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Photographer Pieter Estersohn gives an 1839 Greek Revival house a new life as his family’s Hudson Valley hideaway. By Daniel Mendelsohn


A historic London mansion gets a glorious update. By Mitchell Owens

Architecture by Stanhope Gate Architecture Interior design and architecture by Haynes-Roberts Inc.


How a French country estate became a horticultural wonderland. By Norman Vanamee Landscape design by Agence Louis Benech


Cabana founder Martina Mondadori Sartogo brings eclectic chic to her clan’s London home. By Patrick Kinmonth Interiors consultation by Livia Rebecchini


From Denmark to China, seven new buildings that break the mold. By Sam Cochran


A designer makes a Manhattan triplex the perfect pied-à-terre for his globetrotting brother. By Daphne Merkin

Architecture by Michael Haverland Architect Interiors by Eric Cohler Design (CONTINUED ON PAGE 8)

A lyrical carpet stretches across the morning room of an 1850s London residence.


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Cover: Family artworks animate Pieter Estersohn’s upstate New York studio and guest room. “Classical Jazz,” page 56. Photography by Pieter Estersohn; produced by Howard Christian.





80 Clockwise from above: MAD Architects’ Harbin Opera House, in northeastern China. One of the gardens at Château du Bois Hinoust, near Chartres, France. A bath at Pieter Estersohn’s upstate New York retreat. Thomas O’Brien’s pitcher for the Reed & Barton Heritage collection.


At decorator Pauline Pitt’s rustic Colorado getaway, relaxation meets rollicking fun. By Steven Stolman Interiors by Pauline Pitt Interiors


The best in design, culture, and style

28 SHOPPING Produced by Parker Bowie Larson

32 SHOPS: INSTANT CLASSIC RDAI Architecture builds Hermès a breathtaking outpost in Miami’s Design District. By Hannah Martin


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Zhu Jinshi’s dynamic, densely encrusted paintings pack a serious punch. By Barbara Pollack

16 EDITOR’S PAGE By Margaret Russell


122 SOURCES The designers, architects,

With luxe new hotels, renowned Art Deco architecture, and a captivating cultural scene, this port city is fast becoming Morocco’s buzziest destination. By Liza Foreman

50 ESTATES: ON THE MARKET Houses worth dreaming about. By Geoffrey Montes


After a $2.4 million refurbishment, Rome’s iconic Trevi Fountain shows off its fresh glow. By Sam Cochran



18 LETTERS and products featured this month. By Julie Daniels

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ONLINE Head to the Web for more great

homes, discoveries, and resources

RED HOT Nothing spices up a room quite like a splash of eye-catching color—and none more so than red. Don’t miss our roundup of home accessories animated by the most visceral of all hues. Right: Philippe Starck’s Our Fire crystal candleholder for Baccarat.

The National WWII Museum’s U.S. Freedom Pavilion, in New Orleans.

Andrea Anson’s Manhattan townhouse, photographed by Pieter Estersohn.



Looking for someplace special to take that special someone this Valentine’s Day? Check out our picks of the world’s top restaurants for falling in love all over again. romanticdining


In celebration of Mardi Gras, we head to New Orleans. Enjoy our insiders’ guide to the city’s latest hot spots and must-sees, from St. Roch Market (now a bustling food hall) to the newly restored Orpheum Theater.




Right: The blossombedecked dining room at London’s Clos Maggiore restaurant.


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F O L L O W U S O N I N S TA G R A M @archdigest


AD contributing photographer Pieter Estersohn, whose captivating upstate New York home is featured on page ăĄ, offers up his selection of the most unforgettable images he’s shot for the magazine over the years.



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cclaimed interiors photographer Pieter Estersohn has always known how to live well. Not long after we met, some 25 years ago, I produced a story on his treasure-trove walk-up in Manhattan’s Chelsea neighborhood, and I found it hard to fathom that

someone so young had created such a worldly home. A decade later he had moved to a Gramercy Park penthouse, and his gut renovation of the apartment resulted in such memorable spaces as a nursery—for his son, Elio—papered with an enchanting photo mural of an Indian palace. (The image was taken by Pieter, of course.) Recently Pieter, his father, Carl, where my friend’s bohemian attitude and love of classical architecture make a statement so extraordinary it had to be this month’s cover story. Everyone’s taste evolves—at least, it should—and I’ve seen Pieter’s become deeper, even scholarly, yet it remains absolutely Estersohn. I’d recognize it anywhere: walls massed with art, and furniture arranged with a photographer’s eye to emphasize, say, the graceful curve of a chair’s arm. Best of all, Staats Hall’s interiors beautifully reflect, in Clockwise from above: AD contributing photographer Pieter Estersohn with me at an event for the magazine. Staats Hall, Pieter’s Hudson Valley country house. A Louis Benech– designed garden in France. The breakfast room at Martina Mondadori Sartogo’s London home.

every detail, the close-knit family that lives in them. Family harmonies are woven throughout this issue’s features, from the colorful London townhouse that magazine editor Martina Mondadori Sartogo shares with her husband and children to the refined Manhattan triplex Eric Cohler decorated for his tech-genius brother Matt. As for the lush gardens Louis Benech designed for Leticia and Stanislas Poniatowski in France, every blossom celebrates the trio’s friendship—which, it turns out, is just slightly longer than Pieter’s and mine. And those gardens have been reshaped and gloriously expanded over the years, proof that personal style always has room to grow.

MARGARET RUSSELL, Editor in Chief Email: Instagram: @margaretrussell


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and Elio settled into Staats Hall, a Greek Revival in the Hudson Valley,


From left: The English country house of London gallerist Adrian Sassoon and his partner, Edmund Burke. The December cover.

CONNECTION POINT Thank you for the nod to my Instagram account (@t_yanai) on the December Editor’s Page! I agree with Margaret Russell’s sentiments in regard to the app—it has led me to so many wonderful places and, more important, connected me to so many wonderful people. takashi yanai Los Angeles RENEWED INTEREST After being a longtime reader of Architectural Digest, I stopped a few years ago because I got tired of the emphasis on celebrity homes. I recently began buying it on the newsstand and quickly got hooked all over again. While I might disagree with some of the homeowners when it comes to politics or decorating


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choices, I enjoy seeing how other people live. When I saw a recent letter criticizing the placement of a same-sex couple on the cover, I decided to renew my subscription—and I’ll keep it going as long as you continue to offer a true reflection of the world in which we live. margaret killough Milton, Vermont

PERFECT TIMING I received your December digital edition and print issue on the very same day! Although I still partake in the pulp version, at least now I will not be tortured by bloggers displaying every page before I get to read my magazine. So whether by plan (that is what I’m going with) or by accident, I say great job and thank you! paul kairis Waverly, Pennsylvania CONSCIENTIOUS READER I have been amused to see that you intermittently publish letters from readers bemoaning the fact that there is not more architecture in AD. Back in 1967, as a teenager contemplating a career in that field, I ordered my first subscription and was surprised to discover that it was all about interior design, not architecture (even more so then than today). Apparently, nearly 50 years later, word has still not gotten out to everyone. Now my only

problem with the magazine is a nagging concern as to whether, at a time when income inequality has become a top issue in this country, I should be subscribing to a publication that seems to celebrate conspicuous consumption by the ultrarich. However, I consider reading it a guilty pleasure, rather like chocolate or ice cream but without the calories. michael wood Buffalo, New York

HELPING HAND I recently spoke to a group of seniors at the Rhode Island School of Design about the current state of the interior design field. I relied greatly on the AD100 to prepare my presentation, which featured 22 talents from the list. Your informative captions combined with my own experiences helped to actively engage the students for two hours. And thanks for having a really wonderful website—it is indeed a valuable tool. michael savoia Providence, Rhode Island

We welcome your comments and suggestions. Letters to the editors should include the writer’s name, address, and daytime phone number and be sent by email to or by mail to Letters, Architectural Digest, 1 World Trade Center, New York, NY 10007. Letters may be edited for length, clarity, and style and may be published or otherwise reused in any medium.


AN EYE FOR ART It was such a pleasure to open the December issue to the stories that featured collections of contemporary art. Kudos for giving ample room to the details of the pieces themselves. Also, the variety of tastes presented in the pages fascinated me. I particularly enjoyed the contrast provided by artist David Salle’s compound in East Hampton, New York [“Creative Suite”]. temple shipley Dallas

T H E B E S T I N D E S I G N, C U LT U R E, A N D S T Y L E


ORDINARY MAGIC “What makes up the pictures inside your head? This is the question I’m always asking myself,” says artist Vik Muniz. Best known for assembling mundane materials into trompe l’oeil tableaux, which he then photographs, the Brazilian-born talent (shown above in his Brooklyn studio) is the subject of a retrospective opening this winter at Atlanta’s High Museum of Art. In his inventive compositions, garbage, chocolate, and powdered pigment are arranged into facsimiles of famous paintings, while scraps of old snapshots are collaged into family portraits, and pictures of castles are improbably etched onto grains of sand. New sculptures reproduce toy cars—like those Muniz collected as a child—at full size. “I have no interest in what I haven’t seen,” he says. “You have to make images that are mysterious but still communicate ideas to everybody.” February 28–May 29; —SAM COCHRAN


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ALL AGLOW As part of designer Pierre-Yves Rochon’s renovation of the Four Seasons Hotel George V, the iconic Paris property has welcomed a new Mediterranean restaurant, Le George. With Tuscan chef Marco Garfagnini at the helm, the focus is on light, modern fare inspired by the French Riviera and Northern Italy. This serenely sunny space—featuring leather-clad walls, cashmere curtains, and a carpet modeled after an archival Braquenié fabric—gets a touch of sparkle from a dazzling Baccarat chandelier and Laliquecrystal-accented cabinets. —ALYSSA BIRD

Paris’s Le George restaurant.


Antique Chic With its customary trove of historic treasures, the Winter Antiques Show once again takes over New York’s Park Avenue Armory this January for its 62nd edition, beginning with a gala preview on the 21st and running through the end of the month. Displays by 73 dealers will be paired with an exhibition from Hartford, Connecticut’s Wadsworth Atheneum Museum of Art, which will spotlight a fascinating mix of Hudson River School landscapes, German Baroque curios, early-American furniture, and more. It’s all to benefit the East Side House Settlement, a South Bronx community resource celebrating its 125th anniversary. —JULIE COE

A gilded 19thcentury Baltimore chair from Hirschl & Adler Galleries.


