the definitive list of today’s top design talents

starring FRANCIS KÉRÉ, TADAO ANDO, ANNABELLE SELLDORF

D I O R B O U T I Q U E S – 8 0 0 .9 2 9. D I O R ( 3 4 67 ) D I O R . C O M
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Bubble. Bed, designed by Sacha Lakic. In-store interior design & 3D modeling services.(1) Quick Ship program available.(2)

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 CONTENTS january
176
GLORIA STEINEM, WEARING
A WOLFORD T-SHIRT, JILL
PLATNER CUFFS, FRAME JEANS,
AND CHANEL BOOTS, IN HER
NEW YORK CITY APARTMENT.
FASHION STYLING BY NINA AND
CLARE HALLWORTH.

24 Editor’s Letter
28 Object Lesson
The richly patinated bronze
tables of Kelvin and Philip
LaVerne. BY HANNAH MARTIN

31 Discoveries
AD visits the treasure-filled
home of designer Markham
Roberts in Manhattan…
Rockwell Group helps transform
W Hotels… Alexa Hampton’s
new NYC office… Athens-based
design duo Astronauts sculpts
futuristic furnishings… English
textile house Watts 1874 mines
historic Eastnor Castle for
patterns… A classic novel inspires
the latest high-jewelry collection
by Van Cleef & Arpels… Artist
Alex Proba crafts a vibrant tile
mural for a Miami swimming
pool… A cultural venue by OPEN
Architecture debuts in China.

77 The 2025 AD100

Our annual list of global talents
leading the way in architecture,
landscape design, and interior
decoration.

130 Sky’s the Limit

Bringing together creative
voices from around the world,
an ambitious home in the heart
of the Swiss Alps dreams big and
fosters cross-cultural dialogues.
YOSHIHIRO MAKINO. ART: KEISIN.

BY SAM COCHRAN

142 Pure Bliss

THE SWIMMING POOL OF A HOME Architect Tadao Ando fulfills
IN GSTAAD, SWITZERLAND. “SKY’S
THE LIMIT,” PAGE 130. INTERIOR
a longtime dream of LA fashion
ARCHITECTURE BY FRANCIS KÉRÉ. maven Lorenzo Hadar with a
PHOTOGRAPHY BY CASSIE FLOTO
WARNER. STYLED BY BERIT
house that whispers beauty and
HOERSCHELMANN. restraint. BY MAYER RUS

14 A R C H D I G E S T.COM
 CONTENTS january
142
AN ARTWORK BY KEISIN
HANGS ABOVE TWO GEORGE
NAKASHIMA STOOLS (THROUGH
SAKURA SEISAKUSHO) IN
THE MAIN GALLERY OF AN
L.A. HOUSE DESIGNED
BY ARCHITECT TADAO ANDO.

152 A Fine Vintage

Designer Beata Heuman shows
a more serious side with a
considered redo of a historic
London house. BY BUSOLA EVANS

166 Stepping Forward

To update The Frick Collection,
Annabelle Selldorf is honoring
the past while meeting the
moment. BY SAM COCHRAN

168 Practical Magic

A grand, historic house in the
heart of Paris gets a visionary
makeover by designer Hugo
Toro. BY ALICE CAVANAGH

176 Home Truths

Settling down after a life on the
road, legendary feminist Gloria

WILLIAM ABRANOWICZ. ART: © HANS SILVESTER/GALLERY RETOUR DE VOYAGE.

Steinem finds contentment and
a new mission in her Manhattan
brownstone, with help from
designer Jane Hallworth.
BY SARAH MEDFORD

184 Viva Glam

Evoking Art Deco glory, the
Studio Sofield–designed NYC
residence of Kelly Ripa and
Mark Consuelos is a home for
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 THE INTERNATIONAL DESIGN AUTHORITY VOLUME 82 NUMBER 1

GLOBAL EDITORIAL DIRECTOR AND EDITOR IN CHIEF Amy Astley

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20 A R C H D I GES T.COM
 editor’s letter 3

1. KELLY RIPA AND MARK CONSUELOS

IN THEIR STYLISH NYC BATHROOM.
2. AD100 HALL OF FAME ARCHITECT
FRANCIS KÉRÉ AT HIS SWISS PROJECT.
3. AD100 DESIGNER BEATA HEUMAN
1 IN THE LONDON HOUSE OF A CLIENT.
4. AD100 ARCHITECT ANNABELLE
SELLDORF AT THE FRICK COLLECTION,
WHOSE RENOVATION SHE HAS
“I’ve spent my life growing up MASTERMINDED. 5. GLORIA STEINEM AT
HOME IN MANHATTAN. 6. WITH AD100
on sets. So I like a bit of dazzle. DESIGNER AND ARCHITECT HUGO TORO.
Give me a show.” —Kelly Ripa 4
5

Producing the January issue, which celebrates the AD100, our list of the year’s
definitive talents in the design industry, always demands a bit of showmanship on
our part. If I may borrow a sentiment from Kelly Ripa, whose glamorous New York
City town house is included in the visual delights this month—we seek to awe and
entertain you! The editors spend months—even years—tracking extraordinary
projects, and there are quite a few star turns on these pages. The cover story, on an
exceptional compound of chalets in Gstaad, Switzerland, involved an international
list of luminaries, including AD100 Hall of Famer Francis Kéré and AD100 landscape

4. MARTIEN MULDER. 5. WILLIAM ABRANOWICZ. 6. FRAZER HARRISON/GETTY IMAGES.

architect Sara Zewde. Kéré was the interior architect on a home that was conceived
as a platform for cultural exchange as much as a residence. “It’s meant to be the
universe,” says Kéré of the mind-blowing pool, “but also a different configuration
of what the universe could be.”
In Paris we photographed a jaw-dropping historic mansion that was in 1. DOUGLAS FRIEDMAN. 2. CASSIE FLOTO WARNER. 2. SIMON UPTON.
6
disrepair until the impressive young AD100 architect Hugo Toro took over,
reimagining the vast building and interiors with a mix of French grandeur
and the low-slung, sexy 1970s vibe that is his signature. In London, another
young AD100 designer, Beata Heuman, also took on a house of expansive
scale and heritage and triumphed, producing a home both appropriately
grand (it’s Grade II* listed) yet warm and cozy for the family who lives there.
Of course, some classics need very little renovation. We are proud to
present a look at the charming Manhattan town house of renowned feminist
Gloria Steinem, ever so gently tweaked by AD100 designer Jane Hallworth
to bring a kitchen and the baths up-to-date but otherwise left intact. “It just
felt so personal and aged to
perfection,” says Hallworth
AMY ASTLEY
of the house and her decision Global Editorial Director
to take a very light touch. and Editor in Chief, AD U.S.
Hitmakers, one and all. @amyastley

24 A R C H D I GES T.COM
 object lesson THE STORY BEHIND AN ICONIC DESIGN

2
3

Buried Treasures
Kelvin and Philip LaVerne’s richly patinated
tables are getting even better with age

W
hen the father and son design duo Philip and Kelvin LaVerne
began developing bronze tables in their New York City studio in
the late 1950s, they wanted to achieve the look of the centuries-
old artifacts from Europe and the Far East that they had long
admired. Their clever solution? Bury them.

Modern, who has sold these works since 1998, and who recently authored
Alchemy (Pointed Leaf Press), the first monograph on their oeuvre. “They
found a soil from Africa that would accelerate the aging process on the
bronze if they kept it nearly freezing.”
So, after Kelvin engraved the metal, pieces would be submerged in a

1. & 5. STEPHEN KENT JOHNSON. ART: JONATHAN HOROWITZ/XAVIER HUFKENS, BRUSSELS.

giant vat of dirt and excavated on a designated date before being cleaned up,
hand-painted, and further embellished. The duo made a range of furnish-
ings, but their cocktail tables began a swift ascent to icon status—particu-

2. TIM STREET-PORTER. 3. DOUGLAS FRIEDMAN. ART: © 2)25 JULIAN SCHNABEL /

ARTISTS RIGHTS SOCIETY (ARS), NEW YORK. 4. COURTESY OF LOBEL MODERN.
larly the Chan typology, in which a carved top sat on a faceted metal base.
Over the years the tables evolved as the pair experimented. Early
examples (the earliest bearing wooden legs) sported distinctly figurative
motifs, plucked from China, Greece, Italy, and France, while later specimens turned
more abstract as they tried out cast and welded forms. Every table was totally unique,
inspiring the 1960 New York Times headline that read: “Coffee Tables Are Art Also.”
Despite famously long lead times, tastemakers from Frank Sinatra to Jackie
Kennedy, who wanted one for her yacht, quickly placed orders. More recently, as a
trickling supply of pieces fetch ever higher prices at auction (a table went for $94,500
at Sotheby’s in 2021), they’ve cropped up in contemporary interiors, as beloved for
their high-touch craftsmanship as for their mysterious origins. “The extraordinary
thing is the way they cannot be placed,” explains AD100 designer Billy Cotton.
“They bridge time, style, and definition.” —HANNAH MARTIN

1. A LaVERNE TABLE IN ARTISTS ROB PRUITT AND JONATHAN HOROWITZ’S

PALM SPRINGS HOME. 2. DESIGNER GARRETT HUNTER AND ARCHITECT MICHAEL LANDRUM’S
L.A. GALLERY-HOUSE. 3. ASHLEY STARK KENNER’S UPPER EAST SIDE PAD. 4. LES CHINOIS
TABLE, CIRCA 1970. 5. A MANHATTAN TOWN HOUSE BY AD100 DESIGNER GIANCARLO VALLE.

28 A R C H D I GES T.COM
THE QUINTESSENTIAL KITCHEN OFFICINEGULLO.COM
™
 DISCOVERIES
THE BEST IN SHOPPING, DESIGN, AND STYLE EDITED BY SAM COCHRAN

AT THE MANHATTAN
APARTMENT OF AD100
DESIGNER MARKHAM
ROBERTS AND DEALER
JAMES SANSUM, DOG
HUCKLEBERRY PRESIDES
OVER THE LIVING ROOM’S
MIX OF ANTIQUES AND ART,
INCLUDING AN ART DECO
RUG AND FRAMED DIPTYCH
OF A JAPANESE SCREEN.
ART: CHRISTOPHER ASTLEY/MARTOS GALLERY.

AD VISITS

Mix and Mingle

At home in Manhattan, Markham Roberts
NELSON HANCOCK.

layers treasures of wide-ranging appeal

into one ineffable blend
AR C H DI G E S T. CO M 31
 DISCOVERIES

1. AN ASHLEY HICKS 2. CHAIRS IN BRUNSCHWIG

CHANDELIER HANGS IN THE & FILS FABRICS SURROUND
LIVING ROOM, WHERE A A FRENCH ART DECO
BARKSKIN WALL COVERING TABLE IN THE DINING
BY CABA COMPANY SERVES ROOM, WHICH IS LINED
AS A NEUTRAL BACKDROP IN MORRIS & CO.’S
FOR THE ECLECTIC BLACKTHORN WALLPAPER;
ARRAY OF CHAIRS AND CONVEX MIRROR FROM
DECORATIVE FINDS. KRB. 3. THE DESIGNER.

ART: VICTOR BRAUNER © 202) ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / ADAGP, PARIS.
n pre-Darwinian times, illustrations of exotic fauna chandelier illuminates

I were often based on written descriptions, resulting in

depictions of otherworldly composite creatures. It
should come as no surprise that Markham Roberts has
a soft spot for those antique prints. An animal lover
and an eclectic at heart, the AD100 designer has built
his name blending the unexpected, eschewing strict period
decorating to create an inimitable signature style. Nowhere is
a circa 1920 Japanese
lacquered table and an
array of plush seating
in varied materials and

surfeit of art and objects made

across five centuries and nearly as many continents. The
3
INTERIOR: NELSON HANCOCK. PORTRAIT: STEPHEN KENT JOHNSON.

it more pronounced than the Manhattan duplex he shares dining room opposite, wrapped in a classic William Morris
with his partner, the furniture and art dealer James Sansum, wallpaper, features the French Art Deco table where Roberts
and their two dogs, Huckleberry and Harriet. can be found spreading out materials for his myriad projects,
“There’s stuff from all over,” the designer muses of their including product lines like his upcoming collaboration with
heady mix of furnishings, dispersed among four commodious Soane Britain. The kitchen beyond it, Roberts confesses,
principal rooms, flanking a central stair hall in an 1880s edifice doesn’t get much everyday use. But, he notes, “it feels good.”
on the Upper East Side. “But if you like it, I think it works Before launching his firm in 1997, Roberts cut his teeth at
well together.” Decorating for himself, he jokes, is like paying the firm of Mark Hampton, who became a formative mentor,
Rummikub. “You’ll take something from one place and make exposing the young Indianapolis native to the fundamentals
it work with something else from another.” of serious interior design. But he also attributes his distinctive
The results feel at once surprising and precise. In the approach to the influence of three women: his mother, his
living room, on the lower floor, a contemporary Ashley Hicks grandmother, and the arts patron Anne Bass. While his mom

32 A R C H D I GES T.COM
 DISCOVERIES 1

1. HUCKLEBERRY SNOOZES MIRROR SURROUND THE

IN THE BEDROOM, WHICH ENTRY’S ANTIQUE DUTCH
IS LINED IN MARBLEIZED CONSOLE. 3. THE COUPLE’S
PAPER. THE CHANDELIER BATHROOM GIVES WAY
IS BY ARTERIORS, AND THE TO THEIR DRESSING AREA,
FAUX-BAMBOO FOLDING WHICH IS OUTFITTED WITH
CHAIR IS FROM THE A RUG BY STARK, CEILING
COLLECTION OF BROOKE LIGHT BY ARTERIORS, AND
ASTOR. 2. ASSORTED ART A CHAIR IN PIERRE FREY’S
AND AN ITALIAN MOSAIC TIGRE VELOURS.

informed his penchant for bright colors and calico quilt

patterns, her own set the standard for layering French, English,
and Italian furnishings. Years later, when he visited Bass’s Fifth
Avenue apartment during his first week working for Hampton,
that space cemented his love of the mix. To this day, he notes,
“that’s the best example of decorating I’ve ever seen.”
Those inspirations and more converge at his own apart-
ment, where the rambling upstairs suite includes a sun-
drenched study, dressing area, and bedroom. As with the lower
level, these private quarters reveal a tendency for the bold,
whether an English Victorian slipper chair clad in Pierre Frey’s
iconic Tigre Velours or an antelope-print Stark rug. Ever
present is the menagerie of small creatures that make him
smile, among them a midcentury leather frog from Japan, a
finial in the shape of a lion’s head, and his latest obsession,
French Palissy ware.
“The thing about living in New York and not having your
NELSON HANCOCK

eyes blindfolded is that you see everything,” Roberts explains.

Even still, the designer frequently returns to animals. He
gestures to a favorite 18th-century print and laughs, “I think
it’s a marmot.” —DAVID FOXLEY

34 AR C H D I G E S T.COM
 Find
your
unique

Artful Mediterranean by Marcus Mohon in Austin, Texas

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notice. Equal Housing Opportunity.
 DISCOVERIES

1. THE FORMER BALLROOM AT THE W NEW YORK–UNION HOTELS

SQUARE, NEWLY UPDATED BY ROCKWELL GROUP.
2. GLASS BRICKS AND A CUSTOM CARPET IN THE LOBBY.

