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Architectural Digest  The International Design Authority.

Since moving his studio a decade ago to a nondescript building in Red Hook, Brooklyn, artist Urs Fischer has directed a complete overhaul. Ten skylights now help brighten the 20-foot-tall main room. From the elevated kitchen and dining area, reached by an elegantly minimal wooden staircase, Fischer has a master-of-the-universe view of works in progress: models of abstract, hand-squeezed clay sculptures that will scale up to 45 feet; tables covered with snail shells that he’ll program to crawl on the floor, leaving snail-trail drawings of faux mucus. Houseplants abound, and a glass wall opens onto a garden, formerly a truck lot. “Thoughts need room, too,” Fischer says. A long, low bronze velvet sofa stretches along one wall, looking like it was hijacked from a downtown club. Tables and chairs are dotted throughout, some, like a red-and-gray-checked example, of Fischer’s own design. In the enormous back room, which his staff refers to as “Urs’s studio,” a corner is given over to his extensive library, pictured here, along with a cozy grouping of curvy, pale-gray couches and chairs by @massproductions. One chaise longue is draped with a blanket, his preferred spot for napping. Above the library, an abstract work by Spencer Sweeney adds vibrancy to the warehouse. Visit the link in our profile to see more of the artist’s studio. Photo by @yoshihiromakino; text by Julie Belcove

Designed by Tony Ingrao and Randy Kemper, the Manhattan townhouse of art collectors @allisonkan and Warren Kanders is a master class in creating a space that showcases art but still feels welcoming. Yes, the walls are white, but here they are Venetian plaster, with a subtle sheen. There are broad expanses of wall filled with major works, but the large spaces are broken up with intimate seating groups. The often-changing array of artworks includes pieces by @jeffkoons, Yayoi Kusama, Laura Owens, Gabriel Orozco, Roni Horn, David Hammons, and Gerhard Richter, among many others. The roster of furnishings is just as impressive, with designs by Pierre Jeanneret, Pierre Paulin, Maria Pergay, and Marc Newson. But as Ingrao points out, “The furnishings mix with 18th-century fabrics and hand-embroidered pieces. There are lots of textures, but nothing so showy it competes with the art.” Upstairs, hand-hewn oak cabinetry lines the passageways to the bedrooms, which are studded with even more art, including the children’s bedrooms. “The kids love this place,” says Allison. “And now they are at an age when they can appreciate it. The one rule is, Do not touch the art!” she adds with a laugh. The master bedroom seen here, a sanctuary of white, is cocooned with curtains of a thick-woven @isabelmarant wool, evocative of macramé—but far more elegant and luxurious. A Chapas textiles fabric covers a vintage Carlo Hauner chaise longue, and a @kohroitaly fabric covers the Jacques Adnet bed. The custom side tables are by Ingrao in collaboration with @basedupon, and the artworks by Richard Prince (left) and Lutz Bacher. See more of the townhouse through the link in our profile. Photo by @thomasloof; text by @michaelboodro; styled by @howardwchristian

“There are people here all the time, which is how we like it,” says designer @nikolaihaas of the home he shares with fashion stylist @djunabel and their newborn son, Fox. “The house is made for awesome parties, cooking and eating, and just hanging out with friends.” The transformation of the residence—accomplished largely by Haas and his friends carpenter @laurenmollica and furniture-maker @johnpopedesigns—involved removing unnecessary walls, adding decks and gardens, and redoing the floors and fixtures, all in the service of making it more amenable to socializing and enjoying the great outdoors. Hints that the space was crafted by a Haas are not hard to find. All the stonework in the kitchen, bathrooms, and decks was made with the same pele de tigre marble that Haas and his twin brother, @simonjhaas, use to fabricate the sprightly furniture, fixtures, and sculptures that, at least in part, have elevated the duo to superstar status in the contemporary-design world. On the back deck pictured here, Haas designed the custom curved sofa. Take a tour of the home via the link in our bio. Photo by @jasonschmidtstudio; text by @mayer.rus; styled by @michaelreynoldsnyc