PRINTS CHARMING In An Anthology of Decorated Papers (Thames & Hudson, $), British Library curator P. J. M. Marks delves deep into the winsome scraps and slips that have been used to line boxes, wrap sweets, cover books, and enliven all manner of commonplace objects for centuries. Compiling delightful examples—some exquisitely hand-blocked, others richly marbled—from the library’s collection, Marks presents these everyday ephemera as overlooked works of art. —J.C. Far left: A spread showcasing antique block-printed papers.


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Mario Buccellati bracelets from Wartski at New York’s Winter Antiques Show.


Brilliant Setting

Above: The private salon at the Gem Palace’s new Mumbai outpost.

Jaipur, India’s Gem Palace, a legendary source for some of the world’s most sumptuous jewelry, has opened a Mumbai outpost with interiors as seductive as its stunning bijoux. On the ground floor, emerald-green cabinetry housing untold riches is offset by petal-pink seating and a checkerboard floor. Floral miniatures in arched niches grace the stairway up to the private salon, a fantasia on a maharajah’s reception room, with lemon-yellow scroll-arm sofas, powder-blue walls, and Indian landscape paintings. “I wanted it to be exotic and magical,” says the shop’s designer, Marie-Anne Oudejans, who also founded the boho-chic fashion label Tocca. “It’s almost like a dream world.” —J.C. Left: Jewelry on display at the Gem Palace Mumbai.


SURFACE APPEAL Considering all the spectacular floors designer Kelly Wearstler has devised for clients—from zigzagging chevrons to kaleidoscopic sunbursts—it was only a matter of time before she turned to creating tile. The prolific talent has developed a line of 18 ceramic tiles and eight stone mosaics for Ann Sacks, their patterns riffing on intricate parquetry and pietra dura treatments she’s spotted on her European travels. “I take pictures of everything,” Wearstler says. “I might reference a ’70s [Carlo] Scarpa design or a historic church in Milan.” —HANNAH MARTIN Right: The Solstice II (top) and Ojai patterns from Kelly Wearstler’s tile collection for Ann Sacks.


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On February 6 the international traveling exhibition “Pierre Bonnard: Painting Arcadia” arrives at San Francisco’s Legion of Honor museum for its one and only U.S. stop. Included in the show are more than 70 works by the seminal French artist, whose intimate canvases helped forge the path from Impressionism to abstraction. Subjects range from Bonnard’s reclusive wife and muse to verdant Provençal landscapes to domestic interiors, complete with cluttered tabletops and household cats. Unifying the vibrant mix is the painter’s wondrous way with color—as sublime as any in the history of modern art. Through May 15; —S.C. Right: Pierre Bonnard’s 1935 painting Nu dans un intérieur.


Island Idyll

Hotel Le Toiny St. Barth, the celebrated Caribbean resort, is up and running again after a major revamp. Guests at the 15-villa property, occupying 42 acres along St. Barts’ so-called wild coast, can take in the pristine shoreline from the new beach club, which comprises a pair of historic 18th-century cottages. The hotel itself boasts refreshed interiors by English designer Lady Bee Osborn, who has combined muted natural materials—Belgian linen, sun-bleached teak, mother-of-pearl, petrified wood—with blue accents. The result is a clean, breezy aesthetic that perfectly matches the tranquil oceanfront environs. Rooms from $1,700/night; —A.B. Left: The restaurant terrace at the remodeled Hotel Le Toiny St. Barth.


. . . that Ralph Pucci—the man behind some of the world’s most exciting collections of contemporary furnishings and cutting-edge mannequins—is transforming a massive 1920s dance studio in Hollywood into a new West Coast outpost for his eponymous gallery . . . that veteran magazine editor Stephen Drucker is writing a book for the Vendome Press about Sunnylands, the glamorous California desert estate that architect A . Quincy Jones and decorator William Haines conjured in the ’60s for publisher and U.S. ambassador Walter Annenberg . . . that shoppers on London’s Savile Row are riveted by EPR Architects’ two new side-byside mixed-use buildings—one black, one white—which are sheathed in more than 10,000 gleaming tiles by British ceramist Kate Malone . . . that traditional Arabic sailing vessels inspired the voluminous glass wedge that is Dubai’s 2,000-seat opera house, conceived by the Atkins design group and slated to debut later this year . . . that 2016 marks the start of a multimillion-dollar restoration of the Sir Christopher Wren–designed Painted Hall at London’s Old Navy Royal College . . . that the late first lady Pat Nixon, whose White House preservation efforts have long been underappreciated, may finally get her due when historian Patrick PhillipsSchrock’s book The Nixon White House Redecoration and Acquisition Program (McFarland) is released this March . . . that Brazilian decorator Sig Bergamin is currently staging a 2,000-square-foot, packed-to-therafters home furnishings pop-up shop, open through April at São Paulo’s stylish Iguatemi shopping center. —MITCHELL OWENS


AD HEARS . . .





From simple pleasures to ultimate luxuries


Modern panache meets time-honored style in the pewter-plate Reeded pitcher by Thomas O’Brien for Reed & Barton’s Heritage collection. The 9"-tall piece costs $265 and is available through Aero., 212-966-1500

Add drama and depth to your decor with Clarence House’s lush cut velvets in rich, saturated hues. From left are the viscoseand-cotton designs Alfieri Velvet in red and green and Caterina in Bordeaux and amethyst; to the trade., 800-803-2850

Metallic pigments lend an iridescent glow to the Mineral Irise matte-glazed porcelain dinnerware by Thierry Cheyrou for Raynaud. Pictured are the sienna teacup ($86), saucer ($40), and dessert plate ($65), the pearl-gray dessert plate ($65), and the rose-gold dinner plate ($288). The pieces also come in ten other colors and are sold through DeVine Corporation., 732-751-0500

Featuring a rattan frame wrapped in rawhide, McGuire’s Alameda lounge chair channels the rustic-cool vibe of the Northern California county it’s named after. Shown in matte smoke with Lenno Ecru linen cushions, the 30" w. x 31.5" d. x 32" h. chair is offered in numerous finishes and upholstery options; from $3,145., 212-689-1565

Plumes of purple and lavender take wing in Doris Leslie Blau’s lyrical Traces rug. Woven of New Zealand wool, it is available in standard as well as custom sizes; to the trade., 212-752-0222


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Artist Mark Gagnon’s fantastical painted papier-mâché vases for Emily Thompson Flowers are equal parts whimsy and elegance. Pictured is the 19"-tall Blue Amphora vessel; $1,800, glass liner included., 212-882-1384

The Frank dining table by Oly cuts a striking figure, with a sturdy antiqued-iron frame and a hardwood top in driftwoodfinish veneer. The piece is available in three sizes; the 30" h. x 42" dia. version costs $2,950., 212-219-8969

Cole & Son’s Luxor wallpaper turns up the volume with its bold graphics. Part of the Geometric II collection, the paper comes in six kicky colorways, among them the vibrant pink and orange shown; to the trade through Lee Jofa., 888-533-5632

With its travertine base and luminous brass reflector, Workstead’s Helios table lamp nods to classic orreries. The 18" h. x 12" dia. light is sold through the Future Perfect; $1,850., 877-388-7373


Depicting an abstract pattern of camels marching in formation, Orley Shabahang’s Caravan carpet riffs on traditional Persian folk art. Shown in gray, the 8' x 10' wool rug sells for $19,500; additional sizes and colors are offered., 212-421-5800

Shay Spaniola’s Mendoza cotton pillows captivate with dreamy watercolor tones. Pictured, from left, are the Mendoza and Turquoise Glamour cushions, which measure 20" sq. and cost $106 each at Neiman Marcus., 888-888-4757

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ong before it was known as the Design District, the swath of streets sandwiched between Miami’s Little Haiti and Wynwood neighborhoods was dotted with low-lying white buildings. So when Hermès decided to open a flagship in the increasingly upscale area—joining a growing array of global fashion boutiques and high-end interiors showrooms— the French luxury brand aimed for a design that would be an elegant riff on those humble earlier structures. “We wanted to remember the old buildings instead of creating something that came from nowhere,” explains Denis Montel, artistic director of


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RDAI Architecture, the firm that designs stores for Hermès. “And, of course, here in Miami it’s so hot that you’re always looking for something that feels really cool and fresh.” A glass box covered in a striking exoskeleton of white steel beams, the building is a decidedly stylized take on its predecessors. Inside, the store is anchored by an undulating terrazzo-andplaster staircase, which lures shoppers to the second and third floors with its organic, swooping form. Brilliantly white and sun-soaked, the space flutters with shadows cast by the latticed façade and greenery beyond. As Montel notes, “It’s almost as if you’re outside, surrounded by the city, trees, and sky.” Though a crisp contemporary feeling defines the interior, there are numerous nods to Hermès’s heritage

of craftsmanship, classic materials, and timeless style. Near the entrance, signature leather accents abound in the home section, evoking the brand’s roots as a harness- and saddlemaker. In the first-floor Saint-Louis crystal shop, glassware and other vessels shimmer on darkly stained oak shelves. The jewelry-and-watch room on the second level, meanwhile, is distinguished by warm cherry paneling. “We try to design buildings that have the company’s DNA but also maintain a dialogue with the context,” Montel says. “This is the latest member of the Hermès family.” —HANNAH MARTIN From top: The new Hermès flagship in Miami’s Design District, conceived by the Paris firm RDAI Architecture, boasts a dramatic plaster-and-terrazzo staircase. A jaunty porcelain vide-poche.


