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Architectural Digest  The International Design Authority.

“I wanted something that felt more like a house than a standard L.A. production office,” says @pamelashamshiri of the Spanish Colonial–style building she and brother Ramin chose for the new office of their #AD100 firm @studioshamshiri. The designer and her team drew inspiration for the work space from far-flung sources: the American Academy in Rome (arches, arches, arches); architect Paul Rudolph’s own office in Sarasota, Florida (multiple level changes); and the deconstructed Mission style of various projects by early California modernist Irving Gill (tile floors and more arches). References to residential design are more than mere stylistic choices. “We proceeded from the simple idea that a good, welcoming space would inspire good work. We all spend so much time in the office that it just made sense to re-create some of the comforts of home,” Ramin explains. A RAAK glass chandelier hangs in the reception area where a Roy McMakin wingback chair, @bddw_etc table and African three-legged table by John Dickinson for @sutherlandfurniture create a welcoming ensemble. Visit the link in our profile to see inside the office. Photo by @trevortondro; text by @mayer.rus

Practice what you preach. Walk the walk. Put your money where your mouth is. @pamelashamshiri and Ramin Shamshiri, the fetching sister-and-brother partners in the #AD100 Los Angeles design firm @studioshamshiri, are doing all of the above in their dynamite new office on Sunset Boulevard. Flooded with natural light and serious charm, it redefines the concept of the creative workplace. The Spanish Colonial–style building that houses the Shamshiris’ burgeoning enterprise was erected circa 1928 by silent-film cowboy Fred Thomson and his wife, pioneering screenwriter Frances Marion. When it opened, the structure was known, rather romantically, as the Court of Olive. The Cat & Fiddle restaurant and pub, a classic Tinseltown watering hole, inhabited the space for three decades before it closed in that location in 2014. “I had really hoped for a place with a bit of Hollywood history, and I’ve always loved Spanish Colonial,” Pamela says of her dream location. “I wasn’t interested in an old warehouse or manufacturing space with a bow-truss ceiling. I wanted something that felt more like a house than a standard L.A. production office.” The designer and her team drew inspiration for the work space from far-flung sources: the American Academy in Rome (arches, arches, arches); architect Paul Rudolph’s own office in Sarasota, Florida (multiple level changes); and the deconstructed Mission style of various projects by early California modernist Irving Gill (tile floors and more arches). “We proceeded from the simple idea that a good, welcoming space would inspire good work,” Ramin explains. Take a look inside the space through the link in our profile. Photo by @trevortondro; text by @mayer.rus

Scottish architects Robert and James Adam designed some of the grandest homes in late-18th century Britain, where their elegant interpretation of neoclassicism—dubbed the “Adam style”—was synonymous with sophistication. The surviving Adam houses are among London’s most sought-after properties. Swiss philanthropist and art patron Maja owns two, having bought the first in 2006 and then its next-door neighbor two years later. Working with the Iranian-born #AD100 architect and interior designer @indiamahdavi, Hoffmann, an heiress to the Hoffmann–La Roche pharmaceutical fortune, transformed the first house into a family home for herself, her partner, the film producer Stanley F. Buchthal, and their two children. The second house was turned into her work space and a place where she hosts dinners for the @tate, @serpentineuk Galleries, and other art institutions she supports in a vast drawing room with a gilded-copper ceiling in which the artist Rudolf Stingel has installed a spectacular series of carpets. Both houses are filled with works by Stingel and other artists in Hoffmann’s lovingly assembled art collection, including Isa Genzken, Sigmar Polke (pictured here above the mantel), and @wolfgang_tillmans. Standing alongside the art is furniture designed by modernist pioneers such as Charlotte Perriand and Jean Royère (whose armchairs and sofa seen above), mixed with contemporary pieces by Martino Gamper and the Bouroullec brothers.
“This is a beautiful house with lots of people, and a beautiful house when you’re here by yourself,” says Hoffmann. “It’s vast and very vertical, but it’s also cozy, intimate, and always luminous. It’s odd to say this of a London house, but its warmth and light always make me think a little of Naples.” To see more of the home, click the link in our profile. Photo by @francoishalard; text by @alice.rawsthorn

