THE INTERNATIONAL DESIGN AUTHORITY JULY/AUGUST 2018

MANDY
MOORE
IN CALIFORNIA
“WE BROUGHT
THIS HOUSE
BACK TO LIFE”

HELLO,
SUMMER
BLISSFUL
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RETREATS
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THE ONLY VACATION BIG ENOUGH TO HOLD

ALL OF YOUR DREAMS.

 CONTENTS july/august
80
THE COVERED TERRACE
OF A SHELTER ISLAND
BEACH HOME.

104
BUNNY AND LULU
HENAULT-BASSETT
AT THEIR FAMILY’S
HOUSE IN MILLBROOK,
NEW YORK.
14 Editor’s Letter
18 Object Lesson
How Poul Henningsen’s artichoke lamps
changed the trajectory of lighting design.

25 Discoveries
For a Paris-based family, two Catskills cabins
make the perfect retreat . . . The revived
splendor of Boston’s Emerson Colonial
Theatre . . . Charlap Hyman & Herrero
unveils its first collection of rugs, wallpapers,
and fabric . . . Van Cleef & Arpels presents
shimmering new additions in Marrakech . . .
Ceramist Christopher Spitzmiller and his
FROM TOP: CHRISTOPHER STURMAN; WILLIAM WALDRON

elegant dovecote . . . and more!

60 This Is Home
Mandy Moore’s Pasadena house is a
testament to the star’s confidence, warmth,
and passion for design. BY MAYER RUS

70 Harmonic Convergence
An A-team of top talents creates a
romantic Hamptons escape for one
very discerning client. BY DAN SHAW
(CONTINUED ON PAGE 8)

6 AR C H D I G E S T.COM
Ea sy Ele g a nce.
feat. T H E E L I X I R C O L L E C T I O N

Rugs for the thoughtfully layered home.

 CONTENTS july/august
60
MANDY MOORE’S
CALIFORNIA HOME.

70
THE PARTERRE GARDEN
AND ARBOR AT A
HAMPTONS RETREAT.

80 Squad Goals
With the help of Christoff:Finio Architecture,
a young family builds their dream house on
New York’s Shelter Island. BY SAM COCHRAN

88 Fertile Imagination
Lady Tania Compton listens to the land—and
looks to history—to create places of informal
exuberance. BY CHRISTOPHER STOCKS

94 Outside the Box

Architect Ron Radziner designs his own
family home in response to its wooded
Los Angeles site. BY MAYER RUS FOLLOW @ARCHDIGEST

94 Made in America
FROM TOP: TREVOR TONDRO; DOUGLAS FRIEDMAN; TREVOR TONDRO
For its latest home collection, Calvin Klein
rethinks tried-and-true icons. SUBSCRIPTIONS
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INFORMATION GO TO
104 Days of Heaven ARCHDIGEST.COM,
CALL 800-365-8032, OR
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ARCHDIGEST.COM.
getaway on a former Christmas-tree farm.
BY MAYER RUS DIGITAL EDITION
DOWNLOAD AT
ARCHDIGEST.COM/APP.
112 Resources NEWSLETTER
The designers, architects, and products SIGN UP FOR AD’S ON THE COVER MANDY
DAILY NEWSLETTER, MOORE, IN A LA DOUBLEJ
featured this month. AT ARCHDIGEST.COM/ DRESS, AT HER HOUSE
NEWSLETTER. IN PASADENA, CALIFORNIA.
“THIS IS HOME,” PAGE 60.
114 Last Word COMMENTS PHOTOGRAPHY BY
CONTACT US VIA SOCIAL TREVOR TONDRO. STYLED
An overhauled landscape rejuvenates MEDIA OR EMAIL US AT BY LAWREN HOWELL. FOR
St. Louis’s iconic Gateway Arch. LETTERS@ARCHDIGEST.COM. DETAILS SEE RESOURCES.

8 AR C H D I G E S T.COM
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 THE INTERNATIONAL DESIGN AUTHORITY VOLUME 75 NUMBER 7

EDITOR IN CHIEF
Amy Astley
CREATIVE DIRECTOR David Sebbah EDITORIAL OPERATIONS DIRECTOR Diane Dragan
EXECUTIVE EDITOR Shax Riegler EXECUTIVE DIRECTOR, DIGITAL Keith Pollock
INTERIORS & GARDEN DIRECTOR Alison Levasseur STYLE DIRECTOR Jane Keltner de Valle FEATURES DIRECTOR Sam Cochran
DECORATIVE ARTS EDITOR Mitchell Owens WEST COAST EDITOR Mayer Rus

FEATURES MARKET CREATIVE COMMUNICATIONS + EDITORIAL PROJECTS

SENIOR DESIGN WRITER Hannah Martin
DEPUTY EDITOR, DIGITAL Kristen Flanagan
SPECIAL PROJECTS DIRECTOR, DIGITAL
Sydney Wasserman
ENTERTAINMENT EDITORS
Carson Griffith (Digital), Maxwell Losgar
DESIGN EDITOR, DIGITAL Amanda Sims
EDITOR, DIGITAL David Foxley
HOME EDITOR, DIGITAL Lindsey Mather
DESIGN REPORTER, DIGITAL Hadley Keller
ASSOCIATE FEATURES EDITOR, DIGITAL Nick Mafi
EDITORIAL ASSISTANTS Elizabeth Fazzare,
Katherine McGrath (Digital), Carly Olson
ASSISTANT TO THE EDITOR IN CHIEF Annie Ballaine
MARKET DIRECTOR Parker Bowie Larson
ASSOCIATE EDITOR, MARKET Madeline O’Malley
PRODUCTION
PRODUCTION DIRECTOR Kevin Roff
EDITORIAL OPERATIONS MANAGER Nick Traverse
PRODUCTION MANAGER Alexandra Kushel
PRODUCTION ASSOCIATE Sarah Rath
COPY AND RESEARCH
COPY DIRECTOR Joyce Rubin
RESEARCH DIRECTOR Andrew Gillings
COPY MANAGER Adriana Bürgi
RESEARCH MANAGER Leslie Anne Wiggins
DESIGN DIRECTOR Natalie Do
VISUALS DIRECTOR Michael Shome
VISUALS EDITOR, DIGITAL Melissa Maria
ASSOCIATE VISUALS EDITOR
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JUNIOR DESIGNER Megan Spengler
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PRODUCERS Vince Cross, Matt Duckor,
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ARCHDIGEST.COM
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DIRECTOR, EDITORIAL PROJECTS
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CONTRIBUTING EDITOR AT LARGE
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CONTRIBUTING INTERNATIONAL PROJECTS EDITOR
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CONTRIBUTING STYLE EDITORS
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Experience your interior passion.
Portrait #1 in a series: Birds of a feather

theodorealexander.com
 editor’s letter

“This house signifies the

next chapter of my life—as
an adult, a woman, and a
performer. I was able to pour
all of who I am into making
this place.” —Mandy Moore
It seems fitting that we ring in the Fourth of July and this
high-summer double issue of AD with a feature on a resusci-

1. ANTHONY COTSIFAS; 2. WILLIAM WALDRON; 3. TREVOR TONDRO; 4. CHRISTOPHER STURMAN; 5. ROY ROCHLIN/GETTY IMAGES
tated and refreshed Pasadena house that our Mayer Rus
aptly describes as “a declaration of independence.” Cover star
Mandy Moore, a onetime teen idol, bought a “starter house” 3
in 2002 at the tender age of 18 and admits that “it never felt
wholly mine. . . . I never felt secure enough to bring a lot of
AMERICANA! 1. FELTRI
people there.” Sixteen years later, Moore has a hit television ARMCHAIRS BY GAETANO
show (This Is Us), a fiancé, and a spectacular new “old” PESCE FOR CASSINA,
UPHOLSTERED IN VINTAGE
place to live. A carefully selected team of pros helped her QUILTS SELECTED BY RAF
achieve, at last, a home she’s proud to call her own. SIMONS FOR THE NEWEST
CALVIN KLEIN HOME
In addition to Moore’s sunny, can-do spirit, the issue COLLECTION. 2. PAINTED
positively brims with American optimism. Three wildly FLOORS IN AN 1800 HUDSON
VALLEY FARMHOUSE.
different houses—a beachy modernist getaway for a young 3. MANDY MOORE’S PASADENA
family on Shelter Island, a deluxe estate in Southampton POOL. 4. A YOUNG FAMILY
ENJOYS A SHELTER ISLAND
that wears its erudite design ever so lightly, and esteemed SUMMER. 5. AT THE AMERICAN
L.A. architect Ron Radziner’s ultracool creation for his BALLET THEATRE GALA IN NYC.
own family—were all built from the ground up.
Also quintessentially American: Calvin Klein. The brand’s
venerable home collection was once a minimalist nirvana of 5
sleek glassware and oatmeal-hued towels, but under Belgian
creative director Raf Simons, its new look is a riot of color
and a frank celebration of team USA. Feast your eyes on 4
our exclusive photos of bright wool Pendleton blankets and
pillows (made in Oregon and Washington), vivid Fiesta
dinnerware (made in West Virginia) emblazoned with Andy
Warhol images, and the pièce de résistance, Gaetano Pesce’s
Feltri armchairs upholstered with vintage quilts selected by
Simons himself. Having made a big splash last month at Design
AMY ASTLEY
Miami/Basel, the chairs are destined to become design-world
Editor in Chief
trophies and the “new classics” of Calvin Klein. @amytastley

14 A R C H D I G E S T.COM
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 object lesson THE STORY BEHIND AN ICONIC DESIGN

POUL HENNINGSEN’S
COPPER ARTICHOKE
LAMP CROWNS A
BEDROOM IN THE
COPENHAGEN HOME
OF ARTIST EVALAJKA.
PERNILLE KAALUND/HOUSE OF PICTURES

Vegging Out
How Poul Henningsen’s unusual
1958 artichoke lamps changed
the trajectory of lighting design

18 A R C H D I G E S T.COM
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 object lesson 1

hen architects Eva and Nils Koppel asked

W Danish luminary Poul Henningsen to

design the lighting for a buzzy restaurant
in Copenhagen’s Langelinie waterfront
park in 1958, Henningsen revisited a
radical design that he had abandoned
more than 30 years prior: a ceiling light that resembled an
upside-down artichoke.
1. A COPPER EXAMPLE
IN A SOMERSET
COUNTRY HOUSE
BY MARK PANTER.
2. AN ARTICHOKE
WITH POWDER-COATED
STEEL LEAVES FROM
DWR. 3. FURNITURE
DEALER AND
Just three months later, five finished versions (made COLLECTOR NINA
by lighting manufacturer Louis Poulsen) were installed in YASHAR HAS A
STAINLESS-STEEL
Langelinie Pavilion. The designs—each of which used 72 VERSION IN HER
copper leaves to totally conceal the lightbulb—diffused a MILAN KITCHEN.
4. COPENHAGEN’S
warm luminescence that, thanks to the pale-pink paint LANGELINIE PAVILION
applied to the underside of the leaves, gave diners below RESTAURANT, WHERE
HENNINGSEN HUNG
a healthy, rosy glow. THE FIRST FIVE
“The fact that you couldn’t see the light source was ARTICHOKES IN 1958.
very revolutionary,” says Rasmus Markholdt, product
and design director of Louis Poulsen. “At the time, people 1. LINE T KLEIN; 2. DESIGN WITHIN REACH; 3. GIANNI BASSO/VEGAMG;
4
didn’t see a lamp as a nice object; they simply needed
light. Henningsen was one of the first to think of both.”
Several original Langelinie fixtures, all but one removed
from the pavilion after a remodeling, have recently appeared
at auction—Piasa sold an original for just under $10,000 in
May, and Bonhams plans to auction another in the near
4. COURTESY OF LANGELINIE PAVILION

future. But the new models, still made by Louis Poulsen in

a variety of sizes and finishes (to mark its 60th anniversary
of the design, they’ll debut a version in brass), actually
command a higher price, starting around $11,000.
AD100 designer Robert Couturier explains why he
likes it. “Chandeliers can be quite difficult to use, but
this one is very discreet since the light is diffused. I have
always used it with great effect over small dining tables.
It is a very complimentary light.” dwr.com —HANNAH MARTIN

20 A R C H D I GES T.COM
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HAIR AND MAKEUP BY STEPHANIE FLOR USING CLINIQUE FOR BRYAN BANTRY
THE BEST IN CULTURE, DESIGN, AND STYLE EDITED BY SAM COCHRAN

Grass Roots
A pair of Catskills cabins provide
the perfect counterpoint to Paris life SARAH ANDELMAN
AND HER SON, WOODY,

for Sarah Andelman and her family AT THE FAMILY’S

CATSKILLS RETREAT.

