TOTAL

WORKS
OF ART
visionary
homes
around
the world

REM KOOLHAAS designs the ultimate alpine villa

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
 DAV I DY U R M A N .C O M

S TA R B U R S T
A Viking Longship near Aschaffenburg, Germany

Viking Star near Flåm, Norway

Viking Polaris in Antarctica

 When you are named #1 for Rivers…

#1 for Oceans…

and #1 for Expeditions,

Where do you go next?

Onwards.
Now it is time for us to work even harder.

Visit viking.com, call 1-800-2-Viking

or see your Travel Advisor
 CONTENTS december
28
BLOSSOM NECKLACE
IN WHITE GOLD WITH
DIAMONDS; $6,300.
LOUISVUITTON.COM

86 French Evolution
Years in the making, the longtime
Paris flat of AD100 duo Luis
Laplace and Christophe Comoy
finally gets the makeover
it deserves. BY ALICE CAVANAGH

94 Hot House
Artist Daniel Arsham revs up
the decor—and scores impressive
parking—at a decommissioned
firehouse in Lower Manhattan.
BY GAY GASSMANN

122
A CORNER OF AN ART-
FILLED HOME IN THE
102 Riding High
The Archers help a New York
transplant fulfill his California
HOLLYWOOD HILLS.
fantasy in a quintessentially LA
compound floating above the
city streets. BY MAYER RUS

114 Black Magic

16 Editor’s Letter Miami emporium… The historic
home of Louis Vuitton… AD100
18 Object Lesson designer Beata Heuman brings
Nicola L.’s alluring Eye Lamp. her colorful flair to the Hôtel de
BY HANNAH MARTIN la Boétie in Paris… Artist Ryan
Preciado mines the everyday.
Legendary fashion editor Carine
Roitfeld brings her distinctive
style—and favorite color—to her
new apartment in the heart of
Paris. BY DANA THOMAS
120 Expert Eye
Art world insider Yana Peel
and her design team transform
a former industrial building
in NYC into a warm home for
SAM FROST. JEWELRY: COURTESY OF LOUIS VUITTON.

23 Discoveries her family—and her collection.

AD visits up-and-coming 74 Uncommon Vision BY GAY GASSMANN

designer Caterina Heil Stewart In a departure from the

in Manhattan… The season’s best
gifts… A limited-edition faucet
for Kohler by designer Samuel
Ross… Tiffany & Co.’s latest
tableware… Ralph Pucci’s new
megaprojects that have made his
name, Rem Koolhaas crafts
an austere yet luxurious lakeside
house for an Austrian family.
BY PHILLIP DENNY
130 Grand Finale
An ornate 18th-century reception
room from Damascus goes on
view at the Los Angeles County
Museum of Art. BY SAM COCHRAN

ON THE COVER A LAKESIDE HOUSE IN THE AUSTRIAN ALPS DESIGNED BY REM KOOLHAAS.
PHOTOGRAPHY BY PERNILLE LOOF & THOMAS LOOF. STYLING BY MARVIN UNGER.

12 AR C H D I GES T.COM
 CONTENTS december
DEBUT AD recently tapped
eight rising interior design
studios to collaborate on our
new Ruggable x AD collection.
Designers Michael Hilal, Jessica
Jubelirer, Matt McKay, Hema
Persad, David Quarles IV, Alexis
Tompkins and Leann Conquer
of Chroma, Tavia Forbes and
Monet Masters of Forbes
Masters, and Aymee Kuhlman
and Molly Kidd of Light and
Dwell all took inspiration from
art, architecture, and nature.
The resulting 16 beautiful floor
coverings made their debut last
month. See the entire lineup at
ruggable.com/pages/AD.
14 A R C H D I G E S T.COM
94
INSIDE ARTIST DANIEL
ARSHAM’S FIREHOUSE
TURNED RESIDENCE IN NYC.
DESIGNERS LEANN CONQUER AND ALEXIS TOMPKINS
OF CHROMA, MICHAEL HILAL, AND DAVID QUARLES IV
WITH AD’S GLOBAL INTERIORS & GARDEN DIRECTOR
ALISON LEVASSEUR (CENTER) IN L.A.
FOLLOW @ARCHDIGEST
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 editor’s letter 1

“I like thinking big. I always have.

To me it is very simple: If you’re going to
be thinking anyway, you might as well
think big.” —Rem Koolhaas in S,M,L,XL
Surprisingly, the celebrated Dutch architect Rem Koolhaas
has designed and realized precious few private residences.
Although Koolhaas, also an immensely quotable journalist and
philosopher, once warned that “the word celebrity and the word
architect are basically incompatible,” there is no doubt that his
own famous writings and megaprojects render him one of the
towering names in the field. His ideas and buildings create
meaningful conversation, impact, and sometimes controversy.
Koolhaas last completed a private home in 1998 (Maison
à Bordeaux) and before that the Dutch House in 1995 and the
Villa dall’Ava in 1991—each hailed as a masterpiece. So it is a
distinct honor and privilege to unveil the recently completed
Austrian House on this cover of AD and in many of our inter-
national editions, too. Spanning a highly considered, relatively
modest 3,000 square feet, the extraordinary structure is sensi-
tively sited on a narrow plot lakeside in the Alpine landscape
and embodies Koolhaas’s theories of sophisticated machinery
combined with the ideals of simplicity and living in nature.
It also represents a harmonious meeting of the minds among
designer and owner, an alignment both rare and critical.
On that note, elsewhere in this art-themed issue, our bril-
liant West Coast editor Mayer Rus writes “Great houses—the
ones that fire the imagination of true aesthetes and aficionados—
invariably arise from the union of an ambitious, artful designer
and an equally inspired, invested client.” AD’s December pages
brim with intriguing people—artists, collectors, creatives of all
types—crafting environments sure to light a spark.
PERNILLE LOOF & THOMAS LOOF

AMY ASTLEY
Global Editorial Director
and Editor in Chief, AD U.S.
@amyastley

1. TAKING IN THE VIEW FROM THE TERRACE OF A HOUSE IN AUSTRIA

BY REM KOOLHAAS. 2. A BUILT-IN BENCH ON ONE OF THE CAST-
3 CONCRETE WALLS. 3. THE HOUSE UNFOLDS ALONG ITS STEEP SITE.
16 AR C H D I GES T.COM
object lesson THE STORY BEHIND AN ICONIC DESIGN

The Eyes Have It

Nicola L.’s omniscient Eye
Lamp continues to intrigue
more than 50 years later

A
fter the Moroccan-born French artist Nicola L.
began sketching eyes in the late 1960s, it was
her Belgian friend Marcel Broodthaers who
helped her turn them into lamps. Broodthaers,

1, MARK ROSKAMS. 2. © NICOLA L. COLLECTION AND ARCHIVE. 3. MICHAEL BRZEZINSKI/COURTESY OF ALISON JACQUES LONDON
who had been making artworks from thin,
vacuum-formed plastic, brought Nicola to his
5
Antwerp factory, where she produced an edition of 50
visionary lights: A bulb encased by a blue, green, or brown
4 1. A PENDANT VERSION iris, with a movable lid-shade, was mounted on a steel rod.
OF NICOLA L.’S EYE LAMP
IN ARTIST DOUG MEYER’S
Years later, in 2008, she would create pendants, table lamps,
MIAMI BEACH ABODE. and sconces for Galerie Pierre Alain-Challier in Paris.
2. NICOLA WITH AN EYE
TABLE LAMP AT GALERIE
The Eye Lamp joined Nicola’s ongoing series of body-furnishings—vinyl

AND NICOLA L. COLLECTION AND ARCHIVE. 4. LIZZIE SOUFLERIS. 5. STEPHEN KENT JOHNSON.
PIERRE ALAIN-CHALLIER
IN 2008. 3. BLUE EYE
LAMP, 1969/1990.
4. NICOLA L.: LIFE AND
ART, PUBLISHED BY
APARTAMENTO. 5. ADAM
CHARLAP HYMAN’S
MANHATTAN PAD.

“It has a surreal, even haunting, presence,” says AD100

designer Adam Charlap Hyman of the fixture, the first
piece of art he ever bought. He’s since used them in
several projects. That’s no easy feat: The Eyes are scarce.
They come up occasionally at auction (one went for $15,000

3
—HANNAH MARTIN
T H E M O S T M E M O R A B L E D AY S S TA R T AT S U N S E T
T H E D I S COV E RY O F A LI FE TI M E

AT L A N T I S B A H A M A S . C O M
 DISCOVERIES
THE BEST IN SHOPPING, DESIGN, AND STYLE EDITED BY SAM COCHRAN

A YOSHITOMO NARA ARTWORK MINGLES WITH VINTAGE

UPHOLSTERED SEATING BY GIUSEPPE SCAPINELLI IN
CATERINA HEIL STEWART’S NEW YORK CITY LIVING ROOM.

AD VISITS

The Art of the Mix

ART: © YOSHITOMO NARA

At home in Manhattan, emerging designer

Caterina Heil Stewart combines styles with swagger
for her family of collectors in the know
PH OTOG R A PH Y BY WIL L IAM JESS L AIRD AR C H DI G E S T. CO M 23
 DISCOVERIES

1. IN THE DINING ROOM, PIERRE HER HUSBAND, SOTHEBY’S CEO

JEANNERET CHAIRS SURROUND
AN ANGELO MANGIAROTTI TABLE;
ARTWORK BY TOMIE OHTAKE
AND LIGHTING BY GIO PONTI FOR
VENINI. 2. THE DESIGNER WITH
CHARLES STEWART, IN THEIR
LIVING ROOM. 3. THE KITCHEN
PAIRS CLASSIC WHITE CABINETRY
WITH VINTAGE INDUSTRIAL-
STYLE OPEN SHELVING.

ounted atop the living room paneling

M at designer Caterina Heil Stewart’s

Manhattan town house is a painting of
a young skier barreling downslope
amid flurries of snow or perhaps, more
fantastically, across a starry cosmos.
It’s a memorable early Yoshitomo Nara work, rendered in
the Japanese artist’s signature cartoonish style, the child’s
expression a mix of innocence and rebellion.
That frolicsome spirit runs throughout the elegantly
eclectic home that Heil Stewart has composed for her family
of five. In the living room, works by Latin American artists
Alberto Baraya, Ernesto Ballesteros, and Marcelo Silveira join
in presiding over a dashing array of vintage Italian furnish-
ings, among them mohair-clad Giuseppe Scapinelli seating,
svelte Ico Parisi tables, and Art Deco–inflected Osvaldo 3

Borsani armchairs that she paired with a Louis XIV games

table. “I like mixing pieces from different eras that talk to
each other,” says Heil Stewart, whose confident combinations
favor furnishings that showcase craftsmanship and artistry.
“Caterina’s vision is not just decorative—she’s really got a
a lawyer, but several years into her career, she sought a new
path. After taking classes at Parsons School of Design and
ART: TOMIE OHTAKE

collector’s eye,” says her husband, Sotheby’s CEO Charles
Stewart. “She’s thinking about timeless beauty, timeless design.”
Heil Stewart grew up surrounded by design in São Paulo,
where her grandfather and mother were both architects.
Ultimately, she followed in her father’s footsteps and became
working as a fashion buyer, she began pursuing interiors
projects, steadily building up her practice before founding
her firm, StudioCAHS, in 2013.
At her home on the Upper East Side, just steps from Central
Park, Heil Stewart has offset traditional 19th-century details

24 A R C H D I GES T.COM
Designers, epicureans, and guests.
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SignatureKitchenSuite.com

Copyright 2023© Signature Kitchen Suite, 111 Sylvan Ave., Englewood Cliffs, NJ 07632. All rights reserved. “Signature Kitchen Suite” and the Signature Kitchen Suite logo are trademarks of Signature Kitchen Suite.
 DISCOVERIES 1

