Architectural_Digest_USA__July_2017

THE INTERNATIONAL DESIGN AUTHORITY JULY 2017

COUNTRY HOUSES, WEEKEND GETAWAYS

FANTASY ISLAND FAITH HILL & TIM McGRAW’S PRIVATE PARADISE

THE ROTHSCHILDS’ ALPINE RETREAT BOHO CHIC IN THE HAMPTONS A ZEN GARDEN IN THE PACIFIC NORTHWEST

PLAYFUL AND PROLIFIC THE OUTRAGEOUS DESIGNS OF STUDIO JOB

CONTENTS july

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OUTSIDE A HUNTING LODGE IN AUSTRIA’S STYRIAN ALPS.

Features 76 ON POINT

A storied beach house on Long Island’s East End mixes a taste for the classics with globe-trotting vision.

The dancers’ lounge for American Ballet Theatre has been transformed into a triumphant tour de force.

By Jennifer Ash Rudick

By Sam Cochran

52 IN HARMONY

On their own private island in the Bahamas, Faith Hill and Tim McGraw create the perfect escape. By Lauren Waterman 62 HOME RUN

Fashion designer Jonathan Anderson follows his material obsessions into a new realm.

By Hannah Martin

66 WHERE THE WILD THINGS ARE

Wrapped in forest and herds of deer, a Rothschild hunting lodge in Austria remains a beloved family retreat. By Nancy Hoguet

80 MAKING HIS MARK

Star Tokyo architect Kengo Kuma plants his flag in the United States with a new cultural complex for the Portland Japanese Garden.

By Brian Libby

84 THE FAST & THE FURIOUS

As the insatiable design world demands more, more, more, the provocative Belgian-Dutch duo Studio Job delivers.

By Hannah Martin

Work and play blend seamlessly in Sarah and Austin Harrelson’s art-filled, high-style, familyfriendly Miami Beach home.

(CONTINUED ON PAGE 6)

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ON THE COVER (NEWSSTANDS) FAITH HILL AND TIM MCGRAW AT THEIR BAHAMAS GETAWAY. “IN HARMONY,” PAGE 52.

PHOTOGRAPHY BY WILLIAM ABRANOWICZ. STYLED BY ANITA SARSIDI.

88 ARTFUL LIVING

By Michael Slenske

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ON THE COVER (SUBSCRIBERS) A PATTERNFILLED BEDROOM ON LONG ISLAND, NEW YORK. “SEASIDE BOHEMIA,” PAGE 36. PHOTOGRAPHY BY TRIA GIOVAN.

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TOP: RICARDO LABOUGLE

36 SEASIDE BOHEMIA

CONTENTS july Discoveries 17 SHOPPING: MEN’S WARE

A playful new dinner service from Hermès revives the wild micro-graphics that long adorned its exuberant neckties.

Produced by Parker Bowie Larson

18 DEBUT: TAILOR MADE

Badgley Mischka’s homefurnishings collection packs a glamorous punch.

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THE ENTRANCE HALL IN A HOUSE ON LONG ISLAND’S EAST END.

By Mitchell Owens

22 TRAVELS: MAKING WAVES

A blockbuster festival transforms a blissful stretch of the Côte d’Azur into a seasonal showcase for the cutting edge.

By Hannah Martin

24 ARTISAN: ONCE UPON A TIME

In today’s digitized world, the clock as an objet d’art carries with it an air of intrigue and old-world romance.

By Jane Keltner de Valle

In Every Issue 10 EDITOR’S LETTER

By Amy Astley

12 OBJECT LESSON: PAPER CHASE

The eternal glow of Isamu Noguchi’s fragile lanterns.

By Hannah Martin

96 LAST WORD: MOLTO BENE

84

QUACK RUG BY STUDIO JOB FOR NODUS.

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FROM TOP: TRIA GIOVAN; COURTESY OF STUDIO JOB

A pair of islands in Lake Maggiore boast luxuriant gardens that have been adored for centuries. By Sam Cochran

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editor’s letter

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BEFORE

1. THE NEWLY RENOVATED DANCERS’ LOUNGE FOR AMERICAN BALLET THEATRE. 2. MASTERMIND DAN FINK, CENTER, WITH ABT STARS. 3. THE DANCERS’ LOUNGE AS IT LOOKED FOR DECADES, PRE-MAKEOVER. 4. UNVEILING THE NEW LOUNGE WITH DESIGNER DAN FINK, WHO SOURCED ALL THE VINTAGE DANCE IMAGES HIMSELF FROM THE ABT ARCHIVES.

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Ballet is the reason I live in New York City. I fell in love with the Big Apple when I first arrived here as a Midwestern kid training in dance, and although I long ago hung up my pointe shoes (and never was talented enough to realize a professional career), I have remained an avid fan and supporter of this most ephemeral art. When the dynamic new executive director of American Ballet Theatre, Kara Medoff Barnett, showed me the frankly shabby lounge her world-class troupe called home during their grueling rehearsal days, my makeover antennae started to quiver, and I thrilled at the prospect of giving back to one of our city’s (and country’s) leading arts organizations. In AD100 designer Dan Fink I found the perfect partner. Dan, who works a great deal on the West Coast for various tech titans, is a passionate ballet fan and volunteered four months of his time to ingeniously overhaul the grubby space. An anonymous ABT donor covered construction costs, and several of AD’s partners generously gifted merchandise for this major undertaking: Century Furniture and Circa Lighting both offered up many gorgeous pieces from lines designed by Thomas O’Brien, who is Dan’s husband, and the upholstery is all super-durable performance Sunbrella fabric, which can stand up to 100 sweaty dancers! The paint is Farrow & Ball, the window shades are Hunter Douglas, the rugs are Crosby Street Studios, and LG SIGNATURE donated an enormous flat-screen TV so that the dancers can study their performance videos. The company members profoundly appreciate their bright and lovely new space—and AD has set the template for future “goodwill” projects of all types and in all kinds of communities, not just the arts.

It takes a village to create beauty, and we have only just begun!

AMY ASTLEY Editor in Chief @amytastley

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1. AND 3. GABRIELLE PILOTTI LANGDON; 2. COURTESY OF DAN FINK; 4. MATTHEW CARASELLA

AFTER

“The space had great spirit. Perhaps it was the enormous windows onto Broadway, or the ghosts of the dancers who had come before.” —Dan Fink

object lesson

THE STORY BEHIND AN ICONIC DESIGN

Paper Chase The eternal glow of Isamu Noguchi’s fragile lanterns 12

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WILLIAM WALDRON

A PAIR OF NOGUCHI LANTERNS CROWNS THE LIVING ROOM IN ARTIST DAVID SALLE’S EAST HAMPTON COMPOUND.

object lesson

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3 4

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1. PAINTER GEORGIA O’KEEFFE HUNG AN AKARI LANTERN IN HER NEW MEXICO HOME. 2. NOGUCHI WITH AKARI IN JAPAN, 1968. 3. THE 55D LAMP, DESIGNED IN 1963. 4. PHOTOGRAPHERS INEZ VAN LAMSWEERDE AND VINOODH MATADIN SUSPENDED A NOGUCHI LANTERN IN THEIR MANHATTAN LOFT. 5. FOUR VARIETIES OF AKARI IN THE LIVING ROOM OF NOGUCHI’S RESIDENCE ON JAPAN’S SHIKOKU ISLAND.

5 1. HERBERT LOTZ/COURTESY OF THE GEORGIA O’KEEFFE MUSEUM; 2. COURTESY OF THE ISAMU NOGUCHI FOUNDATION AND GARDEN MUSEUM, NEW YORK/ARTISTS RIGHTS SOCIETY (ARS); 3. COURTESY OF 1STDIBS; 4. SIMON WATSON; 5. JAIME ARDILES-ARCE

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hen American artist Isamu Noguchi visited the Japanese city of Gifu in 1951, the mayor had a request: Could he update the locally made washi paper–and– bamboo lanterns, which were quickly becoming obsolete? Noguchi’s solution: Add a lightbulb.

Soon the artist and Gifu’s Ozeki & Co. began producing what senior curator Dakin Hart of New York’s Noguchi Museum calls “arguably the most ubiquitous sculpture on the planet”: Akari, inexpensive lanterns for table, floor, and ceiling. The lamps, which can be folded flat and shipped for virtually nothing, were an instant success. Still produced by the original manufacturer—and sometimes the original craftsperson—they remain in demand and affordable. A table model costs little more than $100. “They are gentle and modest but really a stroke of genius,” says Raf Simons, Calvin Klein’s chief creative officer, who recently showed his new collection of textiles for Kvadrat amid a glowing Akari forest.

While Noguchi held many design patents, his famous round lantern (the largest available to order is 48˝ by 46˝) was too simple to qualify for one. “They have flooded the world, even if more through imitation than desire for the true original,” he wrote of the widely copied design. “This has only forced me to devise what might be beyond imitation.” Last year a Noguchi Museum intern was tasked with counting the many iterations: The total hovers over 200.

