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ISSUE 33 | 2026

World-Renowned Artist David Spriggs Unveils the Vision Series at Gallery Sonder Inside a Remarkable Lido Isle Custom Home Completed in Just 14 Months The Surfrider Hotel: A Blueprint for Sustainable Hospitality and Thoughtful Design

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CONTENTS

Sylvia An evening of dance and artistry at Segerstrom Center

A Cause for Celebration Supporting CASA and changing lives through advocacy and care

High-Level Interior Design Sheldon Harte unveils the vision behind The Refined Home

Your Next Getaway Inn at Rancho Santa Fe offers timeless charm and luxury

44 Gallery Sonder Defining contemporary art and culture for a new era

Outdoor Summer Living Tidelli brings elevated outdoor furnishings to coastal living

Now Open at LACMA Inside the landmark David Geffen Galleries

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CONTENTS

86 74

Global Design FarNear blends East and West through a distinctly Southern California lens

Sustainable Stays A closer look at hotels leading the way in sustainable hospitality

On The Summer Wind

Inside a Remarkable Lido Isle Custom Home Completed in Just 14 Months

110

Matisse at SFMOMA Exploring the legacy of the artist who coined fauve

102 Marketing’s Call to Rise Brenda Springer’s vision and strategy behind Reveille

110 Bouchée Discover Montage Laguna’s newest culinary destination

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EDITORIAL editorial@bluedoormagazine.com

ART DIRECTOR Alexandré Pinto allie@bluedoormagazine.com

MANAGING EDITOR Carolyn Grundman carolyn@bluedoormagazine.com

COPY EDITOR Carrie Lightner CONTRIBUTING PHOTOGRAPHER Hugo Landa Garcia CFO Marielle Westphal 208.546.9305 marielle@bluedoormagazine.com

Art: David Spriggs b. 1978 Vision Series, 2022 Acrylic on layered plexiglass 60 x 60 x 15 in

FOUNDER Justin Williams 208.720.2142 justin@bluedoormagazine.com

David Spriggs creates work that exists between two and three dimensions, exploring space, movement, color, perception, and systems of power through layered transparent imagery. Internationally recognized for his large-scale immersive installations, Spriggs pioneered his signature technique in 1999, creating pieces that feel both ephemeral and architecturally precise. Born in Manchester, England, and now based on Vancouver Island, BC, Spriggs has exhibited globally at institutions and biennales including the Louvre’s Musée des Arts Décoratifs in Paris, Sharjah Biennale, Powerlong Museum Shanghai, and the Prague Biennial. His work is held in prestigious public and private collections across the world and featured in major hotels and public spaces internationally. His piece Red Gravity was also selected as the cover artwork for Peter Gabriel’s song Panopticom.

Blue Door Magazine is published by Aspect Media LLC Copyright © 2026 Aspect Media LLC. All rights reserved. The opinions expressed by the authors and contributors to Blue Door Magazine are not necessarily those of the editor or publisher.

Gallery Sonder 3435 E Coast Highway Corona Del Mar 949.662.0077 gallerysonder.com

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FROM THE FOUNDER As summer settles along our coast, there’s an unmistakable energy in the air. New ideas, creative momentum, and fresh collaborations continue to shape our art, architecture, design and custom home building communities. It’s a reminder that what makes this place special is not simply its beauty, but the creativity and cultural depth that define the way we live. That spirit is reflected on our cover through the work of internationally recognized contemporary artist David Spriggs, whose dimensional installations challenge the boundaries between painting, sculpture, and light. His Vision Series invites viewers to experience space, color, and perception in new ways, embodying the innovation and creative thinking that continue to inspire our coastal communities. Art, design, and creative vision continue as central themes throughout these pages. We take a closer look at SFMOMA’s upcoming exhibition, Matisse’s Femme au chapeau: A Modern Scandal, a landmark presentation exploring the enduring impact of Henri Matisse’s iconic painting and its role in shaping modern art. The exhibition offers a rare opportunity to examine the story behind one of the most influential works of the twentieth century and its continuing influence on artists today. We also feature renowned interior designer Sheldon Harte and his new book, The Refined Home: 35 Years of Design. The book chronicles a remarkable career spanning traditional, contemporary, and highly personalized residences while exploring the evolving relationship between architecture, interiors, craftsmanship, and art collecting. As Harte shares in our conversation, great design is never

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about a signature style—it is about understanding the client, guiding their vision, and creating homes that become more meaningful over time. We’re especially excited to feature a custom home on Lido Island, built by Michael Reeves of Corbin Reeves Construction and designed by Rona Graff of Grace Blu Interior Design, a project that reflects the balance of thoughtful architecture, craftsmanship, and relaxed coastal living. All of that was built in just under 14 months, which has got to be some kind of record! As always, thank you for your continued support of Blue Door Magazine. We’re grateful to share these stories and celebrate the creativity, innovation, and sense of community that continue to define life along our coast. Best, Justin Williams Founder & Publisher, Blue Door Magazine 208.720.2142 justin@bluedoormagazine.com

FROM THE FOUNDER

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SYLVIA MORE THAN A BALLET A tour de force of endurance and artistry at Segerstrom

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FINE ART

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First Page: Virginia Lensi and Catherine Hurlin in Sylvia Photo: HELI Above: Breanne Granlund and Takumi Miyake in Sylvia Photo: HELI Left: Chloe Misseldine and Takumi Miyake in Sylvia Photo: Nir Arieli Right: Skylar Brandt in Sylvia Photo: HELI 24

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FINE ART It began with a scherzo, a melody of reeds and strings evoking forest fawns and dryads, one of whom was called Sylvia. She was the protagonist of Leo Delibes’ romantic ballet of the same name, which came to the Segerstrom Center for the Arts April 9 through 12. It was a tale that mixed Greek gods with forest spirits, featuring abductions, courageous rescues, and derring-do, but ultimately stood as a paean to the enduring power of love. “She has a lot of different colors to her,” American Ballet Theater’s Skylar Brandt tells Blue Door Magazine. “The first act of Sylvia was probably one of the hardest in the whole entire female repertoire. You were onstage from when you entered to when you first left, and you were jumping through a majority of it. There was so much cardio and not a lot of time to rest.” One of only three ballets composed by Delibes, Sylvia debuted in 1876 at Palais Garnier in Paris. In act one, warrior nymph Sylvia and lowly shepherd Aminta crossed paths in the woods. Watching from a hidden place, he was smitten the moment he caught sight of her. When he was discovered, Sylvia, angered at being stalked by the shepherd, took aim at Eros but accidentally struck Aminta. Eros returned fire, superficially wounding Sylvia. In the second act, she was taken hostage by Orion, whom she seduced and got drunk in order to affect her escape, aided by Eros. Seeking refuge in the Temple of Diana, she was reunited with Aminta. But Orion arrived, forcing a confrontation and, in the end, Diana smote Orion but denied the lovers’ union. When Eros offered a vision of Diana’s past love for Endymion, she relented, and Sylvia and Aminta were at last united. Adolphe Adam’s Giselle, introduced 30 years earlier, has often been considered the most difficult role in the female repertoire. But having danced the part the previous year, Brandt, a principal dancer with ABT since 2020, judged Sylvia, with its backward hops en pointe as well as an altitudinous shoulder sit on partner Jake Roxander, a close runner-up. Its degree of difficulty was heightened by the fact that Sylvia knelt on her partner’s shoulder—more painful for Roxander and less balanced for Brandt. BlueDoorMagazine.com