2 Be Our Guest
Rockwell Group helps usher
a bold new era for W Hotels
hen W Hotels opened its first location

W in 1998, at the heart of Manhattan, they

pioneered a new model: the personality
of boutique lodgings with the services of
a mega hospitality group. “It’s an impres-
sion, an experience, a feeling,” says George
Fleck, senior vice president and global brand leader of W
Hotels, reflecting on that ethos. “We consider the emotion per
square foot.” Central to that winning formula, in other words,
was its design, a task that first fell to AD100 Hall of Famer
David Rockwell, who notes: “We had to create something that
had eccentricity and the energy of New York City.”
Today, Rockwell is among the talents writing the brand’s
next chapter, having just fully transformed two iconic proper-
ties: W Hollywood and W New York–Union Square, the latter
MICHAEL KLEINBERG/W HOTELS

of which he first designed in 2001. “When you redo something,

you get to study what worked and what didn’t,” he reflects. Key
changes to the property (the group’s global flagship) include
shifting the lobby staircase, which now meets guests head-on,
its carpet a vibrant swirl inspired by the colors of the city. Glass-
block walls nod to the Big Apple vernacular while a mural by
Shantell Martin invokes the local legacy of street art.
F U R N IT U R E. OBJ EC TS. L IGHT ING.
rwguild.com
 DISCOVERIES 1

1. A MIRRORED INSTALLATION
CROWNS THE LOBBY LOUNGE
AT W HOLLYWOOD, ALSO
TRANSFORMED BY ROCKWELL
GROUP. 2. A BLUE-AND-WHITE
PALETTE DISTINGUISHES
THE GUEST ROOMS. 3. THE
COURTYARD UPHOLDS THE
SEE-AND-BE-SEEN VIBE.

All guide visitors to the second level, where a lounge in

dashing shades of green offers a verdant precursor to the vast
former ballroom—reimagined as a living room of sorts. “The
furniture and lighting create neighborhoods,” notes Rockwell,
who compares the space to a park. Indoor-outdoor connec-
tions predominate at the W Hollywood, where a terraced lobby
opens onto a courtyard. “It’s like a landscape,” he says, citing
the undulating banquettes, sinuous stairwell, planters, and
sylvan hues. Overhead, installations of bronzed-mirror panels
and translucent rods add Tinseltown glamour. “Context is
central to the narrative,” says Audra Tuskes, vice president of
design at Marriott International, the brand’s parent company.
Rockwell’s guest rooms for each property deepen that
sense of place. At the W New York–Union Square, yellow fau-
cets call to mind taxicabs and custom lights subway fixtures.
In Hollywood, on the other hand, blue glass frames window
views, invoking sea and sky. Allusions remain open
3
to interpretation. “The less you are able to nail the
reference the better,” he says.
What remains clear, however, is the brand’s
distinctive mix of pared-back maximalism and
unconventional drama. “We have embraced a more
elevated approach without losing that daring spirit,”
says Fleck of the changes now underway across
the world, as firms such as AvroKO and Meyer Davis
spearhead their own updates. Of course nowadays,
MICHAEL KLEINBERG/W HOTELS

with the heightened role of social media, design has

to do double duty as a digital marketing tool and
IRL mood enhancer. “Spaces have to deliver more in
person than they do in image,” says Rockwell. “You
can’t have a design strategy that’s just a one-liner.
A hotel should be a place that invites discovery.”
w-hotels.marriott.com —SAM COCHRAN

40 AR C H D I G E S T.COM
 DISCOVERIES

1. ALEXA HAMPTON’S NEW YORK CITY OFFICE IS A

SHOWCASE FOR TRADITIONAL DECORATING SAVVY, WITH
STUDIO TOUR CUSTOM MILLWORK, HAND-FINISHED FLOORS,
AND NEOCLASSICAL FURNISHINGS. 2. THE DESIGNER.

Coats of Polish 2

Alexa Hampton updates a

Manhattan nail salon into an
office fit for design royalty

T
o entice employees who have become all too
comfortable working remotely, companies are now
radically rethinking their offices, bringing the
comforts of home into the workplace. On this, as
with so much else, designer Alexa Hampton is
way ahead of the game.
Recently, the Manhattan-based AD100 Hall of Famer moved
herself and her six-person team into new Upper East Side
quarters, in what had previously been a nail salon. “It was
totally empty, save for two mani-pedi chairs,” Hampton recalls
with a laugh. Her yearlong renovation included the addition
of custom millwork, wide-plank flooring, and air-conditioning
STEVE FREIHON

necessitated by the huge south-facing window that floods the

space with sunlight. “That window is the greatest thing that has
happened to me,” says Hampton, settling onto the cranberry
velvet sofa beneath it.

42 A R C H D I GES T.COM
 DISCOVERIES

1. THE SITTING AREA’S

CHESNEYS MANTELPIECE AND
VISUAL COMFORT & CO.
SCONCES WERE DESIGNED BY
HAMPTON. 2. A GIUSEPPE
SCOPPA PAINTING ABOVE A
JANSEN CONSOLE. 3. A PHILLIP
JEFFRIES WALL COVERING
LINES A REAR ROOM.

Surrounding her is ample proof of her well-honed eye: chairs

found at Italy’s Parma antiques market, a mantel she designed
for Chesneys, neoclassical commodes and consoles and obe-
lisks and urns. At one end, a library holds an archive of shelter
magazines, many of them from the 1970s and ’80s when the
work of her father—the legendary decorator Mark Hampton,
whose firm she took over in 1998—was regularly featured.
His watercolors are also displayed throughout the room,
among them depictions of the Buccellati earrings he once
gave to her mother and a room by Madeleine Castaing, a design
hero for both father and daughter.
As pretty as it is, the office is also practical. The small new
kitchen is fitted out with a wine cooler and an ice machine.
“My favorite,” she says emphatically of the latter. “I had to have
2
that.” At the back is a small private conference room that can
3 double as a retreat for her husband. Picture lights, sconces,
and lamps all throughout can accommodate various lighting
permutations. “We put in track lights so we could show clients
true colors,” explains Hampton, for whom the space serves as
a virtual laboratory. “I can show clients a mahogany door and
a faux-painted mahogany door. I can show them what a jib
door is. They can examine a level-5 paint job and compare that
to a normal one. I want clients to see the options, and how
they operate in real life.”
With her numerous design projects, noted philanthropy,
and many public appearances, Hampton is one of the hardest-
working people in the industry. But that hasn’t kept her from
pursuing another labor of love, her online series, 52 Weeks
of Design. Each week, for the past six years, she has highlighted
the work of a different designer, artisan, or editor supporting
and engaging the design community. “I’m one of those people
who has to be busy,” she admits. “I’m not a pickleball player.
I don’t have a hobby. So, this is what I do after hours. It’s
nourishing.” As is her new workspace. “In 2026, the firm Mark
STEVE FREIHON

Hampton will be 50 years old,” she reflects. “I will have been

doing this for 28 years. And I came to this realization, how do
you want to live your life? And I didn’t want to live much of
mine in an office-y office.” alexahampton.com —MICHAEL BOODRO

44
I TA L I A N P E R F E C T I O N SINCE 1925

Tur r i . it C e l e b r a t i n g 10 0 y e a r s
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For Sagrada Studio founder, Hema Persad, design is a conversation between global regions
and traditions. “I often find myself looking to Morocco, India, or Paris in the 1800s for
inspiration,” she says. This worldly perspective and a commitment to functionality define
Sagrada Studio’s rich, livable spaces.

Color plays a starring role in the Studio’s work, and Benjamin Moore’s versatile palette
enables Persad’s visions. In a recent project, the search for the ideal teal for a teenager’s
bedroom led to Benjamin Moore’s Archives for color ideas. The team tried several shades of
teal before finally landing on Dark Teal 2053-20, which has the earthy quality they were
looking for. “It’s a specific kind of teal that I grew up with. They use it a lot in India,” she
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HEMA’S FAVORITE BENJAMIN MOORE COLORS whom have Indian roots.

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dictates the types of colors that we use,” she says. If a space is dim, they lean into it. For a
podcast studio, she opted for Benjamin Moore’s cool and moody Blue Note 2129-30 in a flat
finish to minimize light bounce. In living spaces, she gravitates toward eggshell finishes on
walls. Trim and cabinets typically receive durable, wipeable satin or semigloss coatings, like
DARK TEAL BABY FAWN BLUE NOTE in this kitchen, which features Baby Fawn OC-15. “Our contractors love it. I’ve never had
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experts trust.

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symbol are registered trademarks licensed to Benjamin Moore & Co. 7/24
 DISCOVERIES
ONE TO WATCH

Fluid Dynamics
With the power of
water, Athens design duo
Astronauts sculpt
furnishings of the future

I
t looks like the bones of a fish,” muses Danae Dasyra,
examining a chair in progress at the Athens studio she
shares with business partner Joe Bradford. The piece
is one of several that the creative duo, who go by the
name Astronauts, just debuted in Miami at Alcova, the
experimental-design fair concurrent to Art Basel.
“They’re all a bit water-themed,” she says of that mix, which
included vases, a mobile sculpture, and more—all made using
hydroforming, an industrial process wherein pressurized
water inflates metal like a balloon.
The pair—who caught the design world’s attention last
summer as finalists at Design Parade Hyères—first met while
studying at Bath Spa University in England. After graduation,
they worked independently of each other (he for Tom Price
in London and Mallorca, she for Bethan Laura Wood in
London) before moving to her Greek hometown, eager to join
forces and do their own thing. “It was this interesting kind
of marriage—or collision,” Bradford explains of their yin and
yang styles. Whereas she tended to work behind a computer,
1 digitally manipulating designs, he
took a hands-on approach. They chose
the name Astronauts which, broken
down to its Greek rudiments, trans-
lates to sailors of the stars.
Hydroforming, a technique often
used to produce pipes for bicycles and
automobiles, has allowed them to
create unusual shapes. “Metal is such
a rigid material,” Bradford reflects.
“But with this process you can really
start pushing the envelope.” The
forms they created felt akin to the
tricked-out cars that they’d noticed
around Athens. Says Dasyra: “All of
these workshops around us—the body
shops, upholstery shops, paint shops—
were inspirations.”
3 Thematically speaking, their work
always comes back to water. “We’re
1. DANAE DASYRA AND JOE
BRADFORD OF ASTRONAUTS both Pisces,” she reasons. Asked about
WITH COMPLETED PIECES AND their dream project, they don’t hesi-
WORKS IN PROGRESS AT THEIR
ATHENS STUDIO. 2. ARIS VASE, tate to say a public fountain in Greece.
MADE FROM HYDROFORMED “Everybody can visit it, everyone can
STEEL, ALUMINIUM, AND RESIN.
3. A MOOD BOARD BRIMS appreciate it,” Dasyra explains. “It
WITH INSPIRATION IMAGES would give back to the community.”
AND CONCEPT RENDERINGS.
madebyastronauts.com —HANNAH MARTIN

2
48 A R C H D I G E S T.COM P HOTOGRAP HY BY C HRI S T I NA H O L M E S
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 DISCOVERIES 1

1. THE CHINESE BEDROOM

AT EASTNOR CASTLE.
2–4. QUEEN MARY
CHINOISERIE, SEEDPOD,
AND JAPONICA BY WATTS
1874. 5. EASTNOR’S
EXTERIOR AND GROUNDS.

DEBUT

Prints Charming
Heritage textile house Watts
1874 mines England’s historic
Eastnor Castle for patterns

E
astnor Castle, an early-19th-century estate
designed by Robert Smirke in England’s

1. MILO BROWN. 2.,2. & 5. COURTESY OF WATTS 1874. 4. JAN SEDLACEK.

Herefordshire County, looks every bit the stately
fortress one might expect of a historic manor, with
imposing battlements and surrounding moat. But stretching across the Chinese and Queens bedrooms, the latter
beyond its Norman Revival walls are rooms that named for Mary of Teck (wife to King George V), who spent
blend kaleidoscopic verve with the warmth of a country cottage. the night there in 1937. “I wanted to celebrate these incredible,
That eclectic look—the result of generations of shifting Regency, very beautifully drawn seedpods and flowers,” says Flint, who
Victorian, and Italianate tastes—has now inspired a collection zeroed in on specific botanical elements to develop digitally
of wallpapers and textiles by venerable British fabric company printed motifs, some in punched-up, contemporary colorways.
Watts 1874, which just celebrated its 150th anniversary. “We’ve made the japonica blue,” she notes. “That’s unheard of.”
Founded by three English architects, Watts first came to These days, Eastnor courts nobility of the Hollywood
prominence in the Queen Anne Revival era, embodying the variety. Shiv Roy’s extravagant wedding on the hit HBO series
highly ornate interiors of the day. Current creative director Succession was shot at the castle, which is also available to rent
Fiona Flint saw that company legacy reflected in Eastnor’s for nonfictional nuptials or visits. Thanks to Watts, those of
patterned wall coverings and tapestries, a mix she cheerfully us who can’t pop across the pond can still surround ourselves
calls “a little bit mad.” The Moorish motifs in the Great Hall with the Eastnor look through the transportive power of
felt ripe for reimagination. So too did the chinoiserie textiles. watts1874.co.uk —CHARLOTTE COLLINS

52 AR C H D I GES T.COM
 DISCOVERIES 1. ONDE MYSTÉRIEUSE,
A ONE-OF-KIND PIECE BY
1 VAN CLEEF & ARPELS.
2. ITS LID PRIOR TO BEING
ENAMELED. 3. ONE OF
TWO CLIPS, THIS VERSION
WITH SAPPHIRES AND
BLUE TOURMALINES. 4. A
CLIP’S GOLD BASE.

CRAFTSMANSHIP

Making Waves
Van Cleef & Arpels dives into literary
history for a one-of-a-kind wonder

R
obert Louis Stevenson’s 1883 novel Treasure Island has long captivated
audiences with its tales of swashbuckling pirates, maritime travel, and
lavish loot. Leave it to Van Cleef & Arpels to make that seafaring saga
glitter in our imaginations as never before. For its 2024 High Jewelry
Collection, the esteemed French maison has reinterpreted the iconic
story in the form of its own gem-encrusted wonders—from necklaces
inspired by forceful waves and boating knots to clips modeled after turtles and shells.