1. HEIL STEWART CUSTOM- DINING ROOMS, WHICH IS

DESIGNED THE LIBRARY’S FURNISHED WITH A PEDESTAL
SECTIONAL SOFA; SIDE AND TABLE BY MANGIAROTTI.
COCKTAIL TABLES ALL 3. A CARLITO CARVALHOSA
BY ANGELO MANGIAROTTI. PAINTING HANGS ABOVE
2. A SERIES OF PHOTOGRAPHS THE FIREPLACE IN THE
BY CAO GUIMARÃES HANG COUPLE’S BEDROOM;
IN THE GALLERY-LIKE SPACE VINTAGE BED FRAME AND
BETWEEN THE LIVING AND STILNOVO CHANDELIER.
3
“adapting things according to needs,” explains Heil Stewart.
“As you can see, it’s using a potato and a toothpick to stack the
with touches of playful panache. In the entry, coil-like sections
of a Fabio Novembre sofa for Cappellini frame Vik Muniz’s
re-creation of a Lewis Carroll photograph of Alice Liddell,
composed using thousands of colorful toys. Along the adjacent
wall, Heil Stewart added groovy-chic 1970s mirrors by Luciano
Bertoncini. “You can hang your coat when you come in,” she
says, demonstrating how when the top of the panel is pushed
in, the lower part becomes a hanger.
Upstairs in the gallery-like space between the living and
dining rooms, Heil Stewart paired a vintage Angelo Mangiarotti
pedestal table with a 1970s Terje Ekstrøm chair, whose twisting
form is not only visually striking but also, she notes, “super
comfortable.” Mounted above are Cao Guimarães photographs
that represent gambiarra, a Brazilian concept that refers to
bills in a bar. Or a bottle holding a window open.”
The Stewarts have been collecting together for more than
two decades, starting with artists from Brazil, which is where
they met. The couple later branched out to include artists from
elsewhere in Latin Americ›a, as well as the US and the UK,
the other countries they’ve called home. In the dining room,
a geometric abstraction by the late Japanese-born Brazilian-
expat Tomie Ohtake hangs above the fireplace. The cozy
ART: CAO GUIMARÃES. CARLITO CARVALHOSA.

family room, meanwhile, displays a work British artist Tracey

Emin created for the 2016 Rio Olympics. “All of the things
we’ve bought have significance to us,” says Charles Stewart.
“And I love the way the art talks to the design and the space.”
That interplay extends to the couple’s bedroom, where the
graceful curves of their vintage iron bed reverberate with the
lines and spheres of the Stilnovo light fixture overhead and
the simple, vividly hued forms in the Carlito Carvalhosa canvas
above the fireplace. “I wanted to wake up and have that burst
of energy every day,” Heil Stewart says of the painting, adding,
“It just makes me happy.” —STEPHEN WALLIS

26 AR C H D I G E S T.COM
 Designed in California
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Engineered for a better world
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 DISCOVERIES
MUSHROOM MURANO TOPKAPI
GARDEN BOX; $165. BEDSIDE SET;
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HOME.COM MAGAZINE.COM

TIFFANY & CO. PRETTY FACTORS

EARRINGS; PRICE Elegant accessories, glittering jewels, and jet-set
UPON REQUEST.
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HAUTE BOHEMIANS: GREECE
BY MIGUEL FLORES-VIANNA; $75.
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CASSIEL MOSAIC
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BAIGNOIRE WATCH;
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CARTIER.COM

QUEEN PAISLEY
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SHOPDOEN.COM
SARDINE BAG; PRICE
UPON REQUEST.
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INTERIORS: SIMON UPTON. ALL PRODUCTS COURTESY OF THE COMPANIES.

NUDO EARRINGS
IN BLUE TOPAZ,
LAPIS, AND BLUE
SAPPHIRES IN
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SHOPPING GOLD; $6,900.
POMELLATO.COM

Holiday Spirit
This season’s best gifts bring
sparkle and style in spades COLETTE MULE; $315. LARROUDE.COM

28 A R C H D I GES T.COM P ROD U C ED BY M AD ELI NE O ’ M A L L E Y

WAKE UP
WORLD

Discover more at
Waking up in a Hästens bed is an eye-opener about the value hastens.com
of perfect sleep. It’s built with the ultimate combination of
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BOSTON | DALLAS | GREENWICH | NAPLES | SEATTLE | JACKSON HOLE | HOUSTON
 DISCOVERIES PALOMA NAPKINS;
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MAGIC MUSHROOM SHERWOOD LOG SIX. PORTA-NYC.COM
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NATURAL WONDERS
Botanical treasures, verdant touches, and garden
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MURANO GLASS
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FLEURETTE EARRINGS
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GREEN AND WHITE

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30 A R C H D I G E S T.COM
 NIMBE MIRROR BY
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RELAXED FITS
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32 A R C H D I GES T.COM
American Masters
An Exhibition and Sale
October 19 through December 29, 2023

REQUEST OUR CATALOGUE

Q U E S T R O YA L F I N E A RT, L L C
Important American Paintings
 shop portable mid-century lamps

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50 A R C H D I GES T.COM
 DISCOVERIES
SAMUEL ROSS WITH
WORKS IN PROGRESS AT
HIS LONDON INDUSTRIAL-
DESIGN ATELIER, WHICH
IS SET WITHIN THE
BRUTALIST COMPLEX
180 STUDIOS.

S
tep inside the London industrial-design work-
shop of Samuel Ross, and one thing immediately
becomes clear: He really likes orange. Here,
DESIGN within the Brutalist walls of 180 Studios, it’s
everywhere—the shade of a traffic cone—from

Shape Shifter his metal shelving to his model for the electric
motorbike company Cake. Now that hue reappears in his
new limited-edition faucet for Kohler, a prototype of which
Mining the materials, can be found amid the flotsam and jetsam of his workspace,
in advance of its Design Miami debut.
forms, and colors “People are used to seeing this color,” Ross explains. “It’s
of industry, Samuel Ross democratic in the way that it cuts through any type of environ-
SERENA BROWN

ment. It carries an alertness, a vigilance.” It’s true: One’s eyes

rethinks the objects cannot help but park themselves on all things orange, be it the
powder-coated steel base of his perforated-marble chair or
of everyday life the tape used to secure his sketches to the wall.

52 AR C H D I GES T.COM
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 DISCOVERIES
Ross is best known for his cult streetwear line, A-Cold-Wall*,
which gives intellectual twists to workwear staples. But he’s
also designed products for global brands like Apple and Hublot,
mounted a solo show of fine art at White Cube gallery, and
devised collectible furniture for Friedman Benda—juxtaposing
industrial forms of concrete, steel, and granite with unconven-
tional finishes like a turmeric rub or milk-and-honey patina.
Meanwhile, he’s advocated for creatives of color through his
Black British Artist Grants initiative. It’s all related, he says,
like “different ligaments or nodes across the body.” That
connective tissue, you might say, is the language of utility:
relatable shapes and materials that comment 1

on race and class disparity.

1. ONE OF ROSS’S NEWLY
Growing up in Northamptonshire, a his- INSTALLED PUBLIC BENCHES
toric center of English boot production, Ross IN THE MIAMI DESIGN
DISTRICT. 2. FOREIGN BODY
recalls that “the idea of making was in the OF CHALK AND IRON, 2021.
soil.” Raised by two painters and educators, 3. ANAESTHESIA I, 2022.
4. FORMATION 01, ROSS’S NEW
he ultimately pursued design as a more stable LIMITED-EDITION FAUCET
financial path, and because “I wanted to fix FOR KOHLER (KOHLER.COM).
things and understand how they work.” His
life changed about a decade ago when the late
Virgil Abloh saw his Instagram page, tapping
Ross as a collaborator and mentoring the
rising star as he found his own creative voice.
Together, they consulted for Shayne Oliver’s
Hood by Air, launched Abloh’s Off-White 2
brand, and mounted pop-ups, installations,
and more.
In 2019, Ross won the Hublot Design Prize,
which is awarded each year to an emerging
talent. It was his public-facing work that 4

caught their eye, in particular, a project with

3. TIMOTHY DOYON/FRIEDMAN BENDA AND SAMUEL ROSS. 4. COURTESY OF KOHLER.

him to create a faucet, he was thrilled. The result, titled 1. CRISTIAN RIVERA. 2. OLIVER MATICH/FRIEDMAN BENDA AND SAMUEL ROSS.
Formation 01, is somewhat enigmatic, its function
3
not immediately clear. “You see color first, and then
you see form,” Ross explains. “It opens
up the same kind of questioning that art can offer.”
Ross likes his work to operate this way—as a
question rather than a statement. The same is true
of the chalk-white, powder-coated-steel benches
he has just installed in the Miami Design District.
“There’s something in me that is obsessed with
designing for public space,” he says. “I’m interested
in the pendulum swing from the academic, more
philosophical arm to the other end—making sure
all generations can relish in the aesthetic of a
moment. That can mean just as much.” sr-a.com
—HANNAH MARTIN

54 A R C H D I GES T.COM
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 DISCOVERIES 1

SHOWROOMS

Miami Heat
Ralph Pucci’s new Florida
emporium captures
the optimism and energy

1. & 4. JUAN PABLO CASTRO. ART: ELIZABETH GAROUSTE/RALPH PUCCI. 2. & 3. COURTESY OF RALPH PUCCI.
of Wynwood

R
alph Pucci is betting on Miami,
specifically the burgeoning Wynwood
neighborhood. “It’s not as commer-
cial as South Beach and not quite as
polished as the Design District. It has
the right vibe for Pucci,” says the
4
zeitgeist-surfing furniture impresario. Two years ago,
after nearly a decade of doing business in the area,
Pucci made a long-term commitment to Wynwood
with the purchase of a 10,000-square-foot former Pucci says of the extensive renovation, in which sleek 1. AN INSTALLATION
OF ELIZABETH
warehouse, set to open as his Florida showroom elements like high-gloss white epoxy floors mix with GAROUSTE DESIGNS
during this year’s edition of Art Basel Miami Beach. remnants of the structure’s grittier past. “I love seeing AT THE NEW RALPH
PUCCI INTERNATIONAL
The new location, situated alongside the home of the furniture—these incredible things by Hervé Van GALLERY IN MIAMI.
the Margulies Collection, won’t be hard to find—a der Straeten, India Mahdavi, Patrick Naggar, and 2. HERVÉ VAN DER
STRAETEN’S LUSTRE
mural by designer Elizabeth Garouste, spanning the all the others—reflected in what looks like a mirror CANDY PENDANT.
building’s entire 100-foot-wide façade, announces of white glass,” he adds. “And I’m excited about the 3. JOHN WIGMORE’S
CHROMA #1 SCONCE.
Pucci’s bold creative spirit in no uncertain terms. synergies with the Margulies, which is one of the 4. THE FAÇADE’S
Next year, the ongoing mural program will feature great Miami cultural resources. I think many of our MURAL BY GAROUSTE.
the work of artist Ruben Toledo. customers will be excited to discover it, and I hope
“We tried to keep the soul of the warehouse intact— their visitors will discover Pucci. I have high hopes
a touch of cool, a touch of rough, a touch of elegance,” for this street.” ralphpucci.com —MAYER RUS

