Architectural Digest

Tags: analysis technology education science research innovation discovery experiment knowledge scientific method

ISBN: 0003-8520

Year: 2023

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Text

A PLACE AT
THE TABLE
our ultimate guide
to entertaining

fresh takes in Connecticut, Brooklyn,
Paris, London, Delhi, and more

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CONTENTS november

102

A CHILDREN’S ROOM IN A
LONDON TOWN HOUSE.

26 Object Lesson
Achille and Pier Giacomo
Castiglioni’s Taccia lamp.
BY HANNAH MARTIN

31 Discoveries
AD visits fabric maestro Peter
D’Ascoli’s kaleidoscopic Delhi
villa… Our guide to setting a
fabulous table… Louis Vuitton’s
latest It bag… Architect Michael
K. Chen updates a Manhattan
loft… Outdoor fabrics by Miranda
Brooks and Bastien Halard…
A father and daughter’s fresh
take on traditional Japanese
woodworking… Jamb launches
a line of mirrors… Bulgari
celebrates 75 years of the

AR C H D I GES T.COM

Serpenti collection… Ceramist
Jeremy Anderson’s lovable
lamps… Banana Republic
expands its reach with BR
Home… And more!

88 American Evolution
At their Connecticut country
escape, Jane Keltner de Valle and
Giancarlo Valle accentuate the
new in New England style.
BY MAYER RUS

102 Spark Joy
Tastemaker Caroline Sieber
puts her soigné stamp on
a lush town house in London.
BY DEREK BLASBERG

THE CONNECTICUT HOME OF
DESIGNER GIANCARLO VALLE AND
HIS FAMILY. “AMERICAN EVOLUTION,”
PAGE 88. PHOTOGRAPHY BY
STEPHEN KENT JOHNSON. INTERIOR
STYLING BY COLIN KING.

OBERTO GILI

24 Editor’s Letter

Bring your
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CONTENTS

THE LIVING ROOM
OF A COUNTRY HOUSE
IN CONNECTICUT.

ARTWORK BY BILLIE
ZANGEWA GRACES
A NEW LOUIS
VUITTON HANDBAG.

114 The Suite Life
In-demand young designer Hugo
Toro reimagines his 1960s-era
apartment in Paris as a globally
inspired retreat from daily life.
BY MARINA HEMONET

For best-selling author Suleika
Jaouad and Grammy-winning
musician Jon Batiste, home is a
Brooklyn house that celebrates
their heritage and their vision for
the future. BY SULEIKA JAOUAD

128 Brutalist Honesty

FOLLOW @ARCHDIGEST

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At London’s iconic Barbican
Estate, designer Bryan O’Sullivan
crafts a dreamy—and deeply
personal—home for his young
family. BY SAM COCHRAN

138 Grand Finale
Artist-designer Ashley Hicks’s
Sistine Chapel–inspired bath in
Oxfordshire. BY MAYER RUS

ARCHITECTURAL DIGEST AND AD ARE REGISTERED TRADEMARKS OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT © 2023 CONDÉ NAST. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 80, NO. 10. ARCHITECTURAL DIGEST
(ISSN 0003-8520) is published monthly except for combined July/August issues by Condé Nast, which is a division of Advance Magazine Publishers Inc. PRINCIPAL OFFICE: Condé Nast, 1 World Trade Center, New York, NY 10007. Roger Lynch,
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A R C H D I GES T.COM

INTERIOR: STEPHEN KENT JOHNSON. HANDBAG: ULRICH KNOBLAUCH.

120 Artists in Residence

YOUR PROJECT
IS OUR PRIORITY
Our showrooms are designed to inspire, with bath,
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IT TAKES TWO
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DESIGN INSPIRATION FROM THE ISSUE

Chef’s Kiss
Renovating his London apartment (page 128),
designer Bryan O’Sullivan finally got the kitchen of
his dreams—a feat of bespoke oak cabinetry and
richly veined marble—in which to cook for friends
and family. Crowd-pleasing dinners, of course,
call for carefully calibrated appliances. Here are
three new products to keep the party moving....
22

AR C H D I G E S T.COM

RINSE REPEAT
O’SULLIVAN ALSO DOUBLED UP ON
DISHWASHERS, CONCEALING A
PAIR BEHIND WOOD PANELING. FOR ALL
THE LATEST TECH, TRY GE PROFILE’S
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INTERIOR: JAMES MCDONALD. APPLIANCES: ALL COURTESY OF THE COMPANIES.

