Wallpaper july 2016

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JULY 2016

*the stuff that refines you

Sale of the midcentury Prepare your paddles and pick up the pieces of New York’s Four Seasons restaurant (we snagged Philip Johnson’s favourite table and negroni)





Michel, seat system designed by Antonio Citterio. www.bebitalia.com B&B Italia Stores: London - Milano - Paris - MĂźnchen - New York - Washington DC - Los Angeles - Miami - Sao Paulo - Tokyo


BROOM by PHILIPPE STARCK Made in America from 90% industrial waste. emeco.net

design by ¡ made by


July artist wolfgang tillmans documented the building of the new tate modern extension in a series of 176 shots, which he manipulated using a photocopier that produces a single colour image after scanning a picture four times, distorting and shifting the colours so each work is unique, see page 096


Design Directory

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Architects Directory 2016 The world’s best young emerging studios switch craft The Tate Modern extension in pictures Wine & Design A multisensory marriage of art and grape the W* House Check out the must-have furniture and fittings in our annual design directory ArcHitectUre

056 068



055 076

Light armour Next up in our dazzling jewellery series Bid farewell Auctioning off an iconic NY restaurant FAsHion


Love shack A lost Prouvé’s secret life as a sex club socal hero A breath of fresh air in Bel Air

Metal guru Ron Arad’s flashing blade for St Pancras

cool runnings On the trail of the latest sportswear FooD


Artist’s palate Eddie Peake’s Alphonso mango




Home at last.

LARIO SECTIONAL SOFA design by Antonio Citterio

FLEXFORM www.flexform.it

July Media


Wallpaperstore* Refined design, delivered to your door resoUrCes


stockists What you want and where to get it traVeL


departure info Where to eat, drink and sleep KITCHEN & BATHROOM dIgEsT 2016

‘Tulip’ chairs in The powder room aT new york’s four seasons resTauranT, closing in July, see page 076


our annual round-up of the coolest cantinas and ablution solutions

Front oF book

037 052

newspaper Liverpool’s illuminations; the latest analogue fetishist’s haunt; and the salty-sweet combo craze sweeping China the Vinson View Sorting the humdingers from the humdrum at the Salone del Mobile interiors

062 194 020

Play house Alex Michaelis’ west London fun palace has been designed with children in mind black Magic Ropes, bubbles and chains are just a few of the tricks up our sleeve

polished aluminium pieces from ron arad’s Terrace wires insTallaTion for london’s sT pancras sTaTion, see page 072

The Other Conversation

Maralunga sofa designed by Vico Magistretti at Shore House by Mount Fuji Architects, Japan — cassina.com London 238-244 Brompton Road

Lets think of a circus actor. One who can be contortionist, weightlifter, knife-thrower and fire-eater at the same time. It is the same for the Nex Box and its huge collection. No desire remains open with its different boxes.

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NEW BR 03-94 AEROGT CHRONOGRAPH · 42 mm · Bell & Ross UK: +44(0) 2076 291 558 · Boutique: Units 48 - 49 Burlington Arcade - W1J 0QJ - London · e-boutique: www.bellross.com

Contributors Bernard duBois architect Bernard Dubois first made his mark as part of the team behind the superbly minimalist Belgian Pavilion at the Venice Architecture Biennale in 2014. Now his growing portfolio ranges from an ongoing collaboration with Valextra to retail interiors in China. His approach mixes modernist, postmodernist and pop art influences with a powerfully graphic aesthetic. Dubois created this month’s Architects’ Directory artwork (page 090), with a collage comprising a panorama of the participating architects’ work. Wolfgang tillmans Photographer

eddie Peake artist

The first photographer to win the Turner Prize, in 2000, Wolfgang Tillmans shot Tate Modern’s new Switch House extension throughout construction. We have the images exclusively (page 096), and he also returned to create our limited-edition cover this month. ‘The complexity of the project is what’s so fascinating,’ says Tillmans. ‘For example, a normal building has about four different window types – and the new Tate Modern building has 57 different types!’

Eddie Peake’s contribution to our regular artist recipe slot (page 218) is one of our more minimalist culinary offerings. Peake leapt to prominence while still at the Royal Academy when he staged a nude five-a-side football match that explored the inherent homoerotic potential of contact sports. Other works have featured rollerskaters in sheer jumpsuits. He also collaborates with fellow artist and recipe contributor Prem Sahib on club night Anal House Meltdown. stuart franklin Photographer Stuart Franklin’s photograph of Tank Man in Tiananmen Square is one of the late-20th century’s most abiding images. Fashion photography is a largely uncharted area, but we sent him to Kenya’s Western Highlands to capture the country’s long-distance running community for our fashion story (page 204). ‘I was supported by a great team, a natural love of photographing people, and a very large reflector/diffusor that wanted to whip about like a mainsail in a storm.’


aaron Peasley Writer

JC gaBel Writer

Originally from Sydney, Aaron Peasley has lived in New York for the last 12 years, working primarily in the luxury and design sector. One of the first things he did when he moved there was to check out The Four Seasons Restaurant, which is about to change location after more than 50 years. ‘I remember walking into that stunning room and being intimidated by how powerful everyone looked.’ Peasley writes about the auction of this midcentury gem’s furniture and tableware on page 076.

For more than a decade, LA-based writer JC Gabel produced Stop Smiling, The Magazine for High-Minded Lowlifes. He has since edited books for the likes of Taschen and Phaidon, and has just launched new print collective Hat & Beard Press. This month he writes for us on architect Felicity Bell’s first US build in Bel Air (page 068). ‘I got to pore over the drawings and models before seeing the place, up-close, fully built, making me appreciate Felicity Bell’s astute design sensibility before I even stepped foot in the house itself.’

Illustrator: tIm laIng wrIter: paul mccann

design Studio Job


20th-century Bounty hunting

Newsstand cover Photography: François Dischinger Producer: Michael Reynolds Our cover features the corner table in the Grill Room at The Four Seasons Restaurant in New York, where architect Philip Johnson, who designed its interior, sat each day for lunch, with his habitual negroni. Could you buy his table? See page 076 for the story of a remarkable auction


When Patrick Seguin, design collector, dealer and Jean Prouvé authority, told me last year that he had discovered the French architect’s original studio my ears pricked up. When he added, sotto voce, that it had later been used as a swinger’s club, I almost fell off my ‘Tabouret Haut’ stool. Seguin had been searching for the studio for years. After a tip-off, he took a closer look around the Maxéville area of Nancy in France, noticed the club, called Le Bounty, and discovered that its aluminium shell concealed the 1948 building in its entirety – albeit with some intriguing interior styling additions. Seguin has since purchased the site, restored Prouvé’s demountable design office and will be presenting it at this year’s Design Miami/Basel. Read the full sizzling exposé on pages 056, 057, 059 and 060. We also look at the upheaval of another midcentury masterpiece, the Philip Johnsondesigned Four Seasons Restaurant in New York. Johnson, a creature of habit, lunched at the same table there every day, kicking off with a single negroni. A ritual honoured on our newsstand cover. For the past 21 years, the guardians of the restaurant, housed in Mies’ Seagram Building, have been Alex von Bidder and Julian Niccolini. In July their lease expires

and they, and The Four Seasons name, will move on to a new location – yet to be confirmed. The main architectural features of the interior are protected but all the furniture, glassware, silverware and more will be auctioned by Wright on 26 July. To find out how you could own a piece of 20th-century design history, see page 076. Only time will tell if the space’s second act will be as starry as the first. Aby Rosen, owner of the Seagram, is determined that it will. ‘There will be changes, improvements, new memories for the next generation as well as regular patrons,’ he told us. A new chapter begins for a third 20th century architectural gem this month with the opening of Tate Modern’s £260m expansion. With W* HQ located directly opposite, we’ve had a ring-side view of its construction for the past seven years. We celebrate its completion on our subscriber’s cover – an original artwork by Wolfgang Tillmans, who has been on-site, off and on, since work began. See page 096. Affectionately known to us as ‘Tate’s bit on the side’, Herzog & de Meuron’s addition includes space for dance and the performing arts. Though not, I suspect, the type to interest the regulars at Le Bounty. Tony Chambers, Editor-in-Chief

Limited-edition cover by Wolfgang Tillmans Having documented the building of Tate Modern’s Switch House extension by Herzog & de Meuron, Tillmans returned to create this special cover for us. See page 096 for an exclusive look at his series of images Limited-edition covers are available to subscribers, see Wallpaper.com Wallpaper* is printed on UPM Star, upm.com


Wallpaper’s hot pick of the latest global goings-on

Ico conscious Ora Ïto champions an Italian stalwart

As a tribute to the legendary Ico Parisi and his discreet, sensual shapes, French designer Ora Ïto has collaborated with Cassina on the ‘Ico’ chair, inspired by Parisi’s ‘814’ chair, produced in the 1960s for the Italian furniture brand. ‘It’s 50 per cent my design, 50 per cent Cassina’s know-how,’ says Ïto. ‘Thanks to our ongoing exchange, we have created a tribute to 20th century classic design and 21st century modernity.’ cassina.com

OrA ÏTO In hIs PArIs APArTmenT wITh hIs new ‘ICO’ ChAIr FOr CAssInA, A TrIbuTe TO The lATe ICO PArIsI

photography: albrecht fuchs writer: rosa bertoli



photography: jakub certowicz


Park slope A Polish museum meticulously merges landscape and architecture

Part building, part public square, the recently completed National Museum in Szczecin, designed by Polish firm KWK Promes, sits at the heart of the city, right next to its award-winning Philharmonic Hall. The new museum is hidden underground beneath a paved artificial slope, with its roof serving as a public plaza, dotted with trees, sculptures and ramps (for sitters and skateboarders), blurring the

boundaries of where landscaping ends and architecture begins. Along the plaza’s two right-angled raised sides, a row of concrete slats rotate to reveal a glass strip marking the museum’s entrance. A generous lobby leads visitors down to the exhibition hall level, where the museum’s main displays unfold, taking visitors through the post-war history of Szczecin. kwkpromes.pl

Mass appEal From a Western view, the aesthetic draw of Sov-era design is frequently detached from the crumbling reality. Totalitarianism was often expressed in towering concrete, and it’s simpler to love the form while overlooking the ethics. Towards a Typology of Soviet Mass Housing is a more balanced look at the USSR’s post-war push for prefabrication, and includes the successes and failures of factorybuilt housing. This beautifully presented monograph, paired with a Top Trumps game and scale model, celebrates the grand vision without glossing over the obvious pitfalls of prefabricated ubiquity. Towards a Typology of Soviet Mass Housing: Prefabrication in the USSR 1955-1991, €68, by Dimitrij Zadorin & Philipp Meuser, dom-publishers.com

photography: ania wawrzkowicz set design: lou blackshaw writers: ellie stathaki, jonathan bell


share capital Co-working spaces have been big business for a while, but they’re starting to outgrow their ‘start-up only’ status. Corporate behemoths like KPMG, GE and PepsiCo use co-working satellites to embrace some of that creative edge. With more than 50,000 members and $15bn in capitalisation, WeWork is the undisputed co-working market leader, eagerly exporting its Google aesthetic to places like Manhattan, Montreal and Tel Aviv. The industry is big enough to spawn nichification. Green Spaces, for example, is open to sustainable companies only. B Corps, a global certification network of over 1,700 socially conscious companies, including Patagonia and Ben & Jerry’s, houses exclusively likeminded members. But what ties all these new offices together? For the workers, representation and collaboration. Few gestures impress prospective clients quite like cool digs and a ready-made ecosystem of nearby collaborators. What’s in it for the investors? Uh, real estate, and lots of it. Selling pimped-up desks at premium prices is a nice business model itself, while renting to hip young entrepreneurs also drives up property values.



Newspaper Works in progress from laWrence abu hamdan (1), andreas angelidakis (2), marvin gaye chetWynd (3),

mariana castillo deball (4) and alisa baremboym (5), Who are among 42 artists appearing in the biennial




02 04

Northern lights

the ninth edition of the liverpool biennial promises a cavalcade of creative illumination From pubs and vacant plots to cinemas and public parks, the ninth liverpool biennial shows new work from 42 international artists, both established and up-and-coming, from as far afield as Japan, lithuania, Palestine and taiwan. it may be the largest contemporary art festival in the uK, but director sally tallant notes that, ‘it’s not as if liverpool is short on cultural offerings year round.’ tallant, who was head of programmes at the serpentine Gallery in london before moving to head up the biennial in 2011, contends that, ‘liverpool is second only to london when it comes to the number of museums and galleries.’ the biennial’s narrative goal, explains tallant, is to offer perspectives on liverpool’s past, present, and future. to that end, the biennial will unfold in six episodes, each outlining a specific

illustrator: leonie bos writer: natalia rachlin

theme that considers liverpool through the ages, with artists responding accordingly. Monuments from the Future, for example, asks artists to consider what liverpool might look like 20, 30, or 40 years ahead. as part of this episode, american-born, Dusseldorfbased sculptor rita Mcbride will showcase a geometric temple outlined entirely in green laser lights. ‘sculpture always has to defy gravity,’ says Mcbride, ‘so it’s interesting and exciting to work with light, to get rid of the idea of gravity, metaphorically and literally.’ as part of children’s episode, the turner Prize-nominated performance artist Marvin Gaye chetwynd is staging bertolt brecht’s Threepenny Opera (with a kids-only cast) interspersed with scenes from a 1930s betty boop cartoon, while in Flashback, the birkenhead-born artist Mark leckey will

present Dream English Kid, a film inspired by events in his life from the 1970s to 1990s. the film will be screened alongside new sculptural works in the saw Mill, the former entrance hall to legendary liverpool club night cream. apart from showcasing work by local and far-flung artists, tallant hopes the 14-week event will help to recast the city as a creative incubator. ‘i think liverpool could become a place where artists take risks away from the art market because we don’t have lots of commercial galleries here. they can invent new possibilities for what art means, and think about how a city can be rethought with artists at the heart of that process. look at how berlin has been reinvented. Maybe liverpool could be the next berlin.’ The Liverpool Biennial will run from 9 July to 16 October 2016, biennial.com


Newspaper ALL BAGS, PRice oN RequeST, By NANcy GoNzALez + KAWS, NANcyGoNzALez.com

Kaws célèbre An X-rated Nancy Gonzalez collaboration


With its penchant for exotic leathers and brightly coloured hues, accessory label Nancy Gonzalez doesn’t underestimate the value of making a statement. This month, the design-driven label launches a collaborative collection with Brooklynbased artist Kaws, whose work thwacks that sweet spot between art and design. The capsule range is the first in an ongoing Artist Series conceived by the label’s president and creative director, Santiago Gonzalez, who says, ‘His precise use of colour, sense of humour, the graphic yet anecdotal imagery… these are all attributes that we believe our bags also have.’ Kaws’ signature double X motif has been applied to the label’s ‘Gotham’ clutch, ‘Gio’ crossbody bag and ‘Leaf’ tote. Realised in a contrasting colour to the bag itself, the motif has been expertly integrated into the construction for a refined 3D effect. And, just like any other work of art, the bags are available in limited editions.

photography: william bunce set design: imogen frost writer: pei-ru Keh

styling Studiopepe / photography Andrea Ferrari / ad Designwork

Lariana 2015 / bathtub, design Patricia Urquiola Fez 1999 / taps, design Benedini Associati Gemma 2015 / extras, design Sebastian Herkner



Flat mates

The new-wave espadrilles are good to your feet

Footwear fashions ebb and flow, but espadrilles are an enduring style staple, with everyone from Valentino to Saint Laurent doing their own beach versions of the Catalan classic. But with designer variations retailing into the hundreds of pounds, there‘s room for more affordable everyday versions too – which is where our favourite Brazilian beach brand comes in. Havaianas’ S/S16 espadrille collection comes in a rainbow of colours, but also in two completely new styles: the striped Origine Navy and the palm-printed Folhagem. Though they retain the look of classic espadrilles, Havaianas have replaced the traditional esparto soles with the same trademark rubber that defines their legendary flip-flops, handy for those Brazilian downpours when rope soles would normally dissolve. Espadrilles, £30, all by Havaianas, havaianas-store.com

keeping it reel it’s not just vinyl that’s getting analogue fetishists all of a quiver. waltz, housed in a former warehouse in tokyo’s funky nakameguro neighbourhood, stocks audio cassette tapes alongside vintage ghetto blasters and a selection of yellowing design and lifestyle magazines (including early editions of wallpaper*). in 2004, after stumbling upon the book Mix Tape: The Art of Cassette Culture, edited by sonic youth’s thurston Moore, owner taro tsunoda was reminded of the qualities and allure of the humble cassette and started collecting. Fast forward to 2015, when he quit his senior management role at amazon japan to set up waltz. ‘cassettes are great because of their warm, soft sound, and i just love the size.’ waltz carries an impressive stock of some 3,500 antique cassettes, mainly from the 1970s to the 1990s, as well as a small selection of new releases from local acts that are going back to basics and releasing their works on tape. waltz-store.co.jp

photography: ania wawrzkowicz, yasuyuki takagi set design: lou blackshaw writers: christopher stocks, jens h jensen





design Ettore Cimini, Walter Monici









PERLA is available for indoor / outdoor use and compatible with LED bulbs.