Featuring an eye-catching façade and a sweeping staircase, the new Hermès flagship in Miami’s Design District makes a stunning statement



our first up-close encounter with the abstractions of Chinese artist Zhu Jinshi can be something of a shock. The paint, caked on as thick as cement, is vigorously pushed, pulled, and scraped across enormous canvases, producing kaleidoscopic surfaces that look a bit like an asphalt highway buckled by an earthquake. “The works don’t just hit your head—they hit your body. You can feel their physical weight immediately,” says Tim Blum, a partner in Blum & Poe gallery, which is presenting Zhu’s first New York solo show January 7 to February 20. Having come of age during the Cultural Revolution, Zhu didn’t discover abstract painting until 1979, when he saw a book on Western artists such as Willem de Kooning. The effect on Zhu was


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profound. “I knew something big was going to happen,” he says, “though I did not know what.” Several years later he left China for a fellowship in Berlin, where he experimented with performance and sculptural installations and found an affinity for the paintings of Cy Twombly and Gerhard Richter, artists he says are his role models—and his “competitors.” Such ambition would seem to belie the modesty of a man who paints in a nondescript Beijing high-rise, using trowels and palette knives to laboriously build up his roiling impastos on canvases laid across the floor. (It can take a year for some paintings to dry.) Comparing his process with that of another hero of his, Zhu notes that “Jackson Pollock was like a dancer, but I cannot dance. My paint is so heavy that it is more like fighting.”

For most of his career, Zhu worked outside the global spotlight, a situation that changed when he began showing with Pearl Lam Galleries and Blum & Poe a few years ago. Perhaps his biggest splash, however, came in 2013, when the Rubell Family Collection in Miami staged its “28 Chinese” exhibition, which featured a knockout selection of Zhu’s paintings as well as his 50-foot-long sculpture Boat, made of bamboo and 10,000 sheets of rice paper. Still, Zhu is rather dispassionate about his recent success. “I’m never really satisfied with my work,” he remarks. “As Confucius said, One should never stop learning.” —BARBARA POLLACK Above, from left: Zhu Jinshi’s 2015 painting Red Tango. The artist in his Beijing high-rise studio; his first solo New York show is at Blum & Poe gallery (



Chinese artist Zhu Jinshi’s densely layered, vividly hued paintings make a strong impression


MOROCCAN MODERN With sleek shops and bustling beachfront cafés joining Art Deco villas and old-world markets, Casablanca is emerging as a glamorous travel spot with something for everyone



Casablanca’s spectacular Hassan II Mosque, built in 1993, sits along the Moroccan city’s Atlantic oceanfront.


n Casablanca, one can still feel like an explorer. Often overlooked by tourists despite being Morocco’s most populous city, it is a place of surprises that rewards wandering—and even getting lost. Its leafy boulevards are lined with ornate colonial-era buildings, and its flea markets are filled with treasures plucked from old villas. “Casablanca was the most creative of all the cities of France’s empire,” notes eminent historian Jean-Louis Cohen, coauthor of the book Casablanca: Colonial Myths and Architectural Ventures. “It’s laid out according to an imaginative plan, with beautiful parks and striking architecture, from late Art Nouveau and Art Deco to radically modern.”


And slowly, many of these onceneglected confections are being reclaimed and refurbished. The landmark 1934 Shell building, on the central boulevard Mohammed V, has been converted into the sleek Imperial Casablanca Hotel & Spa. Historic villas are being reborn as galleries and restaurants, and a restoration of the old medina has begun. Casamémoire, Morocco’s main preservation organization, which leads architectural tours, is spearheading efforts to have parts of Casablanca designated a UNESCO World Heritage Site. But Morocco’s economic capital is also very much of the present, with the future squarely in its sights. A $730 million overhaul of the old port, which also involves the creation of a 2.3-mile tourist path connecting many of the city’s major buildings, will be finished by 2020. Along the Corniche—the beach promenade—the 1993 Hassan II Mosque, designed by French architect Michel Pinseau, stands as a breathtaking beacon. Gleaming


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shopping centers and luxury condos are springing up everywhere, including on the site of the airport depicted in the film Casablanca. (Though the BogartBergman classic was shot on Hollywood backlots, its noirish romance does linger in certain quarters here.) Given the coastal setting, the influx of glittering towers raises the question, Could this be a new Miami with a Moroccan twist? “This city is one of those rare jewels, a place with endless interwoven layers,” says London-born, Casablanca-based writer Tahir Shah over a meal at Relais de Paris, celebrated for its classic European cuisine. “There’s been a huge push by His Majesty King Mohammed VI to make it a real cultural and economic destination.” Indeed, the fall 2015 opening of the Four Seasons Hotel Casablanca, set in the multiuse Norman Foster–designed Anfa Place, is another sign of the city’s rising profile and its rapidly improving hotel options. The Imperial debuted in 2013, joining the fantastical Hôtel & Spa Le Doge, a

six-year-old boutique property in a restored villa. And the Lincoln, a 1917 Moorish-Deco landmark that had long been empty and crumbling, is being rebuilt as a five-star property. Just down the Corniche from the Four Seasons is the seafood restaurant Cabestan Ocean View, a standby from 1927 that’s a favorite of both American garden designer Madison Cox, who lives in Tangier, and Paris-based actor Gad Elmaleh, who grew up in Casablanca. Insiders here generally suggest going to this kind of tried-and-true place. Artbook publisher Malika Slaoui, for example, recommends Sqala Café Maure, offering tagines and grillades in a renovated fortress, and the old-school French spot Le Rouget de l’Isle. Yet some new arrivals are also winning a devoted following. One of Cabestan’s owners, Nicolas Perez, opened the neighboring Umayya Restaurant Oriental in November, serving Moroccan, Iranian, and Lebanese dishes. And according to Elmaleh, the current It place is Iloli, a Japanese restaurant with French and Moroccan influences. If Casablanca has a center, it might be the Marché Central, the outdoor market in the heart of the Art Deco district. Here, antiques dealers jostle with food stalls, among the latter Chez Malika and Chez Zoubida, both favored by Elmaleh for their fresh crab and Oualidia oysters.


Clockwise from near right: A guest room at the Hôtel & Spa Le Doge, a converted Art Deco mansion. Courtyard dining at the Sqala Café Maure restaurant. One of the many beach clubs on the Corniche.


CASABLANCA DETAILS CULTURAL SITES AND ORGANIZATIONS Casamémoire +212-5-22-47-43-33; La Fabrique Culturelle des Anciens Abattoirs de Casablanca Rue Jaafar Barmaki; +212-6-54-80-05-39. Galerie Shart 12 rue El Jihani, El Maarif; +212-5-22-39-49-80; Hassan II Mosque Blvd. Sour Jdid; Musée de la Fondation Abderrahman Slaoui 12 rue du Parc; +212-5-22-2062-17; Villa des Arts de Casablanca 30 blvd. Brahim Roudani; +212-5-22-29-50-87;

Shah always heads for the antiques shop Mon Grenier, which owner Abdellatif Bellamine keeps piled high with offbeat finds. For vintage pieces, Shah also likes to trawl the retro-furniture stands at Soco de Moina, the flea market in the city’s Hay Hassani neighborhood. La Galerie de l’Aimance, meanwhile, is a chic new store in the old medina. “It carries beautiful clothing and jewelry, as well as linens and decorative goods inspired by Moroccan arts and crafts,” Elmaleh says. Elsewhere in the city, Fenyadi is another top pick for high-end artisanal wares, from ceramics to metalwork, while Cox shops La Maison de Blanc for luxurious linens. “They’ve been selling to the Royal Palace since the 1950s,” he notes. At Oasis Art Deco, owner Reda Mohammed Sabah carves exquisite wood designs, which he ships worldwide. Anyone interested in Moroccan craft and design should also visit the


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Musée de la Fondation Abderrahman Slaoui, which features everything from 19thcentury gold jewelry to vintage travel posters. Opened in 2012, the museum is part of a thriving arts scene that includes La Fabrique Culturelle des Anciens Abattoirs de Casablanca, a slaughterhouse turned cultural center, and Galerie Shart, which specializes in rising Moroccan talent. The city’s contemporaryarts center, Villa des Arts, is set in a majestic 1930s mansion renovated by architect and Casamémoire president Rachid Andaloussi—a quintessential project for a man who has both the past and the future on his mind. Over coffee at the popular Paul café, in the airy 1947 Villa Zevaco, Andaloussi describes plans to rescue more buildings. “There are many efforts to develop tourism in the city,” he says. “But it’s just as important to emphasize our heritage. Casablanca tells the story of modernity.” —LIZA FOREMAN

RESTAURANTS AND CAFÉS Cabestan Ocean View 90 blvd. de la Corniche, Phare d’el Hank; +212-522-39-11-90. Chez Malika Marché Central, Stalle No. 2; +212-6-68-59-05-71. Chez Zoubida Marché Central, Stalle No. 3; +212-6-61-96-42-76. Iloli 33 rue Najib Mahfoud; +212-6-0886-66-33; Paul Villa Zevaco, corner of boulevards Moulay Rachid and Abdelkrim El Khattabi; +212-5-22-36-60-00. Relais de Paris Hôtel Villa Blanca, Blvd. de la Corniche, Ain Diab; +212-5-22-39-25-10; Le Rouget de l’Isle 16 rue Rouget de l’Isle, Villa Elise; +212-5-22-29-47-40. Sqala Café Maure Blvd. des Almohades; +212-5-22-26-09-60; Umayya Restaurant Oriental 94 blvd. de la Corniche, Phare d’el Hank; +2125-22-36-06-41. HOTELS Four Seasons Hotel Casablanca Blvd. de la Corniche, Ain Diab; +212-5-2907-37-00; rooms from $320/night; Hôtel & Spa Le Doge 9 rue du Docteur Veyre; +212-5-22-46-78-00; rooms from $160/night; Imperial Casablanca Hotel & Spa 291 blvd. Mohammed V and rue Azilal; +212-5-22-30-21-55; rooms from $85/ night;


SHOPS Fenyadi 8 rue Ali Abderrazak; +212-5-22-99-19-45; La Galerie de l’Aimance 113 blvd. Félix Houphouët-Boigny; +212-5-2220-49-79; La Maison de Blanc 25 place du 16 Novembre; +212-5-22-22-09-20; Mon Grenier Marché Central, Stalle No. 159; +212-6-53-38-56-73. Oasis Art Deco 154 rte. de l’Oasis; +212-6-61-15-03-84. Soco de Moina Blvd. Ibn Sina, Hay Hassani.

From top: Spices for sale at the colorful Marché Central outdoor bazaar. A typical Art Deco façade, on a residential building in the Mers Sultan neighborhood.