The latest in Van Cleef & Arpels’s historic line of precious decorative
objects, this one-of-a-kind piece is at once a feat of artisanal savoir faire
2
and a flourish of figurative artistry. Swimming across its round face
is a school of white- and rose-gold fish, all rendered against a back-
ground of paillonné enamel, a time-intensive technique that sand-
wiches thin leaves of metal between silica powder to lustrous effect.
Two interchangeable diamond-covered clips can affix to the top—
both in swirling nautilus forms, one with bands of sapphires imper-
ceptibly anchored by the house’s signature Mystery settings, the other
with scattered sapphires and blue tourmalines. Swivel them open to
reveal a watch dial paved with yet more diamonds. Here, another
gleaming sapphire marks noon, expanding on the azure materials palette
3
For Van Cleef & Arpels, comme d’habitude, there’s
no detail too small. Its face of polished rock crystal
4 bears tiny bubbles for aqueous intrigue. Those clips,
meanwhile, feature stones in a carefully calibrated
variety of diameters, yielding surfaces as richly
COURTESY OF VAN CLEEF & ARPELS

textured as the ocean floor. The hammered white-

gold rim of the lid was cast as a single element,
challenging even the jewelry house’s most experi-
enced metalworkers. Open the lid and discover two
nested compartments of ebony wood lined in fine
goat leather. What to stow there? That treasure hunt
will fall to its lucky owner. Price upon request;
vancleefarpels.com —SAM COCHRAN

AR C H DI G E S T. CO M 57
 DISCOVERIES 1

ART SCENE

Splash Zone
A tiled mural by Alex
Proba amps up a Miami
swimming pool

A
pool is a forgotten canvas,” says Alex
Proba, a New York City– and Portland,
Oregon–based artist and designer
known for her use of naive abstrac-
tions. Like Pablo Picasso and David
Hockney before her, she has painted
swimming pools with site-specific murals, her vibrant
compositions glistening beneath the water. Now,
thanks to a private client in Miami, Proba has taken
things a step further—realizing one such tableau in
custom glazed tiles.
Working with Cerámica Suro, a manufacturer in
Guadalajara, Mexico, Proba translated a puzzle of
idiosyncratic shapes into tiles that wrap the bottom
of the pool. “Everything I do starts from the same
place—florals, nature, color,” she explains, noting that
her own upbringing was conspicuously devoid of
those things. (“Growing up, everything in my house
was black and white.”) It was on trips with her grand-
mother, a florist who wore eye-catching mismatched
patterns, that she discovered her creative side, paint-
ing blooms found in the garden.
Today, Proba reflects, “I want to make things that
bring joy to the world,” favoring formats that engage
1. ALEX PROBA’S MURAL FOR A PRIVATE a wide audience. Her 2021
CLIENT’S MIAMI POOL. 2. PROBA ON-SITE 2
DURING INSTALLATION. 3. A DETAIL OF installation at Design Miami, for
THE GLAZED-CERAMIC TILEWORK, MADE instance, featured totem-like
IN COLLABORATION WITH CERÁMICA
SURO IN GUADALAJARA, MEXICO. sculptures that doubled as
seating. Her murals, meanwhile,
have graced everything from
office buildings to restaurants
3
to Louis Vuitton boutiques.
In Miami, her latest pool
promises to be more low-
maintenance than a painted
surface, which fades in sunlight,
requiring touch-ups over time.
To Proba’s surprise, the tilework
also looks even more vibrant.
“This one’s all about color,” she
1. & 3. ORI HARPAZ. 2. JAY GUZMAN.

says of the bold palette. “It

almost looks like a coral reef.”
Take that as her subtle nudge to
be kinder to the planet. “We all
want beauty in the world. Can
we treat what’s around us a little
better?” studioproba.com
—HANNAH MARTIN

58 A R C H D I GES T.COM
Luxury furniture + performance fabrics, rugs, wallcoverings and trims I perennialsandsutherland.com
 DISCOVERIES DESIGNED BY OPEN
ARCHITECTS FOR A
SEASIDE PLOT IN YANTAI,
CHINA, SUN TOWER
COMBINES A LIBRARY,
CAFÉ, AMPHITHEATER,
GALLERIES, AND PLAZA
INTO A CONICAL
CONCRETE STRUCTURE.

ARCHITECTURE

Rays of Light
On the coast of the Yellow Sea, a new Huang Wenjing—regular honorees

cultural venue by two of China’s most on the AD100 list of Architectural

Digest China—were determined to
exciting creative minds looks to the sun create a building that, Li says,
rewards repeat visits, inviting you
“to explore, to contemplate, to

Y
antai, an industrial city on the Yellow Sea understand.” The couple also envisioned a cultural destination
in Eastern China, wanted to give a vast new for a part of the city that so far has very few.
beachfront development an icon. And who Opened to the public this past October, their Sun Tower
better to design it than OPEN Architecture, rises from a 164-foot-diameter circle to a height, again, of
the Beijing-based firm that has already 164 feet. Roughly conical, it is cut open like a geode on its sea-
created some of the most original buildings facing side, revealing inner and outer concrete envelopes
in China? Those include UCCA Dune, a contemporary art crossed by ramps that are also structural supports. The enclosed
museum that looks like seashells strewn across a sandy space functions as a multilevel gallery. At the building’s base
beach, and the Chapel of Sound, an open-air concert hall that is a large amphitheater, open around-the-clock and big enough
IWAN BAAN

resembles a hollow boulder. Invited to submit a proposal to seat 800 people for a range of events (including the daily
for Yantai, OPEN’s husband-and-wife founders, Li Hu and spectacle of the sun rising over the sea and nearby Zhifu Island).

60 A R C H D I GES T.COM
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 DISCOVERIES 1

1. THE BUILDING LIT FROM WITHIN

AFTER NIGHTFALL. 2. THE LIBRARY
FEATURES A MIRRORED CEILING.
3. BETWEEN THE BUILDING’S OUTER
AND INNER CONCRETE SHELLS ARE
A SERIES OF RAMPS THAT ASCEND
FROM THE PLAZA TO THE PEAK.

The theater also amplifies the sound of the ocean, like a The architects are products of two cultures. Born in
seashell held up to the ear. China in 1973, they met in college, came to the US for graduate
The top of the building contains a public library branch school, then went to work for New York firms: Li for Steven
with 5,000 volumes, many on ocean ecology. Aside from the Holl Architects and Huang for Pei Cobb Freed & Partners.
ground-level café, it is the only part of the 53,410-square-foot They founded OPEN in New York in 2006, and in 2008 moved
structure that is air-conditioned—not for the people but for the firm, along with their two children, to Beijing. Recently,
the books. The rest is cooled by air that rises up through what they taught jointly at Harvard’s Graduate School of Design
is essentially a giant chimney. Above the library is the “phe- (focusing on ecological and social sustainability) while
nomena space,” so-called because the oculus in its domed roof managing their studio in China from some 7,000 miles away.
serves as a porthole to the cosmos. (At noon on the summer Architecture curator Aric Chen, now the director of
solstice, for example, the sun casts a perfect circle on a small Rotterdam’s Nieuwe Instituut, who lived in China for many
bronze pool—and the water in it starts to spin.) Meanwhile, at years, says the Sun Tower “attests to what Huang and Li
the plaza level, a shallow channel follows the shadow of the do so well: take a sometimes vague commission and shape it
building’s peak during the equinoxes. Huang explains, “The into an incredible work of architecture with a clear cultural
IWAN BAAN

whole building was sculpted by the movement of the sun.” purpose.” Says Huang: “We didn’t want to build an empty
Adds Li, “You can say that it’s a very complicated sundial.” landmark.” —FRED A. BERNSTEIN

62 AR C H D I G E S T.COM
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furnishings that are not only well crafted, they come
with a unique point of view that is sure to inspire.

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 A CENTURY OF STYLE
From editor-in-chief Amy Astley and Architectural Digest, AD at 100
FROM LEFT: ANTHONY COTSIFAS; JASON SCHMIDT; OBERTO GILI

celebrates the most incredible homes of the past century, showcasing

the work of top designers and offering rare looks inside the private worlds
of artists, celebrities, and other fascinating personalities.

Marc Jacobs, Jennifer Aniston, Diana Vreeland, India Mahdavi, Peter Marino,
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abramsbooks.com/AD100
©2024 KOHLER CO.
 When it comes to crafting inspiring spaces inside
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elizabethroberts.com
BIG-Bjarke Ingels Group
COPENHAGEN, NEW YORK, Flack Studio Jake Arnold Ken Fulk Inc.
LONDON, BARCELONA, LOS ANGELES SAN FRANCISCO, NEW YORK,
MELBOURNE, AUSTRALIA
SHANGHAI, LOS ANGELES, jakearnold.com AND LOS ANGELES
flack.studio kenfulk.com
ZURICH, AND OSLO
big.dk Food Architects Jamie Bush + Co.
NEW YORK
LOS ANGELES Laplace
Billy Cotton food-arch.com jamiebush.com PARIS
NEW YORK luislaplace.com
billycotton.com Frida Escobedo Studio Jeremiah Brent Design
MEXICO CITY AND NEW YORK
LOS ANGELES AND NEW YORK Laura Gonzalez
Bories & Shearron fridaescobedo.com jeremiahbrent.com PARIS
Architecture lauragonzalez.fr
NEW YORK Geoponika Joseph Dirand
boriesandshearron.com LOS ANGELES
Architecture Leyden Lewis
geoponika.co PARIS Design Studio
Bryan O’Sullivan Studio josephdirand.com NEW YORK
leydenlewis.com
LONDON AND NEW YORK Geremia Design Josh Greene Design
bryanosullivan.com SAN FRANCISCO
geremiadesign.com NEW YORK LK Studio
Carlos Mota Inc. joshgreenedesign.com NEW YORK
lilydierkesdesign.com
NEW YORK Grace Fuller Design Joy Moyler Interiors
casamota.com NEW YORK
gracefullerdesign.com NEW ROCHELLE, NEW YORK Mandy Cheng Design
Casiraghi ATURE
joymoylerinteriors.com LOS ANGELES
E mandychengdesign.com
PARIS Hallworth Design
D IN T
F

page
fabriziocasiraghi.com LOS ANGELES 176 JP Demeyer & Co.
Mark D. Sikes Interiors
UE

BRUGES, BELGIUM
HI
hallworth.com S ISS
Charlap Hyman & Herrero jpdemeyer.com LOS ANGELES
NEW YORK AND LOS ANGELES Heidi Caillier Design markdsikes.com
ch-herrero.com SEATTLE
Julie Hillman Design EA
TURE
Markham Roberts Inc.
SAM FROST

NEW YORK
D IN T
F

page
heidicaillierdesign.com
Charles de Lisle juliehillman.com NEW YORK 31
UE

HI
SAUSALITO, CALIFORNIA markhamroberts.com S ISS

charlesdelisle.com

ARCHDIGEST.COM/AD100 77
 Marmol Radziner Oliver Freundlich Design Rose Uniacke
LOS ANGELES, SAN FRANCISCO, NEW YORK LONDON
AND NEW YORK oliverfreundlich.com roseuniacke.com
marmol-radziner.com
Oliver M. Furth Ross Cassidy Inc.
Martin Brûlé Studio Design & Decoration LOS ANGELES
PARIS AND NEW YORK LOS ANGELES AND MONTECITO rosscassidy.com
martinbrulestudio.com olivermfurth.com
Ryan Lawson
Martyn Lawrence Olson Kundig NEW YORK
Bullard Design SEATTLE, NEW YORK, ryanlawson.com
LOS ANGELES AND CHICAGO
martynlawrencebullard.com olsonkundig.com S.R. Gambrel Inc.
NEW YORK
MBDS Peter Pennoyer Architects srgambrel.com
LONDON AND NEW YORK NEW YORK AND MIAMI
mbds.com ppapc.com Sachs Lindores
Architecture, Interiors
Miranda Brooks Pierce & Ward NEW YORK THE FAÇADE OF A NEW YORK
Landscape Design LOS ANGELES, NASHVILLE, sachslindores.com CITY HOUSE WITH INTERIORS
NEW YORK NEW YORK, AND BY ASHE LEANDRO.
mirandabrooks.com BIRMINGHAM, ALABAMA Sally Breer World
pierceandward.com LOS ANGELES AND
Monique Gibson UPSTATE NEW YORK
Interior Design Pierre Yovanovitch sallybreer.world Studio Volpe
NEW YORK PARIS AND NEW YORK
SAN FRANCISCO AND NEW YORK
moniquegibson.com pierreyovanovitch.com Sara Story Design stevenvolpe.com
NEW YORK
Muriel Brandolini Reath Design sarastorydesign.com Studio Zewde EA
TURE

D IN T
page

F
NEW YORK LOS ANGELES
reathdesign.com Sawyer | Berson NEW YORK 130

UE
murielbrandolini.com studio-zewde.com S ISS
HI
NEW YORK
Nate Berkus Associates Redd Kaihoi sawyerberson.com Terremoto
CHICAGO, NEW YORK, NEW YORK
LOS ANGELES AND
AND LOS ANGELES reddkaihoi.com Schafer Buccellato SAN FRANCISCO
nateberkus.com Architects terremoto.la
Rita Konig Ltd. NEW YORK
Neal Beckstedt Studio LONDON schaferbuccellato.com Tiffany Brooks Interiors
NEW YORK ritakonig.com
GRAYSLAKE, ILLINOIS
nbeckstedtstudio.com Shawn Henderson tiffanybrooksinteriors.com
Robert Stilin NEW YORK
Nickey Kehoe NEW YORK shawnhenderson.com Vincent Van Duysen
LOS ANGELES AND NEW YORK robertstilin.com
ANTWERP, BELGIUM
nickeykehoe.com Sheila Bridges Design vincentvanduysen.com
Roman and Williams NEW YORK
Nicole Hollis NEW YORK sheilabridges.com Vincenzo De Cotiis
SAN FRANCISCO romanandwilliams.com
nicolehollis.com Steven Harris Architects Architects
Romanek Design Studio NEW YORK
MILAN
decotiis.it
Office of BC LOS ANGELES stevenharrisarchitects.com
LOS ANGELES romanekdesignstudio.com
officeofbc.com Studio & Projects Virginia Tupker Interiors
DARIEN, CONNECTICUT
NEW YORK virginiatupker.com
studioandprojects.co

Studio Giancarlo Valle Woods + Dangaran

A CARLO BUGATTI LOS ANGELES
THRONE CHAIR STANDS NEW YORK woodsdangaran.com
IN A STUDIO SHAMSHIRI– giancarlovalle.com
DESIGNED NYC HOUSE.
Studio KO Years
LOS ANGELES
PARIS AND MARRAKECH years-studio.com
studioko.fr EXTERIOR: ADRIAN GAUT. INTERIOR: STEPHEN KENT JOHNSON.