“As he was parading you around the stage, you had to get out of the lift and kneel on the floor,” she says. “So, the challenge was to get out of the position so it didn’t feel clumsy. We worked on the descent so much.” When Sir Frederick Ashton choreographed Sylvia in 1952, he made the dance based(?) on Dame Margot Fonteyn, customizing the role to her body type and technical strengths, and choreographed to the note, leaving no room for timing errors. It didn’t happen with every ballet, but when the curtain dropped on Sylvia, Brandt’s legs burned with pain. Even by the end of the second act, she experienced pins and needles. In any other dance, she would have had a moment backstage to recover, but in Sylvia, recovery took place onstage among the chorus, where she rested for her big solo. Above: Carlos Gonzalez in Sylvia Photo: Nir Arieli Right: Skylar Brandt and Jake Roxander in Sylvia Photo: Nir Arieli 26

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“A lot of people don’t understand the amount of hard work,” Brandt laments. “But as a ballet dancer, it is our job to make it look like magic. If people are not understanding how hard what you’re doing is, then, in a way, you’re succeeding.”

FINE ART the part the previous year, Brandt, a principal dancer with ABT since 2020, judged Sylvia, with its backward hops en pointe as well as an altitudinous shoulder sit on partner Jake Roxander, a close runner-up. Its degree of difficulty was heightened by the fact that Sylvia knelt on her partner’s shoulder—more painful for Roxander and less balanced for Brandt. “As he was parading you around the stage, you had to get out of the lift and kneel on the floor,” she says. “So, the challenge was to get out of the position so it didn’t feel clumsy. We worked on the descent so much.” When Sir Frederick Ashton choreographed Sylvia in 1952, he made the dance based(?) on Dame Margot Fonteyn, customizing the role to her body type and technical strengths, and choreographed to the note, leaving no room for timing errors. It didn’t happen with every ballet, but when the curtain dropped on Sylvia, Brandt’s legs burned with pain. Even by the end of the second act, she experienced pins and needles. In any other dance, she would have had a moment backstage to recover, but in Sylvia, recovery took place onstage among the chorus, where she rested for her big solo. “A lot of people don’t understand the amount of hard work,” Brandt laments. “But as a ballet dancer, it is our job to make it look like magic. If people are not understanding how hard what you’re doing is, then, in a way, you’re succeeding.”

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CASA OC GALA CELEBRATION

Raises Over $1.325 Million for Children in Foster Care

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4. 4.

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Andrew Wittkop, Courtney Wittkop, Holly Joseph, Erika Pedersen

Barry McManus, Courtney Thom (Event Chairs)

Alisa Abecassis, Jordan Rosen

Isabelle Smith, Todd Smith

Leslie Rhodes, Dana Strader

Jay Nugent, April Nugent

Inga Sanders-Marcereau

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THE REFINED HOME 35 YEARS OF DESIGN

Sheldon Harte on his book and career The Refined Home reflects Sheldon Harte’s decades-long career designing at the highest level, spanning traditional, contemporary, and highly personalized residences. The book captures not only his work, but also the evolution of his clients’ tastes, particularly in art, and the collaborative process behind each home. In this conversation with Blue Door Magazine founder Justin Williams, Harte discusses the thinking behind the book and the philosophy that has shaped his approach. J US TI N WI LLIAM S : What was the intention behind The

Refined Home? SHELDON HARTE: The book reflects the breadth of my work

over time. What people respond to most is the variety. It shows that I have never approached design in a singular way. Each home is shaped by the client, their lifestyle, and where they are at that moment. It also captures how those relationships evolve. Many clients grow in their understanding of design and art, and the work reflects that progression. That is really the thread throughout the book. JW: You define luxury as the intersection of form, function, and art.

How does that shape your work? SH: I start by shifting how clients think about art. It is often seen

as something decorative, but it is much more personal than that. It is about what they want to live with. Right: Sheldon Harte of Harte Davis Interior Design. Photo by Lesley Bohm

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The Refined Home by Sheldon Harte

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“It is not about forcing change. It is about expanding perspective. Once clients see that, they rarely want to go back.” —Sheldon Harte

Over time, their taste evolves. They become more curious and more engaged, and often more discerning in what they choose. That evolution becomes part of the design process, and in some cases, part of how they approach collecting. JW: When does art enter the process? SH: At the beginning. I want clients thinking about it early

people want to grow. They become more informed and more confident over time. There are moments when clients step back for practical reasons, but generally the trajectory is upward. They refine their taste and develop a stronger connection to what they are living with.

on because it can influence the direction of the interiors. Not literally, but in how a space feels.

JW: Craftsmanship is a strong thread throughout your work. How has

For some, it starts with exposure. They begin to explore galleries, meet artists, and understand what resonates. Over time, that becomes part of their lifestyle, and the design follows.

SH: It comes from long-term relationships. I have worked with

JW: Your work spans many styles. How do you approach

that range? SH: It always comes back to the client. I have never wanted a

single signature look. Their background, taste, and how they live all inform the direction. Often, clients evolve. They may begin in one place and move somewhere entirely different. Sometimes that shift is personal; other times it happens within a couple. My role is to guide that process and bring it together in a way that feels resolved. JW: How do you guide clients through that evolution? SH: You start by understanding where they are. Some are very

comfortable in a certain place, others are more open. But most

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that developed?

artisans and craftspeople who focus on bespoke work and care deeply about quality. I was also exposed to that early on. My mother was a designer and taught me to recognize quality in materials and construction. Over time, I built a network of people I trust, and they are central to the work. JW: You often talk about pushing clients beyond their comfort zones.