PH OTOG R A PH Y BY A DRIAN GAU T STYL ED BY MICHAEL BAR GO

DISCOVERIES AD visits

cabin nestled amid the counterculture

A enclave that birthed Woodstock is

not the first place you would expect
to find the très cool Sarah Andelman,
cofounder of Paris’s late, lamented
concept store Colette. (She now heads
up Just an Idea, a consulting company.) Yet, here in
the quiet New York hamlet of Chichester, the Parisian
is clipping thyme in her garden outside the cottages
she shares with her American husband, music-video
director Philip Andelman, and their son, Woody.
Though their main residence is in France, they retreat
here for summers and vacations. In fact, Woody’s
name is a testament to this very place. 2
Rewind 12 years, when a then-single Philip
decamped from Los Angeles and wound up in the
Catskills (where, by his account, “everyone has a met Sarah. A two-and-a-half-week courtship followed,
recording studio”). In the summer of 2009, he was as Philip strategically booked photo shoots with the
passing through Paris for a friend’s wedding and Beastie Boys and Jack White to draw out his stay.
“Eventually the shoots end and I haven’t even gotten
a kiss,” he laments. “So I come back to the mountains
3 all bummed.” But he kept returning to Paris until his
frequent-flier miles were depleted—still, no kiss. “So
I do one last Hail Mary. I told her, ‘Do you not realize
I’m trying to date you?’ Sarah shook her head no—I
kissed her, and we’ve been together ever since.”
During Sarah’s next trip to New York for fashion
shows, she visited Philip’s hideaway. “I loved it imme-
diately,” she says. “Especially discovering it through
Philip’s eyes.” They dropped by a neighbor’s house
one evening to watch the sunset on the terrace, from
which magical views of the mountainous landscape
unfolded. “Not a phone line or road in sight,” says
Philip. And both thought, Sarah recalls, “It would be
1. THE COUPLE’S
BEDROOM. 2. GUESTS
fantastic to one day live here.”
NOW BUNK IN THE Now they do, having purchased the five-acre
ORIGINAL CABIN,
WHERE THE KITCHEN
property and renovated its modest 1970s cabin with
AND LIVING ROOM a neighbor, woodworker Jeremy Bernstein, coating
OVERLOOK THE
CATSKILLS. 3. SUNSET
it in white paint and updating the pink fiberglass
BUBBLE TIME; bathroom to a simple gray slate. The Colette-blue
THE FRETWORK
RAILING IS PAINTED
trim around the terrace was Philip’s surprise to
COLETTE BLUE. Sarah (the shade is echoed in everything from water
THE ALL-NE W 2019

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 DISCOVERIES
buckets to a Smeg refrigerator). The home was
christened Chalabin because, explains Philip, DEBUT
“it’s smaller than a chalet and larger than a cabin.”
Weeks after the work wrapped up, they wed at JUNGLE BOOGIE
a friend’s place nearby. Oscar-winning design deity Catherine
But a dwelling that had been perfectly sized for Martin (Moulin Rouge!, The Great
a couple proved to be too small once Woody came Gatsby), a.k.a. Mrs. Baz Luhrmann,
along. So Philip decided to build a guesthouse. “It’s thrills to what she calls the big,
his baby,” notes Sarah, who has creative control over “discordant” mix. Enter Majorelle,
their Paris flat (the Andelmans fondly refer to their her bodacious new range of textiles,
properties as “his and hers” homes).
Bernstein oversaw the project, collaborating with
wallpapers, and trims for Mokum.
architect Kurt Evans, who drafted the initial plans. Think palm fronds, bunches of ripe
The building is constructed of quarter-sawn white bananas, leopard spots, and rampant
oak, “so there’s no end grain anywhere,” Philip relays Orientalism, sparked, in part, by
Morocco’s swoony Jardin Majorelle.
jamesdunloptextiles.com —MITCHELL OWENS
A SITTING AREA IN THE GUESTHOUSE
TURNED FAMILY HOME.

The Andelmans loved their 3

new guesthouse so much,
they moved right in.
with pride. Expansive picture-frame windows
were sourced after Philip spotted the same ones at 1. MAJORELLE
musician Lenny Kravitz’s Bahamas home—which WALLPAPER IN
1. & 2. COURTESY OF MOKUM; 3. EMILY ANDREWS

SAPPHIRE. 2. LA
prompted him to tear up the check he had already PALMA IN CORAL.
written for other, less costly windows. 3. CATHERINE
MARTIN, WEARING
“Originally I was like, It’s going to be a guest- A DRESS BY
house; it doesn’t matter,” Philip says. “But once RED VALENTINO,
STRIKES A
you make one expensive decision, you don’t want POSE IN FRONT
to cheap out on the rest.” The result? A guesthouse OF MAJORELLE
IN EMERALD.
that the Andelmans loved so much, they moved in.
Now when visitors come, they take over the original
cabin and join the Andelmans for dips at a secret
swimming hole. “The water tastes like sugar,” Sarah
exults. “It’s paradise.” —JANE KELTNER DE VALLE

28 A R C H D I GES T.COM
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The land w

g him
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 DISCOVERIES restoration
1

1. CHERUBIM-FILLED CEILING
MURALS DECORATE THE OPULENT
1,600-SEAT AUDITORIUM.
2. CUSTOM-MADE CARPET IN A
HISTORIC PATTERN COVERS THE
PROMENADE LOBBY STAIRCASE.

Curtain Call
SINCE OPENING IN 1900, Boston’s Emerson Colonial Theatre
has launched some of America’s most-beloved musicals, from
Rodgers and Hammerstein’s Oklahoma! to Sondheim’s Follies.
And for decades it had an interior to match. Conceived by archi-
tect Clarence H. Blackall and designer Henry Barrett Pennell,
the theater brought the best of Baroque Europe under one roof,
reproducing elements of Versailles and the Louvre. But by the
time Ambassador Theatre Group (ATG) won its management
in 2017, trend-based renovations had altered Blackall’s intent.
“We had to revive that feeling of grandeur,” reflects David
Manfredi of Elkus Manfredi Architects, which collaborated with
ATG and a team of artisans on a two-year restoration. The results
debuted June 27 with the premiere of Moulin Rouge! The Musical.
Orchestra seating was replaced, carpet custom-made, gilding
refreshed, and hand-stenciled walls returned to their original teal
color. Backstage, a new grid system allows for expanded event
2
programming. And theatergoers can now mingle in a glamorous
orchestra bar, once the ladies’ lounge. As general manager Erica
Lynn Schwartz explains, “Modern conveniences bring us into
the next century.” emersoncolonialtheatre.com —ELIZABETH FAZZARE

1. & 2. PATRICK FARRELL; WATCHES: COURTESY OF RESPECTIVE COMPANIES

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32 A R C H D I GES T.COM
 Martyn Thompson believes in Perennials
His pet peeve is a rug that can’t handle pets plus UV rays, stains and mildew
Mr. Thompson shown atop his Perennials Splash rug in Mustard colorway I perennialsrugs.com
 DISCOVERIES debut 2

1. ALEXANDER CHARLAP HYMAN (FAR

LEFT), ANDRE HERRERO (CENTER), AND
ADAM CHARLAP HYMAN WITH SOME OF
THEIR NEW DESIGNS FOR F. SCHUMACHER
& CO. AND PATTERSON FLYNN MARTIN.
2. THE PROVERBIO COILED-ABACA RUG.

cofounded the interdisciplinary

studio with Andre Herrero in
2014. (Adam’s younger brother,
Alexander, joined their ranks a
year later.) Adds Adam, still in
a state of disbelief: “It was crazy.”

GROOMING BY MARY GUTHRIE USING V76 BY VAUGHN FOR ARTISTS BY TIMOTHY PRIANO; 2. COURTESY OF PATTERSON FLYNN MARTIN
We’d call it shrewd on Schu-
macher’s part. Wise beyond their
20-something years, Adam, Andre,
and Alexander have quickly found
themselves on the fast track to
success, eschewing Pinterest
design tropes in favor of a deeply
scholarly approach. Indeed,
1 embedded among the firm’s playful
new fabrics are a range of histori-
cal references. Intertwining snakes

The Next
W
hen the design reinterpret 17th-century drawings
studio Charlap by Albertus Seba. Clouds and
Hyman & arrows nod to Gio Ponti ceramics,

Big Things Herrero

approached
Patterson
pinned insect specimens to Carlo
Mollino. And pigeons pay homage
to the wallpaper that Adam noticed
Design trio Charlap Flynn Martin last year, all they in portraits of Gertrude Stein
Hyman & Herrero had in mind was a single rug for
a residential project. But Dara
and Alice B. Toklas. The firm’s
woven-abaca carpets for Patterson
continues down the Caponigro—creative director of Flynn Martin, meanwhile, take

path to greatness F. Schumacher & Co., the carpet

company’s parent brand—loved
with its first collection the young firm’s energy and asked
for more. What was originally
of rugs, wallpapers, meant to be a capsule collection
and fabric quickly expanded into seven rugs
and seven wallpaper patterns,
three available as fabrics. “We got
to do so many things,” exclaims
Adam Charlap Hyman, who
inspiration from Alexander Calder
tapestries, albeit incorporating bold
figurative imagery—astrological
symbols, more snakes and arrows,
a crocodile. “This is only a fraction
of what we were thinking about,”
says Adam, noting that his mother,
the artist Pilar Almon, collaborated
on the myriad motifs. “Our ideas
come from all different places.”

34 AR C H D I G E S T.COM P HOTOGRAP HY BY M ART I EN M U LD ER S T YLED BY ROBERT S U M R E L L

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 DISCOVERIES debut
That the collection should
evolve rapidly and by chance is
only in keeping with the firm’s
origins. Adam and Andre first met
at the Rhode Island School of
Design, where the two admired
each other’s work from a distance.
They eventually struck up a
friendship when Adam, who
studied furniture, commissioned
Andre, an architecture student,
to photograph his Providence
apartment. Coincidentally,
after graduating, they ended
up collaborating on the same
New York townhouse—Adam
as interior designer, Andre as
project architect for the architec-
ture studio SO-IL. When the duo
caught wind that Salon 94 was
looking to renovate its Bowery
gallery, they decided to go after
the project, nabbing the job
and opening their own practice.
Word has since traveled quickly,
particularly through the art
world, attracting clients like
gallerists Tina Kim, Nina Johnson,
and Leila Heller. Today their
projects range from opera sets
to ground-up houses.
“Things for us just somehow
snowballed,” notes Andre, who
has effectively doubled the
firm’s reach since moving to Los
Angeles two years ago. (Adam
36 A R C H D I GES T.COM
2
1. MERCURIO WALLPAPER
AND A MODEL FOR A
HOUSE. 2. ENDIMIONE,
ANOTHER PATTERN.
3. THE TEAM’S CAIMAN
RUG. 4. A SURREALISTIC
CHAIR BY ADAM STANDS
ON AN ASTROLOGIA RUG.
5. DIANA WALLPAPER.
3
4
1. & 4. MARTIEN MULDER; 2. & 5. COURTESY OF F. SCHUMACHER & CO.; 3. COURTESY OF PATTERSON FLYNN MARTIN
5
and Alexander remain based in
New York.) If Charlap Hyman &
Herrero’s bicoastal arrangement
and unique creative process—
with Andre taking the lead on
architecture, Adam interiors,
and Alexander business strategy—
strike some as unorthodox, for
them it makes perfect sense. “We
are very different people, but
at the root level we agree on a
direction, even if we don’t fully
know what it is,” says Andre. As
Adam explains, “Andre brings his
references; I bring mine. We are
constantly surprising each other.”
ch-herrero.com —SAM COCHRAN
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DISCOVERIES inspiration
ITINERARY

Marrakech
SEE
To soak up Moorish inspiration
of your own, follow in Van Cleef’s
footsteps to the 16th-century El
Badi Palace ruins, the tiled court-
yard at the 19th-century Bahia
Palace, or the muqarnas at the
14th-century Islamic college Ben
Youssef Madrasa. For some fash-
ion history, visit the Musée Yves
Saint Laurent Marrakech and
adjacent Majorelle Garden. Then
stop and smell the roses over
lunch at Beldi Country Club.