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editor’s letter
1. JANE KELTNER DE VALLE AND
GIANCARLO VALLE IN CONNECTICUT
WITH THEIR CHILDREN PALOMA
AND ROMAN. 2. DESIGNER HUGO
TORO IN PARIS. 3. CAROLINE SIEBER
IN LONDON. 4. DESIGNER BRYAN
O’SULLIVAN’S LONDON LIVING ROOM.
5. SULEIKA JAOUAD AND JON
BATISTE IN BROOKLYN. 6. WITH
GIANCARLO VALLE IN NYC.
2

In an issue packed with young, forward-thinking homeowners (several of whom
are themselves cutting-edge talents leading the way in architecture and interior
design), it may come as a surprise that a sense of history pulses so strongly through
these pages. Indeed, November’s theme is “Reinventing Tradition,” and, far from
being a conventional affair, our featured spaces exude an exciting energy and a
decidedly contemporary blend of old and new.
Consider the 1863 Connecticut house on the cover, the retreat of influential
AD100 designer Giancarlo Valle and his wife, Jane Keltner de Valle, a former AD
editor. “The house was well-loved, and you could feel the good energy,” says Jane of
the New England classic. “It had an unimposing formality that we tried to maintain.”
In-demand designer Hugo Toro shares his slightly futuristic, superchic Paris apartment, commenting of his modus operandi: “I like to engage with traces of the past,
as a way of preserving the soul of a place.” Also overseas, designer Bryan O’Sullivan
has set up his family in the Barbican, a Brutalist London landmark that he’s been
obsessed with since his student days. A sensitive
renovation of the Grade II–listed concrete beauty
ensued—“I’m all for preserving the past,” says
O’Sullivan, while noting that the old kitchen definitely needed to be updated for modern-day life.
He struck the balance perfectly.
6
In Brooklyn, an Italianate 1890s town
house proved the ideal dwelling for a pair
of artists with diametrically opposed
creative needs in their live-work environment: Grammy Award–winning musician
For the third year,
Jon Batiste makes a lot of noise, while writer
AD proudly teams with
Black Interior Designers, Inc.
Suleika Jaouad requires complete silence.
to present The Iconic Home,
The thick walls and large rooms of the
which opens its virtual doors in
gracious structure “could hold both,” Jaouad
October. Visit archdigest.com/
eloquently writes. History in the making.
iconichome

A R C H D I GES T.COM

AMY ASTLEY
Global Editorial Director
and Editor in Chief, AD U.S.
@amyastley

1. STEPHEN KENT JOHNSON. 2. MATTHIEU SALVAING. 5. OBERTO GILI. 4. JAMES MCDONALD. ART: MARLENE DUMAS.
5. FRANK FRANCES. 6. WESTON WELLS.

“Even as we put our own stamp on it, we wanted
the house to remain as it has always been.”
—Jane Keltner de Valle

New York - Miami - Los Angeles
armani.com

object lesson

THE STORY BEHIND AN ICONIC DESIGN
BROTHERS ACHILLE AND
PIER GIACOMO
CASTIGLIONI’S TACCIA
LAMP FOR FLOS, SHOWN
IN ARCHITECT LÚCIO
ROSATO’S HISTORIC HOME
IN LANCIANO, ITALY.

Bowled Over

HELENIO BARBETTA.

The Castiglioni brothers’
midcentury “Mercedes of lamps”
is still cruising, decades later

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160 MADISON AVE, NEW YORK NY 10016, T 212 673 7106 — 4100 NE 2ND AVE, SUITE #103-203, 33137, MIAMI, T 786 652 1500 — SHOP.MOLTENI.IT
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object lesson

THE STORY BEHIND AN ICONIC DESIGN

1. A PAIR OF TACCIA
LAMPS FLANK THE
SOFA IN ARCHITECT
ALEX COCHRANE’S
LONDON HOME. 2. PIER
GIACOMO (LEFT) AND
ACHILLE WITH TACCIA.

3. TACCIA, NEWLY
RELEASED IN MATTE
WHITE. 4. A YACHT
DESIGNED BY JOANNE DE
GUARDIOLA. 5. TACCIA
AT FONDAZIONE ACHILLE
CASTIGLIONI IN MILAN.

ilanese industrial designers Achille and Pier Giacomo
Castiglioni liked to reduce an idea to the very basics.
So in 1958, the premise for the brothers’ new table
lamp was radically simple: to turn a ceiling fixture
upside down, like a salad bowl, and set it on a base.
It took some experimentation to make it work.