What does that mean in practice? SH: A lot of people stay with what feels familiar. That can become

limiting. My role is to show them other possibilities that are more interesting and more elevated. It is not about forcing change. It is about expanding perspective. Once clients see that, they rarely want to go back. Right: Photo by Trevor Tondro, from The Refined Home: Sheldon Harte, published by Vendome Press

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Healdsburg Photography by John Merkl Architecture: Backen and Backen, Kirby Lee Landscape Design: Claudia Schmidt

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Rancho Santa Fe

An Iconic Inn, Reimagined A classic coastal retreat, restored with elevated design, dining, and charm.

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INTERIOR DESIGN

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Situated just north of San Diego, the Inn at Rancho Santa Fe might seem far away, but it’s just a little over an hour from Newport Beach, a convenient drive for a weekend jaunt and well worth the trip. Roughly five miles from the coast, The Inn is nested in a hilltop community surrounded by eucalyptus and citrus groves. Guests enjoy a view of the surrounding landscape and, after a years-long $48 million upgrade, the first word in rustic luxury. The 1920s Spanish Re vival estate has undergone recent restorations, including five new luxury residences and villas, overseen by Steve Hermann, designer of homes for A-list celebrities, entertainment executives, and some of the wealthiest names on the Forbes top ten list. Interiors are by Nina Chiappa, who worked on hotels by Four Seasons, Ritz Carlton, and Rosewood, among many others. The rooms feature new marble fixtures and flooring in the bathrooms, floral wallpaper and a fresh coat of white paint, as well as full electrical,

AC, and heating upgrades. The lobby’s chevronpatterned wooden floor was due for a touch-up, as were its Murano glass chandeliers and sconces. Newly painted and decorated, the library includes antique and vintage volumes, and a coat of white paint to dispel the gloom. A revamp but not a modernization, the changes leave The Inn looking as country and cozy as it did when architect Lilian Rice completed it back in 1923, then called Morada. The Hollywood Reporter photographer Jimmy Frank’s black and white images of stars like Paul Newman, Muhammed Ali, Julie Andrews, and many more decorate Bing’s (named for crooner Bing Crosby), the luxurious wood-paneled bar off the lobby. There, treat yourself to the house specialty, Lilian’s Passion, made from Solento Reposado, Cointreau, passionfruit, coconut water, and pineapple foam. With your palate primed, order a bottle of Chablis, Saint Martin, Domaine LaRoche to go with dinner, which is served in Lilian’s,

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the adjacent restaurant that includes seating on the patio. There, you’ll dine on delectable dishes rooted in sustainable seafood, organic local produce, and responsibly sourced meats by recently installed Executive Chef Patrick Ponsaty, a fifth-generation French chef and Maître Cuisinier de France, one of only two master French chefs working in the San Diego area. Ponsaty’s hire is part of The Inn’s new look (which will include a chef ’s garden and honeybee garden) and rebranding of the restaurant (formerly named Morada) as Lilian’s. Originally purchased in 1906 and developed by Atchison, Topeka & Santa Fe Railroad, the land was planted with eucalyptus trees to be cultivated and used as railroad ties, a bad idea since eucalyptus is too soft to hold railroad spikes. Subsequently, they established the Santa Fe Land Improvement Company to develop a rural residential community. Architect Lilian Rice spent the better part of five years on the Rancho Santa Fe development, then went on to design more than 100 homes in San Diego County, and at least 60 homes in Rancho Santa Fe, primarily in the Spanish Revival style. A bronze likeness of Lilian occupies a grassy traffic island separating the Inn from the town. It reads: “With the thought early implanted in my mind that true beauty lies in simplicity rather than ornateness, I found real joy at Rancho Santa Fe.” The Inn at Rancho Santa Fe 5951 Linea Del Cielo Rancho Santa Fe 858.221.4000 theinnatrsf.com

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FINE ART

THE RISE OF GALLERY SONDER Contemporary Art, Collecting, and Culture in Orange County Interview by Justin Williams, Founder of Blue Door Magazine

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Page 1: Photo by Eric Stoner Artist Anthony James Threshold of the Infinite Right: White Wave, 2022 By David Spriggs Acrylic on layered plexiglass in plexiglass display case 60 x 36 x 36 in

JUSTIN: The name Sonder is beautiful and unusual.

Why that word? JOSH: The word Sonder comes from The Dictionary

In a cultural landscape often dominated by exclusivity and opacity, Gallery Sonder offers something different: openness, curiosity, and emotional resonance. Founded in 2022 by Joshua MacDonald—an art-world veteran with roots as a hands-on maker—the Corona Del Mar gallery is fast becoming a home for thoughtful dialogue and immersive contemporary art. Blue Door Magazine’s Justin Williams sat down with Josh to talk about legacy, language, and launching a gallery and a family in the same unforgettable year. JUSTIN WILLIAMS: Starting a gallery is a bold move—

especially now. What pushed you to make that leap? JOSH MACDONALD: In 20 years working in galleries, I’ve

seen the magic—and the missteps. Too often, both artists and collectors are met with exclusivity and ego. I started Gallery Sonder to change that—to create a space rooted in care, conversation, and curiosity. Moving from LA to Orange County, I saw a hunger for boundary-pushing art without the pretense. That’s what we’re building here— an inspiring, inclusive space for innovative contemporary work, just a little closer to home.

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of Obscure Sorrows. It’s the realization that everyone around you has a complex inner life, and we’ll never truly understand one another until we share our unique stories. That concept resonated with me deeply—because that’s what art does. It lets us peek into someone else’s world. The gallery’s name and branding reflect that. Unlike many galleries that are named after the founder, I didn’t want Gallery Sonder to be about me. It’s about creating a space for artists’ stories and inviting connection. JUSTIN: You began your career in a foundry. How did that

shape your understanding of art? JOSH: Those early years working in a foundry grounded

me. There’s something humbling about building with your hands in a creative space with dozens of artists all working toward a goal of realizing a vision. That experience gave me such respect for the labor behind the art, and a deep appreciation for process. Now, when I walk into a studio or a gallery, I’m seeing art through a constellation of perspectives—as a former maker, as a gallerist, as a collector, and most of all, someone who believes in the legacy of this field. I often say I see myself as a custodian—someone contributing to the historical footprint of artists and their legacies. However big or small my impact, I take that responsibility seriously.

FINE ART

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FINE ART

Photo by Yubo Dong Artists left to right: Susan Maddoux & Pilar Wiley, Sheng Lor

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FINE ART

JUSTIN: How do you know when an artist’s work belongs in

the gallery? And how do you guide collectors—especially new ones? JOSH: For me, it always starts with a feeling—it’s visceral.