56 AR C H D I GES T.COM
 UNWIND

BEAUTIFUL OUTDOOR FURNITURE FOR EVERY SEASON

TEAKWAREHOUSE.COM
 DISCOVERIES
1
4 emblazoned with a family’s coat of arms. When she discovered Tiffany
3 alluding to today’s predictable registry patterns. For Santo Domingo,
1. TIFFANY CREST DESSERT PLATE IN BLUE BONE CHINA
WITH GOLD ACCENTS. 2. LAUREN SANTO DOMINGO,
ARTISTIC DIRECTOR OF THE BRAND’S HOME CATEGORY.
3. THE BRAND’S NEW COAT OF ARMS. 4. TIFFANY
CREST DINNER PLATE. 5. BIRD ON A ROCK BROOCH.
58 A R C H D I GES T.COM
2
DEBUT
A Knight’s Tale
Lauren Santo Domingo brandishes
a coat of arms for Tiffany & Co.’s
latest tableware collection
E
arlier this year, when Lauren Santo Domingo arrived at
Tiffany & Co. as the brand’s new artistic director for its
home category, the first thing she did was research. Delving
into the archives, she immersed herself in company lore,
from its 1837 origin story through 20th-century reinventions
by the likes of jewelry maestro Jean Schlumberger and
Bean progenitor Elsa Peretti. But she also had her own creative sword to
wield. “I asked if Tiffany had a crest,” recalls Santo Domingo, who has
long collected antique European armorial ware, a form of traditional china
did not, she says, “we began the process of creating one from scratch.”
Her interpretation—now the basis of the Tiffany Crest tableware
collection—celebrates brand iconography, with a shield that riffs on Bird
on a Rock, Schlumberger’s famous 1960s brooch. Four quadrants reveal
other legacy motifs, among them dragonflies, diamonds, and silversmith
tools. There are also maple leaves, which, like the blue-and-orange palette,
pay homage to Tiffany’s New York City roots. At its center, meanwhile,
flanked by the year 1837, is a stylized T in an archival font. “And no crest
would be complete without a family motto,” notes Santo Domingo, who
chose Reverter ad Tiffany, or “Return to Tiffany” in Latin.
And return shoppers shall. The launch of the Crest collection comes
during a larger renaissance for the brand, which opened the doors to its
transformed Fifth Avenue flagship in April. Amid this momentum, Santo
Domingo sees an opportunity for Tiffany to reassert its dominance in
the world of home accessories, particularly with regard to formal dinner-
COURTESY OF TIFFANY & CO.
ware. “When it comes to china, there haven’t been new options,” she says,
the line also takes on personal meaning as her family’s new china pattern
at home in Manhattan. “What’s selfishly most exciting for me, having
collected armorial china for so long, is the opportunity to own a complete
set,” she says. “This will be the one that is seared into my children’s
memories.” tiffany.com —SAM COCHRAN
D-Safavid Reverie wallpaper. Coordinating Safavid fabrics on ceiling, curtains, and upholstery. Interior design by Mark D. Sikes.

IKSEL.COM

Distributed in the USA and Canada by

DISCOVERIES

1. AT THE HISTORIC
FAMILY HOME OF LOUIS
VUITTON IN ASNIÈRES-
SUR-SEINE, FRANCE, AN
ART NOUVEAU ADDITION
EXTENDS FROM THE
ORIGINAL WHITE-STUCCO
HOUSE. 2. A BAY OF

FRAMES AN ARCHIVAL
MONOGRAM TRUNK.
3. LOUIS VUITTON MAISON
1 DE FAMILLE BAG.

HISTORIC HOUSES

Past Meets Present

The former home of Louis Vuitton is a
showcase for age-old craft, Art Nouveau 3

flair, and modern-day marvels

1. & 2. TOMMASO SARTORI. 3. COURTESY OF THE COMPANY.

ucked in the Paris suburb of Asnières- Williams, as well as an active celebration of the

T sur-Seine is an acre-size center of

luxury: the Louis Vuitton home,
museum, and special-orders workshop.
The company’s namesake founder
bought the land back in 1859, in what
was then the countryside, to move his family out of
the smoggy city and expand production of his then
fledgling trunk business, which will celebrate its
170th birthday next year. Louis chose the location for
its proximity to the rail line and the river Seine—a
favorite subject of Impressionist painters. Today, the
site remains a source of inspiration for the company’s
current visionaries Nicolas Ghesquière and Pharrell
brand’s long history of handcraft.
On the verdant plot, Louis built an iron-framed
workshop in the spirit of architects Victor Baltard
and Gustave Eiffel, plus a simple white-stucco house
with gingerbread trim, moving between the two
as he steered his company to international success.
Following Louis’s death in 1892, his son Georges
inherited the company and the house. He later added
an airy Art Nouveau addition, with curved arches,
ornate Corinthian columns, swirling plasterwork,
and stained-glass windows of irises, poppies, and
clematis. As the Vuitton children played in the garden
amid climbing roses and stoic trees, they could hear
 at One Herald Plaza
NE 14th Street & Biscayne Bay
Miami, Florida 33132

Patrick Hurst, Spiller + Cameron, and Nicola Anthony

on view at Long-Sharp Gallery at Art Miami 2023

Top left: Questa è Acqua © Patrick Hurst (2023); 316 stainless steel; from a unique series of 5 plus proofs; 88.75 x 53.25 x 37.5 in (225 x 135 x 95 cm)

Top center and bottom left: Nesoi © Spiller + Cameron (2023); Mixed media, 49.75 x 40.875 in (126.37 x 103.82 cm) (framed)

Top and bottom right: I Will Rise © Nicola Anthony (2023); Marine grade stainless steel suspended by wire; 67 x 39.4 x 39.4 in (170 x 100 x 100 cm)

866.370.1601 | @longsharpgallery | longsharpgallery.com

The above artists are represented in the United States by Long-Sharp Gallery.
 1

ROOM. 3. BUILT IN GLASS AND IRON, THE 2

WORKSHOP NEXT DOOR REMAINS ACTIVE.
4. THE LIVING ROOM’S CERAMIC CHIMNEYPIECE
RE-CREATES THE ART NOUVEAU ORIGINAL.
artisans in the atelier next door, hammering and
sawing poplar planks for the company’s famous
canvas-covered malles.
The last Vuitton to reside at Asnières was
Joséphine, who died in 1964, having lived past 100.
The home’s contents were dispersed among family
members, and the rooms were used for storage. In
the 1980s, with old family photographs as a guide, the
company restored the house to its original splendor,
installing a replica of the teal ceramic mantelpiece,
and furnishing it with fin-de-siècle pieces purchased
at galleries and auctions. Today, the company, owned
by the LVMH luxury group, receives Vuitton clients
and VIP guests in the lush celadon and jade salons
for private receptions and visits. At every turn, there
are nods to brand iconography lore, be it the portable
monogram bar on the Art Nouveau sideboard or the
3 glass-topped trunk enrobed with well-worn striped
4
canvas that, sitting before a Chesterfield sofa, serves
as a cocktail table.
Next door, the atelier still hums, with more than
300 artisans handcrafting special orders such as
monogrammed valises, jewelry boxes, and trophy
cases for elite sporting events like Formula One,
the World Cup, and the Australian Open. And facing
rue Louis Vuitton is a 6,000-square-foot gallery, 1. COURTESY OF THE COMPANY. 2., 3. & 4. TOMMASO SARTORI.

which is open to the public by appointment. Each

year, it mounts an exhibition, curated by the brand,
that explores an aspect of the company’s expertise
and heritage via 3D short films and archival displays.
On view through early 2024 is “Malle Courrier,” a
journey through the history of Vuitton’s iconic travel
trunk, from its invention by Louis in 1858 to the latest
iteration, in copper, by Williams, the brand’s new
men’s creative director. Most delightful is womens-
wear head Ghesquière’s re-creation of the home
as a small trunk-like bag, replete with the stained
glass and rambling roses, for his spring-summer
2023 collection. It’s a fit homage to a luxury legacy.
louisvuitton.com —DANA THOMAS
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1. A GUEST ROOM AT THE NEW
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HOTELS
Paris in
Bloom
To create the palette for
the new Hôtel de la Boétie
3 in Paris, Beata Heuman
started as she would with
any residential project.
designer, beloved for her unerring if unexpected way with color. In the
case of La Boétie, the latest from the hit hospitality group Touriste, those
tentpole touches include statement headboards in the style of flat-weave
rugs, grass-green carpets, and—in lieu of conventional crisp white linens—
SIMON BROWN. ART: KIRSTY LACKIE.
pink sheets and towels. “They make such a difference,” notes Heuman
of her rosy selects, which play off rustic curtains of her own Potato Sack
jute (part of a just-launched fabric line) and benches upholstered in bold
gingham checks. Wall and tile hues lighten from lower floors to upper.
she says, alluding to its location in the 8th arrondissement. Opened in
September, La Boétie marks the first hotel project for Heuman, who was
drawn to Touriste’s designer-driven approach to accessible accommodations.
(Prices begin at $265 a night.) The experience only whet her hospitality
appetite. “With a hotel, there’s a sense of theater,” she says. “It’s quite fun
to be given that freedom.” hoteldelaboetie.com —SAM COCHRAN
Future residences located at:
10245 Collins Avenue, Bal Harbour, FL 33154

ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING 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.
New York Residents: THE COMPLETE OFFERING TERMS ARE FOUND IN A CPS-12 APPLICATION AVAILABLE FROM THE OFFEROR.
FILE NO FILE NO. CP23-0060.
WARNING: THE CALIFORNIA DEPARTMENT OF REAL ESTATE HAS NOT INSPECTED, EXAMINED, OR QUALIFIED THIS OFFERING.
THIS CONDOMINIUM HAS ALSO BEEN REGISTERED WITH THE MASSACHUSETTS BOARD OF REGISTRATION OF REAL ESTATE BROKERS AND
SALESPERSONS F-1284-01-01.
RIVAGE BAL HARBOUR CONDOMINIUM is developed by Carlton Terrace Owner LLC (“Developer” or “Offeror”). This offering is made only by the
Developer’s Prospectus for the Condominium. Consult the Developer’s Prospectus for the proposed budget, terms, conditions, specifications,
fees, and Unit dimensions. Sketches, renderings, or photographs depicting use of space, design, furnishings, lifestyle, amenities, food services,
club services, rental services, hosting services, finishes, materials, fixtures, appliances, cabinetry, soffits, lighting, countertops, floor plans, or art
are proposed only, and the Developer reserves the right to modify or withdraw the same in its sole discretion. No specific view is guaranteed. No
specific use of space is guaranteed. Pursuant to license agreements, Developer has a right to use the trade names, marks, and logos of: (1) The
Related Group; and (2) Two Roads Development, each of which is a licensor. This is not intended to be an offer to sell, or solicitation of an offer
to buy, condominium units to residents of any jurisdiction were prohibited by law. 2023 © Carlton Terrace Owner LLC, with all rights reserved.
 DISCOVERIES 1

ONE TO WATCH

Out of
the Ordinary
Mining the everyday,
Ryan Preciado sparks 3
creative conversations

I
t’s a chaotic environment, but I like that,”
SON, 2023. 3. CHUMASH CHAIR, 2019.
NEW FEELING (BABY BLUE), 2023.
Los Angeles shop where he paints his some-
times functional sculptures. “We’re always
moving things around. Cars come in and out.