AD editors select extraordinary homes for sale around the world


Glin, Ireland

For more than 700 years, this riverfront estate in County Limerick has been home to the knights of Glin, one of Ireland’s most venerable lineages. At the heart of the 380-acre property sits a Georgian manor, the construction of which began in the 18th century, expanding on an existing longhouse. In recent decades the residence was restored by the 29th knight, Desmond FitzGerald, a decorative-arts specialist who died in 2011. Now his family has put the castle on the market in the hopes that some savvy buyer will continue his life’s work. contact: Sherry FitzGerald/Christie’s International Real Estate, +353-1-237-6402

“I wanted to celebrate the magic of New York,” says AD100 talent Lee F. Mindel, reflecting on the inspiration for his West 20th Street penthouse. After buying the floor-through in 1994, he embarked on a $3 million renovation of the space, collaborating with fellow architect Reed Morrison. To take advantage of the views of the surrounding cityscape, they installed additional windows on all sides of the apartment, while refined interiors in neutral hues defer to the vistas. A sculptural staircase leads to the roof terrace, where Mindel created an enclosed sitting area. 4 BEDROOMS contact: The Corcoran Group, 2.5 BATHS 212-836-1055

3,800 SQ. FT. $10.7 MILLION


Ravello, Italy

Set some 1,000 feet above the Tyrrhenian Sea, on a postcard-perfect stretch of the Amalfi Coast, this circa-1930 traditional villa (Architectural Digest, January 1994) has hosted the likes of Mick Jagger, Andy Warhol, and Hillary Clinton. All three were guests of the late literary icon Gore Vidal, who bought the four-story residence—dubbed La Rondinaia, or Swallow’s Nest—in 1972 after falling in love with its barrel-vaulted interiors and classic Roman floor plan. He went on to add a pool, a poolhouse, and a sauna to the 6.5-acre property, which he sold to a hotelier in 2004. contact: Coldwell Banker Immobiliare, +39-393-646-0187 —GEOFFREY MONTES

View more prime properties online at


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New York City


Impact glass: Eye-catching decanters cluster on a table in a historic London mansion.


Classical Jazz

Photographer Pieter Estersohn brings a Greek Revival house in New York’s Hudson Valley back to glorious life as his family’s weekend retreat TEXT BY DANIEL MENDELSOHN




Photographer Pieter Estersohn renovated Staats Hall, an 1839 house in Red Hook, New York, as a weekend getaway. Several paintings by Estersohn’s late mother, Betty, are displayed in the living room, which is furnished with 19th-century ceiling lanterns, matching 1830s Joseph Barry sofas in a Kerry Joyce Textiles linen (at either end), and a pair of 1950s Gio Ponti armchairs, in the foreground. For details see Sources.

Clockwise from top: Sugar maples frame the Greek Revival house, which is distinguished by a monumental Doric portico. Estersohn shares the residence with his son, Elio, and father, Carl, a retired doctor. An 1820 French chandelier overlooks the stair hall, where a 1910 bison trophy is installed above a William IV sideboard; the artworks are suspended from picture rails by Morgik Metal Designs.


s part of his 50th birthday celebration a few years ago, Pieter Estersohn decided it was time at last to go to Greece. That this was his first visit to the country is perhaps surprising given his career as an acclaimed interiors photographer who shoots all over the globe and who has lived in Paris and India. “It was something I was almost intentionally holding off and waiting for,” says Estersohn, who made the trip with his father, Carl, a retired doctor, and his son, Elio, now 12. “I tortured my family by dragging them up to the top of the Acropolis. We went to Delos, to every possible Cycladic island and temple we could find.” Estersohn’s travels often tip him into what he calls “an academic curiosity,” and this time the fixation was classical architecture. After returning home to New York City, he says he began to “almost pathologically” immerse himself in reading about the subject, and that passion eventually launched him on a hunt for a neoclassical house, a place to spend weekends with his father and Elio. The photographer ended up looking at more than a hundred residences—at least one as far away as Annapolis, Maryland—before coming upon Staats Hall, a 175-year-old Greek Revival jewel in the Hudson Valley town of Red Hook, New York. It was love at first sight. Despite suffering from the inevitable effects of age and some misguided alterations—Estersohn grimaces recalling the spalike 1970s bathrooms added on the second floor—the house had “good bones and great light,” he says. Above all, the Doric-style portico proved irresistible. “There is a simplicity about Doric that is not pretentious, that is based on architectonic fact” and human proportion, he says. (The first-century- B.C. Roman architect Vitruvius would agree: According to him, the proportion of a Doric column’s width at its base to its height, 1:6, is the same as that of a grown man’s foot to his height.) Estersohn was also fascinated by the dwelling’s history and its original owner, Henry Staats, a wealthy landowner and the first president of the Dutchess County Agricultural Society. (Most of the surrounding 136 acres, Estersohn proudly notes, are still being farmed today.) The kicker, as he puts it, was the

fact that Staats built the house in 1839, typically cited as the year modern photography was invented. After buying Staats Hall in 2010, Estersohn spent two and a half years on renovations. Every intervention, every detail reveals a deep appreciation for classical design. “How did this come about?” he asks, gesturing to the refreshed portico, its four white columns gleaming in the autumn afternoon light. “What was the etymology of this architecture?” During the refurbishment, accretions were swept away and rooms previously subdivided were opened up to their original graceful dimensions. (“I gave Elio a sledgehammer and told him to slug away,” Estersohn recounts of the living room, which had been turned into two bedrooms and a bath.) Going to great lengths to incorporate furnishings, fixtures, and architectural details that date from the period when the house was built, Estersohn scoured online sources, flea markets, and regional auctions. “The only new things I brought in,” he says, “were the kitchen appliances and the master bath’s one-ton tub”—a sarcophaguslike affair that required I-beam reinforcements under the floor. The front steps were salvaged from an 1820s church in Massachusetts, the living room’s 1839 mantel once graced the Greenwich Village home of John Philip Sousa, and 1830s windows and baseboards were installed in the rear sunroom, where Estersohn says his family has breakfast whenever it’s warm enough, enjoying the view. Decorative elements throughout the house reflect an artist’s eye for good lines and an artisan’s understanding of craftsmanship, from the elegant neoclassical furnishings that anchor most rooms to the handsome, unadorned door and window hardware that Estersohn tracked down. “It’s simple, not fussy,” he says, visibly delighted at demonstrating how a 19th-century key still turns smoothly in its lock. He left the plaster walls as they were—“not Venetian, nothing fancy”—because he admired their honest “chalkiness.” In fact, when he and his team decided to spray soy-gel insulation inside the walls, Estersohn removed the exterior clapboard and went in from the outside rather than ruin the plaster finish. A number of leitmotifs at Staats Hall serve to tie the place together. Greek-key borders, for one, can be found

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An 1850 Italian bronze chandelier hangs over the dining room’s table and quartet of William IV chairs. To the left of the fireplace is a Mark Beard portrait of Elio and Pieter; the walls are finished in a pigmented plaster.


almost everywhere you look: marching across a massive wood chimneypiece in the kitchen, circling the edges of doorknobs and the frosted-glass globes of the dining room’s 19th-century Argand lamps, slithering around the canopy of a silver pendant light in the sunroom. It’s easy to see why this simplest and most geometric of decorative patterns appeals to Estersohn. “No swags and no cherubs,” he quips. Providing vivid contrast is a very different leitmotif: The artwork of Estersohn’s late mother, Betty, whose paintings—many of them abstract and most bursting with color—are a constant presence. Estersohn points out that in the old upstairs ballroom, which he converted into a large gallery/guest room, art by four generations of his family is on view: his grandfather’s, his mother’s, his own, and his son’s.

Winding up a tour of the house, Estersohn tries to express what it is about classicism that moves him. He mentions the Golden Ratio, the harmonious mathematical proportion used to compose many iconic buildings, not least the Parthenon. “It’s about finding peace and balance through design,” he says. Just then, a houseguest pops his head in to say he’s off for a brisk fall walk, and Estersohn senior phones to says he’s headed home from a trip into town. As he hangs up, the photographer mentions a holiday dinner for 14 that needs to be planned. In that moment it becomes crystal clear how Staats Hall is alive again, revived in every sense of the word. “Everybody told me not to buy this house,” Estersohn says. “They knew it would be a lot of work. That’s why it took so long—I wanted to do it once and do it right. Now I want to have grace.”

In the sunroom, vintage chairs by Harry Bertoia for Knoll are grouped with a neoclassical table acquired at the Rhinebeck Antiques Fair; the ceiling light is from the 1850s, and the rocking chair is 19th-century Shaker. Opposite: An ink-on-plaster drawing by Tanya Minhas enlivens a wall in the library.


Elio paints in the studio, which features artworks by four generations of the family.

From top: In the master bedroom, an 1839 tester bed dressed in Pratesi linens stands atop salvaged 1830s pine floorboards, while artworks by Betty Estersohn hang above the bed and between the windows, the latter piece paired with a Regency mirror from Sutter Antiques; the armchair is by Jacques Adnet, and the yellowpainted step was found at an antiques market in Brimfield, Massachusetts. The master bath’s sarcophagus-style marble tub, equipped with antique French fittings, is joined by an 1830s armoire and a William IV sideboard repurposed as a sink cabinet; the sconces are converted 19th-century carriage lamps.

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The studio doubles as guest quarters thanks to a tester bed hung with Turkish and French textiles.


Custom-made Lobmeyr chandeliers sparkle in the sitting room of an 1850s London mansion, which was renovated by the interior design firm Haynes-Roberts in collaboration with Stanhope Gate Architecture. The 1932 Picasso nude above the mantel is flanked by vintage Murano-glass sconces from John Salibello, and the walls are sheathed in a Rubelli satin. In the foreground, a George II gilt-wood armchair covered in a Lelièvre fabric is grouped with a circa-1932 FontanaArte cocktail table and a pair of Jacques Quinet armchairs in a Manuel Canovas silk blend. An Edgar Degas dancer sculpture stands by the window. For details see Sources.