I have always trusted my instincts when it comes to collecting. My wife and I tend to collect around themes of memory and identity. We’re at a point in our lives where we’re lucky enough to recognize that these are the good old days—fleeting moments—and we tend to collect pieces that evoke a kind of nostalgia. They anchor us and help us hold onto what matters. I help collectors find what resonates for them, too—whether it’s emotional, aesthetic, or conceptual. Great art reflects something back at you, and my role is helping people recognize and trust that feeling. JUSTIN: The art world can feel exclusive. How do you

approach accessibility? JOSH: Exclusivity is still a majorbarrier in the art world—

not just in pricing, but also in atmosphere and language. At Gallery Sonder, accessibility is something we build from every angle. From a collector’s standpoint, it means being radically transparent about pricing. One of the most common misconceptions among new collectors is that all art is unattainable. Our job is to help people find something that speaks to them and fits where they are in their collecting journey. From a spatial standpoint, we want people to feel welcome the moment they walk in. Our doors are open, the music is playing, someone is there to greet you and answer your questions—whether you’re a seasoned collector or just wandered in because some-thing caught your eye. We meet people where they are, speak about the work in human terms, and make sure every visitor walks out knowing something new.

Left: Photo by Yubo Dong Installation view of After The Dust Settles Ruben Benjamins solo exhibition Gallery Sonder

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FINE ART

Left: Candy Paint, 2025 Theo Hirschfield Ceramic, glaze 18.5 x 10.5 x 10.5in

JUSTIN: What does it mean to run a gallery in 2025? JOSH: In 2025, we’velost many “third spaces”—libraries,

museums, places to slow down, connect, and reflect. Galleries can reclaim that. Especially in a world now dominated by AI and digital filters, there’s something old-school and wonderful about putting brush to canvas. Something ground- ing about standing in front of that canvas— seeing how an artist poured their time, their emotion, their perspective into it. You just can’t replicate that digitally, and I don’t think we should try to. That in-person experience can feel sacred, and that’s the role I want Gallery Sonder to play. JUSTIN: You became a father the same year you launched

Gallery Sonder. Has that changed how you think about art— or legacy? JOSH: I mean, ofcourse. Becominga dad just makes

everything more vivid. Watching my daughter discover the world reminds me to slow down and do the same. I’m also pain- fully aware of how quickly time is moving, and desperate to hit pause. That’s what art does, too—it captures moments before they slip away.

Joshua MacDonald Gallery Sonder 3435 E Coast Highway Corona Del Mar 949.662.0077 gallerysonder.com

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TIDELLI OUTDOOR LIVING

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Brazilian artistry, made for the outdoors

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Tidelli Outdoor Living understands what Coa sta l Orang e Count y residents have long embraced: the best moments are often spent outside. Renowned for its beautifully crafted luxury furnishings, the Brazilian brand transforms patios, terraces, gardens, and poolside retreats into sophisticated extensions of the home.

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In a region defined by sunshine, ocean breezes, and an effortless indoor-outdoor lifestyle, thoughtfully designed outdoor spaces have become essential places to gather, entertain, and unwind. Tidelli’s distinctive blend of craftsmanship, comfort, and timeless design celebrates a way of living that is both elegant and relaxed. From intimate garden settings to expansive coastal retreats, these spaces capture the spirit of summer in Coastal Orange County—where outdoor living is more than a season; it’s a way of life.

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Tidelli Outdoor Living 7876 East Coast Highway Newport Coast 949.715.0604 tidelli.com

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BRAND-NEW COASTAL MODERN 209 NARCISSUS AVENUE | CORONA DEL MAR 4 BED | 6 BATH | 2,948 SF LISTED AT $9,995,000

Welcome to 209 Narcissus, a brand-new coastal modern residence by EBTA Architects and PXG Development in the heart of Corona del Mar’s Flower Streets. Spanning approximately 2,948 square feet, the home offers four ensuite bedrooms, two full and two half baths, an elevator to all three levels, and an attached two-car garage. Enjoy Catalina and ocean views from the elevated patio and upper deck, all just steps from Big Corona Beach, Lookout Point, and the Village. With completion expected July 2026, buyers have a rare opportunity to personalize finishes and create a home tailored to their vision.

JON FLAGG Luxury Property Specialist 949.533.7878 Jon@FlaggRealEstate.com jonflagg.com | DRE# 01316048 Each Office is independently owned & operated. DRE 01767484

CURRENT LISTINGS

2952 QUEDADA | $2,050,000 4 BED | 3 BATH | 2,096 SF

120 VIA TRIESTE | $5,850,000 5 BED | 5 BATH | 3,671 SF

2921 SETTING SUN | $3,999,000 5 BED | 4 BATH | 3,336 SF

3209 CLAY | $2,695,000 6 BED | 4 BATH | 2,624 SF

1515 ELECTRIC AVENUE | $1,995,000 3 BED | 3 BATH | 2,002 SF | 3,920 SF LOT

JON FLAGG Luxury Property Specialist 949.533.7878 Jon@FlaggRealEstate.com jonflagg.com | DRE# 01316048 Each Office is independently owned and operated. DRE #01767484.

31511 West Street | Laguna Beach Presented by Mike Johnson Offered at $4,995,000

245 Crescent Bay Drive | Laguna Beach Presented by Mike Johnson Offered at $18,500,000

32091 Coast Hwy | Laguna Beach Presented by Mike Johnson Offered at $15,995,000

31272 Ceanothus Drive | Laguna Beach Offered at $3,700,000 Presented by Mike Johnson

252 Chiquita Street | Laguna Beach Presented by Mike Johnson Offered at $3,395,000

247 Calliope Street | Laguna Beach Presented by Kristine Flynn Offered at $1,599,999

1884 Del Mar | Laguna Beach Presented by Mike Johnson Offered at $2,375,000

Paulo Prietto DRE 01878796 | Kristine Flynn DRE 02063127 Andrew Graff DRE 02024856 | Tara Bunker DRE 01827846 Sylvia Ames DRE 02021418 | Mike Johnson DRE 01429647 Co m p a s s i s a r e a l e s t a t e b r o ke r l i c e n s e d by t h e S t a t e o f Ca l i f o r n i a a n d a b i d e s by i n f o r m a t i o n a l p u r p o s e s o n l y. I n f o r m a t i o n i s c o m p i l e d f r o m s o u r c e s d e e m e d r e l i a b l e b u t

1920 Ocean Way | Laguna Beach Presented by Kristine Flynn Offered at $45,000/month @ALCOVE_COLLECTIVE

949.207.3735

ALCOVE-COLLECTIVE.COM Equal Housing Opportunity laws . DRE 01991628 . All material presented herein is intended for is subject to errors, omissions, changes in price, condition, sale or withdrawal without notice.