Since Akari entered the market, they have lit spaces ranging from Georgia O’Keeffe’s New Mexico house to college-dorm rooms to interiors by top designers such as Tom Scheerer and Rodman Primack. Architect William Georgis, who recently decorated an Akari with ink drippings for a residential project, attributes their potent charm to their innate poetry: “They’re paper—they’re ephemeral; they don’t last forever.” —HANNAH MARTIN

DISCOVERIES

THE BEST IN SHOPPING, DESIGN, AND STYLE

EDITED BY JANE KELTNER DE VALLE AND SAM COCHRAN

THE TIE-SET PORCELAIN COLLECTION BY HERMÈS CONTAINS A FULL DINNER SERVICE IN 20 GRAPHIC DESIGNS; FROM $85 TO $915. 800-441-4488; HERMES.COM

Men’s Ware A playful new dinner service from Hermès revives the wild micro-graphics that long adorned its exuberant neckties PH OTO G R A PH Y BY ILAN RU BIN

PRODU CED BY PARKER BOW I E LARS ON

AR C H DI G E S T. CO M

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DISCOVERIES debut

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Tailor Made Badgley Mischka’s homefurnishings collection packs a glamorous punch 3

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1. BADGLEY MISCHKA’S MIDAS TOUCH—PART OF THE DESIGNERS’ DEBUT FURNISHINGS LINE—IS SHOWCASED FOR AD IN THEIR NEW LONG ISLAND HOME. 2. JAMES MISCHKA (LEFT) AND MARK BADGLEY. 3. MONTEREY LOUNGE CHAIR. 4. DOHENY ACCENT TABLE.

And if tabletop sculptures seem to channel Harry Bertoia’s postwar art and a swoopy desk has a 1970s Paul Evans vibe, there’s good reason.

“We love getting ideas from the past,” Mischka explains. The inspirations may be a bit rarefied, but the fashion designers are practical homeowners who know their way around couture-style furniture that also comforts. “Living on horse farms and having three dogs means that we know furniture gets used a lot,” Badgley observes. “So everything in the collection is glamorous but not precious.” badgleymischka.com —MITCHELL OWENS

P HOTOGRAP HY BY BROOK E HOLM

S T YLED BY M I C HAE L B A R G O

CHAIR AND TABLE: COURTESY OF BADGLEY MISCHKA

hen Mark Badgley and James Mischka conjure up runwayready fashions for the label they launched in 1988, their creative thoughts often turn to old-time Hollywood. Ditto when the subject shifts to decoration. Mischka says that he and his business partner and spouse often ponder “how we would redo the sets of Vertigo and Rear Window.”

At the staging of Badgley Mischka’s 4 fall 2017 ready-to-wear collection back in February, models sauntered amid domestic environments outfitted with selections from the duo’s 100-plus-piece debut home-furnishings collection, which will continue to be unveiled over the course of the year. Think precious metals, retro silhouettes, and shimmering, sensual fabrics, from plush velvets to a zebra stripe wrought in gold and white. Says Mischka, with a laugh, “We’re magpies, attracted by anything that twinkles and glistens.”

Gold leaf enrobes a sinuous metal armchair, as well as a cocktail table. Ash and reclaimed pine sport a high-shine finish that Badgley compares to the glossy resin on surfboards.

DISCOVERIES travels

THE CUBIST GARDEN AT VILLA NOAILLES.

Making Waves

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very June, Europe’s design set goes on group holiday.

Their destination? Hyères, France, a scenic pocket of the Côte d’Azur where architect Robert MalletStevens built a modernist house for arts patrons Charles and Marie-Laure de Noailles in the 1920s. Starting in 2006, Villa Noailles (now a house museum) has hosted the annual Design Parade, a juried exhibition spotlighting the work of emerging furniture- and product-makers.

For cool hunters like Clémence and Didier Krzentowski of Galerie Kreo, Pierre Yovanovitch, and Romane Sarfati of Sèvres, it’s been the place to be ever since.

“Villa Noailles has always supported young artists,” says Design Parade director Jean-Pierre Blanc, who, last year, launched a satellite show devoted

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to interior design in the nearby town of Toulon. “Eileen Gray and Pierre Chareau made furniture for the house; Man Ray filmed Les Mystères du Château de Dé here; Alberto Giacometti did a big sculpture for the garden. The home always gave people good energy.”

Today’s tastemakers couldn’t agree more. “The atmosphere is very bon vivant—there are always games of pétanque and parties on the beach,” says India Mahdavi, a Design Parade devotee since the beginning. “Blanc is like the Robin Hood of creativity. He gives opportunity to youngsters like no one else in France.” And with designer Inga Sempé and decorator Vincent Darré curating this year’s exhibitions, the festivities promise to be especially full of wit and whimsy. June 29–September 24; villanoailles-hyeres.com —HANNAH MARTIN

MORE INFO WHERE TO STAY Clémence Krzentowski swears by Le Provençal, where the Who’s Who of the design world can be found chatting over breakfast (provencal hotel.com). Or try the new La Reine Jane, a renovated 1950s hotel with rooms by Design Parade alums like Jean-Baptiste Fastrez and Inga Sempé (lareinejane.fr).

WHERE TO EAT Dine à la plage at Le Marais, a casual restaurant serving seasonal Italian dishes (lemaraisplage.fr). Feast on freshly caught fish at Le Pothuau (restaurant-pothuau.fr), a favorite of Jean-Pierre Blanc. He also recommends Chez Jo, a short drive away in Le Lavandou (+33-4-94-05-85-06).

DESIGN DETOURS Drive west to Le Corbusier’s landmark Cité Radieuse tower in Marseille (marseille-citeradieuse.org). To the northeast, meanwhile, is gallerist Jean-Gabriel Mitterrand’s sculpture garden Domaine du Muy (domaine dumuy.com). Farther up the coast, visit the grand Villa Ephrussi de Rothschild (villa-ephrussi.com) and Eileen Gray’s Villa E.1027 (e1027.org).

RICHARD POWERS

A blockbuster festival transforms a blissful stretch of the Côte d’Azur into a seasonal showcase for the cutting edge

DISCOVERIES artisan PATEK PHILIPPE’S “BROOKLYN BY NIGHT” GRISAILLE AU BLANC LIMOGES DOME CLOCK, A UNIQUE PIECE CREATED FOR THE BRAND’S “THE ART OF WATCHES GRAND EXHIBITION” IN MANHATTAN THIS MONTH.

Once Upon A Time In today’s digitized world, the clock as an objet d’art carries with it an air of intrigue and old-world romance

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magine a land where desks aren’t cluttered with sleek, impersonal gadgets and in-boxes don’t exist on a cloud.

That is exactly what Patek Philippe will invite the public to do when the deluxe timepiece brand stages “The Art of Watches Grand Exhibition” at Manhattan’s Cipriani 42nd Street in July. The showcase will highlight high-precision watch manufacturing and rare handcrafts, with demonstrations by artisans and a curated selection of exceptional pocket and wristwatches dating back to 1530.

Also on display will be a trio of new domed clocks, treasures reflecting a time-honored practice—the one shown here is the result of about 256 hours of enameling by one craftsman.

Ornate tabletop timepieces (only those with chiming mechanisms can rightly be called clocks), long a status symbol of the aristocracy, have been making a comeback of late. Chanel

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recently introduced the obsidian Coromandel table clock set with more than 15 carats of diamonds—the ultimate in jewelry for one’s home if you dare take it out of the safe. The chinoiserie face, sculpted in 18K gold, mother-of-pearl, and enamel, is inspired by the Chinese screens that decorated Coco Chanel’s Paris flat, harking back to an era when an instrument for telling time was as much a practical device as it was an expression of taste. Mademoiselle counted the hours with an ebony-and-gilded clock featuring two figures in an erotic embrace.

“The allure of these clocks is the combination of art and horology,” says Nate Borgelt, Sotheby’s senior international specialist in watches and clocks. “They’re a functional piece of art that tells other people about yourself, or tells you about yourself even. Displaying one on your mantel is a statement.”

And not one to be taken lightly: In addition to being highly

P HOTOGRAP H BY S T EP HAN I E DI N K E L

DISCOVERIES artisan

CHANEL’S DIAMONDDECKED “MADEMOISELLE PRIVÉ” COROMANDEL TABLE CLOCK.

COCO CHANEL AT HOME, 1937.

valuable, today’s clocks are as fragile as they are exquisite, embodying a craftsmanship that has become increasingly rare.

Many of the Patek examples, which fetch as much as $200,000 at auction, have been bought and donated to museums. In 2012 Sotheby’s set an auction record for a clock when it sold the so-called Duc d’Orléans Breguet Sympathique—an 1835 masterpiece of red tortoiseshell and gleaming ormolu that Breguet created for an heir to the French throne—for $6,802,500.

“Everyone has an iPhone,” Borgelt observes. “Stepping back and being able to hold on to this ‘old technology’ is an interesting juxtaposition in this day and age.” Though perhaps from a tech standpoint, not exactly a case of apples and oranges: “The cloisonné enamel on the outside is an old art form from the 1700s,” the watch expert explains, “but inside is a modern quartz movement.” patek.com, chanel.com, breguet.com —JANE KELTNER DE VALLE

CLOCKWORK Tabletop timepieces enjoyed a rise in popularity as technology progressed and the importance of being “on time” grew more integral to day-to-day life. Of course, in their most elaborate, artful manifestations, they also became status symbols for the aristocracy. Here, a few of the most treasured examples throughout time.