Studio Mellone Yellow House Architects

NEW YORK AND
NEW YORK COCONUT GROVE, FLORIDA
studiomellone.com yellowhousearchitects.com
Studio Peregalli Sartori Young Huh Interior Design
MILAN NEW YORK
studioperegallisartori.com younghuh.com
Studio Shamshiri Young Projects
LOS ANGELES NEW YORK
studioshamshiri.com young-projects.com

78
Where color and
craft intertwine
 Grace Fuller Design
NEW YORK
“We seek to unite the domestic world with the
wild,” says Grace Fuller Marroquin (pictured in
her Upper East Side office), a former fashion and
jewelry editor who launched a landscape design
firm in 2019. And indeed, her dreamy, romantic
gardens act as extensions of the home at every
scale, from the nearly 100-acre property in the
Hudson Valley where she planted sculptural linden
trees, whimsical grasses, and a robust kitchen
garden (AD, February, 2024) to her own West
Village rooftop terrace lush with native flora (AD,
February, 2021). With a fashion-forward client
list that includes The Row (they’ve collaborated
on planters), she leans on an ethos of sustainability.
In her words, “a deep love of and respect for the
earth guides everything we do.” gracefullerdesign.com
—HANNAH MARTIN

Food Architects
NEW YORK
Since founding Food Architects in 2018, Dong-
Ping Wong has proposed some radical concepts:
a bathhouse and spa carved from a hedge at
Palm Heights, the buzzy Grand Cayman hotel,
and +POOL, a floating public swimming hole in
New York’s East River. Currently, he’s developing
a proposal to rationalize a chaotic, eight-way
intersection in Chinatown, the New York
neighborhood where he works. “You can really
get away with so many new ideas if something is
beautiful,” he explains. Wong’s unconventional
thinking has wooed a client list that includes
MoMA, Nike, Kim Kardashian, and the late Virgil
Abloh. Whether designing residential spaces,
like the slick SoHo apartment he crafted with
fellow AD100 firm Charlap Hyman & Herrero (AD,
February 2024), retail concepts for Off-White, or
the Hypebeast flagship (pictured), Wong aims to
bring people together—just like his firm’s simple
moniker: Food. food-arch.com —H.M.
AMY LOMBARD

80 ARCHDIGEST.COM/AD100
Copyright ©2025 LG Electronics USA, Inc. dba Signature Kitchen Suite, 111 Sylvan Ave., Englewood Cliffs, NJ 07632. All rights reserved. “Signature Kitchen Suite” and the Signature Kitchen Suite logo are trademarks of LG Electronics USA, Inc.
 Studio & Projects
NEW YORK
Founded by Little Wing Lee, this polyglot firm tackles each project through
the lens of storytelling—balancing comfort, character, and a heightened
sensitivity to context to create rooms of palpable joy. “We approach design as
a holistic exercise, driven by human experience, compelling narratives, and the
profound power of beauty,” says Lee, an industry veteran of over 15 years. Bold
colors, rich textures, and thoughtful patterns serve as through lines in private
residences, hospitality hits, and product lines, among them rugs for Odabashian
and lighting for Rich Brilliant Willing. Current work includes interiors for the
National Black Theatre and a town house renovation for the Ali Forney Center,
both in Harlem. (The latter, a collaboration with AD, will provide shelter to
unhoused transgender and gender-nonconforming and nonbinary young people.)
Design, she believes, is a form of social justice unto itself. “Our goal with every
project is to create welcoming spaces that celebrate histories while embracing
innovation,” says Lee (pictured at Brooklyn’s Bar Bête restaurant), who founded
the nonprofit global advocacy network Black Folks in Design. “Doing good and
looking good are part of the same equation.” studioandprojects.co —SAM COCHRAN

AMY LOMBARD

82 ARCHDIGEST.COM/AD100
A Fresh Perspective
Homesites Starting at $1.1M

WindsorFlorida.com 772 388 8400

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changes which it deems desirable in its sole and absolute discretion.
Years
LOS ANGELES
Tyler Polich and Jessica Jimenez Keenan
launched their Los Angeles–based design
practice, Years, in 2022 with impeccable
professional pedigrees. Polich’s résumé includes
stints at the AD100 firms The Archers, Diller
Scofidio + Renfro, and BIG-Bjarke Ingels Group,
while Jimenez Keenan cut her teeth at Elizabeth
Roberts Architects and Studio Shamshiri (also
AD100 stalwarts). Considering their deep
immersion in design history and the wealth of
artful, unexpected sources they reference, it’s
no surprise that the partners (pictured at home
in LA) describe their approach in poetic terms:
“Years is a design studio in service to possibility,
how rooms and buildings might cradle the
experiences of people in them yet stay attuned—
and permeable—to climate, light, whims, life.
We believe that design has the potential to reach
beyond the rational, the perfect photograph,
winningly out of register with the status quo.”
Following their debut with a sensational house in
Costa Rica (AD, May 2024), Polich and Jimenez
Keenan are currently finishing a gut renovation
of a Brooklyn town house, a midcentury remodel
in LA, and a barn conversion in Hopewell, New
Jersey. years-studio.com —MAYER RUS

Young Projects
NEW YORK
“There is always something to react to,” says
Bryan Young, the founding principal of this
multidisciplinary firm, which works at the
intersection of architecture, interiors, landscapes,
and furniture. Alongside partners Noah Marciniak
and Mallory Shure, Young (pictured at a project
in Tribeca) challenges staid notions of a blank slate—
drawing on client wishes and the idiosyncrasies
of setting to create conceptually resolved buildings.
Strong geometries predominate, whether the
sweeping roofline of a Dominican Republic vacation
home (AD, July/August 2021) or the internal grid
of a New Orleans Creole cottage (AD, April 2024).
So too do material experiments, among them
TOP: MAGGIE SHANNON. BOTTOM: AMY LOMBARD.

concrete formed by felled palms, panels of pulled

plaster, and tiles that conflate real and imagined
shadows. “How can we construct productive
ambiguity?” muses Young, cofounder of Verso
gallery. The results, at scales large and small,
are designs that dazzle the eye and stimulate
the mind. young-projects.com —S.C.
©2024 Marvin Lumber and Cedar Co., LLC.
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“ I kept coming back to this place …

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than homes, the abundance of water …
this is where I wanted to be.”
— Rick Whitworth, Homeowner
DESIGNED TO BLEND IN

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of architect Dan Shipley and builder Peter Bates.
Shipley’s site-responsive design, inspired by the
untamed landscape, ensured the island’s true
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 Heidi Caillier Design
SEATTLE
Intimacy, nostalgia, comfort—these qualities and
more come to life in the work of Heidi Caillier,
who, in just 10 years, has grown her practice from
a one-woman show to a team of seven, with
upwards of 20 jobs on the boards. Clients delight
in her hyper-condensed process. “We design
everything top-to-bottom in one fell swoop,” she
says. All the while, her devoted social media
following thrills to her layered use of bold patterns
and unerring palettes of jewel tones and muddy
hues, evident in jobs coast to coast. (Current
commissions include homes in Idaho, Washington,
and Tennessee.) No matter the setting and
regardless of the style, Caillier (pictured at home
in Tacoma, Washington) emphasizes timeless
traditions through the careful placement of
antiques and handcrafted furnishings—pieces
that, as she puts it, “celebrate imperfections
and patinas rather than masking them.”
heidicaillierdesign.com —S.C.

Frida Escobedo Studio

MEXICO CITY AND NEW YORK
Age-old craft, rigorous research, and thoughtful
functionality converge in the work of Frida
Escobedo, who reflects, “We believe that this
hidden essence can be made visible through
simple forms, revealing the dynamics that shape
our collective character and public spaces.” Today,
the architect (pictured at Galerie Nordenhake in
Mexico City) is busy leaving her mark on the global
cultural scene—from Paris, where she was selected
TOP: MERON MENGHISTAB. BOTTOM: DANIEL JÁUREGUI.

(with Moreau Kusunoki) to renovate the Centre

Pompidou, to Manhattan, where she is designing
the Metropolitan Museum of Art’s new Oscar L.
Tang and H.M. Agnes Hsu-Tang Wing. Other Big
Apple projects include the mixed-use development
Ray Harlem and Bergen Brooklyn, a residential
complex enlivened by Escobedo’s masonry façade
modules. Underpinning her practice is the heartfelt
belief that architecture is ever changing, molded by
time and communal engagement. “Our projects do
not aim for grandeur but expose their minutiae,” she
explains. “They are substrates, processed through
participation, never finished, and always evolving.”
fridaescobedo.com —S.C.

90 ARCHDIGEST.COM/AD100
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 Ross Cassidy
Inc.
LOS ANGELES
“My work is not constrained to a
single genre or style,” notes Ross
Cassidy (pictured at a client’s
home in Hidden Hills). “I always try
to achieve a sense of joy, calm,
and timelessness.” Since launching
his firm in 2013, his nuanced use
of neutral hues, eye for vintage
furnishings, and commitment to
eco-friendly touches have made
him a hit with celebrities on the
order of Sia, Glen Powell, Jeff
Probst, and Amber Valletta, whose
LA home appeared on AD’s April
2024 cover. These days, he’s
applying that savvy to projects of
all kinds—from a psychedelic
wellness center to private homes
in Colorado, California, and Hawaii.
His furniture collection with CB2,
meanwhile, continues to expand,
with multiple debuts throughout
the year. “A person’s home is a
sacred space,” he reflects. “Every
decision I make is with intention.”
rosscassidy.com —S.C.

MAGGIE SHANNON. ART: MATTHEW BRANDT.

94 ARCHDIGEST.COM/AD100
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LK Studio
NEW YORK
“Joyful, refined, and free from ostentation.” This
is how Lily Dierkes (pictured at a client’s home
in NYC) describes the fruits of her nearly five-
year-old practice, which mixes peppy patterns
with time-tested classics. Case in point: the
dramatically roofed, lakeside 1970s home in
Harbor Springs, Michigan (AD, November 2024)
she recently revamped for a family of seven.
Here, Josef Frank florals and pops of primary
colors add jolts of new life to the cedar-paneled
interiors. The talent, who honed her skills under
fellow AD100 designers David Netto and Tom
Scheerer, is now applying that approach to a
range of residences, from a stone house in
upstate New York to a Victorian manse with a
modern expansion on Long Island. All aim to
be, in her words, “architecturally informed and
reflective of the people that live in them.”
lilydierkesdesign.com —H.M.

Martin Brûlé Studio

PARIS AND NEW YORK
The roster of pedigreed furnishings arrayed in
Montreal-born interior designer Martin Brûlé’s New
York City apartment and his Paris pied-à-terre offer
a window into the aesthetic predilections of one
of the design world’s most intriguing new voices.
There are signature works by titans of early-to-mid-
20th-century decorating on the order of Émile-
Jacques Ruhlmann, Jean-Michel Frank, André Sornay,
Eugène Printz, and Gilbert Poillerat. Brûlé’s own
design philosophy, which he describes as “invisible
opulence,” echoes that of his estimable forebears,
finding drama and beauty in the virtues of restraint,
quality, and connoisseurship. Those qualities came
to life with extraordinary panache in a Hudson Valley
country home the designer created for a couple
TOP: AMY LOMBARD. BOTTOM: MEGHAN MARIN.

with decidedly refined tastes (AD, February 2024).

Brûlé (pictured in his Brooklyn studio) is now
disseminating his sophisticated take on the less-
is-more credo in residential projects in New York,
London, Madrid, Miami, Switzerland, and Canada.
martinbrulestudio.com —M.R.
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 Geoponika
LOS ANGELES
Geoponika (the landscape artists
formerly known as Cactus Store
Gardens) is a Los Angeles–based
collective of designers, rare
plant aficionados, and ecological
thinkers “passionate about
transforming built spaces into
garden habitats that explore the
relationship between humans
and the natural world,” according
to the firm’s principals, pictured
from left, Marinna Wagner, Carlos
Morera, and Max Martin at the
firm’s office/greenhouse in Echo
Park. The name Geoponika refers
to a 10th-century manual of
botanical and agricultural wisdom
compiled for the fourth Byzantine
emperor of the Macedonian
dynasty—an apt moniker for a
landscape design practice that
relies heavily on historical research,
thoughtful contextualism, and
arcane resources. The firm recently
completed work on superstar DJ
Diplo’s magical 62-acre compound
in Jamaica (AD, June 2024) as
well as a garden for an important
modernist house in Japan designed
by the late architect Junzō
Yoshimura. In addition to its own
collections of garden furniture
and accessories (including a
collaboration with the AD100 firm
Commune Design), Geoponika is
currently designing landscapes
for a John Pawson house in Austin,
Texas, and an LA residence by
Kengo Kuma. geoponika.co —M.R.

MAGGIE SHANNON

104 ARCHDIGEST.COM/AD100
 Alyssa Kapito
Interiors
NEW YORK
Alyssa Kapito (pictured at a client’s residence
in NYC) has had a busy year. While she founded
her firm in 2013, over the last 12 months she
launched an eponymous gallery, a limited-edition
glass collection with Murano maker Laguna~B,
and a Rizzoli book—all while finishing off a handful
of New York interiors that embody her signature
brand of quiet luxury. Think: 20th-century French
design trophies by the likes of Jean Royère,
Charlotte Perriand, and Pierre Jeanneret, organic
forms sheathed in luxe, creamy bouclé, and
walls clad in stained oak paneling. Next up she’s
working on residences in New York, London,
Paris, and LA alongside a boutique hotel and
a line of bronze furniture and lighting, all sure
to showcase her clean-cut style, which the
Columbia-educated art historian calls “edited,
polished, and academic.” alyssakapito.com —H.M.

Woods + Dangaran
LOS ANGELES
The Los Angeles architecture and interior design
firm Woods + Dangaran was founded in 2013
by Brett Woods and Joseph Dangaran. Having
established a reputation as torchbearers of
smart, soulful contemporary design rooted in
the principles of classic 20th-century modernist
architecture, the partners (pictured at a project
in West Hollywood) are straightforward about
their approach and ambition: “We create modern
TOP: AMY LOMBARD. BOTTOM: MAGGIE SHANNON.

homes through dialogue and exploration. We

design holistically and at every scale. Our projects
are subtle and disciplined, pure in form, and
focused on realizing a sublime experience of space
and light. Each building is a carefully curated
journey through indoor and outdoor spaces.” In
addition to recently completing houses in LA and
Bend, Oregon, the firm is currently working on
residential projects across Southern California
as well as Nevada, Arizona, Utah, and Texas.
A boutique hotel in Apple Valley, Utah, is also
on the boards. woodsdangaran.com —M.R.

106 ARCHDIGEST.COM/AD100
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 SKY’S THE LIMIT
Bringing together creative voices from around the world,
an ambitious home in the heart of the Swiss Alps dreams big
and fosters cross-cultural dialogues
TEXT BY SAM COCHRAN PHOTOGRAPHY BY CASSIE FLOTO WARNER STYLED BY BERIT HOERSCHELMANN
 THE PROJECT’S CREATIVE
DIRECTOR, NACHSON MIMRAN
(LEFT), AND INTERIOR
ARCHITECT FRANCIS KÉRÉ
STAND IN THE INDOOR-
OUTDOOR POOL THAT LINKS
TWO PRIVATE CHALETS IN
GSTAAD, SWITZERLAND; KÉRÉ
DESIGNED THE CEILING
CANOPY OUT OF 9,964 LASER-
CUT BAMBOO POLES.
c
132
onventional wisdom suggests
that too many cooks would
disturb the creative kitchen.
But Nachson Mimran—a
free-spirited activist work-
ing at the intersection of
climate science and refugee
empowerment—is not one to
abide by hackneyed think-
ing. “The more the better,”
muses Mimran, cofounder of
the foundation and platform
to.org. “Let’s let loose.” It
was just that mindset that appealed to a philanthropist-
entrepreneur looking to build a private residence in Gstaad,
a Swiss ski town synonymous with alpine glamour. More
than simply a home, the project was meant to be a catalyst for
cultural exchange, foregrounding the work of designers and
makers from around the world, with a particular emphasis on
Africa and the African diaspora. Entrusted by the client with
that open-ended mandate, Mimran acted as the project’s cre-
ative director, orchestrating both individual commissions and
the larger ethos of collaboration. As he reflects, “What ideas
emerge when you bring together a lot of strong voices?”