ACTIVE LISTINGS

NEW CONSTRUCTION EST COMPLETION JUNE 2026

1105 N BAY FRONT | NEWPORT BEACH | $13,995,000

PRICE REDUCED

701 KINGS ROAD | NEWPORT BEACH | $7,995,000

101 KINGS PLACE | NEWPORT BEACH | $5,249,000

TIM CARR 949.631.9999 | TIM@TIMCARRGROUP.COM TIMCARRGROUP.COM | DRE 01017277 FACEBOOK.COM/TIMCARRGROUP |

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FINE ART

LACMA’S NEW HORIZON A bold new chapter for art, architecture, and Southern California culture.

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After years of anticipation, the David Geffen Galleries have opened at LACMA, unveiling one of the most significant cultural and architectural projects in Southern California in decades. Designed by Pritzker Prize-winning architect Peter Zumthor, the $750 million building replaces the traditional museum model with a single elevated exhibition floor stretching across Wilshire Boulevard. Wrapped in glass and flooded with natural light, the galleries place Los Angeles itself at the center of the experience. Views of the city, the La Brea Tar Pits, and the surrounding landscape become part of the exhibition, while a non-linear layout encourages visitors to discover unexpected connections across cultures, eras, and artistic movements. For Orange County audiences, the museum also highlights the enduring influence of John Baldessari and Robert Irwin, whose ties to UC Irvine helped shape the trajectory of contemporary art in Southern California. Bold, transparent, and distinctly Californian, the new LACMA offers a fresh perspective on how art is experienced in the 21st century.

LACMA 5905 Wilshire Boulevard Los Angeles LACMA.org

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FARNEAR

A GLOBAL DESIGN PERSPECTIVE Justin Jia blends Eastern discipline with Western openness in a cross-cultural approach to California design.

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INTERIOR DESIGN

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Justin Jia does not talk about design in terms of style alone. For him, it is a way of thinking, a system of working, and a bridge between cultures. As the founder of FARNEAR Design, Jia brings a perspective shaped by his success in China and his decision to start again in the United States. His work reflects a deliberate balance. It draws from the calm structure and discipline of Chinese spatial planning while embracing the openness, light, and natural ease of California living. The name FARNEAR captures that intention. Jia describes it simply. The work comes from afar, but it is meant to feel close. Close to the client, close to the environment, and grounded in a sense of personal connection. It is less about importing a style and more about creating a dialogue between places. That dialogue shows up in the details. Natural materials like wood and stone are paired with restrained lines. Spaces feel intentional but not rigid. Cultural references are present, though never overstated. The goal is clarity, not excess. Jia built his reputation in China as an award-winning designer, but expanding into the U.S. was not about extending that success. It was about testing it. He saw an opportunity in a market that values individuality and creative expression but operates within a very different framework. “Design has no borders,” Jia says. “But culture and process do.” Starting over in a new country required a shift in mindset. Titles and past achievements carried less weight. 74

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What mattered was the ability to adapt. Jia approached the transition with a willingness to reset, focusing on what made his work distinct rather than what had defined it before. One of the most immediate contrasts was pace. In China, projects move quickly, supported by tightly integrated systems. In the U.S., timelines are shaped by permitting, sourcing, and layered regulations. The process is slower, more procedural, and often more fragmented. Rather than resist that difference, Jia leaned into it. FARNEAR’s approach combines the efficiency of its Chinese foundation with the requirements of the U.S. market. The result is a hybrid model that prioritizes both speed and compliance. That balance became clear early on. The firm completed its Laguna Beach studio in just one month, a timeline that stands out in a local context. It was not simply about working faster. It reflected a coordinated system of design, sourcing, and execution that Jia continues to refine. Cultural differences extended beyond workflow. Jia notes that communication styles also required adjustment. In China, collaboration often centers on collective efficiency. In the U.S., there is a stronger emphasis on individual perspective and procedural fairness. Learning to navigate that shift meant slowing down, listening more carefully, and building trust through clarity. It is a quieter form of progress, but one that has shaped how FARNEAR operates today.

Justin Jia FARNEAR DESIGN 1205 North Coast Highway Laguna Beach justin@farneardesign.com farneardesign.com

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INTERIOR DESIGN

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INTERIOR DESIGN

At the core of Jia’s philosophy are three ideas he returns to often. Design going global. Quality going global. Industry going global. For Jia, design going global means sharing a point of view, not just an aesthetic. Quality going global is about maintaining standards across markets, from materials to execution. Industry going global speaks to something broader, the creation of partnerships and systems that connect resources across borders. These ideas are not abstract. They inform how FARNEAR approaches each project, from concept through completion. Looking ahead, Jia is drawn to what he describes as quiet luxury and sustainable minimalism. The focus is on craftsmanship, material integrity, and restraint. Spaces are layered with texture and meaning, but never overdesigned. The intention is to create environments that feel considered and lasting. For designers considering a similar path, Jia’s advice is direct. Be willing to start over. Let go of assumptions. And resist the urge to simply export familiar symbols. True global design, he believes, comes from understanding context and building something that belongs within it. In many ways, Jia’s work reflects that principle. It is not about where the design comes from, but how it connects. BlueDoorMagazine.com

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COASTAL LUXURY OCEAN RESPONSIBILITY

Laguna Beach hotels align with Surfrider’s mission

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Perched above the Pacific with uninterrupted views of Laguna’s coves, Casa Loma Beach Hotel has long drawn guests for its setting. Just down the coast, Laguna Beach House captures the town’s creative spirit only steps from the sand. Now, both properties are defining what refined coastal hospitality looks like in 2026 — pairing design-forward comfort with measurable environmental responsibility. In early 2025, Casa Loma Beach Hotel and Laguna Beach House officially joined the Surfrider Foundation as Ocean Friendly Hotels, aligning with the nonprofit’s mission to protect the world’s oceans, waves, and beaches. The designation requires meaningful operational standards: eliminating single-use plastic bottles and expanded polystyrene, removing mini toiletry bottles, providing water refill stations, supporting proper recycling systems, and ensuring that foodware is reusable or made from natural materials. For guests, the experience remains seamless. The difference is intentionality—thoughtful systems

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working behind the scenes to reduce plastic waste and support clean water and coastal preservation. Both hotels are part of Marc & Rose Hospitality, a collection known for restoring distinctive properties in ways that honor their surroundings. Their Surfrider partnership in Laguna Beach helped inspire sister properties in Carmel-by-theSea to follow suit, extending this model of oceanconscious luxury along California’s coastline. Casa Loma Beach Hotel 211 North Coast Highway Laguna Beach 800.544.4479 casalomabeachhotel.com Laguna Beach House 475 North Coast Highway Laguna Beach 800.297.0007 thelagunabeachhouse.com

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ON THE SUMMER WIND A 10,000 square foot Lido Island residence, completed in 14 months and ready for the summer that made it all worthwhile.