For more than three decades, philanthropist Eileen Harris Norton has issued a clarion call for greater diversity in the world of contemporary art. Beginning in the late 1980s, Norton and her ex-husband, Peter (of Norton AntiVirus fame), began assembling a cutting edge art collection with strengths in African-American, southern California, and women artists. Their patronage, through the Norton Family Foundation, extended into the arenas of politics, environmentalism, and social services. In the 1905 Craftsman home she lives in with her two children, Norton was challenged to find new ways to display her vast collection. “We moved from a very contemporary house with high ceilings and gallery-like spaces where you could hang just about anything,” recalls Norton. “Installing contemporary art in a classic Craftsman was a bit trickier, but it worked,” she adds. For the past six years, Norton has worked with decorator @nellalano to refine and reimagine her home. One of the triumphs of Alano’s ministrations is the renovated nook just inside the entry, beneath the staircase and a floating @frankgehry fish sculpture, pictured here, specially commissioned for the project. Originally used as an orchestra stand, where musicians would serenade guests as they arrived, the cozy space is now outfitted with an antique writing desk from Norton’s family paired with a nineteenth-century Swedish chair. Visit the link in our profile to see more of the home. Photo by @stephenkentjohnson; text by @mayer.rus; styled by @michaelreynoldsnyc

What any bar owner will tell you is that it’s not hard to make a drink. Rather, what’s difficult is cultivating an environment that embraces eye-catching design. When this design is done well, it sets the bar into an echelon of its own, bringing in locals and design lovers alike. Borrowing inspiration from eclectic pockets around the globe as well as the infusion of arts-oriented boutique hotels, the best-designed bars in the U.S. epitomize the fact that slipping into a lounge for a drink doesn’t have to be ordinary. The Candy Bar at the @thesirenhotel designed by @ash_newyork, pictured here, hearkens back to retro Detroit, specifically its jazz clubs, and is awash in pink, made even more dramatic under dim lighting. Discover the most beautifully-designed bar in each state of America through the link in our profile. Photo regram @thesirenhotel; text by @kristineahansen

"Spending time in here, especially in the evenings, it doesn't feel like an apartment—it feels like a house," Charlie Ferrer ( tells #ADPro inside Cary Tamarkin's newest luxury development at @555westendavenue. "It’s not a typical Tamarkin project," Ferrer continues. "It’s uptown; it has some classical details." This differentiation is, in part, due to the building's history: Built in 1908 by the architect William A. Boring (it's anything but), the structure served as a Catholic boys school until Tamarkin bought it. Boring's Gothic architecture makes for tall ceilings, wide windows, and intricate façade details. It's this storied past that drew Ferrer —a vintage enthusiast—to the project, his first ever model unit. Of course, there was much work to be done by Tamarkin before that. "We wanted it to be big enough to be a real, classic apartment," says the architect-developer. "But, we wanted a design to make sense." So, Tamarkin and his team carved out a floor plan that makes the most of the building's light in the common areas and then sequesters off the private living quarters. "It’s very important to us that things either line up or are kind of purposeful," Tamarkin says. Ferrer's layered, thoughtful, and comfortable style is the perfect balance for the apartment's architectural grandeur. In the living room, for example, where the designer has managed to make the tall-ceilinged, light-filled space feel intimate without letting its proportions go unnoticed. "I wanted to create the ability to entertain on a large scale, but to also have a sense of intimacy," Ferrer explains "We did that by defining different areas with multiple layers of floor coverings. Then there’s flexibility in the furniture." Take a closer look inside the model unit on #ADPro through the link in our profile. Photo by @joshuamchughphotography; text by @hadleykeller