STAY
Get a taste of local flavor at
La Mamounia (mamounia.com),
decorated by Jacques Garcia,
or El Fenn (el-fenn.com), Vanessa
Branson and Howell James’s
1
stylish riad at the edge of the
medina. For a riad all to yourself,
head to King Mohammed VI’s pride
and joy, the Royal Mansour (royal

Moor Is More mansour.com), where guests are

pampered with the absolute best
of Moroccan hospitality and craft
Van Cleef & Arpels heads to in 53 private residences.

Marrakech to celebrate the latest SHOP

Before braving the souks, book
additions to its Alhambra collection the design world’s go-to guide

1. JUERGEN RITTERBACH/ALAMY STOCK PHOTO; 2. COURTESY OF VAN CLEEF & ARPELS; BOTTOM RIGHT: JESSICA SAMPLE
Mustapha Chouquir (mustapha
chouquir.com). He’ll lead you to
Palais Saâdiens for rugs, Au Fil
d’Or for custom caftans, Chabi
Chic for fresh takes on traditional
ceramics, and Palais de la Ménara
for Moroccan furnishings.

Discover more of Marrakech

on a one-of-a kind design
tour with AD this October. For
details, visit indagare.com/AD.
2
1. BEN YOUSSEF
MADRASA IN
THE SPA AT THE ROYAL
MARRAKECH.
MANSOUR HOTEL.
2. A NEW ALHAMBRA
NECKLACE BY VAN
CLEEF & ARPELS.
 PUT TWO & TWO
TOGETHER
and you could save
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insurance through the GEICO Insurance
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 DISCOVERIES 2

SPLASH RUG

FELTANDFAT.COM.

SHOPPING

Spot On 5

Paint-spatter prints in candy-

colored hues make their mark

BOOKS

Shelf Life
FOR NEARLY 30 YEARS the Florence-
based photographer Massimo Listri has

1.–6. COURTESY OF RESPECTIVE COMPANIES; BOTTOM: MASSIMO LISTRI/TASCHEN (2)

had his nose in a book, traveling through-
out Europe—and beyond—to document
some of the most extraordinary libraries.
In Dublin, he visited the barrel-vaulted
Long Room at Trinity College, home to
200,000-plus rare volumes, among them
the Book of Kells; in Rome, he docu-
mented the sprawling Vatican Apostolic
Library, with its epic corridors, lavish fres-
coes, and ornate floors; and in Bavaria,
he snapped the shelves
at Metten Abbey, a
baroque stunner adorned
by wedding-cake carvings.
These extraordinary
places and many, many
more appear in Listri’s
new tome The World’s
Most Beautiful Libraries
(Taschen, $200), a must-
have for bibliophiles,
THE LIBRARY AT PORTUGAL’S PALACE OF MAFRA, ONE OF 55
PLACES THAT APPEAR IN MASSIMO LISTRI’S NEW BOOK (RIGHT). architecture lovers, and
armchair travelers alike.
—SAM COCHRAN

40 AR C H D I G E S T.COM
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ADVERTIS EM ENT

Selecting the right paint for your space can be

challenging. You want it to be the right hue,
accentuate your decor, and bring the room to life,
making a strong design statement. Benjamin Moore
has a longstanding reputation for creating high-
quality, premium paints. So it was no surprise when
they debuted the innovative Century collection.

This proprietary paint portfolio of 75 shades is unlike

any on the market today. Five years in the making,
it was envisioned by Benjamin Moore’s renowned
Color & Design team and is created through a
bespoke manufacturing process, and is therefore
sold in sought-after small batches. Its soft touch
matte finish creates a texture on walls that is akin
to a fine leather glove—velvety, supple, and simply
luxurious. This textural effect adds a bold richness to
the color that is not possible with other paints.

In the living room seen here, luxurious Century

Cobalt was applied to walls, showing how the
unique finish of this new paint can add a depth
and vividness to any space—solidifying the
Century collection as the newest, unrivaled
design accessory on the market.

For more information about the

new Century line of paint, visit
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SOFT TO THE TOUCH.
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triangle “M” symbol are registered trademarks licensed to Benjamin Moore & Co.

red mahogany c 9
 DISCOVERIES gardens

Flock Star
At home in the Hudson Valley, Christopher Spitzmiller builds
an elegant dovecote for his Indian fantail pigeons
2

S
tanding in New Orleans’s Jackson
Square and feeding pigeons cracked
corn is one of Christopher Spitzmiller’s
favorite childhood memories. “They
would fly up and perch on your hand,”
recalls the acclaimed ceramic artist,
designer of must-have custom-made lamps
and tableware. “It was better than Disney World.”
At Clove Brook Farm, Spitzmiller’s home in New
York’s Hudson Valley, that reminiscence has been
reconstituted, thanks to the dovecote he recently
constructed at the center of a parterre that brims, 1. CHRISTOPHER
depending on the season, with tulips, sweet peas, and SPITZMILLER’S
LABRADOR
dahlias. It was modeled after the whimsical octagonal RETRIEVER, LYON,
“martini houses” at P. Allen Smith’s Arkansas home— STANDS BESIDE
THE CERAMIST’S
the garden guru is a longtime friend—and punctuates NEW DOVECOTE.
Spitzmiller’s landscape like an ornamental lantern. 2. THE MAN OF THE
HOUSE, JOINED BY
Recycled elements, such as vintage windows ONE OF HIS LIGHT
found on the side of a country road and floorboards SUSSEX CHICKENS.

44 AR C H D I G E S T.COM P HOTOGRAP HY BY RI C HARD P OW ERS S T YLED BY ANI TA S A R S I DI

DISCOVERIES
salvaged from an old barn on the property, give the
dovecote a venerable attitude. “You have to integrate
1
old things, so a building doesn’t look brand-new,”
he notes. Crowning the hipped roof is another
vintage find: a lead sculpture that depicts a pigeon
taking flight. It’s usually joined by the real thing,
namely some of Spitzmiller’s 16 Indian fantails,
fancy strutters shimmering with purple, bronze,
and turquoise-blue feathers.
The lowly rock pigeons of Jackson Square days
they’re not. Martha Stewart directed Spitzmiller
to Duke Riley, the artist behind Brooklyn’s 2016 “Fly by
Night” extravaganza, where 2,000 trained pigeons,
equipped with LED-lit leg bands, sparkled in the
night sky. Riley supplied Spitzmiller with his first
birds; others were sourced from a North Carolina 2
breeder. “Indian fantails are the standard poodle
of the pigeon world,” Spitzmiller explains, though
he adds that those subcontinental exotics adored
by maharajas have one attribute shared by all
members of the Columbidae family. “Their cooing
is heaven,” he exults. “It’s the best soundtrack ever.”
christopherspitzmiller.com —MITCHELL OWENS

FOUNTAIN LAMP (2018).

“Indian fantails are
the standard poodle
of the pigeon world.” ONE TO WATCH
—Spitzmıller
Joseph Algieri
“PROCESS, PROCESS, PROCESS,” repeats artist-
designer Joseph Algieri during a visit to his Brooklyn
studio—a Technicolor space of just 120 square feet,
where wild material experiments unfold. Mirrors
are doodled with resin, tiles frosted with grout and
stacked into chunky tables, and bulbous lamps coated
in goopy foam. Each piece offers a study in trial
and error. “I make several iterations of everything,”
he explains. “I might map out my tooling at the dollar
store or Home Depot, but if they don’t have what I
need, I’ll make it.” He’s not kidding. That thrift-store
milkshake mixer on his shelf? Algieri uses it to whip
resin and a binding agent into thick paste that he
can squeeze out of a pastry bag, squiggling it onto
reclaimed mirrors. That lamp on his desk? He created
it (his first piece of lighting) by pouring soft Smooth-
On foam over a papier-mâché mold of a traffic cone
he purchased on Craigslist. Since then, his work
has found many admirers in the design community,
LAMP: COURTESY OF JOSEPH ALGIERI

including Voutsa’s George Venson, for whom Algieri

made a cactus-shaped fixture, and Fernando
DOVES
PERCH AND Mastrangelo, who included two towering versions
PREEN ON A of that lamp in a group show at his East New York
TREE TRUNK studio last September. His latest experiment?
THAT RISES Fruity Pebbles–like foam forms assembled into a
INSIDE THE
OCTAGONAL chair. Says Algieri: “I start with a really simple shape
FOLLY. and build upon it—until it loses that simplicity.”
josephalgieri.com —HANNAH MARTIN

P ORT RAI T BY AM Y LO M B A R D
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 PRO M OTI O N

DINING
byDESIGN
In March, DIFFA: Design Industries
Foundation Fighting AIDS hosted its
signature fundraiser DINING BY DESIGN
raising more than $700,000 toward
its grant-making efforts to HIV/AIDS
organizations nationwide. The 2018
event brought together more than
1

40,000 guests to experience an array

of themed dining installations by
more than 30 designers, architects,
manufacturers, and brands.
Participants had two days to transform
a 30,000-square-foot space into an
immersive installation, infusing bold
colors, eye-catching materials,
and powerful messaging into their
individual dining vignettes.

2 3 4 5

8 9 10

CO-LOCATED WITH THE GENEROUS SUPPORT OF

 PRO M OTI O N

11 12 13 14

15 16

17 18 19

20 21

22

1 INTERIOR DESIGN 2 CRATE AND BARREL 3 ARTERIORS 4 DESIGN WITHIN REACH, DESIGNED BY
MATTHEW GOODRICH AND KENDALL LOWE 5 FENDI CASA + ROTTET STUDIO 6 ALESSANDRA BRANCA
FOR BENJAMIN MOORE 7 GENSLER+KNOLL+EVENSONBEST 8 PORCELANOSA 9 TITO’S HANDMADE
VODKA 10 RALPH LAUREN HOME 11 NEW YORK DESIGN CENTER, DESIGNED BY NEW YORK SCHOOL
OF INTERIOR DESIGN 12 HERMAN MILLER 13 JEFFREY BEERS INTERNATIONAL + MAYA ROMANOFF +
AKDO + WALTERS 14 LUXE INTERIORS + DESIGN MAGAZINE 15 STEELCASE, TURNSTONE, COALESSE,
DESIGNTEX, FLOS, EMPIRE IN COLLABORATION WITH PERKINS+WILL 16 NBBJ WITH BOLD AND WEST
ELM 17 NOVITÀ COMMUNICATIONS 18 RAPT STUDIO 19 ROCKWELL GROUP + THE RUG COMPANY
20 DONGHIA 21 FRANKE 22 HOK + FLORIM + TEKNION | STUDIO TK | LUUM + FCI 23 THE NEW YORK
TIMES, DESIGNED BY ONE KINGS LANE 24 SUNBRELLA + PETER PENNOYER ARCHITECTS

23 24
PHOTOS BY ALAN BARRY PHOTOGRAPHY

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INFORMATION VISIT
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 OCTOBER 18-21
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© 2018 Design Within Reach, Inc.

Matthew Hilton
Designer of the DWR Kelston Sofa
www.dwr.com
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THIS IS HO
ME
Mandy Moore’s Pasadena house
is a testament to the actress/
singer’s confidence, warmth,
and passion for design

TEXT BY
MAYER RUS
PHOTOGRAPHY BY
TREVOR TONDRO
STYLED BY
LAWREN HOWELL

IN THE FRONT ROOM,

VELVET ARMCHAIRS
BY MERCER41 AND A
BENCH BY KENIAN
SURROUND ROSE GOLD
COCKTAIL TABLES BY
STATEMENTS BY J. VASE
FROM HARBINGER;
LANGLEY STREET FLOOR
LAMP; BUNGALOW
ROSE RUG. FOR DETAILS
SEE RESOURCES.