I’m making.” Whether he is working on an artwork

1. CARLOS JARAMILLO. 2. & 4. © RYAN PRECIADO/KARMA. 3. ASATO IIDA.

or an automobile, the process is equally labor inten-
sive, requiring coats upon coats followed by buffing
and polishing. Recently, he applied the same color to a Toyota
Hilux as he did to New Feeling (Baby Blue), an egg-shaped
cabinet that is now on view at the Hammer Museum as part
of the 2023 “Made in L.A.” biennial.
It’s one of 12 pieces in the show by Preciado, who is
of Chumash and Mexican heritage and grew up in Southern
California. After working as a welder, a ranch hand, and a
commercial painter, Preciado did a brief stint in college before
taking a full-time apprenticeship with a carpenter that led him
to make his own pieces. His optimistic, postmodern-inflected
forms stitch together conversations and observations from his
daily life, elevating approachable objects. His cartoonish 2018
Nipomo Chair (named after his hometown in San Luis Obispo
County) was loosely inspired by oversize memories of comfort
which is Native American,” Preciado says of his rendition,
realized at a bigger scale in California white oak, with arms
reminiscent of Chumash tomol paddles. LACMA acquired
both pieces for its permanent collection.
For Preciado, who is represented by Karma gallery, some
ideas emerge from his subconscious as drawings. Others come
from real life (a shape spotted in the distance during an aim-
less drive) or from his regular conversations with the owner of
a local hardware store. Time to find me, for example, comprises
a scaled-up, polished-bronze spoke wrench mounted on an
oak pedestal. The shopkeeper, Preciado notes, “called it ‘more
sacred than a prayer.’ It provides for people. I wanted to make
it look important, so people would take it seriously.”
karmakarma.org —HANNAH MARTIN

66 AR C H D I GES T.COM
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 Your Sanctuary on the Bay
Designed by internationally acclaimed Robert A.M. Stern Architects,
The St. Regis Residences, Miami are situated along the beautiful
coastline of South Brickell, with exquisite bayfront views,
a private marina, and an exclusive fine-dining restaurant
by MICHELIN-starred chef Fabio Trabocchi. The Residences
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the history and heritage of a timeless brand enable a signature
way of life, propelled by impeccable service and
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Schedule an appointment 786 713 3522 MiamiSRR.com

ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING 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. ARTIST’S
CONCEPTUAL RENDERING; SURROUNDING BUILDINGS AND LANDMARKS MODIFIED OR OMITTED. THE COMPLETE
OFFERING TERMS ARE IN A CPS-12 APPLICATION AVAILABLE FROM THE OFFEROR. FILE NO. CP23-0071. WARNING: THE
CALIFORNIA DEPARTMENT OF REAL ESTATE HAS NOT INSPECTED, EXAMINED, OR QUALIFIED THIS OFFERING.
St. Regis Residences, Miami a/k/a 1809 Brickell Condominium.
The St. Regis Residences, Miami is developed by 1809 Brickell Property Owner, LLC (“Developer”). The St. Regis Residences, Miami is not owned, developed,
or sold by Marriott International, Inc. or its affiliates (“Marriott”). Developer uses the St. Regis marks under a license from Marriott, which has not confirmed
the accuracy of any of the statements or representations made about the project by Developer. Developer also uses the trade names, marks, and logos of
licensors: (1) The Related Group; and (2) Integra Investments, LLC. None of the licensors is the Developer. The Developer is not incorporated in, located in, nor
resident of, New York. This is not intended to be an offer to sell, or solicitation of an offer to buy, condominium units in New York or to residents of New York,
or of any other jurisdiction were prohibited by law. Consult the Developer’s Prospectus to understand this offering, the amenities specific to each tower, the
proposed budgets, terms, conditions, specifications, fees, Unit dimensions and method for calculation, site plans, and to learn what is included with purchase
and by payment of regular assessments. All prices are subject to change at any time and without notice, and do not include optional features or premiums for
upgrades. 2023© 1809 Brickell Property Owner, LLC.
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DOWN THE STEEP, NARROW
PLOT TOWARD THE LAKE.
OPPOSITE IN THE LIVING
SPACE ON HOUSE’S THIRD
LEVEL, A MOTORIZED GLASS
GARAGE-STYLE DOOR LIFTS
TO PROVIDE ACCESS TO THE
TERRACE. THE PLATFORMS
IN THE FOREGROUND CAN
BE RAISED TO TABLE HEIGHT
OR LOWERED TO CREATE A
CONVERSATION PIT.
on vision

In a departure from
the megaprojects
that have made his
name, Rem Koolhaas
crafts a minimalist
lakeside house for
an Austrian family
TEXT BY PHILLIP DENNY
PHOTOGRAPHY BY PERNILLE LOOF & THOMAS LOOF
STYLED BY MARVIN UNGER
ON THE FIRST LEVEL, A MONUMENTALLY SCALED SASH WINDOW OPENS ONTO A TERRACE WHERE
A RIMINI DECK CHAIR BY JAN KURTZ TAKES IN THE ALPINE VISTA ACROSS THE LAKE.
 IN THE KITCHEN, CUSTOM STAINLESS-STEEL CABINETS HANG ON OKOUME WOOD PANELS. LINEAR LED LAMPS ARE

t
EMBEDDED IN THE CONCRETE WALLS AND CEILING. TABLE AND CHAIRS BY EERO SAARINEN FOR KNOLL;
RUG BY RUGVISTA; CUTTING BOARD BY MULLER VAN SEVEREN FOR VALERIE OBJECTS; NYMPHENBURG VASE AND BOWL.

he weather changes quickly on the Austrian
Zeller See. At daybreak, fog rises from the tran-
quil lake, creeping into the quiet village on its
western shore. The midday sun pierces passing
clouds, light and shadow playing in chiaroscuro
over the Alpine landscape. An afternoon sun
shower dampens the valley; rooftops glisten and
the surface of the lake glimmers.
This is the scene witnessed from the
Austrian House, the latest residence by Dutch
architect Rem Koolhaas. It is his first built
house in almost three decades—his most recent,
the Maison à Bordeaux was completed in 1998; it was pre-
ceded by the Dutch House in 1995, and the Villa dall’Ava in 1991.
All have been hailed as masterpieces. Created in close collabo-
ration with architect Federico Pompignoli, this home marks a
surprising evolution in the career of one of the world’s most
celebrated designers.
Planning for this project began over a dinner six years ago.
No sooner had the client revealed he owned a microscopic,
perhaps unbuildable, hillside plot near his hometown, than
Koolhaas proposed a project, intrigued by the challenge. It was
a relief, the client recalls, from the megaprojects that have
become standard fare for Koolhaas’s firm OMA, the Office for
Metropolitan Architecture. Measured against Koolhaas’s
considerable oeuvre, this comparatively small structure—
about 3,000 square feet—undoubtedly ranks among the
architect’s greatest investments of time-per-square-foot.
Koolhaas presented his plans for the house in person
at the town hall. “The city architect hailed it as the most
significant building in Zell am See since the church,” the
client recalls. “St. Hippolyt was built in 1215.”
First glimpsed from town, the house resembles an out-
cropping of white marble emerging from the hillside. After
a winter snowfall, it is all but invisible. Slipped between two
squat, Alpine-style buildings along a narrow drive, the struc-
ture occupies a steep site scarcely more than 40 feet wide,
the former side yard of the house next door. After subtracting
setbacks required by the local building code—a little over 13
feet on either side—the resulting mass is a narrow tower rising
from the street, much of its bulk buried, like an iceberg, within
the hillside. “How can an underground house enable the
penetration of daylight and views that are crucial for living?”
Koolhaas asks, neatly summarizing the project’s fundamental
contradiction. “It meant that the section of the house was
critical,” he continues, referring to the structure’s intricately
stacked levels. Aboveground, the house’s white concrete
has a lustrous finish that looks and feels like fine porcelain.

AR C H DI G E S T. CO M 77
CLOCKWISE FROM ABOVE EMBEDDED IN THE GAP. A
PEDRALI VOLT CHAIRS BON BON TABLE BY STUDIO
SURROUND A TULIP TABLE SUPEREGO STANDS IN FRONT
ON THE THIRD LEVEL’S OF AN ERNST AMBÜHLER
TERRACE. THE WHITE RESIN DAYBED/SOFA IN THE DOUBLE-
STAIRCASE RISES ALONGSIDE HEIGHT LIVING AREA
ALUMINUM-PAPER-COVERED ON THE FIRST LEVEL. RUG
WALLS; LED LIGHTING IS BY KVADRAT.

ART: MICHAEL KOS

“What attracted me to this project
was the narrow and small site,”
says Koolhaas. “It would be impossible
to create a big house here.”

AN EXTERIOR VIEW OF THE

HOUSE’S FIRST-LEVEL TERRACE,
WHICH OPENS OFF OF THE
DOUBLE-HEIGHT LIVING AREA.
THE SECOND LEVEL’S “GEMÜTLICH SPACE” IS FURNISHED WITH A SQUARE BED BY EDRA FOR LOUNGING. DAYLIGHT
IS FILTERED FROM ABOVE THROUGH GREEN FIBERGLASS-REINFORCED RESIN PANELS ON THE FLOOR ABOVE.
 ABOVE THE SHOWER ROOM IS PANELED
IN OKOUME WOOD TREATED WITH A
TRANSPARENT COATING. WATERPROOF
LED CYLINDER TUBE LIGHTS HANG ON
THE WALLS. RIGHT THE SAUNA IS CLAD IN
LIGHT GRAY CERAMIC TILES ON BOTH THE
VERTICAL AND HORIZONTAL SURFACES.
THE BOTTOM OF THE HOUSE sits at street level. Turning a
key in the discreet entryway prompts the large metal door
to silently pivot inward, revealing three-and-a-half flights of
stairs rising straight ahead, parallel to, but never touching,
a luminous wall covered in what resembles insulation foil and
evokes Andy Warhol’s aluminum-foil-lined Factory. To the
left, a room lined in warm okoume wood offers a place to store
ski boots and jackets. Here, street shoes are traded for soft felt
slippers, which also help to protect the home’s immaculate,
pale resin floors.
Climbing the staircase is akin to an Alpine hike in minia-
ture: Each level of the house delivers a corresponding vista.
One flight up, rubber flaps divide the stairwell from a double-
height sitting room. The tall space is framed by opposing
walls that loom like sheer cliffs. The floor runs outward to a
terrace. Inside and outside are divided by two broad panes
of glass spanning the space’s full width. The turn of a hidden
knob causes the bottom panel to slide smoothly upward.
Twin guest suites—two snug bedrooms with plush faux-fur
walls, each with its own wood-paneled bathroom—lie behind
the sitting room, burrowed into the hillside.
On the next landing, a pair of wooden boxes jut from
the concrete wall; entering the third level reveals them to be
the backsides of kitchen cabinets. At the lakeside end of the
space, a wood-faced wall serves as the backdrop for a stain-
less-steel kitchen with the cool polish of minimalist sculpture.
An antique Suppenbrunzer—a blown-glass sphere containing
a carved-wood dove, one of the homeowner’s prized posses-
sions—is suspended above an oval Eero Saarinen–designed
Tulip dining table.
Across from the kitchen, the ceiling rises above a large
upholstered bed strewn with cushions for lounging. To one
side, structural glass plates support the translucent, pale-green
grating of the floor above. On the other, a long skylight opens
onto the upper yard. In one corner, a trapezoidal opening cut
high into the concrete walls offers a glimpse into the sauna
AR C H DI G E S T. CO M 81
 and adjacent shower. In the opposite corner, a short run of
steps leads up to a darkened corridor that tunnels deeper into
the hillside. A 90-degree turn at the end reveals a steep and
narrow staircase, and, at the landing, a solid door.
Crossing this threshold, the space stretches spectacularly
forward. Like stepping into a telescope, the house’s sawtooth
roofline rises and falls along its length, rhythmically pushing
one space into the next: bedroom to bath to living room to
terrace. The whole is startlingly spartan: A limited palette of
materials unifies the expanse, a contrast to the collage-like
quality of the architect’s early work. “I’ve become increasingly
skeptical of the compulsion to differentiate,” Koolhaas admits.
“I value reduction of the repertoire, but also the intensification
of experience.”