5
4

originally envisioned—in plastic. This year they introduced
matte white—now available alongside the typical black, silver,
and bronze.
“The Castiglioni brothers were kings of engineering, creativity, and playfulness,” says Fanny Bauer Grung, of the Milanbased firm Quincoces-Dragò & Partners. “And Taccia is a perfect
mix of them all.” From $1,600; flos.com —HANNAH MARTIN

1. ROMAS FOORD. ART: ENRICO DAVID. 2. UGO MULAS. 3. COURTESY OF FLOS. 4. WILLIAM WALDRON. 5. FONDAZIONE ACHILLE CASTIGLIONI.

EDITED BY SAM COCHRAN

DISCOVERIES

THE BEST IN SHOPPING, DESIGN, AND STYLE

MARK LUSCOMBE-WHYTE

AD VISITS

Lust for Life
Fabric maestro Peter D’Ascoli transforms a Delhi
villa into a kaleidoscopic feat of color and pattern
AT LAL KOTHI, IN DELHI, PETER D’ASCOLI OUTFITTED THE SALON WITH FABRICS OF
HIS OWN DESIGN AND FAMILY COLLECTIONS OF TILES AND PHOTOGRAPHS.

AR C H DI G E S T. CO M

DISCOVERIES
1

n a recent night at Lal Kothi, the Delhi farmhouse of textile and fashion designers Peter
and Cecile D’Ascoli, candlelight and the full
moon glowed together as guests gathered
sur l’herbe for dinner. “It’s like dining at an
Indian Versailles,” remarked author William
Dalrymple over masala aubergines sprinkled with gunpowder
Sri Lankan pepper. In this verdant corner, tucked away from
the city’s hustle, the couple has realized something quietly
remarkable: a creative tour de force in the jostling landscape
of a country highly attuned to its cultural heritage.
Peter, an American expat, began his love affair with his
adopted homeland four decades ago, during a business trip to
the Punjabi city of Amritsar, among other sites. “We stayed
in the pilgrims’ quarters at the Golden Temple and ate at long
tables in the communal dining hall,” he recalls, crisp in a
white kurta. “All of this—and the many donkey carts, camels,
horses—seemed like a wonderland to me, having grown up
in prosaic Long Island.” (His wife is French.) After a five-year
stint working for Diane von Furstenberg in New York City,
life would eventually bring him back to India, where he had
a formative encounter with the textile doyen and elegant
Punjabi royal Martand “Mapu” Singh. “Mapu taught me so
much about the impact of Indian crafts on the wider world.”
Peter founded his atelier Talianna Studio in 2006, ensconcing his young family—he and Cecile have two daughters—
rather snugly in a South Delhi apartment a decade ago. With
the business expanding, the family embarked on a new chapter,
looking for someplace “with our own fruit trees and a sense of
breathing out.” When they first visited Lal Kothi, they knew
nothing of the villa, owned by an erstwhile royal family.
“While the gardens were very impressive, the previous tenants
had placed a green plastic covering over the central skylight
that cast a bilious pall over everything,” he says. Nevertheless,
a second visit and the chance to move to a house surrounded
by lawns seduced them.

MARK LUSCOMBE-WHYTE

1. THE FRONT GARDEN OF LAL KOTHI. 2. THE DESIGNER
IN HIS STUDIO WITH TEXTILES FROM HIS NAMESAKE LINE.
3. IN THE DINING ROOM, THE CEILING, WALL PANELS,
AND TABLECLOTH ARE ALL D’ASCOLI FABRICS.

DISCOVERIES
1. A STAIRCASE
DISPLAYS ARTIFACTS
FOUND ALL OVER THE
WORLD. 2. THE PRIMARY
BEDROOM IS DRESSED
IN MORE D’ASCOLI
FABRICS, FROM THE
WALLS TO THE SHEETS.
3. AN ANTIQUE
FOUNTAIN ENLIVENS
THE GROUNDS.

