We wanted to be able to infuse this mixed identity
throughout the home, in order to keep it warm and not too
cold and modern.”
WHEN BECKSTEDT NOTICED his client’s impeccable denim-
heavy wardrobe (“Everything looks good with it,” insists the
client), he had an epiphany: “We need to do the whole sunken
lounge area out of denim.” They worked together to achieve
the perfect weight and feel (sourced from Japan, washed only
once, and stitched with the super-strong technique used for
clothing). The hue became a through line: The kitchen island
and millwork were painted blue; beds, walls, and more were
sheathed in denim fabric; and it was no accident that the front
door of the farmhouse was painted in a Benjamin Moore
shade called Blue Jean.
And now, just like a classic pair of Levi’s, their home will
simply get better with time. After a day at the pool or beach,
kids will hang out in the farmhouse with wet feet and bathing
suits. Remote work will happen in the study, with a backdrop
of magnolia trees out the window. And, of course, many an
evening will be spent watching Netflix in that sunken denim
lounge, which the client fondly deems “the heart of the house,”
until it wears in just right.

80 ARCHDIGE ST.COM
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A JOSEF FRANK FLORAL

ENVELOPS THE FARMHOUSE
KITCHEN. SMEG REFRIGERATOR.
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ARCHDIGEST. COM 83
 At his expansive home outside Phoenix,
NBA star Devin Booker entertains his
towering teammates and friends in high style
TEXT BY NICK MAFI PHOTOGRAPHY BY CHRISTOPHER STURMAN STYLED BY COLIN KING

HANG
TIME
 DEVIN BOOKER,
WEARING A DRIES VAN
NOTEN SWEATSHIRT,
NEEDLES TRACK PANTS,
BIRKENSTOCK SANDALS,
AND UNIQLO SOCKS, IN HIS
GARDEN. OPPOSITE THE
HOUSE LOOKS OUT
TO THE NEARBY PHOENIX
MOUNTAINS PRESERVE.
FASHION STYLING BY
BROWNE ANDREWS. FOR
DETAILS SEE RESOURCES.

★ EXCLUSIVE VIDEO
DEVIN BOOKER AT HOME,
ARCHDIGEST.COM.
W ithin the hard boundaries of a basketball court, NBA wunder-
kind Devin Booker has crafted a style with all the finesse of a
butterfly. The 25-year-old Phoenix Suns guard has a fluidity,
an impossibly fast series of movements, that would have made
Diaghilev proud. When he shoots, the basketball seems to
cooperate—as balls seem to do for all great players—before the
parabola is completed through the basket (in 2018, Booker was
crowned the NBA Three-Point Contest champion). But while
the public is used to seeing him gliding across a basketball
court, Booker’s domestic digs perhaps demonstrate an even
keener grasp of physical detail and the movement of bodies
in space.
“I consider myself fortunate to be surrounded by people
with great style,” Booker says. “Whenever I walk into
my friends’ homes, I’m like a sponge, asking questions and
absorbing what I see.” That curiosity is now on full display
in the basketball star’s sleek Arizona abode. The modern
single-story home features dramatic views of the nearby
Phoenix Mountains Preserve, as if the framed vistas were
painted by the Taos Society of Artists. In fact, it was precisely
that drama, that immediate connection to the surrounding
landscape, that attracted Booker in the first place. “When
someone approaches the house, it’s deceiving because it appears
there’s not much going on,” Booker explains of the property,
which was sold to him in 2019 by his brother, Davon Wade, a
real estate agent. “But once people enter and they see the pool,
the yard, and all the adjoining rooms, they’re taken aback.
I love how a seemingly straightforward home can still be a
big reveal.”
While Booker is widely considered among the NBA’s
brightest young stars, his origins tell a humbler story. “When
I was a kid growing up in Michigan, I’d close my eyes before
bed and imagine what my house might one day look like,” says WORKING WITHIN THE EXISTING
the Grand Rapids native. “The size or shape of the home ARCHITECTURAL ENVELOPE,
CLEMENTS DESIGN FURNISHED THE
would be different depending on the night, but the interiors GREAT ROOM WITH BOLDLY SCALED
were always the same: modern with a bit of nostalgia in the SEATING DRESSED IN MOORE & GILES
SUEDE (SOFA), FOX LINTON WOOL
mix.” Booker doesn’t have to close his eyes anymore. With a (LOUNGE CHAIRS), AND COWTAN &
helping hand from L.A.-based AD100 firm Clements Design, TOUT ALPACA (WINGBACK CHAIRS).
that dream is now a reality.