A R C H D IG E S T.COM
Chief among those was AD100 Hall of Famer Francis Kéré,
whom Mimran met by chance over dinner, several years before
the architect won the Pritzker Prize. The two immediately
bonded over their past work in refugee camps—Mimran, who
grew up between West Africa and Switzerland, having dedi-
cated himself to creating spaces for culture and connection
within displaced communities, Kéré having designed schools
in rural Burkina Faso, where he was born. In Gstaad, the men
have joined forces to disrupt the local vernacular, reimagining
two classic chalets as vessels for contemporary innovation.
Designed with Chaletbau Matti, a Swiss firm specializing in
the traditional alpine housing type, the side-by-side residences
abide by strict local building codes, which dictate everything
from the style of buildings down to the angles of roofs. “Gstaad
feels like a fairy tale, extremely charming but also extremely
homogeneous,” notes Mimran. “Constraints push you to think
outside the box.” Within the homes’ conventional shells, he
and Kéré collaborated on a series of interventions that address
the property’s multifold ambitions, which Mimran distills into
three themes: Regenerate, Think, and Play.
Linking the chalets, the Regenerate space features an
indoor-outdoor swimming pool, for which Kéré conceived an
undulating canopy of 9,964 bamboo poles, laser-cut at varied
lengths. “You don’t need extremely expensive materials to
ART: PAUL KLEE © 2024 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
DESIGNED BY SPECIALIZED BUILDERS
CHALETBAU MATTI, THE TRADITIONAL CHALETS
FEATURE CARVED FAÇADE PANELS CONCEIVED
WITH KÉRÉ. OPPOSITE IN ONE CHALET’S LIVING
ROOM, AS THROUGHOUT THE COMPOUND, MUZA
LAB COLLABORATED ON THE INTERIOR DESIGN;
WALL CARVINGS AND STAIRCASE BY KÉRÉ.
 MIMRAN (LEFT) AND KÉRÉ STAND
BY A LIVING ROOM’S STAIRCASE,
WHOSE ORGANIC FORM WAS
MODELED AFTER A BAOBAB TREE.
OPPOSITE IN ONE LIVING ROOM,
A SITE-SPECIFIC MURAL BY
RASHID JOHNSON CROWNS
WOODWORK AND A FIREPLACE
DESIGNED BY KÉRÉ.

create something unique and high level,” says Kéré, whose Thomas Karsten and Alexandra Erhard of Studio Karhard,
work has long pioneered low-cost building techniques. He the designers of Berlin’s Berghain nightclub, who helped outfit
likens the installation to the cosmos (a metaphor he previously the subterranean spaces. Guests can cozy up along uphol-
explored at his pavilion for Montana’s Tippet Rise Art Center). stered banquettes; bowl a match in the state-of-the-art alley,
“It’s meant to be the universe,” he explains, albeit “a different enlivened by a Victor Ekpuk mural; shoot a game of pool on
configuration of what the universe could be.” It’s also a place the bespoke marble table; or retreat inside the shaggy nest
ART: RASHID JOHNSON/HAUSER & WIRTH

to relax, whether in solitude or surrounded by friends and sculpture made by Porky Hefer in collaboration with Ousmane
family. “The pool should touch all the senses—the visual, the Mbaye, Doulsy, and Ali Mbaye. Here, Mimran says, people
emotional, the tactile,” says Kéré. “Water embraces the user.” can “let the animal spirit out.”
The living area of one chalet became the so-called Think
THE BASEMENT, meanwhile, serves as a discotheque and games forum, dedicated to reflection and conversation. Kéré con-
room dedicated to the concept of Play. (“We named spaces ceived an open circular hearth crowned by a metal hood that
after what we wanted them to manifest,” Mimran explains.) pulls the eye toward the sky, its asymmetrical conical form
Kéré devised interior architecture flexible enough to accom- encouraging “ideas to flow in different directions.” Growing up
modate crowds of all sizes, sharing the creative wand with in Burkina Faso, he recalls, there was no electricity. “On a cold

ARCH DI G E S T. CO M 135
LEFT STUDIO KARHARD
CREATED A CIRCULAR
FIREPLACE FOR THE
BASEMENT “PLAY” SPACE.
BOTTOM LEFT A MURAL
BY VICTOR EKPUK ENLIVENS
THE BOWLING ALLEY.
BOTTOM RIGHT CARVED-
WALNUT CABINETRY BY
CHALETBAU MATTI AND
KÉRÉ COMPLEMENTS
INTERIOR WALLS MADE OF
RAMMED EARTH, STRAW,
AND HEMP.
 “Everyone was out
of their comfort
zone,” says the project’s
creative director,
Nachson Mimran.
“We gave everyone
permission to fail but
also to dream big.”
ART: VICTOR EKPUK

ABOVE AD100 LANDSCAPE ARCHITECT SARA

ZEWDE MADE CONCEPTUAL LINKS BETWEEN
AFRICA AND THE ALPS. RIGHT A FOLLY BY THE
DANISH ART COLLECTIVE SUPERFLEX USES
DISCARDED STONE FROM PORTUGAL.
 KÉRÉ DESIGNED A FIREPLACE
WITH AN ASYMMETRICAL
METAL HOOD FOR A LIVING AREA;
STOOLS BY MADODA FANI.

night you would surround the fire. This is where stories get Ini Archibong, who made a monumental fixture to cascade
told. That was my vision—a place for the community of the down one stairwell. Joining that mix are site-specific artworks
house to gather.” For the other chalet’s living area, meanwhile, by the likes of Billie Zangewa, Esther Mahlangu, and Rashid
he designed a staircase inspired by a baobab tree, a symbol, Johnson. And there’s more on the way, with ambitions for an
Mimran notes, “of wisdom and safety.” artist residency dubbed Create—a fourth conceptual pillar—
Taken as a whole, the project incorporates the vision of slated for a third chalet on the property.
countless global talents. The London-based design firm A panoply of perspectives, of course, was always the
Muza Lab decorated interiors; French lighting maestro Hervé intention—to bring people together, excite their minds, and
Descottes calibrated the rooms’ consistently exquisite glow; see what breakthroughs come. Reflecting on the team effort,
and AD100 landscape architect Sara Zewde reimagined the Mimran says, “everyone was out of their comfort zone. We
grounds with native plants and concrete walls that evoke gave everyone permission to fail but also to dream big.” Check
Saharan mineral deposits. Other commissions include chairs your egos, in other words, at the chalets’ doors. Says Kéré:
by Yinka Ilori, fabrics by Aissa Dione, and chandeliers by “In debate we create harmony.”

138 AR C H D IGES T.COM

 A BALCONY FRAMES VIEWS OF
THE ALPS. KÉRÉ BASED THE CARVED
AND PIERCED WOODWORK—BOTH
INSIDE AND OUTSIDE THE CHALETS—ON
TRADITIONAL SWISS-ALPINE FAÇADES.
 design notes THE DETAILS THAT MAKE THE LOOK

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What ideas emerge

when you bring together
THE WALLS OF THE
a lot of strong voices?” ARRIVAL AREA ARE
COVERED WITH MURALS
—Nachson Mimran BY ESTHER MAHLANGU.

140 A R C H D IGES T.COM

 A NEST SCULPTURE BY
PORKY HEFER, IN
COLLABORATION WITH
OUSMANE MBAYE, THE HIVE, 2022,
DOULSY, AND ALI MBAYE, BY BALLA NIANG;
STANDS IN A PLAY AREA. $4,000. 50GOL
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Everyone involved
BAOLÉ PRINT HANDWOVEN knew that this wouldn’t
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VICTOR EKPUK. CHANDELIER: ANDREAS ZIMMERMANN. CHAIR: ELISEU CAVALCANTE.

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INTERIORS: CASSIE FLOTO WARNER. ART: ESTHER MAHLANGU/MELROSE GALLERY.

for a few people—it would

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PR OD UC ED BY MA DEL INE O’MAL L EY

Architect Tadao Ando
fulfills a longtime dream
of LA fashion maven
Lorenzo Hadar with
a house that whispers
beauty and restraint
TEXT BY MAYER RUS
PHOTOGRAPHY BY YOSHIHIRO MAKINO
INTERIOR STYLED BY LISA ROWE

pure bliss
ART: ARAM DIKICIYAN. © YOSHITOMO NARA.

THE DINING ROOM IS CENTERED

ON A GEORGE NAKASHIMA DINING
TABLE AND CHAIRS, PURCHASED
THROUGH SAKURA SEISAKUSHO.
PHOTOGRAPH BY ARAM DIKICIYAN,
DRAWINGS BY YOSHIMOTO NARA.
OPPOSITE A VERTICAL CONCRETE
FIN MODULATES THE PLAY
OF LIGHT AND SHADOW WHILE
CHANNELING VIEWS.
 THE FOCAL STAIR OF
CONCRETE, WOOD, GLASS, AND
METAL IS WASHED WITH
LIGHT. OPPOSITE TRIANGULAR
FORMS ON THE HOUSE’S
UPPER LEVELS TEMPER THE
RECTILINEARITY OF THE
ARCHITECTURAL COMPOSITION.
L orenzo Hadar speaks about the
inspiration and influence of Japan
with an almost religious reverence.
The Los Angeles style czar began
making regular pilgrimages to the
Asian archipelago more than two

design talent to stock the avant-

that have been a staple of the LA

changed me fundamentally, my personality, the way I think,

my aesthetic,” Hadar avers. “I started to love their culture,
the minimalism, the attention to detail, and the emphasis on
quality.” It was during those sojourns that the fashion impresa-
rio first became acquainted with the work of architect Tadao
Ando, sparking a profound fascination that culminated, years
later, in the commission for Ando to design a home for him in
West Hollywood, just blocks from the H. Lorenzo boutiques

the light came through in such a special way. Each time I

visited one of his projects I fell more in love with his philoso-
phy and approach,” Hadar recalls.
Ando’s residential commissions in Southern California
have lately been shrouded in a miasma of boldface celebrity
real estate gossip. Jay-Z and Beyoncé recently made headlines
when they dropped a reported $190 million acquiring the
monumental Malibu manse that Ando designed (in collabora-
tion with architecture firm WHY) for art collectors William
decades ago, searching for Japanese Bell Jr. and Maria Bell—one of the priciest home sales in the
history of California. Kanye West’s well-documented bastard-
garde H. Lorenzo fashion boutiques ization of another Ando beachfront house in Malibu, in
advance of its eventual sale to an investment firm, similarly
scene from the time he and his wife, set tongues wagging in international design, art, and real
Sharona, opened their first location estate circles. Kim Kardashian (West’s ex-wife) has enlisted
in the early 1980s. “Those trips Ando to design a vacation house for her family near Palm
Springs, celebrating the alliance with an Instagram post
showing her meeting with the Japanese maestro in his Osaka
office in 2023.
But even if one sets aside all the celebrity hoopla and
hysteria, it’s still difficult to describe Ando’s work without
resorting to hackneyed shorthand. There’s his famous mastery
of shadow and light; the minimalist beauty of his universal
forms; the purity of his geometries; the miraculous alchemy of
on the Sunset Strip. “I loved how pure Ando’s designs felt, how teasing exquisite elegance out of brutal concrete; and the
sympathetic embrace of nature as an essential confederate in
bestowing life and soul to inanimate materials. How many
synonyms for sublime can a writer possibly muster?

ARC H DI G E S T. CO M 145
CLOCKWISE FROM ABOVE THE LIVING ROOM FEATURES AN ADRIAN PEARSALL
SOFA FROM OBSOLETE, PIERRE JEANNERET CHAIRS, A GEORGE NAKASHIMA
COCKTAIL TABLE AND FLOOR LAMP, BOTH FROM SAKURA SEISAKUSHO, AND
ARTWORK BY ARAM DIKICIYAN. LORENZO HADAR ON HIS BALCONY. DOUBLE
GREEN LANDSCAPES DESIGNED THE GARDEN WITH BOTANICAL NODS TO JAPAN.

ART: ARAM DIKICIYAN

THE CASITA BATH HAS A TRADITIONAL JAPANESE TUB BY BARTOK DESIGN SET ON WHITE OAK FLOORING.
“I loved how pure Ando’s
designs felt, how the light
came through in such a
special way.” —Lorenzo Hadar
THE MAIN GALLERY IS OUTFITTED WITH PIERRE JEANNERET
SEATING; A VINTAGE GEORGE NAKASHIMA CONSOLE,
TABLE LAMP, AND CHAIR; ANTIQUE KOKESHI DOLLS FROM
HADAR’S COLLECTION; AND A PAINTING BY GEMI.

ART: GEMI
 LEFT A LIGHTWELL FUNNELS NATURAL ILLUMINATION
TO THE HOUSEKEEPER’S ROOM. ABOVE TATAMI MATS
AND SHOJI SCREENS BY BARTOK DESIGN UNDERSCORE
THE JAPANESE TEAHOUSE VIBE IN THE CASITA.
OPPOSITE SHADOWS CAST BY THE CONCRETE FIN
ALTER THE ARCHITECTURE’S GEOMETRIES.

AT THE HADAR HOUSE, the proof, as they say, is in the pudding. leave the lily ungilded, Hadar outfitted the rooms sparingly,
The structure displays a modest, quiet face to the street, offer- deploying a variety of unimpeachable classics by the likes of
ing few hints of the expansive, light-filled spaces that unfold as George Nakashima, Pierre Jeanneret, and Jean Prouvé.
the house descends down the steep hillside. Alex Iida, Ando’s (Interior designer Katherine Waronker consulted on furnish-
fellow design architect on the project team, explains that the ings.) A guest casita at the base of the property is outfitted
existing topography and limited road access to the site along like a Japanese tearoom, with tatami mats, shoji screens, and
the narrow, winding streets of the West Hollywood hills a steam bath featuring a traditional ofuro soaking tub. The
presented significant challenges in the all-important process garden that separates the main house from the casita, designed
of building concrete forms and pouring the material with the by Double Green Landscapes, melds Japanese and California
requisite precision. “The structure is supported by 36 piles influences with a variety of maple and ginkgo trees, giant timber
that go down as far as 60 feet into the bedrock. This was not bamboo, bower wattle, and leopard plants. “Walking through
an easy build,” Hadar says, describing the myriad complexities the garden to my little teahouse, I feel like I’m escaping to
that account for the project’s nine-year time span from con- Japan while I’m still in Hollywood,” Hadar muses.
ception to completion. “There are very few contractors that In addition to Ando and Iida, the homeowner is quick to
can build to Ando’s standards—the perfection of the concrete share credit for the success of his building adventure with
seams and tie holes, the incredibly tight tolerances. Once the many collaborators responsible for its ultimate realization,
you pour, it’s done. There’s no way back,” the homeowner adds. including architect of record Kazushige Shichishima of
Inside the house, the intensely meticulous nature of the LA-based Bo.Shi Inc. Of course, he reserves his highest praise
construction reveals itself with quite the opposite effect. for the maestro himself. “I’m still discovering the house right
Instead of excessive fastidiousness and convolution, the mood now, sitting in different spots and watching the light show as
is one of generosity, ease, and serenity. Instead of Brutalism it changes throughout the day. I appreciate every corner, every
and sensory deprivation, the architecture provides sustenance detail,” Hadar says. “I’m so grateful to Ando. He’s a beautiful
and enrichment, both spiritual and intellectual. In an effort to human being.”