Today, the couple has transformed the property into an
extraordinary family home that doubles as a showcase for
Peter’s collection of textiles. He has placed that striking array
of block-printed fabrics intuitively throughout Lal Kothi,
decorating each room based on sight lines and the movement
of light throughout the day. “I am not an interior designer
by training,” he admits. “I am, in the classic sense, an amateur.
I want my family and friends to enjoy the space.”
To establish symmetry in the salon and dining room, he
tented each space in a shamiana, or cloth canopy, which, he
notes “helps settle a room with calm.” The hall, meanwhile,
features large-scale panels in a tree-of-life motif modeled after
historic textile documents. Sleights of hand continue back
in the salon, where framed antique tiles from his travels across
the Mediterranean and China hang on turquoise-blue walls,
complemented by old kalamkari panels and seating from the
D’Ascoli brand’s furniture collection. The room’s eclectic mix
is his nod to Umberto Pasti and Stephan Janson’s Milan home,
a cabinet of curiosities that left him spellbound during a stay.
Peter also cites, as notable influences, encounters with Renzo
Mongiardino and Madeleine Castaing, whose “ineffable styles”
inspired his bedroom at Lal Kothi.
“Above all, the house tells the story of who we are as a family,” Peter smiles. “We are boisterous personalities and have
a love of life, manifested in food, entertaining, and flamboyant
decoration.” East of Eden Lal Kothi may be. But it is a small
piece of paradise, indeed. dascoli.co —COSMO BROCKWAY
3

MARK LUSCOMBE-WHYTE

SHE WASN’T always ON TIME.
B U T S H E A LWAY S M A D E A N entrance.

THE MODERN GODDESS
FEATURING THE ODIN® BATH COLLECTION

DISCOVERIES
A WISCONSIN TABLE SET
WITH MUSHROOM PLATES BY
ALBERTO PINTO ON A VINTAGE
FRENCH LINEN TABLECLOTH.

ENTERTAINING

With the holidays soon upon us, all
eyes are on the table. We’ve rounded
up everything you’ll need to feed
your loved ones in style—from today’s
most elegant dinnerware to the latest
must-have linens. A toast to all.
36

A R C H D I GES T.COM

P ROD U C ED BY M AD ELI NE O ’ M A L L E Y

MIGUEL FLORES-VIANNA

Get the Party Started

DISCOVERIES
JOHN DERIAN
COMPANY DELFT
#6 PLATE; $90.
JOHNDERIAN.COM

HUDSON GRACE
FRENCH VINTAGE
SILVER FLATWARE;
$525 FOR A SET OF 12
SPOONS AND 12 FORKS.
HUDSONGRACESF.COM

PERFECT PAIRINGS

LAGUNA~B STELLA GLASS
BY MARCANTONIO BRANDOLINI;
$193. LAGUNAB.COM

DIOR ROSE D’HIVER
GLASS; $300. DIOR.COM

VITA KIN
PERIWINKLE TABLE
SET; $175 FOR
PLACEMAT, NAPKIN,
AND COASTER.
VITAKIN.COM

CHRISTOFLE BABYLONE NAPKIN
RING BY AURÉLIE BIDERMANN;
$225. CHRISTOFLE.COM

ROYAL DELFT
TULIP VASE;
$4,105. MODA
OPERANDI.COM

ROSE ROOM
COCKTAIL NAPKINS;
$65 FOR A SET OF
FOUR. ROSEROOM
COLLECTION.COM

A R C H D I G E S T.COM

ROMAN AND WILLIAMS
THE LUNET LANTERN;
PRICE UPON REQUEST.
RWGUILD.COM

INTERIOR: ISABEL PARRA. STELLA GLASS: ENRICO FIORESE. ALL OTHER PRODUCTS COURTESY OF THE COMPANIES.

AGUA BY AGUA BENDITA
x MISETTE HANDPAINTED CANDLES; $120
FOR A SET OF FOUR.
KIRNAZABETE.COM

Blue-and-white treasures and classical
Scandinavian touches make for a dashing duo;
shown is a Connecticut home by Virginia Tupker.