A MARCEL BREUER–DESIGNED TUBULAR STEEL writing desk and

chair, and a freestanding mattress, are all that occupy the lofty
sleeping area. The architect has distilled the adjacent bath to a
set of bare surfaces. The flip of a switch causes two glass floor
hatches to open, revealing a bath and shower basin—submerged
to preserve the view. Across from the bath, a long glass wall
pivots easily by hand, enabling a portion of the house to open
outward, fanlike, toward the lake. A sky-blue curtain by Dutch
designer Petra Blaisse slips between the sleeping area and
the living space; a circular “oculus” in the fabric adds another
lens to the optical array. At the far end, a pair of mechanical
platforms can rise from the floor to create a dining table, or
sink to form a conversation pit. A broad glass panel slides up
into the ceiling to give access to a terrace, which offers the
structure’s most expansive view. Here the architecture slips
away in quiet deference to the landscape.
The house represents a different scale and pace of practice
for an architect famous for dozens of big buildings in big
cities, known even for defining the concept of “Bigness” itself
in a 1995 essay. In the financial boom of the late ’90s, clients
approached Koolhaas to design grand residences. “Large scale
is very difficult to capture in the formula of a house,” Koolhaas
explains. “What attracted me to this project was the narrow
and small site—it would be impossible to create a big house here.
That condition liberated me to do a house again.”
The small looms large here. The structure is full of enig-
matic details, but consider just three indicative episodes: a
cast-concrete bench on the south façade, a folded-metal rain
scupper, and a circular void cut into the eaves of the floating
IN THE PRIMARY BATH, TRAPDOORS
terrace. These simple gestures register a new architectural RISE TO REVEAL THE TUB. TRANSPARENT
regard for living in the natural world: a place to sit and rest, FLOORING OF GREEN FIBERGLASS-
REINFORCED RESIN PANELS ALLOWS LIGHT
a path for rain to flow, and an opening for the sun to enter. INTO THE LOWER LEVEL, AND A MASSIVE
The architect’s long-running research project on the rural WINDOW PIVOTS OPEN TO THE OUTDOORS.
culminated in his blockbuster exhibition “Countryside, The
Future” at New York City’s Guggenheim Museum in 2020,
but its influence on Koolhaas’s architecture is only now
coming into focus.
 “How can an underground house enable
the penetration of daylight and views that are
crucial for living?” Koolhaas asks.
AR C H DI G E S T. CO M 83
“The city architect hailed it as the most
significant building in Zell am See
since the church,” the client recalls.
“St. Hippolyt was built in 1215.”
 A LACQUERED CURTAIN WITH
AN “OCULUS” PASSAGE BY PETRA
BLAISSE DIVIDES THE PRIMARY
BEDROOM FROM THE STAIRCASE
PASSAGE. OPPOSITE LOOKING BACK
THROUGH THE CURTAIN’S OPENING.
A 1950s LACQUERED METAL AND BRASS LIGHT
FIXTURE FROM SWEDEN HANGS IN THE ART-
AND ANTIQUE-FILLED LIVING ROOM. THE 1970s
EMILIO GUARNACCI ARMCHAIRS ARE FROM
LAPLACE ANTIQUES. CURTAINS OF A HOLLAND
& SHERRY WOOL; LINEN RUG BY S2G DESIGN.
 FRENCH EVOLUTION
Years in the making, the longtime Paris flat of AD100 duo Luis Laplace
and Christophe Comoy finally gets the makeover it deserves
TEXT BY ALICE CAVANAGH PHOTOGRAPHY BY AMBROISE TÉZENAS
 IN THE LIVING ROOM, A RASHID JOHNSON TRIPTYCH IS DISPLAYED ABOVE A LAPLACE DESIGN SOFA. OAK TABLE (AT LEFT) BY

ARTISTS RIGHTS SOCIETY (ARS), NY. © JOSEPHSOHN ESTATE AND KESSELHAUS JOSEPHSOHN ST.GALLEN. © RASHID JOHNSON.
JEAN-MICHEL FRANK; LAVASTONE COCKTAIL TABLE (CENTER) BY LAPLACE; ALUMINUM CURIAL CHAIR BY RICK OWENS.

ART: © PHYLLIDA BARLOW. BELA SILVA/SPAZIO NOBILE. © 2023 THE EASTON FOUNDATION / LICENSED BY VAGA AT

a
88
s the in-demand architect for
art institutions such as Hauser
& Wirth and an ever-constant
slew of private commissions
stretching from Majorca to
Mexico, it took Luis Laplace
and his partner in life and
business, Christophe Comoy,
15 years to find the time to
fully renovate their own home,
in Paris’s 9th arrondissement.
The couple moved into the
2,000-square-foot apartment on the elegant Place Saint-Georges
in 2007 and worked from here until they expanded their
offices to the twin building next door, where their AD100 firm
is now spread over three floors.
Constructed in the Haussmannian style, much of their two-
bedroom home retains its original flamboyance with a series
of bombastic reception rooms decked out with herringbone
floors, wainscoting, and soaring 11-foot ceilings with elaborate
moldings. It’s in step with its neighbors on the historic square:
Next door is an ornate neo-Gothic meets neo-Renaissance

A R C H D I G E S T.COM
mansion that was once home to the infamous French cour-
tesan known as La Païva, and opposite is a grand hôtel
particulier rebuilt in 1873 for the first president of the Third
Republic, Adolphe Thiers, and now housing the Dosne-Thiers
Foundation, a resource library on French history.
“The apartment has a lot of personality. The reception
rooms are very ornamental, almost vulgar—but it would have
been a shame to impose ourselves or create something con-
temporary,” Laplace says of the existing trappings, which the
couple have juxtaposed in their typical elegant and engaging
style, mixing antiques and contemporary furniture by Laplace
with artworks by friends like Cindy Sherman, Keith Tyson,
Martin Creed, and Rashid Johnson.
To create more intimacy and highlight the four distinct
living and entertaining areas that flow off the hallway, Laplace
and Comoy chose to forgo the original enfilade layout between
the rooms and block the doors. The largest of these rooms now
serves as a welcoming salon that highlights their collector
sensibility with the kind of antique gems—the type collectors
wait decades to snap up—their clients seek them out for.
(Sourcing such special antiques for clients is a growing aspect
of their interior business).
A DAUM VASE AND A
PLASTER EAGLE BY
MARCEL LÉMAR, BOTH
FROM THE 1930s, STAND
ON THE MANTEL. THE
1920s COBRA ANDIRONS
ARE BY EDGAR BRANDT.
A TALL VASE BY GEORGES
JOUVE FROM THE 1940s
STANDS ON THE FLOOR
UNDER A PAINTING
BY PHYLLIDA BARLOW.
 A NEON WORK BY MARTIN CREED GLOWS
IN THE DINING ROOM. THE WALNUT AND
MARBLE TABLE AND PENDANT LIGHT ARE
BY LAPLACE DESIGN. THE 1960s CHAIRS
ARE CUSHIONED IN A PIERRE FREY VELVET.
 ABOVE LUIS LAPLACE AND
CHRISTOPHE COMOY. RIGHT IN
THE STUDY, A 1950s JEAN
TOURET CARVED OAK SIDEBOARD
HOLDS VARIOUS OBJETS D’ART.
1955 MATHIEU MATÉGOT FLOOR
LAMP; 1967 VICO MAGISTRETTI
PENTACLINIO HANGING LIGHT.

“We sit on the floor a lot, so we have books,

ART: MARTIN CREED © 202) ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / DACS, LONDON.

ceramics, and sculptures on the floor,”

says Laplace of the casual approach to display.
“IN THIS ROOM, we wanted to display important things, but
we wanted to install them casually—not to make not too
much noise about them,” says Comoy, citing the oak Aragon
cocktail table by legendary designer Jean-Michel Frank
that they chose to position perpendicular to the sofa Laplace
designed, rather than front and center. On the opposite side
of the sofa sits a Jacques Adnet column light from 1934, which
once had pride of place in Andy Warhol’s Left Bank Paris
home. Above, a graphic tricolor triptych by Johnson, Anxious
Painting Triptych “Dreams Come True,” is superimposed on
the wall moldings and across the blocked doorways. “We did
something more contemporary and radical by not following
the space within the moldings,” Laplace says of the off-kilter
approach to hanging art.
The living room, too, shows the couple’s devotion to early-
and mid-20th-century ceramics, which are on full display at
varying heights. The deep blue-green hues of an enormous
1960s ceramic vessel by Cécile Dein on a table near the window
echo those of the earthenware pitcher by Les 2 Potiers on
the fireplace and the Bela Silva hexagonal ceramic table on the
floor. “We sit on the floor a lot, so we have books, ceramics,
and sculptures on the floor,” says Laplace. “Having objects
around is like being surrounded by friends, and you always get
a different point of view and observe things closely.”
On one side of the salon is the cozy TV room painted in a
cocooning deep gray-blue, and on the other, a well-appointed
study. Next to the study is the dining room, which is cast in
moody, nighttime shades—deep chocolate brown walls meet

AR C H DI G E S T. CO M 91

the gilded ceiling in an effect that evokes a decadent block of
chocolate. Intimate dinner parties happen here under the glow
of a flashing pink Martin Creed neon and around the Laplace-
designed red-marble-topped dining table. Lunch is often taken
in the work studio in the adjacent building, where there is
another fully equipped kitchen and a spacious dining area that
opens onto a sunlit garden.
WITH THAT SECOND AREA FOR ENTERTAINING, the couple
made peace with a small galley kitchen at home and decided
to allocate more space to their private quarters, where they
have a bedroom and en suite overlooking the back courtyard.
This is where they carried out the most significant work:
removing a fireplace and stripping back cornices and orna-
ments in favor of pure finishings. “It was important for it to
feel laid-back, so we made these spaces more generous and
welcoming,” Laplace says. He designed a bed and headboard
92 AR C H D I GES T.COM
“Having
objects
around is like
being
surrounded
by friends.”
THREE PIECES BY
PHYLLIDA BARLOW
HANG IN THE BEDROOM.
LAPLACE DESIGN BED;
1960s VICO MAGISTRETTI
CEILING LIGHT; 1950s
FULVIO BIANCONI FLOOR
LAMP FOR VENINI.
to sit in the center of the room and concealed the wall-to-wall
closet with deep green curtains instead of installing doors.
Colorful glazed lamps and a series of works by the British
artist Phyllida Barlow, whose drawings have an architectural
quality, punctuate the space.
Next door there is a modern 130-square-foot bath. Even
here, with a blank canvas, the couple married the best of today
with treasures of yesterday. Pieces include a bespoke patch-
work marble-clad shower designed by Laplace in “Mondrian
style” and another of their rare acquisitions: a century-old,
gilded-wood openwork suspension light by Armand-Albert
ART: © PHYLLIDA BARLOW.
Rateau that was once owned by couturier Jeanne Lanvin and
later by designer Karl Lagerfeld. This room, specifically the
large freestanding tub, is Comoy’s happy place. “In the begin-
ning, Luis thought the bathroom was a bit exaggerated because
the kitchen is small, but I love it, ” says Comoy, adding: “We
don’t always agree, but we agree on how to get there.”
 THE 1925 ARMAND-ALBERT
RATEAU GILTWOOD PENDANT
LIGHT IN THE BATH WAS
ORIGINALLY CREATED FOR
JEANNE LANVIN AND WAS LATER
OWNED BY KARL LAGERFELD.
TUB BY THE WATER MONOPOLY
WITH VOLEVATCH FITTINGS.
THE LIVING ROOM FEATURES AN
INDIA CHAIR, SOHO SOFA, AND
LONDON FLOOR PLAN RUG ALL

H
BY ARSHAM LIVING, AVAILABLE
THROUGH FRIEDMAN BENDA.
THE SPIRAL PAINTING IS BY
JOSH SPERLING. OTHER PIECES
INCLUDE A CRYSTALLIZED
BULBASAUR FIGURE BY ARSHAM
ATOP A SNARKITECTURE x
GUFRAM BENCH AND A KAWS
x CAMPANA CHAIR.
OT HOUSE Artist Daniel Arsham revs up the decor—
and scores impressive parking—at a
decommissioned firehouse in Lower Manhattan
TEXT BY GAY GASSMANN PHOTOGRAPHY BY JASON SCHMIDT STYLED BY COLIN KING
ART: JOSH SPERLING/PERROTIN. DANIEL ARSHAM.
 LEFT A MINT GREEN 1991
PORSCHE 964 CARRERA 2 IS
PARKED IN THE HOME STUDIO/
GARAGE. OPPOSITE DANIEL
ARSHAM STANDS NEXT TO
THE FIREHOUSE’S ORIGINAL
CAST-IRON SPIRAL STAIRCASE,
WHICH IS NOW PAINTED IN
ARSHAM GREEN. ARSHAM
PIECES INCLUDE FALLING CLOCK
ABOVE A SNARKITECTURE x
GUFRAM BROKEN MIRROR AND
R2-D2 CRYSTALLIZED RELIC
STATUE, AND THE TWO WORKS
ON THE WALL.

w
96
hen contemporary,
multidisciplinary
artist Daniel Arsham
was looking for a new
home in Manhattan,
he had one “big
desire”: There had to
be a garage. Arsham
drives back and forth
to his Long Island
City studio every day so, he stresses, “the car is really important
to me. I’m very particular, and the garage needs to be clean
and protected.” Quite a tall order for NYC housing no matter
the borough, but during the summer of 2022 it all clicked.