86 ARCHDIGE ST.COM
“I consider myself fortunate to be surrounded by
people with great style,”Booker says.“Whenever
I walk into my friends’ homes, I’m like a sponge,
asking questions and absorbing what I see.”
 “When I was a kid growing up in Michigan,
I’d close my eyes before bed and imagine what
my house might one day look like.”
SLIDING WALLS OF GLASS OPEN THE HOUSE TO THE POOL AND GARDEN.
ABOVE BOOKER’S COLLECTION OF CARS IN THE
GARAGE. LEFT A CY TWOMBLY LITHOGRAPH HANGS
ABOVE AN 18TH-CENTURY WELSH CONSOLE FROM
GALERIE HALF. BELOW THE PRIMARY BEDROOM HAS
A VINTAGE ARNE JACOBSEN EGG CHAIR AND AN
AFRICAN STOOL FROM LUCCA ANTIQUES.
VINTAGE ARMCHAIRS FROM LUCCA ANTIQUES SURROUND A WALNUT GAMES TABLE IN THE REC ROOM.

ARCHDIGEST. COM 91
 THOMAS HAYES STUDIO STOOLS COVERED IN MOORE & GILES LEATHER AND KELEEN LEATHERS SHEARLING PULL UP TO THE KITCHEN COUNTER.
ALL you need to know about
Devin’s eye for design is
in the way he dresses,”
explains Kathleen Clements,
who, along with her son
and design partner, Tommy Clements, helped craft the home.
“Everything he wears is cool and stylish but in a very natural
way. It’s not something everyone can pull off.” Working within
the existing architectural envelope, Clements and her team,
in collaboration with L.A.-based Karan Brady Interiors, dressed
the new home with custom furniture that can accommodate
bodies pushing seven feet tall. “Devin loves to entertain, to be
around his family and friends. It just so happens his friends are
NBA players,” Clements says with a smile. That meant crafting
12-foot-long sofas and a custom poker table suitable for his
towering teammates, and finding appropriately scaled vintage
furnishings that complement Booker’s art collection. “Devin
is very sophisticated when it comes to design,” Clements adds.
“He has an incredible way of combining older items that look
lived-in with objects that are very contemporary.”
92 ARCHDIGE ST.COM
During the early months of the COVID-19 pandemic,
Booker and his girlfriend, supermodel Kendall Jenner, took
a road trip exploring other areas of Arizona. “We visited
Roden Crater and were astonished by the experience,” he says
of the large-scale artwork created within an extinct volcano
by James Turrell. Booker was so in awe that he decided to
purchase a signature Turrell LED wall sculpture for his dining
room. “It’s one of my favorite parts of the home, having this
beautiful piece of art that me and my guests can appreciate
while enjoying a meal,” he notes.
Since his meteoric rise in the NBA, Booker’s hard work
has allowed him to become the architect of his own story.
His house is his sanctuary, an oasis from the high-pressure life
of a professional athlete. With retracting walls of glass and a
yard that boasts a Bali-inspired swimming pool, a firepit, and a
guesthouse, the young superstar feels the best version of him-
JAMES TURRELL
self while at home: “I know this house is something special.
During those long stretches on the road, I can’t stop thinking
of getting back here. It’s like something that’s been a part of
me my whole life but I’m just realizing it now.”
A FRANZ WEST CHAIN
CHANDELIER HANGS
ABOVE A BLACK WALNUT
DINING TABLE AND
PIERRE JEANNERET
ARMCHAIRS FROM
GALERIE HALF. ARTWORK
BY JAMES TURRELL.
 IN THE G

FLORIAN IDENBURG (FAR

RIGHT) AND JING LIU, THE
HUSBAND-AND-WIFE
COFOUNDERS OF SO–IL,
AT AMANT, A NEW
BROOKLYN ARTS CAMPUS
OF THEIR OWN DESIGN.
ROOVES

Thirteen years into their

experimental practice,
the Brooklyn-based
architects SO–IL have
hit their stride—pushing
the boundaries in
projects of all kinds and
paving the way for a
new generation of talent
TEXT BY FRED A. BERNSTEIN PORTRAIT BY LELANIE FOSTER
ARCHITECTURAL PHOTOGRAPHY BY IWAN BAAN