Jacket, £4,640; shirt, £4,340; trOusers, £1,930, all by chanel fOr all stOckists, see page 216

This season’s catwalks set a new workplace agenda as stalwart staples of the real-world working wardrobe were spiced up to inspire those soldiering on in the city. At Chanel, the classic tweed skirt suit was relaxed into a more louche wide-legged trouser and flaredsleeve jacket, courtesy of Karl Lagerfeld’s high-flying Terminal 2C collection. At Prada,

Working wardrobe Occupational therapy for sartorially minded executives

the trench coat was reworked with patent leather and suede strips and accompanied by pointed kitten heels in a Belle de Jour-ish ode to 1960s futurism. That winter winner, the turtleneck, has also been remixed for the warmer months, edited down to a choker and neckpiece at Dior, and then teamed back with somewhat subversive horizontal


pinstripes. On the footwear front, the backless loafer’s recent revival continued at Louis Vuitton and Gucci, where Alessandro michele also rewrote the business shirt with a silken 1970s sensibility. All of which should impel a cool workday transition… until the time comes to turn on that outof-office autoresponder.


Coat, £4,545, by Prada

Coat, £6,000; shoes, £600; bag, £3,100, all by louis Vuitton


∑ shirt, £745; skirt, £990, both by guCCi

hair: hiroshi Matsushita using kiehl’s. Make-up: suzy rycroft using dermalogica skincare. Manicurist: saffron goddard using tom Ford beauty. set design: Miguel bento. set build: rosalind gahamire. Model: Candice at Wilhelmina


three-PieCe suit, £3,500; Choker and neCkPieCe, £600, all by dior

A R E VO LU T I O N A RY C E R A M I C M AT E R I A L . SaphirKeramik, a high-tech material driving innovative design. With its precise, thin-walled forms and tight-edge radii, Laufen brings a new language to bathrooms. Collection VAL, design by Konstantin Grcic.


Get smart Military-grade mobiles for the security-conscious aesthete

Swiss-Israeli start-up Sirin Labs is looking to corner the market with its military-grade smartphone with in-built security to thwart casual hacking, electronic eavesdropping and data theft. Its debut product, the Solarin, is a Kubrick-esque monolith with a metal matrix composite ‘chassis’, accommodating some 2,000 components, neatly wrapped within a Karim Rashid-designed metal and leather skin. ‘The Solarin is for people who typically have a lot to lose, but who also want a mobile phone that is elegant and thoughtfully designed,’ says Tal Cohen, Sirin’s CEO. ‘The Solarin’s luxury is in its technology and unprecedented levels of security.’ The smartphone sports a definite character, with an organic ‘bump’ around the camera, a tactile surface and finely detailed metal edges. sirinlabs.com

catwalk make-up trends in recent seasons have been predominantly austere, calm and conservative, but finally the mood is changing. at Fendi’s a/w16 show, models walked the runway with eyes in audaciously clashing colours, forecasting a change in the status quo. it seems that the days of matching and minimalism are drawing to a close: the newest beauty trend has a maximalist outlook – time to trade in your palette of neutral, muted shades to embrace the colour clash. to master the art, accentuate your eyes with a series of loud and vibrant hues. ysl’s vinyl couture mascaras provide a dazzling slick of pigmented intensity to lashes, while the eye-popping eyeshadows and kaleidoscopic lipsticks from mac’s chris chang collection would brighten up any look. these new shades prove that make-up doesn’t have to be complementary to be beautiful.


good egg in classic chinese cuisine, salted duck eggs are the quintessential savoury comfort food. but when hong kong’s urban bakery began filling pastries with a molten custard made from salted egg yolks, the salty-sweet combo kicked off the unlikeliest of food crazes. singapore has led the way with lines forming early for toast box’s golden lava egg tart, and a turf war raging between local cafés antoinette and Flavour Flings over who makes the best salted egg yolk croissant.

photography: ania wawrzkowicz, adrian samson illustrator: ignasi monreal writers: jonathan bell, sara sturges, daven wu

set design: lou blackshaw. Food styling: peta o’brien

culture clash




The Vınson Vıew

Quality maniac and master shopper nick Vinson on the who, what, when, where and why Must-sees by Milan’s Maestri By Angelo Mangiarotti Church of Mater Misericordiae (1957), via Conciliazione 24, Baranzate; Casa a Tre Cilindri (1959), via Gavirate 27; apartments (1960), via Quadronno 24; Milano Repubblica metro station (1990). By Luigi Caccia Dominioni Casa Caccia Dominioni (1947), Piazza Sant’ Ambrogio 16; via Santa Maria alla Porta 11 (1960); Convento di Sant’Antonio dei Frati Francescani (1963), via Carlo Farini 10; Galleria Strasburgo (1966), via Durini. By Piero Portaluppi Casa degli Atellani (1921), Corso Magenta 65; Planetario Hoepli (1930), Corso Venezia; via Tommaso Salvini 1 (1930); Casa Villa Necchi (1935), via Mozart 14. FANTASTiC FouNDATioNS Fondazione Studio Museo Vico Magistretti via Conservatorio 20, vicomagistretti.it Fondazione Achille Castiglioni Piazza Castello 27, fondazioneachillecastiglioni.it Fondazione Franco Albini via Telesio 13, fondazionefrancoalbini.com


What gives Milan its design mojo

the city’s late greats and new talent vie to wow Picky nicky

For me, Salone del Mobile, held each spring in Milan, starts with the tiresome task of going through invitations and just under 400 e-vites. I sift the must-sees from the must-nots and make a day-by-day plan. With my list, I can easily skip the crapola (there is sadly plenty of that) and see the best. Instagram is handy for editing the list further (overexposure is a turn-off ) or adding in stops that I may have overlooked. This year’s highlight was a project celebrating 400 years of ceramic production in Arita, a town on Kyushu Island, Japan. Masterminded by Teruhiro Yanagihara, creative director of pottery company 1616/ Arita, and Scholten & Baijings, it brought together 10 potteries and 16 designers under one umbrella brand – known as 2016/. As a presentation, it ticked all the boxes: great story-telling, exceptional products, dynamic displays and a very nice spot for lunch where you got to try out the merchandise. Over the course of week, I met a few frequent visitors to Milan who had never been before during Salone, so had never seen the city so alive. Their enthusiasm for Milan at its most vibrant – and open – reminded me never to take it for granted, and a few unplanned stops reminded me why design is at its heart. I queued for a good part of the morning (something Picky Nicky does not normally


do) to visit the apartment of late Milanese architect Piero Portaluppi in the Casa degli Atellani. Although parts of the main house and gardens are always open to the public, Portaluppi’s apartment was opened exceptionally for just four days during Salone. That’s me in the sketch above, chatting with Portaluppi (as I imagined him) beside his superb heptagonal fireplace. Of course, if Wallpaper* had been around during his time, we would have snapped him up as a guest editor, commissioned him to participate in Wallpaper* Handmade, or both. He built many beautiful buildings across the city, including the Casa Villa Necchi in 1935, famous for its role in Luca Guadagnino’s 2009 film I Am Love. I first visited as a guest of Giorgio Armani in 2008 – he was one of the patrons of its restoration by Fondo Ambiente Italiano (FAI) – and Wallpaper* featured it in a May 2009 Milan special (W*122). My final stop was Portaluppi’s 1925 Albergo Diurno Venezia, a subterranean delight that included barbers’, manicure and pedicure stations, a travel agent’s and public conveniences. Abandoned for at least a decade, it is now managed by FAI, which has recently opened it to the public for a limited time. I am hoping that one of Milan’s fashion houses will help restore it and bring it back into use.  portaluppi.org; fondoambiente.it; 1616arita.jp

02 Chic retreat no.1 experience Brutalist beauty in the Huis Van Wassenhove, outside Ghent. Built in 1974 by Juliaan lampens, it can be rented via the Dhondt-Dhaenens Museum. museumdd.be

03 Chic retreat no.2 John Pawson’s life House in Wales sleeps six and has a contemplation space buried in the hillside, plus a calming music selection. living-architecture.co.uk

Illustrator: Danae DIaz


HARD LINES Contemporary jewellery’s craft, creativity and killer curves

Light armour

Boucheron’s Claire Choisne turns cape crusader

As the couture shows dominate Paris in early July, fine jewellery houses take advantage to entice the moneyed fashion crowd by hosting covert viewings of one-of-a-kind masterpieces in secret locations. This year’s offering has one clear standout: a cape of gold, drawn and crafted entirely by hand by Boucheron. The pattern, ‘made mostly of fine, twisted chains to resemble grosgrain, dictates the form’, reveals creative director Claire Choisne, the quietly spoken jewellery designer with a consistently big, bold vision. With no engineering software to aid the process, it took Choisne and her coterie of master craftsmen and women 70 hours to sketch out the pattern on a Stockman dummy. ‘The design is easy,’ she says. ‘It was



the technique that was tricky.’ The graphic effect, of peacock feathers – a Boucheron house motif – was key because Choisne was keen to avoid an overly romantic result, preferring instead the notion of Joan of Arc in a coat of fine armour. ‘I liked the idea of chain mail, so I wanted the chains to be straight and supple but with just the right tension so that they shimmer as the body moves. Getting the right balance in that was a feat.’ The gold carapace, which took over 1,000 hours to complete, may not come with the cool price tag attached to diamonds, but it shines with virtuoso skill. Says Choisne: ‘Jewellery design is about the uniqueness of the idea; not the preciousness of the material.’  boucheron.com


Prouvé’s Maxéville Design Office (below) and Seguin’s snaps of how he discovered it, as sex club Le Bounty (remaining pictures), before having it restored to its former glory (seen opposite, after a test assembly in Nancy)



Love shack

How gallerist Patrick Seguin went into a sex club and came out with Jean Prouvé’s long-lost Maxéville Design Office WRITER: AMY SERAFIN



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Archive photography and main image previous page: courtesy of Galerie Patrick Seguin. Thanks to Musée de l’Histoire du Fer, Domaine du Château de Montaigu, Communauté Urbaine du Grand Nancy


ntil recently, in an industrial suburb of the French city of Nancy, a crowd of swingers held nightly orgies in a club called Le Bounty, unaware the building was a masterpiece of 20th century architecture. Likewise, the great modernist Jean Prouvé probably never imagined that his Design Office in Maxéville would one day become a ‘complexe de détente’. One of the few people who had long wondered about the fate of this building was Patrick Seguin, the French design dealer who owns the world’s largest collection of Prouvé architecture – 23 houses. Seguin knew the Maxéville Design Office might still exist. He had driven by the original site where it had stood. And he had seen Le Bounty without realising that it was indeed the Prouvé structure – for it was now covered in blue aluminium siding and stuck on top of another building. Unrecognisable, it was hiding in plain sight. But a few years ago, on a tip, Seguin decided to take a closer look. After contacting the building’s owner, he visited Le Bounty during the day. Ignoring the mirrored disco ball, the false ceiling, the leather club chairs and chequered curtains, Seguin zeroed in on two floor-toceiling arches covered in yellow wood. They looked boxier and less graceful than the portal frames Prouvé used as the backbone of his famous demountable houses – but still, Seguin says, ‘I knew right away.’ He asked the building’s owner for permission to probe the structure and see ‘what was under the carapace’. His team went around the building, drilling holes in the cladding, carefully investigating. ‘We were surprised,’ says Seguin. ‘The whole building was there.’ (Though two wall panels had been repurposed as a bar counter.) Not only that, the aluminium had actually protected it over the years. In 2014, Seguin bought it and moved it to one of his warehouses in Nancy. A major centre for Art Nouveau, Nancy was also the birthplace of Prouvé, a metalworker and humanist who pioneered the use of folded sheet metal for furniture and architecture. In the 1940s, responding to France’s need for new housing after the war, he developed an ingenious system for prefabricated houses that could be assembled by two people in as little as a day. They were never mass-produced on the scale that Prouvé envisioned, and precious few have survived. The Maxéville Design Office, which he realised in 1948, was unique. It used the same basic design as Prouvé’s 8m x 12m Métropole House, with two loadbearing portal frames and an open interior plan. The addition of a deck and awning enlarged the surface area to 10m x 12m and made the gable roof asymmetrical, 6m long on one side and 4m on the other. Another particularity was the absence of aluminium – Prouvé used only steel for the frame and interchangeable pine panels for the walls. Bay windows in front allowed for plenty of natural light. Ateliers Jean Prouvé had moved to Maxéville in 1947, installing this house as its design office in 1952. The office was a hive of activity, says Seguin. ‘All the decisions around design, creation, architecture, engineering and furniture were made here.’ But the experience was relatively short-lived; when the company’s majority shareholder laid off 30 people in 1953, Prouvé disapproved and walked away. The factory was demolished, but the office survived, becoming a restaurant, a plumber’s office and, finally, Le Bounty.