DISCOVERIES
IL BUCO VITA
BELLOCCHI TERRACOTTA CASSEROLE;
$275. ILBUCOVITA.COM

CASA DE FOLKLORE x
TOAST SPLATTER FRUIT
BOWL; $90. TOA.ST

MIKE PARRY
SLIPWARE LARGE
JUG; $132.
ABASK.COM

EARTH STUDIES
Ceramic finds, rustic charms, and organic hues
celebrate the beauty of Mother Nature. Shown is
a California cabin by Salmon Creek Studio.
LOUIS VUITTON
OBJETS NOMADES
FLOWER CARAFE;
$710. LOUIS
VUITTON.COM

PORTA BRANCH
STITCH NAPKINS; $72
FOR A SET OF SIX.
PORTA-NYC.COM

HOUSES & PARTIES
BEECHWOOD
SALAD STAND;
$198. HOUSESAND
PARTIES.COM

COMMUNE FOR
HEATH DINNERWARE
COLLECTION; FROM $32.
HEATHCERAMICS.COM

BRANIK ONYX
GLACIALE CLOVER
CANDLEHOLDERS; $160
FOR A SET OF TWO.
THEEDITION94.COM

HERMÈS METIERS
CHAIR; $7,400.
HERMES.COM

AR C H D I G E S T.COM

LORO PIANA
SUITCASE
PLACEMATS;
$475 FOR A SET
OF TWO.
LOROPIANA.COM

INTERIOR: ANDRE JONES. ALL PRODUCTS COURTESY OF THE COMPANIES.

EL MONO HOME
SPECKLE GLASS;
$120. ELMONO
HOME.COM

SALVESEN GRAHAM
x WAX ATELIER
FLORAL TRAIL TWIST
CANDLES; $86 FOR
A SET OF SIX MIXED
CANDLES. SALVESEN
GRAHAM.COM

DISCOVERIES

AQUAZZURA
CASA EMERALD &
TURQUOISE WHITE
WINE GLASSES;
$400 FOR A SET
OF TWO.
ARTEMEST.COM

IL BUCO VITA
CERAMIC
SARDINES BY
ANTONELLO RADI;
$95 EACH.
ILBUCOVITA.COM

GREGORY PARKINSON
SURROUND BLOCK-PRINTED
DOUBLE-FACE NAPKINS;
$220 FOR A SET OF SIX.
GREGORYPARKINSON.COM

THE LIFE AQUATIC
Iberian élan and deep splashes of blue and
green conjure magic hour by the water.
Shown is the Portugal home of Carolina Irving.

GIAMBATTISTA VALLI
HOME GOLD-PLATED
BAMBOO SILVERWARE
SET; $665 FOR A FIVEPIECE PLACE SETTING.
MODAOPERANDI.COM

STORIES OF ITALY
MACCHIA SU MACCHIA
IVORY & GREEN TUMBLERS;
$202 FOR A SET OF TWO.
STORIESOFITALY.COM

CABANA MOROCCAN
PLACEMAT; $40.
CABANA
MAGAZINE.COM
JAYSON HOME
SKIPPER JUG; $78.
JAYSONHOME.COM
BIRLEY OLIVE OIL
BOTTLE; $742.
BIRLEY.COM
CASA BRANCA
ARTICHOKE CACHEPOT
BY CASA BRANCA FOR
FRANCOIS ROGER; $880.
CASABRANCA.COM

A R C H D I GES T.COM

CAROLINA IRVING &
DAUGHTERS GIGI GREEN
DINNER PLATE; $95.
CI-DAUGHTERS.COM

EXTERIOR: MIGUEL FLORES-VIANNA. ALL PRODUCTS COURTESY OF THE COMPANIES.

NONNA HALL TAPER
CANDLEHOLDER IN
GREEN; FROM $38.
THEGREYPEARL.COM

Designers, epicureans, and guests.
The French door that satisfies them all.

Introducing our new fully integrated 48-inch French Door
Refrigerator/Freezer; designed to fit any kitchen’s style and every
entertainer’s needs. Thanks to its impressive capacity, and features
like the exclusive 5-mode Convertible Drawer and Dual Ice Maker
with Craft Ice™, your favorite foods and growing guest lists will be
well taken care of. That’s how we stay #TrueToFood

SignatureKitchenSuite.com

Copyright 2023© 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 Signature Kitchen Suite.

DISCOVERIES
LA DOUBLEJ
PERFETTO WINE
GLASS; $820 FOR
A SET OF FOUR.
LADOUBLEJ.COM

LISA CORTI
MASONITE
PLACEMAT; $47.
LISACORTI.COM

LA SOUFFLERIE
AMOUR AVEC ANSE
VASE; $18.
NICKEYKEHOE.COM

ELIZABETH LAKE ABOLI
DINNER NAPKINS;
$125 FOR A SET OF TWO.
ELIZABETHLAKE.COM

NO SHRINKING
VIOLETS
Indoors or out, purple wonders
pack a punch. Shown is the Montecito home
of fashion stylist Jamie Mizrahi.