“High style in the country cracks me up,” says #AD100 designer @milesredd, who was tapped by a young family to decorate their rural getaway outside of Houston, TX. The homeowner, @baileyquin McCarthy informed him that she wanted her family—her husband, Pete and their two young children—to live in a casual, quirky Wes Anderson film set, and Redd was totally on board. “It ended up just the way she wanted it,” Redd says. “A little bit Anderson, with nods to Texas and a smattering of old lady, and everybody knows I love chic-old-lady style. Basically, it’s a big, happy, fresh, light family house.” As for the bubbly decor, “just because we’re in the country doesn’t mean the rooms have to look country,” Bailey says. “The house doesn’t have to prove itself.” A guest bedroom is thickly hung, indeed practically paneled, with an heirloom collection of arrowheads that are arranged within glossy wood frames. Four-posters, all dressed in @biscuithome wares, are voluptuously curtained. The batik bedroom, pictured here, is covered in a weave by @pieceandco and bedding by @biscuithome. “It’s like everyone enters a fully realized world. My blood pressure drops when I pull in at the end of the drive from Houston,” Bailey continues. She also points out, with a laugh, that her favorite decorator’s effervescent settings have totally changed the way she dresses on weekends: “I used to wear yoga pants all the time; now I wear caftans.” Visit the link in our profile to take a tour of the home. Photo by @trevortondro; text by @adaesthete; architecture by @curtisandwindham; styled by @howardwchristian

Nineteen years ago, the Manhattan gallerist @seankellyny and his wife, Mary, visited what their real-estate agent described as the most beautiful piece of land in Columbia County, NY, albeit a property no one would ever want to buy. “It took us hours walking through the woods to find it,” Sean recalls. “It was all virgin forest. Finally we did—and there was no view.” Or so it seemed. After climbing to the top of a pine tree, Sean pulled back the foliage to discover a panorama seemingly unchanged since the time of the Hudson River School painters, with rolling hills and vast swaths of farmland. (He also realized that the tree, half dead, was cantilevered over a precipitous drop.) Safely back on the ground, he and Mary offered to buy the property on the spot. That vista has since set the stage for the Kelly family’s modernist compound, designed with the help of their longtime friend @toshiko.mori. “There is something very spiritual about the land,” says the #AD100 architect, who in 2009 completed the main house, an orthogonal assemblage of glass and aluminum-foam panels. Sean and Mary, meanwhile, continued to walk the woods, eventually buying an adjacent parcel that overlooks the treetops and lake beyond. “We told Toshiko we wanted the opposite of the house, something with very little light, something peaked,” reflects Sean. Together they came up with the idea of an extruded barn, whose 140-foot-long form reminded him and Mary of the 14th-century tithe barn in Bradford-on-Avon, England, not far from where they grew up. Visit the link in our bio to see inside the completed art-filled barn. Photo by @iwanbaan; text by @cochransh

Elaborate lookbooks, beautifully bound, are prepared at the start of every @dimorestudio commission—compilations, co-founder Britt Moran adds, of “sensations, poetry, and images that act as a style guide, with disposition of the pieces of furniture, how the spaces are going to work, the fabrics, and the colors.” @dsquared2 designers Dean and Dan Caten were smitten with the firm when they brought them on to reimagine their London townhouse, though with reservations. “A pumpkin-colored room with a blush-pink ceiling? Hmmmm. I don’t know about that,” Dan recalls. “Sometimes they can be very out there.” Says Dean, “You have to trust them.” Trust is why the kitchen has olive-brown cabinets offset by a pale sage-green floor, a combination, Dan admits, that “sounded weird to me, but when you see them together it works.” The home office, pictured here, is outfitted with Osvaldo Borsani chairs, a vintage desk, and a Stilnovo pendant lamp. See more of the home via the link in our profile. Photo by @paulraeside; text by @adaesthete; styled by @gianlucalongogg