Unrecognisable, the office was hiding in plain sight

Patrick Seguin at his warehouse in Nancy, beside some of his Prouvé structures. His collection now numbers 23

This June at Design Miami/Basel, Seguin will unveil the Maxéville Design Office to the public for the first time, lovingly restored down to the last screw. Back in spring, a visit to Seguin’s warehouse revealed the house under renovation, a meticulous undertaking. Stripped down to its bones, nothing remained of the indignities it had faced as Le Bounty, aside from the name, which Seguin’s team affectionately adopted. The metal skeleton remained in excellent shape, the two portal frames in eggshell-white folded steel, the steel roof a champagne grey. The original pine panels, in poorer condition, were being replaced. The structure had been the upper floor of a twostorey building. Seguin removed the bottom storey (which had no architectural interest) and wanted to be able to transport and reassemble the house anywhere. He had already faced this challenge with another Prouvé building, Ferembal, originally placed above a garage. For Ferembal, Seguin hired his friend, the Pritzker Prize-winning architect Jean Nouvel, to design a portable base. Nouvel’s response was an arrangement of blocks made from layered sheets of Ductal high-performance concrete that screwed to »



Top, Seguin (right) and architect Jean-François Bourdet (left) discuss the project in front of plans Above, the restored interior, furnished with Prouvé’s ‘Bureau Présidence’ and ‘Fauteuil Direction’ chair Left, the Design Office while undergoing restoration at Seguin’s warehouse in Nancy


the steel grid under the floor. By adding or removing layers, builders could adapt the house to any terrain. Nouvel’s regular collaborator, HW Architecture, has used the same system for the Maxéville Design Office – 12 layered Ductal blocks holding the frame up off the ground. Beyond this, its task was to return the house as closely as possible to its original state. Any changes were minor, such as expanding the entrance from one door to two. The architect overseeing the project, Jean-François Bourdet, finds he is constantly impressed by Prouvé’s details: ‘an extreme functionality that results in magnificent design’. Prouvé had fallen out of fashion when Seguin first started dealing in design, in the late 1980s. Now his houses sell for millions. But putting Prouvé in the spotlight has always been a passion for Seguin as much as a business. He publicly exhibited two houses in the Tuileries Garden. He collaborated with Larry Gagosian to show Prouvé architecture alongside Calder mobiles and Chamberlain sculptures. Recently, he invited another Pritzker Prize laureate, Richard Rogers, to adapt a Prouvé house (W*196). He donated the 1969 Filling Station to this year’s AmfAR auction at Cannes, and has sold Prouvé structures to the world’s most discerning collectors; they now serve as everything from Azzedine Alaïa’s bedroom to a Korean tea house. Whether or not the structures are fulfilling their original purpose, one thing is certain: Seguin has saved many from oblivion – or worse. ‘The idea is to give them another destiny,’ he says. ‘We are giving them a second chance, a second life.’ patrickseguin.com. Design Miami/Basel, 14 – 19 June, basel2016.designmiami.com


Prouvé office interior: courtesy of Galerie Patrick Seguin

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In Residence

Play house

Turrets, curves and slides make architect Alex Michaelis’ London home inner-child friendly PHOTOGRAPHY: MAX CREASY WRITER: ELLIE STATHAKI




In Residence


he narrow, off-white, brick-clad main facade of architect Alex Michaelis’ new home in west London does not reveal much. There’s a modest front wall and a simple, round, almost abstractly turret-like volume behind it, dotted with large openings of different shapes and sizes. However, a slim gap between this property and the next, along this quiet, mostly residential part of the street, allows a glimpse of a garden and a second volume at the back, hinting at the true flair and scale of this project. ‘A developer, who we’d done some work with in the past, had asked me to work on this plot as a joint venture. At the time, there was nothing there; it was a garage,’ recalls Michaelis, who heads the prolific practice Michaelis Boyd Associates, together with partners Tim Boyd and Simon Haycock. Michaelis had designed his previous home, too – in Oxford Gardens – but when circumstances led him to sell it, he began looking for his next residential adventure. ‘I guess I got an appetite for building houses,’ he says. Michaelis ended up buying the site from the developer to transform it into his new family home. It came with planning permission for a conventional infill house with a basement, which the architect decided to completely redesign, taking his cue from the site. The plot is wedged in-between surrounding brick buildings

with high walls all around, a variety of shapes, several types of windows and details he could link the building to, which, for Michaelis, made for a promising start. ‘I always liked playing with form, not just fitting in,’ he explains. Maximising light was key to the new design, so the architect avoided building right up to the neighbouring walls, instead making sure he allowed space for windows and light to seep into all four sides of the house. ‘I thought it was really important, from the first floor up, to shrink the building a little bit to get light into the floors below,’ he continues. ‘We also didn’t want to have too many sharp points that would become dark and shadowy.’ The final form, covered in handmade Petersen bricks, is composed of a fairly thin – 5m at its narrowest – and long base that runs the length of the plot. On top of this are two curvaceous, almost cylindrical towers, one towards the front and one at the back of the site. The middle part of the plot could not be filled without reducing light to neighbouring properties, so a slim bridge connects the two volumes over a green roof. The front entrance leads to large living, kitchen and dining areas, which take up the whole ground floor. A professional-standard Electrolux Grand Cuisine kitchen has been installed, featuring a specialist sear hob, a wok area and a precision vacuum »




‘Architecture can be fun and entertaining. You can see the glint in every adult’s eye when they see the fireman’s pole’

residential architecture. ‘Architecture can be fun and entertaining. You can see the glint in every adult’s eye when they see the pole,’ he adds. ‘The first thing they want to do is go up and slide back down.’ And what of more formal references? A comparison to Moscow’s modernist classic, the Melnikov House, with its twin round volumes and similarly unusual windows, might not feel completely out of place. ‘These forms came around more from wanting to let the light flow and play with the spiral staircases, for example,’ explains Michaelis. ‘It was all very free flowing, which can be quite difficult to achieve.’ The project’s several leafy, outdoor areas are also testament to this organic approach. Both towers have an accessible sun roof, while the ground level’s top is planted with a variety of flowers, trees and creepers, which Michaelis hopes will grow to cover parts of the property. ‘It goes back to the original principles of Le Corbusier,’ he says. ‘When you take a piece of land away, you have to try to give as much as you can back, which I love as a philosophy. And as the plants grow, the whole thing will come alive.’ The couple worked with garden designer Jinny Blom on the plant selection, which includes strawberry trees, magnolia trees, ferns and a cherry tree. The family moved in even before works were fully completed and, with the summer ahead, they are already enjoying the house’s courtyards and gardens. ‘The swimming pool is one of the most well-used spaces in the house,’ says Michaelis. ‘I just went in this morning, and two kids jumped in with me. They use it with friends too. It is quite small, but on the same level as the living areas, so that makes it more part of the house. The only problem is keeping the dog out.’  michaelisboyd.com

sealer, all of which are put to good use, both for daily family dinners and entertaining. A glass sliding door opens onto a courtyard and a lap pool outside. Upstairs, the division is fairly straightforward – the front round volume hosts the adults’ master bedroom and en-suite on its own separate floor, as well as two of the children’s bedrooms underneath. The rear one becomes more of a kids’ zone, with a play area and bedrooms for the couple’s remaining five children. Beautifully sculpted staircases with smooth corners, corridors and rooms are lined with Dinesen Douglas fir flooring, while details such as windowsills feature the same wood. The walls are deliberately left with an unpainted plaster finish which, together with the timber’s pale colouring, creates an overall soft, light, almost Scandinavian interior. Yet this is far from the typical clean, white, minimalist home. ‘It has been designed with children in mind,’ says Michaelis. Indeed, from slides to hidden areas and a fireman’s pole mischievously connecting the ground and first floor, there are plenty of playful details that elevate the project to a truly bespoke piece of



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ulling into the gated driveway leading up to the newly constructed Cajrati Crivelli house in Bel-Air, designed by London-based architect Felicity Bell, the first thing you notice is the sheer vastness of the space around the property. Lush greenery surrounds the house on its 6,053 sq m site. You can squint and almost see the largely unsettled rolling hills that would have typified this region 100 years ago.


The second thing you notice is all the new construction going on in every direction. It seems like the Cajrati Crivelli home is the only lived-in house along this east-facing canyon for as far as the eye can see. Alessandro and Debrina Cajrati Crivelli hired Bell to design their LA home four years ago. At the time, the couple were living in London and began the design process before they moved to California a year later.

Alessandro, who works in real estate, has a knack for finding great locations, so perhaps it’s no surprise that he discovered this sprawling, untouched plot to build his dream house on, as if plucked from the pages of a storybook he read while growing up in Milan. It turns out this canyon, not far from the Santa Monica mountains, is a hot spot of new construction, as the housing market – ever on the rebound in LA – builds steam.

In Residence

OPEN HOUSE A London architect in LA delivers a breath of Bel-Air PHOTOGRAPHY: JOE FLETCHER WRITER: JC GABEL

The Crivellis’ house is Bell’s first new-build project in the United States. The architect – who was born in London but grew up in Australia and New Zealand – designed the house as a series of stacked boxes, punctuated by a strong roofline, built seamlessly into the Bel-Air hilltop. On the day I visit, Debrina (originally from Chicago) welcomes me in and takes me on a tour of the house, making sure to point

out which last-minute design details still need to be sorted out or fine-tuned. ‘Felicity really did spend a lot of time thinking about inside-outside living as it relates to Los Angeles,’ says Debrina. ‘Incidentally, when we first moved here we were somewhat disappointed that we were east-facing, but it’s turned out to be a blessing in disguise,’ she continues, referring to the blistering summer heat.

A modernist southern Californian design influence is at play throughout the house. Natural light is centre-stage and everywhere you look the space seems to expand. Impossibly tall windows, white walls and towering portions of marble draw you into the main room, and then out towards the backyard, with its flower gardens, spectacular views of LA and an infinity pool that faces downtown. (There is also a lap pool in the »

In Residence

‘The building doesn’t end at the facade. It’s not just about the building as an object’ basement, which can be heated for LA’s nippy, cold-weather mornings.) Concrete communes with nature at the Crivellis’ house. ‘I think it’s very important to design inside and outside,’ says Bell. ‘I think the best architecture and design is almost always approached that way. The building doesn’t end at the facade. It’s not just about the building as an object.’ Large, manual, outdoor shutters were designed by Bell to help block out the sun on hot summer afternoons, and to help capture the cascading LA winds that percolate in the canyons around the city when the temperature drops in the evenings, sometimes by 25 to 30 degrees. The fireplace in the main room, which was designed for entertaining guests, helps create a chic yet inviting SoCal ambience. Meanwhile, all the furniture and many of the fixtures (outside of the Victorian-era London antiques) were also designed by Bell with help from Debrina, who also moonlights as a photographer.


Bell’s familiarity with her clients’ taste prepared her for the challenge of a new-build halfway around the world. She was originally introduced to the Crivellis through a mutual friend in Milan, and had worked with the couple previously on their London home. This led to the project in LA, which Debrina describes as almost whimsical: ‘For me, the impetus to move here was sunshine,’ she says. ‘We came here on vacation, and Alessandro was meeting all these interesting people, and things seemed to be moving, and so we upped and moved here.’ ‘There was a level of trust on both sides,’ says Bell. ‘We both love tall spaces, I knew that from working with them on the house in London. They wanted tall spaces in the entertaining areas – like the 16ft windows and doors – for dramatic effect. It came together nicely. My parents are Australian, ABOVE LEFT, THE FIREPLACE IN THE MAIN ROOM ABOVE RIGHT, 16FT WINDOWS AND A SKYLIGHT CREATE DRAMA AND NATURAL LIGHT

so I grew up mostly there; the climate and the way people live there is a little like LA.’ Bell visited LA and the site with the clients in the early stages. There were challenges, she says, in managing her local team from afar, but at critical stages, she flew out for a week or two every six to eight weeks. She found some aspects of working in LA easier than she was used to. And although certain planning regulations are strict, once Bell familiarised herself with sizing, height, setback and slope restrictions, she was able to find artistic freedom in LA. In London, she’d nearly always worked with listed buildings and/or in conservation areas. ‘Planners can withhold approval if they think the aesthetic of a design does not fit with its surroundings,’ she says. ‘But this project was a clean slate. ‘Naturally, there is refining in design,’ she continues, ‘but buildings should be well resolved before any construction commences. In fact with this project, I knew exactly what I wanted from the very beginning.’  felicitybell.com

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Metal guru Designer Ron Arad’s new work for London’s St Pancras railway station is a high-wire meditation PHOTOGRAPHY: ESTER GRASS VERGARA WRITER: SOPHIE LOVELL

Public art in the 1940s and 1950s was all about social renewal, about building a better place, for the people. Today, art in public spaces tends to be big business, often turning into the industry-sponsored exercise of adding ‘value’ of a different kind. But occasionally you come across hybrids, such as in the very public, yet privatised space of a major railway station: St Pancras in London. There has been a public art scheme here, called Terrace Wires and operated by HS1, the station’s owner, for the past four years. Every year it invites a committee comprised of broadcaster Evan Davis; Nigel Carrington, rector at the University of the Arts London; artist and curator Chris Wainwright;



Royal Academy artistic director Tim Marlow; Nicola Shaw, chief executive of HS1; and Wallpaper* editorial director Richard Cook, to commission a work to hang above the Grand Terrace and below the Barlow Shed roof. This year’s chosen artist is the architect, designer, sculptor and Royal Academician Ron Arad. The Royal Academy element is important, for this is part of an ongoing collaboration with that venerable institution. It is the first time it has curated an external public sculpture series in London in its 248-year history. This doesn’t seem to interest Arad that much when I meet him in the heart of Dutch Friesland to  »



Art inspect the progress of his piece. What excites him about the commission is the location. ‘Unusually, here we have this amazing space where the art has to be suspended,’ he says. And, being a station, it is full of the comings and goings of trains and travellers (around one million people per week). ‘So I wanted it to be a piece that has movement, that uses the fact it’s not bound or limited by gravity – let’s enjoy the freedom of the fact that it is suspended.’ He’s also responded to the array of visual stimuli at the St Pancras site with a piece that he says needs to be ‘minimal, monolithic and calm’. The idea for the work came quickly, reveals Arad: ‘Often when you’re given a brief or a request the answer comes immediately; it’s not the result of methodical exploration or studies, it’s: “Yeah, I know what I’ll do.”’ The sculpture, called Thought of Train of Thought, is an 18m-long twisted blade of highly polished aluminium. It will hang side-on above the Grand Terrace, rotating slowly along its long axis – giving incoming train drivers the best view. He shows me a computer animation of the installed piece on his iPad and suddenly the enormous, halfcompleted, twisted wing we are standing next to makes sense: when it is finished and polished to a mirror-like sheen, the shimmering reflections along its length will create a strange optical illusion. I comment that the object seems to disappear as a result and looks instead like a tear in space-time in front of the station clock, but that may just be the effect of the animation. ‘The turning on one axis,’ he says, ‘gives you the illusion of something moving from nowhere to nowhere and then disappearing, so people ask themselves: “Where does it come from?” Because it looks as though something is moving, like a train.’ Right now we are in an industrial estate on the outskirts of Franeker in Friesland because this is where CIG Architecture, which is responsible for building Thought of Train of Thought, has sourced specialist aluminium boat builders for the job. It seems an appropriate place to manufacture the blade/wing, with its visual backdrop of giant wind turbines. Today is the first time Arad has seen the piece since it left his drawing board in London’s Chalk Farm. In his trademark shapeless hat, the designer looks a little like an overgrown Paddington Bear inspecting his art. Excited, he moves restlessly around and around the piece, filming it first on his smart phone then on the iPad. Exclaiming at the interior structure and the way the light catches the, as yet unpolished, surface, he seems pleased. I mention that with his history of building pieces, beginning with the Rover chair in 1981, it must be strange for him to have others building his ideas. ‘I used to hammer and weld myself,’ he

‘I wanted it to be a piece that’s not bound or limited by gravity’


acknowledges. ‘Here, fortunately, I’m in the hands of people who are far more skilled than me.’ It is Arad’s disdain for disciplinary boundaries that makes his work so interesting. He may be an architect and designer, but he responds to briefs like an artist, from the self. He designs buildings, makes sculptures, experiments with technology and makes one-off objects and pieces for mass production. Born in Tel Aviv in 1951, Arad enrolled at the Bezalel Academy of Arts and Design in Jerusalem in 1971, relocating to London’s Architectural Association (AA) in 1974, where he studied architecture alongside Peter Wilson, Zaha Hadid and Nigel Coates, and was taught by Peter Cook and Bernard Tschumi. Later, when Arad became head of design products at the Royal College of Art, from 1997 to 2009, this extraordinary educational mix influenced him greatly: ‘I very much copied it. I wanted a pluralist place and I had a very good model, which was the AA.’ He certainly succeeded. In fact, Arad is as distinguished as an educator as he is as a designer, in which capacity he has had major retrospectives at New York’s MoMA, the Barbican Centre in London, and the Pompidou Centre in Paris. His former students, equally, read like a who’s who of contemporary design: Peter Marigold, Max Lamb, Paul Cocksedge, El Ultimo Grito, Studio Glithero and Random International, among others. After visiting Thought of Train of Thought, Arad popped up the road to another workshop to inspect the final stages of a kinetic piece called Spyre, which is to be installed in the courtyard of the Royal Academy for the Summer Exhibition in June, shortly before the St Pancras installation on 7 July. The Spyre is a 16m-long articulated tentacle of a thing with a camera eye in its head that will snake around the courtyard. The view captured by the eye will simultaneously be projected onto a giant screen – the sculpture beast monitoring its environment and its observers as they observe it. The eye of the storm and centre of attention once again. The maverick at the heart of the establishment.  terracewires.com; royalacademy.org.uk



bid farewell

Join the sale of the midcentury at New York’s Four Seasons Restaurant photography: François Dischinger proDucer: michael reynolDs writer: aaron peasley

It’s just past noon on a late spring day at The Four Seasons Restaurant in New York. Co-owner Julian Niccolini, dressed in polished Oxfords and one of his many custom-made Thom Browne suits, examines the tables allocated for the all-important lunch reservations. Preternaturally calm wait staff smooth over the crisp linen tablecloths as Alex von Bidder, Niccolini’s longtime business partner, calmly greets a handful of early guests as they ascend the wide