AR C H D I GES T.COM
A friend called Arsham to tell him about a place in SoHo—
a former firehouse—that he had to go see right away. There
was already an offer on it, but he just might be able to snag it.
Intrigued, the artist ran over and jumped at the opportunity.
Nothing else had spoken to him like this. “You know it when
you see it,” he declares. “I imagined the firehouse from
Ghostbusters. It’s so unique, and I’ve been around New York
long enough to know that this was the spot for me.”
The prolific artist is perhaps best known for creating works
that evoke a poetic conversation between past and future.
Embracing sculpture, painting, and drawing, Arsham utilizes
materials ranging from plaster to rock crystal and bronze and
takes inspiration from a broad spectrum of sources, including
sports, cartoons, automobiles, and classical sculpture.
ART: DANIEL ARSHAM.
“I imagined the firehouse
from Ghostbusters,”
Arsham recalls.

ART: DANIEL ARSHAM.

LEFT AN AKARI LANTERN BY
ISAMU NOGUCHI HANGS OVER
THE KITCHEN ISLAND. THE
ERODED ZEUS BUST AND
BARSTOOLS ARE BY ARSHAM,
AND A FAYE TOOGOOD ROLY
POLY CHAIR STANDS IN THE BACK
CORNER. ABOVE THE EMERALD
GREEN QUARTZITE TABLE IS
SET WITH ARSHAM-DESIGNED
PLATES PRODUCED BY BKLYN
CLAY. NAKAGAWA MOKKOUGEI
WOODEN CUPS, KIMIKO SATO
GLASS CUPS, KANAAMI-TSUJI
SAUCERS, AND SHOKURAKU
ASANO PLACEMATS.

(A recent highlight, his monumental sculpture Bronze Eroded

Venus of Arles now anchors the staircase in the newly reno-
vated Tiffany & Co. flagship on Fifth Avenue, which opened
earlier this year.)

BUILT IN THE LATE 1800S, the building served many purposes

over the following century as the neighborhood around it
changed, eventually becoming a private residence. Its historic
bones and playful layout were a perfect fit for Arsham. The
key feature however, as he is quick to point out, is that “it still
had the curb cut, which the city doesn’t really like as it takes
up parking space.” This detail enables him to pull his beloved
mint green Porsche 964 Carrera 2 right into the ground level.
After resanding the floors, scrubbing the beams and mill-
work, updating the heating and cooling system, and redoing
the kitchen and bath, Arsham set to decorating and furnishing
the space to perfectly suit himself.
The house is now truly an expression of Arsham’s singular
vision. In addition to being where he parks, the ground level
can also be a home studio when needed. Here, pieces from his
collection are displayed on walls and shelves from floor to
ceiling. In a back corner, the original cast-iron spiral staircase
rises up through the four floors. After layers of red paint were
sandblasted off, it is now painted a hue called Arsham Green.
Up a flight is the kitchen and living area, where the artist
loves to host dinners, often inviting renowned chefs to take
over. Arsham serves guests using his large collection of table-
ware from Japan. Much of the furniture here and in the other
rooms comes from the Arsham Living collection he started a
few years ago and sells through Friedman Benda gallery.
On the next floor, a custom wallpaper inspired by an instal-
lation Arsham created in Paris envelops the primary bedroom.
Even the bathroom sink—sculpted to look like rocks—is his
design, made in collaboration with Kohler.

AR C H DI G E S T. CO M 99
ABOVE IN THE BEDROOM, ALL BY ARSHAM LIVING
A CUSTOM DESIGN MADE AND A PIERRE PAULIN CHAIR.
BY CALICO WALLPAPER LEFT THE PRIMARY BATH
FORMS THE BACKDROP DISPLAYS A 3D-PRINTED
TO A SITTING AREA THAT ROCK SINK BY ARSHAM FOR
INCLUDES A MIRROR, KOHLER AND HIS ERODED
FLOOR LAMP, AND SOFA VENUS DE MILO SCULPTURE.

MAKING THE MOST OF THE SQUARE FOOTAGE, Arsham

transformed the basement into a huge walk-in closet and the
roof into a garden for entertaining. And throughout, his own
artwork is displayed alongside pieces by friends including
KAWS and Josh Sperling.
It has been a busy year for Arsham. To celebrate 20 years
of collaborating with Parisian gallerist Emmanuel Perrotin, he
created two shows—one in Paris and the other in New York—
which he considered one giant exhibition. He also created
a limited-edition sculptural bottle case for Moët & Chandon’s
Collection Impériale, which was launched during Paris
Fashion Week in October. And the list of what’s next—includ-
ing books, more gallery shows, a first-time exhibition of his
photography, and more collaborations—seems endless. But
ART: DANIEL ARSHAM.

amid all of this creative activity, and what seems like nonstop
travel, one thing hasn’t gotten old: this new place.
“Driving back and opening the door—every time, every
day—is a moment,” he says, sounding like a kid on Christmas.
“I can’t believe I get to live here!”
 “I’ve been around
New York long enough
to know that this
was the spot for me.”

ARSHAM’S LIMITED-EDITION BIRCH, RESIN, AND BOUCLÉ UPHOLSTERY HATROCK BED

INCLUDES BUILT-IN NIGHTSTANDS AND READING LIGHTS.
RIDING
HIGH
The Archers help a New York transplant
fulfill his California fantasy in a
quintessentially LA compound floating
above the city streets
TEXT BY MAYER RUS PHOTOGRAPHY BY SAM FROST STYLED BY LISA ROWE

THE LIVING ROOM IS OUTFITTED

WITH A MATTEO THUN SOFA, A FRANCO
ALBINI LOUNGE CHAIR, THONET
ARMCHAIRS, A PAOLO PORTOGHESI
SCREEN, A GERRIT RIETVELD CHAIR, A
GIANFRANCO FRATTINI TABLE, AND A
GEMINI COCKTAIL TABLE AND BAR
CABINET BY THE ARCHERS. THE WALL
SCULPTURE IS BY AL TAYLOR.
 ABOVE FURNISHED WITH A CLASSIC EAMES LOUNGE AND A VICO MAGISTRETTI COCKTAIL TABLE, THE DEN
LOOKS OUT OVER PIERRE KOENIG’S ICONIC STAHL HOUSE. OPPOSITE JONAH DISEND, PERCHED IN AN ALEPPO PINE.
WILLY GUHL CHAIRS; JANE YANG-D’HAENE CERAMIC STOOL FROM THE FUTURE PERFECT.
a polychrome stained-glass
folding screen designed by the
late visionary Italian architect
and theorist Paolo Portoghesi
inhabits a corner of the living
room in Jonah Disend’s magical
Hollywood Hills aerie. “I’ve
ART: MARTIN MCMURRAY/VIELMETTER LOS ANGELES
been trying to place that screen
for 15 years. Jonah is the first
person I thought would really
get it,” recalls Richard Petit
of the AD100 design firm The
Archers. “Jonah’s home became a repository for objects and
ideas we’ve had for decades but never had the right client,”
the designer adds. “Let’s just say he’s open to unusual things.”
Great houses—the ones that fire the imagination of true
aesthetes and aficionados—invariably arise from the union of
an ambitious, artful designer and an equally inspired, invested
client. For every John Fowler, there’s a Pauline de Rothschild;
for every Eckart Muthesius, a Maharaja of Indore. Admittedly,
the comparison of these landmark collaborations to Disend’s
idiosyncratic LA Shangri-la might seem a tad grandiose, but the
essential truth remains the same: It takes two to tango.
“I’d followed The Archers for a long time, and I was impressed
not just by their aesthetic decisions but by the intellectual
foundations of their work,” says Disend, a former New York
branding executive who migrated west to pursue his career
as a film and television producer. “They were open to theoreti-
cal discussions. They understood architectural context. Our
earliest conversations focused on how I actually live, and how
to make sense of the property,” he continues. “We talked about
how we could avoid the obvious.”
The site for these ruminations is a cluster of three buildings
that descend a hillside high above the LA Basin, with the
city spread out like a kaleidoscopic carpet below: a detached
studio just off the street; a small modernist post-and-beam
house from 1950; and, at the bottom of the lot, an eccentric
architectural folly designed by architect Frederick Fisher for
ARCH DI G E S T. CO M 105
 screenwriter Kim Jorgensen in 1980. “LA had always con-
founded me, but the first time I walked through the gate and
took in the view and the landscape, I thought, ‘This is doing
LA.’ The property felt modest and spectacular at the same
time,” Disend recalls.

PETIT AND HIS TEAM completely reimagined the 1,400-square-

foot 1950 house that serves as the primary residence. The gut
renovation entailed the banishment of the original beamed
ceiling in favor of a solid overhead plane, and the reconfigura-
tion of the main social zone to a create an open, lofty sweep for
the living room, kitchen, and dining area. The designers also
engineered a new ridge-beam skylight along the spine of the
house and paired it with a canted brasserie mirror that ushers
light and visual activity into the core. “We were inspired by
Ico Parisi’s own home on Lake Como. Even though there’s very
little left of the original architecture, we tried to make it feel
like a forgotten midcentury architectural gem,” Petit explains.
Along with the Portoghesi screen, the decorative assem-
blage in the living room includes pieces by Matteo Thun,
Gerrit Rietveld, Gianfranco Frattini, and Franco Albini, all set
on a custom wool shag rug that apes the look of a dappled
horse hide. The dining table, set beneath the brasserie mirror,
consists of a marble slab cantilevered, Le Corbusier–style,

106 A R C H D IG E S T.COM
 ABOVE ICO PARISI CHAIRS PULL UP TO A CUSTOM MARBLE TABLE BENEATH AN ANTONI AROLA LIGHT
FOR SANTA & COLE IN THE DINING AREA. THE PHOTOGRAPH IS BY STAN DOUGLAS. OPPOSITE STANDARD POODLES FLOYD
(ABOVE) AND HANSEL STRIKE A POSE ON A SUPERSTUDIO DESK. STONE FLOORS THROUGHOUT ARE CEPPO DI GRÉ.
 LEFT AN ICO AND LUISA ARCHERS’ CROCHETED LINEN
PARISI VALET STANDS IN THE BEDSPREAD IS BASED ON
NEW CORK-LINED POWDER A 19TH-CENTURY PATTERN.
ROOM. ABOVE A CUSTOM BELOW VIEW FROM THE
BED HAS SCONCES BY LUIGI LOWER LEVEL OF THE MAIN
CACCIA DOMINIONI, THE HOUSE TO FREDERICK
WALLS ARE COVERED IN FISHER’S RESTORED 1980
KVADRAT WOOL, AND THE JORGENSEN HOUSE.

“Jonah’s home became

a repository for
objects and ideas we’ve
had for decades but
never had the right
client,” says The Archers
Richard Petit.