BOUGIES LA FRANÇAISE
MAUVE DINNER CANDLES;
$27 FOR A SET OF 12.
PENTREATH-HALL.COM

CABANA HEXAGONAL
RAFFIA BASKET; $45.
CABANAMAGAZINE.COM
TORY BURCH
SCALLOPED COCKTAIL
LINEN NAPKINS;
$138 FOR A SET OF SIX.
TORYBURCH.COM

JOHN DERIAN FOR ASTIER
DE VILLATTE BLUE VASE
WITH FLOWERS PLATTER;
$300. JOHNDERIAN.COM

CREEL AND GOW OLIVE BRANCH; $100.
CREELANDGOW.COM

KELLY WEARSTLER x
SERAX ZUMA CAKE
STAND; $122.
KELLYWEARSTLER.COM

AR C H D I G E S T.COM

INTERIOR: BILLAL TARIGHT. OLIVE BRANCH: ZACH TROOST. ALL OTHER PRODUCTS COURTESY OF THE COMPANIES.

SABRE PARIS
ICÔNE LILAC
SERVING SET; $92.
SABRE-PARIS.COM

MASTER THE MOMENT

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Solve everyday challenges with a pocket knife that’s both essential and
indispensable. Backed by 139 years of Swiss craftsmanship, the Huntsman’s
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ESTABLISHED 1884

THE FINE BALANCE BETWEEN ART & INTERIORS

ARTERIORSHOME.COM

Presented By

A House for the Ages—And All Ages
In October 2023, nine top design stars participating in this virtual showhouse experience
will illuminate the nuances of multi-generational living, spotlighting the latest innovations
and ideas defining what it means to live well—together.

Nikki Chu

Linda Hayslett

Laura Hodges

Michael London

NIKKI CHU HOME

LH.DESIGNS

LAURA HODGES STUDIO

MICHAEL LONDON DESIGN

NeKeia McSwain

Tosin Oshinowo

June Reese

Byron Risdon

Ron Woodson

NEKEIA + CO.

OSHINOWO STUDIO

HOUSE OF JUNE INTERIORS

BYRON RISDON LLC

RON WOODSON DESIGN

FEATURING

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Order free colour cards on our website.

littlegreene.us

LIGHTING FOR LIFE

S P EC I A L A DV E R T I S I N G S EC T I O N

DESIGN STOR IES
1

LEE JOFA
ARTISTIC TRADITION
200 YEARS STRONG

Few brands are woven into the very fabric of interior design quite like Lee Jofa
and its noble tradition of fine textiles. Kravet celebrates this storied 200-year
legacy with the launch of the Lee Jofa 200 Collection, a bespoke line of textiles,
wallcovering, furniture, carpet, and accessories to honor the brand’s artisanal
history. While Lee Jofa has long been hailed for its sumptuous fabrics, tapestries,

1. A ROBUST SELECTION OF WALLCOVERING ACCOMPANIES THE
TEXTILES, INCLUDING A FRESH SPIN ON HOLLYHOCK. CHAIR
PICTURED HERE IN CHINESE BROCADE.

and iconic prints, the 200 Collection showcases 16 archival patterns iterated in
fresh colorways of printed fabrics, wovens, and embroideries.
The anniversary collection also introduces a finely crafted furniture line fabricated

2. LUXURY ACCESSORIES LIKE THROW PILLOWS ROUND OUT THE
LIFESTYLE ANNIVERSARY COLLECTION.

in traditionalist fashion and a sophisticated assortment of hand-dyed area rugs
from Lee Jofa Carpets. Long-standing fans of the brand will enjoy fresh

3. A JAVA JUNGLE PILLOW ATOP AN ANNIVERSARY COLLECTION
CHAIR; A VIBRANT SHOW OF HISTORY AND STYLE AT THE BOSTON
ATHENAEUM.
4. VERSATILE CARPETING WAS DESIGNED TO CREATE A BEAUTIFUL
FOUNDATION FOR A LEE JOFA INTERIOR, COMPLEMENTING THE
TEXTILES PERFECTLY.

colorways of the artisanally hand-block printed patterns Hollyhock and Tree of
Life, which will be available as printed wallcovering for the first time as well.
Traditional yet trendsetting, classic yet current, for two centuries, Lee Jofa has
balanced a venerable heritage with inspired modernity. Discover this exclusive
mix of timeless favorites.