Pool Room ‘Just recently a party ended up in the pool without their clothes after too much champagne,’ says Niccolini. ‘There’s nothing wrong with that.’ To be sold are Mies van der Rohe’s customdesigned ‘Brno’ chairs, tableware by L Garth and Ada Louise Huxtable, and banquettes by Philip Johnson and Associates

travertine staircase. With the power hour unfolding with a kind of military grace, it’s almost impossible to imagine that this bastion of the New York dining scene will close its doors in just a few weeks. ‘Some of us remain in a kind of denial,’ says Niccolini, who began working at the restaurant in 1977, four years after arriving in the US. ‘I’ve basically grown up within these walls, and I’ve seen the restaurant through many different chapters of New York history.’ »


Intelligence Sofas Far left, Johnson designed the salon-style ‘Perching’ sofas for waiting guests although they were rarely used, given the military precision with which tables were allocated. Alongside them are ‘Tulip’ tables, originally designed by Eero Saarinen in 1956 (the tables will be sold individually and as pairs)

Stemware Left, designed by Garth and Huxtable between 1958 and 1959, the stemware – some of which is in the collection of MoMA – also embraced a clean, modern aesthetic

Silverware Below, designed by Johnson, the serving cart holds silver serving ware by Garth and Huxtable. Each piece is made of silver soldered metal (pairs of serving bowls begin at $500 and chargers are estimated to begin at $1,000 a set)

From its inception, The Four Seasons was a restaurant of singular ambition. A pair of vast rooms at the base of Mies van der Rohe’s Manhattan masterpiece, the 38-storey Seagram Building, the restaurant opened in 1959. Like the building itself, the restaurant’s construction was overseen by Seagram owner Samuel Bronfman and his architect daughter Phyllis Lambert, who lavished fastidious attention on every detail, birthing a truly modern Gesamtkunstwerk. In keeping with the world’s foremost International Style building, the restaurant marries rectilinear clarity with an exquisite material palette. When an exhausted Mies retreated to Chicago, Philip Johnson, who would one day be considered the ‘dean’ of American architecture, was charged with designing the restaurant’s interior. Faced with the scale of a small European train station, Johnson divided the space into two large dining rooms. In the Grill Room, he added magisterial 20ft-high panels of French walnut and installed a square bar beneath a Richard Lippold sculpture of hanging bronze tubes. For the somewhat more romantic Pool Room, a raised pool of white Carrara marble was installed as a visual anchor. Connecting the two spaces is a long, thin travertine-clad passageway known as Picasso Alley because it housed a 19ft x 20ft Picasso curtain created in 1919. Johnson and Lambert’s design dream team also included lighting expert Richard Kelly; industrial designers L Garth and Ada Louise Huxtable; and »

Grill Room Above, a view of the Grill Room from the north-east corner mezzanine (once derided as ‘Social Siberia’ by gossip columnists). The mezzanine space features ‘The Chair’, Hans Wegner’s archetypal design in leather and teak. Beyond, the room features custom banquettes designed by Johnson, and Mies’ custom ‘Brno’ chairs. The French walnut panelling and Richard Lippold hanging sculpture will remain in the space in its next iteration

Wine coolers Left, silver wine coolers designed by Garth and Huxtable, 1958-1959 (auction estimate $1,000-1,500)

‘Tulip’ tables Right, Johnson – with guidance from Phyllis Lambert – chose every element of the restaurant’s interior, including these Saarinen ‘Tulip’ tables. For the Grill Room he had them custom-made in bronze


‘Everybody has eaten here. We’ve fed every president except Richard Nixon’

Serving ware

The bar

The character

Above, with a mandate to cast off the old-fashioned rituals of fine dining, everything in the restaurant had to exude American modernity. Garth and Huxtable designed all tableware, cookware and serving dishes

Below, the bar features custom ‘Tulip’ tables; bar stools of chrome-plated steel and leather, designed by Johnson and Mies van der Rohe; and custom banquettes by Philip Johnson and Associates

Right, the men’s lavatory in its Mad Men glory, designed by Johnson. Opposite, the spectacular Richard Lippold bronze sculpture in the bar, commissioned by Johnson in 1958, will remain in situ

landscape architect Karl Linn. The project’s final budget amounted to the then-unprecedented sum of $4.5m, said to be more than the cost of the entire Guggenheim Museum. Here, in the heart of Midtown Manhattan, was a new kind of establishment. Undeniably glamorous, but never gauche or glitzy, the restaurant was a paean to power itself, and the handsome travertine and glass space became the quintessential backdrop for the city’s postwar ambitions and dizzily status-conscious denizens. Heads of state, visiting royalty, newly minted yuppies and titans of industry all parked up to discuss business and seal deals. Thankfully, the tables were far enough apart to facilitate deal making yet still allow for just a soupçon of eavesdropping (to be breathlessly reported by Page Six), while generous sightlines facilitated discreet stargazing. With a setting that never eclipsed its supernova clientele, The Four Seasons always seemed to be the social arena of the moment. In 1962, the newly inaugurated President Kennedy celebrated his 45th birthday party in one of the restaurant’s private rooms, hours before Marilyn Monroe’s famous raspy serenade. In the 1980s, it was Chanel power suits, Ivana Trump and naked romps in the marble pool. The 1990s saw it become the de facto Condé Nast canteen (where US »



Intelligence The owners The Four Seasons’ co-owners Julian Niccolini (left) and Alex von Bidder (right) have run the bastion of midcentury elegance for two decades, and worked there for four. They now have plans to create a new restaurant in another architecturally significant space

A new vision for An iconic spAce

Vogue editor Anna Wintour, a regular diner, was once served a dead raccoon by a PETA protester). ‘Everybody has eaten here,’ says Niccolini, suggesting it’s easier to name the celebrities who have not dined here (‘We’ve fed every president except Richard Nixon’). In 1979, Esquire coined the term ‘power lunch’ to describe the restaurant’s sui generis blend of power and status. Jacqueline Kennedy Onassis christened the Grill Room ‘the cathedral’. But it couldn’t last. In recent years, this seat of 20th century might has become the object of much public combat, with von Bidder and Niccolini pitted against Aby Rosen, the Seagram Building’s owner. Rosen has also clashed with preservationists and Lambert, the restaurant’s visionary creator, by pushing for the removal of the Picasso curtain (which was painted for the ballet Le Tricorne and is now installed in the New York Historical Society) and proposing structural changes to its landmark protected interiors. Unable to reach a new lease agreement, the owners decided to shutter the restaurant and reopen it elsewhere under the same name. Nevertheless, The Four Seasons Restaurant, as we know it, will cease to exist. While most of the building’s iconic interior elements cannot be altered, its contents are due to be sold in a sale conducted by Chicago-based


The Four Seasons’ closure does not mean the end for what many consider Manhattan’s most glamorous dining space. The Seagram Building’s owner Aby Rosen has joined forces with the Major Food Group to create an as-yet untitled restaurant within the space. ‘The restaurant will soon start a new chapter as we bring back the sparkle and realise a new vision. The menus and food selections will be healthier and more creative, the service and overall dining experience more memorable,’ says Rosen. The Major Food Group is known for its historically attuned spaces. ‘[Founders] Jeff Zalaznick, Mario Carbone and Rich Torrisi understand the importance of respecting the legacy of The Four Seasons Restaurant and honouring its new American cuisine origins,’ says Rosen.

auction house Wright. ‘The Four Seasons is the epitome of Power New York,’ says founder Richard Wright. ‘Having a drink at the bar, where I always felt obligated to order a martini, felt impossibly urbane. The richness of the interior, the hushed environment and the hypnotic ripple of the metal window treatments refute the idea of modernism being cold and clinical. The space elevates and inspires, which is why it has played a part in the important life moments of so many.’ For those who’ve celebrated a milestone at the restaurant or simply enjoyed a business lunch, its rich furnishings and tableware possess both intrinsic and talismanic power. ‘It reminds me of when the Yankees relocated and the Stadium’s contents were sold to the fans,’ says Niccolini. ‘Our guests are desperate to own a piece of the city’s culinary and social history.’ Among the lots up for auction are the Grill Room’s five custom-built Knoll banquettes, the domain of the restaurant’s A-list habitués. ‘Each day, Philip Johnson would take his lunch right here and order a single negroni,’ says Niccolini, pointing out the Grill Room’s southernmost banquette. Other pieces for sale include upholstered ‘Brno’ chairs, originally designed for Mies’ Villa Tugendhat in Brno in the Czech Republic; polished bronze-topped ‘Tulip’ tables by Eero Saarinen from the bar area; Hans Wegner chairs from the Grill Room’s mezzanine, including the chair that JFK sat on during his birthday dinner; and the sofas that Johnson designed specifically for waiting guests. ‘The Bronfman family and Phyllis Lambert, in particular, were like the Medicis of their time,’ says Niccolini, listing the sheer number of items that were commissioned for the restaurant by its founders, determined to cast off the tradition-bound hauteur that was then standard in predominantly French fine dining restaurants. The Huxtables’ table and cookware, which features in the permanent collection of the Museum of Modern Art, also reflects this spirit of strident modernity. Depending on who you ask, this pharaonic temple to modernism – with its expensive, indistinct food, expansive spaces and muffled ambience – is either completely démodé or more relevant than ever. What’s certain is that it won’t remain the same after the last service on 16 July, four days shy of its 57th birthday. ‘This all will come to an end,’ says Niccolini with a sanguine shrug. With help from advisers, including architectural critic Paul Goldberger, the owners have engaged a world-class architect to create a new iteration of The Four Seasons. ‘Again, the architecture will come first,’ stresses Niccolini, almost conceding that the food has always been beside the point. ‘People don’t go to restaurants just to eat; it’s a place for magic, tremendous architecture and beauty. We could never recreate this, but we will do something special.’ The Four Seasons auction, 26 July, 99 East 52 Street, New York, wright20.com

ph. b.saba a.d. emiliana martinelli www.martinelliluce.it

Marazzi. Your space. Extraordinary everyday. The rarest forms of marble for the new Allmarble stoneware collection.

Collection Allmarble: Saint Laurent, Statuario





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Architects’ Directory 01

















architects’ directory 2016 Our pick of emerging talent honours the late, great Zaha Hadid at her Investcorp Building in Oxford PORTRAIT: PHILIP SINDEN





Photography: © Luke Hayes

Architects’ Directory


ur location for this year’s Architects’ Directory shoot of rising stars is a bittersweet choice, a reminder of the untimely loss of one of the greats of contemporary world architecture. In her lifetime, Dame Zaha Hadid built just a handful of permanent structures in her adopted home, the UK, including this sinuous university building. Opened in summer 2015, the Investcorp Building at the Middle East Centre in Oxford is a project that must have resonated on many levels for Hadid. Not only is the building woven into the heart of the British academic establishment, it was designed to celebrate the history of the modern Middle East, thus serving as an elegant metaphor for her own journey from Iraqi-born outsider and architectural provocatrice to design powerhouse. In many respects, this shimmering curve of stainless steel offers a rarely seen side to her practice’s work, presenting itself as a piece in a contextual jigsaw, up tight against rough-edged concrete Brutalism, traditional brick and centuries-old trees and lawns. The building effectively doubles the size of the Middle East Centre, a global hub for research founded in 1957 at St Antony’s College, adding a library expansion and a lecture theatre in the basement. The ground floor is glazed, opening up views onto the trees of Woodstock Road; from the street the reflective facade presents itself as a bridge between the original college buildings


The building serves as an elegant metaphor for Hadid’s own journey

and the rough walls of Howell, Killick, Partridge & Amis’ Grade II-listed Hilda Besse Building of 1970. As a leader in a male-dominated industry, Hadid’s approach was all too often defined as confrontational. For her critics, her bold voice was a double-edged sword, one that was wielded with disproportionate frequency in comparison to her male peers. Over the years, she won many accolades, including the 2004 Pritzker Prize and the 2016 Royal Institute of Architects Royal Gold Medal. We were also proud collaborators. We introduced her to Karl Lagerfeld for an October 2006 portfolio story and she went on to guest-edit Wallpaper* in 2008, creating a cut-out sculpture that formed ‘a big hole in the magazine’. We like to feel there was a mutual broadening of our respective horizons. Of course, Zaha Hadid Architects lives on. At the time of her death in March, the 400-strong office was working on 36 projects in 21 countries. The Salerno Maritime Terminal in Italy was inaugurated in April, while projects in Antwerp, Riyadh and London’s Science Museum are scheduled to open this year. The practice will no doubt retain its esteem under Patrik Schumacher, but 2016 will always be remembered as the year modern architecture lost one of its leading lights. Turn the page for profiles of 11 of our rising-star practices. See Wallpaper.com for the full Architects’ Directory.  zaha-hadid.com; sant.ox.ac.uk





0808 234 1953 at your travel agency or mebymelia.com CABO








DUBAI (2017)


DOHA (2018)

ArchitectsÕ Directory


GAFPA Belgium

A graduate of the University of Sydney and the University of New South Wales, Tomek Archer set up his studio in Sydney’s Surry Hills in 2014. His work is already extremely varied, his growing portfolio spanning installations, commercial interiors, and single and multi-family houses. Bronte House (pictured) in Sydney involved the transformation of an existing heritage brick house with a new timber volume at the rear designed to bring the outside in. ‘Architecture is fundamentally about shaping spaces that inspire many forms of occupation,’ he says. In 2012, Archer co-founded NOMI, an online company that allows you to customise designer furniture. archeroffice.com

Emerging Belgian office GAFPA was founded in 2008 by Floris De Bruyn, Philippe De Berlangeer and Frederick Verschueren, shortly after finishing their studies at the Sint-Lucas School of Architecture in Ghent. Their school is known for its hands-on, pragmatic approach and this shows in their growing body of work. Their Weekend House (pictured) in Wachtebeke is a prime example of their philosophy, with its utilitarian approach, down-to-earth feel and connection with the surrounding landscape. The team works on a variety of scales, from private houses to exhibition design. Ongoing work includes a single-family townhouse in Ghent’s Gentbrugge district. gafpa.net


ACRE ARCHITECTS Canada Husband-and-wife team Stephen Kopp and Monica Adair head the Saint John-based Acre Architects in New Brunswick, Canada, with a further office in New York. The team works with contemporary forms and strives to create a sense of place and identity. ‘We don’t take the conventional order of things as a given, and are inspired by people who have the courage to think big,’ say the architects. One of their favourite works is a craft beer microbrewery project that was part adaptive reuse of an old railway roundhouse and part new build. Residential work, meanwhile, includes Into The Wild (pictured), a Saint John family house built on a long-vacant plot. theacre.ca

A rc h i D i r e cte c ts’ to 2016 r y Th e P




Architects’ Directory



An environmentally sensitive approach is taken by Studio Puisto’s five directors, Mikko Jakonen, Emma Johansson, Sampsa Palva, Heikki Riitahuhta and Willem van Bolderen, who set up shop in Helsinki in 2010. ‘We believe that constructing in a sustainable manner pays off,’ they say. ‘Ecological, economical and social ambitions come together in our work, without compromising on a beautiful and functional end result.’ The studio is part of Uusi Kaupunki, a Finnish urban architecture collective that focuses on sustainability in the broadest sense. Works include the Dream Hotel and the Looveld House (pictured), completed in collaboration with Bas van Bolderen. studiopuisto.fi

An architecture graduate of Paris-la-Défense and ENSA Normandie, Antonin Ziegler worked in practices in Rouen and Montreal, Canada, before returning to France to set up his own studio in 2012. His first project, Cliffs Impasse, an extension for a country house in Senneville-sur-Fécamp, won him several awards, while other works include Le 107 (pictured) in Asnières- sur-Seine. His influences are varied. ‘I am sensitive to constructed worlds rather than precise references – certain sequences by David Lynch, Andrew Niccol or Wong Kar-wai, or works by photographers such as Gregory Crewdson, Jeff Wall or Stephen Shore.’ He is currently teaching as well as practising. antoninziegler.com