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CUSTOM HOMES

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CUSTOM HOMES

Most homes of this scale take years. This one took just 14 months. On Lido Island, a nearly 10,000-square-foot waterfront residence was designed and built from the ground up in just over a year. Nothing was compromised. The materials, the craftsmanship, and the finish all hold to the highest standard throughout. That kind of timeline doesn’t happen by accident. Builder Mike Reeves of Corbin Reeves Construction, interior designer Rona Graff of Grace Blu, and architect Robert Sinclair were brought together by a highly experienced homeowner. Someone who understands how projects like this actually get done, and who knows how to make the right calls, drawing on experience at the highest level. That was the difference. Graff had worked with the client before. So had Sinclair. Reeves was brought in for his ability to deliver sophisticated, challenging custom homes at the highest level. From the outset, everyone understood the pace. BlueDoorMagazine.com

Weekly site meetings kept things tight. Questions were addressed as they came up. Decisions were made in real time, and the work kept moving. “I was very fortunate to work again with the owner,” says Sinclair. “He understands both design and construction. He can step into any role when needed and move things forward immediately.” Graff approached the project from a place of familiarity. “I already knew how he lived,” she says. “How he entertains, how he uses space, what matters to him.” That allowed her to shape more than just the interiors. The layout, the way you move through the home, and the balance between open entertaining spaces and quieter rooms were all considered early and carried through. There’s a structure to the design. Something grounded, but never heavy. Materials were chosen for how they age and how they feel to live with. Wood, stone, plaster. Nothing ornamental. Everything has a purpose. The house is built around use. The waterfront side opens up for entertaining, with the bar, pool, and cabana naturally pulling people outside. On the opposite side, the spaces are more contained and flexible, able to expand when needed or stay quiet. “It’s almost like a hospitality environment,” Graff says. “There’s a front of house and a back of house. Everything works behind the scenes.” For Reeves, the challenge wasn’t complexity. It was time. “It was like 14 months,” he says. From the start, he knew what that meant. 88

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CUSTOM HOMES

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“We can build it fast if we have the righ the approvals, the selections. Everything Reeves. “On this project, it was.”

The job required constant coordination. T were ordered early and pushed through q people were working on site, moving thr Lido Island.

“It was pretty busy,” Reeves says. “You’d your way through like it was a Miami nig

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CUSTOM HOMES

ht information. The design, g has to be decided,” shares

That pace only works with the right mindset.

Trades overlapped. Materials quickly. At times, nearly 100 rough the tight footprint of

“The difference between 14 months and 18 months is four months. That’s a summer,” he adds. And that mattered.

d walk in and have to weave ghtclub.”

“The time was more important than the money,” he says. “We essentially bought a schedule.” There was a reason for that.

The finished home reflects those decisions. The outdoor cabana anchors the social life of the house. The office is more enclosed and personal, offering contrast to the openness of the waterfront. The main entertaining space, known as “Bobby O’s,” opens completely to the pool deck, erasing the line between inside and out.

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Even the smaller details were considered. Custom elements tie back to the client’s life in subtle ways. Materials were selected for how they would hold up over time, not just how they photograph. “It was the quickest build and one of the best homes in my career… because of this team,” says Sinclair. “It ran smooth as silk. It takes a village.” That’s really what this comes down to. The right people. The right client. And the ability to keep moving without hesitation. The result is a home that was ready when it mattered—just in time for the summer it was meant to be lived in.

Corbin Reeves Construction 245 Fischer Ave, Suite A1 Costa Mesa, CA 714.540.3700 info@corbinreeves.com corbinreevesconstruction.com Grace Blue Interior Design 151 Kalmus Dr, H-11 Costa Mesa, CA 714.549.7770 graceblu.com Robert Sinclair Architects 310.849.4966 rsinclair@sinclairaia.com sinclairaia.com

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MATISSE’S FEMME AU CHAPEAU A Modern Scandal

The painting that shocked Paris in 1905 hasn’t moved since 1935.

Right: Henri Matisse, Femme au chapeau (Woman with a Hat), 1905 San Francisco Museum of Modern Art, bequest of Elise B. Haas © 2026 Succession H. Matisse Artists Rights Society (ARS), New York Photo: Glen Cheriton for SFMOMA

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FINE ART

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On view through September 13, 2026, the exhibition opens with a re-creation of Gallery VII from the 1905 Salon d’Automne, where all ten artists from the original hanging are represented. It was that room that prompted critic Louis Vauxcelles to coin the term fauve, meaning wild beasts, in his October 17, 1905 review in Gil Blas.

Left: Henri Manguin, Jeanne sur le balcon de la Villa Demiere, 1905 Private collection © 2026 Henri Manguin / Artists Rights Society (ARS), New York Photo: © Fabrice Lepeltier Right: Henri Matisse, Open Window, Collioure, 1905 The National Gallery of Art, collection of Mr. and Mrs. John Hay Whitney © 2026 Succession H. Matisse / Artists Rights Society (ARS), New York

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The show traces the full arc of the painting’s life: from Amélie Matisse, the professional hat-maker who was its subject, to the Left Bank apartment of Leo and Gertrude Stein, who bought it on the final day of the 1905 Salon, to San Francisco, where Michael and Sarah Stein brought it in 1935. It closes with the artists it shaped, including Joan Brown, Richard Diebenkorn, David Park, David Hockney, and Rachel Harrison.