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BREGUET The 1835 Sympathique clock made for the Duc d’Orléans.

VAN CLEEF & ARPELS 1930 Pendulette aux Canards clock from the collection of the Duchess of Windsor.

CARTIER Ebonite, citrine, diamond, and enamel mystery clock from the estate of Anna Thomson Dodge, circa 1920.

BREGUET CLOCK: COURTESY OF SOTHEBY’S; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES

CHANEL’S COROMANDEL SCREENS INSPIRED THE FASHION HOUSE’S NEW CLOCK.

MOORISH ARCHES FRAME THE WINDOWS OF THE PLANT-FILLED SUNROOM AT WOODY HOUSE. VINTAGE WICKER FURNITURE FEATURES CUSHIONS OF CUSTOM PETER MARINO FABRICS. THREE-TIERED MOROCCAN CHANDELIER. OPPOSITE FRESH-PICKED ROSES ARE DISPLAYED ON A SAILOR’S VALENTINE TABLE IN THE MASTER BEDROOM.

SEASIDE BOHEMIA

A storied beach house on Long Island’s East End mixes a taste for the classics with globe-trotting vision TEXT BY

JENNIFER ASH RUDICK

PHOTOGRAPHY BY

TRIA GIOVAN

w

ABOVE THE MAIN HOUSE IS SURROUNDED BY LUSH GARDENS DESIGNED WITH THE HELP OF LANDSCAPER JOHN HILL. OPPOSITE THE MASTER-BEDROOM WALLS AND JOHN ROSSELLI & ASSOC. FOUR-POSTER ARE DRESSED IN CUSTOM MARINO FABRICS. THE COVERLET IS OF AN INDIAN TEXTILE THE COUPLE FOUND IN MUMBAI.

oody House, on Long Island’s eastern tip, has reached near-mythical stature—the mere mention of it often elicits reverence from design cognoscenti worldwide. But while a tour through the labyrinth of gardens is on every horticulturalist’s wish list, less is known about the interiors, which reflect the owners’ far-flung travels through Europe, India, and the Middle East and evoke a worldly vision all their own.

Enticed by the combination of a humble wooden cottage perched on an epic Long Island site between the Atlantic Ocean and a coastal lagoon, the owners came to Woody House first for a summer rental; they eventually purchased it eight years later. Originally a guesthouse on the estate of Pan Am founder Juan Trippe, Woody House is tucked into a beach dune, the surf practically lapping at its foundation. (The house

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was built around 1930; zoning laws would prohibit building in the dunes today.) Although Trippe’s jumbo jets commanded the skies, he could not thwart the Atlantic from appropriating his beach. His ongoing battle with the elements entailed bulldozing and then dumping old cars on his shoreline to create makeshift jetties, and to this day, vintage bumpers occasionally surface on the cottage’s beach.

While many would have considered the rambling, relatively small structure a teardown, its lack of pretension is exactly what charmed the current owners. To enhance that unassuming character, they made concerted efforts to create a stylish but relaxed interior. For guidance, the wife called upon a team of collaborators, including architect Peter Marino, a friend since before Marino received his big break in the 1970s in the form of a commission to design Andy Warhol’s New York townhouse. “Peter can do anything. He has a phenomenal eye for detail. He visualizes most things in his head. He just hooks on to one fact about a client and goes from there,” she says of the architect, who is as well known for his Mohawk and edgy biker garb as he is for conceiving

THE LIBRARY FEATURES A COCKTAIL TABLE BY JOHN HUMMEL & ASSOC., CUSTOMIZED BY BRIAN LEAVER. SOFA UPHOLSTERED IN A BESPOKE MARINO FABRIC; RUG BY DORIS LESLIE BLAU. KINSEY MARABLE & CO. HELPED ORGANIZE THE OWNERS’ EXTENSIVE BOOK COLLECTION.

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THE GUESTHOUSE LIVING ROOM FEATURES SWEDISH FURNISHINGS PURCHASED AT THE BRIDGEHAMPTON MUSEUM ANTIQUES SHOW. STENCILING BY BRIAN LEAVER.

boutiques that articulate the image of upscale brands including Chanel, Dior, Louis Vuitton, and many others.

For Woody House, Marino took his cue from the owners’ wanderlust. “The couple travels everywhere in the world and has a wonderful sense of the exotic,” he observes. “It was important to reflect that, while also maintaining the casual atmosphere of a beachfront cottage.” A former magazine executive who has

Woody House’s lack of pretension is exactly what charmed the current owners. painted all his life, the husband carries brushes and an artist’s black book wherever he goes, and his watercolors, depicting vivid scenes of the couple’s travels to Tunisia, India, Libya, Egypt, Syria, the Himalayas, and Turkey, were given a place of pride in the living room.

The wife, a perennial student, takes mental notes and forms lifelong friendships with architects, craftspeople, and artists to whom she can turn as inspiration strikes. In this way, she and Marino transformed Indian textiles into slipcovers, created custom-designed fabrics in an analogous vernacular, and swathed Austrian-style horn chairs in paisley chintz. A bespoke shade of slate green was blended for the wicker furniture that dots a sunroom overlooking the ocean.

TO HELP upgrade the cottage, the wife also called upon Pietro Cicognani, of New York’s Cicognani Kalla Architect. “The house was very symmetrical and chic but crumbling,” says the architect, who oversaw renovations and designed a cozy secondstory master bedroom. “We wanted to maintain the bohemian feeling and to ensure the structure remained diminutive compared with the property.”

When the couple suggested an art studio, Cicognani designed a freestanding tower reminiscent of a lighthouse, where the husband hosts weekly drawing classes for friends and neighbors. This top-floor perch provides views south toward the Atlantic Ocean and north over the property’s meandering gardens. From above, the gardens appear as heaps of silvery-green

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ABOVE IN THE ENTRANCE HALL, ONE OF THE COUPLE’S PEKINGESE DOGS, SOPHIA ROSE, PERCHES ATOP A BORNE DESIGNED BY GENEVIEVE FAURE AND CUSHIONED IN CUSTOM MARINO FABRIC. THE CEILING FIXTURE IS A VINTAGE METAL PLANTER HUNG UPSIDE DOWN AND DRAPED WITH A MARINO PAISLEY. ARCHITECT PIETRO CICOGNANI DEVISED THE CHINESE CHIPPENDALE BALUSTRADE. OPPOSITE THE ATLANTIC, AS SEEN FROM THE SUNROOM.

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IN THE LIVING ROOM, WATERCOLORS BY THE HUSBAND, DEPICTING DESTINATIONS THE COUPLE HAS VISITED, SURROUND AN ABSTRACT OIL

BY KENZO OKADA. IVORY VESSELS FROM MECOX.

“They wanted a certain formality, which we provided with elegant but simple finishes,” says architect Pietro Cicognani. forest but are in fact elaborately themed rooms of English, Indian, Persian, and Italian influences strung together by winding paths; one trail leads to a former dirt-floor boathouse that Cicognani transformed into a striking Swedish-style guesthouse, now with solid footing (and stenciled floors).

“I had been in Sweden one summer, and the setting of the cottage looked so much like a house on an archipelago that I asked for the same look,” says the wife. To that end, Cicognani created a double-height main room with exposed framing and beadboard walls. Designer Genevieve Faure advised on interiors that incorporate furniture the wife lucked upon at the annual Bridgehampton Museum antiques show. “A truck drove up filled with big Swedish pieces. I said, ‘Don’t unload them; just go to my house,’ ” she recalls. Painter Brian Leaver was commissioned to embellish the interiors, using naive Swedish-style stencils in chalky hues. “This client has such a wonderful eye and inspires everyone to do their best creatively,” says Leaver.

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Most recently, the couple craved a proper library in the main house, which Cicognani managed to tuck into an upstairs landing. “They’re avid readers, and she sits on the board of the New York Public Library,” says Cicognani. “They wanted a certain formality, which we provided with elegant but simple finishes, while keeping the house’s unassuming beginnings and existing proportions in mind.”

During this renovation, the basement was expanded to create an immense china room where everything is within reach to make it easier for the wife to envision her famously fantastical table settings. Leaver was asked to paint murals, inspired

by Italian frescoes, along a windowless hallway leading to the new pantry. Having worked on the house on and off for 25 years, Leaver claims, “I’m going to paint my way out the door.” Probably not anytime soon, however, as the owners continue to travel and accumulate design ideas. The house is always evolving, creating a mesmerizing vision for everyone lucky enough to be invited inside.

THE MASTER BEDROOM FEATURES BOLD LAYERS OF PATTERN. OPPOSITE MEIMEI, A PEKINGESE, LOUNGES IN A CORNER OF THE LIVING ROOM; CURTAINS BY VAUGHAN.

A GUEST ROOM FEATURES TEXTILES PURCHASED IN MUMBAI.

MADAM MIRROR; $3,200.

J-V-B.COM

ELISE SMALL DECO PILLOW; $66.