BLOCK722 Greece


Athens-based Block722 was founded in 2009 by architect Sotiris Tsergas and designer Katja Margaritoglou and takes its name from the ‘urban block 722’ where it is located, a culturally varied area in the heart of the city. The office handles everything from architectural projects to interior design and construction work (through their sister company Block722+). Recent works range from an exhibition stand at Greece’s 100% Hotels fair to a holiday house on the island of Syros (pictured). Ongoing projects include a hotel development on the Ionian island of Zakynthos and a striking beachfront residential build, defined by a long pergola, on the south coast of Crete. block722.com

Pietro Ferrario and Francesco Enea Castellanza graduated from the Politecnico di Milan in 2008 and, after a short stint doing work experience at other offices, set up Oasi in Busto Arsizio in 2009. The duo are committed to a thoughtful, research-based approach, which they have applied in spades to their recently completed UV House in Varese, and their ongoing FGN House (pictured), currently in design development. Their favourite project, though, is a not-for-profit one they undertook in Haiti for orphaned children. ‘Context and conditions made us get off the pedestal and consider real issues, such as light and where the sun burns,’ they say. oasiarchitects.com


Architects’ Directory



A graduate of the University of Guadalajara in Mexico and the University of Navarra Pamplona in Spain, Abraham Cota Paredes set up his studio in Guadalajara, Jalisco, working largely in the residential sector, with a focus on private homes in gated communities. The studio creates architecture that is ‘introspective’, as a response to the hustle and bustle of the typical Mexican metropolis. His favourite project is called House To See The Sky (pictured) as he feels it perfectly represents his office’s approach. The young practitioner hopes to keep creating projects he likes and to eventually be able to influence the way that Latin American cities are inhabited. cotaparedes.com

After completing his undergraduate degree in architectural engineering in South Korea, Chanjoong Kim completed a master’s degree at the Harvard Graduate School of Design. He founded The System Lab in 2012, based in Bundang, on the outskirts of Seoul. Rather than solely drawing on architectural work, the firm is open to influences and inspiration from other sectors and disciplines. The practice’s spectrum of projects includes the reimagining of the Hyundai Museum of Kids Books & Art, the country’s first book-themed children’s museum, Paul Smith’s flagship store in Seoul, and the concrete-clad and curvaceous multi-generational residential project Bojeong Dong House (pictured). thesystemlab.com


Find the full Architects’ Directory 2016, featuring 20 breakthrough practices, at Wallpaper.com

31/44 Netherlands and UK


Christening their practice after the dialling codes of their two main office bases, 31/44 is headed by William Burges, James Jeffries and Stephen Davies. The team established its joint office in 2010 and has completed projects on both sides of the Channel, tackling everything from small-scale residential work to strategic masterplanning. Currently working on the refurbishment of the conference facilities at the Barbican in London and a boutique hotel in Shoreditch, the team has also recently completed the Wenslauer House (pictured) on an infill plot in Amsterdam. Their objective is to create works ‘with an inherent connection to their site, whether a street, park or landscape.’ 3144architects.com

Since leaving his post as director at Alison Brooks Architects, where he worked on several award-winning schemes, Dominic McKenzie has headed up his own Londonbased practice, which he founded in 2011. With a focus on residential projects, this design-led firm calls on a wide array of influences, from contemporary art and architecture to the surrounding urban cityscape. Recent projects include the mirror-effect, steel-clad Eidolon House (pictured) in Highgate and the Bower House in Islington with its glass-clad rear extension, while a new build house and a residential extension, both in Hampstead, are among the firm’s current works. dominicmckenzie.co.uk


Switch craft

As Tate Modern’s audacious redbrick pyramid finally opens, we preview Wolfgang Tillmans’ unique record of an icon in the making WRITER: CHARLOTTE MCMANUS

On the bank of the River Thames, a steelstructured power house draws millions of visitors from across the globe every year. Its brick façade, towering chimney and imposing industrial form instantly mark it out as the Tate Modern, the world’s most popular platform for modern and contemporary art. The gallery is housed in the former Bankside Power Station, designed by Sir Giles Gilbert Scott between 1947 and 1963 before being decommissioned in 1981. The building lay dormant for over a decade until Swiss architects Jacques Herzog and Pierre de Meuron were selected to convert it into a national museum of art. Since Tate Modern’s official launch in 2000, the building has played a key role in transforming the oncedeserted Bankside area into a bustling hub. And now Herzog and de Meuron are leading


Tate Modern into a new era with a large-scale extension set to open this month. Herzog and de Meuron are renowned worldwide for their long list of architectural accomplishments; adept at harnessing a site’s existing character, their designs demonstrate a highly articulated use of materials with frequently complex, consistently intriguing explorations of space and shape. Standouts include the Bird’s Nest stadium in Beijing and the Elbphilharmonie concert hall in Hamburg, with the Tate Modern widely recognised as one of their most high-profile works. ‘It’s amazing how the Tate has grown – it’s a totally different institution now,’ says Herzog. ‘It has transformed Bankside, making it a city in itself.’ Five million people now annually flock to a museum designed to accommodate just

two, while the Tate Modern’s collection has expanded by over 50 per cent since its 2000 launch. Unsurprisingly, this led to an urgent need for space. The new development, called the Switch House, has been designed to help visitors engage better with art, providing additional areas for learning, discussion and new media, as well as the collections themselves. It also marks the latest phase in Tate Modern’s ongoing evolution, which started with the completion of The Tanks in 2012 (this underground space, dedicated to live art and performance, briefly opened to the public before closing to reopen together with the Switch House this June). Located on the museum’s south side, the new Switch House rises from Level 0. ‘Adding a building to an existing structure is always a challenge for an architect – especially when it is a »




successful museum building designed by the same architect,’ muses Herzog. De Meuron factors in the issue of building a museum for the 21st century: ‘It should not be a flashy piece of architecture – it is not more important than the art itself ’. Clad in brick, this ten-storey building towers over the original gallery, effectively doubling the exhibition space. Its angular design creates an extraordinary form reminiscent of a pyramid. ‘It took us a while before we understood that brick was the right material,’ says Herzog. ‘Brick is archaic and physical; it speaks to you. The existing and new parts become one thing, not a collection of competing objects.’ De Meuron agrees: ‘It has its own identity and power.’ The facade of the Switch House references Giles Gilbert Scott’s original brickwork, but

actually evolves to become a kind of cuttingedge veil, blurring the boundaries between exterior and interior space. ‘The lattice lends the building an almost textile feel while maintaining an industrial look,’ explains Herzog. Other new features include open urban spaces and dedicated areas for learning and socialising. Perhaps most spectacular of all is the Switch House’s tenth-floor terrace, giving visitors a 360-degree view of London and perfectly framing the dome of St Paul’s. Inside, raw concrete creates drama with folded forms. The cavernous Turbine Hall becomes the heart of the gallery, creating a kind of symmetry between the old and new buildings, a unity that is accentuated by the addition of a bridge that connects the two spaces. ‘The new building has a more organic, fluid spatial organisation, whereas the


existing part is more linear in its build-up,’ says Herzog. ‘Together they make for a more complete experience for visitors to discover art – but also for curators to display art in different ways’. And what of the art? The extension adds approximately 21,000 sq m of display space, which will showcase more than 250 artists from 50 different countries. The museum’s permanent collection will be rehung, as new acquisitions are showcased from Latin America, Africa, Asia, Eastern Europe and the Middle East – works by Mark Rothko, Henri Matisse and Agnes Martin will join the likes of Sheela Gowda and Meschac Gaba for the first time. Additionally, a floor in the Switch House will house the Tate Exchange, a new platform for external organisations to engage with the gallery about global issues.

German photographer Wolfgang Tillmans was on-site throughout the development, capturing each stage in a series of 176 shots. A Tate Artist Trustee from 2009-2014, and scheduled for a major retrospective in 2017, Tillmans feels this is a project close to his heart. ‘It is an incredibly intricate design; I was in awe of the task and the people who made it happen,’ he says. Turning his lens on building paraphernalia like scaffolding, walkie-talkies and sacks of cement, Tillmans manipulated his shots on an old photocopier that produces a single colour image after scanning a picture four times, ‘distorting and shifting the colours so that each one isa unique work’. These striking shots create a unique perspective, elevating the complexity of the construction into a ‘beautiful spectacle’ using layers of abstraction.

Tate Modern has described the new gallery extension as ‘the most important cultural building to open in the UK for almost two decades’. Is it possible that it could elevate the museum from popular art attraction to vital new London icon? ‘Does it become an important ingredient for an area to grow? That’s the noblest aspect of architecture,’ Herzog fires back. ‘The expansion will make the whole building more interesting, with more options for art lovers as well as for those who want to enjoy the institution’s special atmosphere. If it works, then yes, it can become an icon in a generation or two.’ After a pause, de Meuron adds: ‘It is a society that makes a building interesting through time.’ Tate Modern’s Switch House opens to the public on 17 June, herzogdemeuron.com, tate.org.uk


Double measures

Husband-and-wife team Marco and Lorenza Pallanti have married winemaking and art to create a multisensory experience at Castello di Ama in Tuscany PHoTogrAPHy: AndreA bosio wriTer: rosA berToLi



wine&design* A world of oenophile wonders and spirit-raising accoutrements

THis PAge, sulle vigne: punti di vista, 2001, by dAnieL buren, A 25M Mirrored wALL THAT boTH bLoCks And frAMes views of THe LAndsCAPe oPPosiTe, revolution/love, 2003, by kendeLL geers, in one of THe CeLLArs

confession of zero, 2014, by hiroshi sugimoto was the latest work to be installed at ama


aiole is a small village perched on top of a hill in the Tuscan wine region of Chianti. Dotted around the area are villas, small castles and vineyards, which are punctuated by olive trees and the rough vegetation typical of this part of the Italian countryside. It is a backdrop to Renaissance paintings and famous worldwide for its wines. Nearby winery Castello di Ama is owned by husband and wife team Marco and Lorenza Pallanti. Marco started working as an oenologist at Castello di Ama in 1982 and met Lorenza, whose family owned part of the estate. In the 1990s, the couple took over the whole operation, restoring the vineyards, which now yield 300,000 bottles a year. Castello di Ama wines have a reputation for being some of the best in the area, but the winery is also known as a fully fledged art destination. Initially working with Galleria Continua, a gallery in nearby San Gimignano, the Pallantis opened the doors of their property to contemporary artists in 2000, starting with Italian artist Michelangelo Pistoletto. Over the past 16 years, they have built a serious collection of 13 site-specific art installations by the likes of Daniel Buren, Louise Bourgeois, Anish Kapoor and Hiroshi Sugimoto. The pair dub the project ‘Castello di Ama per l’Arte Contemporanea’, and invite artists to spend time at the winery, explore its history and enjoy its wine, before working on something to leave behind. ‘The number one ingredient is always the artists’ generosity,’ says Lorenza. ‘Then comes time. And the third, I’d say, is our passion. We don’t use the art – for us, it’s visceral; it’s like looking at ourselves in the mirror.’ Visitors to Castello di Ama are first greeted by a composition of bright rocks by Cameroonian artist


AMA’S GuEST ArTISTS • Hiroshi Sugimoto, 2014 • Pascale Marthine Tayou, 2012 • Ilya & Emilia Kabakov, 2010 • Louise Bourgeois, 2009 • Cristina Iglesias, 2008 • Nedko Solakov, 2007 • Carlos Garaicoa, 2006 • Chen Zhen, 2005 • Anish Kapoor, 2004 • Kendell Geers, 2003 • Giulio Paolini, 2002 • Daniel Buren, 2001 • Michelangelo Pistoletto, 2000

Pascale Marthine Tayou. Walking through the property, they discover Carlos Garaicoa’s Yo no quiero ver mas a mis vecinos, a large-scale piece featuring reproductions of famous walls, from China’s Great Wall to the Berlin Wall. Daniel Buren contributed a mirrored wall framing the hills, creating an intimate but luminous room in one of the gardens. The two chapels on the property have been given over to a light installation by Anish Kapoor and a sculptural installation by Hiroshi Sugimoto. While all of the works are placed in conversation with the buildings and surrounding nature, some are fully integrated with the winery. Kendell Geers’ Revolution/Love neon installation and the late Chinese artist Chen Zhen’s La lumière intérieur du corps humain can be found in two cellars, among the wine barrels. Some of the art at Ama is even trickier to get to. A statue by Louise Bourgeois, which the artist created in 2009, is located in an ancient water basin deep in the cellars and accessible only via a steep ladder. The Bourgeois commission marked a pivotal moment for the Pallantis, introducing them to Philip Larratt-Smith, the Canadian art curator who

Wine & Design topiary, 2009, by louise bourgeois, can be found deep in the cellars

Above left, Le Chemin du Bonheur, 2012, by PAscAle MArthine tAyou. Above, aima, 2004, by Anish kAPoor

below, L’aLBero di ama. divisione e moLtipLiCazione deLLo speCChio, 2000, by MichelAngelo Pistoletto

was working with Bourgeois as literary archivist. Larratt-Smith was later invited to write an essay on Ama’s art and the couple enlisted him as their curator at the end of 2015. ‘[The Pallantis] see art in the way they see wine; something they are producing with a view to the long term, something that has to be handed down to the next generation,’ says Larratt-Smith. ‘There is an integrity to the process that, to me, has informed the way they have invited these artists to the project.’ ‘We are guardians, not owners,’ says Lorenza. ‘This art is not personal or exclusive, it’s for the community. And for us it’s a great privilege, but we also feel the responsibility to share this privilege and transmit it so it can grow with time.’ Over the past few years, the Pallantis have added other attractions, opening a restaurant, Il Ristoro di Ama, offering local wines with Tuscan dishes, and a series of suites in the 19th-century Villa Ricucci. Furnishings by the Campana Brothers for Edra were introduced in the antique villa as part of an eclectic mix that reflects the broader mission of the project. Larratt-Smith suggests it is important for visitors to experience the art at Ama at different times of the day. ‘It’s quite changeable; a living thing,’ he says. It is also crucial, he says, to view art not in an institutional setting but in nature, ‘where your brain is thinking in a different way and you look at art in a different way’. Lorenza Pallanti, meanwhile, insists there is a definite logic to creating and keeping art in this environment. ‘There is an analogy between this wine, as we intend it, and art as we intend it,’ she says. ‘Because, really, you can look for a masterpiece, but whether you achieve it or not, only time will tell.’  castellodiama.com

A.D. GraphX / Ph. Tommaso Sartori

Atelier Kerakoll Design House_Studio > via Solferino, 16 Milano

Kerakoll Design House is a new interior design project for the contemporary home: cements, resins, handcrafted wood, micro-coatings, paints and glazes, all coordinated in the colours of the Warm Collection palette.