AR C H DI G E S T. CO M 61
E ven in a town as youth-obsessed
as Hollywood, a little maturity
has its own compensations. Just
ask Mandy Moore. The star of
the NBC family drama This Is Us
rose to fame as a singer in 1999,
at the tender age of 15, with
her debut single, “Candy.” She
played her first starring role
on the big screen in A Walk to
Remember in 2002. That same
year Moore bought a “starter”
home, a five-bedroom Mediterranean-style spread in
the Los Angeles neighborhood of Los Feliz. “I lived
there for 15 years, and even though the house went
through several iterations, it never felt wholly mine,”
she says. “I bought it when I was 18. I really didn’t
know myself, and I never felt secure enough to bring
a lot of people there.”
Today Moore is singing an entirely different
song. She recently wrapped shooting on the third
season of her smash television show. She’s engaged
to Taylor Goldsmith of the indie rock band Dawes.
And the dazzling home she created for herself, her
future husband, and their dogs, Joni (as in Mitchell)
and Jackson, is nothing short of a declaration of
independence. “This house signifies the next chapter
of my life—as an adult, a woman, and a performer.
I was able to pour all of who I am into making this
place,” she says proudly.
After searching for nearly a year, Moore and
Goldsmith found the perfect spot to begin their life
together, high atop a Pasadena hill, in a classic 1950s
home with sweeping vistas of the San Gabriel moun-
tains and valley. The house was designed by Harold B.
Zook, a notable but lesser-known architect who
worked with modernist maestro Albert Frey in Palm
Springs before hanging his shingle in Pasadena.
HAIR BY ASHLEY STREICHER USING GARNIER FOR TRACEYMATTINGLY.COM;
MAKEUP BY JENN STREICHER FOR TRACEYMATTINGLY.COM

62 AR C H D I G E S T.COM
FROM FAR LEFT
MOORE IN A JONATHAN
COHEN DRESS; FASHION
STYLING BY CRISTINA
EHRLICH. IN THE FAMILY
ROOM, A CB2 VASE
ACCENTS A CUSTOM
TERRAZZO SHELF BY
EMILY FARNHAM ARCHI-
TECTURE; VINTAGE
BENCH IN A FABRICUT
VELVET. A BRASS
SUSPENSION LIGHT BY
LAMBERT & FILS HANGS
OVER THE KITCHEN
TABLE; VASES FROM
HARBINGER.

“This house signifies the next chapter of my

life—as an adult, a woman, and a performer.”
LEFT JASPER MORRISON
COUNTER STOOLS
FROM DESIGN WITHIN
REACH ARE TUCKED
UNDER THE KITCHEN’S
CALACATTA-MARBLE
ISLAND. PENDANTS BY
CEDAR & MOSS; MARK
CHURCHILL VASES
AND BOWL; WOLF GAS
RANGE. OPPOSITE
ABOVE THE POOL AREA
WAS REDESIGNED BY
TERREMOTO. OPPOSITE
BELOW THE FRONT-
ROOM FIREPLACE
RETAINS ITS ORIGINAL
COPPER HOOD
(NOW RESTORED).
“We fell in love with the views, the pool, the yard,
basically the whole energy of the place,” Moore recalls.
Although the bones of the structure were fairly
intact, additions and interior emendations imple-
mented in the early 1990s obscured the structure’s
spruce modern lines and quintessential midcentury
vibe. “We wanted to recapture the home’s original
spirit without delving into a slavish period restora-
tion. We tried to imagine what Zook would have done
if he were designing it today,” Moore explains.
To that end, the actress assembled a formidable
team including architect Emily Farnham, interior
designer Sarah Sherman Samuel, and Terremoto
landscape designers, all of whom worked in close
collaboration from the outset of the project.
“We looked at the house and realized that we
could bring it back with some basic subtraction, as
opposed to a complete gut renovation,” Farnham
says, referring to dated surface treatments, dark oak
built-ins, and, most significant, a pair of semicircular
volumes attached to the kitchen and master bath.
“The rounded forms made no sense with all the taut,
rectilinear lines. We had to shave those warts off,”
the architect explains.
With Zook’s original drawings in hand, Farnham
rebuilt the tiered, streamlined cornice that zigs and
zags along the roofline—a signature detail that had

AR C H DI G E S T. CO M 65
 ABOVE MOORE, IN AN ULLA JOHNSON DRESS, AND GOLDSMITH WITH DOGS JONI AND JACKSON IN THE MASTER
BEDROOM. ABOVE BED, MACRAMÉ ARTWORK BY SALLY ENGLAND; CUSTOM BUILT-IN BED BY SARAH SHERMAN SAMUEL
IN A FABRICUT VELVET; BENCH BY KATY SKELTON; LIGHTING BY CEDAR & MOSS.
been replaced at some point with a decidedly less
elegant alternative. She also restored and updated
the blond brick walls, floors, and fireplace surround,
as well as the brawny copper fireplace hood that
separates the living and dining rooms.
Newly installed white terrazzo floors provide
a subtly luminous foundation for the revitalized
interiors. “Terrazzo is a dying art, costly and labori-
ous, but so worth it,” Moore insists. Like most
aspects of the renovation, the terrazzo treatments
were a group effort: Samuel designed the jaunty
pattern of triangulated brass inlays in the floor of
a guest bathroom, while Farnham obsessed over
the specific stone aggregate for the hefty fireplace
ledge in the family room.
Samuel’s decor is a toothsome olio of vintage
and contemporary, high and low, feminine and
masculine. “The interiors don’t feel like they’re lost
in time. There are plenty of nods to the ’50s, but there
are also lots of pieces that just read as fresh, organic,
and modern,” the decorator says. For Moore, the
look is simply light, bright, and easy. “I don’t have a
great attachment to material things,” she says. “The
furniture we chose feels in line with the architecture,
66 AR C H D I GES T.COM
but there’s nothing so precious that a little wear
and tear from kids or dogs would be a calamity.”
As for Goldsmith’s contributions to the project,
Moore claims her fiancé largely deferred to her
and the design team: “Taylor was as involved as he
wanted to be. He had opinions about certain things,
but his only real demands were for bookshelves—
he’s a voracious reader—and room for a baby grand
piano and a turntable.” Farnham obliged by convert-
ing the ungainly hallway to the master bedroom into
a proper library and lounge, with chunky bookshelves
that appear to be voids carved out of monolithic
volumes rather than wall-mounted surfaces assem-
bled from a kit of parts. The piano and record player
have pride of place in the living room.
Surveying her domain, Moore confesses to having
become slightly addicted to the design process. “It still
amazes me. We saw the potential of this house and
brought it back to life. It’s hard to convey the excite-
ment of working out every detail, from picking slabs
at the stone yard to figuring out how many burners we
wanted for the stove,” she explains. “Once you realize
that you can actually build your true dream house, it’s
hard to go back to anything else.”
CLOCKWISE FROM TOP BY ANTHROPOLOGIE
LEFT THE MASTER BATH FACE A TABLE BY SARAH
FEATURES AN AQUATICA SHERMAN SAMUEL IN
FREESTANDING TUB. IN THE FAMILY ROOM.
ANOTHER BATH, A CUSTOM
BRASS FLOOR INLAY IS SET ★ EXCLUSIVE VIDEO
IN TERRAZZO; VOLAKAS MANDY MOORE AT HOME,
MARBLE-TOPPED VANITY. ARCHDIGEST.COM.
A PAIR OF ARMCHAIRS
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“ The house has a lot of

feminine touches, but there are
nods to a more masculine
aesthetic.” —Sarah Sherman Samuel
ANOTHER VIEW OF
THE FRONT ROOM.

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“ the faint of heart

—Emily Farnham
 harmonic
convergence An A-team of
top design talents
comes together to
create a romantic
Hamptons escape
for one very
discerning client
TEXT BY DAN SHAW
PHOTOGRAPHY BYDOUGLAS FRIEDMAN
STYLED BY ANITA SARSIDI
CHUCK CLOSE, COURTESY OF PACE GALLERY; © 2018 ESTATE OF PABLO PI-
CASSO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK

THE LIVING ROOM IN THE FOYER.) JOHN

INCLUDES ARTWORKS ROSSELLI CHANDELIER;
BY HEIMO ZOBERNIG 18TH-CENTURY
(LEFT) AND PICASSO. MIRROR; JONAS SOFAS
(CHUCK CLOSE’S IN A LE MANACH
PORTRAIT OF PHILIP COTTON. FOR DETAILS
GLASS CAN BE SEEN SEE RESOURCES.
M ary Ann Tighe will gladly tell you that she wasn’t to the
manner born. “I’m a girl from the Bronx,” says the powerhouse
New York commercial real-estate broker, who recently built
a country manor dubbed Hollyhock with her husband, Dr.
David Hidalgo, on four acres near the ocean in Southampton,
New York. Located on the site of a former estate known as
Red Maples, the new house has historical antecedents: The
stucco exterior and Mission-tile roof allude to the original 1908
villa that was razed in the 1940s; the signature interior features
were inspired by the iconic mansions that architect David Adler
built in Chicago’s lakefront suburbs in the 1920s and 1930s.
Sitting in the 55-foot-long, three-bay, pine-paneled library
that was inspired by an Adler design, Tighe pulls out books
on the architect and his sister, decorator Frances Elkins.
“I forget where I saw it first, but I have always remembered
it,” says Tighe, finding the pages with photographs of the
library as well as the grand black-and-white marble foyer with
an elliptical staircase (an Adler adaptation of a design by
John Russell Pope), which she asked architect Michael Dwyer
to duplicate. “This is a souped-up version of that library,”
says Dwyer, who traveled with Tighe to Lake Forest, Illinois,
to tour some of Adler’s houses. “Mary Ann wanted 14-foot
ceilings, and we wanted to get the proportions right.”

72 A R C H D I G E S T.COM
 ABOVE IN THE PINE-PANELED LIBRARY, A PENNY MORRISON LINEN COVERS THE JONAS ARMCHAIR, OTTOMAN, AND SOFA.
ENGLISH MAHOGANY CANED CHAIR WITH CUSHION OF A STRIPED COTTON BY JED JOHNSON HOME. OPPOSITE THE HOUSE’S
STUCCO EXTERIOR AND TILE ROOF ALLUDE TO AN EARLIER HOME ON THE PROPERTY.
LEFT THE CURVING
STAIRCASE WAS
INSPIRED BY A DAVID
ADLER ADAPTATION
OF A DESIGN BY
JOHN RUSSELL POPE.
BELOW TIGHE AND
HER GRANDSON IN
THE GARDEN.
OPPOSITE A 19TH-
CENTURY WALLPAPER
COVERS THE DINING
ROOM. MURANO CHAN-
DELIER; CIRCA-1920
CHAIRS IN A COWTAN
& TOUT FABRIC.
 As CEO for the New York tristate region of the global real-
estate firm CBRE, Tighe is a professional matchmaker who
brings together commercial landlords and high-profile anchor
tenants. (She brokered the deal that brought AD’s parent
company, Condé Nast, to its current One World Trade Center
address.) When she assembled the team for her home—Dwyer,
AD100 decorator Bunny Williams, landscape architect Quincy
Hammond, and builder Frank Cafone—she had them collabo-
rate on a new guesthouse first to make sure they worked well
together under her direction.
Tighe is a virtuoso dealmaker, but she doesn’t consider it an
art form. Trained as an art historian, she worked in the White
House as an arts adviser for vice president Walter Mondale
and his wife, Joan, and then served as deputy chairman of the
National Endowment for the Arts from 1978 to 1981. She left
Washington, D.C., to join her husband in New York, where he
was beginning his career as a plastic surgeon. She went to work
for ABC to launch a cultural cable channel that would eventu-
ally become A&E, then became a broker in the mid-1980s.
Tighe was drawn to Williams, the grande dame of New York’s
decorating establishment, because they are cut from the same
cloth. “Bunny’s a businesswoman, and I knew she would operate
meticulously and efficiently,” says Tighe. “She’s enormously
practical. She’s a problem solver, and comfort is as important to
her as beauty and elegance. She asks good questions: ‘Do you
have a dog? Grandchildren? Do you have houseguests? Do you
eat in the kitchen?’ ” (Yes. Yes. Occasionally. No.)
In fact, Tighe and her husband never eat in the kitchen.
“They eat in the dining room even if it’s just the two of them,”
says Williams, explaining why she designed a relatively small
dining table for the grand space with rare 19th-century hand-
painted Chinese wallpaper panels set into the boiserie.
AR C H DI G E S T. CO M 75
 (“There’s a top that can be put on the table if she has a large
dinner party,” notes Williams.) The dining room is connected
to the kitchen by a handsome blue-gray-paneled butler’s
pantry, which is stocked with an extensive assortment of china
and linens. “I love setting the table because I was deprived
of dishes in my childhood,” says Tighe.
Williams and her associate Elizabeth Swartz embraced
Tighe’s directions for the living room that overlooks an
emerald lawn. “Mary Ann had seen Pride & Prejudice on
television and saw blue walls that she wanted us to replicate,”
says Swartz. “We took screenshots of it, but the color was
different from every angle, so it took a long time to get
it right.” The rich watery blue is the perfect backdrop for
a large canvas by Abstract Expressionist Joan Mitchell
that dominates one end of the room. “The painting really
pops against the colored wall,” says Williams.
The use of color throughout the house is precisely modu-
lated. “You need to know when to stop so the rooms aren’t
overdone,” says Williams. “You need to think of balance.” On
the second floor, a cream-colored hall leads to the massive
upstairs sitting room with bracing sunset-pink walls. Furnished
with sofas upholstered in muted floral chintz and Williams’s
76 A R C H D I G E S T.COM
trademark mix of well-bred antiques, the space is cheerfully
© 2018 THE WILLEM DE KOONING FOUNDATION/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK;
chic but not cloying.
Williams distilled the colors of the sky and gardens for
the adjacent master suite with custom Peter Fasano blue-and-
© 2018 ESTATE OF PABLO PICASSO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
green-striped fabric for the walls and curtains and romantic
floral linen from Lee Jofa for the upholstered bed. Tighe is
especially fond of the ethereal lavender walls in her dressing
room, where her grandson likes to sit on the chaise longue and
chat with her when he isn’t playing in his toy-filled bedroom.
The tour of the property continues outside as Tighe
strolls over to the two-bedroom guesthouse where she and
her husband lived while the new house was being built. She
passes the swimming pool to the back of the property where
a newly built freestanding four-car garage containing some
of her husband’s collection of 1960s sports cars is shaded by
century-old trees. As she returns through a parterre garden
to the motor court at the entrance to the main house, it’s
obvious that one of the best deals she’s ever put together was
brokering the harmonious partnership of Dwyer, Williams,
Hammond, and Cafone. As Williams says, “Mary Ann
was the orchestrator, and we were the players who produced
the symphony.”
“You need to know
when to stop so the
rooms aren’t overdone,”
says designer Bunny
Wılliams. “You need to
think of balance.”
RIGHT A CUSTOM
WALL COVERING BY
ZINA STUDIOS WRAPS
THE GUESTHOUSE
POWDER ROOM.
ANTIQUE MIRROR;
VINTAGE PENDANT.
BELOW IN THE
MASTER SITTING ROOM,
A PICASSO LINOCUT
HANGS OVER THE
19TH-CENTURY MANTEL.
LOUIS XVI VOYEUSE.
OPPOSITE STRIPES
MEET FLORALS IN THE
MASTER BEDROOM.
 design notes THE DETAILS THAT MAKE THE LOOK