LESINDIENNES.COM

PINK PEACOCK HEADBOARD; $279. ONEKINGSLANE.COM

DESIGN NOTES

A Hamptons cottage reflects the spirit of the well-traveled couple who call it home

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THE LIBRARY’S SETTEE IS DRESSED WITH FABRICS FROM UZBEKISTAN.

HARLOW TEA TABLE; $477. BUNGALOW5.COM

INTERIORS: TRIA GIOVAN; PILLOW: STUART TYSON; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES

“

It’s really a separate world. You forget where you are when you’re here.”

MOSUL SILK-EMBROIDERED LINEN; TO THE TRADE. VAUGHANDESIGNS.COM

“

TWIST HIGHBALL GLASS

BY NOUVEL STUDIO; $34. BARNEYS.COM

The art studio was conceived as a lighthouse to optimize the natural light, as well as the incredible views,” says Cicognani.

A STRIPED CHAISE LONGUE IN THE OCTAGONAL ARTIST STUDIO.

OUT EAST: HOUSES AND GARDENS OF THE HAMPTONS

BY JENNIFER ASH RUDICK; $75. VENDOMEPRESS.COM

CHINOISERIE BUFFET PLATE BY PINTO PARIS; $348.

DEVINECORP.NET

BLUE FLUTED PLAIN JUG; $295. ROYALCOPENHAGEN.US

PINK-TEXTURED TEARDROP LAMP WITH VANDRA BLUSH LAMPSHADE; $767.

IRVINGANDMORRISON.COM

VENETIAN-STYLE ANGLO-INDIAN SIDE CHAIR UPHOLSTERED IN INDUS BY ROBERT KIME; TO THE TRADE. JOHNROSSELLI.COM

A SINUOUS RETAINING WALL EDGES FAITH HILL AND TIM McGRAW’S PRIVATE ISLAND. OPPOSITE THE COUNTRYMUSIC STARS IN THE ENTRANCE LOGGIA OF THEIR BAHAMAS GETAWAY, DEVISED BY ARCHITECTS BOBBY McALPINE AND GREG TANKERSLEY AND DESIGNER RAY BOOTH. HILL’S DRESS BY STELLA McCARTNEY; McGRAW IN J.CREW THROUGHOUT.

WARDROBE STYLING BY PETRA FLANNERY FOR TWO MANAGEMENT; HAIR BY LORENZO MARTIN FOR THE WALL GROUP; MAKEUP BY FRANCESCA TOLOT FOR CLOUTIER REMIX; GROOMING BY TROY MITCHELL

On their own private island in the Bahamas, Faith Hill and Tim McGraw create the perfect escape

in harmony TEXT BY

LAUREN WATERMAN

PHOTOGRAPHY BY

WILLIAM ABRANOWICZ

STYLED BY

ANITA SARSIDI

“The house is functional, but it really blends into the environment,” says McGraw.

THE OPEN-AIR PAVILION MELDS SEAMLESSLY WITH THE TROPICAL FLORA SURROUNDING IT. JANUS ET CIE ARMCHAIRS SURROUND A CUSTOM TEAK DINING TABLE

BY SUTHERLAND FURNITURE; HENRY HALL DESIGNS COCKTAIL TABLE AND SOFAS.

RIGHT MAGGIE, HILL (IN CHLOÉ), AND McGRAW. BELOW A VASE OF VIBRANT FLOWERS PUNCTUATES THE LIVING ROOM’S BLUE-ANDWHITE PALETTE. DONGHIA SOFA UPHOLSTERED IN A GREAT OUTDOORS FABRIC BY HOLLY HUNT WITH PERENNIALS TRIM. MADELINE WEINRIB RUG.

ABOVE THE POOL TERRACE IS STEPS FROM THE WATERFRONT. CHAISE LONGUES BY ROYAL BOTANIA; HENRY HALL DESIGNS SEATING WITH DELANY & LONG CUSHIONS; BRASS TRIPOD TABLES FROM MECOX. RIGHT AN AFTERNOON ON THE WATER.

“In paradise, you live in ways you can’t in civilization,” says architect Bobby McAlpine.

ABOVE SENEGAL DATE PALMS TOWER OVER THE ARRIVAL COURT. RIGHT THE MASTER-BEDROOM PORCH FEATURES A FREESTANDING OVAL BATHTUB BY WATERWORKS WITH A DURAVIT TUB FILLER. STOOL BY ROOST; ANTIQUE FOLDING CHAIR.

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McGRAW LEAPS INTO THE OCEAN WHILE HIS FAMILY LOOKS ON.

a

fter more than 20 years together, Faith Hill and Tim McGraw don’t quite finish each other’s sentences.

Instead, the two long-married country-music stars have developed a manner of speaking that can only be described as downright harmonious, with each supplying an instrumental part of the whole. Consider, for example, the way they talk about the first time they saw the future site of their beloved Bahamas home. “There was just a little shack,” McGraw recalls, “that someone——” “They were friends of the owner,” Hill interjects.

“——had sort of floated up onto the beach.”

“It was a great little place.”

“A great little place,” he agrees, “and it was the only thing there. When we decided to buy, they just floated the shack away. . . .”

Needless to say, the couple’s own settling-in process was a bit more involved. Hill and McGraw first purchased the private 20-acre island they call “L’île d’Anges” back in 2003; they didn’t move into the house—actually a collection of eight distinct “pavilions,” connected by thatch-roofed loggias— until 2012. “We were a little bit naive, possibly,” Hill admits, “as to what——” “——what the undertaking really meant,” McGraw concludes.

“We set out to build a house. We had no idea we had to build everything else.” She laughs. “We basically had to build a little town.”

“You’ve got to have staff houses,” he says, meaning shelter for the original construction workers as well as the current caretakers. “You’ve got to have infrastructure.”

“You’ve got to have water.”

“Water. Electricity. You don’t quite put all that together at first.”

For help, they turned to McAlpine, an architecture–and–interior design firm that had previously worked on their homes in Nashville and Franklin, Tennessee. According to architect Bobby McAlpine, who designed the compound with his partner Greg Tankersley, the main question—aside from the very practical ones suggested above, of course—was “What does paradise look like for a couple of creative people like them?” In its raw state, the island “was already otherworldly, with this clear water and white, white sand. I thought, In paradise, you live in ways you can’t live in civilization. So every room is a separate building,” he says, linked by open-air passageways.

“You can bathe outdoors or climb a tower and feel that you’re being lifted up into the air. All these sort of romantic ideas, we got a shot at doing here, and we took them.”

“We wanted to feel connected to the outside,” Hill explains. “When the breeze comes through the

room, it’s just life-changing.” She laughs, perhaps at the hyperbole, and then doubles down. “It really is!

It’s something for the soul.”

“And we wanted it set up so that when we brought people down, they’d get the same feeling that we got when we first came,” McGraw continues. “The same reaction to the pristineness of it, to how relaxed it feels. The house is functional, but it really blends into the environment.”

The setting also inspired the home’s spare, naturalistic decor, says interior designer Ray Booth.

“I think the beach has always represented, to the McGraws, a simplicity that their everyday life lacks.

So this house needed to offer a real clarity and cleanliness in its aesthetic. It’s essentially a bleachedout white [throughout]; where there is color, it’s pulled directly out of those beautiful Bahamian waters.” Certain pieces, such as the music room’s “organic” tree-trunk table and the twine-bound Indonesian lanterns that hang above it, were selected to convey a whimsical, almost shipwrecked vibe.

“We wanted everything to feel a bit cobbled together,” Booth says, “as if you washed up on the beach and had to figure out a way” to decorate the house.

As touring artists, Hill and McGraw are used to roughing it—they fell in love on the road in 1996 and will spend much of this year crisscrossing North America with the latest version of their Soul2Soul show. (They’re also hard at work on their first-ever album of duets, which will likely be released this fall.)

“As long as our family is together,” Hill says, “we can pretty much make a home anywhere.” Consequently, they felt very comfortable setting up shop, along with daughters Gracie, Maggie, and Audrey, now 20, 18, and 15, in a pair of seaside yurts during the decade in which the permanent structure was being constructed. “It was like camping,” Hill says. “The kids loved it,” McGraw adds.

But when it came to the house, Hill says, they weren’t interested in improvising. “We’ve been all over the world, and we really wanted to create a special place we couldn’t find anywhere else.” And they did it. “I’ll tell you what,” McGraw says, “for the last nine months, when they were putting on the finishing touches, they wouldn’t let us go down——” “Was it nine months?” she asks.

“Maybe it was six months, and they wouldn’t let us go down at all.”

“You better check that timeline,” Hill says.

“That seems like a long time.”

“It was,” he declares. “It was killing us! And when we finally got down there, it was early evening, and the landscaping was done and the house was furnished and open and there were candles lit, and it just took our breath away. It still does,” he says, “every time we go there. Every time we land the plane and walk onto the beach and head up to the house, we turn to each other and say, ‘This is the best place in the world.’ ”

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“We’ve been all over the world,” says Hill. “We really wanted to create a special place we couldn’t find anywhere else.”