The W* House ‘LiaLa’ chairS, £2,133 each, By UmBerto aSnago, For Porada. ‘icaro’ BooKcaSe, From €10,567, By roBerto LaZZeroni, For FLeXForm mood. ‘dim-2’ VaSe, €775; ‘dim-1’ VaSe, €800; ‘dim-4’ VaSe, €550, aLL By dimore StUdio, For BitoSSi ceramiche. ‘moon iLLUSionS’ oBjectS, eXtra Large, €1,580; mediUm, €1,250, Both

By Shigeo maShiro, For aKihiSa yamamoto, From SFera. ‘Fade’ rUg, €390 Per Sq m, By nadja StÄUBLi, For SchoenStaUB. ‘qUadrUm’ coFFee taBLe, From €4,180, By Fendi caSa, From LUXUry LiVing groUP. ‘Botero’ SoFa, €3,281, By damian wiLLiamSon, For Zanotta. ‘rainBow’ mirror, £510, By StUdio roSo, For

rePUBLic oF FritZ hanSen. ‘StrUctUraL SKin’ Side taBLe, €5,850, By jorge PenadÉS, From roSSana orLandi. ‘hagUe BLUe’ eState emULSion, £40 For 2.5 LitreS, By Farrow & BaLL. ‘dreaming’ tiLeS in gray Stone, €77 Per Sq m, By Lea ceramiche For StocKiStS, See Page 216

living room

welcome to the w* house, where only perfectly formed and functional makes the cut

PhotograPhy: Leonardo Scotti interiorS: matthew morriS


The W* House Living Room



‘ÉDOUARD’ SOFA by Antonio Citterio

‘THECA’ SIDEBOARD by Marcel Wanders

Citterio’s new sofa collection, encompassing armchairs and corner modules, features geometrically sinuous lines, a wide seat and a high backrest to enhance comfort and offer ergonomic support. A slight curvature expresses the concept of embrace, but also creates the perfect place for conversation. ‘Édouard’ sofa, £5,523, by Antonio Citterio, for B&B Italia, bebitalia.com

We are used to a decorative design stance from Marcel Wanders, so we were pleasantly surprised to lay eyes on something more minimal. His ‘Theca’ series is a family of modest, rigorous sideboards with an aesthetic that plays on the contrast between solid and vacant space. Combining opaque and shiny surfaces, transparent volumes and blocky elements, the collection includes low and tall cabinets imagined for drinks and home entertainment. As well as creating an enticing design that includes asymmetrical compositions of fumed glass and elm, Wanders has also developed the cabinets’ interiors to give them a more practical function, equipping them with removable trays, electrically-wired compartments, drawers and bottle holders. ‘Theca’ sideboard, price on request, by Marcel Wanders, for Poliform, poliform.it

‘SECANT’ TABLE LAMP by Daniel Rybakken Norwegian designer Daniel Rybakken’s collaboration with Irish glass specialist J Hill’s Standard has resulted in a collection of crystal glass and anodised aluminium lamps that combines delicate craftsmanship with a contemporary edge. ‘Secant’ lamp, price on request, by Daniel Rybakken, for J Hill’s Standard, jhillsstandard.com Lamp photography: Magnus Johansson & Daniel Rybakken

‘MINGX’ ARMCHAIR by Konstantin Grcic German designer Konstantin Grcic was inspired by ancient Chinese culture for his latest collaboration with Driade. His ‘Mingx’ collection is a minimal interpretation of the traditional wooden furniture of the Ming dynasty, using tubular metal frames to mimic the period’s archetypal shapes. The collection, which includes chairs, stools and tables, is formed from printed steel sheet and rod epoxy, painted in either orange, light grey, bronze or black, and offers a fitting example of a design that creates a bridge between past and present styles. ‘Mingx’ armchair, price on request, by Konstantin Grcic, for Driade, driade.com





The perfect setting for illuminating suppers PHOTOGRAPHY: LEONARDO SCOTTI INTERIORS: MATTHEW MORRIS


The W* House Dining Room ‘MEMOS’ TABLE by Roberto Lazzeroni Roberto Lazzeroni’s ‘Memos’ series for Giorgetti celebrates the sensual nature of wood, combining it with glass and marble in either round or rectangular versions. The table pictured here features a solid ash base and comes with a Lazy Susan insert in bronze-tinted glass. ‘Memos’ table, from €7,490, by Roberto Lazzeroni, for Giorgetti, giorgetti.eu



‘SPOT’ STOOLS by Michael Anastassiades Michael Anastassiades’ inaugural collection of occasional furnishings for Herman Miller follows the Cypriot designer’s exploration of an object’s physical presence, and how its existence affects its surroundings. It would be an understatement to call these stools minimal: their reduced forms, carved from walnut and white oak, are combined with a brass element and feature a shape that is elegant and discreet yet stripped to the bare essentials. ‘When an object is made out of only a handful of elements, you have to make each one absolutely perfect,’ says the designer. The stools come in a range of sizes. ‘Spot’ stools, price on request, by Michael Anastassiades, for Herman Miller, hermanmiller.com ‘DREAM’AIR’ CHAIR by Eugeni Quitllet Ibiza-born, Barcelona-based designer Eugeni Quitllet’s career is characterised by lightness. His latest collaboration with Kartell explores this with a chair whose contemporary silhouette bridges the gap between solid and ethereal. A suspended curved seat is perched on a simple geometric frame and comes in a range of colours, from transparent and neutral shades to deep, bold hues, such as the red, pictured here. ‘Thanks to Kartell’s continual research and technological innovation in the fields of materials and processes, we were able to beautifully float dreams on the air,’ says Quitllet. ‘Dream’Air’ chair, price on request, by Eugeni Quitllet, for Kartell, kartell.com


‘HERON’ CUPBOARD by Rodolfo Dordoni Instilling flexibility into the workhorse cupboard, Rodolfo Dordoni’s ‘Heron’ series, for Milan-based MDF Italia, features a light construction that can be customised with a combination of perforated and solid panels, glass elements, shelves, and doors, in varying colours and permutations. The main structure comes in either matt white or matt grey, while the back panels come in a range of six colours, including dark red, okra yellow and petrol blue, alongside white and grey. ‘A rational architecture on a domestic scale,’ says the designer about his latest effort. ‘An atypical storage unit project, at least for me. A new experience.’ ‘Heron’ cupboard, €5,814, by Rodolfo Dordoni, for MDF Italia, mdfitalia.com/en



The W* House ‘nouveau Pin’ Pinboards, from €310 to €520, by all the way to Paris, for Please wait to be seated. ‘arturo’ desk, €4,736, by christoPhe Pillet, for ceccotti collezioni. ‘in line’ container, €220 for set, by Proof of guilt. ‘scala’ chair, €862, by Patrick jouin, for coedition, from agaPe. ‘Pc’ task lamP, £189, by Pierre charPin, for wrong london, from twentytwentyone. ‘lloyd’ bookcase, from £27,650,

by jean-marie massaud, for Poltrona frau. ‘ferrosecco 3’ bowl, Price on request, by federica elmo. ‘scudo’ side table, Price on request, by david/nicolas, for nilufar. ‘ed039’ table lamP, €720, by edizioni design. ‘winston’ armchair, £4,660, by rodolfo dordoni, for minotti. ‘studio green’ estate emulsion, £40 for 2.5 litres, by farrow & ball. ‘dreaming’ tiles, as before for stockists, see Page 216

STUDY ready, steady, flow

PhotograPhy: leonardo scotti interiors: matthew morris


The W* House Study ‘PIPPA’ DAYBED by RDAI The luxurious modular daybed, with ‘Meridienne’ mattress, from Rena Dumas’ design studio, features 15 removeable cushions in fawn bull calf, supported by a maple structure. ‘Pippa’ daybed with mattress, £14,000, by RDAI, for Hermès, hermes.com



‘SALE’ DESK by Peter Mabeo Botswana brand Mabeo focuses on wooden pieces by the likes of Claesson Koivisto Rune, Luca Nichetto and Patricia Urquiola. This simple desk, by founder Peter Mabeo, is inspired by a saddle bag and is enriched by linear carvings on the side drawers. ‘Sale’ desk, €3,800, by Peter Mabeo, for Mabeo, mabeofurniture.com ‘VIC’ CHAIR by Patrick Norguet Patrick Norguet’s chair mixes discreet sophistication with an inviting cocoon-like quality. Echoing midcentury forms, the chairs are upholstered in leather or fabric (the version pictured here is in olive green leather) and feature a base of bleached ash, black- or grey-stained beech, or oak. ‘Vic’ chair, €1,203, by Patrick Norguet, for Pedrali, pedrali.it ‘TIME MAZE’ WALL CLOCK by Daniel Libeskind Polish-American architect Daniel Libeskind is no stranger to designing furniture, and his portfolio includes a sofa for Flexform and a bookcase for Poliform. This year, Libeskind worked with Alessi to create a striking wall clock that echoes the sharp corners and erratic lines of his visionary architecture. Eschewing traditional clock-face designs, the architect chose instead to focus on a continuous line, in red epoxy resin-coated stainless steel, tangled into an angular maze and complemented by a black circular mechanism with black hour and minute hands. Turning time on its head, the clock can be hung in any orientation. ‘Time Maze’ wall clock, £125, by Daniel Libeskind, for Alessi, alessi.com




design Patrick Jouin

project: Restaurant Beefbar (Mexico City and Monte Carlo) architect: Humbert & Poyet


design Patrick Jouin

project: Restaurant Beefbar (Monte Carlo and Mexico City) architect: Humbert & Poyet



via delle industrie 16/B

11 Mayfield Avenue

30030 Salzano (VE) Italy tel. +39 041 574 1111

Edison, NJ 08837 tel. (732) 225-0010





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The Tulip freestanding bathtub, available at:

WETSTYLE • Handcrafted in Montreal, Canada • T. 1 888 536.9001 • www.WETSTYLE.CA


HALLWAY We know how to make an entrance



The W* House Hallway

‘GALILEO’ MIRROR by Mario Ferrarini For the first mirror in the Living Divani collection, the company enlisted Como-based designer Mario Ferrarini, who played with balance and geometry to create ‘Galileo’. Available in two sizes – 60cm or 90cm in diameter – the mirror is suspended by a thin steel wire and resembles a giant pendulum, poised to swing. Its imposing size is contrasted by the lightness of its form and the brilliance of its bronze finish. Looking glasses don’t get much better looking. ‘Galileo’ mirror, from €1,457, by Mario Ferrarini, for Living Divani, livingdivani.it



‘PALLADIO’ CONSOLE by Claesson Koivisto Rune A series of simple tables with classic proportions, Swedish architecture and design practice Claesson Koivisto Rune’s Palladio collection for Dutch company Artifort is a colourful expression of minimalist design. The tables, such as this slender console, are characterised by the subtle joint between the legs and the top, developed by Artifort’s in-house engineers. ‘We were equally inspired by the work of the Venetian master of Renaissance architecture Andrea Palladio and the minimalistic sculptures of American artist Donald Judd,’ explain the designers. ‘Palladio’ console, from £437, by Claesson Koivisto Rune, for Artifort, artifort.com ‘RUN’ SHELVES by Sam Hecht and Kim Colin

‘PAPILLON’ LIGHT by Bernhardt & Vella

Run marks the first collaboration between designers Sam Hecht and Kim Colin, the duo behind Industrial Facility, and American furniture manufacturer Emeco. The range encompasses shelves, tables and seating, all in aluminium, with the option of wooden-plank surfaces, and is suitable for use indoors and out. ‘Welcoming and useful’, as Hecht describes it, the range may be fitted with accessories – ash wood bookends or a stand for plants and objects – that slot into the ‘run’ or groove between the planks. ‘Run’ shelves, $4,015, by Sam Hecht and Kim Colin, for Emeco, emeco.net

An appliqué light that plays with transparency, colour and geometry, ‘Papillon’ was designed by the Milan-based studio of Ellen Bernhardt and Paola Vella as part of a collection that also includes a series of room dividers in a similar style. The asymmetric light is formed of contrastingly coloured glass shapes with two LED strips held in place by a brass axis. It’s the first glass project by Arflex and an elegant addition to the company’s eclectic furniture range. ‘Papillon’ light, €1,250, by Bernhardt & Vella, for Arflex, arflex.it




BEDROOM Sweet dreams are made of this



The W* House Bedroom ‘JOBU’ BED by Piero Lissoni Piero Lissoni’s latest contribution to the refined ‘Lema’ collection comes in the shape of a bed with an oversized headboard that doubles as a screen or alcove. Shown here in a sensual blue velvet, it is also available in fabric and leather upholstery versions. ‘Jobu’ bed, price on request, by Piero Lissoni, for Lema, lemamobili.com



‘DC1615’ SIDE TABLE by Vincenzo De Cotiis

‘STARDUST’ DESK by Marconato & Zappa

Vincenzo De Cotiis’ latest collection, Pop Nouveau, combines traditional materials with new, unexpected forms, such as in this organically shaped, polished brass side table. ‘DC1615’ brass side table, price on request, by Vincenzo De Cotiis, for Progetto Domestico, progettodomestico.it

Designed by Marconato & Zappa, an interior design and architect practice based in Como, in northern Italy, the ‘Stardust’ desk forms part of a bedroom set that also includes a bed, a side table and a series of poufs. Supported by a metal structure, which is available in either a gold or antique finish, the desk features a slim wooden top and two drawers and is lined with a luxurious leather, available in a variety of shades. The same leather finish is used to line the drawers and the recessed tray on the desktop, making the ‘Stardust’ a sophisticated yet functional marvel. ‘Stardust’ desk, €4,538, by Marconato & Zappa, for Busnelli, busnelli.it

‘MIX APPEAL’ WARDROBE by Studiopepe This graphic, asymmetric wardrobe, by set design whizkids Studiopepe, is a testament to the creative language of the Milanese duo and their flair for shape and colour. ‘Mix Appeal’ wardrobe, price on request, by Studiopepe, for Ivano Redaelli, ivanoredaelli.it



Alfresco dining has us feeling fruity. Fall in love with our summer essentials online at WallpaperSTORE*






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The W* House

outdoors alfresco accoutrements that put others in the shade

PhotograPhy: leonardo scotti interiors: matthew morris

‘terramare’ soFa, €2,190, By chiaramonte-marin, For emU. ‘nicolette’ chair, Price on reQUest, By PatricK norgUet, For ethimo. ‘nara’ chairs, £895 each, By loUis Benech, For royal Botania, From indian ocean. ‘terra’ taBles, small, £250; large, £300, By simon legald, For normann coPenhagen. ‘doUBle’ sUnloUnger, Price on reQUest, By rodolFo dordoni, For roda. ‘riva’ clUB armchair, €1,545, By JasPer morrison, For Kettal. ‘oFF-BlacK’ estate emUlsion; ‘dreaming’ tiles, Both as BeFore For stocKists, see Page 216


The W* House Outdoors


‘livit’ sofa by lievore altherr Molina The starting point for ‘Livit’, the elegant and inviting new outdoor sectional sofa by Barcelona-based design studio Lievore Altherr Molina, was childhood memories of siestas in hammocks on warm summer afternoons. Produced by Spanish brand Expormim and designed with a sophisticated attention to the finer details, the sofa features ample cushions on a slender aluminium frame, creating a result that the designers say, ‘balances comfort and lightness with the aim of providing a blithesome relax’. Available in multiple compositions and also in chair and chaise longue versions, the seating comes in shades that range from a deep green to a neutral ice grey, and exudes a Mediterranean elegance while at the same time appearing light and effortless. ‘Livit sofa, 5,500, by Lievore Atherr Molina, for Expormim, expormim.es

For more design neWs And inspirAtion, go to WAllpAper.com/Whouse

‘casting’ light by vincent van Duysen Presented at Salone del Mobile in a perfectly lovely Milanese courtyard, Belgian architect Vincent Van Duysen’s new collection of lamps for Flos is a tribute to the lighting output of Le Corbusier and an elegantly novel way to illuminate outdoor spaces. Drawing from the lighting expertise of the Italian brand, the ‘Casting’ lamp is a very welcome contemporary interpretation of a bollard light, appearing like a sculpture with a soft glow. It is cast out of concrete (pictured), oxidised bronze, cast iron or coated aluminium, while the textured, diffusing glass light source remains hidden under the graphic curl. ‘Casting’ light, price on request, by Vincent Van Duysen, for Flos, flos.com

This set of tables by Draga Obradovic and Aurel Basedow are part of a collection that marks Italian company Baxter’s first foray into outdoor furniture. Made from coloured concrete, their textured sides and sleek appearance elevate an austere material to luxury status. ‘Juno’ tables, from €980, by Draga & Aurel, for Baxter, baxter.it ‘branch’ lounger + table by lievore altherr Molina Lievore Altherr Molina is a dab hand at outdoor furniture, thanks to its design sensibility and clever line work, which give a mature sophistication to its pieces. A collaboration with Belgian firm Tribù has resulted in a minimal aluminium lounger with a teak side table that can be clicked onto the frame to join two together. ‘Branch’ lounger, €1,398; table, €200, both by Lievore Altherr Molina, for Tribù, tribu.com


photography: paola pansini writer: rosa bertoli

lamp photography: germano borrelli. sofa: Mimus Comunicación

‘juno’ tables by Draga & aurel

Make room for inspiration 2016 new collection

Noble Grey www.caesarstone.com


Departure info From a palatial Lisbon food emporium to a moody Munich bar and a seven-day brunch in NYC