JAN SHREM AND MARIA MANETTI
SHREM MUSEUM OF ART
ABOVE A CANOPY OF ALUMINUM BEAMS EXTENDS OVER
THE SITE AND THE MUSEUM, WHICH WAS CONCEIVED AS A
PERMEABLE FORUM FOR PUBLIC ENGAGEMENT.
96 ARCHDIGE ST.COM
in
the wake of the COVID-19 pandemic, condo buyers are willing
to pay a premium for terraces and gardens. That’s good news
for Florian Idenburg and Jing Liu, designers of a new building
in the Gowanus section of Brooklyn where every unit has at
least two balconies and where front doors open onto shaded
outdoor walkways. Despite prices in the millions, listings are
nearly sold out, and the developer is working with Idenburg
and Liu on two more buildings like it.
Meanwhile, in another part of Brooklyn, a cluster of gallery
buildings has become an architecture pilgrimage site just
months after it opened. The East Williamsburg complex, called
Amant, uses brick, concrete, and aluminum in surprising ways,
creating textures that visitors—many of them architects—can’t
resist touching. Some days the walls get more attention than
what’s hanging on them.
Both projects have a lot of history. Liu and Idenburg, whose
firm is known as SO–IL, have been trying for years to build
apartments with direct connections to outdoors, plus multiple
exposures for daylight and cross ventilation. And not only for
the rich. This past year, while the Gowanus project was under
construction, they completed a social-housing project in León,
Guanajuato, Mexico, where the 60 units, each with access to
a large courtyard, are reserved for families making less than
$7,000 per year. “We like to say we work for the 1 percent and
the other 1 percent,” says Idenburg.
Meanwhile, the arts complex, with its ravishing tactility,
is a direct descendant of the couple’s Kukje Gallery in Seoul,
completed in 2012. That concrete building was draped in
chain mail made of 510,000 interlocking metal rings. Liu and
Idenburg followed it with the Jan Shrem and Maria Manetti
Shrem Museum of Art for the University of California, Davis,
notable for the trellis that extends the building’s geometry
into the landscape. Why a trellis? “It’s there and it’s not there,”
Liu says. “It’s a permeable layer that mediates between two
worlds.” She and Idenburg have a fixation on permeable layers,
using types of mesh and screens to make boundaries porous
and ambiguous.
The result is a series of buildings that are charmingly
awkward and purposefully inscrutable. One is drawn to
SO–IL’s architecture “as one is drawn to charismatic creatures
and enigmatic things,” writes the Los Angeles curator and
critic Mohamed Sharif. Putting the work in context, he calls it
a “willfully wayward, naughtier offshoot” of the sleek build-
ings designed by SANAA, the acclaimed Japanese firm where
both Idenburg and Liu worked. After starting their own firm
LONG ISLAND PRIVATE RESIDENCE

ABOVE FOR A PROPERTY OVERLOOKING THE LONG ISLAND SOUND, SO–IL DEVISED A CRUCIFORM HOUSE, WITH FOUR GABLED
VOLUMES THAT ALLOW FOR A VARIETY OF VIEWS, QUALITIES OF LIGHT, AND INTERACTIONS WITH THE LANDSCAPE.

BELOW SPREAD ACROSS FOUR BUILDINGS AND MULTIPLE CITY BLOCKS IN THE EAST WILLIAMSBURG NEIGHBORHOOD OF BROOKLYN,
AMANT ACTS AS A POROUS ARTS CAMPUS, DISTINGUISHED BY ITS TACTILE BRICK, CONCRETE, AND ALUMINUM CONSTRUCTION.