OUTDOOR AND INDOOR SPACES COALESCE IN THE MASTER BEDROOM. CUSTOM BED; C&C MILANO BEDDING; PILLOWS AND TURQUOISE THROW BY JOHN ROBSHAW. CHISTA CHAIR WITH C&C MILANO FABRIC CUSHIONS. ANTIQUE METAL PALM LEAVES MOUNTED AS LAMPS. CURTAINS OF A PERENNIALS FABRIC. MADELINE WEINRIB RUG.

TAKE A PRIVATE TOUR WITH HILL AND McGRAW AT ARCHDIGEST.COM.

HOM

E RUN Fashion designer Jonathan Anderson follows his material obsessions into a new realm

HANNAH MARTIN DANILO SCARPATI

TEXT BY PHOTOGRAPHY BY

ABOVE SPANISH-MADE, LIMITED-EDITION HANDPAINTED CERAMIC BOWLS BY LOEWE. LEFT JONATHAN ANDERSON, THE CREATIVE DIRECTOR OF LOEWE, WITH ELEMENTS OF HIS NEWEST COLLECTION: THIS IS HOME.

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ABOVE EACH CHAIR COMES WITH A COLORFUL STACK OF LEATHER SQUARES THAT CAN BE FASHIONED INTO A SEAT OR STOOL. RIGHT TWO OF ANDERSON’S METAL-FRAME CHAIRS WITH HAND-KNIT WOOL CUSHIONS.

“The idea is to design things I want in my own home.”

—Jonathan Anderson

SET DESIGN BY CHARLOTTE MELLO TEGGIA; ALL PRODUCTS COURTESY OF LOEWE

LEFT A LIMITED-EDITION WHITE CERAMIC VESSEL WITH A LEATHER TAB. BELOW A PERFORATEDLEATHER LAMPSHADE.

FAR LEFT A VIGNETTE OF ANDERSON’S FURNISHINGS FOR LOEWE. BELOW A CARVED-OAK BOWL BY SIMON THOMPSON CARTWRIGHT, THE GREAT-GREATGRANDSON OF ARTS AND CRAFTS WOODWORKER ROBERT “MOUSEMAN” THOMPSON.

j

onathan Anderson is obsessed. With knitting structures. With Isamu Noguchi.

With Magdalene Odundo: “She’s probably the most important ceramicist of the last 100 years,” he says. (Earlier today he bought one of her works.) He uses the word liberally—and, it seems, genuinely— rhapsodizing about a favorite contemporary artist or a handmade 17th-century French blanket with equal enthusiasm.

Now, after almost four years as creative director of Spanish luxury brand Loewe, the 32-year-old British fashion designer is letting his other passions lead him beyond the world of shirts, dresses, and elephantshaped leather bags into what he calls “the most important space: home.”

“I love to do a lot of projects,” Anderson says from the courtyard of Loewe’s Milan flagship, where he’s presenting his latest one: a collection of 25 furnishings. “To be able to make furniture has always been a fantasy of mine.”

The minimalist metal chair he’s perched in— part of the new collection—is based on a seat devised in the 1950s by the late Spanish architect Javier Carvajal, a longtime Loewe collaborator. “I wanted to strip it down to angular metal rather than tubular,” explains Anderson. Many of the pieces in his newest collection—his third launch for the home and the most comprehensive one to date—draw on similar references from Anderson’s vast visual library. The hard-edged geometric shapes and caning details of

that chair—and the benches and screen—nod to Arts and Crafts–era English architect Edward Godwin, while the colorful stack of leather squares that sits on each chair pays homage to the work of a contemporary master: artist Felix Gonzalez-Torres, known for his sculptural heaps of paper that invite gallery-goers to take a sheet. “We wanted to show how to use leather in the rawest form,” says Anderson.

“I find it difficult to go to museums,” Anderson admits. “I prefer houses.” While he’s in Milan for only a lightning-fast visit during Design Week, he managed to shoehorn in a sojourn to Villa Necchi Campiglio, the dazzling residence designed by Piero Portaluppi in the 1930s and later redecorated by Tomaso Buzzi. “It’s just amazing to see everything left exactly as it was,” he says. He cites Kettle’s Yard in Cambridge, England, as one of the biggest inspirations in his work: “A Miró or a Brancusi is assigned the same artistic merit as a glass ball or a feather.”

Anderson has approached this collection with a similar mind-set, stirring together his wide range of references in a big pot, always with a dash of wit. “You need something that’s a little bit off,” he advises. The results—crafted in the workshops of a handful of skilled artisans—are the pieces of his very own domestic landscape. A Spanish artisan made the lightweight, hand-thrown ceramics, each one embellished with a supple leather tab. Anderson worked with a descendant of storied Arts and Crafts woodworker Robert Thompson on a charming oak ladder, bowl, room divider, and candlestick, all carved with Thompson’s cheeky signature: tiny mice. To replicate the look and feel of a 17th-century blanket from Provence, he located a group of craftspeople in India to accurately master the technique. And, not for the faint of heart, a gaggle of knit confections in the shapes of naked men add an electric jolt of irreverence. “The idea,” he says that evening, as his fashionable fans begin to fill the courtyard, vying for a word (or a selfie) with the charming young talent, “is to design things I want in my own home.”

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wher wild t ar Wrapped in forest and herds of deer, a Rothschild hunting lodge in Austria remains a beloved family retreat TEXT BY

NANCY HOGUET

PHOTOGRAPHY BY

RICARDO LABOUGLE

STYLED BY

ANITA SARSIDI

AUSTRIA’S STYRIAN ALPS CRADLE WRITER NANCY HOGUET’S SUMMER GETAWAY, AN 1870S HUNTING LODGE THAT WAS COMMISSIONED BY HER GREAT-GRANDFATHER BARON ALBERT VON ROTHSCHILD.

e the hings e

ABOVE HOGUET STANDS AT THE ENTRANCE TO THE LODGE, WHICH WAS DESIGNED BY VIENNA ARCHITECTS FELLNER & HELMER. RIGHT GROUSE TROPHIES FLUTTER AMONG FAMILY PHOTOS IN THE PIANO ROOM. OPPOSITE ORIGINAL FURNISHINGS INCLUDE HAND-PAINTED BEDS AND ANTLER CHANDELIERS AND LAMPS.

A

ll my childhood friends spent their summers in East Hampton or on Martha’s Vineyard, but my mother took my brother, Geoff, and me much farther afield. Lower Austria’s Styrian Alps took some getting used to, given that we lived in Princeton, New Jersey. Instead of swimming or sailing, we spent the holiday with our cousins amid tens of thousands of acres of dense, dark-green private forest, a Grimms’ fairy-tale landscape teeming with bears, red deer, foxes, chamois, and wild boars. And I had to wear dirndls; yes, dirndls.

Hunting is what attracted my solemn great-grandfather Baron Albert von Rothschild to Lower Austria in the 1870s, shortly before he married his teenage French cousin Bettina.

Though their Vienna home was a grandiose neo-Renaissancestyle palace by a Paris architect, Albert commissioned Fellner & Helmer, a leading Vienna firm, to build him a rustic wood Jagdhaus, or hunting lodge, that would be used only for the two-week rutting period in September, when stags descend from the mountains and bellow loudly for mates.

Gabled and fretworked, the lodge charmed everyone and had just enough room for the family (Bettina and Albert had seven children) and a few guests. An increasing number of sportsmen and women visited, too, which resulted in a smaller lodge being constructed close by the main building and connected to it with a long, glazed hyphen. I can remember riding my blue tricycle down that sunny passage and yelling at all the antlers that still hang between the arches, pretending they were dangerous beasts à la Maurice Sendak.

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Lederhosen and dirndls are a family tradition, even if blue jeans are now more common.

Back then the seasonal household consisted of aunts, uncles, and cousins, and my formidable but loving English grandmother Clarice. She ruled the roost and could talk about anything, yet one subject never came up: when the lodge was confiscated by the Nazis and then the Russians, and finally returned to the family after the war. As the years passed, Geoff and I, and eventually our children and friends, experienced it as our elders had always done: hiking, fishing, and hunting. And wearing lederhosen and dirndls, which we still do—it’s a family tradition—even if blue jeans are now more common.

The lodge, made of wood inside and out, has an organic quality, since it was meant to blend into the landscape of pines and beeches, part of which is now a conservation area.

Stenciled red flowers blossom on the carved pine beds and Bauernstühle, or farmhouse chairs, that my great-grandparents ordered for their board-and-batten rooms, while the velvety runner on the main staircase is as green as pine needles.

Hunting references are everywhere, though we’re just as likely to be playing charades as stalking deer. Chandeliers, door handles, drawer pulls, and lamps are fashioned from antlers; delicious chamois leather covers sofas and armchairs; and an 1870s Franz von Pausinger drawing of stags fighting to the death ended up in the dining room. From the antlers in the entrance hall to the grouse in the piano room, many of the trophies were bagged by our great-grandfather—and all of them bear small plaques listing the name of the hunter, the date, and where on the property they were shot.

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Guests said the trophies gave them nightmares, so Geoff and I removed them from most bedrooms. Still, the lodge looks much the way Bettina and Albert would have known it. The pretty carved and painted beds retain their prewar horsehair mattresses and timeworn linen sheets, and looming tile stoves known as Kachelöfen warm some rooms. Kilim cushions and colorful covered jars are among my contributions to this ancestral decor, the former picked up in a Marrakech souk and the latter hauled back from Istanbul. Our kids’ dormitory is centered on the ping-pong table that my brother and I grew up with. Their bedrooms, each with slanting eaves and a single window, are tiny, so small they could be out of The Hobbit, a world many people imagine when they come to visit.