Palace coup Lisbon, portugaL

Built as a nobleman’s residence in the late 18th century, the grand confines of Lisbon’s Palácio Chiado were more recently home to the city’s Institute of Visual Arts, Design and Marketing, before a period of abandonment and disrepair. The building’s latest incarnation is as a dining destination, which has opened after nearly two years of restoration work. The concept of entrepreneur Duarte Cardoso Pinto and brothers Gustavo and António Paulo Duarte, Chiado now offers seven restaurants and a bar that have been worked into the original layout of the building to form a gastronomic emporium. Working with architect Frederico Valsassina, interior designer Catarina Cabral has highlighted the building’s grandeur with understated furnishings that accent the marble, gold-leaf chandeliers, frescoes and stainedglass windows, all brought back to life by restoration specialist Elvira Barbosa. The restaurant offering ranges from a traditional charcuterie to burgers and healthy eating options. We suggest an aperitif in the ground-floor bar, before heading upstairs for expertly prepared sushi at Sushic Chiado. Rupert Eden Rua do Alecrim 70, tel: 351.210 101 184, palaciochiado.pt

RoaRing success Above, a gold-plated winged lion was specially designed for the foyer, inspired by the handles of the palace gate and the ‘wings’ of the staircase chandeliers high and mighTy Left, contemporary chandeliers highlight the ground-floor bar’s 6m vaulted ceilings

photogrAphY: FrANCisCo NogueirA


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Print £6.95, $11.95, ¤9.95. Available at phaidon.com App £2.99, $4.99, ¤4.49. Available at iTunes.com/phaidon


Ship shape the maritime hotel, new york

Known for its porthole windows and white polished exterior, the Meatpacking’s Maritime has long been a Wallpaper* favourite. Opened in 2003, the hotel has just undergone a lavish refurbishment, with the courtyard and lobby subject to a makeover that bears hoteliers Sean MacPherson and Eric Goode’s signature touch. The lobby features elegant pendant lights, while its 14ft sofas have been reupholstered in fabric printed with vintage subway graphics. A 16th-century fireplace sourced from France holds court alongside panels of Brazilian Tortuga marble. The all-day hangout offers a cocktail and coffee service, along with a menu of small plates from the Mario Batali and Joe Bastianich-helmed restaurant, La Sirena, next door. Pei-Ru Keh 363 West 16th Street, tel: 1.212 242 4300, themaritimehotel.com. Rates: from $225

In the black herzog bar, munich

New wave Top, the lobby at The Maritime Hotel, where the ceiling has been lined with cerused oak beams top brass Right, brass creates an art deco vibe at the Herzog Bar bright start Below, a geometric Sol LeWitt-style motif on the wall takes centre stage at Tilda All Day

Spotting the potential of a light-filled, L-shaped modernist pile, built in the late 1950s by Sep Ruf and Theo Pabst, Munich restaurateur Maximilian Gradl and his partners originally plotted the opening of a champagne bar. Their architects, Zurichbased Build_Inc, had more ambitious ideas. The result is a bar, lounge and restaurant that combines contemporary lines with a vintage vibe. Grey drapes and furnishings and black walls provide dramatic contrast, while thin veins of brass create geometric edges along the window panes and furnishings. The Paper Wave – a cocktail of spiced rum, Irish whisky, sherry and caramelised pineapple – paves the way for a dinner of artichoke ravioli and chard, with pancetta potato bread. Daven Wu Maxburgstrasse 4, tel: 49.89 2916 1029, herzog.bar

Brunch time

Photography: Ezgi Polat, Josh Dickinson

tilda all day, new york

It’s an activity synonymous with New York City, but now the long lazy brunch is no longer a weekend-only activity, thanks to Danny Nusbaum and Samantha Safer’s new all-day, seven-day-a-week brunch spot. Inside, the restaurant’s feel-good, light-filled interiors, by local studio The MP Shift, entice diners to linger over the menu; a white background creates a blank canvas for brass lighting fixtures, a parquet-lined bar, wooden chairs and marigold orange banquettes. With a menu featuring delicious pastries along with the likes of fried eggs with potato, crème fraîche and roe, or soft scrambled egg sandwiches, this new diner is set to become a real neighbourhood gem. Daisy Alioto 930 Fulton St, tel: 1.718 622 4300, tildaallday.com

PHoTogRAPHy: conniE zHou



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PARAMOUNT 235 West 46th Street Times Square, New York 212 764 5500 Reservations: 855 234 2074 nycparamount.com




From the highest five-star resort in the Middle East to a Mallorcan coastal retreat and a Laotian city lair

Coast with the most

14: Height in metres of the freestanding tower near the western side of the resort’s courtyard. Designed to resemble the ancient tower at Khasab Castle in Musandam, it houses a lounge and a restaurant and serves as an observation tower at night

park hyatt, mallorca, spain

500: Age in years of the Haw Phra Kaew temple, located beside the hotel

100: Cigar brands stocked in the hotel’s humidor, including a variety from the Dominican Republic and Cuba, as well as cigars hand-rolled on site by a visiting master roller

4: Golden teak trees on the front lawn

While Palma tends to attract the doubledecker yachts and fast set, Cap Vermell, on Mallorca’s north-eastern shoreline, offers a quieter interlude on a rugged, tree-swathed and more low-key coast – in other words, an idyllic setting for the Park Hyatt’s first European resort. Johannesburg-based architecture practice DSA was inspired by elements of local architecture – in a similar vein to its work on the One & Only The Palm in Dubai – to create a sprawling village of villas, lined in local timber and rough-hewn stone and complete with a bijou plaza. Each of the 158 rooms is oriented towards the setting sun and the Canyamel Valley, making a late-afternoon drink on the terrace daybed de rigueur. This being a Spanish island, there’s good cuisine to boot, dominated by seafood and Mallorcan wines, with the house restaurant, bistro and tapas bar pairing tasty regional cuisine with lethal cocktails. Daven Wu Urbanizaci—n Atalaya de Canyamel, Vial A 12, Canyamel, tel: 34.871 81 1234, mallorca.park.hyatt.com. Rates: from €500

president by akaryn, vientiane, laos

ILLuStRAtoR: EoIn RyAn

40: Swimming pools at the hotel, including a main infinity pool and 33 private villa pools

Man, Oman

Mekong king It’s probably too early to tell if Vientiane is the new Siem Reap, but the opening of the new President by Akaryn hotel is a promising start. The faux Beaux-Arts pile was built in 2012, but poor internal configuration meant the building was never actually used until Akaryn stepped in. The Thai-based boutique hotel group has made the most of the location – in the centre of town, next to Parliament House, the 16th-century Haw Phra Kaew temple, the sprawling Chou Anouvong Park and the Mekong river – to create a glossy white, grand retreat with just 32 suites, furnished by Pathree Design in a French colonial style. The romanticism of the setting is reinforced by manicured lawns, golden teak trees, tropical gardens and traditional performances in the outdoor amphitheatre. Meanwhile, the 600 sq m spa is anchored by a soothing menu of Laotian wellness treatments, alongside Hollywood favourite Linda Meredith’s products and facial therapies. DW Fa Ngum Road, Vientiane Capital, akaryn.com/ president/resort. Rates: from $350

153: Weight in kg of the villa bathtubs, each carved from a piece of natural limestone

1: Clock tower, created especially for the hotel

2,000: Replica tiles used on the floor of the Café Sa Placa, referencing those found in the island’s older buildings, which date back 400 years

160: Hours it took to handcraft the communal wooden table in the Café Sa Placa

anantara al jabal al akhdar, oman

In a move away from the predictable Emirati enclaves of Dubai and Abu Dhabi, Oman has emerged as a prime Middle Eastern getaway, thanks to a diverse landscape and a plethora of luxury hotel openings. Leading the way is Anantara Al Jabal Al Akhdar, an extravagant five-star resort that, perched 2,000m above sea level, affords striking views of neighbouring canyons and the muscular Al Hajar Mountains. Resembling an elaborate fort, the resort’s architecture is considerate of the mountainous terrain, mirroring its contours and hues. And yet, the term ‘resort’ is an understatement; the Anantara Al Jabal Al Akhdar may as well be a small town, with its 82 rooms, 33 villas, its own museum, a souk and three restaurants. Cementing its standing as a luxury retreat is the all-important shisha lounge and an Anantara spa, featuring a hammam, five treatment rooms, an indoor pool, a Jacuzzi and a steam room. Ella Marshall Al Jabal Al Akhdar, Nizwa, tel: 968.2542 9043, jabal-akhdar.anantara.com. Rates from: £340


Taking care of light www.marset.com

july is all about...

Cross-disciplinary collaborations in ‘Paths to Utopia’ at Somerset House and King’s College London Enchanting spaces with a touch of that old black magic – p194 Brad Cloepfil’s monumental new National Music Centre opens at Studio Bell in Calgary Kenya’s elite runners blaze a trail in the speediest new sportswear – p204 Justin O’Shea’s Brioni debut during Paris Couture Week Eddie Peake’s frightfully fleshy and marvellously messy Alphonso mango – p218 ∑


‘La Cima3’ wall-mounted hanger, €932, by Lapo Ciatti, for Opinion Ciatti. ‘9.5°’ chair, €3,500, by Rasmus Bækkel Fex, for Frama, from Gallery S Bensimon. ‘Cara’ rug, €3,480, part of the Gio Ponti Carpet Collection, by Amini. ‘1085 Edition’ chair, £2,100, by Bartoli Design, for Kristalia. ‘Tiuku’ pendulum clock, €150, by Ari Kanerva, for Covo. ‘Rosolina’ table, $7,150, by Mauro Lipparini, for Casa International. ‘The Wide Bowl’, £195, by Akiko


Hirai, from Rose Uniacke. Black and amber glass bottle, £65, by Ichendorf Milano, from The Conran Shop. ‘Ombra’ fabric as curtain (in left arch), £92 per m, by Rubelli. ‘HC 18’ handcuffs, £145, by Hiatt, from Below Stairs of Hungerford. ‘Mono-Light Copper Edition’, price on request, by Os & OOs, from Galerie Gosserez. ‘Attica TL’ table (through right arch), €1,470, by Studio 65, for Gufram. ‘Crescent’ light, £2,950, by

Lee Broom. ‘Twig 4’ chair, €825, by Nendo, for Alias. Neoclassical fluted urn, c1870, price on request, from Portuondo. ‘53 N 04’ mid-grey; ‘53 N 06’ dark grey; ‘17 D 06’ burgundy Absolute Matt Emulsion, £38 for 2.5 litres, all by Little Greene. ‘Treverktrend’ wood-effect floor tiles, price on request, by Marazzi. ‘Flexi Technic’ tiles, from £60 per sq m, by Philippe Starck, for Ceramica Sant’Agostino


Black magic

We’re escaping to a better place with illusions of grandeur Photography Tommaso Sartori Interiors Maria Sobrino

Space ‘Scrigno’ containers, price on request, by Fernando and Humberto Campana, for Edra. ‘Giro’ stool, price on request, by Pedro PauløVenzon, for Objekto. ‘Moon’ bowls, large £153; small £51, both by Ilona Van Den Bergh, from WallpaperSTORE*. ‘Ladder Light’, from £255, by MSDS Studio. ‘Light Rocks’

light, €610, by Laura Bilde, from Etage Projects. ‘Febo’ chaise longue, £4,392, by Antonio Citterio, for B&B Italia. ‘Mongolian Horn Bow’, $3,500, by Brian Persico, from Chamber. ‘Pixel’ console, £3,600, by Ilia Potemine, from Mint. ‘Hex Edit’ vase, price on request, by Simon Klenell, from

Gallery Fumi. Best of...30010, C-print on aluminium, 2012, £2,200, by Anita Witek, from L’étrangère. ‘Cassettiera Cubick’ rotating drawers, €2,980, by Paolo Nicolò Rusolen, for Laurameroni. Mountains and Clouds 2, $3,000, by Karl Zahn. Paint; ‘Flexi Technic’ tiles, both as before



This page, ‘Door 302’, price on request, by Jirachai Tangkijngamwong, for Deesawat. ‘Bubbles’ handle, 164, by India Mahdavi, for Maison Vervloet. ‘Graal’ console table, €2,339, by Lapo Ciatti, for Opinion Ciatti. Antique mirror, £1,200, from Rose Uniacke. ‘Playhouse’ cards, €33, by Studio Entice, from WallpaperSTORE*. Snake magnifying glass, £115,


by L’Objet, from Harrods. Shadows, €48, by Keanu Reeves and Alexandra Grant, from Steidl. ‘100 points’ decanter, £540, by James Suckling, for Lalique, from Harrods. Pyrite cubes on matrix, £950, from Dale Rogers Ammonite. ‘Bud Vase 4 – Tripod’, £310, by Christian Liaigre. ‘Las Escaleras’ game, €44, by Pico Pao, for Ludus Ludi. ‘Rise & Shine’ mirror,

€399, by Hunting & Narud, for New Works. ‘Alfred’ side chair, €150, by Loris & Livia, from Covo. Paint; ‘Treverktrend’ tiles, both as before Opposite, ‘Container New Antiques’ table, €1,345, by Marcel Wanders, for Moooi. ‘Oxygen’ bowl, price on request, by Vanessa Mitrani. ‘Side by Side’ shotgun, £57,500, by William & Son. Roller

blind, from €666, by Ronan & Erwan Bouroullec, for Kvadrat. ‘Smoke’ rug, £28 per sq m, by Tom Dixon, for Ege. Lagune marble sculpture, €3,000, by Jørgen Missotten. Quartz crystal, £3,800, by Dale Rogers Ammonite. ‘Passepartout’ wall lamp, €375, by Luta Bettonica, for Cini & Nils. ‘Wisp’ table, £1,044, by Ochre. Paint; ‘Treverktrend’ tiles, both as before



‘Mirage’ mirror panels, £427 each, by Tokujin Yoshioka, for Lema. ‘Level’ table, $3,500, by Cooperativa Panorámica, for Ángulo Cero. ‘Small Decanter Tear Drop Amber’, £495, by Joe Cariati, from The Conran Shop. ‘Scatter’ rug, £995 per sq m, by Deirdre Dyson. ‘Layers’ cabinet, price not yet available, by Nendo, for Glas Italia. Perudo set, £395, from William & Son. ‘Me-Far Octo’ sculptural bowls, £1,920, by Brooksbank & Collins, from FBC London. ‘Multi-Lite’ pendant light, £533, by Louis Weisdorf, reissued by Gubi. ‘Geometric 3279’, glass tray, £2,859, by Milan Knížák, for Moser. ‘Ebury’ jewellery box (in cabinet), £795, by Linley. ‘Spatial’ table/object, price on request, by De Intuïtiefabriek. ‘Ladder’ coat rack, $450, by Yenwen Tseng. Told You So photogravure etching, price on request, by Cornelia Parker, from Alan Cristea Gallery. Paint; ‘Flexi Technic’ tiles; ‘Treverktrend’ tiles, all as before


Space ‘American Trunk’, price on request, by Bertoni. Sculpture/ lidded box, £1,400, by Laszlo Tompa, from Portuondo. ‘Shooting Companion’ drinks carrier, £3,750, by Linley. ‘Hill House 1’ chair, £1,554, by Charles Rennie Mackintosh, from Cassina. ‘Link Porcelain Tri-light’, $7,400, by Apparatus. ‘Magic Di Ebano’ armoured safe, £31,000, by Agresti; ‘Cozy’, room divider, £9,030, by Tarcisio Colzani, for Porada, both from Harrods. ‘Wardrobe Suitcase’, price on request, by Bertoni. ‘Revolving Bookcase’, price not yet available, by Folkform. ‘Matroschka’ egg cup, £277, by Michael Sieger, for Sieger by Fürstenberg. The Prison, €58, by Koto Bolofo; Fast Nacht, €28, by Axel Hoedt, both from Steidl. ‘Stackabells’ wireless doorbell, price on request, by Gemma Roper and Jakub Pollag, for Studio Deform. ‘Crate’ boxes, from €359, by Antique Mirror. Tool set, £2,250, by WohnGeist, from The Conran Shop. ‘Little Ben’ dinner bell, £325, by Linley. 2nd Souffle sculpture, price on request, by Atelier Peekaboo, for Mobilab. ‘Bunch of Boxes’ hanging cabinet, €16,000, by Ditte Hammerstrøm, for Galerie Maria Wettergren. Paint; ‘Flexi Technic’ tiles; ‘Treverktrend’ tiles, all as before For stockists, see page 216 Interiors assistants: Laura Tocchet, Evie Johnson