AMANT
 LAS AMERICAS
ABOVE IN LEÓN, MEXICO, THE LAS AMERICAS SOCIAL HOUSING PROJECT COMPRISES 60 CONDO UNITS,
ARRANGED VERTICALLY AROUND A CENTRAL COURTYARD SO THAT NO TWO APARTMENTS FACE EACH OTHER.
14 years ago, they endured some very lean years. But now
they are finding more and more clients willing, Idenburg
says, “to challenge the status quo.” Many of those risk-takers
immigrated, like Idenburg and Liu, to the U.S.
THE COUPLE MET in 2001 when Idenburg, who is Dutch, was
working for SANAA, then a little-known Tokyo firm. Liu,
a native of Nanjing, China, was a Tulane architecture student
who interned there that summer. They reconnected a few
years later when Idenburg was overseeing construction of
SANAA’s New Museum on the Bowery in Manhattan. At the
time, Liu was working for Kohn Pedersen Fox (KPF), a few
miles uptown. They founded SO–IL (which stands for Solid
Objectives–Idenburg Liu) in 2008, but when the financial
crisis hit later that year, half of their projects died. Luckily,
they are both professors—Idenburg now at Cornell and Liu
now at Columbia—who are almost as happy talking about
architectural ideas as implementing them. Their first Brooklyn
building was a house for themselves and their two daughters.
More recent New York projects, reflecting their high-low
inclinations, have included a seaside weekend estate and prefab
outdoor dining huts for restaurateurs struggling through
the pandemic.
Last year alone, in addition to wrapping up construction on
the Brooklyn condo building and gallery complex, and the
housing project in Mexico, the firm completed a cultural center
98 ARCHDIGE ST.COM
carved out of an old factory complex in Meisenthal, France;
a contemporary art museum in Shanghai; and a gallery for a
private art collection in the podium of a Hong Kong skyscraper
by Liu’s onetime employer KPF. To distinguish the gallery
from the rest of the building, SO–IL wrapped it in giant glass
cylinders, each three feet in diameter and 30 feet high, creating
a playfully indeterminate boundary between inside and out.
From a distance, the monumental tubes distinguish the gallery
from the rest of the mixed-use building. Up close, the curved
glass produces complex visual and even aural distortions.
Idenburg and Liu have roughly 10 more projects—including
three private residences—in the works. With that many jobs,
they divide up responsibilities, designing as a team but leading
projects individually. “The client has to have one number to call,”
says Liu, who is working on the Martin Luther King Jr. Library
in Cleveland and the Melbourne Arts Precinct in Australia.
Idenburg’s projects include the Artpark in Lewiston, New York,
near Niagara Falls, for which SO–IL has created a 30-year
master plan, and a production facility for film and television in
Brooklyn for the city’s Economic Development Corporation.
That Idenburg and Liu have succeeded, in multiple arenas,
is good news for a new generation of architects. Adam Frampton,
who founded the firm Only If with his wife, Karolina Czeczek
(page 38), says Idenburg and Liu are role models. “Architecture
is a challenging field to break into,” Frampton says, “and SO–IL
provides an encouraging benchmark of possibility.”
 “It’s there and
it’s not there.
It’s a permeable
layer that mediates
between two
worlds.” —Jing Liu
KUKJE GALLERY

ABOVE A CHAIN-MAIL SKIN OF

SOME 510,000 INTERLOCKING
METAL RINGS CLOAKS KUKJE
GALLERY IN SEOUL, ONE OF
THE FIRM’S EARLY SUCCESSES.

SITE VERRIER DE MEISENTHAL

RIGHT IN THE HISTORIC

STUDIO-GLASS CENTER
OF MEISENTHAL, FRANCE,
SO–IL UNITED THREE
NEIGHBORING INSTITUTIONS
USING AN UNDULATING
CONCRETE ADDITION THAT
FRAMES A PUBLIC PLAZA.
paradise
found
 Aerin Lauder conjures a dreamy getaway
for her family on the coast of Panama
TEXT BY JANE KELTNER DE VALLE PHOTOGRAPHY BY ANITA CALERO
HAIR AND MAKEUP BY SHAILA VALDES USING ESTÉE LAUDER