“We wanted traditional London—modern isn’t what we were looking for,” Dan Caten says. It’s a comment that startles a bit, considering that @dsquared2, the fashion label that he and his brother Dean founded more than two decades ago, has always been more rock ’n’ roll than royalty. Instead, the Canadian-born identical twins wanted a classic example of local real estate but on their own terms. So they went looking in a west London area that Tatler once called “mistressy and the fact cannot be avoided”: Maida Vale, where Italianate houses painted the color of clotted cream have hosted kept women and sex scandals (Lord Lambton’s spectacular 1973 flameout, to name just one) since the late 19th century. One of those stolid buildings, facing Regent’s Canal in the Maida Vale enclave of Little Venice, is now the Catens’ own. Appropriately enough, given the inhabitants, it’s a semidetached, one half of mirror-image residences built around 1830. (Anjelica Huston lived next door as a teenager.) Despite the location, though, there’s not a single Anglo signifier in its revamped rooms—no chintz, no Chippendale, no rus in urbe cheerfulness. That comes as little surprise, given that the Catens asked friends Emiliano Salci and Britt Moran of Milan’s @dimorestudio to decorate the digs with the same cinematic moodiness that the #AD100 firm brought to @ceresio7, the celebrity-magnet bar and restaurant that crowns @dsquared2’s headquarters. “We try to come up with a story line for every project, and we really wanted to create this idea of two travelers and all the treasures they’ve brought back from various places in the world,” Moran says. Visit the link in our profile to see more of the project. Photo by @paulraeside; text by @adaesthete; styled by @gianlucalongogg

If there were a @milesredd fan club, @baileyquin McCarthy would be its president. “Embarrassingly, I am his superfan—I’ll own that,” she cheerfully admits, adding that she met her aesthetic idol when he finessed some rooms in her mother’s house a few years ago. “I used to be a decorator, but his work blows my whole mind.” That’s just what she told the #AD100 designer in an enthusiastic email in 2016, when she and her husband, Pete, were developing a rural getaway on 80-something acres in Bellville, about an hour northwest of Houston. She also informed him that she wanted her family—the couple has two young children, Grace and Harry—to live in a casual, quirky Wes Anderson film set but allowed that if “that is not your bliss, I’ll totally understand.” Redd took the bait. “It ended up just the way she wanted it,” Redd says. “A little bit Anderson, with nods to Texas and a smattering of old lady, and everybody knows I love chic-old-lady style. Basically, it’s a big, happy, fresh, light family house.” A guest bedroom is thickly hung, indeed practically paneled, with an heirloom collection of arrowheads that are arranged within glossy wood frames. Four-posters, all dressed in Bailey’s @biscuithome wares, are voluptuously curtained. Walls are paradisiacally papered, the dining room, for instance pictured here, with a classic Chinese Export garden motif by @degournay, and the powder room with a sprightly wall-to-wall collage of images that were snipped from vintage magazines and books. “A powder room should be a wild moment,” explains Redd, who worked on the house’s decor with colleague @davidkaihoi. To see more of the home, click the link in our profile. Photo by @trevortondro; text by @adaesthete; architecture by @curtisandwindham; styled by @howardwchristian

“Elegant eclecticism with a dash of playfulness and something unexpected” is the cri de coeur of #AD100 designer @brigetteromanek of @romanek.design.studio. Self-taught and wildly imaginative, Romanek first dipped her toes in the waters of interior design when she helped her friend @kellysawyer Patricof, cofounder of the nonprofit organization @baby2baby, outfit Patricof’s Malibu home. She hasn’t looked back since. Today Romanek has her hands full crafting sublime abodes for entertainment powerhouses on both coasts. (Not to mention her own impressive home in Laurel Canyon, seen here, and featured in AD). “In these stressful times, the idea of home as a personal oasis is more compelling than ever,” she insists. Visit the link in our profile to see the rest of the #2019AD100 list. Photo by @thefacinator