A DONALD KAUFMAN COLOR

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the architecture
Bunny Williams notes.

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

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AR C H DI G E S T. CO M 79
squad goals
With the help of Christoff:Finio
Architecture, a young famıly
takes a giant leap of faith and
builds their dream house on
New York’s Shelter Island
TEXT BYSAM COCHRAN
PHOTOGRAPHY BYCHRISTOPHER STURMAN
STYLED BY MARTIN BOURNE

TAYLOR ANTRIM LEADS

HIS CHILDREN, VIVIAN
AND WILLIAM, TO THE POOL
AT THE FAMILY’S HOME
ON SHELTER ISLAND,
NEW YORK. FOR DETAILS
SEE RESOURCES.
 “We gravitate toward
people who really engage
and want to create
something authentic to how
they live.” —Martin Finio
 A THOMAS JACKSON
PHOTOGRAPH IS GIVEN
PRIDE OF PLACE IN
THE OPEN LIVING/
DINING ROOM, WHERE
AN EXPOSED CEDAR
CEILING COMPLEMENTS
A WALL OF RECLAIMED
BARNWOOD. PENDANT
LIGHT BY JASPER
MORRISON FOR FLOS.
i t’s 8 p.m. on Shelter Island, and for
Vivian and William Antrim, ages six
and three, that means bedtime. But
first, a dance party. “One song,” warns
their father, Taylor, cuing the music.
Tiny fists start pumping and little hips
begin to shake as the kids recognize a
favorite tune—Kelly Clarkson’s “Since
U Been Gone.” “Thanks to youuu, now
I gettt, what I wannnt,” Vivian bellows,
sashaying across the broad window
seat, her podium for the evening.
Taylor and his wife, Liz Twitchell, didn’t have a
stage in mind when they decided to build in this
mellow community, tucked between Long Island’s
North and South Forks. But in many ways their
house has been a happy accident. “None of this was
planned,” recalls Liz, a Manhattan high school
English teacher. “We weren’t even looking until
we came here.”
Six years ago, the couple fell in love with Shelter
Island’s low-key charms while staying at the home of
a friend, design writer Sarah Medford, who had built
from the ground up. That approach stayed in their
heads as they looked at houses for sale, none of which
appealed. When they visited a sunny parcel, empty
save for an old barn, they instantly felt a connection.
A week later it was theirs. “We acted very quickly,”
says Liz. “The whole thing felt like a fever dream.”
To design a house, the couple enlisted
Christoff:Finio Architecture, whose modernist rigor
Taylor, now the executive editor of Vogue, had
come to admire while working at AD. “We thought
they were more architect than we could afford,” he
remembers, uncertain at the time that the firm would
take on a modest dwelling on a budget. But their first
meeting with husband-and-wife duo Martin Finio
and Taryn Christoff proved jolly—everyone teasing woodlands while maximizing privacy. “Martin figured
their respective spouses and bonding over a shared something out that we would never have been able to
love of the island, where the architects had gotten do on our own,” says Taylor.
married. “For us it’s never about the size of a project; The design process lasted several months, as one
it’s about the clients,” says Martin. “We gravitate idea evolved into the next. A compound of discrete
toward people who really engage and want to create volumes gave way to a single massing with dramatic
something authentic to how they live.” light monitors, which in turn gave way to a peaked
Liz and Taylor had their hearts set on a modern roofline. When Taylor and Liz floated the prospect of
house, with wood construction and visual links just a simple box, the architects came back with the
to the landscape. Beyond that, everything was open winning proposal—three pavilions, all single-story
for discussion. There was the choice of one story except for an upstairs lounge that pops through the
or two, which was resolved after Martin built an flat roof. Bedrooms connect to living areas via a glass-
elevated platform that revealed only a sliver of water enclosed walkway; living areas in turn open onto a
views. The question of where to situate the house, covered deck that leads to the guest pod, with an
meanwhile, was answered one afternoon when he indoor/outdoor bathroom that doubles as a kind of
spontaneously drove from Manhattan to Shelter poolhouse. “We created a gathering area for people
Island, walking the property until inspiration struck. to meet, plus private zones for visitors and family,”
By stretching the house lengthwise on the long plot, explains Taryn, adding that since both indoor and
with the structure’s back to nearby neighbors, he outdoor rooms are crowned with one shared roof,
realized, he could orient it toward the surrounding “a smallish home presents itself as much bigger.”

84 A R C H D I G E S T.COM

Construction is never without its freak-outs.
After the house had been framed, Liz suddenly
panicked that the ceiling, slightly lowered to cut
costs, felt claustrophobic. “I thought it was going
be too Being John Malkovich in there, all 7½ floor,”
she jokes. A frantic email to Taryn and Martin
followed. “Martin’s response was so staggeringly
perfect,” Taylor remembers. “He said, ‘No problem
at all. Ceiling perfect. You’re gonna love it.’ And he
was right. They were right about everything.” As,
for that matter, was their contractor, Maude Adams
of Artisan Construction Assoc., who realized the
architects’ plan with precision.
Three summers in, family rhythms have molded
to the house. The long march that is a summer
day with kids begins early, Vivian and William rising
with the sun. Hours float by as the family migrates
from the kitchen to the living area to the deck
to the pool—with excursions to farmers’ markets
and beaches or picnics aboard their motorboat,
LEFT WALLPAPER
BY HANNA WERNING FOR
BORÅSTAPETER ACCENTS
WILLIAM’S BEDROOM.
BELOW LINED IN FIRECLAY
TILE, THE MASTER BATH
HAS A CUSTOM SHOWER.
PENDANTS BY BEGA.
OPPOSITE A CHAISE LONGUE
BY CB2 SITS POOLSIDE.
The Antrim Family Presents: Robot Sparkle. (“We let
Vivian name it,” Taylor notes.) In the evenings,
the children get to watch a show upstairs while dad
barbecues outside and mom steals a quiet moment
to read, reclining on the window seat. “I just wanted
the house to be great for them,” reflects Taryn, who
chose the furnishings, a mix of vintage finds and
budget-friendly modern furnishings. “It was truly
a labor of love.”
By bedtime, the family has enjoyed but somehow
never exhausted the whole house, its clever floor
plan keeping cabin fever at bay. “There’s no space
that doesn’t get used,” says Taylor. “We rotate through
the rooms.” For Liz, that momentary panic about
ceiling heights has long dissipated into domestic bliss.
“When we’re in the house, I really feel like this
is how I wanted it to be,” she says. “There’s never a
moment when I think, What a weird decision.” At
that, she pauses and laughs. “I guess that’s because
we made all the decisions.”
 HAIR AND MAKEUP BY MARY GUTHRIE USING KÉRASTASE PARIS COUTURE STYLING, M.A.C., AND BECCA COSMETICS FOR ARTISTS BY TIMOTHY PRIANO
ABOVE LIZ AND TAYLOR GATHER WITH THE KIDS IN THE KITCHEN. STOOLS BY MASH STUDIOS; RANGE BY DACOR; HOOD BY BEST.
BELOW STRETCHED ALONG ITS NARROW PLOT, THE CEDAR-CLAD HOUSE IS A SEQUENCE OF INDOOR AND OUTDOOR SPACES.

“A smallish house presents itself as

much bigger.” —Taryn Christoff
86 A R C H D I GES T.COM
 IN THE LIVING AREA, A
CUSTOM-MADE CUSHION
CREATES A READING
NOOK. ARNE JACOBSEN
SCONCE; MARBLE PLINTH
COCKTAIL TABLE BY RH;
NYCHAIR X BY TAKESHI NII.
LAYERS OF FLOWERING
TOBACCO, BEEBLOSSOM,
EVENING PRIMROSE,
AND CHERRY LAUREL
BUSHES AT SPILSBURY,
THE ENGLISH COUNTRY
ESTATE OF LANDSCAPE
DESIGNER TANIA
COMPTON.

fer
imagi
tile
nation
Wild child turned plant
whisperer, Lady Tania
Compton listens to the
land—and looks to
history—to create places
of informal exuberance
TEXT BY CHRISTOPHER STOCKS
A
s we squelch round her sodden six acres
of garden, Lady Tania Compton exclaims, lavenders and perovskias still thrive.
“I love being on clay!” Even though, I
consistency of concrete? “Totally,” she
says. “It’s wonderful!” She’s not joking.
Compton—the most successful British
ask, it’s awash in winter, is backbreaking conventional garden designer. An earl’s
to dig, and, come summer, dries to the
landscape designer few have ever heard she had “the Damascene conversion of
of—approaches her work with what can
only be described as gusto, but that’s just
the half of it. Her ebullient attitude is
backed up by an encyclopedic knowledge
and a willingness to defy conventional
wisdom, as in the silver garden that
leads to the door of Spilsbury, her house
in Wiltshire. Filled with the kinds of
Mediterranean plants that drew her into
the profession in the first place, the
garden entrance gets little sun, yet her
Then again, Compton is not exactly a
daughter, she spent her 20s reporting on
the Paris party scene for Women’s Wear
Daily before relocating to Ibiza in 1985.
It was there that, in her own words,
my life, from clubbing to cuttings.”
Inspired by the spicy scent of helichry-
sum and the “Guerlain eye-shadow blue”
of anchusa, she began to study, absorbing
Reverend W. Keble Martin’s classic The
Concise British Flora in Colour. A friend
put her in touch with the renowned
plantswoman Penelope Hobhouse, who
invited Compton to spend the summer
working in her Somerset garden, leading
to meetings with grandes dames like
Rosemary Verey and Nancy Lancaster.
But all the while Compton was develop-
ing her own tastes.
Her decision, in 1988, to sign up
for a one-year course at the English
Gardening School in London proved
fateful. Lancaster predicted she would
fall for James Compton, who had been
turning heads as the head gardener at
 OPPOSITE COMPTON’S HAMPSHIRE, THE
WALLED GARDEN IN GROUNDS OF WHICH
BURGUNDY FOR HERVÉ COMPTON HAS TENDED
VAN DER STRAETEN. FOR THE PAST DECADE.
ABOVE FRIKART’S ASTER, RIGHT THE DESIGNER
STONECROP, AND AT HOME IN THE
PURPLE CONEFLOWER ENGLISH COUNTRYSIDE.
AT DEANE HOUSE IN

the Chelsea Physic Garden, where the describes Spilsbury as “treading, direction the flower garden has been
school is based. Lancaster was right, and with great flair, that tricky line between expanded, with a separate cutting garden
Tania and Jamie wed in 1989, relocating simple placemaking and exoticism.” for the house. “You don’t want a cutting
OPPOSITE: SUZANNAH WILSON; ABOVE: HERVÉ VAN DER STRAETEN

to a village house in Wiltshire with a
modest plot that she started tending like
mad, simultaneously undertaking her
first commissions.
With the arrival of her children,
OPENING SPREAD AND PORTRAIT: OBERTO GILI;
This floriferous paradise now represents
two decades of hard work. It’s both test
bed and playground. “People sometimes
ask me if I ever sit in it, but for me that’s
the whole point,” says Compton. “Falling
garden to look pretty,” Compton says, “or
you’ll only snip at things. You want to be
able to fill a room with flowers, not just a
posy in a pot.”
French furniture designer Hervé