THE OUTDOOR LIVING ROOM FEATURES VINTAGE

ITALIAN RATTAN CHAIRS, TEAK SOFAS BY STUDIO
TLALLI WITH CUSHIONS OF A PERENNIALS FABRIC,
AND COCKTAIL TABLES BY CARLOS MOTTA.
OPPOSITE AERIN LAUDER IN A LA DOUBLEJ DRESS.
FOR DETAILS SEE RESOURCES.
 “It’s a fantasy island,”
Aerin Lauder observes. “You feel
like you’re far, far away.”
DISTINCTIVELY DESIGNED OVERHANGING THATCHED ROOFS HELP PROVIDE SHADE FOR THE COMPOUND’S BUILDINGS.
I magine a remote tropical Eden where days
are whiled away on fishing boats and surfboards, wildlife
outnumbers humanity, and the nearest town is accessed via a
bumpy dirt road and a puddle jumper. It’s not exactly the first
place one might picture Aerin Lauder, the ultra-chic, ultra-
cosmopolitan doyenne of her namesake lifestyle brand and
scion of Estée Lauder. Which may explain why, even after her
husband, financier Eric Zinterhofer, purchased a large plot
of land on the Pacific coast of Panama and began an ambitious
reforestation and building project there, nearly a decade
unfolded before Lauder paid a visit. “It was always a boys’ trip,”
she says of her husband’s annual pilgrimages to the Central
American country, which began when a classmate at Harvard
Business School introduced him to the region and evolved
into father-son excursions as soon as Lauder would allow their
two children to join. “They would go down for a week, eat
fish tacos and sleep in bathing suits,” she says. “It was paradise—
a real adventure escape.” When she finally tagged along, she
recalls with a laugh, there was an adjustment period: “The first
time I went, I had my Capri sandals and left with sun poison-
ing. It’s rustic, but that’s what’s so magical about it. It’s a
fantasy island. You feel like you’re far, far away.”
The beauty of total isolation didn’t come effortlessly.
When Zinterhofer and two friends purchased the 1,200-acre
reserve in 2007, there were hardly any trees on his plot of
land, let alone infrastructure. To help him realize the behe-
moth project, he sought out Ivan and Kristin Morales of
Miami and Panama-based IM/KM Architecture & Planning.
Ivan, an alum of Selldorf Architects who grew up in Mexico,
had worked on a home in the region already. “Eric loved
that they had great architectural talent, were a husband-and-
wife team, and knew the area,” says Lauder. “They really
embrace the Panamanian sensibility.” Zinterhofer’s mandate Casa Loro—was inspired by the parrots that would wake
for the couple: a modern tree house in the jungle. “So we had Zinterhofer and the boys with the rising sun each morning
to plant the forest before being able to have the tree house,” during early visits before the house was constructed.
Ivan notes with a chuckle. Over time, the couple assembled Zinterhofer wanted the architecture to maintain an
and oversaw a team of botanists to envision the lush landscape. open dialogue with nature. “He kept saying, ‘You don’t ever
Today, the once barren cattle ranch boasts 75 species of trees want to be inside in Panama. That’s not the point of being
and a wealth of biodiversity: birds, monkeys, crocodiles, pumas, here,’ ” recalls Kristin. “That was really inspirational to us.”
and what Lauder describes as “frogs so enormous that if you The couple’s response was to pull the structures apart rather
kiss one you might find your prince.” The property’s name— than devising one massive house. “The spaces in between

104 ARCHDIG ES T.COM

 TEAK FURNITURE BY STUDIO TLALLI CREATES A SITTING AREA ON THE POOLSIDE DECK.
THE DECORATIVE PILLOWS ARE MADE WITH A CAROLINA IRVING TEXTILES LINEN.

are outdoor rooms you can have experiences in,” says Kristin.
“It’s this idea of slowing down and really appreciating each
space you’re moving through.”
It’s all in the details. Even the deceptively simple-looking,
gently sloping thatched roofs that roll outward to create
shade are a modern feat of engineering. “There are no nails,”
Lauder says with awe. For the roofs, IM/KM collaborated
with VTN Architects, a Vietnam-based firm globally recog-
nized for its bamboo pavilions. “The challenge was, how can
we create something primitive in construction but make it
air-conditioned?” says Ivan, adding that six engineers from
New York and a translator completed the effort. The end
result, Lauder points out, “really creates that indoor-outdoor,
tropical feeling.”
Considering all the care and attention paid to the natural
surroundings, it’s no surprise that sustainability was a driving
force—as it turns out, as much by necessity as by intention.
“When you see how isolated it is, you realize that just getting
THE TUB IS CLAD IN ENCAUSTIC CEMENT
TILE BY CLÉ. OPPOSITE IN THE PRIMARY
BEDROOM, A VINTAGE BENCH STANDS AT
THE END OF A STUDIO TLALLI
FOUR-POSTER. PATTERSON FLYNN RUG.
 AN ATELIER VIME PENDANT HANGS ABOVE THE STUDIO TLALLI DINING TABLE SURROUNDED
WITH SERENA & LILY CHAIRS. CEILING FANS BY BIG ASS FANS.