150 A R C H D IG E S T.COM
IN THE RECEPTION ROOM, A PAIR OF SOFAS AND
TWO 1940s FRENCH OAK ARMCHAIRS SURROUND
ART: SLIM AARONS

A MAX ROLLITT OTTOMAN UPHOLSTERED IN

ANTIQUE TAPESTRY. RATTAN CEILING LIGHTS BY
SOANE BRITAIN; MIRROR BY JAMB; BESPOKE
TV UNIT (BACK LEFT CORNER) WITH EMBROIDERY-
PANELED DOORS; CUSTOM RUG. PAINTING ON
LEFT WALL BY LUC KAISIN.
 A FINE
VINTAGE
Designer Beata Heuman
shows a more serious
side with a considered
redesign of a historic
London town house
TEXT BY BUSOLA EVANS
PHOTOGRAPHY BY SIMON UPTON
STYLED BY SARA MATHERS
 THE TERRACE’S SOFAS ARE CUSHIONED IN AN OUTDOOR FABRIC BY PIERRE FREY.
OPPOSITE THE HOMEOWNER WITH HER THREE CHILDREN IN THE KITCHEN. A MURANO GLASS
CHANDELIER HANGS OVER A BESPOKE TABLE SURROUNDED BY HOWE LONDON WINDSOR CHAIRS.
18TH-CENTURY DELFT PLATES; CIRCA 1950 CANDLE SCONCES; PAINTING BY VITTORIO RAINERI.

154 A R C H D IG E S T.COM
 A CHILDREN’S TABLE AND
CHAIR SET BY AXEL LARSSON
STANDS ATOP A VINTAGE
AFGHAN TRIBAL HANDWOVEN
SOUMAK RUG IN THE
PLAYROOM. 1940s VENETIAN
LANTERN; SVENSKT TENN
FLOOR LAMP; PAINTING
BY MARY WEST. OPPOSITE IN
THE LIGHT-FILLED KITCHEN,
A BESPOKE SOFA WEARS
A CHRISTOPHER MOORE TOILE
AND ITS PILLOW IS OF A NAMAY
SAMAY SILK-LINEN CHECK.

If the ability to shape-shift is

London-based AD100 talent is well-known for her delicious

designs emboldened with captivating color, a masterful mesh
of furnishings, and a smattering of whimsy. But her latest
It’s different from traditional London town houses because
one of the true superpowers of an accomplished designer, then it’s so wide. The big central staircase, for instance—we’ve never
underestimate Beata Heuman at your peril. The Swedish-born, really done anything that has that kind of aspect.”
Built in 1888, the Queen Anne–style house is steeped in
history and Heuman cheerfully admits that she and her head
of interior design, Fosca Mariani, did have to fend off some
project, a Grade II* listed five-story town house in Kensington, friendly competition to land the coveted job. The client—a
is concrete proof there is more to her creative playbook than
meets the eye.
Of course, this expansive six-bedroom residence spread
over more than 8,000 square feet bears many of Heuman’s
former financier who lives with her husband and three young
children—discovered Heuman’s work in a design book, and
while she was instantly captivated, she initially had reserva-
tions about how the designer’s often fanciful style would
inescapable hallmarks—an appreciation of historical references resonate with a house of such august stature. Still, she invited
coupled with a modern-day sensibility, clever and unpredict- her to view it. “So we walked around and came up with some
ART: MARY WEST

able details, bold deployments of pattern—but it also showcases ideas,” Heuman recalls. “From that point onward, she felt very
a quiet evolution of her style and a new confidence. “It’s a bit reassured,” the designer continues. “She said afterward she
more grown-up,” agrees Heuman. “When we saw the house we thought it was amazing how the house feels very different to
had the feeling that this style is very suited to it. It’s the scale. anything we’ve done and feels very her.”

ARC H DI G E S T. CO M 157
 CLOCKWISE FROM LEFT MAUNY’S LES TULIPES WALLPAPER
ENVELOPS A BATH. A GRAND STAIRCASE RISES THROUGH
THE HOUSE’S FIVE STORIES. IN THE PANTRY, MORRIS & CO.’S
FRUIT WALLPAPER WAS TREATED WITH A GLOSSY VARNISH;
FISH SCULPTURE BY IKUKO IWAMOTO.

FOR THE OWNER, it was also about their personal connection.

“I always say Beata understands us because she’s Swedish but
has lived in the UK for a long time; similarly, we are German,
and have lived here a long time,” she explains. “We have
children of similar ages, so she gets that the house has to be
practical, not only beautiful. It was a really good match.”
The house, while in good condition, was decorated in a
more formal modern neoclassical style. Heuman was keen
to engage with its history and architecture, and despite its
grandeur, create a warm family home. With that in mind, she
embraced its asymmetric rooms and irregular rooflines, and
restored period features like decorative ceilings and fireplaces.
Heuman worked closely with a heritage consultant to
ensure any changes were in line with the building’s landmark
status. Fireplace openings, for instance, retained the original
width, and damaged original tiles were replaced with ones that
felt true to the building’s history. On the lowest level, which
features a garden room that opens onto a sunken outdoor space,
there is also a wine cellar, which Heuman helped ensure was
suitably antiquated. Indeed, a conscious choice was made to
let the property’s architecture be the star of the show, with the
interiors playing a supporting, albeit crucial, role. Nothing is
too new or jarring, creating a look that appears to have evolved
over time.

158 A R C H D IG E S T.COM
 ABOVE THE “SECRET ROOM” FEATURES A
PLAYFUL MURAL CONCEIVED BY HEUMAN. FLOOR
CUSHIONS OF INDIGO LINEN TOPPED WITH
OVERSIZED PILLOWS OF MARBELIZED VELVET,
BOTH FABRICS BY HEUMAN. RIGHT A STAIRCASE
LEADING DOWN INTO A SUNKEN GARDEN.

“Beata gets that the

house has to be
practical, not only
beautiful,” the
homeowner notes
of Heuman’s
ART: BH BESPOKE DESIGN

approach. “It was a

really good match.”
 TO WARM UP THE GROUND floor’s vast entrance hall, Heuman highlights the room’s tall ceilings and leafy outside view.
introduced a sofa facing the fireplace to make it more inviting. “It’s a really amazing room—we don’t have to shout to make
Scaled-up custom pieces such as an oversized armoire make it a thing,” explains Heuman.
the space feel less cavernous, and dialed-down greens and reds Furniture used throughout is largely antique and bespoke.
(“Bright colors were not for me,” says the client) give a The doors of the TV cabinet, for instance, are covered with
relaxing feel. hand-embroidered linen panels, while in the main bedroom,
Leading off the hall is the kitchen, where Heuman installed part of the primary suite on the third floor, the cabinetry
an eye-catching Murano chandelier over the dining table features fronts of woven cane. In the elegant study—a former
and enlivened the inherited neutral cabinets by hanging vintage home theater—a vintage burr yew wood desk holds court.
polychrome plates that she collected one by one over 18 months. Thoughtful touches include a collection of 19th-century
She confesses that she is “very detail-oriented,” which can be fashion prints, unearthed by Mariani in an old London book-
a challenge for a designer who likes to be so hands on. (“You shop, which were hung gallery-style on the dressing-room
can’t be with 20 projects on the go, so we consciously keep the wardrobes. “We designed the frames based on something I saw
business really small,” she admits.) at a Sicilian auction,” adds Heuman. While wallpaper is used
To that end, the William Morris wallpaper in the pantry sparingly on the lower floors, it is celebrated wholeheartedly
was varnished for an aged, wax-cloth effect, and the enchant- in the sloped-ceiling children’s bedrooms. “It felt right to lean
ing powder room in the playroom is enveloped in a person- into the charm of an attic-like room,” she says. “This was a
alized mural. Even the elevator’s interior is clad in custom place where it was quite fun.”
marquetry. “I don’t think many teams go to that extent of detail,” For the client, the realization of the family’s forever home
observes the owner. “I was amazed how they put their heart has been life-changing. “I was really impressed with how
into it.” Beata and Fosca were able to cater to our needs. It was almost
One flight up, the reception room is a restrained palette telepathic,” she says. “Every day I notice things that remind
of calming blues, earthy browns, and grounding greens that me of just how lucky we are.”

160 A R C H D IG E S T.COM
 19TH-CENTURY FASHION PRINTS LINE THE WARDROBE DOORS IN THE DRESSING ROOM.
A PAIR OF MID-20TH-CENTURY PENDANT LIGHTS BY GUNNEL NYMAN FOR SIEVÄ HANG OVER A
BENCH UPHOLSTERED IN A GEORGE SPENCER DESIGNS VELVET. WALLS COVERED IN HEUMAN’S
FLORENTINE FLOWER. OPPOSITE THE HOMEOWNER LOUNGES IN THE RECEPTION ROOM.

AR C H DI G E S T. CO M 161
 PAPER BAG SCONCES BY HEUMAN
HANG ABOVE A BESPOKE PAINTED
VANITY IN THE PRIMARY BATH.
CATCHPOLE & RYE TUB WITH
BARBER WILSONS & CO. FITTINGS.

“She thought it was amazing how the house feels

very different to anything we’ve done and
feels very her,” Heuman says of the homeowner.
162 A R C H D IGES T.COM
 IN THE PRIMARY BEDROOM,
THE HEADBOARD IS COVERED
IN DÉCORS BARBARES’S
VÉRA. SOANE BRITAIN PENDANT
LIGHT; BESPOKE SOFA IN A
COLONY FABRIC; HOWE LONDON
BENCH-OTTOMAN; ANTIQUE
RUG MADE IN IRAN.
 design notes THE DETAILS THAT MAKE THE LOOK

VENETIAN MURANO
MORRIS & CO.’S DAISY GLASS FRUIT
WALLPAPER ENVELOPS CHANDELIER; $7,500.
THE WALLS OF A 1STDIBS.COM
DAUGHTER’S ROOM.

ENGLISH DELFT
BOUQUET DINNER
PLATE BY JOHN
DERIAN FOR ASTIER
DE VILLATTE; $178.
JOHNDERIAN.COM

TWO-BY-TWO
DAPPLED CUSHION
COVER; $155.
BEATAHEUMAN.COM

KRISTINA
TRADITIONAL
KALAMKARI
COTTON; $110
PER METER. VÉRA COTTON BY
LESINDIENNES.COM DÉCORS BARBARES;
TO THE TRADE.
JOHNROSSELLI.COM

THE MAUD SLIPPER

CHAIR IN PLAIN
STRIPE POPLIN;
PRICE UPON
REQUEST. FLORA
SOAMES.COM DIREKTÖRS LAMPA; $1,535.
BEATAHEUMAN.COM

I really love it
when people
go into it with the
idea that this is
going to be their
forever home.”
—Beata Heuman

P ROD U C ED BY M AD ELI NE O ’ M A L L E Y
 FELCE SERIES S TILES; $16
EACH. BALINEUM.CO.UK

PANEL BACK
WINDSOR CHAIR;
$2,665. HOWE
LONDON.COM

WILLOW FABRIC;
$170 PER
METER. BEATA
HEUMAN.COM

THE ROMAN
STUDS; $85
EACH. BEATA
HEUMAN.COM
PANEL BACK WINDSOR
CHAIRS BY HOWE LONDON
SURROUND A BESPOKE
TABLE IN THE KITCHEN.

It’s really THE RATTAN DAISY

HANGING LIGHT; $11,000
important to AS SHOWN. SOANE.COM

respect the
building and
its history.”
INTERIORS: SIMON UPTON. KALAMKARI FABRIC: LAETITIA HUSSAIN. ART: COLLINS AND GREEN ART.

CABINET 852 BY JOSEF FRANK

FOR SVENSKT TENN; $47,000.
SVENSKTTENN.COM BALINEUM TILE
CLADS THE WALLS
AND FLOOR IN A BATH.

ARC H DI G E S T. CO M 165
ANNABELLE SELLDORF IN
THE FRICK COLLECTION’S
JAMES S. AND BARBARA
N. REIBEL RECEPTION HALL
DURING CONSTRUCTION
THIS PAST OCTOBER.
THE MUSEUM REOPENS
IN APRIL 2025 AFTER
SELLDORF ARCHITECTS’
COMPREHENSIVE
UPDATE (FRICK.ORG).
 stepping
forward
To update The Frick Collection,
Annabelle Selldorf is honoring the
past while meeting the moment
TEXT BY SAM COCHRAN PHOTOGRAPHY BY MARTIEN MULDER

I
ndiana limestone is prized for its refinement and durability—a fitting
choice, then as today, for The Frick Collection in New York City.
Thomas Hastings used it when first building the 1914 Beaux Arts
home of industrialist Henry Clay Frick. So too did the architect John
Russell Pope in the early 1930s, when he reimagined the mansion as
a museum and designed its neighboring library. And now AD100 Hall
of Famer Annabelle Selldorf has followed in their footsteps for the
mansion’s first comprehensive update in nearly 90 years, opening to
the public in April 2025.
“The proportions are classical but the detailing is clear and
modernist,” says Selldorf of the stone, which she used on walls and
façades in the same block pattern as the historic edifices. “It’s in
the nature of materials to appear in different ways for different eras.”
Shrewdly stitching together past and present, her blockbuster project—
completed in collaboration with executive architects Beyer Blinder Belle—includes
60,000 square feet of repurposed space and 27,000 of new construction, much of it
along the rear of the library and within a two-story addition. A 220-seat auditorium,
meanwhile, has been added beneath the museum’s beloved 1977 Russell Page garden,
currently under restoration. (The subterranean space—originally the basements of
three neighboring town houses—had previously served as storage.) But the heart of the
project is the reception hall, a metamorphic marvel with a statement staircase of
Breccia Aurora Blue marble.
“It’s an impactful visual moment,” Selldorf notes, “but it’s also very impactful in its
function.” Lowering the ceiling of that historic room and raising the roof to create an
additional story, her design will usher art lovers to new or improved amenities like the
shop, café, education center, and special exhibition galleries, all shoehorned within
the complex set of constraints. Upstairs and down, the reception hall also connects to
the mansion, whose second floor has been transformed from offices into galleries for
portraits, early Renaissance paintings, and more. “You can do as you always do, retrac-
ing your old steps,” says Selldorf. “You also get multiple new pathways.”
Museum commissions loom large in the minds of contemporary starchitects as
coveted chances to flex some creative muscle. But Selldorf’s interventions, far from any
acrobatics of ego, are ambitious exercises in restraint, deferring both to visitor experi-
ence and the integrity of the mansion. “It’s pretty marvelous to see everything again,”
she says of favorite paintings, now reinstalled. “It makes you happy to rediscover.”