Back in 1930s London, few young millionaires cut as wide a swath as Sir Alfred Beit. The handsome MP was rapturously rich, thanks to South African diamond mines and Rhodesian railways, and also notably amorous, having been named corespondent in a headline divorce suit. Little surprise that such a bon vivant would plump for lively living quarters in the city. Around 1937 Beit acquired an 1856 Italianate pleasure palace designed by James Knowles and then hired a quartet of ultrafashionable adepts— architects Lord Gerald Wellesley and Trenwith Wills and decorators Sibyl Colefax and John Fowler—to leaven its pomp. Soon Beit and his guests were dining in a flamboyant turquoise chamber drizzled with glistening silver leaf and thumbing books in a deliriously pretty library tricked out in Bavarian rococo style. Everywhere hung canvases by Goya, Vermeer, and other Old Masters, many of which now grace Russborough House, the Irish museum that was once Beit’s country estate. The baronet’s sparkling London digs had greatly dimmed by 2004, when a couple with young children took it in hand. Previous, less discriminating occupants had dulled the walls and pillars with hospitalwhites, -beiges, and -greens; gold paint smeared the capitals in the 56-foot-long music room. “The place was fabulous but crumbling,” says designer Kevin Roberts of the Manhattan interiors studio Haynes-Roberts, which renovated the mansion with London’s Stanhope Gate Architecture. The assignment also came with significant strings attached: The house, part of the queen’s Crown Estate, is a Grade II* historic site, a relatively rare government designation that restricts alterations. In this case, no room could be remodeled and no finishes applied without approval. Subdividing rooms to construct baths and the like “is tolerated,” says Stanhope Gate principal Alireza Sagharchi (a favorite of the Prince of Wales), “as long as the work is reversible and can be removed without detriment to the original structure.” To make the new master bedroom, for example, his firm installed a bronze framework within a recessed second-floor terrace, and Haynes-Roberts outfitted it with upholstered walls and elegant millwork. “Either you come to a historic project and restore it or you create what might have been. We did something in between,” notes Roberts’s partner, architect Timothy Haynes. Still, like Beit’s own chic revamp, Roberts explains, “This job was about bringing past and present together. The clients wanted the house beautifully restored and furnished appropriately in an up-to-date manner. It was the most limiting thing we’ve ever done—and also the most creative.”


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Above: In the entrance hall, original features—including the columns, overdoor panels, and balustrade—make a noble setting for vintage Gilbert Poillerat lanterns, a 1939 Fernand Léger painting, a ’30s Jansen center table from Liz O’Brien, and Italian benches cushioned in a Clarence House horsehair. Opposite: A Venini chandelier from Bernd Goeckler Antiques is installed above the morning room’s vintage Dunbar sofas, André Arbus armchairs upholstered in a black Hermès lambskin, and custom-made carpet; a 1919 Matisse painting is displayed at left, with a ’50s Seguso wall light to its side.

Artist Rob Pruitt painted six works to fit the 1930s framed panels in the dining room, whose new color palette recalls the original pale-turquoise-andsilver scheme; the George II chandelier was found at Mallett, the Zaha Hadid dining table is from David Gill Gallery, the vintage Karl Springer chairs were silver-leafed to match the space, and the parquet de Versailles floor is made of reclaimed oak.

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Original scagliola columns line an upper hall; the 1940s chandelier is by Barovier & Toso, the painting is by Amedeo Modigliani, the table at center is a vintage piece by Max Ingrand and Gilbert Poillerat, and the runner, designed by Haynes-Roberts, was custom made by Marc Phillips Decorative Rugs. Opposite: Architects Lord Gerald Wellesley and Trenwith Wills created the Rococo Revival library in the 1930s. The inlaid floor was inspired by the 1734 Jacques de Lajoue painting above the mantel; a Jacques Quinet chair from Galerie Yves Gastou is pulled up to a Poillerat table.

The homeowners turned out to have as much appreciation for spirited revisions as Beit did—though it’s anybody’s guess what the baronet would have made of the gold-tiled basement swimming pool and monogrammed hammam. (Because these additions were underground, they did not run afoul of preservation rules.) In the entrance hall, the 1850s columns have been lacquered coal-black, recalling the famous Purbeck-marble ones at London’s 12th-century Temple Church. Their striking darkness gives a distinct coherence to the heroic space, relating the columns to the staircase’s iron balustrade and the floor’s Belgian-bluestone inserts.


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Blue, gold, and cream tie together the adjacent sitting room (once the music room) and its glamorous yet convivial assemblage of art and antique and vintage furnishings—a Picasso nude, 19th-century English consoles, midcentury chairs by Jacques Quinet—scattered beneath supernova chandeliers. The bespoke carpet features a motif inspired by the lace patterns of textile magnate George Moore, the mansion’s first owner— patterns that also sparked the property’s parterres, created by landscape designer Deborah Nevins. For the dining room, Haynes-Roberts lavished the walls with Nile-green paint and embellished its

papier-mâché details with palladium leaf, an effervescent palette that harks back to the room’s glory days; silvered chairs add an Art Deco touch that further nods to Wellesley and Wills’s 1930s makeover. To fill the frames originally made to display Beit’s Bartolomé Esteban Murillo paintings—now at the National Gallery of Ireland—the clients asked art-world provocateur Rob Pruitt to paint new works. His glowing color studies, with hues ranging from searing orange to vibrant purple, encircle the room’s acrylic Zaha Hadid table like sunsets around an ice floe. One day, the owners say, the Pruitts might give way to other commissions.

And what about the house’s best-known feature, the neo-Rococo library? “Our first approach was to make it as fresh as it had been in the 1930s,” Haynes says, though ultimately its patina was conserved through gentle cleaning. “It was satisfying to bring the room—indeed, the entire house—back to life while respecting its history.” The clients wholeheartedly agreed. They even went so far as to track down the long-absent 1734 Jacques de Lajoue capriccio that inspired the library’s fanciful scheme, returning it to its rightful place above the faux-marbre mantel. Surely somewhere the last Beit baronet is beaming.

Above: A niche in the pool area is furnished with Mario Ceroli seating and a Michel Mangematin cocktail table, all from Rose Uniacke. The grotto chairs are 19th-century Venetian, and the pool is clad in Bisazza tiles.

Above: A Tamara de Lempicka portrait hangs in the wife’s office, where a vintage Ward Bennett sofa faces a circa-1950 Ramsay cocktail table; the curtains are of a Manuel Canovas fabric, the walls are clad in a Knoll Ultrasuede, and the bespoke silk rug is by Beauvais Carpets. Below: In the husband’s dressing room, a ’50s Barovier & Toso chandelier complements a ’30s overmantel mirror; the custom-made packing table features nickel pulls and backplates by H. Theophile, and the silk carpet is by Beauvais.

Formerly a terrace, the master bedroom is dominated by an original window now fitted with mirrored glass. A vintage Venini chandelier is mounted over the custom-made bed, which is upholstered in a Cowtan & Tout fabric and dressed in Frette linens; the daybed is by Paul Frankl, the custom-made carpet is by Marc Phillips Decorative Rugs, and a Great Plains fabric by Holly Hunt sheathes the walls.

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White Shasta daisies and purple dame’s rocket bloom at Château du Bois Hinoust, Leticia and Stanislas Poniatowski’s home in Cernay, France; garden guru Louis Benech has been working on the property for nearly 30 years. For details see Sources.


Po w e r

Louis Benech’s gardens for Prince and Princess Stanislas Poniatowski have turned the French couple’s rural retreat into a paradise on earth TEXT BY NORMAN VANAMEE




he first major commission secured by French garden designer Louis Benech, in 1987, was outside the village of Cernay, not far from Chartres. Things did not get off to an auspicious start. “The home is easy to find if you come from Paris, but I got lost driving from Normandy and was terrified because I was late,” remembers Benech, now a globally renowned talent with more than 300 extraordinary gardens under his belt. “When I got on the right road, the landscape became quite boring—flat brown fields as far as you could see. I thought, Who would want to live in a place like this?” The who are Prince Stanislas Poniatowski, a jovial businessman whose ancestors once ruled Poland, and his wife, Leticia. The pair had recently moved back to France after several years living in the U.S. and had purchased Château du Bois Hinoust, a centuries-old property, as a country house to share with their children. The brick-and-stone structure was surrounded by a glittering moat and several underwhelming, awkwardly shaped acres. Around all that lay miles of remarkably horizontal farmland. “From a distance it looked like an island in the middle of a desert,” Benech says. “But when I pulled up to the house, I could see potential.” Prince Poniatowski recognized similar promise in the young designer, who was a friend of one of Leticia’s sisters. “Louis was late—he always is—but we didn’t mind because he is very charming,” he recounts. The trio strolled past ill-conceived garden features and overgrown fruit trees and began to dream. Although he does not have a signature style, the designer, whose latest high-profile project is Château de Versailles’s first new garden since the 18th century, is known for mixing French formalism with a more naturalistic English approach to planting. His understanding of the former helped him immediately recognize and address two layout issues: an eyesore of a swimming pool set far too close to the house and an adjoining square of lawn enclosed by boxwood. “Nothing was in balance,” he recalls. His solution for the pool was to hide it from view behind a yew hedge, which helped even out the proportions of that section of the grounds. As for the boxwood square—now used as a croquet lawn—Benech cut an opening into either end and extended outward with borders of shrubs and perennials to create a long thoroughfare that leads from the pool to the other side of the property. “There is a great progression of blooms throughout the year,” says Prince Poniatowski. “Tulips in spring, roses in the summer, and then come the artichokes—and you have to decide whether to eat them or let them flower.” Parallel to the walk, Benech erected a vast pergola and then smothered it with purple


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Silvery willow-leaf pear trees overlook beds of irises, peonies, alliums, and boxwood topiaries; in the foreground, a cordon apple tree serves as a low hedge.

“I don’t mind at all if they make changes,”says Louis Benech. “It means they love their garden.”