the refrigerator there is a huge undertaking,” says Lauder. dining table and kitchen island, and punchy textiles from
Once the forest was mature enough, various woods were Carolina Irving, Creel & Gow, and Pierre Frey. “We identified
harvested on-site and a vast number of the furnishings were the elements that were going to be bulletproof to the salt, that
sourced and crafted locally. “You can’t just buy furniture in would bring the color, texture, and whimsy,” says Romualdez.
Panama,” says Kristin. “So over the years we’ve found people “We didn’t want to over-accessorize. We were conscious of the
who want to learn and have a special talent, and we’ve trained setting. It had to be casual, but I felt like it had to be personal
them. Now they are very much in demand.” So much so that too. The last thing you want is for it to look like a resort.” For
the couple have expanded their practice. Now, Studio Tlalli, the Lauder, it was also an opportunity to showcase offerings from
furniture wing, employs eight craftspeople who assemble each her highly successful home collection—eye-catching ceramics,
piece of furniture by hand on the reserve. Ivan and Kristin hope raffia placemats, even a new dishware collaboration with
to eventually commercialize and export the designs. “The Carolina Irving & Daughters.
house has had a much broader impact than just the architec- “It’s a completely different way of living,” Lauder continues,
tural result,” says Ivan. “We’re also proud of the positive pointing out that there’s not even a front door at Casa Loro.
social and environmental impact in the area.” While her husband and sons spend their days adventuring,
Lauder goes for leisurely walks along the beach or lounges by
THE FINAL ELEMENT WAS, of course, the decoration. Aerin called the pool with a book. The catch of the day gets sliced into
on close friend and longtime collaborator AD100 superstar ceviche; fruit is plucked straight from the surrounding trees.
Daniel Romualdez. “She said, ‘Can you help me make this feel There’s no florist to call on. Instead, Lauder styles the rooms
bohemian, colorful, and warm?’ ” recalls Romualdez, noting with fresh cuttings from around the property. “The vegetation
that his own getaway in Ibiza (AD, June 2017) served as a is very inspiring,” she says, noting that landscape designer
catalyst. “If you look at the architecture, it’s quite masculine. Titi Hernández helped to curate the selection. Of the perfectly
Then Aerin comes in and layers a soft touch.” Many of those laid-back nature of it all, she adds: “There’s something very
“layers” came from travels they’d taken together over the years— peaceful about just having a quiet day. The interesting thing
a pair of vintage rattan chairs from Italy that Romualdez about it is, there’s nowhere to go. There is no town with shops
calls “modernist instead of preppy,” a sculptural Gambone jug to run into. There’s no one to meet for lunch. It’s all about
in a guest bath, rattan Atelier Vime pendants that crown the family time. That’s really what makes it so special.”

108 ARCHDIG ES T.COM

“When you see how isolated
it is, you realize that just
getting the refrigerator there
is a huge undertaking.”

VINTAGE STOOLS WITH

CUSHIONS OF A PIERRE FREY
FABRIC PULL UP TO THE
KITCHEN’S CAESARSTONE-
TOPPED ISLAND. ATELIER VIME
PENDANT LIGHT; ZELLIGE
TILES BY CLÉ; SUB-ZERO
REFRIGERATOR; WOLF RANGE.
 design notes THE DETAILS THAT MAKE THE LOOK

A PLAYFULLY INVITING
GUEST ROOM.

CALINDA TAPERED VASE;

$700. AERIN.COM
ARCENEAUX
PENDANT BY
AERIN FOR RH;
$3,195. RH.COM

WICKER HURRICANES;
FROM $28. AMANDA
LINDROTH.COM

ZIG ZAG LINEN

BY CAROLINA
IRVING TEXTILES;
TO THE TRADE.
JOHNROSSELLI.COM

VERANNA TABLE LAMP

BY AERIN FOR VISUAL
COMFORT; $709.
CIRCALIGHTING.COM
POLKA DOT POM THROW
BLANKET; $128.
ANTHROPOLOGIE.COM

COVE CANOPY BED BY NATHAN

YONG FOR DESIGN WITHIN REACH;

HOME: ANITA CALERO. ALL OTHERS COURTESY OF THE COMPANIES.

$2,495. DWR.COM

It was a fun house to showcase finds

ASTURIAS OTTOMAN
BY CARLOS MOTTA; from around the world that remind me
PRICE UPON REQUEST.
ESPASSO.COM of the tropics.” —Aerin Lauder

110 ARCHDIG ES T.COM PRODUCED BY MA DELINE O’MAL LE Y

 A ROW OF SUTHERLAND
FURNITURE ARMLESS
CHAISE LONGUES STANDS
ALONGSIDE THE POOL.

PORTSIDE DINING
CHAIR; $648.
SERENAANDLILY.COM

ZELLIGE TILE; $28

PER SQUARE FOOT.
CLETILE.COM

There really isn’t

that much furniture.
The house has a very
sparse feel, which COSMOS PORCELAIN

is what we wanted.”
FLOWER; $150.
AERIN.COM

DINNER PLATE BY
CAROLINA IRVING &
DAUGHTERS FOR AERIN;
$95. AERIN.COM

PINEAPPLE
SAUCEBOAT BY
BORDALLO
PINHEIRO; $99.
SCULLYAND
SCULLY.COM

ESPRESSO CUP
BY CAROLINA
IRVING &
DAUGHTERS
FOR AERIN; $20.
AERIN.COM

THE TABLE IS SET WITH PLATES FROM THE CAROLINA

FREYA EGG CUP; $50 FOR IRVING & DAUGHTERS FOR AERIN COLLECTION.
A SET OF TWO. AERIN.COM PLACEMATS, NAPKINS, AND FLATWARE ALL BY AERIN.
 resources FOR A DEEPER DIVE INTO THE SOURCES IN THIS ISSUE,
VISIT ARCHDIGEST.COM/ADPRO