SFMOMA 151 Third Street San Francisco, CA sfmoma.org

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REVEILLE THE ART OF THE “WAKE-UP CALL”

When Blue Door Magazine sits down with Brenda Springer, it doesn’t feel like a formal interview. There’s an ease to her—a genuine presence that makes the conversation feel natural and unforced. It’s a simple but meaningful gift: she listens closely, responds thoughtfully, and makes you feel as though you’ve known her far longer than you have. It’s one of her many gifts: the ability to connect with a person and the subject. She has the profound ability to gently guide the dialogue somewhere meaningful and inspire you along the way. Sixteen years ago, Brenda founded Reveille—a name inspired by the French morning call to rise. It felt right then. It feels even more right now. What began during a recession—while she was relocating from Europe and navigating young motherhood largely on her own— has become one of Orange County’s most respected full-service advertising and communications firms. But the story of Reveille isn’t just about growth. It’s about strategy, creativity, execution, and a very human belief that business is ultimately about people. When Brenda Springer launched Reveille in 2010, the economy was still in recession, and she remembers thinking, “This might be crazy.” She launched the business and then moved to Europe, building the firm during its first year while living abroad. During that time, she worked with both European and U.S. companies. After a year overseas, Brenda returned to the United States to continue growing the business. She recognized that economic uncertainty can force demand. Brands still need experienced strategic guidance— sometimes even more than before. She didn’t want to build a transactional PR shop. She wanted an integrated agency—one that Photo Credit: Matt Morgan 100

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could handle not just public relations, but a more dynamic offering of advertising, creative, and social media under one roof—doing all of it well, so clients didn’t have to piece together their story across multiple firms. Brenda had worked for a Frenchman for years and fallen in love with the culture—the creativity, the edge, the way the French approach life and work. When she returned to Orange County after working globally, she felt something was missing. “Orange County felt a little sleepy,” she says. “I wanted to bring energy—global thinking—so companies didn’t have to go to New York or LA to find it.” That creative instinct had been there long before Reveille.

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In her early twenties at the LA Mission, Brenda saw a Thanksgiving event that lacked structure and intention. Rather than accept it, she started asking questions—calling celebrity publicists, learning how to build green rooms, understanding what talent needed to feel respected and protected. The event evolved into something media-worthy and purposeful. Soon after, brands began calling with larger ideas—including the now-legendary “world’s largest bowl of mashed potatoes,” where a winery vat large enough to feed thousands turned into a national moment. It was a team effort to source it including the logistics, vision, and storytelling all coming together. Photos Above: The HOPE exhibit at South Coast Plaza’s Jewel Court featuring immersive blue bells and handwritten tags 104

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Over the last 16 years, that same blend of strategy and creativity has translated into substantive work.

HUMAN INTEREST

Reveille played the communications leadership role in the opening of a $2 billion cancer hospital for City of Hope. The work required not only messaging discipline, but also deep sensitivity and a bold creative approach. It went beyond PR—touching brand, advertising, and communications at every level. Brenda describes walking through Florence, Italy, years earlier and seeing an installation in a public square—simple cloths tied together in remembrance. That image stayed with her. Years later, it informed the “HOPE” letter installation at South Coast Plaza, where survivors and families tied tags and bells in tribute and celebration. A father who survived stage four cancer stood with his daughters as they wrote notes and tied them onto the structure. That moment, she says, is what branding is really about—creating something emotional,

visible, and deeply resonating. The firm has also guided major real estate developments from entitlement through ribbon- cutting—shaping narrative early, sustaining momentum through complex approval processes, and ensuring that when doors finally open, the public understands not just what was built, but why it matters. Brenda sees even commercial development through a deeper lens: not simply a project, but a future community where people will gather, live, and build memories. Her time working globally also included large-scale philanthropic and sustainability efforts—from rebuilding sections of New Orleans in partnership with Global Green to aligning brands BlueDoorMagazine.com

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with meaningful environmental commitments. Those experiences reinforced something she says often: strategy must come first, creativity second— and when those two align, the work resonates. Brenda describes herself as a reluctant entrepreneur, though her instincts tell another story. At ten years old, she was organizing neighborhood clubs with a three-ring binder and sewing Bermuda shorts to sell each summer. But watching her father shoulder the stress of business ownership made her hesitant to follow the same path. Brenda says, “However, he was instrumental in demonstrating that resilience in business is worth it because when you get to do what you love every day, you never work a day in your life. And, that is worth all of the grit necessary to owning a business. He has helped encourage me to grow.” Reveille didn’t grow slowly at the start. Companies began calling almost immediately—even while Brenda was still living abroad. She reinvested everything back into the firm. “I invested in people,” she says. At the same time, her personal life demanded resilience. During the time she was married, she was effectively raising her children on her own while her husband was taking military contracts overseas. Reveille gave her renewed purpose. It also forced clarity: “My strength is strategy,” she says. She understands media mechanics, but her real gift lies in seeing the deeper story and aligning leadership around it. Once she recognized that, she began hiring intentionally—building teams that could execute while she set the direction. From the beginning , Brenda knew Reveille could not remain just a PR agency. It had to be integrated. Today, she says, one of the firm’s greatest strengths is its advertising and creative capability—something she deliberately built quietly until the structure and talent were fully in place. “I didn’t want to talk about it until we truly mastered it,” she says. Her guiding principle

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has remained constant since she was 19: tell stories that move people toward something good. “That’s been my guidepost,” she emphasizes. Whether working with healthcare institutions, commercial real estate developers, hospitality brands, or nonprofit organizations, the work is about more than visibility. It is about alignment and long-term growth. As a 100% owner of her business, Brenda has been equally intentional about culture. “You have to be good to people,” she says simply. She shares success when she can. She hires with her core values in mind—hungry, humble, open-minded, smart (and fun)—and promotes the culture that fuels the work. Looking ahead, she views the first 15 years as foundation. “I feel like I spent the first 15 learning how to run a business,” she says. “My clients never suffered from that—I did. But we always delivered good work.” Recently, the firm made a large investment in its creative department by hiring a seasoned executive creative director to lead their expanding team. It’s by far the largest hire in its history—signaling readiness for the next chapter. “We love Orange County. We’ll never abandon it,” Brenda says. “Yet we are excited by the energy that comes from our team of 30 with experience across national and global brands. That creative momentum is fueling partnerships with inspiring brands across the country and we’re ready for it.” Sixteen years in, Reveille remains what it was always meant to be. A wake-up call. Reveille Inc. 3080 Bristol Suite 390 Costa Mesa 949.629.3239 reveilleinc.com

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COASTAL INDULGENCE Bouchée brings a touch of French baking to everyday life in Laguna Beach

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Bouchée at Montage Laguna Beach is the kind of place you find yourself returning to without overthinking it. Set just above the ocean, the charming bakery draws in both hotel guests and locals looking for something classic and well-made. In the morning, it’s the smell of fresh croissants and coffee. Later in the day, it becomes an easy stop for something sweet or a light bite before heading back to the beach. Executive Pastry Chef Lee Smith leads the kitchen, bringing years of experience from Michelinstarred restaurants and top hotels. That level of training shows, but it never feels intimidating. The focus is on quality, consistency, and getting the classics right. The menu covers everything you want throughout the day. Flaky croissants, baguette sandwiches made fresh, and pastries that feel familiar but elevated. A kouign-amann with your morning coffee, or a pistachio choux or chocolate torte in the afternoon. Each offering reflects the meaning of bouchée, the French word for “a mouthful,” something small, complete, and meant to be savored. More than anything, Bouchée fits into the rhythm of Laguna Beach. It’s a place to grab something for a picnic, sit with an espresso, or take a break and enjoy where you are. Classic, thoughtful, and easy to return to. Bouchée 30801 South Coast Highway Laguna Beach, CA 92651 949.715.6626 montage.com/lagunabeach/dining/bouchee BlueDoorMagazine.com