Dalmatian and bearded irises bask in the sun beside the château’s moat. Opposite: Mossy ledges host Dalmatian bellflowers and planters containing hostas, geraniums, and autumn daffodils.


clematis, red ‘Madame Isaac Pereire’ roses, and rampant grapevines. “Now you can stand anywhere and not be able to tell that the garden’s lines are uneven,” the designer says. The very best gardens benefit from two things—time and harmonious human relationships. Le Bois Hinoust’s landscape has had both. His early work completed, Benech has returned regularly to monitor the garden’s progress, visits that have deepened his friendship with the Poniatowskis. Years ago the couple purchased some adjacent land, including an old farm, and asked Benech to take it in hand; among his improvements is a glorious magnolia walk flanked by two perfectly round ornamental pools. The designer emphasized texture in this new area, choosing species with variegated foliage and interesting shapes and avoiding plants that need constant pruning. As he says, “You don’t know how much work it is until you’ve had to clip everything yourself.” Eventually another next-door plot became available, so the couple acquired it, too. “At first I thought I’d plant it with wheat or barley or some other agricultural crop,” the prince says. “Then Louis came up with the idea of flowers.” In spring and summer the added acreage becomes a riotous carpet of white Shasta daisies and purple dame’s rocket. “In the beginning Stanislas and Leticia’s house ignored the views,” Benech says. “But now the flowers seem to flow into the farmland.” Today Le Bois Hinoust remains a creative partnership. Though the Poniatowskis check in with Benech for advice, they have also made their own bold alterations, such as mowing two intersecting paths through the flower field. “I don’t mind at all if they make changes,” says the designer. “It means they love their garden.” For the couple, working with Benech has offered a rare opportunity to learn from and experiment with one of the finest designers of his generation. “I’m not sure what we’ll do next,” the prince muses. “I find that as you age you get more interested in trees. I think we’ll have to plant some more with Louis now, before we get too old to see them grow up.”


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A saucer magnolia arches over the moat. Left: Landscape designer Louis Benech in his element.

From top: Scarlet German irises brighten a border packed with lilac, sweetshrub, variegated mock orange, and lamb’s ear. An heirloom stone basin centers a walled garden, where topiaries add rhythm and whimsy. Boxwood hedges embrace northern sea oats and redosier dogwoods.

Grapevines blanket a teak pergola, shading red ‘Madame Isaac Pereire’ roses and purple ‘Jackmanii Superba’ clematis; the arch beyond is draped with ‘Multijuga’ wisteria and more ‘Madame Isaac Pereire.’


Martina Mondadori Sartogo and Peter Sartogo with their sons, Leonardo and Tancredi, at their London home. Martina, founder of the biannual design publication Cabana, oversaw the interiors in consultation with decorator Livia Rebecchini. For details see Sources.



Mix & Match

Cabana magazine founder Martina Mondadori Sartogo infuses her family’s London home with a worldly, eclectic panache

utting together people and things she loves is a lifelong passion of Martina Mondadori’s, but she met her match in Peter Sartogo, her husband. “I saw her first,” he claims, with a gleam that suggests a collector thrilling to the chase. This pursuit, he recounts, culminated in a heart-in-mouth, on-bended-knee proposal in a vaporetto steaming down Venice’s Grand Canal on New Year’s Eve 2005. The reminder of how ardently she was wooed draws an affectionate shrug from Martina, now securely Mondadori Sartogo, who offers a quizzical look from behind her cascade of Botticelli locks in return. But there was almost an inevitability to the couple’s union, given their pedigrees. Martina, founder of the mold-breaking design magazine Cabana, comes from a tastemaking Italian family that combined the great fortunes of publishing giant Mondadori and industrial powerhouse Zanussi. Peter, meanwhile, is the aesthetically refined financier son of Italian architect Piero Sartogo, a devoted art collector. It seems beyond question that the pair would recognize the essence of the other, dovetail, and shine. Indeed, these two thoroughbreds fit together as seamlessly as the splendid millwork that abounds in their London townhouse, its original 19th-century parquet meticulously restored and polished with Italian beeswax. Evidence of the couple’s compatible sensibilities can be found throughout the elegant home, which they share with their two young sons, Leonardo and Tancredi. Everything chez Mondadori Sartogo has character and seems written with the alphabet of the cultured nomad. Craft and art, Africa and Europe, ancient and modern intersect in furnishings, fabrics, and centuries-spanning treasures. “I like things to be inventions of a creative mind, not anonymous objects,” says Peter, who quit the New York banking scene 15 years ago and moved to London, where he heads his own asset-management company, GWM Group. Among the home’s distinctive furnishings are pieces by design giants like Gio Ponti and Ingo Maurer as well as smart flea-market finds. Antiquities mix nonchalantly with a sketch by the 20th-century scenic artist Lila De Nobili, while a pair of pretty, anonymous vases join an idiosyncratic sculpture by William Kentridge. Quite a few family heirlooms enrich the house with a sense of history and continuity. “Our parents all had a passion for things, for patina and quality and for the pleasures of collecting,” says Martina. Her late father, Leonardo, adored master drawings, and it’s unsurprising that


an exquisite ink study of a shepherd displayed on a side table is by Francisco Goya or that an earthy drawing of a male nude on a chest of drawers is by Edgar Degas. In addition to passing on a love of collecting, Martina’s father also nurtured her interests in publishing and decorating. Growing up, she often accompanied him on travels to New York for meetings with the likes of Tom Wolfe and Jacqueline Kennedy (an early heroine of Martina’s). They would stay in her father’s Verde Visconti–decorated apartment at the Carlyle, occasionally dining downstairs in the pretty restaurant designed by the legendary Renzo Mongiardino. Cabana was born of these influences two years ago, its inventive approach to layout and content offering up a visual feast of inspiration and style. The biannual publication, each issue covered in a unique textile or wallpaper, is a captivating collage of current obsessions and trends in interiors and collecting. Martina’s other big inspiration was the Milan home where she was raised (and where her mother, Paola, still lives), also decorated by Mongiardino. One of the great salons of the postwar era, it features an enfilade framed by bookcases and niches—harboring sofas perfect for political and artistic tête-à-têtes—all leading to spectacularly appointed and stenciled drawing rooms. “The legacy of my mother and Mongiardino is no fear of pattern and no problem with color, the past, or the future. It’s about how things sing together,” says Martina, who, let’s face it, has no fear of anything. In her London home, that adventurous attitude is reflected in the personal choices for upholstery, curtains, wall coverings, and pillows that combine to create an understated sophistication. Kuba tribal weavings clad midcentury Italian gessoed and painted chairs, while bold stripes of green, tangerine, ocher, and brown enliven windows and sofas, and tantalizing embroideries from Persia, India, and Moldavia add splashes of romance. “This house had entirely white walls, and I imagined them richly colored as I walked around it,” recounts Martina, noting how Peter, with his trained eye for space, saw opportunities for refinement—a wall adjusted here, a door removed there. “We kind of let the house tell us the rest of what it wanted and did it.” At that moment the boys tumble in from soccer and the place comes to life. Teatime and talking melt into bath and bedtime, and soon friends are arriving for supper. Good wines pair with piquant dishes from Italy, England, and America—further evidence of the worldly-wise, compelling spirit that courses through these comfortable rooms. Lucky house.



An antique Italian bust relief joins a Roman fresco fragment atop the mantel in the living room; the wall paint is by the Paint and Paper Library. Opposite, clockwise from top left: On display in the library is an Edgar Degas sketch inherited from Martina’s father, the Italian publishing titan Leonardo Mondadori. William Kentridge drawings are arrayed above a 1950s Italian console in the entrance hall. An all-white artwork by Enrico Castellani overlooks a living room sofa covered in a Jim Thompson fabric; the poufs, based on a Renzo Mongiardino design, are clad in a Dedar velvet, and the antique cocktail table, originally a 17th-century fountain, is a Mondadori family heirloom.


Above: A circa-1953 Gio Ponti chest of drawers from Nilufar stands in the library. Left: In the same room, an artwork by Christo and Jeanne-Claude hangs next to a window, while an Anselm Kiefer painting is mounted above a sofa grouped with Frank Gehry chairs and Chinese low tables once owned by Martina’s father; both the vintage suzani draped over the sofa arm and the antique kilim were found in Istanbul. Right: Allan McCollum drawings provide graphic contrast to the textured Nobilis wall covering in the dining room, where a ’40s Stilnovo chandelier is installed over a ’50s Italian table and chairs, the latter upholstered in vintage Kuba cloths; the sculpture in the corner is by William Kentridge, and the Roman shade is made of a Ralph Lauren Home fabric.


Colorful handwoven baskets from Ethiopia hang above a photo triptych by Leonora Hamill in the master bedroom. The bedside lamp is by Irving & Morrison, and the coverlet is made of an Indian fabric the homeowners found on their honeymoon in Rajasthan.



Defined by technological innovation, fearless formmaking, and novel engagement with setting, today’s most compelling architecture dazzles the eye and delights the imagination. Meet seven new structures—from museums to music halls, a soaring skyscraper to a clever community center—that are rewriting the rules





Winner of the 2015 Mies van der Rohe Award, this performance venue shows how magnificent minimal can be. Barozzi/Veiga devised the structure (which includes a 950-seat symphony space and 200-seat theater) as an assemblage of unadorned volumes with sharply pitched roofs that echo local building types. Blend in, however, it does not. Sheathed in translucent ribbed glass, the edifice strikes an all-white pose by day and at night casts a golden glow from within, like a sawtooth apparition.



SHANGHAI, GENSLER, 2015 Rising 2,073 feet, this skyscraper ranks as the second-tallest building in the world (behind Dubai’s Burj Khalifa), its cylindrical silhouette twisting 120 degrees from bottom to top in order to minimize the impact of typhoon-force gusts. Concocted as a vertical city, the tower is divided into nine so-called neighborhoods, each with its own restaurants, shops, and gardens. The latter are set in atriums between the structure’s two curtain walls, which insulate the interior and reduce heating and cooling costs.




Part community center and part viewing platform, this eyecatching clubhouse belongs to the public tennis complex at IJburg, a new residential area occupying a series of man-made islands. Tiered seating tops the playfully swooping building, which contains dressing rooms, a café, and a multipurpose event space. Clad in rust-color rubber, the concrete structure integrates seamlessly with the adjacent clay courts.


AARHUS, DENMARK, HENNING LARSEN ARCHITECTS, 2014 With a sloping green roof that merges with the surrounding terrain, this wedge-shaped museum of archaeology and ethnography appears to have lifted out of the earth. The building’s verdant crown not only doubles as parkland (it’s an ideal spot for picnics in summer and sledding in winter) but also provides superior insulation, cutting down on energy use. Inside the 172,000-square-foot edifice, visitors can descend through three levels of gallery space as if exploring an excavation site.