Fashion Abdul wears top, £150; shorts, £65, both by Victorinox. Trainers, £130, by Adidas

Cool runnings Some of Kenya’s top athletes put the latest sportswear through its paces at the country’s high altitude training bases Photography Stuart Franklin Fashion Lune Kuipers




Fashion Opposite, Willy wears top, £700, by Hermès. Trousers, price on request, by Woolrich This page, Vivian wears top, £40, by Nike

Fashion All jackets, from £60, by Adidas


or this story, photographer Stuart Franklin shot in and around the towns of Eldoret and Iten in Kenya’s western highlands, about 300km northwest of Nairobi by road. Franklin is an inspiration to generations of photographers; a member of the Magnum Photos cooperative and one of its former presidents, he is most memorably winner of the World Press Photo Award in 1989 for his image of Tank Man taken during the Tiananmen Square uprising. His work often focuses on the human impact on landscapes and the natural world, and he continues to document current stories from Gaza to the Calais refugee camps. Fashion, however, is something of a departure. ‘The best part of the shoot was when I could work unhindered on the track at Eldoret during races. The worst moment was the fear of my cumbersome self being spotted jogging breathlessly near one of the Olympic training camps. But there is something about the softness of the soil in that part of the world – it really is like running on air.’ Pleasantly cool Eldoret, which is the country’s fastest-growing urban centre, is in the foothills of the Cherangani range and has an elevation of 2,100m-2,700m above sea level. This has long made it a high-altitude training base and home town for Kenya’s many world class middle- and long-distance runners. Indeed, Kenya’s pre-eminence at the 5,000m, 10,000m and marathon is making Eldoret a sports tourism centre, attracting serious runners from around the world. Some of the town’s prosperity is based on returning Kenyan champions investing their winnings in local businesses and property. The first of these was Kipchoge Keino, the track and field star of Mexico ’68 and Munich ’72 – there are schools and a local stadium named after the father of Kenyan distance runners. Franklin shot some of this story at the Kipchoge Keino stadium in Eldoret, some in the Kaptagat Forest near Iten, and some in Iten itself. Iten is the base for the IAAF-accredited Olympic High Altitude Training Centre (HATC), founded by four-times world champion Lornah Kiplagat and where Mo Farah and Paula Radcliffe rub shoulders with Kenyan champions, some of whom took part in our shoot, including Olympic silver medallist Vivian Cheruiyot. Paul McCann hatc-iten.com



Above, Susan wears jacket, £370, by Lacoste. Trousers, £110, by Tommy Hilfiger. Trainers, £105, by Nike Left, Isaac wears jacket, £395; trousers, £150, both by Stone Island Opposite above, Victor wears jacket, 470, by Herno. Shorts, £120, by Vilebrequin. Trainers, £130, by Adidas Opposite below, Abdul wears trousers, £135, by Oliver Spencer. Trainers, £105, by Nike



This page, Abdul wears jacket, £280, by Baracuta. Trousers, £135, by Oliver Spencer. Trainers, £105, by Nike Opposite, Isaiah wears jacket, £390, by Z Zegna. Top, £350, by Kenzo



Fashion Isaiah wears jacket, £420, by Boss. Top, £250; trousers, £455, both by Wooyoungmi. Trainers, £145, by Adidas For stockists, see page 216 Photography and styling assistant: Matteo Macri Local production: Ailéen Kimutai Special thanks to our athlete models, who include Olympic silver medallist Vivian Cheruiyot, alongside Abdul Magut, Isaiah Kiptanu, Victor Bushendich, Susan Kimutai, Willy Kimutai, Isaac Kimutai, and Mathew Kiptanui





Adidas adidas.co.uk AG Tel: 1.323 325 9832 (US) agjeans.com Agape Tel: 39.03 7625 0311 (Italy) agapedesign.it Alan Cristea Gallery Tel: 44.20 7439 1866 (UK) alancristea.com Alias Tel: 39.03 5442 2511 (Italy) alias.design Amini Tel: 39.03 7746 4311 (Italy) amini.it Angulo Cero Tel: 52.55 67247067 (Mexico) angulo0.com Antique Mirror Tel: 39.05 7731 4479 (Italy) antiquemirror.it Apparatus Tel: 1.646 527 9732 (US) apparatus.com Atelier Swarovski Tel: 44.20 7016 3200 (UK) atelierswarovskihome.com


B&B Italia Tel: 44.20 7591 8111 (UK) bebitalia.com Baracuta Tel: 44.20 7494 4959 (UK) baracuta.com Below Stairs of Hungerford Tel: 44.1488 682317 (UK) belowstairs.co.uk

Bertoni Tel: 39.03 3226 3466 (Italy) bertoni1949.it Bitossi Ceramiche Tel: 39.05 715140 (Italy) bitossiceramiche.it Boss Tel: 44.20 7734 7919 (UK) hugoboss.com


Casa International Tel: 1.212 696 0233 (US) casaintl.com Cassina Tel: 44.20 7584 0000 (UK) cassina.com Ceccotti Collezioni Tel: 39.05 070 1955 (Italy) ceccotticollezioni.it Ceramica Sant’Agostino Tel: 39.05 3284 4111 (Italy) ceramicasantagostino.it Chamber Tel: 1.212 206 0236 (US) chambernyc.com Chanel Tel: 44.20 7493 5040 (UK) chanel.com Chloé Tel: 44.207 823 5348 (UK) chloe.com

Christian Liaigre Tel: 33.1 47 53 78 76 (France) christian-liaigre.fr Cini & Nils Tel: 39.02 334 3071 (Italy) cinienils.com The Conran Shop Tel: 44.844 848 4000 (UK) conranshop.co.uk Covo Tel: 39.06 9040 0311 (Italy) covo.it

Kenyan athletes Esther Kakuri (left) and Noreen Kimutai at one of the country’s training bases, see page 204 Esther wears top, £159, by AG. Noreen wears top, £1,125, by Chloé


Dale Rogers Ammonite Tel: 44.20 7881 0592 (UK) dalerogersammonite.com Deesawat Tel: 66.2 5211341 (Thailand) deesawat.com De Intuitiefabriek Tel: 31.20 665 0644 (The Netherlands) deintuitiefabriek.nl Deirdre Dyson Tel: 44.20 7384 4464 (UK) deirdredyson.com Dimore Studio Tel: 39.02 3653 7088 (Italy) dimorestudio.eu Dior Tel: 44.20 7287 2254 (UK) dior.com


EdizioniDesign Tel: 39.02 3675 6451 (Italy) edizionidesign.com Edra Tel: 39.05 8761 6660 (Italy) edra.com Ege Tel: 1.257 239 000 (US) egecarpets.com Emu Tel: 39.07 587 4021 (Italy) emu.it Etage Projects Tel: 45.2830 0799 (Denmark) etageprojects.com Ethimo Tel: 39.07 6130 0400 (Italy) ethimo.com L’étrangère Tel: 44.20 7729 9707 (UK) letrangere.net



Galerie Gosserez Tel: 33.6 12 29 90 40 (France) galeriegosserez.com Galerie Maria Wettergren Tel: 33.1 43 29 19 60 (France) mariawettergren.com Gallery Fumi Tel: 44.20 7490 2366 (UK) galleryfumi.com

Farrow & Ball Tel: 44.1202 876141 (UK) farrow-ball.com

Gallery S Bensimon Tel: 33.1 42 74 50 77 (France) gallerybensimon.com

FBC London Tel: 44.20 7730 9555 (UK) fbc-london.com

Gallotti & Radice Tel: 44.20 7351 1384 (UK) gallottiradice.it

Federica Elmo Tel: 39.32 0424 6708 (Italy) federicaelmo.com

Glas Italia Tel: 39.03 9232 3202 (Italy) glasitalia.com

Flexform Mood Tel: 39.03 623991 (Italy) flexform.it

Gubi Tel: 45.3332 6368 (Denmark) gubi.dk

Folkform Tel: 46.737 67 55 45 (Sweden) folkform.se

Gucci Tel: 44.20 7235 6707 (UK) gucci.com

Gufram Tel: 39.01 735 6102 (Italy) gufram.it


Hanna Sarokaari hannasarokaari.fi Harrods Tel: 44.20 7730 1234 (UK) harrods.com Hermès Tel: 44.20 7499 8856 (UK) hermes.com Herno Tel: 39.03 22 77 091 (Italy) herno.it Hervé Van der Straeten Tel: 33.1 42 78 99 99 (France) vanderstraeten.fr


Indian Ocean Tel: 44.20 8675 4808 (UK) indian-ocean.co.uk


Jorgen Missotten Tel: 32.4 997 41 075 (Belgium) jorgenmissotten.be


Karl Zahn karlzahn.com Kenzo Tel: 33.1 7304 2058 (France) kenzo.com Kettal Tel: 44.20 7371 5170 (UK) kettal.com Knoll Tel: 44.20 7236 6655 (UK) knolleurope.com Kristalia Tel: 39.04 3462 3678 (Italy) kristalia.it

Kvadrat Tel: 45.8953 1866 (Denmark) kvadrat.dk




Laurameroni Tel: 39.03 176 1450 (Italy) laurameroni.com

Nike Tel: 44.20 7660 4453 (UK) nike.com

Sfera Tel: 39.02 3655 2390 (Italy) ricordi-sfera.com

Lea Ceramiche Tel: 39.05 3683 7811 (Italy) ceramichelea.it

Nilufar Tel: 39.02 780193 (Italy) nilufar.com

Sieger by Fürstenberg fuerstenberg-porzellan.com

Lee Broom Tel: 44.20 7820 0742 (UK) leebroom.com

Normann Copenhagen Tel: 45.35 27 05 35 (Denmark) normann-copenhagen.com

Lacoste Tel: 44.20 7439 2213 (UK) lacoste.com

Lema Tel: 44.20 3761 3299 (UK) lemamobili.com Linley Tel: 44.20 7730 7300 (UK) davidlinley.com Little Greene Tel: 44.20 7935 8844 (UK) littlegreene.com Louis Vuitton Tel: 44.20 7998 6286 (UK) louisvuitton.com Ludos Ludi ludusludi.com Luxury Living Group Tel: 39.0543 791911 (Italy) luxurylivinggroup.com


Maison Vervloet Tel: 32.2 410 61 50 (Belgium) vervloet.com Marazzi Tel: 39.05 3686 0501 (Italy) marazzigroup.com Mas Tel: 52.1 55 5824 1142 (Mexico) mazymas.com

Meridiani Tel: 39.02 966 9161 (Italy) meridiani.it Minotti Tel: 44.20 7323 3233 (UK) minottilondon.com Mint Tel: 44.20 7225 2228 (UK) mintshop.co.uk MM Lampadari Tel: 39.04 2368 8800 (Italy) mmlampadari.com Mobilab Tel: 41.21 601 30 10 (Switzerland) mobilabgallery.ch Molteni Tel: 44.20 7631 2345 (UK) molteni.it Monologue London Tel: 44.7590 565884 (UK) monologuelondon.com Moooi Tel: 44.20 8962 5691 (UK) moooi.com Moser Tel: 420.353 416 242 (Czech Republic) moser-glass.com M-S-D-S Studio Tel: 1.416 857 5377 (US) msds-studio.ca

New Works Tel: 45.22 18 21 83 (Denmark) newworks.dk


Objekto Tel: 33.4 42 12 62 25 (France) objekto.fr Ochre Tel: 44.20 7096 7372 (UK) ochre.net

Oliver Spencer Tel: 44.20 7242 5173 (UK) oliverspencer.co.uk Opinion Ciatti Tel: 39.05 588 7091 (Italy) opinionciatti.com


Please Wait To Be Seated pleasewaittobeseated.dk Poltrona Frau Tel: 44.20 7589 3846 (UK) poltronafrau.com Porada Tel: 44.20 3155 3065 (UK) porada.it Porro Tel: 39.03 1783 266 (Italy) porro.com Portuondo Tel: 44.7554 995944 (UK) portuondo.com Prada Tel: 44.20 7647 5000 (UK) prada.com Proof of Guilt Tel: 49.157 8586 3784 (Germany) proof-of-guilt.com


Republic of Fritz Hansen Tel: 44.20 7637 5534 (UK) fritzhansen.com Roda Tel: 39.03 3274 8646 (Italy) rodaonline.com Rose Uniacke Tel: 44.20 7730 7050 (UK) roseuniacke.com Rossana Orlandi Tel: 39.02 474771 (Italy) rossanaorlandi.com Rubelli Tel: 44.20 7349 1590 (UK) rubelli.com

Schoenstaub Tel: 41.43 541 42 44 (Switzerland) schoenstaub.com

Soo Yeon Shim Tel: 358.46 847 1150 (South Korea) sooyeonshim.com Steidl steidl.de


The Handmade Issue 2016

Stone Island Tel: 44.20 7287 7734 (UK) stoneisland.com Studio Deform Tel: 44.7549 352015 (UK) studiodeform.com


Tommy Hilfiger Tel: 44.20 3144 0900 (UK) global.tommy.com Twentytwentyone Tel: 44.20 7288 1996 (UK) twentytwentyone.com


Vanessa Mitrani Tel: 33.1 48 45 61 82 (France) vanessamitrani.com Victorinox Tel: 44.844 880 9119 (UK) victorinox.com Vilebrequin Tel: 44.20 7499 6558 (UK) vilebrequin.com


WallpaperSTORE* store.wallpaper.com William & Son Tel: 44.20 7493 8385 (UK) williamandson.com Woolrich Tel: 1.877 512 7305 (US) woolrich.com Wooyoungmi wooyoungmi.com


Yenwen Tseng Tel: 886.912 621129 (Taiwan) yenwentseng.com


Zanotta Tel: 39.03 624981 (Italy) zanotta.it

Z Zegna Tel: 44.20 7518 2700 (UK) zegna.com

For our seventh annual Handmade exhibition, held earlier this year in Milan, we asked design and manufacturing talent to fire the imagination and soothe the brow of the jaded modern traveller. And we recorded it all for you. So check in and check out Hotel Wallpaper*. It’s a lovely place where... Jean Nouvel makes a dramatic, overscaled and aluminum entrance The late great Vladimir Kagan puts a spin on the magazine rack David Chipperfield answers your call with a perfectly poised butler stand Robert Wilson unleashes a stormwracked chandelier Plus, JinSik Kim’s sculptural minigolf, Future Facility’s USB-charged toothbrush, David Rockwell gets multipurposeful, Karl Zahn’s zoological animal keys and many more. ON SALE 7 JULY


Artist’s Palate

EDDIE PEAKE’s Alphonso mango


British artist Eddie Peake has delivered not so much a recipe as an ingredient. His favourite dish is the creamy Alphonso mango: ‘I like it fresh, in large chunks, with nothing else added, and to eat it with my hands,’ he says. ‘I like to suck every last bit of flesh off the stone, and to scrape the flesh off the skin with my teeth.’ The boy likes his mango. And while he, and his naked performers, roller-skating installations and saucy club nights, are screamingly hot at the moment, so too is the Alphonso mango, which, of the many mango cultivars, is usually the most valued, for it has smooth buttery flesh and little fibre. Questions were asked in the House of Commons because shipments from India were banned (due to fruit flies) in 2014, so when they were let back in last year, it was a relief to top restaurateurs, TV chefs, daring chocolatiers, humble lassi makers and, presumably, Eddie Peake. For Peake’s recipe, visit Wallpaper.com

‘Kipling’ silk fabric in 006, £154 per m, by Dedar, dedar.com


photography: adrian SamSon writer: paul mccann

design Maria Gomez Garcia / foto Lorenzo Pennati

collection 16 Milano, via Solera Mantegazza 7 / Miami, 2750 nw 3rd ave / Singapore, 30 tuas bay drive wallanddeco.com

JULY 2016


Sale of the midcentury Prepare your paddles and pick up the pieces of New York’s Four Seasons restaurant (we snagged Philip Johnson’s favourite table and negroni)


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