ARCH DI G E S T. CO M 167
IN AN OFFICE, A CHAIR BY
NACHO CARBONELL PULLS
UP TO MAURICE CALKA’S
1971 BOOMERANG DESK.
1960s HANGING LIGHT BY
MAX SAUZE; VINTAGE BRASS
HEAD-SHAPED SCONCES.
OPPOSITE A BESPOKE SOFA
AND A PAIR OF 1960s YOGA
CHAIRS BY MICHEL CADESTIN
SURROUND A VINTAGE
ALUMINUM-AND-GLASS
COFFEE TABLE IN THE FAMILY
ROOM. AN AQUARIUM IS
EMBEDDED IN THE WALL
BEHIND THE SOFA. THE RUG
IS BY ÉDITION 1.6.9.

PRACTICA
 A grand, historic house
in the heart of Paris gets
a visionary makeover
by designer Hugo Toro
TEXT BY ALICE CAVANAGH PHOTOGRAPHY BY WILLIAM JESS LAIRD
STYLED BY SARAH DE BEAUMONT

L MAGIC
 “I like the fun of the 1970s; they knew
how to party,” Hugo Toro admits,
explaining the loungey vibe he created.
 RIGHT DESIGNER HUGO
TORO IN THE DINING ROOM.
OPPOSITE A SERPENTINE
SOFA BY TORO WINDS
THROUGH THE LIVING
ROOM, AND THE FIREPLACE
MANTEL IS CLAD IN A
CUSTOM CERAMIC PANEL
FRAMED WITH ALUMINUM.
THE HANGING LIGHT
WAS FASHIONED OUT OF
A SCULPTURE. MÄRTA
BLOMSTEDT ARMCHAIR.

In recent times,
the AD100 French Mexican architect Hugo Toro has taken
the approach of an auteur, working on a carte blanche basis to
realize his commissioned projects down to the last exacting
detail. For the Park Hyatt Paris-Vendôme’s new crown jewel,
restaurant Pur’, home to Michelin-starred chef Jean-François
Rouquette, Toro conceived everything, even the napkin rings
and the staff uniforms. Currently, he is putting the final touches
on La Minerva hotel in Rome, the Orient Express’s five-star
accommodation just steps from the Pantheon, which will be a
complete embodiment of his architectural vision.
For his latest residential project on Paris’s Left Bank, a
1911 mansion comprising more than 10,000 square feet spread
ground-floor family room, adding with a smile, “I left it up
to them to choose the fish.”
The project is Toro’s largest (completed) private home
to date. “These are very rare buildings,” he says of the history
and scale of the site, which features six bedrooms, six bath-
rooms, a pool, a rooftop terrace, and a garden.
When he first visited in February 2022, the house had
sat empty for 15 years and was in disrepair. Water damage
and mold marked the ornate, gilded plasterwork, and paint—
in a fusty Empire red—was peeling off the walls. “They
wanted me to bridge the gap between the past and today:
to respect the building but create a new stratification of
style and time references,” he says of the brief, which was
across six floors, the clients—a French family—were happy to unearth some of the building’s original charm—the Art
to hand him the reins with just one stipulation: They wanted Nouveau curves of the window frames and a more muted
a fish tank. “That’s a first,” the 35-year-old admits of the two- palette they found when they scraped at the walls—and
and-a-half-ton aquarium he had installed into a wall in the create something more distinct.

AR C H DI G E S T. CO M 171
“They wanted
me to bridge
the gap
between the
past and
ART: BERTRAND LAVIER © 202) ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / ADAGP, PARIS
today,” Toro
says of the
design brief.
 THIS PAGE, CLOCKWISE
FROM LEFT CHAISE
LONGUES BY TECTONA
PARIS ON THE TERRACE
OUTSIDE THE WINTER
GARDEN. A WROUGHT-
IRON STOOL BY SIDO AND
FRANÇOIS THEVENIN FROM
GALERIE PATRICK FOURTIN
IN THE GARDEN. TORO
DESIGNED THE ENTRANCE
HALL’S PENDANT LIGHT,
STAIR RUNNER, AND SOFA;
THE CERAMIC TABLES ARE
BY PATRICK CRULIS FROM
AURÉLIEN GENDRAS.

OPPOSITE, ABOVE A TORO-

DESIGNED SOFA PRESIDES AT
ONE END OF THE INDOOR
SWIMMING POOL. OPPOSITE,
BELOW A PAIR OF 1959
BÖHLMARKS CHANDELIERS
HANG OVER TORO-DESIGNED
TABLES IN THE DINING ROOM.
1950s CHAIRS BY ARNE
JACOBSEN FOR FRITZ HANSEN;
CUSTOM RUG BY TORO.
 The result is a mix of familiar Parisian opulence—soaring his architectural work, but they share a common thread.
high ceilings and windows, wainscoting and restored moldings, His interior projects are also richly textural, and he
herringbone floors—with the loungey loucheness of the 1970s creates transitions and rhythm by layering materials with
vibrating through the warm palette of gradient hues of amber a warm and enveloping color palette—sun-drenched and
and orange, the inviting and tactilely rich materials and state- sepia-hued. Born to a French father and a Mexican mother,
ment furniture in curved, organic shapes. “I like the fun of the dreamlike memories of his mother’s birthplace permeate
1970s; they knew how to party,” Toro admits. his work.
Several of Toro’s most recent paintings adorn the walls
SINCE ESTABLISHING HIS FIRM in 2019, Toro has emerged of this residence. A sizable canvas hangs in the ground-
as one of France’s most promising young creatives. He is both floor family room, which is also fitted with a plush caramel
protean and prolific, a trained architect and interior designer velvet sofa of Toro’s design, a pair of Michel Cadestin’s
and now, following a foray into painting, a visual artist. He has cocooning Yoga chairs, and a round glass coffee table with
two upcoming art exhibitions in Paris: one opening later this imposing aluminum feet from Galerie Gram. An arcade game
month at the Mexican Embassy, and another at the Institut and foosball table sit in one corner. While the volumes are
Culturel du Mexique in the Marais district in mid-February. noble and grandiose, comfort pervades; this is a family home.
Toro’s artworks—large, expressive canvases layered Up the majestic central spiral staircase, lit by a seven-
with brushstrokes of intense color—are very separate from meter-long Murano glass chandelier Toro designed, you arrive
 GREEN ONYX MARBLE DEFINES THE PRIMARY BATH. ALABASTER-AND-BRONZE SCONCE BY TORO; THG PARIS FAUCETS. OPPOSITE A CUSTOM
ZIGGURAT-LIKE PLATFORM BED CENTERS THE PRIMARY BEDROOM, AND A CAMPANA BROTHERS SOFA FROM CARPENTERS WORKSHOP GALLERY
STANDS IN THE CORNER. THE TOWERING CERAMIC FLOOR LAMP NEXT TO THE WINDOW IS ANOTHER TORO DESIGN. FLOWERS BY MUSE.

in the main living room, where a bespoke low-lying curved bedtime. “This is from my dreams,” he laughs of the bed. The
sofa snakes through the center, framed by a hand-tufted layout mingles symmetry with intriguing organic elements: a
circular rug. “I wanted the eye to travel around the room,” plush carpet with water-like motifs guides the transition from
he says of the layout. A carved mahogany 1970s Brazilian bar the bedroom to the dressing room. The twin doors flanking
set bookends one side of the space; a fireplace with custom both sides of the bed lead to a bath fitted with a swirling green
ceramic tiles in a soft patinated green and an aluminum frame onyx marble washbasin and tub.
sits at the other end. Accents of aluminum recur throughout Every element of the home is designed to immerse and
the home, employed for the doors, door frames, and cabinetry inspire. “It was essential to create something warm that invites
to delineate volumes and add modern polish and contrast use from morning until night, in both summer and winter,
against the warmth of the wood paneling. taking into account the family’s moods and passions…to intro-
The cinematic atmosphere continues upstairs on the duce surprise and moments of togetherness through the layout,
second floor in the primary bedroom, where Toro has installed volumes, and light,” Toro says, adding: “Creating a nice image
a lush platform bed with two raised steps leading up to the is easy, but making an interesting space that people live in and
mattress—he talks about creating a transitional moment for interact with is something very different.”

ARC H DI G E S T. CO M 175
 RIGHT A BATHROOM SHELF
FEATURES MEMENTOS FROM
GLORIA STEINEM’S LIFE,
INCLUDING A COLLECTION OF
PINS AND POLITICAL BADGES.
OPPOSITE STEINEM (WEARING
A VALENTINO BLOUSE, NILI
LOTAN CORDUROY TROUSERS,
CHANEL BOOTS, WITH
A JOSEFF OF HOLLYWOOD
SILVER NECKLACE AND KARL
LAGERFELD PROTOTYPE
BRACELETS) IN THE SECOND-
FLOOR LIVING ROOM OF HER
NEW YORK CITY RESIDENCE.
BLOUSE AND JEWELRY FROM
LILY ET CIE; FASHION STYLING BY
NINA AND CLARE HALLWORTH.

HOME TRUTHS
MAKEUP BY BOBBI BROWN FOR JONES ROAD BEAUTY

Settling down after a life on the road, legendary

feminist Gloria Steinem finds contentment
and a new mission in her Manhattan brownstone,
with help from designer Jane Hallworth
TEXT BY SARAH MEDFORD PHOTOGRAPHY BY WILLIAM ABRANOWICZ STYLED BY MIEKE TEN HAVE
After moving approachable about Gloria,” says the designer, who has spent

to New York City much of her career working with A-list actors and other
creatives in Los Angeles. “But it’s an approachable moment
on Mount Olympus.”

in her mid-20s, As Hallworth surveyed Steinem’s duplex in an 1880s

brownstone—warmly lit spaces ruffled by a sirocco wind of near-
Eastern textiles, kilims, jewel-colored crystals, and leopard-

Gloria Steinem
made a list of the things about it that scared her. One of those
print pillows—she realized that this was, in fact, said Olympus.
It was here, during the summer of 1971, that Steinem had
convened a handful of women in politics and the media on the
things was dining—specifically, the fact that people in New living room’s cosseting sofas, giving rise to Ms. magazine. And
York tended to sit down for meals rather than stand in front of it was here, in the years following, that she often hosted such
an open refrigerator. Now 90, Steinem still prefers grazing to magnetic public figures as Wilma Mankiller, the first female
cooking. And given the length of her overstuffed CV, the tireless chief of the Cherokee Nation, and Bella Abzug, the outspoken
feminist, journalist, activist, and advocate for all manner of lawyer and politician.
disenfranchised people makes a solid case for skipping out on By this point in her life, Steinem was something of an ensor-
seated dinners. Still, she keeps a colorful cache of kitchen celling public figure herself. Her breakout moment had come
magnets in her longtime apartment on the Upper East Side, in 1963, with the publication of “A Bunny’s Tale,” her exposé of
from Frida Kahlo and Susan B. Anthony to Wonder Woman life as a Playboy Club employee—she’d gone “undercover” in
and the Mona Lisa. a strapless, high-cut costume and rabbit ears to report on the
ART: © DAN WYNN, 1971

A few years ago, it fell to the interior designer Jane dire treatment of women inside the hutch. The flurry of writ-
Hallworth to freshen up a home for these magnets and the rest ing assignments that followed allowed her to move into the
of Steinem’s possessions after a mutual acquaintance intro- brownstone’s parlor floor with an artist friend in 1968, and the
duced them. Hallworth was intrigued, and found her new client loft space they built out of a discarded porch salvaged from a
to be delightfully easygoing. “There’s something so utterly Connecticut dumpster is still here, overlooking the living room.
OPPOSITE A PAIR OF CHAIRS
UPHOLSTERED IN AN ETHAN
ALLEN FABRIC STANDS IN
FRONT OF THE FIREPLACE OF
THE FIRST-FLOOR LIVING ROOM.
A SHIRT FROM INDIA HANGS
ABOVE THE MANTEL, AND A
VINTAGE TOOL CHEST SERVES
AS THE COFFEE TABLE.

RIGHT SCALAMANDRÉ’S
BECKFORD WALL COVERING
DEFINES THE HALL WHERE A
SELECTION OF IMAGERY IS
DISPLAYED, INCLUDING A MS.
MAGAZINE WAY SIGN FROM A
2017 STREET-NAMING
CEREMONY IN NEW YORK CITY.
BELOW A SELECTION OF
STEINEM’S SIGNATURE AVIATOR
GLASSES ON A TABLE.

“I made a home for

myself,” says Gloria
Steinem. “But it took a
while to learn that I
didn’t have to live out of
boxes and suitcases.”
ARCH DI G E S T. CO M 179
 CLOCKWISE FROM RIGHT
A VINTAGE RALPH LAUREN
HOME FABRIC ENVELOPS
THE PRIMARY BEDROOM,
AND AN ANTIQUE SILK UZBEK
SUZANI FROM NAZMIYAL
COLLECTION COVERS THE
BED. A SELECTION OF
CLOISONNÉ EGGS,
GEMSTONES, AND OTHER
OBJECTS DISPLAYED IN THE
SECOND-FLOOR LIVING
ROOM. AN AUBERGINE HUE
BY THE SYDNEY HARBOUR
PAINT CO. COLORS THE
CABINETRY IN THE RECENTLY
REFRESHED THE KITCHEN.
 RIGHT THE BACK GARDEN, BELOW STEINEM (WEARING
DESIGNED BY LIZ PULVER A VINTAGE YAO JACKET FROM
AND MAINTAINED BY WILL LILY ET CIE, FRAME JEANS,
SEGA, FEATURES A BRONZE AND CHANEL BOOTS, WITH
STATUE BY DEBORAH BELL, A NAVAJO BELT AND KARL
A GIFT FROM FRIENDS IN LAGERFELD BRACELETS,
HONOR OF STEINEM’S 90TH BOTH ALSO FROM LILY ET CIE)
BIRTHDAY LAST MARCH. ON THE SPIRAL STAIRCASE.