Sophie and Fred, Compton’s design
career took a back seat. But upon moving
to Spilsbury in 1998 she began trans-
forming what were largely paddocks
into an English Eden, with flower-filled
meadows, flag-fringed ponds, and a
long hazelnut walk underplanted with
thousands of spring bulbs. (She also
spent ten years as a gardens editor at
British House & Garden.) Her friend
and professional peer Tom Stuart-Smith
asleep in a hammock under the old
oak tree is tons more fun than digging
a border.”
At 54, Compton is now well into the
second, post-child-rearing act of her
career. For the past ten years she’s been
working at Deane House in Hampshire,
home to philanthropist Kara Gnodde,
who describes the designer admiringly
as “a combination of incredibly bossy
and incredibly collaborative.” Under her
Van der Straeten, with whom Compton
has designed a walled garden in
Burgundy, echoes Gnodde’s sentiment,
calling his collaborator “charming, bossy,
and extremely generous with pragmatic
advice. Before meeting her I had no
clue there were such plants as Alchemilla
mollis or Verbena bonariensis, or that
when placing an order, brunnera (small)
must not be confused with gunnera
(very, very large).”

AR C H DI G E S T. CO M 91
 “This may sound potty, but I
call myself a garden dıviner, not
a garden designer.” —Compton
At Reddish House, the delectable
18th-century country manse near
Salisbury once owned by Cecil Beaton,
Compton has been working with current
owners David and Sophie Bernstein to
return the grounds to their former glory.
Asked whether Compton would have got
on with the wickedly waspish Beaton,
Sophie says, “Tania gets on with every-
one, so I have no doubt they would soon
be deep in conversation up his ropes of
roses on the hillside.” After three years
of replanting, Compton discovered from
old photographs that much of what
she added was in fact there in Beaton’s
time. “This may sound potty,” she says,
“but I call myself a garden diviner, not
a garden designer.”
Her flair for informal exuberance
in formal settings is also evident in two
other historic Wiltshire gardens. At
Longford Castle, a remarkable triangular
Elizabethan country house, she worked
with the Countess of Radnor to revive an
enclosed 19th-century parterre, filling it
with perennials in shades of blue, purple,
rose, and lilac. Since 2006, closer to
home, she has been working on the Arts
and Crafts terraces surrounding the
Fonthill Estate, home of Lord Margadale,
removing leylandii hedges and rescuing
heirloom plants and trees. They are now
the focus of lush new plantings of cornus,
figs, roses, and dianthus.
Compton may be just hitting her
stride. Other current commissions
include a large town garden for Chris
Burch north of Paris and a Gloucester-
shire estate for a top-secret client whom
she describes, without much exaggera-
tion, as “the coolest woman in Britain.”
COURTESY OF LONGFORD CASTLE

As for Compton’s place in British

horticulture, perhaps the final word
should go to Stuart-Smith. “I would
say that Tania is one of the central cogs
in the world of British gardening,
though that seems a very inelegant
way of putting it for someone so
supremely stylish.”

92 AR C H D I GES T.COM
 DEPLOYING VIBRANT
PERENNIALS, COMPTON
UPDATED THE HISTORIC
PARTERRE GARDEN AT
WILTSHIRE’S LONGFORD
CASTLE (SUBJECT OF
AMELIA SMITH’S NEW
BOOK, LONGFORD
CASTLE: THE TREASURES
& THE COLLECTORS).
 OUTSIDE THE BOX
Architect Ron Radziner designs his own family home as
a composition of long, lean volumes that shift and open
in response to its wooded Los Angeles site
TEXT BY MAYER RUS PHOTOGRAPHY BY TREVOR TONDRO STYLED BY MICHAEL REYNOLDS
SUNNY DAYS MEAN PLENTY OF POOL TIME FOR THE COTTLE RADZINER FAMILY. FOR DETAILS SEE RESOURCES.

AR C H DI G E S T. CO M 95
 CLOCKWISE FROM DRAWING; ON CUSTOM
NEAR LEFT ASHER’S CREDENZA, VASE BY
BEDROOM FEATURES ADAM SILVERMAN AND
AN ARTWORK BY VINTAGE MEXICAN
ROSE MARCUS; ON SCULPTURE. CUSTOM
LARGE DOSA PILLOW, STOOLS BELLY UP TO
PHOTO BY CHRISTINA THE KITCHEN ISLAND
KIM. SUNLIGHT POURS TOPPED IN STAINED
INTO THE GREAT OAK; VINTAGE MURANO-
ROOM; TONY LEWIS GLASS LAMPS.

lar to the relatively urban lots they’ve inhabited in

the past. “We lived in Venice [California] for nearly
25 years, and, frankly, we loved it. We could ride
our bikes to most places. But the commute to Asher
and Lexi’s school was just too long and grueling,”
Cottle explains, echoing the familiar lament of many
traffic-tortured Angelenos. “Canyon life is definitely
a change. It feels like living in a park,” she adds.
Sycamore trees scattered across the property set
the tone for the bucolic experience. “Inserting the
house within the site was like figuring out a puzzle.
I designed the house as a series of sliding planes and
rectangular volumes that stop and start to accommo-
date the trees,” Radziner notes. “I also decided
to explore the idea of doing a house with only dark

O
materials. I’ve had enough of crisp white walls for
the moment.”
The palette includes slender, handmade bricks,
imported from Denmark, in a dark gray color; their
ne might reasonably slight imperfections give the material an organic edge
expect an architect’s that feels appropriate for the site. While the brick
own house to make a walls anchor the house to the earth on the ground
statement, and on that level, the upper story—a taut, rectangular composi-
account the home that tion of zinc panels and glass walls—appears to float.
Ron Radziner designed Interior walls are clad variously in fumed rift-sawn
for himself, his wife, oak and a slightly gritty plaster that takes on a velvety
graphic-and-jewelry cast when it catches the light.
designer Robin Cottle, “I love the experience of moving from relatively
and their children, dark spaces to rooms flooded with light. The entry,
Asher and Lexi, does for example, is a bit cloistered, but then you emerge
not disappoint. Situated into the bright openness of the living/dining/kitchen
on a wooded parcel area. Suddenly it’s all trees and light,” Radziner says.
in Los Angeles’s Mandeville Canyon, the structure Massive glass sliders connect the voluminous
declares its principles sotto voce: simplicity of line, ground floor to an outdoor deck and pool in a
economy of form, clarity of materials, harmony with quintessentially L.A. inside-out gesture. Radziner
nature. It’s a message familiar to anyone who has maintained the gentle slope of the topography and
followed the work of Marmol Radziner, the design/ elevated the pool three feet off the land, once again
build firm Radziner founded with Leo Marmol in giving the impression of a structure floating above
1989, which is renowned for both stellar restorations the earth. A freestanding brick wall with an outdoor
of important modernist houses and finely detailed fireplace defines the edge of the exterior room.
contemporary creations. “It feels like we spend as much time outside as we
“The parti for any architectural design is dictated do inside. It’s warmer here than it is in Venice, so that
by the site. Yes, Robin and I discussed the rooms we helps,” Cottle says, again referring to the beloved
needed, how we want to live, and so on. But the form seaside community she and Radziner abandoned for
of the house evolved from the basic considerations of the sake of time, traffic, and sanity. Asked whether
how it sits on the land and how it embraces the trees they plan to return to Venice once Asher and Lexi are
and views,” Radziner avers. off to college, the couple demurs. “We’re definitely
In the case of the family’s new home, the site thinking about it,” Radziner offers. “But we love it
selected by Radziner and Cottle is distinctly dissimi- here . . . for now.”

AR C H DI G E S T. CO M 97
 CLOCKWISE FROM
LEFT A LE CORBUSIER,
PIERRE JEANNERET,
AND CHARLOTTE
PERRIAND STOOL BY
CASSINA SITS IN THE
TRAVERTINE-CLAD
MASTER BATH. THE
MASTER BEDROOM
OPENS TO A TERRACE;
PAINTING BY FRIEDRICH
KUNATH. SAM
DURANT’S LIKE, MAN,
I’M TIRED (OF WAITING)
HANGS IN THE FAMILY
ROOM; VINTAGE
VLADIMIR KAGAN
FLOOR LAMP AND POUL
KJÆRHOLM CHAIRS.

“I wanted to explore the idea of doing

a house with only dark materials,”
says Radziner. “I’ve had enough of
crısp white walls.”
98 AR C H D I G E S T.COM
MADE IN
AMERICA
For its latest
home collection,
Calvin Klein
breathes new
life into Fiesta
dinnerware,
Pendleton
blankets,
vintage quilts,
and other
tried-and-true
design icons

PHOTOGRAPHY BY
ANTHONY COTSIFAS
STYLED BY
MICHAEL REYNOLDS

LIMITED-EDITION
FELTRI ARMCHAIRS BY
GAETANO PESCE FOR
CASSINA, UPHOLSTERED
WITH VINTAGE QUILTS
SELECTED BY RAF SIMONS
FOR CALVIN KLEIN.
CALVINKLEIN.US

ARCH DI G E S T. CO M 101
 FIESTA DINNERWARE AND SANDRA BRANT PILLOW: IMAGES COPYRIGHT THE ANDY WARHOL FOUNDATION; DENNIS HOPPER IMAGE TRADEMARKED BY HOPPER
ABOVE CALVIN KLEIN ANDY WARHOL DENNIS HOPPER FIESTA DINNERWARE AND CALVIN KLEIN
ANDY WARHOL SANDRA BRANT FIESTA DINNERWARE; BOTH $200 PER SET. CALVINKLEIN.US

OPPOSITE LEFT, CALVIN KLEIN ANDY WARHOL SANDRA BRANT PENDLETON WOOL PILLOW; $350.
RIGHT, CALVIN KLEIN X PENDLETON PETER WOOL PILLOWS; $280 EACH. CALVINKLEIN.US

102 A R C H D IG E S T.COM
LULU AND BUNNY AT
THEIR FAMILY’S HOUSE IN
MILLBROOK, NEW YORK.
OPPOSITE PEPPER THE
POODLE KEEPS WATCH.
LANDSCAPE ARCHITECTURE
BY JANICE PARKER LAND-
SCAPE ARCHITECTS. FOR
DETAILS SEE RESOURCES.
 DAYS
OF HEAVEN

Designer Darren Henault crafts a glorious

getaway for his family on the sprawling grounds
of a former Christmas-tree farm
TEXT BY MAYER RUS PHOTOGRAPHY BY WILLIAM WALDRON STYLED BY MARTIN BOURNE