Perennial life of the party, designer @kenfulk is not someone you might immediately peg as the churchgoing type. But the devout sybarite has founded his own congregation at Saint Joseph’s Arts Society—a new San Francisco hot spot (part members’ club, part retail concept, part cultural center) set inside a 1913 cathedral. “We watched for years as the building fell into decline,” Fulk recalls of the long-vacant Romanesque Revival landmark, which he routinely passed on the way to work before buying it in 2016. “It was breathtaking but decrepit. We had to save it.” Restored with the help of California architecture firm @pageturnbull, the structure shines again, with refreshed finishes, repaired stained-glass windows, and a freestanding mezzanine that adds 9,000 square feet. The entry vestibule now serves as retail space, with the likes of publisher @assouline and apothecary @officine_universelle_buly alongside Fulk’s own finds; the mezzanine houses the first permanent West Coast outpost of @carpentersworkshopgallery; and on the third level, Arts Society subscribers can access a private bar and lounge. Communal gathering spaces, meanwhile, fill the nave, which beckons guests toward the performance-ready apse. Fulk says it best: “I wanted the church to represent us on our brightest day—who we are as artists, what we can give back to the world.” Visit the link in our profile to take a tour of the space. Photo by @thefacinator; text by @cochransh

Flashback to 1947: American designer George Nelson became obsessed with a spherical lamp. “I wanted one badly,” he once wrote of the Swedish-made light, its wire frame sheathed in silk. “We had a modest office and I felt that if I had one of those big hanging spheres from Sweden it would show that I was really with it, a pillar of contemporary design.” When he came across one in an imports store, its price—$125—was more than he could pay. As he studied it, though, a newspaper photograph came to mind—a fleet of ships being sprayed with a self-webbing plastic for preservation during storage. “Whammo!” he wrote of the epiphany, and within 24 hours he had crafted a spherical metal frame and tracked down the maker of that spiderweb-like plastic. “By the next night we had a plastic-covered lamp, and when you put a light in it, it glowed, and it did not cost $125.” By 1952, William Renwick, an associate in Nelson’s office, had tailored the idea into the streamlined design that went off to manufacturer Howard Miller Clock Co. to be produced. Soon after, Charles and Ray Eames hung one in their Pacific Palisades living room (pictured here), and modern America followed suit. In no time, the so-called Bubble Lamp was floating—first the spheres and later a variety of shapes and sizes—across the country. Read more about the history of the iconic design through the link in our profile. Photo by @timstreetporter © @eamesoffice; text by @_h_mart_

Jorge Pardo loves to build. And the Cuban-born artist, who divides his time between New York City and Mérida, Mexico, has been doing it a lot lately. This fall he’s put the finishing touches on a sprawling, inventive compound for the publisher @benedikttaschen in Malibu, and on @larlatan, an exuberant hotel in Arles, France, commissioned by the Swiss pharmaceutical heiress and art patron Maja Hoffmann. And then there’s Pardo’s own place, a walled oasis in the Yucatán capital. Mérida, where he set up a studio in 2013, suits the artist’s love of both scale and artisanal workmanship. Here, for example, he can source traditional ceramic tiles, one of his most cherished materials, cut and colored to his limitless, unbridled specifications. “It’s like a playground for me,” he says. A Pardo signature seen throughout the compound is the floors reimagined as abstract paintings, designed on the computer and carefully reproduced underfoot using vibrant ceramic tiles. Pardo worked from a palette of six or seven colors in the different buildings, giving each its own character. A staircase and terraces in the bedroom block seen here, for example, are made up of celestial pale blues and greens, suggesting a borderless dimension between garden and sky. Take a tour of the property via the link in our profile. Photo by @jasonschmidtstudio; text by @evemacsweeney