As for my room, it is a jumble of old objects and pictures, heirlooms as well as more recent finds, such as an icon of Saint George. I designed the four-poster, working with local craftsmen, and draped it with a soft, sheer fabric speckled with wildflowers. Since there is only the occasional black fly, the lodge’s windows have no screens, so I just pull the bed curtains closed and fall asleep to the sound of the waterfall— and, if the timing is right, all those stags roaring well into the night.

ANTLER TROPHIES BRISTLE ABOVE THE MAIN STAIRCASE. OPPOSITE HOGUET CREATED HER BED IN COLLABORATION WITH FAMILY CRAFTSMEN; IT IS CURTAINED WITH A SPRIGGED SHEER.

My grandmother Clarice von Rothschild never discussed the years when the lodge was conďŹ scated by the Nazis and then the Russians.

THE LIVING ROOM CONTAINS 1870S WOOD ARMCHAIRS AND A SOFA UPHOLSTERED IN AN ETRO FABRIC; AN ANTIQUE FRANZ VON PAUSINGER DRAWING IS FLANKED

BY TURKISH JARS; HOGUET’S BROTHER, GEOFF, DESIGNED THE OTTOMAN; AND THE CURTAINS ARE OF A COWTAN & TOUT VELVET.

GERANIUMS BLOOM ON HOGUET’S BEDROOM BALCONY.

“

It’s all about hiking, fishing, and hunting,” Nancy Hoguet says of the family’s estate.

APPLE BLOSSOM IN ORIGINAL ON OYSTER; $350 PER YARD. BENNISONFABRICS.COM

JOSEF ZOTTI CHAIR; $10,876. ROSE UNIACKE.COM

PERSONAL TREASURE: A COVERED BOX FROM KITZBÜHEL. ONE OF BARON ALPHONSE VON ROTHSCHILD’S 19TH-CENTURY CARVED LIONS.

DESIGN NOTES

The Hoguet siblings keep Rothschild traditions alive in the Styrian Alps, from decor to dining to deer stalking

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THIS AUGARTEN CREAMER IS USED DURING HOLIDAYS.

AN EARLY POSTCARD OF THE ESTATE.

GUESTS GATHER IN AN EARLY-1900S FAMILY PHOTO.

SUPERORDINATE ANTLER CHANDELIER IN WHITE; $6,100.

ROLLANDHILL.COM

HAND-PAINTED SPANISH CACHEPOT

BY AERIN FOR WILLIAMS SONOMA HOME; $195. WILLIAMSSONOMA.COM

A DAGOBERT PECHE DINNER PLATE BY ANNA WEATHERLEY; $290.

NEUEGALERIE.ORG

INTERIOR AND EXTERIOR: RICARDO LABOUGLE; PILLOW, CREAMER, BOX, AND LION: STUART TYSON; ARCHIVAL IMAGES: COURTESY OF THE FAMILY; ALL OTHER IMAGES COURTESY OF RESPECTIVE COMPANIES

OTTO PRUTSCHER COFFEEPOT FOR WIENER SILBER MANUFACTUR; $8,900.

ATELIERCOURBET.COM

“

The lodge looks pretty much the way Bettina and Albert, my great-grandparents, would have known it.”

COUNTRY LINEN PILLOWCASE IN BLUE ON WHITE; $213. ZSJ.AT

AN ALFRESCO LUNCHEON HOSTED BY NANCY HOGUET AND HER BROTHER, GEOFF.

TOP LEFT: PATRICK FRENETTE

ON POINT

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BELOW ENLISTED BY AD, DESIGNER DAN FINK RECAST THE DANCERS’ LOUNGE FOR NEW YORK’S AMERICAN BALLET THEATRE; THE SOFAS AND CHAIRS WERE DONATED BY CENTURY FURNITURE AND THE LIGHT FIXTURES BY CIRCA LIGHTING. OPPOSITE, FROM TOP ABT DANCERS MIDAIR. A NEW WINDOW AFFORDS VIEWS INTO THE STUDIO; THE TELEVISION WAS GIFTED BY LG SIGNATURE.

A group effort—led by AD100 designer Dan Fink—transforms the dancers’ lounge for American Ballet Theatre into a triumphant tour de force TEXT BY

SAM COCHRAN

PHOTOGRAPHY BY

HENRY LEUTWYLER

or the dancers at New York’s American Ballet Theatre (ABT), the typical day is long and grueling. A morning of class or physical therapy gives way to hours of rehearsal, which can run into the night.

Breaks are brief—usually just five minutes— and meals eaten on the go. What downtime the dancers have is spent in their lounge, until recently a forlorn space outfitted with shabby futons and fluorescent lighting. “It was reflective of the ABT mentality, ‘Put every dollar on the stage,’ ” explains executive director Kara Medoff Barnett. This past spring, however, AD stepped in to help, spearheading a dramatic redesign by Dan Fink.

“It was hard to believe this was the only place for the world’s best dancers to put their feet up,” recalls Fink of the space’s original condition. “Still, there was something beautiful in the fact that for so many years that’s how it was and the dancers kept dancing. It’s a testament to their dedication and humility.”

What was initially conceived as a modest makeover evolved into a total transformation thanks to several generous ballet-loving patrons. An anonymous donor helped fund the construction work, which opened the space into one glorious column-free expanse. It’s now filled with furnishings courtesy of Century Furniture and Circa Lighting (all of it designed by Fink’s husband, Thomas O’Brien). Underfoot, meanwhile, is a custom carpet by Crosby Street Studios. “Everything was donated,” notes Fink, who also offered his time and expertise pro bono. “Everyone we approached was so enthusiastic.”

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The dancers themselves, he recalls, gave only one direction: “Make it white and clean.” That simple request would have been impossible to honor were it not for Sunbrella, which paid to have all the seating upholstered in yards upon yards of its durable fabric. (“You don’t have to worry about sweaty bodies,” says Barnett.) White paints by Farrow & Ball cover the walls, ceiling, and floor. And Hunter Douglas shades shield the space from the harsh late-day sun.

“As the project got going, we realized there was potential for the space to also become a venue to host fundraising events,” says Fink. So a window was added to the wall separating the lounge from the adjacent dance studio, bringing natural light into the space and affording visitors views of rehearsal.

Performance footage, meanwhile, can be reviewed on an LG SIGNATURE flat-screen television. As a finishing touch, Fink delved into the ABT archives, collaging images across bulletin boards. “All the mementos are connected to the DNA of ABT,” says principal dancer Daniil Simkin, admiring photos of past stars like Mikhail Baryshnikov.

Among Simkin and his peers, the response has been overwhelming. “This is where we bond,” reflects principal Misty Copeland. “So it’s nice to feel that people care about where we are.” Adds principal Isabella Boylston, with a smile, “It’s a major upgrade.”

For Barnett, the transformation is helping to usher in a new chapter for ABT. “This space says that a company that values elegance and artistry can have a home that inspires even greater elegance and artistry,” she says. “People are still pinching themselves.”

CLOCKWISE FROM TOP LEFT: GABRIELLE PILOTTI LANGDON (2); HENRY LEUTWYLER; GABRIELLE PILOTTI LANGDON (2)

f

ABOVE, FROM LEFT CENTURY FURNITURE PROVIDED THE SECTIONAL SOFA, COVERED, LIKE ALL THE NEW SEATING, WITH SWEAT-RESISTANT SUNBRELLA FABRIC. THE WINDOW SHADES ARE

BY HUNTER DOUGLAS, AND THE PAINT ON THE WALLS, CEILING, AND FLOOR IS BY FARROW & BALL.

ABOVE ABT DANCERS AND STUDENTS POSE IN THEIR NEWLY RENOVATED LOUNGE; THE CUSTOM CARPETS ARE

BY CROSBY STREET STUDIOS. BELOW PRIOR TO THE UPDATE, THE SPACE WAS FURNISHED WITH FUTONS AND CARVED UP BY PARTITIONS.

BEFORE

“This is where we bond,” reflects principal dancer Misty Copeland.

“So it’s nice to feel that people care about where we are.”

DESIGNED BY ARCHITECT KENGO KUMA (RIGHT), THE NEW CULTURAL VILLAGE NESTLES IN OREGON’S PORTLAND JAPANESE GARDEN. THE PROJECT MARKS THE ARCHITECT’S FIRST PUBLIC COMMISSION IN THE UNITED STATES; JAPANESEGARDEN.ORG.

MAKING HIS MARK Star Tokyo architect Kengo Kuma plants his flag in the United States with a new cultural complex for the Portland Japanese Garden TEXT BY

BRIAN LIBBY

PHOTOGRAPHY BY

KYLE JOHNSON

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s the clouds part and sunlight hits a blossoming cherry tree, shadows dapple the Cultural Village, a trio of new buildings at Oregon’s Portland Japanese Garden that house a café, visitor center, gallery, and library. Droplets of water drip from the complex’s pitched green roofs, evidence of the morning’s shower. Since its opening in 1967, the garden has offered visitors a place to commune with nature, and these additions, designed by architect Kengo Kuma, only accentuate that sense of peace, mindful as they are of the landscape and the elements.