Ask @milesredd what kind of clients he gravitates toward, and old-fashioned terms pepper the conversation: people with moxie, with get-up-and-go, who have tongs in the fire. That would include Houston’s @baileyquin and Pete McCarthy—she’s the founder of a kicky bedding and lifestyle company called @biscuithome, and he’s a partner in a fizzy restaurant group called @goodnighthospitality. “They like pretty houses, good times, and entertaining,” the #AD100 New York City decorator says of the couple, adding, regarding his Texas commissions thus far, “The jobs are always fun, the worries are low.” The adoration is high, too: When Bailey and her husband were developing a rural getaway on 80-something acres in Bellville, about an hour northwest of Houston, she wrote Redd an enthusiastic email proclaiming her superfandom. She also informed him that she wanted her family to live in a casual, quirky Wes Anderson film set but allowed that if “that is not your bliss, I’ll totally understand.” The couple’s architect, William Curtis of @curtisandwindham Architects, was already one of Redd’s personal friends and professional collaborators, so the decorator was totally on board. Curtis conceived a simple center-hall farmhouse with five bedrooms in an architectural style he nonchalantly describes as “the dumbed-down Greek Revival we see a lot in central Texas.” Sheathed in white clapboard, roofed with tin, fronted by a spacious porch, and set within about one and a half fenced acres, the building is joined (“like a campus around a green,” Curtis says) by a couple of barns and the property’s original Victorian residence, fetchingly decorated by Bailey, which now serves as guest quarters. Imagine a town square created for one family and a seemingly endless stream of family and friends; 23 children under the age of seven swarmed the premises over the Labor Day holiday, plus 22 adults who cooked up a storm. “The house survived the weekend beautifully,” Bailey recalls. To see inside the home, visit the link in our profile. Photo by @trevortondro; text by @adaesthete; styled by @howardwchristian

When renowned art collector Maja Hoffmann secured two neighboring houses in London by the great Scottish architects Robert and James Adam, she tapped #AD100 architect and interior designer @indiamahdavi to transform them into a contemporary art haven. When Hoffmann found the first house, she was working with Mahdavi in southern France, where Hoffmann is building a cultural complex, Luma Arles, including a $175 million Frank Gehry tower. She had commissioned Mahdavi to design Villa des Alyscamps as a place where the curators and artists in what she calls her “core group” of advisers could stay. Renowned for her exuberant aesthetic, Mahdavi enlivened the stone walls and floors of the historic Provençal building with adroit splashes of color, and adopted a similar approach to Hoffmann’s austerely lovely Adam home. From the outset, she and Hoffmann knew that the original architectural features of both houses had to be preserved to meet conservation regulations. “The Adams’ houses are remarkable, with wonderful proportions and detailing,” says Mahdavi. “We’d have wanted to keep the original features anyway, as they are beautiful reminders of the houses’ history.” Mahdavi kitted out the kitchens (one pictured here with her custom cabinetry, tilework and curtains), and added expressive elements, such as a staircase wallpapered with one of Josef Frank’s vibrant floral patterns. To see the rest of the homes, click the link in our bio. Photo by @francoishalard; text by @alice.rawsthorn

A fresh breeze is blowing into the design world from the Bay Area office of the brilliantly idiosyncratic #AD100 designer @charlesdelisleoffic, who approaches his work from the perspective of a historian, craftsman, and modern-day arbiter elegantiarum. His influences range from Northern California luminaries William Wurster and William Turnbull to the radical design maestros of de Lisle’s youth in the 1980s. “The postmodernist work of Ettore Sottsass, Robert Venturi, and Denise Scott Brown is permanently branded in my imagination,” he says. “And I’ll never forget the first time I saw Philippe Starck’s Royalton Hotel. I still draw inspiration from his amazing ability to combine charming and crazy.” This is de Lisle’s debut on the #AD100 list, but his transformation of a classic midcentury home in San Francisco seen above was featured in AD’s October issue. Visit the link in our profile to see all the #2019AD100 honorees. Photo by @wabranowicz; styled by @michaelreynoldsnyc

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