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FROM THE AGENT: “A rare expression of refined coastal living, 3501 Sausalito pairs fully reimagined single-level design with breathtaking panoramic views of the Pacific, Catalina, and Newport Harbor. Sophisticated yet effortless, it offers the ease, beauty, and exclusivity that define one of Corona del Mar’s most coveted lifestyles.” RUBY WANG & MICHAEL BALLIET 949.742.5897 | 949.566.3801 ruby@daftariangroup.com | michael@daftariangroup.com ballietwangrealestate.com 112

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FEATURED PROPERTIES

PROPERTY DESCRIPTION: 3501 Sausalito Drive, Corona Del Mar, CA 1,900 sq ft | $7,380,000 PROPERTY HIGHLIGHTS: Perched on a premier corner parcel in the coveted Harbor View Hills South community, 3501 Sausalito offers fully reimagined single-level living with sweeping panoramic coastal views. Thoughtfully redesigned with a refined coastal modern aesthetic, the residence blends elevated materials, clean lines, and light-filled interiors with effortless indoor-outdoor living, while the kitchen captures extraordinary views stretching from San Clemente and Catalina Islands to Newport Harbor and the Pacific Ocean beyond. Designed with no interior steps, the home offers ease, flexibility, and long-term comfort just moments from CDM Village, Fashion Island, world-class beaches, and top-rated schools. BlueDoorMagazine.com

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FROM THE AGENT: “Properties offering true live/work flexibility in Cannery Village are exceptionally limited. This residence stands out for its modern design, versatile layout, and proximity to the waterfront, delivering a unique opportunity to experience one of Newport Beach’s most vibrant coastal neighborhoods.” TIM CARR | 949-631-9999 tim@timcarrgroup.com timcarrgroup.com 114

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FEATURED PROPERTIES

PROPERTY DESCRIPTION: 3517 30th Street, Newport Beach, CA 2,511 sq ft | $4,395,000 PROPERTY HIGHLIGHTS: Located in the heart of Cannery Village on the Balboa Peninsula, this modern live/work loft blends award-winning design with exceptional versatility. Floor-toceiling glass and bi-fold doors open to four private decks with partial bay views and coastal breezes, while the flexible commercial space below offers ideal potential for an office, studio, or income-producing use. Offered fee simple with no HOA, the property combines contemporary design and functionality just moments from the boutiques, restaurants, waterfront, and beaches surrounding Lido Village. Square footage is approximate and deemed reliable but not guaranteed. Buyers should independently verify if material to their purchase decision.

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FROM THE AGENT: “What sets this home apart is its combination of usable outdoor space and panoramic views—Kings Road is one of the most sought-after streets in the area, offering a compelling opportunity to enjoy privacy, elevation, and a true connection to the coast.”

TIM CARR | 949-631-9999 tim@timcarrgroup.com timcarrgroup.com 116

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FEATURED PROPERTIES

PROPERTY DESCRIPTION: 701 Kings Road, Newport Beach, CA 4,264 sq ft | $7,995,000 PROPERTY HIGHLIGHTS: Elevated above Newport Harbor, this residence captures sweeping panoramic views of Lido Isle and the coastline beyond. Vaulted ceilings and walls of glass open to a view deck, creating seamless indoor-outdoor living. The private primary suite occupies its own level, while the grounds offer a spa, multiple lounge areas, a usable lower yard, and a putting green—an uncommon blend of space and scenery. Square footage is approximate and deemed reliable but not guaranteed. Buyers should independently verify if material to their purchase decision.

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FROM THE AGENT: “From its premier tip-of-the-isle location to the private dock and panoramic harbor views, this home captures the essence of Lido Isle living— effortlessly blending comfort, style, and an unbeatable waterfront lifestyle.”

JON FLAGG | 949.533.7878 jon@flaggrealestate.com jonflagg.com 118

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FEATURED PROPERTIES

PROPERTY DESCRIPTION: 704 Via Lido Nord, Newport Beach, CA 3,174 sq ft | $18,250,000 PROPERTY HIGHLIGHTS: Positioned on the coveted eastern tip of Lido Isle, 704 Via Lido Nord offers 180-degree harbor views and 35 feet of prime bay frontage along the Nord channel. Recently updated with refined finishes, Fleetwood windows, and automated shades, the nearly 3,200-square-foot residence blends open-concept living with seamless indooroutdoor flow, featuring a gourmet kitchen, waterfront deck with private dock for two vessels, and a primary suite with sweeping harbor views and a spa-inspired bath. Just moments from Lido Marina Village and exclusive island amenities, the home captures the essence of elevated coastal living. BlueDoorMagazine.com

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CORONA DEL MAR

COLLECTION 2026 LUXURY

949.702.7047 CASEY@CASEYLESHER.COM CASEYLESHER.COM DRE 01795953 Christie’s International Real Estate Southern California is a real estate broker licensed by the State of California and abides by Equal Housing Opportunity laws. License Number 01527644. All material presented herein is intended for informational purposes only and is compiled from sources deemed reliable but has not been verified. Changes in price, condition, sale or withdrawal may be made without notice. No statement is made as to the accuracy of any description. All measurements and square footage are approximate. If your property is currently listed for sale this is not a solicitation.

1231 DOLPHIN CORONA DEL MAR

$21,995,000

4 Bedrooms | 5 Full Bathrooms | 2 Half Bathrooms | 6,232 SqFt Home Front-row views of Newport Harbor, Balboa Island, the Pacific Ocean, and Catalina Island

3150 BREAKERS CORONA DEL MAR

$9,995,000

5 Bedrooms | 4 Bathrooms | 4,801 SF home A rare breathtaking vantage points along the beach

2804 OCEAN CORONA DEL MAR

$21,000,000

4 Bedrooms | 4.5 Bathrooms | 4,486 SqFt Home 191 Ft of Ocean Blvd frontage

PERCHED ABOVE THE PACIFIC’S ENDLESS BLUE,

discover a refined dining experience inspired by the spirit of the Mediterranean.

St udio m edi t er r a n e a n at mon tage l agu na be ach mon tage.com | (9 49) 715- 6 0 0 0