A star in his native Japan, Kuma is best known internationally for Tokyo’s 2020 Olympic stadium, a commission he took on after the late Zaha Hadid’s scheme was scrapped due to cost overruns. That project will be the latest in a long list of buildings he’s designed for his hometown, from the 2009 Nezu Museum—also nestled beside a garden, with soaring roof planes—to the nearby SunnyHills cake shop, an intricate lattice of timber. Now 62 years old, Kuma has never had a wider reach. His new outpost for the V&A museum is taking shape in Dundee, Scotland.

Also in the works are a Dallas skyscraper for Rolex, an apartment tower in Vancouver, and the Hans Christian Andersen Museum in Odense, Denmark, among countless projects. The Cultural Village marks his first public building in the United States.

“He’s definitely in line for the Pritzker,” notes Geeta Mehta, an architecture professor at Columbia University and coauthor of the 2011 book New Japan Architecture. “The stadium puts him in a very big league.” Kuma’s rising profile, she adds, comes at a moment when a generation of top Japanese architects are receiving the global attention they’ve long deserved. “People like Shigeru Ban and SANAA’s Kazuyo Sejima, they were doing small boutique projects for a very long time, but now they’re getting larger commissions in and out of Japan.”

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The Cultural Village reveals Kuma’s enduring fascination with traditional Japanese architecture, particularly wood craftsmanship, pagoda rooflines, and zigzagging floor plans, which ensure each room has natural light from two sides. True to his overall body of work, however, the Portland project remains unapologetically contemporary, with razor-thin aluminum panels on the lower roofs, sliding glass doors, and Tyvek in place of rice paper as the filter beneath a skylight. The complex, moreover, was designed to LEED standards.

“We are living in the 21st century; we should present a new type of sustainable building,” Kuma reflects in a conference room at the Jordan Schnitzer Japanese Arts Learning Center, the largest of the three new buildings. “But traditional Japanese architecture shows us a lot of hints about sustainability.”

The roof overhangs, for example, shield the glasswalled building from direct sunlight, reducing energy costs. The building also makes extensive use of wood to help limit its carbon footprint. “It is not a nostalgic building,” Kuma adds. “It’s a solution to a problem.”

Different as Kuma’s Portland complex and Olympic stadium might seem, the architect insists the two projects share key ideas, namely their integration into parklike settings and the interplay of light and shadow. At the Cultural Village, movable wood slats filter the light coming through the glass walls, while both projects employ multitiered eaves to create shading. “At the stadium we have four layers of roof.

Here we have two. But the basic idea is the same.”

For leadership at the Portland Japanese Garden, the $33.5 million project required not only an unprecedented fundraising campaign but also a change in thinking. “We had board members who said, ‘Whatever we do, it needs to be really traditional,’ ” recalls Stephen Bloom, the garden’s CEO. “I’d reply, ‘Traditional to what?’ We have garden styles that span a thousand years. Japanese design has continued and will continue to evolve, and we have to represent that or we’re misrepresenting what is an amazing design culture.”

CLOCKWISE FROM TOP LEFT: KYLE JOHNSON; SCOTT FRANCES/OTTO; TAKUMI OTA; DAICI ANO; EIICHI KANO

THE CULTURAL VILLAGE FEATURES DOUBLE ROOFLINES AND TIMBER SLATS INSPIRED BY TRADITIONAL JAPANESE ARCHITECTURE.

KUMA’S 2010 GLASSENCLOSED ADDITION TO A MIDCENTURY HOME IN NEW CANAAN, CONNECTICUT.

“We are living in the 21st century; we should present a new type of sustainable building,” says Kengo Kuma.

THE 2010 YUSUHARA WOODEN BRIDGE MUSEUM IN JAPAN.

A 2010 MUSEUM RESEARCH CENTER JUST OUTSIDE NAGOYA, JAPAN.

PERFORATED-ALUMINUM PANELS CLAD HIS CURVACEOUS 2016 WUXI VANKE EXHIBITION SPACE, ON THE OUTSKIRTS OF SHANGHAI.

THE FAST & THE FURIOUS JOB SMEETS AND NYNKE TYNAGEL OF STUDIO JOB SERVE THEIR NEW FAST-FOOD FURNITURE FOR SELETTI RIGHT IN THE MIDDLE OF MILAN’S PIAZZA AFFARI.

TEXT BY

HANNAH MARTIN

PHOTOGRAPHY BY

FRANCO PAGETTI

As the insatiable design world demands more, more, more, the provocative Belgian-Dutch duo Studio Job delivers

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2. LOEK BLONK; ALL OTHERS COURTESY OF STUDIO JOB

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1. LAMP FOR QEEBOO. 2. SKETCH FOR A GUFRAM TABLE. 3. PLANTER FOR QEEBOO. 4. BULLET LAMP FOR GHIDINI 1961. 5. SNAKES RUG FOR NODUS. 6. MIRROR FOR GHIDINI 1961. 7. CLOCK FOR ALESSI. 8. WINE COOLER FOR GHIDINI 1961. 9. ARMCHAIR FOR SELETTI.

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tanding at the foot of Maurizio Cattelan’s L.O.V.E. sculpture—that monumental middle finger that rises from the center of Milan’s Piazza Affari in front of the Italian stock exchange— designer Job Smeets contemplates another sordid symbol: the banana.

“It’s such a big icon in art. I don’t understand why it’s never been in design,” he wonders. He poses the same question of another edible muse: the all-American burger. “I mean, a hamburger really does make a perfect seat.”

At the Seletti flagship during Milan Design Week this spring, Smeets and his creative partner, Nynke Tynagel—the principals of the Belgian-Dutch design firm Studio Job—unveiled a collection that included both. In fact, the line sheet reads rather like a diner menu: Hamburger chair, Banana lamp, Sausage rug, Egg plate, Hot Dog sofa. “It’s quite hot. For a dog,” Smeets quips theatrically as he doles out balloons and bananas (real ones) to visitors.

The introduction—one of eight that the designers unveiled at the same time in the Italian city, including poly confections (sharks, skulls) for Qeeboo and skeletal brass whimsies for Ghidini 1961—marks the peak of an eventful few months for the studio. There was a show of new limited-edition works at Carpenters Workshop Gallery in Paris, a bronze sculpture placed outside Miami Beach’s buzzy Faena Forum, and the holiday windows at Barneys New York.

The breadth of their presence in Milan emphasizes the extent of the plunge Studio Job—the name is pronounced “yobe,” though Smeets prefers “job,” as in work—has made into the world of industrial design. While the provocateurs still make painstakingly detailed, stratospherically priced pieces in their Netherlands ateliers, they have now introduced more than 300 licensed products ranging from tiles to tableware.

SMEETS AND TYNAGEL CRUISE THROUGH THE SELETTI DESIGN PRIDE PARADE IN STUDIO JOB’S BANANA MOBILE.

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“It starts with haute couture, and then the prêtà-porter filters from that,” Job explains, likening the trickle-down effect to fast fashion or the way artists such as Andy Warhol and later Jeff Koons (both serious pools of inspirations for Job) licensed their work to everything from baby carriages to, most recently, Louis Vuitton bags.

Business partners for 17 years, Smeets and Tynagel met in 1996 at a bar near Design Academy Eindhoven, the Dutch school where they were enrolled and which is famous for boldface alumni Hella Jongerius, Tord Boontje, and Maarten Baas.

Tynagel, the doe-eyed brunette daughter of two wellknown modernist designers, turned out to be the perfect yin to Smeets’s wily, enfant-terrible yang. Soon after she completed her studies, the two joined forces creatively (they’d started dating in 1996 but dropped that side of their relationship last year), producing wildly decorative one-off works in bronze that kicked conventional ideas about design to the curb.

“If ornament is an immoral and degenerate practice, as Adolf Loos described it, then Job and Nynke are the most immoral and degenerate designers of our generation,” declares Juan Garcia Mosqueda of New York City’s Chamber gallery.

He discovered the duo in 2008, when he was still in design school, and went on to work with them during his tenure at the now-defunct Manhattan design mecca Moss, and later at his own gallery. Mosqueda recalls that Studio Job’s Farm series initially caught his youthful attention: a barn’s worth of humble pastoral tools—a pitchfork, a spade, a cooking pot, an oil lamp—subversively made of bronze and polished to a gleaming, reflective gold.

“We love to play with high- and low-end,” Smeets explains. Like the Pop artists of the 1950s and beyond, Studio Job cleverly elevates mass-produced motifs and symbols into costly objects of desire. “I put so much effort into something so common, like spending six months polishing a bucket,” Smeets continues.

“It’s kind of what we all do in life.”

Their recent affection for American food culture can be traced to Brooklyn Diner on New York City’s West 57th Street, a kitschy spot they frequented back in 2016 during the installation of their MAD retrospective. So when menu items became fodder for furniture, it’s no surprise that the duo returned to the Seletti factory time and again to get the details just so. Luxe materials from Maharam and Kvadrat were applied to the hot dog and hamburger by an upholsterer who works for Lamborghini.