Designer @nikolaihaas and fashion stylist @djunabel’s house is almost unrecognizable from the dated 1985 structure the couple purchased in 2015. The transformation of the residence—accomplished largely by Haas and his friends carpenter @laurenmollica and furniture-maker @johnpopedesigns—involved removing unnecessary walls, adding decks and gardens, and redoing the floors and fixtures. Of course, hints that the space was crafted by a Haas are not hard to find. All the stonework in the kitchen, bathrooms, and decks was made with the same pele de tigre marble that Haas and his twin brother, @simonjhaas, use to fabricate the sprightly furniture, fixtures, and sculptures that, at least in part, have elevated the duo to superstar status in the contemporary-design world. The indulgent, marble-clad master bathroom, which looks out on the Angeles National Forest and San Gabriel Mountains, represents a true meeting of the minds for Haas and Bel. “We wanted it to feel like a spa experience. We both love taking nice, long baths, either in our bathroom or in the marble tub on the back deck. We like to pamper ourselves,” says Haas. Above the vanity, Venini Murano glass sconces by @studiojobofficial mimic the curvature of a @thehaasbrothers stool from @randcompanynyc. Visit the link in our profile to see more of the home. Photo by @jasonschmidtstudio; text by @mayer.rus; styled by @michaelreynoldsnyc

As the business partner to the late decorator Tony Duquette, interior designer @huttonwilkinson became the owner, creative director, and president of Tony Duquette Inc. when Duquette died in 1999. Subsequently, he and his wife Ruth moved into Dawnridge, the fabled Beverly Hills home where Duquette and his wife had resided since 1949. In his latest book, “Tony Duquette’s Dawnridge,” (@abramsbooks), Wilkinson explores the importance of the home and chronicles the changes made since he moved in. “I bought the house to save its life after Tony died,” Wilkinson tells #ADPro contributor @catorsparks. “I then bought two more lots next door and added my house and then bought another home, formerly of an Italian diplomat. It's now a very complete property...The book seemed like the right idea. The house is such an icon and this is a way for everyone to see it, even though I can’t invite everyone over. Although sometimes it feels like I do!” When asked what Wilkinson has found most surprising about the house, he says, “The magazines call it the grandest house in Beverly Hills, but it is actually the smallest house. It was originally a 900-square-foot box, and while there are additions, it’s still not huge, but it does have a very large garden. It’s filled with found vegetation thrown out by rich gardeners. Tony would scour the neighborhood on his morning walks and bring all sorts of plants back. I remember when they were building Dodger Stadium, they were bulldozing the area and Tony sent a team to dig up all the yuccas, succulents, and cactus, and that was enough for his ranch in Malibu and for Dawnridge.” Read more from the interview on #ADPro through the link in our profile. Photo courtesy of @abramsbooks; text by @catorsparks

When artist Ugo Rondinone and his partner, poet John Giorno joined gallerist Barbara Gladstone on a scouting trip to a home that just came on the market in North Fork, Long Island, they weren’t really looking. “We already had a house in Sullivan County. This was just for fun,” recalls the Swiss-born, New York–based Rondinone. “But the view of the sound was unbelievable—an incredible panorama of water and sky.” After Rondinone acquired the property, his first impulse was to manipulate the structure to embrace the stunning view through expansive decks, glass walls, and windows. To that end, he enlisted the services of architect @neil.logan, who has worked with many artists. “Architecturally, the house was not very figured out,” Logan says with a touch of diplomacy. Inside, the mood is one of exquisite serenity and simplicity. Marine plywood furniture and cabinetry of Rondinone’s design—like this bathroom vanity—are juxtaposed with old farm tables and chairs as well as eccentric Louis XV–style antiques stripped of gilding and paint and seemingly bleached by the sun. “The house still looks a little too minimal, but it will continue to grow and evolve,” he says, surveying his domain. “But it’s a perfect place to sit and do nothing. It’s not about entertaining a houseful of people. Right now it’s something private, just for us.” Visit the link in our profile to see more of the home. Photo by @jasonschmidtstudio; text by @mayer.rus; styled by @martinrbourne

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