Set on the Songhua River in northeast China, this venue is the latest wonder from Ma Yansong, whose firm has earned a reputation for arresting, futuristic formmaking. The building consists of two gently sloping volumes that suggest snowdrifts or icy mountains, an impression reinforced by a swirling skin of white aluminum. Inside, expanses of timber reminiscent of alpine huts lend warmth to the sleek structure.




Perched along the Yellow River, this museum of Chinese and Islamic contemporary art serves as the anchor for a multibillion-dollar mixed-use development that will eventually welcome some 80,000 residents. WAA conceived the building’s sinuous and sweepingly horizontal form as a nod to the winding waterway. Its striated façades, meanwhile, were inspired by the layers of sedimentary rock found in the wetland landscape.


SINGAPORE, HEATHERWICK STUDIO, 2015 In designing this concrete-clad marvel for Nanyang Technological University, Thomas Heatherwick aimed to shape the very way people learn. Curvaceous rooms, stacked into 12 tapered piles, eschew front-of-the-class teaching in favor of conversations in the round. At the center, a glass-topped atrium takes the place of characterless corridors, encouraging spontaneous interactions among students and faculty.


Interior designer Eric Cohler puts his sensationally chic stamp on a Gramercy Park triplex for his tech-entrepreneur brother


A faux suede covers the living room walls in Silicon Valley tech entrepreneur Matt Cohler’s Manhattan triplex, which was decorated by Eric Cohler Design and previously renovated by Michael Haverland Architect. Artworks by, from left, Alfred Seiland, Caio Fonseca, and James Brooks overlook the seating area; the sofa is by Ralph Lauren Home. For details see Sources.



hen interior designer Eric Cohler went scouting for a Manhattan pied-à-terre for his brother Matt, one of Silicon Valley’s most dynamic venture capitalists, he was initially thinking of a low-key rental. But that changed when the siblings walked into an 1840s redbrick townhouse overlooking historic Gramercy Park. Previously broken up into several apartments, the building had been reconfigured a few years earlier into two glamorous triplexes by architect Michael Haverland, and as soon as the Cohlers stepped into the lower unit, they both thought the same thing: This is it. With a guest room and kitchenette in the English basement, entertaining areas on the parlor floor, and three bedrooms on the third level, the triplex certainly had a lot going for it, in particular its high ceilings, three fireplaces, and abundant windows, among them two sets of French doors opening to Juliet balconies with


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views of the park’s gated greenery. Drawbacks included a floor plan that resembles a barbell (on each level spacious end rooms are linked by a hall) and the inherent narrowness—the building is only 26 feet wide—that comes with the territory. Still, the designer saw those limitations as a challenge. “I’m at my best with tight parameters,” Eric confides. “You can’t expand laterally in a townhouse. If you’re not careful, it can feel not only cramped but forced.” Known for combining 18th- and 20th-century furniture with an up-to-the-minute sensibility, the designer went to work making the apartment into a peaceful refuge for a client with a notably high-octane career. A onetime musician and one of Facebook’s first five hires, Matt is now a general partner at the farsighted venture-capital giant Benchmark, and he cofounded, an organization that supports immigration reform and is made up of leaders in the tech community. He also sits on multiple boards, including those of Instagram, Tinder, and the online antiques bazaar 1stdibs, as well as the San Francisco Symphony.

The dramatic staircase is lined with panels painted a Benjamin Moore white. Opposite: Curtains made with a Holland & Sherry linen and trim accentuate the dining room’s height; the Jules Leleu table from Maison Gerard is encircled by T. H. RobsjohnGibbings chairs upholstered in an Edelman leather, while a British abstract painting hangs at right.

As an antidote to the frenetic pace of Matt’s work life, the triplex’s front door opens to a soothing palette of earthy neutrals. In the entrance gallery, as throughout the main level, Haverlanddesigned paneling with an overscale grid motif has been painted a crisp white. Complementing the foyer’s woodwork is a fluffy Moroccan-style diamond-pattern runner that’s rolled out before a Michael Taylor travertine console table flanked by circa-1905 Josef Hoffmann chairs cushioned in their original leather. Above hangs Richard Avedon’s infamous shot of actress Nastassja Kinski being embraced by a Burmese python, part of a small but powerful art collection that features eye-grabbing images by Lotte Jacobi, Edward Weston, and Ellen von Unwerth. “Matt doesn’t like the word collector,” his brother explains, “but if he were to be classified as one, it would be of photography.” The living and dining rooms, located at opposite ends of the parlor floor, share an intimate yet sophisticated air that comes from their irreverent mix of furnishings, colors, and metallic accents. Both spaces have similarly neutral background tones— the living room’s faux-suede walls are mushroom color, the dining room’s paneling is golden oak—but they have distinct moods. In the latter, at the rear of the building, an orange Perle Fine painting overlooks a vintage Jules Leleu oval table surrounded by Directoire-inspired chairs by T. H. Robsjohn-Gibbings. Built-in oak bookcases ascend a dozen feet, their shelves accessed by a custom-made ladder so the volumes can be read rather than merely looked at from afar. Pride of place has been given to a circa1912 Steinway grand piano that was inherited from one of the Cohlers’ great-grandmothers. “I like to play Bach, but I’m not very good,” admits Matt, who occasionally hosts small but festive gatherings when in town. While the dining room is quietly chic, the living room’s vibe is decidedly livelier, thanks in part to a luminous red-and-white abstract canvas by Caio Fonseca and two large blue-hued works, one by painter James Brooks and the other by photographer Alfred Seiland. Atop the quarter-sawn white-oak floor is a marvelous, motley array of furnishings, among them Louis XVI painted armchairs, a curious stool cushioned with shaggy Mongolian lambswool, and a classic Chanel-style suede-covered sofa that Eric describes as “deep enough for napping.” Up the slender, dramatically paneled staircase and past a Von Unwerth photograph of model Nadja Auermann in a black lace cat mask is the master bedroom, a paean to tranquillity, where the same creamy fabric (one of Eric Cohler’s own designs for Lee Jofa) is used for the walls, curtains, and headboard. Furthering the cocooning effect are dove-gray carpeting and a sounddeadening layer of cotton batting under the wall upholstery. “Matt travels a lot,” his brother notes, “so we wanted a room that would invite slumber. The only interactive element is the fireplace— there’s not even a television.” Down the hall, though, is the mischievously unrestrained library, painted a glossy persimmon. Cultured yet without a hint of ostentation, the residence is precisely what Eric and his like-minded brother were aiming for— welcoming and absolutely cozy. “Because at the end of the day,” the designer says, “true luxury boils down to comfort.”


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West Elm pendant lights illuminate the kitchen, which is equipped with Varenna by Poliform oak cabinetry, a Sub-Zero refrigerator, a Corian backsplash and countertop, and Dornbracht sink fittings.

A custom-mixed persimmon paint splashes the library, where an Ormond Gigli photograph surveys a vintage T. H. Robsjohn-Gibbings sofa in a Loro Piana Interiors fabric. The lamps are by Simon Pearce, the 1950s Italian lounge chairs are clad in a velvet by Eric Cohler Design for Lee Jofa, and the cocktail table is from Flair.



Above: The master bath features Heath Ceramics tile and a Corian countertop; the tub fittings and sink fittings are by Waterworks. Right: A wool by Eric Cohler for Lee Jofa is used for the master bedroom’s walls, curtains, and Roman shades; the Eve Kaplan gilded mirror is from Gerald Bland, the fox-fur throw is by Holland & Sherry, and the rug is by Beauvais Carpets.


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Decorator Pauline Pitt shares her Aspen, Colorado, getaway with her realestate-entrepreneur beau, Jerry Seay, and a host of family. The house was originally designed by architect Theodore K. Guy. For details see Sources.

With enough room for 20 beneath its timber ceilings, decorator Pauline Pitt’s Aspen chalet is a ruggedly sophisticated home away from home for her extended clan






or business moguls and socialites—as well as a Broadway producer and a Persian prince—interior decorator Pauline Pitt delivers rooms that comfort as well as delight. Small wonder, since her lighthearted yet classical taste is practically bred in the bone. An especially ebullient sprig on an American family tree teeming with banking Drexels and mercantile Wanamakers, the former Pauline Munn Baker grew up shuttling between a Park Avenue apartment, a Long Island estate outfitted by Elsie de Wolfe, a hunting preserve in Tallahassee, Florida, and an Addison Mizner pile in Palm Beach, the city she calls home. England’s Stansted House, the Hampshire redoubt of Pitt’s aunt Mary, the countess of Bessborough, was also part of her visual landscape. “I was fortunate to have seen so many beautiful houses,” she says. “But it was my mother, Frances, who really had good taste. I learned so much from her.” Fast-forward to adulthood. An elopement to Scotland with banker D. Dixon Boardman was followed by expat stints in Johannesburg and London, the births of two daughters, and a business partnership with Jane Churchill, then a rising young British design talent. Their children grown, the Boardmans split, and in 2000 Pauline wed real-estate executive William H. Pitt, who died six months later. A friend coaxed the grieving widow to spend some time in Aspen, Colorado, where, as Pitt recalls, “the red earth, the blue sky, and the wildflowers” lifted her spirits and were “the antithesis of my East Coast life.” Today the decorator escapes to Aspen throughout the year with beau Jerry Seay, a real-estate entrepreneur, and


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boarding-school student Julia Nye, whose late mother was the decorator Hethea Nye, a close friend of Pitt’s. “I’ve raised two children. Why couldn’t I raise another?” Pitt says of her decision to take Julia under her wing a decade ago. Add a cat, three dogs, and a jam-packed schedule of houseguests and dinner parties where down-home (chicken pot pie) meets deluxe (D. Porthault table linens), and you have one lively ménage. Featuring views of the Rocky Mountains’ Pyramid Peak, Pitt and Seay’s western outpost is a log fairy tale that rambles across a clearing surrounded by aspens and firs. “When I first saw the house, I fell in love with it,” the decorator recalls. “But it took two and a half years to make it mine.” Jokingly, she adds, “Don’t wish for something too much, because you might get it.” Once the purchase was made, beamed ceilings were raised and the dated mullioned windows were ripped out and replaced with generous expanses of glass to take advantage of the picture-postcard views. Further renovations ensured that the couple’s blended family could gather under one roof (the house can sleep 20 in a pinch). Visiting grandchildren find the bunk room to be a particular delight. “My mother collected children’s chairs,” Pitt says, pointing out two pint-size wing chairs. “She also was crazy about chickens, so I had the pieces upholstered in a chicken print.” The cabin’s centerpiece is the soaring great room, where a multitude of family and friends converges during the holidays on deep-dish sofas while a fire crackles in the towering stone fireplace. Everywhere, contemporary pieces are mixed with heirlooms, among them two poufs— one in a guest room, the other in the family room—clad in