ARCH DI G E S T. CO M 105
ARTWORKS BY
MICHELLE CHARLES
LINE THE DINING-
ROOM MANTEL.
ANTIQUE TABLE AND
CHAIRS. OPPOSITE IN
THE GARDEN ROOM,
AN 18TH-CENTURY
CHAISE LONGUE
WEARS A BENNISON
PRINT. CUSTOM SOFA,
CLUB CHAIR, AND
OTTOMAN BY FARRELL
MITTMAN IN ROGERS
& GOFFIGON FABRICS.
i n the abstract, the idea of a 53-acre
Christmas-tree farm with a reasonably
intact 1800 farmhouse in the Hudson
Valley sounds utterly charming. The
reality of transforming such a picturesque
spread into a gracious family compound
geared for 21st-century life is another
matter altogether. For the past 12 years,
interior designer Darren Henault and his
husband, attorney Michael Bassett, have
moved, well, if not heaven, then mountains
of earth to create their sanctuary in the
Arcadian hamlet of Millbrook, New York.
The process involved a dramatic overhaul
of the sprawling landscape, architectural additions and
upgrades, and plenty of good, old-fashioned decorating. But
first, there were the conifers.
“We had to relocate about 3,000 trees,” Henault recalls,
laughing at the scope of the undertaking. “The idea was
to return the back fields to something closer to their natural
state. So we donated lots of trees to the town of Millbrook
one Christmas, and we gave away as many as we could to our
friends and anyone else who wanted to dig one up. We also
kept about 500 trees and replanted them to form hedges,
although we found out over time that certain evergreens
don’t make brilliant hedges. It was exhausting,” he adds wryly.
Henault and Bassett collaborated with Janice Parker
Landscape Architects of Greenwich, Connecticut, to reimagine
the property as an eminently hospitable refuge for themselves,
their two daughters—ten-year-old fraternal twins Bunny and
Lulu—and the family’s frequent houseguests. “All of that open
space was slightly overwhelming, so we broke it down into a
series of variously defined outdoor rooms,” Henault explains,
pointing to the apple orchard, flower garden, alfresco enter-
taining areas, and pool, all of which have been added since the
couple acquired the land in 2006. Says Parker, “Our goal was
to introduce the new elements in a way that weaves the existing
and new landscapes together into a cohesive experience.”
Two years ago, with the help of New York City–based
architect Michael Goldman, Henault orchestrated a major
renovation of the house that was specifically designed not to
look major. Along with a new entry/mudroom and a covered
porch off the kitchen, the primary addition they devised encom-
passes a bedroom for the girls, perched above a light-filled
family room with a distinctly different character than the rest
of the home. “[My husband], Michael, had kept a picture for

ARCH DI G E S T. CO M 107
LEFT PENDANTS FROM
BALSAMO ANTIQUES
LIGHT THE KITCHEN’S
DANBY MARBLE–TOPPED
ISLAND. BENCH FROM
VICTORIA & SON; PAINTED
FLOOR BY MATT AUSTIN
STUDIO; RANGE BY WOLF;
HOOD BY FOCAL METALS.
 LEFT A FAMILY RAMBLE. BELOW IN THE DAUGHTERS’
BEDROOM, CUSTOM BUNK BEDS WEAR MATOUK
LINENS. CURTAINS OF A COWTAN & TOUT FABRIC;
LANTERN BY CHARLES EDWARDS.

“I wanted to create a home that looked as

if it had grown organically over the decades
and centuries.” —Darren Henault

LEFT BALLEYCLAIRE,
A CONNEMARA–
SPORT HORSE CROSS,
TROTS BESIDE A
PERSIAN-LILAC HEDGE.
RIGHT PEPPER ON THE
BACK PORCH. WICKER
SEATING BY WALTERS.

ARC H DI G E S T. CO M 109
 ABOVE A CHELSEA TEXTILES GINGHAM GRIDS THE MASTER BEDROOM. FOUR-POSTER BY THE FEDERALIST;
ANTIQUE FRENCH DAYBED; CURTAINS OF A COWTAN & TOUT FABRIC. OPPOSITE A GUEST BATH FEATURES A TUB
BY FERGUSON WITH ROHL FITTINGS. KRAVET COUTURE LINEN ON WALLS.

years of a David Hicks house that had enormous windows that
went all the way to the floor. It’s something he always wanted,
so we created a kind of garden room with walls of windows
where we can hang out with the girls. I made the sofa extra deep
so we can all pile on together,” the designer says.
Goldman and Henault took advantage of a dip in the grade
of the land to give the new family retreat a higher ceiling than
the home’s original rooms, without disrupting the existing
roofline. “We wanted to restore the house’s early-19th-century
DNA while growing it in a way that feels both deferential
and appropriate for today. The work we did was extensive but
discreet—the initial structure remains the primary visual
object in the landscape,” Goldman offers.
Within the home’s original rooms, Henault’s decorating
scheme nods to authentic period flavor without pretense of
sober historical verisimilitude. “I wanted to create a home
that looked as if it had grown organically over the decades and
centuries. That idea gives you wide latitude in the kinds of
things that can feel comfortable here,” Henault says, illustrat-
ing his point with the roster of furnishings and materials
assembled in the living room—19th-century tables and chairs
of American, English, and French descent; original pine floors
and a zebra rug; vintage and contemporary photography;
antique needlepoint and contemporary cut velvets. The
designer’s fondness for pattern-on-pattern playfulness—
and his antipathy for monochrome minimalism—also finds
eloquent expression in the master bedroom, where yellow
gingham-upholstered walls mingle amicably with toile bed
hangings and floral curtains.
Henault and Bassett are both accomplished equestrians,
and much of their time in the country is spent among
Millbrook’s horsey set. At home, however, the kitchen is the
center of the couple’s social universe. “Michael is a true
gourmet chef. I like setting a table, and he likes filling it with
good food,” Henault says, explaining not only the division
of labor but also the designer’s obsession with tabletop finery.
Casual meals are served at the kitchen table, a custom
piece that replicates a Portuguese antique the designer lost
at auction. More formal(ish) affairs unfold in the serene,
Scandinavian-inflected dining room.
“We made our house bigger so it could be filled with people.
We have guests over constantly. It’s like inviting friends into
your psyche,” Henault observes. “And what’s the point of having
great stuff if you don’t share it?” What’s the point, indeed.