108 A R C H D IGES T.COM

 BELOW CHAIRS BY MARCEL WANDERS FOR MOOOI SURROUND A DIRK VAN DER KOOIJ TABLE OF RECYCLED PLASTIC
BENEATH A VICO MAGISTRETTI LAMP IN THE DINING AREA OF THE JORGENSEN HOUSE. PAINTINGS BY BRIAN CALVIN (LEFT)
AND CARY KWOK (ABOVE THE BIEDERMEIER COMMODE).
ART: © BRIAN CALVIN/ANTON KERN GALLERY, NEW YORK
THE JORGENSEN HOUSE’S
NEW KITCHEN WAS DESIGNED
TO BLEND SEAMLESSLY
WITH FISHER’S ARCHITECTURE.
MAARTEN BAAS STOOL
THROUGH CARPENTERS
WORKSHOP GALLERY.
on a single column mounted to the floor. In the primary
bedroom, the walls are covered in purple wool, and the custom
headboard has integrated sconces by the Italian architect and
furniture designer Luigi Caccia Dominioni, an Archers favorite.
“The Caccia lamps are another thing that most clients don’t
respond to,” Petit says, again stressing his client’s adventurous,
sophisticated tastes. “Jonah didn’t recoil at the idea of putting
a floral fabric on the Albini chair in the living room.”
Before work began on the renovation of Fisher’s Jorgensen
house (now a guesthouse and hangout spot), Petit and Disend
visited the LA architect in his landmark office to align their
approach with Fisher’s original vision of a home built on a ruin,
buffeted by the forces of fire and earthquakes, a meditation
on the ephemeral nature of life in the hills. “We ran the whole
program by Fred, who was incredibly supportive,” Disend says
of his and Petit’s plans for a painstakingly faithful restoration
that nevertheless allowed room for subtle updates (notably a
new powder room and kitchen) as well as a decorative layer
uniquely attuned to the homeowner’s quietly kooky spirit.
That polyglot finishing gloss includes a whimsical Elizabeth
Garouste swing hanging from the rafters, a claw-foot table
by T.H. Robsjohn-Gibbings, a Biedermeier commode, a Marco
Zanini throne chair of sparkly fiberglass, a custom broken-
column bed, and a massive kilim depicting a kind of queer fan-
tasia in Elysium by artist Silvi Naçi. Set against the backdrop of
Fisher’s rugged masonry blocks and corrugated metal columns,
Disend’s feast of decorative delights will surely quicken the
hearts of design junkies addicted to the weird and wonderful.
 ABOVE THE LIVING ROOM FEATURES AN ELIZABETH GAROUSTE SWING FROM RALPH PUCCI, A GAROUSTE & BONETTI
COCKTAIL TABLE FROM DAVID GILL GALLERY, A LUIGI CACCIA DOMINIONI ARMCHAIR, A T.H. ROBSJOHN-GIBBINGS SIDE TABLE,
PILLOWS BY CHARLAP HYMAN & HERRERO, AND CARPET BY ARTIST SILVI NAÇI.

“Our idea was ‘gay Pompeii,’ ” the producer notes wryly.
“You can feel the vision when you’re in the space so there’s
no need to explain it.”
AS ONE MIGHT EXPECT, DISEND’S ART COLLECTION—which
includes works by Stan Douglas, Al Taylor, Lisa Yuskavage,
Brian Calvin, Cary Kwok, and Jules de Balincourt—is as
meticulously considered and personal as the furnishings.
“I’m not a collector in a traditional way. I tend to be interested
in the artist first, their own story and motivation, and then
the artwork,” the homeowner states.
Both Disend and Petit credit landscape designer Eric
Nagelmann, renowned for his work at Montecito’s Lotusland
and other high-profile projects, for the botanical connective
tissue that unites the home’s disparate structures, terraces,
and pool into a proper compound. “Eric played a huge part in
shaping my life here. I have an excuse to use every part of the
property, and it’s the same for my friends—the smokers find
their spot, the drinkers find their spot, everything is open for
exploration,” Disend says. “There’s a mix of things that don’t
necessarily make sense, but it all works. This place is nobody’s
taste, yet everyone loves it.”

AR C H DI G E S T. CO M 111
ABOVE THE JORGENSEN HOUSE
BEDROOM IS CENTERED ON A
CUSTOM BED BY THE ARCHERS THAT
NODS TO FISHER’S CONCEIT OF A
HOUSE SET ON A RUIN. LEFT THE
ORIGINAL BATH WAS DISASSEMBLED
AND METICULOUSLY RESTORED.

“Los Angeles had

always confounded
me,” Jonah Disend
ART: MATT MURPHY. © KAREL FUNK/303 GALLERY, NEW YORK.

recalls. “But the first

time I walked
through the gate and
took in the view,
I thought, ‘This is
doing LA.’ ”
 THE MULTICOLORED
FAÇADE OF FISHER’S
1980 JORGENSEN
HOUSE, OVERLOOKING
THE L.A. BASIN.
With help from designer
Jean-Marc Hervier,
legendary fashion editor
Carine Roitfeld brings
her distinctive style—
and favorite color—
to her new apartment
in the heart of Paris
TEXT BY DANA THOMAS
PHOTOGRAPHY BY AMBROISE TÉZENAS

black
RADOSTIN BEKIRSKI
 IN THE FOYER, A 1960s
ITALIAN LAMP SITS ATOP A
VINTAGE BLACK LACQUER
CABINET BY LELLA AND
MASSIMO VIGNELLI. STOOL BY
JEAN-GUILLAUME MATHIAUT
FOR CARINE ROITFELD FROM
JEAN-MARC HERVIER;
PHOTOGRAPH AND DRAWINGS
BY KARL LAGERFELD.
OPPOSITE ROITFELD NEXT
TO A PORTRAIT BY
RADOSTIN BEKIRSKI.

magic
W
116
elcome to my garçonnière!”
says iconic French magazine editor and stylist Carine
Roitfeld with a laugh as she opens the door of her cozy new
Paris bachelorette pad on a late August evening. Roitfeld
is standing in a black T-shirt and her brother’s 1960s Levi’s,
cinched up. “I never wear jeans,” she says, apologetically.
“I’m still on vacation.”

AR C H D IGES T.COM
What she does wear is black. And, as a quick sweep of
the 1,000-square-foot one-bedroom flat proves, she lives in
it, too. “My home is like a black box,” she concedes, as she
settles into her vintage black Willy Rizzo sectional sofa, next
to her friend and partner-in-design, the decorator Jean-Marc
Hervier, and stubs out her cigarette in a black leather push-
down ashtray.
Roitfeld bought the place a year and a half ago, when she
decided it was time to start anew. She edited down what she
would live with—only keeping art, photographs, and fashion
she absolutely loved. Then she called Hervier, who over the
years has worked for Thierry Mugler, helped produce George
Michael’s “Too Funky” music video and the French television
program Paris Modes, and now has two galleries (one at the
Marché Paul Bert and another nearby, also in Saint-Ouen), to
help her “Roitfeld” the boring midcentury box.
 For the decor,
Roitfeld wanted
a ’70s vibe,
inspired by
Pierre Paulin’s
mod redo of
the Élysée
Palace in 1972.

LEFT IN THE LIVING ROOM,

SEATING BY WILLY RIZZO
WRAPS AROUND A COCKTAIL
TABLE BY PAUL MICHEL.
SEGUSO SCONCES FLANK A
PHOTOGRAPH STYLED BY
ROITFELD OVER A NAPOLÉON
III FIREPLACE. RIGHT,
ABOVE ALAÏA STOOLS AND
A CATTELAN ITALIA TABLE
IN THE LIVING ROOM. MIRROR
BY EDGAR BRANDT; BUFFET
BY GUIDO FALESCHINI.
RIGHT, BELOW LOOKING
INTO THE KITCHEN.

While Roitfeld is a leading voice in fashion—she served as

editor in chief of Vogue Paris from 2001 to 2011, now produces
the biannual magazine, CR Fashion Book, has recently put out
Fantasies: The Carine Roitfeld Fashion Book (Rizzoli), which
is a compilation of 10 years of CR archives, and has created
several perfumes, including the 7 Lovers genderless collection,
Carine, and her latest, Forgive Me—she knows the interiors
ART: © MARIO TESTINO. STEVEN KLEIN.

world well. Her mother was an antiques dealer who “would go

to flea markets at 5 a.m. with a flashlight, coffee, and croissants
in the dark,” she says. Through this experience, Roitfeld
developed an eye for decor. And she’s now moving more firmly
into the space with the Carine Roitfeld Home Collection of
candles, matches, and home fragrances, all in black, naturally.
Her interiors expertise also made for a collegial collabora-
tion with Hervier. “We knocked down everything,” she says,
and configured the empty rectangle into a large living/dining

room overlooking one of Paris’s most famous luxury shopping
streets; a “little kitchen,” as she describes it (“She’s more Coco
Chanel than Paul Bocuse,” quips Hervier); a bath and WC; and
a bedroom in the back that is supremely quiet. “It’s like an
American caravan,” she says. “Exactly what I need, and I don’t
need much.”
FOR THE DECOR, Roitfeld wanted a ’70s vibe, inspired by
Pierre Paulin’s mod redo of the Élysée Palace for President
Georges Pompidou and his wife, Claude, in 1972. To evoke
that louche cool, Roitfeld and Hervier selected key pieces by
Rizzo, a celebrated photojournalist who, in the 1970s, took a
break to try his hand at furniture design. “J’adore Willy Rizzo,” the Ballets Russes on the table.
she says.
They filled in with 21st-century creations, including
pieces by her friend, the Paris-based American designer Rick
Owens, and tables from Jean-Guillaume Mathiaut for Carine
Roitfeld, a collection of oak furniture she conceived with the
acclaimed French sculptor and which is distributed by Hervier. on at his namesake brand for three years after his death in 2019.
“Brutalism, with sophistication,” Hervier says.
“It gives the apartment a bit of a rock feel,” Roitfeld says.
For her cave-like bedroom, with walls in black Japanese
paper—which Hervier bought in its natural state and painted
a very specific black “because we couldn’t find paper in the
right black,” he explains—she has a custom-made black leather
118 AR C H D IG E S T.COM
CLOCKWISE FROM
LEFT ROITFELD’S LATEST
PERFUME, FORGIVE
ME; A DIFFUSER FROM
ROITFELD’S NEW HOME
FRAGRANCE COLLECTION;
FANTASIES: CARINE
ROITFELD FASHION BOOK
(RIZZOLI). FAR LEFT A
COAT AND SHOES BY
TOM FORD IN THE
WALK-IN CLOSET. 1940s
bedcover. “I like black because it’s easy—everything goes
well with it, and you see the details,” she explains. “It’s perfect
for my taste.”
Not that perfection means impersonal. All the decorative
touches, be they large-format photography or bibelots, are
cherished items that recall important people or moments in
her life, like a scrapbook. Her father’s family was Russian,
“so there are bits of Russia here and there,” such as her grand-
mother’s icons from Odesa on the shelves, and a book about
On one wall is a Polaroid of Farrah Fawcett by Andy Warhol
and a Richard Avedon photo of Penelope Tree, both gifts from
PRODUCTS COURTESY OF CARINE ROITFELD
Tom Ford; Roitfeld and Ford collaborated for 27 years. On
another, a sketch of her by Karl Lagerfeld—she worked with
him for a decade at Chanel and Karl Lagerfeld, and stayed
In the corner, in front of a wall of mirrors, is her ballet barre—
she practiced classical dance when she was young. There’s also
a mirror—black, of course—set in the decorative black chimney.
“The reflections in it at night are very beautiful,” she says.
She sits back, lights up another smoke, and takes it all in.
“Less things, easier is the life.”
 “I like black because
it’s easy—everything
goes well with it,
and you see the details,”
Roitfeld explains.

THE BLACK LEATHER–CLAD

BED AND PILLOWS WERE
MADE TO MEASURE BY
HERVIER. 1990s BRONZE
LEAF SCONCE BY MATHIAS
FOR FONDICA; 1950s
CHINESE TRIPTYCH PAINTING.
 A FROSTED-GLASS SKYLIGHT
ILLUMINATES THE GALLERY-
LIKE GREAT ROOM. PIECES
INCLUDE ARTWORKS BY
CHARLES GAINES, ALBERT
OEHLEN, AND PETER
BRADLEY ON THE WALLS,
AND AN ETIENNE CHAMBAUD
BRONZE SCULPTURE ON
A ZAHA HADID COCKTAIL
TABLE. BRONZE TABLE AT
FRONT LEFT BY MATTIA
BONETTI AND ELIZABETH
GAROUSTE; RUG BY BONETTI.
OPPOSITE HOMEOWNER
YANA PEEL STANDS NEXT TO
A PAIR OF BESPOKE BRONZE
DOORS CRAFTED BY MICHELE
OKA DONER. THE PAINTING
IS BY FAITH RINGGOLD.
ART: © PETER BRADLEY/KARMA. ALBERT OEHLEN © 2023 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / DACS, LONDON. © CHARLES GAINES.
© 2023 FAITH RINGGOLD / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK, COURTESY ACA GALLERIES, NEW YORK.