“It’s the best leather, the best filling, the best embroidery,” Smeets observes. “It’s a spin on the so-called good-taste design brands like Vitra or Cassina. The so-called tactility. The so-called quality.

The so-called durability.”

When Tynagel finally saw the finished products the day of the grand Seletti store debut, she breathed a sigh of relief. “It has to be executed really well,” she admits. “Otherwise it’s only a joke.”

“Job and Nynke are the most immoral and degenerate designers of our generation.”

–Juan Garcia Mosqueda

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1. RUG FOR NODUS. 2. UMBRELLA STAND FOR QEEBOO. 3. A DRAWING FOR THE WAFFLE DAYBED FOR GUFRAM. 4. BASKET FOR GHIDINI 1961. 5. STOOLS FOR QEEBOO. 6. CABINET FOR GUFRAM. 7. FLOOR LAMPS FOR SLAMP.

Artful A HEDGE OF CUBANLAUREL ENCLOSES THE BACKYARD OF SARAH AND AUSTIN HARRELSON’S MIAMI BEACH HOME, WHERE A FLOCK OF INFLATABLE FLAMINGOS OFTEN FILLS THE POOL. LANDSCAPE DESIGN BY FERNANDO WONG.

Living Work and play blend seamlessly in Sarah and Austin Harrelson’s art-filled, high-style, family-friendly Miami Beach home TEXT BY

MICHAEL SLENSKE

PHOTOGRAPHY BY

FRANÇOIS DISCHINGER

STYLED BY

MICHAEL REYNOLDS

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inding a respite amid the chaotic commercialism of Art Basel Miami Beach is a tall order these days, but one reliable source of nurturing and energizing hospitality is the annual pig roast hosted

by Cultured Magazine and New York’s R & Co. gallery at the home of Sarah Harrelson, the publication’s jet-setting founder and editor in chief, and her interior-designer husband, Austin.

“I’ve been in love with this house since we moved in sixteen years ago,” says Sarah of their 5,000-square-foot 1936 British Colonial– style home. The residence sits on a nearly half-acre lot with a sparkling pool (often filled with inflatable flamingos) that overlooks an ipe-wood dock extending into Miami Beach’s Surprise Lake, the tropical canal connecting Biscayne Bay to the Intracoastal Waterway. But the sleeper hit of the exterior is an extensive hedge of Cuban-Laurel added by landscape designer Fernando Wong.

“Fernando is a friend and we work together a lot, so when I told him I wanted a walled courtyard, he suggested a tree hedge with a view to the water,” says Austin. “It creates a peekaboo effect with this illusion of privacy, so you can still see and understand the action of the water.”

The hedge is just one of many clever twists on traditional tropes that punctuate the property. “A lot of people here won’t restore an old home like this; they just knock it down and throw up a big modernist box,” says Austin. Instead, the couple opted for a gut-renovation: raising ceilings and reworking the flow downstairs; adding a fourth bedroom; plastering the walls and installing un-lacquered brass fittings throughout; and painting the exterior shutters black and the concrete roof tiles white. The goal was to open up and modernize the space, all while retaining the classical bones that Sarah originally fell in love with.

“My theory of design is very subtle,” Austin says, literally pointing out several low-key embellishments lest they go unnoticed—outdoor hardscaping hewn from Florida coral stone; quarter-sawn oak floors; Chinese sea-grass rugs painted to look like driftwood; a bronze stair rail cast from bamboo stalks that references a Caribbean estate designed by Oliver Messel. “The backgrounds here are so simple, so clean, that even though it’s a traditional house there’s a modernity to it, and we can mix historic design and contemporary art and it all works together.”

That mix includes Jansen and Karl Springer gems the designer has collected over the past three decades, amplified by flashes of contemporary art and design such as a Brutalist glass pendant light by Thaddeus Wolfe and brass hex-tile Haas Brothers stools that Sarah gave Austin for his birthday a few years ago. (“I bought one, but when it got here I thought the legs

IN THE LIVING ROOM, THE FAMILY’S CAVALIER KING CHARLES SPANIEL, SLIM, SITS SURROUNDED

BY ARTWORK, INCLUDING BRASS HAAS BROTHERS STOOLS, A PLASTER-ANDBRONZE OWL ON BRANCH

BY DAVID WISEMAN, AND A 2014 WORK BY QUINN HARRELSON. JANSEN BERGÈRES IN A ROGERS & GOFFIGON FABRIC SIT ON AN IKAT RUG BY THE RUG COMPANY. FAR LEFT INDIA, QUINN, AND AUDREY BUILD CARD HOUSES ON A VINTAGE TABLE IN THE FAMILY ROOM.

were not thin enough, so I ordered another to replace it,” she recalls. “But when it arrived we decided to keep both.”)

The editor—who also helms the Miami-based Bal Harbour Magazine and just launched LALA, which covers the Los Angeles art-and-culture scene—began collecting after acquiring a Spencer Sweeney painting at Art Basel in Switzerland a decade ago. “The collection is mainly composed of works by mid-career and emerging artists, with a female focus,” she says, calling attention to a large abstract painting by Lucy Dodd hanging over a brown velvet sofa in the family room, a silicone-and-floral work by Anicka Yi presiding in the downstairs office, and several of Ella Kruglyanskaya’s figurative drawings hanging throughout the house.

Austin calls the method behind the collection “very personal,” explaining how a monochrome artwork by their 16-year-old son, Quinn, hangs alongside a plaster–and–cast bronze owl sculpture by David Wiseman, and an Analia Saban diptych over the living-room sofa. “We wanted to create a family house, something that was sort of bulletproof, and it is,” says Austin, noting he allowed the kids—Quinn and daughters Audrey, 13, and India, 12—to ride bikes and skateboards over the cerused herringbone-patterned floors after installation because they felt too perfect.

“I like houses that evolve and organically age,” Austin explains. “And that’s what I was trying to create here. I deal

with clients who treat everything like a museum—‘Don’t touch this; don’t go into that room.’ Our house is the complete opposite of that.”

The house isn’t the only kid-friendly design in the Harrelsons’ life. “It was important for me to fold my kids into my career,” says Sarah, who brought Quinn with her to the Frieze art fair in New York last spring and has been taking the entire family to Basel fairs in Switzerland for the past five years. “I travel a lot and I don’t want to be without my kids, so I do whatever I can to bring them into the world. Obviously that made a huge impression on Quinn at an early age.”

To wit: The teenager has been trading drawings with the Haas Brothers since he was 13, just got a film that his parents didn’t know he’d made into Miami’s Borscht Film Festival, and is curating a show at Los Angeles’s buzzy BBQLA gallery this summer.

A lot of this artistic output leads back to the pig roast. “Being around creative types with such frequency since they were little has played a significant role in who the kids are becoming as they grow up, and not just Quinn,” says Sarah. “The girls are feeling more comfortable and confident thinking out of the box in their own pursuits—Audrey went through a phase where she only wore clothes she made herself. I think seeing so many artists who live in their studios has had a real impact on them; they see how much work it really takes.”

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ABOVE A THADDEUS WOLFE GLASS PENDANT HANGS FROM AUDREY’S BEDROOM CEILING. AUSTIN HARRELSON–DESIGNED NIGHTSTAND AND BED; MATCHSTICK SHADES BY SMITH & NOBLE. RIGHT THE DININGROOM WALLS ARE PAINTED IN BENJAMIN MOORE’S HERB GARDEN. VINTAGE ANGELO LELLI LIGHT FIXTURE, GUILLERME ET CHAMBRON TABLE, AND JANSEN STOOLS. BELOW QUINN’S DRAWINGS PEPPER HIS BEDROOM WALLS. ROMAN SHADE OF A CALVIN FABRICS LINEN.

“We wanted to create a family house, something that was sort of bulletproof,” says Austin.

ABOVE THE FAMILY GATHERS ON A TERRACE PAVED WITH FLORIDA KEYSTONE. LEFT IN THE SITTING ROOM, AN AFRICAN STOOL STANDS IN FRONT OF A VINTAGE BIELECKY BROTHERS RATTAN SOFA.

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A SUNBRELLA-STRIPE FABRIC AWNING SHADES A TERRACE. CUSTOM PADDLEBOARD BY INDIGO SUP.

last word

Situated in scenic Lake Maggiore, the Italian islands of Isola Madre and Isola Bella can count Gustave Flaubert, Edith Wharton, and Napoléon Bonaparte among their many historic admirers. Is it any wonder why? Tended by the Borromeo family since the 16th century, both private islands are fantasie of flora—Isola Madre an English-style stunner full of rare plants; Isola Bella a Baroque beauty with 10 tiered terraces and a menagerie of statues. (Pictured is Bella’s eastern shore, where a sculpted yew rises in the shape of a spiraling cone.) Open to the public, the grounds of each are also freshly accessible to armchair travelers thanks to the new book Gardens of Beauty: Italian Gardens of the Borromeo Islands (Electa, $45), which features photography by Dario Fusaro and a preface by Italian landscape designer Paolo Pejrone, the isles’ current steward. —SAM COCHRAN

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DARIO FUSARO

Molto Bene