110 AR C H D IG E S T.COM
 resources
Items pictured but not listed here are not
sourceable. Items similar to vintage and
antique pieces shown are often available from
the dealers listed.
(T) means the item is available only to the
trade.
THIS IS HOME
COVER, PAGES 60–69: Interiors by Sarah Sherman
Samuel; sarahshermansamuel.com. Architecture
by Emily Farnham Architecture; emilyfarnham
.com. Landscape design by Terremoto;
terremoto.la. COVER: On built-in sofa by Sarah
Sherman Samuel; sarahshermansamuel.com;
Nottingham cotton-blend velvet, in whiskey, by
Stroheim (T); stroheim.com. On side table, vase
by Mark Churchill; shop-midland.com. PAGES
60–61: Velvet armchairs by Mercer21 (similar),
New Classics Malibu leather bench by Kenian,
cocktail tables, in rose gold, by Statements by J,
Valeria arched floor lamp, in brushed gold, by
Langley Street, and rug by Bungalow Rose,
all from AllModern; allmodern.com. Curtains
of Newport linen-blend, in pink, by Fabricut
(T); fabricut.com. On side table, vase from
Harbinger; harbingerla.com. PAGES 62–63: In
family room, Capri white vase by CB2; cb2.com.
Fireplace surround of White Mountains tile by
Fireclay Tile; fireclaytile.com. Custom Palladiana
Terrazzo shelf by Emily Farnham Architecture;
emilyfarnham.com. On vintage bench from
Palm Beach Regency; palmbeachregency.com;
Lush polyester-cotton velvet, in 29, by Fabricut
(T); fabricut.com. In kitchen dining area,
Atomium suspension light by Lambert & Fils;
lambertetfils.com. On table, vases from
Harbinger; harbingerla.com. PAGE 64: Alfi Low-
Back counter stools by Jasper Morrison for
Emeco from Design Within Reach; dwr.com.
Alto pendants by Cedar & Moss; cedarandmoss
.com. On island, white bowl and vase by Mark
Churchill from Midland; shop-midland.com.
Range by Wolf; subzero-wolf.com. Calacatta
Venato marble from Stoneland; stonelandusa
.com. On shelves, dishware by Year & Day;
yearandday.com. On cabinets, Mizzle paint by
Farrow & Ball; farrow-ball.com. Sink fittings
by Rohl; rohlhome.com. Next to sink, tall vase by
Mark Churchill from Midland. PAGE 65: In pool
area, pool and custom bench by Terremoto;
terremoto.la. Next to house, Outdoor Sierra
chairs by Croft House; crofthouse.com; in Slubby
acrylic, in flint, by Perennials (T); perennials
fabrics.com. On Granada round coffee table
by Croft House, teal vase from Harbinger;
harbingerla.com. PAGE 66: Macramé wall hanging
by Sally England; sallyengland.com. On custom
bed by Sarah Sherman Samuel; sarahsherman
samuel.com; Rivoli cotton velvet, in 49, by
Stroheim (T); stroheim.com. Knot throw from
Shoppe by Amber Interiors; shoppe.amber
interiordesign.com. Faux-sheepskin pillows by
Pottery Barn; potterybarn.com. Safari bench
by Katy Skelton; katyskelton.com. Fjord
Compass ceiling light and Aurora pendant by
Cedar & Moss; cedarandmoss.com. PAGE 67: In
master bath, Sensuality Freestanding Soaking
tub by Aquatica from Wayfair; wayfair.com.
Floor-mounted West Slope tub filler, in aged
brass, by Rejuvenation; rejuvenation.com.
Zanadoo 12-Light Semi Flush Mount chandelier,
in antique brass, by Arteriors from Wayfair.
In other bath, vanity of Volakas marble from
Stoneland; stonelandusa.com. Custom floor
brass inlay design by Sarah Sherman Samuel;
sarahshermansamuel.com. Mini Orb sconces
by Allied Maker; alliedmaker.com. Gedy by
Nameeks Horfield vanity mirrors from Wayfair.
Purist wall-mounted sink fittings by Kohler;
kohler.com. Tile by Fireclay Tile; fireclaytile.com.
In living room, Rhys armchairs by
Anthropologie; anthropologie.com. Cocktail
table by Sarah Sherman Samuel. On Bronson
sofa by Croft House; crofthouse.com; strié
velvet, in light khaki, by Greenhouse Fabrics;
greenhousefabrics.com. PAGE 71: In guest
bedroom, on table, vase from Midland;
shop-midland.com.
HARMONIC CONVERGENCE
PAGES 70–79: Interiors by Bunny Williams
Interior Design; bunnywilliams.com.
Architecture by Michael Middleton Dwyer,
Architect; mmd-arch.com. Landscape design
by Quincy Hammond Landscape Architecture;
quincyhammond.com. Construction by Frank
Cafone Construction; cafoneinc.com. Custom
millwork throughout by Craz Woodworking;
crazwoodworking.com. PAGES 70–71: On Spencer
sofas by Jonas (T); jonasworkroom.com;
Mortefontaine cotton, in gray, by Le Manach
(T); pierrefrey.com; with trim by Clarence
House (T); clarencehouse.com. On custom
ottoman, all grain leather from Edelman
Leather (T); edelmanleather.com. Antique
circular side table from Colefax and Fowler
(T); cowtan.com. On vintage armchair, Manuel
Canovas viscose-blend, in pivoine, by Cowtan
& Tout (T). Custom mantel by Michael
Middleton Dwyer, Architect; mmd-arch.com.
Parquet white oak flooring by Frank Cafone
Construction; cafoneinc.com. PAGES 72–73: In
library, on armchair, ottoman, and sofa by
Jonas (T); jonasworkroom.com; Arabella linen,
in taupe, by Penny Morrison from Claremont
(T); claremontfurnishing.com. On English
Mahogany caned chair cushion, Gustavian
Stripe cotton, in champignon, by Jed Johnson
Home from John Rosselli & Assoc. (T);
johnrosselli.com. Wool dhurrie rug, in custom
color, by Todd Alexander Romano; todd
alexanderromano.com. Library design by
Michael Middleton Dwyer, Architect;
mmd-arch.com; built by Craz Woodworking;
crazwoodworking.com. PAGE 74: In foyer,
on staircase by Michael Middleton Dwyer,
Architect; mmd-arch.com; custom wool
runner by Beauvais Carpets (T); beauvais
carpets.com. On wall, custom mirror by Lowy;
lowy1907.com. Sconces by Jonathan Browning
Studios (T); jonathanbrowninginc.com. On
antique bench, linen by Romo (T); romo.com.
Marble flooring from Precision Stone;
precisionstone.net. PAGE 75: Murano chandelier
from Newel; newel.com. On vintage armchairs,
Manuel Canovas viscose-blend, in pivoine, by
Cowtan & Tout (T); cowtan.com. Custom table
base by Larrea Studio; larreastudio.com; with
reclaimed parquet wood top from Jacqueline
Adams Antiques; jacquelineadamsantiques.com.
Sconces from John Rosselli & Assoc. (T);
johnrosselli.com. Custom silk rug by Stark (T);
starkcarpet.com. PAGE 76: On walls, and curtains
of, custom Wadsworth Stripe cotton-linen, in
lapis, by Peter Fasano (T); peterfasano.com. On
bed and sofa, both by Jonas (T); jonasworkroom
.com; chintz handblock cotton by Lee Jofa (T);
kravet.com. Impero embroidered bed linens by
Pratesi; pratesi.com. On armchair, Kabba Kabba
linen, in tan, by Martyn Lawrence Bullard (T);
deringhall.com. On ottoman by Jonas (T), Bunny
viscose-blend, in purple, by Christopher Hyland
(T); christopherhyland.com. In fireplace, star
andirons by Carole Gratale; carolegratale.com.
On slipper chair, Rajmata linen by Peter
Dunham Textiles from John Rosselli & Assoc.
(T); johnrosselli.com. PAGE 77: In guesthouse
powder room, on walls, custom burlap wall
covering by Zina Studios; zinastudio.com.
Antiqued bronze sconces by Pell Artifex Co.;
212-563-9656. Sink fittings by Waterworks;
waterworks.com. Washstand with glass legs
by Urban Archaeology; urbanarchaeology.com.
On cabinetry, custom paint by Donald Kaufman
Color; donaldkaufmancolor.com. In master
sitting room, on walls, paint by Donald Kaufman
Color. Amiens wall lights, in brass, by Vaughan
(T); vaughandesigns.com. On sofas by Jonas (T);
jonasworkroom.com, Lucy’s Roses linen, in tan,
by Jean Monro for Clarence House (T); clarence
house.com. On antique ottoman, Makeba silk, in
carob, by George Spencer from Claremont (T);
claremontfurnishing.com. Custom rug by Stark
(T); starkcarpet.com.
SQUAD GOALS
PAGES 80–87: Architecture and interiors by
Christoff:Finio Architecture; christofffinio.com.
Landscape design by James C. Grimes Land
Design; nativeplants.net; and Christoff:Finio
Architecture. Construction by Artisan
Construction Assoc.; 631-808-3323. Windows
throughout by Kawneer; kawneer.com. Sliding
glass doors throughout by Arcadia; arcadiainc
.com. PAGES 80–81: On house exterior, STK
western red cedar from Riverhead Building
Supply; rbscorp.com. PAGES 82–83: In dining
area, Smithfield C pendant by Jasper Morrison
for Flos; usa.flos.com. In kitchen, island in
plastic laminate from Abet Laminati (T);
us.abetlaminati.com; with countertop by
Caesarstone; caesarstoneus.com. Milking stools
by Mash Studios; laxseries.com. In living-room
area, behind sofa, Cobra console from White
on White; whiteonwhite.com. PAGE 84: Chaise
longue by CB2; cb2.com. Towel by the
Company Store; thecompanystore.com. Pool
designed by Christoff:Finio Architecture;
christofffinio.com. PAGE 85: In William’s
bedroom, on wall, Hoppmosse wallpaper
by Hanna Werning for Boråstapeter (T);
borastapeter.se. Cobble sconce by Lampa (T);
lampa.com. Bunk bed and bookcase by IKEA;
ikea.com. Gingham bed linens by PB Teen;
pbteen.com. Floral pillow sham of Celotocaulis
linen, in green, by Josef Frank for Svenskt
Tenn; svenskttenn.se. On wall, hooks rack from
YLiving; yliving.com. In master bath, on walls,
tile by Fireclay Tile; fireclaytile.com. Custom
shower by Christoff:Finio Architecture;
christofffinio.com. Pendants by Bega;
bega-us.com. Sinks and fittings from AF Supply;
afsupply.com. Countertop by Caesarstone;
caesarstoneus.com. Tray by the Container
Store; containerstore.com. On floor, encaustic
tile by Mosaic House; mosaichse.com. PAGE 86:
In kitchen, island in plastic laminate from
Abet Laminati (T); us.abetlaminati.com; with
countertop by Caesarstone; caesarstoneus.com.
Milking stools by Mash Studios; laxseries.com.
Range by Dacor; dacor.com. Hood by Best;
bestrangehoods.com. Custom cabinetry by
Christoff:Finio Architecture; christofffinio.com.
Backsplash tile by Mosaic House; mosaichse
.com. PAGE 87: In living area, custom cushion
by Interiors by Robert; 718-847-2860. Arne
Jacobsen AJ wall sconce from Design Within
Reach; dwr.com. Marble Plinth cocktail table,
sofa, and leather tray, all by RH; rh.com.
Nychair X by Takeshi Nii; nychairx.jp. Vase
by Crate and Barrel; crateandbarrel.com. Sofa
upholstered in Slubby acrylic, in flannel, by
Perennials (T); perennialsfabrics.com.
OUTSIDE THE BOX
PAGES 94–99: Architecture, construction,
interiors, and landscape design by Marmol
Radziner; marmol-radziner.com. Kolumba
bricks throughout by Petersen Tegl; petersen-
tegl.dk. PAGES 94–95: Pool designed by Marmol
Radziner; marmol-radziner.com. Extrasoft
outdoor sofa by Living Divani; livingdivani.it;
upholstered in Slubby acrylic, in flannel, by
Perennials (T); perennialsfabrics.com. Custom
steel fire pit by Marmol Radziner. Walter
Lamb outdoor dining table from Design Within
Reach; dwr.com; customized by Marmol
Radziner. Walter Lamb outdoor dining chairs
from Design Within Reach. Ipe decking by
TerraMai; terramai.com. Walter Lamb lounge
chairs (at right) from Design Within Reach.
Custom outdoor cocktail table by Marmol
Radziner. Pablo beach towels (on ottoman and
deck) by Missoni Home; missonihome.com.
PAGES 96–97: In kitchen, on Mandeville Canyon
counter stools, in dark bronze, by Marmol
Radziner Furniture; marmolradzinerfurniture
.com; leather by Spinneybeck (T); spinneybeck
.com. In Asher’s bedroom, on NeoWall bed by
Piero Lissoni for Living Divani; livingdivani.it;
Sullivan 315 leather by Alphenberg; alphenberg
.ru. Bed linens by RH; rh.com. Large Joshua
Tree pillow by Christina Kim for Dosa; dosainc
.com. Throw by Hermès; hermes.com. In great
room, custom ceiling fixture (left), in bronze
with patina, by Marmol Radziner; marmol-
radziner.com. Mandeville Canyon dining table,
in solid Bastogne walnut, by Marmol Radziner
Furniture. On Glencoe dining chairs, in solid
walnut, by Marmol Radziner Furniture, leather
by Spinneybeck (T). Extrasoft sofa by Living
Divani. Bronze side tables by Marmol Radziner
Furniture. Custom fumed rift-sawn oak
casework by Marmol Radziner. PAGE 98: Le
Corbusier, Pierre Jeanneret, and Charlotte
Perriand LC8 swivel stool by Cassina; cassina
.com. Garment-washed Turkish terry towels,
in neutral, by RH; rh.com. Tub filler and hand
shower by Vola; vola.com. PAGE 99: In master
bedroom, on Extra Wall bed by Living Divani;
livingdivani.it; Sebastian 315 leather by
Alphenberg; alphenberg.ru. Jason bed linens by
Ivano Redaelli from Mass Beverly; massbeverly
.com. Custom cashmere throw by Cassina;
cassina.com. Mandeville Canyon side table by
Marmol Radziner Furniture; marmolradziner
furniture.com. Custom-stained oak flooring by
MIR Hardwood Design; mirhardwood.com.
On terrace, Extrasoft outdoor sofa by Living
Divani, upholstered in Aqua Velvet II acrylic,
in rock garden, by Holly Hunt (T); hollyhunt
.com. Handmade felted-wool blanket by Taiana
Giefer; taianadesign.com. In family room,
vintage Poul Kjærholm PK9 chairs from Vance
Trimble Design; 1stdibs.com. On walls, plaster,
in gray tweed, by Sto Corp.; stocorp.com. Custom
built-in bookshelves, in fumed rift-sawn oak,
by Marmol Radziner; marmol-radziner.com.
Mandeville Canyon pool table, in fumed oak,
and Mandeville Canyon round table, in smoked
oak, both by Marmol Radziner Furniture.
DAYS OF HEAVEN
PAGES 104–11: Interiors by Darren Henault
Interiors; darrenhenault.com. Architecture
by Michael Goldman Architect; michael
goldmanarchitect.com. Landscape architecture
by Janice Parker Landscape Architects;
janiceparker.com. PAGE 106: Antique chairs
from Florian Papp; florianpapp.com. Custom
chandelier by Darren Henault Interiors;
darrenhenault.com; fabricated by Arrowsmith
Forge; arrowsmithforge.com. Hand-stenciled
wall design by Matt Austin Studio; matt
austinstudio.com. Curtains of Napoleon
Bees linen-cotton, in blue, by Chelsea Textiles
(T); chelseatextiles.com; with trim by Samuel
& Sons (T); samuelandsons.com. Custom
sideboard by Darren Henault Interiors
fabricated by Daniel Scuderi Antiques;
danielscuderi.com. PAGE 107: On chaise longue,
Palampore linen-cotton, in charcoal blue on
oyster, by Bennison (T); bennisonfabrics.com.
Custom sofa, club chair, and ottoman by Ferrell
Mittman (T); ef-lm.com. On sofa, Horizon
striped linen-blend, in sunrise, by Rogers &
Goffigon (T); rogersandgoffigon.com. On
ottoman, Serge de Nimes linen, in daydream,
by Rogers & Goffigon (T). Antique chairs from
the Chinese Porcelain Co.; cpco.co. Custom
ceiling fixtures by Matt Austin Studio; matt
austinstudio.com. PAGE 108: In kitchen, pendants
from Balsamo Antiques; balsamoantiques.com.
Bench from Victoria & Son; victoriaandson
.com. Painted floor by Matt Austin Studio;
mattaustinstudio.com. Range by Wolf; subzero-
wolf.com. Hood by Focal Metals; focalmetals
.com. Tall stools from Sawkille Co.; sawkille
.com. PAGE 109: In daughters’ bedroom, bedding
by Matouk; matouk.com. Curtains of La Pagode
Chine cotton, in teal/coral, by Cowtan & Tout
(T); cowtan.com. Lantern by Charles Edwards;
charlesedwards.com. On back porch, chairs
and sofa (similar) from Walters (T); walters
wicker.com; in fabrics from Les Indiennes;
lesindiennes.com. Cocktail table from RT Facts;
rtfacts.com. PAGE 110: On walls, Medium Check
linen-cotton, in gold, by Chelsea Textiles (T);
chelseatextiles.com. Bed by the Federalist;
thefederalistonline.com. On antique daybed,
Outline linen-cotton by Chelsea Textiles (T).
PAGE 111: Tub by Ferguson; fergusonshowrooms
.com; with bath fittings by Rohl; rohlhome.com.
On walls, In Bloom linen, in blush, by Kravet
Couture (T); kravet.com.

ARCHITECTURAL DIGEST AND AD ARE REGISTERED TRADEMARKS OF
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Edward Dufner (1872–1957), Margaret by
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last word
Linked In
The keys to a successful public space are feelings
of “welcome and clarity,” says landscape architect
Michael Van Valkenburgh. Both were lacking at
Eero Saarinen’s 1965 Gateway Arch, long cut off
from downtown St. Louis by an interstate highway.
Tapped to close that gap, Van Valkenburgh has now
extended the arch’s historic Dan Kiley–designed
grounds, adding a land bridge to the city. Nestled
into the berm beneath the soaring icon, meanwhile,
is the entrance plaza to the newly expanded history
museum, a discreet crescent of glass conceived
by James Carpenter Design Associates and Cooper
Robertson in collaboration with Trivers Associates.
Says Carpenter, “The project has completely
changed the relationship of the park to the city.”
gatewayarch.com —ELIZABETH FAZZARE

COURTESY OF GATEWAY ARCH PARK FOUNDATION

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