EXPERT EYE
Art world insider Yana Peel enlists an expert
design team to transform a former industrial
building in NYC into a warm home for her
family—and her collection
TEXT BY GAY GASSMANN PHOTOGRAPHY BY PERNILLE LOOF STYLED BY MARTIN BOURNE

IMAGINE.
Just as the architect charged with renovating this building in
Lower Manhattan was wrapping up the final construction
drawings, the structure was landmarked. “It happened over
a weekend,” says Jean-Gabriel Neukomm, “but we pivoted.
We retooled an entire 100-page document in three weeks.
We weren’t going to lose a beat, and we still finished on time
and on budget. It was mind-boggling!”
Client Yana Peel took the complication in stride and
showed total trust in her team, which also included AD100
designer Francis Sultana, a longtime friend. Equanimity in
the face of shifting priorities seems to come naturally to her.
As the global head of arts and culture at Chanel, Peel is com-
mitted to amplifying platforms for talent, whatever the form,
wherever she finds it. Before taking on her current role, she
122 A R C H D IGES T.COM
LEFT A BRONZE PUMPKIN
BY YAYOI KUSAMA STANDS
IN THE GREAT ROOM.
OPPOSITE IN THE LIBRARY,
AN ARTWORK BY MATT
CONNORS HANGS NEXT
TO SHELVES DISPLAYING
PAINTINGS BY ETEL ADNAN
(ABOVE) AND STANLEY
WHITNEY. OSVALDO
BORSANI CHAIR; HERMÈS
SOFA; DIURNE RUG. WALLS
IN GREEN MARMORINO
BY ATELIER PREMIERE.
© MATT CONNORS/HERALD ST, LONDON; AND THE MODERN INSTITUTE, GLASGOW. © STANLEY WHITNEY.
served as CEO of The Serpentine Galleries in London and
was a cofounder of Outset Contemporary Art Fund, which is
dedicated to pioneering new philanthropic initiatives in
support of the arts. She is also a member of the international
ART: © YAYOI KUSAMA/DAVID ZWIRNER, OTA FINE ARTS, AND VICTORIA MIRO.
councils of London’s Tate galleries, and the Metropolitan
Museum of Art and American Ballet Theatre in New York
City, among many other accomplishments.
Born in St. Petersburg, Russia, and educated at Montreal’s
McGill University and the London School of Economics, Peel is
a true citizen of the world. She stayed on in the UK, then spent
seven years in Hong Kong, eventually returning to London,
where she still maintains a residence. But frequent long-term
stays in the US over the years hatched a long-standing desire
to find a place where she and her family could hang their hats
A SPECIALLY COMMISSIONED JORGE PARDO INSTALLATION, INCLUDING
CHAIRS AND LIGHTING, DEFINES THE KIDS’ STUDY.
 JORGE PARDO PENDANT LIGHTS HANG ABOVE THE VERDE MARINACE GRANITE KITCHEN ISLAND. PAINTING AT LEFT BY
NICOLE EISENMAN. IN THE DINING ROOM BEYOND, OSVALDO BORSANI CHAIRS SURROUND A JORGE ZALSZUPIN TABLE.
in New York City. When they finally moved in last year after
a nearly three-year renovation process, that mission was
finally accomplished.
ART: © NICOLE EISENMAN. JORGE PARDO/PETZEL, NEW YORK.
Peel wanted something with a downtown vibe within
walking distance of the Whitney and the New Museum. Good
coffee and access to athletic outlets was also important. The
family of four loves cycling and running along the West Side
Highway, and gallery hopping in Chelsea. For this space, the
brief was to create something urban, sexy, arty, and design
focused, but always keeping the entire family in mind.
While the landmarked façade was preserved, the interior
was gutted and rebuilt from scratch. There is now a terrace,
roof-deck, and an enlarged cellar. “The building used to be a
bakery,” Peel points out. Once zoned for commercial use, the
structure is a typical city lot wide but had been able to utilize
the entire depth. “This is why it is 80 feet long!” she says.
“This was part of the charm.”
WALKING INTO THE SPACE, the light, height, and size of the
ground level is indeed breathtaking and unexpected. Visitors
enter through a vestibule embellished with bronze doors
that are more than 11½ feet tall crafted by artist Michele Oka
Doner, who lives nearby. “We wanted a bit of a WOW factor
when you come off the street,” says Sultana. “They are a feat
of engineering!”
Those monumental doors open into a gallery-like space
showcasing some of the pieces in Peel’s stellar collection of art
and design. A frosted-glass skylight embedded in the ceiling—
that also serves as the terrace floor—gently filters light into
the space. “I was keen to give space to artworks,” Peel notes
of the grand scale. “But with a lack of formality.”
Sultana, who also did Peel’s London residence, helped
coordinate the deployment of so many stunning pieces to
create spaces that still feel welcoming. “Yana was my first real
client when I went out on my own,” the designer recalls.
ARCH DI G E S T. CO M 125
 “It’s a special kind of
patron who has the
strength of conviction
to commission because
it’s not the same
as seeing something
and buying it,” says
Francis Sultana.
LEFT IN THE SON’S BORSANI NIGHTSTAND;
ROOM, A CHANTAL JOFFE TOM DIXON LAMP
PAINTING RESTS ATOP A AND STOOL. BELOW A
FRANCIS SULTANA– SCULPTURAL PIECE BY
DESIGNED HEADBOARD EMANOEL ARAÚJO (LEFT)
COVERED IN A LORO PIANA AND A WORK BY HUGO
FABRIC. BEDCOVER BY McCLOUD (RIGHT) ARE
GAYLE WARWICK; OSVALDO DISPLAYED IN THE STAIRWELL.

“She and I love the journey of designing. We love to learn and

educate ourselves meeting artists and engaging in commis-
sioning things.”
Artworks are displayed throughout the four-story structure,
which is connected by a sculpturally spiraling sky-lit staircase.
To complement the grand doorway, the two enlisted Jorge
Pardo to create a piece that morphed into an architectural
installation that now anchors the children’s study on the sec-
ond floor. “He got so excited he even designed and made the
chairs,” says Sultana. “It surpassed all of our expectations.”
Allowing for such serendipity is part of the joy of working
closely with artists. “It’s a special kind of patron who has
the strength of conviction to commission because it’s not the
same as seeing something and buying it,” says the designer.
“You have to trust your instinct, your patronage. Yana has
that confidence.”
Neukomm stresses that it all works because of the client.
“She is the coolest cat and she really has a vision,” he says.
“She works and she understands making things and putting
people together. It’s beautiful.”

126 A R C H D IGES T.COM

© HUGO MCCLOUD/SEAN KELLY, NEW YORK/LOS ANGELES.
ART: © CHANTAL JOFFE/VICTORIA MIRO.

THE PRIMARY BATH IS

CLAD IN AMAZONITA
MARBLE FROM ABC STONE.
FRANCIS SULTANA’S
ANITA STOOL PULLS UP TO
THE VANITY. A GLAZED
STONEWARE PIECE BY
TOSHIKO TAKAEZU STANDS
NEXT TO A KNOLL BERTOIA
CHAIR ON THE TERRACE.
 design notes THE DETAILS THAT MAKE THE LOOK

A FORMAFANTASMA
LIGHT FIXTURE HANGS
ABOVE A FRANCIS
SULTANA NIGHTSTAND IN
THE PRIMARY BEDROOM. NYLON ROTATING
STOOL BY PHILIPPE
MALOUIN FOR SALON
94 DESIGN; PRICE
UPON REQUEST.
SALON94DESIGN.COM
BRONZE ROOT 6;
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JULIANWATTS
STUDIO.COM

EUGENE RUG BY
FRANCIS SULTANA
FOR GALERIE
DIURNE; PRICE
UPON REQUEST.
DIURNE.COM

NIC WEBB/SARAH MYERSCOUGH GALLERY. RUG: VINCENT LEROUX. BRONZE ROOT: MARIO GALLUCCI. ALL OTHERS COURTESY OF THE COMPANIES.
INTERIORS: PERNILLE LOOF. ART: © CINDY SHERMAN. LYNETTE YIADOM-BOAKYE. JULIAN WATTS/SARAH MYERSCOUGH GALLERY.
SELLIER 2-SEATER SOFA; $65,800
AS SHOWN. HERMES.COM

CHANEL
BRACELET,
CRUISE 2023/24;
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CHANEL.COM

INDOOR-OUTDOOR
SIDE CHAIR BY HARRY
BERTOIA FOR KNOLL;
$867. DWR.COM Zaha Hadid, an incredible
friend and mentor, always said,
BRUSSELS LAMP #14 BY JORGE ‘There is always 360 degrees so
PARDO FOR TASCHEN; $5,000.
ARTWAREEDITIONS.COM why look at just one.’ ” —Yana Peel

128 A R C H D IG E S T.COM P ROD U C ED BY M AD ELI NE O ’ M A L L E Y

 The brief was to create something
urban, downtown, sexy, arty, and
design focused.” —Francis Sultana
DANIELLE CONSOLE
BY FRANCIS
SULTANA; $19,730.
DAVIDGILL
GALLERY.COM

ARTWORKS IN THE DINING

ROOM INCLUDE A BRONZE
CANDELABRA BY JULIAN
WATTS, A PAINTING BY OPERA D’ARTE
LYNETTE YIADOM-BOAKYE, MARBLE; PRICE
AND A SCULPTURAL VASE UPON REQUEST.
BY NIC WEBB. ANTOLINI.COM SUSAN ARMCHAIR
BY FRANCIS
SULTANA; $20,640.
BEAT TABLE LIGHT; DAVIDGILL
$630. TOMDIXON.NET GALLERY.COM

RESIN PUMPKIN
BY YAYOI KUSAMA;
$295. STORE
.MOMA.ORG

WEB OF LIFE CEREMONIAL

DOORS WITH COSMIC
FRAME BY MICHELE OKA IN THE ENTRANCE, A
DONER FOR DONER STUDIO PHOTOGRAPH BY CINDY
AND DAVID GILL GALLERY; SHERMAN HANGS ABOVE
PRICE UPON REQUEST. A BANQUETTE BY
MICHELEOKADONER.COM SEBASTIAN BRAJKOVIC.
 grand finale
If These Walls Could Talk
When this 18th-century reception room from
Damascus first arrived at the Los Angeles
County Museum of Art, it came in 24 crates
of architectural remnants, albeit with no
photograph to guide reassembly. “It was like
putting together a jigsaw puzzle only we
didn’t know how it should look,” recalls Linda
Komaroff, LACMA’s curator of Islamic Art.
“But it told us a lot about itself. We just had
to hear what it had to say.” Richly decorated—
with painted woodwork, gesso relief, tin
and brass leaf, Arabic inscriptions, and stone
inlay—the interior would have been the
centerpiece of its Ottoman-era home, con-
structed at a time of economic prosperity.
The house survived until 1978 when the room
was disassembled, traveling to Beirut then
London before ultimately being acquired by
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LACMA in 2014. By then, time had taken its
toll. Conservators spent nearly two years
cleaning the damaged surfaces, all the while
preserving human touches like wrought-iron
nails and hooks. The museum will soon unveil
the restored marvel in its new show, “Dining
with the Sultan: The Fine Art of Feasting,”
on view from December 17 through August 4,
2024. Visitors will have the opportunity not
© MUSEUM ASSOCIATES/LACMA
only to peer into the space through open
shutters but also step inside of it, immersing
themselves within its four ornately detailed
walls. “It’s not really a period room per se,”
Komaroff reflects, comparing the experience
to standard diorama-style installations.
“People tend to think of the past in black and
white. But this is kaleidoscopic.” lacma.org
—SAM COCHRAN