Pitt placed a 1950s elk trophy above the front door; the flooring in the entrance hall is slate. Opposite: The main faรงade.

needlepoint that was worked by Pitt’s mother. Since the decorator has always been partial to pale-blue master bedrooms, she wanted one in Aspen, but she says, “It wasn’t easy with all the wood.” To lessen the timber’s impact, she covered a love seat, armchair, and bench in a bodacious blue-and-white check and dressed the bed’s pillows with zebra-stripe shams in the same palette; fluffy off-white sheepskin rugs underfoot lend additional lightness. Given the house’s location, it comes as no surprise that Navajo-style carpets abound. Ditto antlers, fashioned into chandeliers, stools, and the like. But the largest rack in the house belongs to Herman, an elk trophy mounted above the front door. Pitt, an animal-welfare advocate who sits on the board of the Peggy Adams Animal Rescue League of the Palm Beaches, admits that she couldn’t resist when the dusty relic came her way. “He was bagged in 1959 and put in a bowling alley,” she says. “I like to think that somehow, someway, we’ve given him a better home.” And certainly a more luxurious one.


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Clockwise from top left: In the great room, an Earl Biss painting joins a Crystal Farm chandelier, mirrors, and stool, RH floor lamps, and Ralph Lauren Home sofas. The family room features a sectional sofa clad in a Quadrille print and an ottoman embroidered by Frances Munn Baker, Pitt’s mother. A Crystal Farm chandelier hangs above the dining area’s antique table and Windsor chairs, the latter cushioned in a Brunschwig & Fils fabric. A wintry view of the property.

“I needed the antithesis of my East Coast life,� Pauline Pitt says of the log house and its spectacular setting.

D. Porthault linens and a Ralph Lauren Home coverlet dress the master suite’s bed, which is flanked by Bowron sheepskin rugs placed atop a Nourison carpet. Opposite: A custom-made bunk bed by A Great Find stands in a children’s guest room.

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S O U RC E S Items pictured but not listed here or on are not sourceable. Items similar to vintage and antique pieces shown are often available from the dealers listed. (T) means the item is available only to the trade.

CLASSICAL JAZZ PAGES 56–67: Pieter Estersohn of Pieter Estersohn Photography; PAGES 56– 57: On 1830s Joseph Barry sofas, Devon linen, in khaki, by Kerry Joyce Textiles (T); PAGE 58: In stair hall, picture rails by Morgik Metal Designs; PAGE 63: Vintage chairs by Harry Bertoia for Knoll; PAGE 65: In master bedroom, Three Lines Embroidery bed linens by Pratesi; Regency mirror from Sutter Antiques;

CREATIVE LICENSE PAGES 68–79: Interior design and architecture by HaynesRoberts Inc.; Architecture by Stanhope Gate Architecture; Carpets throughout designed by Haynes-Roberts Inc. PAGES 68–69: Vintage Muranoglass sconces from John Salibello; On walls, Wong satin, in Savoia, by Rubelli (T); On George II armchair, Courson Bleu linen-silk by Lelièvre (T); On vintage Jacques Quinet armchairs, Salsa silk blend, in miel, by Manuel Canovas (T); 19thcentury English consoles from Antony Todd Home; PAGE 70: 1930s Jansen center table from Liz O’Brien; On Italian benches, horsehair by Clarence House (T); PAGE 71: Vintage Venini chandelier from Bernd Goeckler Antiques; Custom-made silk carpet by Marc Phillips Decorative

Rugs (T); PAGES 72–73: George II chandelier from Mallett; Liquid Glacial dining table by Zaha Hadid from David Gill Gallery; PAGE 74: Vintage Jacques Quinet chair from Galerie Yves Gastou; Gilbert Poillerat table from Bernd Goeckler Antiques; PAGE 75: Custom-made runner by Marc Phillips Decorative Rugs (T); PAGES 76–77: Mario Ceroli seating and Michel Mangematin cocktail table from Rose Uniacke; Pool tiles by Bisazza; PAGES 78–79: In office, on walls, Ultrasuede, in fog, by Knoll; Curtains of Adele cotton blend, in amethyst, by Manuel Canovas (T); Custommade silk rug by Beauvais Carpets (T); In dressing room, on packing table, nickel pulls and backplates by H. Theophile; Custom-made silk carpet by Beauvais Carpets (T). In master bedroom, vintage Venini chandelier from Alexandre Biaggi; Custom-made bed upholstered in Radmore cotton blend, in cream, by Jane Churchill from Cowtan & Tout (T); Bed linens by Frette; On daybed, cotton velvet by Schumacher (T); Custom-made carpet by Marc Phillips Decorative Rugs (T); On walls, C’est la Vie cotton blend, in sea breeze, by Great Plains (T);

FLOWER POWER PAGES 80–89: Landscape design by Agence Louis Benech;

MIX AND MATCH PAGES 90–97: Interiors by Martina Mondadori Sartogo of Cabana; dealers/cabana; in consultation with Livia Rebecchini;

ARCHITECTURAL DIGEST AND AD ARE REGISTERED TRADEMARKS OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT © 2016 CONDÉ NAST. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 73, NO. 2. ARCHITECTURAL DIGEST (ISSN 0003-8520) is published monthly by Condé Nast, which is a division of Advance Magazine Publishers Inc. PRINCIPAL OFFICE: Condé Nast, 1 World Trade Center, New York, NY 10007. S. I. Newhouse, Jr., Chairman Emeritus; Charles H. Townsend, Chairman; Robert A. Sauerberg, Jr., President and Chief Executive Officer; David E. Geithner, Chief Financial Officer; Jill Bright, Chief Administrative Officer. Periodicals postage paid at New York, NY, and at additional mailing offices. Canada Post Publications Mail Agreement No. 40644503. Canadian Goods and Services Tax Registration No. 123242885-RT0001. Canada Post: Return undeliverable Canadian addresses to P.O. Box 874, Station Main, Markham, ON L3P 8L4.


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+39-338-805-1929. Hair and makeup by Sonia Bhogal; Flower arrangements throughout by the TukTuk Flower Studio; PAGE 92: In living room, on sofa, Falling Water fabric by Jim Thompson (T); Poufs by Cabana;; in Splendido velvet by Dedar (T); PAGES 94–95: In library, Gio Ponti chest of drawers from Nilufar; Frank Gehry Wiggle side chairs by Vitra; In dining room, Luxury Walls wall covering by Nobilis (T); Roman shade of Antora Paisley fabric, in bark, by Ralph Lauren Home; PAGES 96–97: Bedside lamp by Irving & Morrison;

SIBLING REVELRY PAGES 104–13: Interiors by Eric Cohler Design; Architecture by Michael Haverland Architect; PAGES 104–5: Jamaica sofa by Ralph Lauren Home; Marcello Fantoni yellow table lamp from Liz O’Brien (T); PAGE 106: Curtains of Antique white linen by Holland & Sherry (T);; with Sabrina trim by Holland & Sherry (T). Jules Leleu dining table from Maison Gerard; On chairs, Ostrich leather, in gray slate, by Edelman Leather (T); PAGE 107: White Dove paint by Benjamin Moore; PAGES 108–9: Industrial pendant lights by West Elm; Cabinetry by Varenna by Poliform; Refrigerator by Sub-Zero; Corian backsplash and countertop by DuPont; Elio sink fittings by Dornbracht; PAGES 110–11: On sofa, Sherpas cashmere velour, in dark Marengo, by Loro Piana Interiors

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(T); Low Hamilton lamps by Simon Pearce from YLighting; On vintage Italian lounge chairs, Graphic velvet, in mink, by Eric Cohler Design for Lee Jofa (T); Vintage cocktail table from Flair; PAGES 112–13: In master bath, Oval tile by Heath Ceramics; Corian countertop by DuPont; .25 tub fittings and sink fittings by Waterworks; In master bedroom, on walls and for curtains and Roman shades, Plain Jane wool, in cream, by Eric Cohler Design for Lee Jofa (T); Gilded mirror by Eve Kaplan from Gerald Bland; Fox-fur throw by Holland & Sherry (T); Boxwood rug, in garden wall gray, by Beauvais Carpets (T);

CABIN FEVER PAGES 114–21: Interiors by Pauline Pitt Interiors; 561-8321615. PAGES 118–19: In great room, antler chandelier, mirrors, and stool all by Crystal Farm; French Column Glass floor lamps by RH; Nora sofas by Ralph Lauren Home;; in Salt Marsh raffia by Ralph Lauren Home. In family room, on sectional sofa, Les Indiennes linen-cotton by Quadrille (T); Wood cocktail table by RH. In dining area, Huntsman chandelier by Crystal Farm. Chair cushions in Firle Herringbone fabric by Brunschwig & Fils (T); PAGES 120–21: In children’s guest room, custommade bunk bed by A Great Find; 970-963-9690. In master suite, Tigre Turquoise cotton bed linens by D. Porthault; Sheepskin rugs by Bowron Sheepskins; Carpet by Nourison;

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Rome’s Fontana di Trevi has long attracted crowds of admirers—and fistfuls of change from starry-eyed wishmakers. (Local legend holds that anyone who throws a coin into the water will be blessed with a return to Italy’s glorious capital.) Recently, however, some very good fortune has come to the fountain itself. The Baroque beauty, designed by architect Nicola Salvi and completed by sculptor Pietro Bracci in 1762, was the beneficiary of a $2.4 million upgrade sponsored by Fendi, as part of the fashion giant’s ongoing campaign to refresh fountains across the city. Dozens of skilled artisans spent 17 months restoring the Fontana di Trevi’s intricate stonework and installing a state-of-the-art LED lighting system that gives the marvel a little extra magic come dusk. —SAM COCHR AN



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