PAGE 63: In living room, hammock HANG TIME:

by Jim Zivic; ralphpucci.com. PAGES 84–93: Interior design
Alexander Díaz Andersson lounge by Clements Design;
chair; 1stdibs.com. clementsdesign.com; and
PAGES 64–65: In spa, tiles in #10-30; Karan Brady Interiors;
bantamtileworks.com. R.W. Atlas karanbradyinteriors.com.
Exposed Thermostatic shower PAGES 86–87: In the great room,
system; waterworks.com. Half Moon sofa upholstered in Dark Grey
Bulkhead sconces; shiplights.com. Suede; mooreandgiles.com.
Willy Guhl planters; 1stdibs.com. Lounge chairs upholstered in
PAGE 66: In entry, 18th Century Dark Grey Alpaca Wool;
fireplace; chateaudomingue.com. foxlinton.com. Wingback lounge
Akiko Hirai vessel; rwguild.com. chairs upholstered in Mink
In powder room, hand-painted Alpaca; cowtan.com.
wallpaper and mirror; mjatelier.com. PAGES 90–91: In entryway,
Antique marble sink; stoneobjects.be. vintage console; galeriehalf.com.
Sink fittings; thg-paris.com. In primary bedroom, vintage
PAGE 67: Custom Alexandra sofa by Arne Jacobsen Egg chair and
Charles Zana from The Invisible African stool; luccaantiques.com.
Collection; theinvisiblecollection.com. In rec room, vintage chairs;
Ceti carpet; woven.is. luccaantiques.com.
PAGE 92: Stools; thomashayes
PERFECT FIT: studio.com. Leather upholstery;
PAGES 70–83: Interior design by mooreandgiles.com.
Neal Beckstedt; nbeckstedtstudio.com. PAGE 93: Chandelier by Franz
Architecture by Architecture Outfit; West; 1stdibs.com. Dining chairs by
architectureoutfit.com. Landscape Pierre Jeanneret; galeriehalf.com.
design by LaGuardia Design Group;
laguardiadesigngroup.com. PARADISE FOUND:
PAGES 70–71: In dining room, PAGES 100–111: Architecture by
linen wall covering by Josef Frank; IM/KM Architecture & Planning;
svenskttenn.com. Vintage rattan im-km.com. Interior decoration by
chairs by Charlotte Perriand; Daniel Romualdez; 212-989-8429.
galerie-canavese.com. Antique Landscape design by Titi Hernández
dining table; provenanceantiques Landscaping Art; titihernandez.com.
atlanta.com. PAGE 101: Teak sofas; im-km.com/
PAGES 74–75: In main living room, tlalli, in Rough ‘n Rowdy in
1950s daybed; liefalmont.com. Sea Salt; perennialsfabrics.com.
Serpentine sofa by Vladimir Kagan; Caju coffee tables by Carlos Motta;