“Whoever came in first at night got the bed up on the porch, thinking, How great. I could live there and just walk to school,”
and the other got the couch,” recalls Steinem, smartly dressed she recalls. “I kind of realized, too, that maybe the people who
in a fitted black T-shirt and faded jeans. By 1987, she’d long lost lived there wanted to live in a trailer.”
the roommate and acquired the ground-floor unit, which she To stay afloat, Steinem’s father would buy and sell antiques
converted into a study and a guest room. Alice Walker visited along the way. She has always been drawn to richly colored
so often that Steinem decided to make her garden-loving friend and ornamented surfaces and the solidity of furnishings made
a green space on the neglected back terrace. But mastering the to last.
domestic arts has never been a life goal. Though Steinem has “Obviously I’m not a modern person—” She laughs at herself
occupied this apartment for 58 years, many of them have been and tries again. “There’s a kind of antiseptic furniture look I
in absentia as she’s flown off to rallies, speaking engagements, would not love,” she ventures. Hallworth is the latest in a daisy
and, repeatedly, to Africa and to India, whose culture and chain of capable women who have helped Steinem with her
homegrown protest movements fueled her early thinking apartment, including Filippa Naess, a British interior designer
about social activism. who kept an eye out for colorful auction finds; Irene Kubota
Neves, a writer and passionate gardener; and Laura Emrick, a
HOW DOES THE IDEA of home resonate with her these days? decorative painter whose handiwork spans walls, cabinets, and
“Since I never married and had children, it may mean the primary bedroom ceiling. Hallworth’s mission was decid-
something different to me, I don’t know,” Steinem muses. “It’s edly more boots-on-the-ground.
gained meaning over time. I made a home for myself. But “To be honest, when I walked in, my first thought was, What
it took a while to learn that I didn’t have to live out of boxes are we doing even touching this?” she admits. “Shouldn’t we
and suitcases.” just be getting out some quick-dry glue? Because it just felt so
Steinem’s childhood was an itinerant one, with summers personal, and aged to perfection. But the reality was that the
spent at the lakeside dance hall her father owned in Michigan. infrastructure needed fixing.”
A change in the weather would prod the family to load up a Hallworth’s primary focus was on the bathrooms and the
house trailer and move on to Florida or California. “I remem- ground-floor kitchen, where, after replacing some plumbing,
ber driving, looking at houses with yards and fences and she added custom cabinetry painted aubergine, Calacatta Viola

ARCH DI G E S T. CO M 181
 “To be honest,
when I walked in, my
first thought was,
What are we doing
even touching this?”
Jane Hallworth admits.
“Because it just
felt so personal, and
aged to perfection.”
LEFT IN THE GROUND-FLOOR ARE BY VISUAL COMFORT & CO.
BATH, A 19TH-CENTURY WHITE (EMBELLISHED WITH CUSTOM
MARBLE SINK FROM PITTET BRONZE BUTTERFLIES BY
ARCHITECTURALS WITH HALLWORTH). CUSTOM SHOWER
WATERWORKS FITTINGS STANDS CURTAIN BY SIMEONA LEONA
BETWEEN CUSTOM CABINETRY OF LEWIS & WOOD’S WILD THING.
BY EDMUND LEWIS WITH BELOW PIERRE YOVANOVITCH’S
DECORATIVE PAINTING BY LAURA “GLORIA” CHAIR HOLDS A
EMRICK. HALLWORTH’S HAUNT REPOSITORY OF ARCHIVAL
LIGHT FIXTURE HANGS FROM CASSETTES BEING PRESERVED
THE CEILING, AND THE SCONCES BY STEINEM’S FOUNDATION.

marble countertops around a farmhouse sink, and a new

Fisher & Paykel range. In the master bath, peacock blue Clé
tiles pave an arched bathing nook curtained in a sprigged floral
from Una Malan. But the walls here and throughout are very
much Steinem—a memory palace of images of family, friends,
and the courageous women who have shared her beliefs
in the feminist cause. Her bedroom is equally personal, with
bookcases everywhere, Ralph Lauren bayadere-striped fabric
on the walls, and her signature aviator glasses heaped on a
bedside. Did Hallworth intervene here? “No way!” she says.
“Gloria’s bedroom is so punk rock. I wouldn’t.”
Steinem has long-term plans to make her home a place
where women can gather for discussion and occasional refuge.
For now, she’s working on a new book here and finding it hard
to narrow down her topics. There is so much to say.
“What we expect influences reality,” she maintains, explain-
ing her unfailing optimism that one day, equality—for women
and for all those denied basic human rights—will be attained.
Another reason for her optimism might be congenital, she says:
“It’s just the way I am.” And she’s still at it, surrounded by young
women reanimating her gifts for speaking truth to power for
new times.
A few nights from now, Steinem and the photographer
Annie Leibovitz, a good friend, will throw a political fundrais-
ing dinner here. “I’m not cooking,” Steinem adds, just in case
anyone might misconstrue.
The caterer they’ve chosen has a female CEO.

182 A R C H D IG E S T.COM
 ANOTHER VIEW OF THE PRIMARY BEDROOM. A PAIR OF PHOTOGRAPHS BY
HANS SILVESTER IN A CUSTOM-PAINTED FRAME BY LAURA EMRICK HANGS ABOVE THE FIREPLACE.
ART: © HANS SILVESTER/GALLERY RETOUR DE VOYAGE
 IN THE DINING ROOM, A SET OF
CIRCA 1945 CHAIRS ATTRIBUTED
TO MAURICE JALLOT SURROUND
A SUTTON ROUND TABLE WITH
LAZY SUSAN BY BILL SOFIELD FOR
BAKER. FOUR-TIER ANTIQUED
NICKEL AND BEADED PENDANT
LIGHT HANDMADE IN ITALY; WALLS
CLAD IN LEATHER PANELS; CUSTOM
HAND-KNOTTED SILK AND WOOL
AREA RUG. OPPOSITE KELLY RIPA,
IN A SAINT LAURENT CARDIGAN,
DOLCE & GABBANA SKIRT, AND
GIANVITO ROSSI PUMPS, AND MARK
CONSUELOS, WEARING A LORO
PIANA POLO SHIRT, RALPH LAUREN
PURPLE LABEL TROUSERS, TOM
FORD BOOTS, AND A ROLEX WATCH,
IN THE KITCHEN. FASHION STYLING
FOR RIPA BY AUDREY SLATER
AND FASHION STYLING FOR
CONSUELOS BY GRANT KINSAUL.
 VIVA
RIPA: FASHION STYLING BY AUDREY SLATER; HAIR BY RYAN TRYGSTAD; MAKEUP BY SCOTT BARNES.

GLAM
CONSUELOS: FASHION STYLING BY GRANT KINSAUL. ART: MARY MCCARTNEY.

Evoking Art Deco glory, the

Studio Sofield–designed NYC
residence of Kelly Ripa and Mark
Consuelos is a home for the ages
TEXT BY CATHERINE HONG
PHOTOGRAPHY BY DOUGLAS FRIEDMAN STYLED BY ANITA SARSIDI
T here’s a glamorous chaise longue
smack in the middle of Kelly Ripa
and Mark Consuelos’s bathroom.
With its tufting and plush white
upholstery, it’s the kind of piece
you’d imagine a femme fatale
lounging on in a 1940s MGM
picture—and in fact that was sort
of its inspiration.
“You know the movie Mommie Dearest?” says Ripa, who
since April 2023 has cohosted ABC’s morning show Live with
Kelly and Mark with her husband, Mark Consuelos, after her
more-than-two-decade run with previous cohosts. “There’s an
amazing scene where Faye Dunaway playing Joan Crawford is
lying on a white satin chaise in her dressing room, putting
lotion on her elbow.” To demonstrate, she daintily raises her
left elbow and, with the pointer finger of her opposite hand,
mimics Dunaway’s lotion-applying gesture with the exagger-
ated theatricality of an old-time Hollywood diva. “I had Bill
BARBARA KRAKOW GALLERY / ARS, NEW YORK / DACS, LONDON
ART: © JULIAN OPIE, COURTESY LISSON GALLERY /

make me an identical replica of it!”

186 A R C H D IG E S T.COM
 ABOVE IN THE LIVING ROOM, A PAIR OF CUSTOM SOFAS UPHOLSTERED IN BROCHIER’S TUUL WOOL FABRIC FACE EACH OTHER
ACROSS A CUSTOM COFFEE TABLE BY NANCY LORENZ. A CERAMIC URN LAMP FROM FORTUNA MODERNISM STANDS ON A BRACKET
NEXT TO THE BESPOKE MEDIA CABINET. OPPOSITE THE ENTRY FEATURES A CIRCA 1870 NAPOLEON III SECRETARY.
 RIPA, IN A GUEST IN RESIDENCE
SWEATER, VINCE SKIRT, AND
GIANVITO ROSSI PUMPS, AND
CONSUELOS, WEARING A DOUBLE
RL SWEATER, CANALI JEANS, AND
ROLEX WATCH, IN THE MEDIA
LOUNGE. CUSTOM BLACK LACQUER
FOLDING SCREEN IN THE MANNER
OF EILEEN GRAY; FRANCIS
JOURDAIN FLOOR LAMP FROM
FORTUNA MODERNISM; BESPOKE
SLEEPER SOFA UPHOLSTERED IN
DUALOY LEATHER; FIBER OPTIC
COCKTAIL TABLE FROM ARTS DU XX.
CLOCKWISE FROM ABOVE
1950s BAGUÈS SCONCES
FLANK A BRONZE MIRROR
FROM ANNIE SOFFIETH-
SPITZER GALLERY IN THE
POWDER ROOM; SINK
FITTINGS BY BILL SOFIELD
FOR KALLISTA. A CUSTOM
SIGN BY LET THERE BE NEON
GLOWS IN THE DAUGHTER’S
ROOM. A PAIR OF WARREN
PLATNER STOOLS FROM
KNOLL STANDS AT THE FOOT
OF A BED IN A SON’S ROOM.
ART: JESSE ALEXANDER/STALEY-WISE GALLERY,
NEW YORK. JOHN OPELLA.
 The Bill she’s referring to is AD100 Hall of Fame interior his as actor and producer—to their current status as cohosts,
designer William Sofield, the jovial godfather of modern luxury becoming both sanctuary and stage set along the way. Over
whose clients have included Tom Ford and Ralph Lauren. Ripa the years fans have caught glimpses of the ultra-elegant town
and Consuelos brought on Sofield and his creative right hand house on Instagram—their three children Michael, Lola, and
and vice president at Studio Sofield, Emma O’Neill, to renovate Joaquin in front of a gigantic Christmas tree, the dogs snuggled
their Upper East Side town house when they purchased it in the couple’s bed, Ripa baking cookies in the gleaming
12 years ago. At the time, Sofield warned the couple that ham- kitchen. “I’ve spent my life growing up on sets,” says Ripa.
mered satin, while “absolutely drop-dead glam,” was not the “So I like a bit of dazzle. Give me a show.”
most practical choice for upholstery, but did as the couple bid.
Thrilled about her Joan Crawford fantasy, Ripa admits she WHEN THE COUPLE first viewed the newly renovated five-
got a little carried away. Not long after moving in, she con- story building, on a block of historic brick and limestone town
fesses, “I sat down on the chaise to apply some lotion, kind of houses, Ripa was ready to move in immediately. “I was like,
as a joke, but when I put my leg down I basically destroyed ‘It’s perfect, just hand me my toothbrush.’ ”
the entire surface!” The chaise had to be recovered in a less But Consuelos saw past the bright, somewhat stripped-
delicate cotton silk, which remains in place today. “I learned down spaces of what he calls “essentially a spec house.” He
my lesson,” says Ripa cheerfully. envisioned something grander: gracious moldings, a more
Fortunately, that moment was the one pratfall in a project dramatic staircase, and practical solutions for their kids, then
that, a decade after completion, has held its own. “We re- in their teens and tweens. “We needed a place for all the
covered the kitchen stools but otherwise we have not really scooters, bikes, and sports equipment,” he says.
changed anything,” Consuelos notes. The couple famously met Sofield proved to be the ideal collaborator for their vision
in the 1990s as actors on the set of All My Children. This house of 1920s and ’30s French glamour configured for modern
has witnessed their evolution from separate careers—hers as family living. This balance is evident the moment you step into
morning show host and producer (as well as other projects), the foyer, where Sofield designed twin Deco-style armoires
A WATERWORKS CANDIDE TUB
WITH SAMUEL HEATH FILLER
ANCHORS THE PRIMARY BATH.
OPPOSITE IN THE PRIMARY
BEDROOM, A CUSTOM BED
UPHOLSTERED IN A CHRISTOPHER
HYLAND FABRIC SITS IN A SILVER-
LEAFED NICHE. CIRCA 1920
SWEDISH CHANDELIER; FRENCH
ART DECO CERUSED OAK DESK;
ROSEWOOD AND SHAGREEN CHAIR;
HAND-KNOTTED SILK AND WOOL
CARPET FROM BEAUVAIS CARPETS.

deep enough to store the family’s outdoor gear. “And we don’t tones of silvery gray from the plush wall-to-wall carpet to
wear shoes in the house,” explains Ripa. So Sofield also created the wall niche hand-gilded in silver leaf. Vintage sconces,
a beautiful storage cabinet for shoes and guest slippers. salvaged from a decommissioned ocean liner, cast a romantic
Many of the home’s most distinctive pieces were discovered glow. “It’s so nice, sometimes I will come home and lie right
during a memorable shopping expedition they took with Sofield on the floor,” Ripa admits.
to Paris. “I’m an animist,” the designer explains. “I believe The top floor marks a deliberate departure from the house’s
objects have souls and tell stories. So I love when my clients are predominantly Deco aesthetic. Here, the media room (a.k.a.
participants.” The trip proved fruitful: Many of the house’s Consuelos’s cigar room, “Bar 5”) channels a more hedonistic
stunning crystal chandeliers, decorative objets, and Art Deco 1970s vibe with deep blue lacquered walls, a fiber-optic cocktail
furniture pieces were Paris finds. table, and artwork hung salon-style. The pièce de résistance is
The designer’s mastery of materials and detail is on full a backlit bar nook, curtained in midnight-blue velvet with a
display in the public rooms. In the chic living room, where whimsical painted cigarette motif overhead. “What’s so ironic,”
Sofield added picture-frame molding to the walls and finished notes Ripa, is that “Mark doesn’t allow cigarette smoking.”
them in hand-rubbed lacquer in three subtly different shades “Because I hate the smell of cigarettes!” Consuelos avers.
of beige, a painting by Gloria Vanderbilt keeps company with “By the way, we installed an amazing ventilation system,” Ripa
a cobalt blue Sèvres urn and a pair of 18th-century Aubusson adds. “You would never know anyone ever smoked in here.”
tapestries. “At first we were sort of dubious on the idea of tap- Now, with their youngest son, Joaquin, a senior in college,
estries,” says Consuelos. “I was like, we’re still young people!” the couple has entered their empty-nesting phase. But they’ve
But Sofield found beautiful, if timeworn, examples that could kept the kids’ rooms almost exactly as they left them, all the
be rewoven and sized perfectly for the room. “They are super more to encourage visits. And they themselves have no plans
groovy,” Consuelos admits now. to ever leave. “I don’t want to sound morbid,” says Ripa, “but
Their primary bedroom, meant to evoke a luxurious hotel they’ll have to carry me out of here feetfirst because I have
suite, is perhaps the most seductive space of all, enrobed in gotten good and comfortable in this house.”

ARC H DI G E S T. CO M 191
grand finale

Lip Service
At restaurant Bisous in the De Pijp neighborhood of never one to skimp on theatrical effect—added red
Amsterdam, AD100 designer Jean-Philippe Demeyer velvet curtains with golden tassels worthy of an opera
has once again donned his magician’s cloak to conjure house, cut-mirror columns that sparkle like disco balls,
REINIER VAN DER AART

a delirious, madcap interior alive with color, pattern, and unapologetically démodé stair runners stitched
and myriad cultural references. The walls of the together for banquette upholstery and carpets. “The
lofty space are wrapped in a Mondrian-like fabric that owners wanted a restaurant with a nightclub feeling,
pays homage to the preeminent Dutch artist, while as many do now, so I had to go all the way,” Demeyer
illuminated concrete lip sculptures on the walls make muses. “It’s meant to be a real experience, a form of
explicit reference to the French eatery’s name, which escapism, an atmosphere that transports you.” Mission
means kisses. Against that zany backdrop, Demeyer— accomplished. bisous-official.com —MAYER RUS
THE ART OF SAUNA KLAFSUSA.COM