70
hollyhunt.com. Alpha chairs by Pierre espasso.com.
Paulin; ralphpucci.com. 1970s PAGES 104–05: Teak chairs, cocktail
cocktail table; bgoecklerantiques.com. table, and sofa; im-km.com/tlalli.
PAGE 76: On farmhouse door, Decorative pillows of Zig Zag
Blue Jean paint; benjaminmoore.com. in Coral on White; carolinairving
A JOSEF FRANK TEXTILE ENVELOPS THE DINING PAGE 77: In breakfast nook, textiles.com.
ROOM OF AN EAST HAMPTON PROPERTY. rattan pendant; ateliervime.com. PAGE 106: Encaustic cement tile
Vintage Tulip chairs by Eero in Federal Blue; cletile.com.
Saarinen; 1stdibs.com. Upholstery; PAGE 107: Four-poster bed; im-km
All products have been identified by Jan Ekselius lounge chairs; 1stdibs atacamahome.com. .com/tlalli. Raffia and cotton
the designer of each residence. Items .com. Cocktail table; julianmayor.com. PAGES 78–79: In sunken lounge, flatweave rug; pattersonflynn.com.
similar to vintage and antique pieces Carved chair by Rick Owens; custom sofa system; nbeckstedtstudio PAGE 108: Pendant light; ateliervime
shown are often available from the carpentersworkshopgallery.com. .com. In guest room, 19th century .com. Table; im-km.com/tlalli.
dealers listed. Contact information Ceti carpet; woven.is. On walls, bed; bonninashley.com. Rattan side Portside dining chairs; serenaand
was up to date at time of publication. paint; farrowandball.com. table; laurencopinantiques.com. In lily.com. Haiku ceiling fans;
PAGE 60: Poolside, umbrellas; bath, sconces; flos.com, Turkish rug; bigassfans.com.
SWEET ESCAPE nichebeverly.com.
PAGES 58–69: Architecture and
clic.com. In office, vintage desk by PAGE 109: On vintage stools,
PAGE 61: Millwork and cabinetry; Axel Einar Hjorth; wright20.com. cushions of Croisé Collobrières
interior design by Roman romanandwilliams.com. Plates;
and Williams Buildings and Vintage table lamp by Sidse Werner; fabric in Vert; pierrefrey.com.
hermes.com. Arc Well sconces; novac-vintage.nl. In primary Countertop; caesarstoneus.com.
Architecture; romanand alliedmaker.com. Monogram
williams.com. Interior design bedroom, vintage sconces by Ingo Pendant light; ateliervime.com.
professional range; monogram.com. Maurer; 1stdibs.com. Vintage bamboo Zellige tiles in Sage; cletile.com.
by Romanek Design Studio; PAGE 62: In dining room, chandelier;
romanekdesignstudio.com. chests; tomrobinsonmodern.com. Refrigerator and range;
thomasnewmanstudio.com. PAGE 80: In farmhouse; antique subzero-wolf.com.
PAGES 58–59: In living room, Martin Massé table; kolhoze.fr.
onyx bar; romanandwilliams.com. Swedish cabinet; obsoleteinc.com.
Gamfratesi chairs; porro.com. Antique armchair upholstered in
Bar faucet; waterworks.com. Wallpaper; mjatelier.com. Consoles;
Lighting installation; lindsey Red Cotton Plaid; pierrefrey.com.
robertkuo.com. 18th Century PAGE 81: In farmhouse guest room,
adelman.com. Custom Alexandra Fireplace; chateaudomingue.com.
sofa by Charles Zana from vintage table; laurincopenantiques
Accessories; rwguild.com. .com. Vintage rattan headboard by
The Invisible Collection;
theinvisiblecollection.com. Harvey Probber; etsy.com/shop/
floridamodern.

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112 ARCHDIG ES T.COM

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 one to watch

Audrey Large
In Audrey Large’s Rotterdam studio, a fleet of small 3D printers slowly bring her ideas
from digital files into physical reality. “It’s all about how matter is fluid,” says the French
designer of her practice, in which drawings on paper, images “sculpted” in animation
programs, and tangible objects exist in no hierarchical order. “3D printing is just a means
to bring the files I have—the images I produce—into our material realm.” Large began
exploring these ideas in her 2017 graduation project at Design Academy Eindhoven. But
it was her solo exhibition last September at Milan’s Nilufar Gallery that got the design
world’s attention. Titled “Some Vibrant Things,” the ambitious array of tables, shelves,
bowls, vases, and even a functioning fountain was printed in a shimmering thermoplastic
polyester called PLA and looked like a mirage. “There’s always tension in what I do, in
what the viewer is facing,” she explains of this What am I seeing? effect. “Yes, they look
digital, but that’s because they look unreal.” She’s been busy ever since: A new version
of her Meta (tower) shelves is now being fabricated alongside an eight-foot outdoor
sculpture that is destined for the 2022 Floriade Horticultural World Expo in the Netherlands.
(Large works must be printed in pieces, then assembled.) She’s excited to place one of
her works in nature for the first time. “It’s a different relationship between the work and
the environment,” she muses. “A new kind of contrast.” audreylarge.com —HANNAH MARTIN

114 ARCHDIG ES T.COM PHOTOGRAPHY BY KA SIA GATKOWSKA

T H E M A RT Y N L AW R E N C E B U L L A R D CO L L EC T I O N
FO R T H E S H A D E STO R E
AVA I L A B L E F O R R O M A N S H A D E S A N D D R A P E R Y E XC L U S I V E LY AT T H E S H A D E S TO R E
S H O W R O O M S N AT I O N W I D E T H E S H A D E S TO R E .C O M 8 0 0 . 7 5 4 .1 4 5 5