Photographed at The Boston Athenaeum

LEEJOFA.COM

STONE

T H AT

STIRS

Like a diamond’s evolution from raw earth to unique design, every idea becomes
a reality that opens your imagination. Transform spaces into experiences worth sharing.
Bring your vision to life with Eldorado Stone.
Extraordinary can begin small and turn into the start of something beautiful.

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Shoreham Table Lamp
Bramdean Collection

CELEB

ARS
YE

TING 40
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b lis h e d 1 9 8

Future residences located at:
10245 Collins Avenue, Bal Harbour, FL 33154
ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT
REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO
BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. RIVAGE BAL HARBOUR CONDOMINIUM IS DEVELOPED BY CARLTON TERRACE OWNER
LLC (“DEVELOPER”). THE COMPLETE OFFERING TERMS ARE IN A CPS-12 APPLICATION AVAILABLE FROM THE OFFEROR. FILE NO. CP23-0060
This offering is made only by the Developer’s Prospectus for the Condominium. Consult the Developer’s Prospectus for the proposed budget, terms, conditions,
specifications, fees, and Unit dimensions. Sketches, renderings, or photographs depicting use of space, design, furnishings, lifestyle, amenities, food services,
club services, rental services, hosting services, finishes, materials, fixtures, appliances, cabinetry, soffits, lighting, countertops, floor plans, or art are proposed
only, and the Developer reserves the right to modify or withdraw any or all of the same in its sole discretion. No specific view is guaranteed. No specific use of
space is guaranteed. Pursuant to license agreements, Developer has a right to use the trade names, marks, and logos of: (1) The Related Group; and (2) Two
Roads Development, each of which is a licensor. This is not intended to be an offer to sell, or solicitation of an offer to buy, Condominium Units to residents of any
jurisdiction where prohibited by law. 2023 © Carlton Terrace Owner LLC, with all rights reserved.

From editor-in-chief Amy Astley and Architectural Digest, AD at 100
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,
Kelly Wearstler, Oscar Niemeyer, Axel Vervoordt, Frank Lloyd Wright, Elsie de Wolfe,

abramsbooks.com/AD100

FROM LEFT: ANTHONY COTSIFAS; JASON SCHMIDT; OBERTO GILI

A CENTURY OF STYLE

DISCOVERIES
1. BILLIE ZANGEWA IN
HER JOHANNESBURG
STUDIO. 2. STUDIES FOR
HER PENGUIN CHARMS.
3. THE POOL BEING
EMBROIDERED. 4. LOUIS
VUITTON’S MONOGRAM
FLOWER. 5. ZANGEWA’S
NEW ARTYCAPUCINES
BAG FOR THE FRENCH
FASHION HOUSE.
2

ART SCENE

Strokes of Genius
Tapped by Louis Vuitton, Billie Zangewa
translates a cherished swimming scene
into the brand’s latest It bag

3
4

n her evocative silk collages, the South Africa–based artist Billie Zangewa
often mines everyday events—preparing a bottle for her child or taking a
shower, even just lounging on the sofa with a book. For the 2020 work The
Swimming Lesson, she revisited the weekly trips to the pool that she took
with her son, Mika. In it, a young boy sits along the water’s edge, juxtaposed
against a washed-out terra-cotta-color sky. “It was unfamiliar to him,” she
recalls of the emotional waves that accompanied those sessions. “I still think about

idiosyncrasies in her Capucines rendition, a limited edition
faire. The collage’s raw silk was scanned and painstakingly
printed on leather, re-creating every crease and irregularity.
Slightly off-kilter stitches lend a sense of the hand, as does
the metallic embroidery and beadwork used to capture the
pool and the figure of her son. For a final touch, Zangewa
also added a trio of gold African penguin charms—another
nod to Mika, who, after those lessons, went on to swim
with the birds along the Cape Town coast. “It’s a tribute to
my son,” Zangewa says of the handbag. “My creativity just
blossomed when he was born. He accelerated my being.”
louisvuitton.com —HANNAH MARTIN

A R C H D I GES T.COM

1., 2. & 4. ULRICH KNOBLAUCH. 3. & 4. PIOTR STOKŁOSA.

experience and use. It creates a more sculptural feel.”

COMING SOON

UMBER

NACRE

A CARBON NEUTRAL PRODUCT BY COSENTINO

REM

KRETA

BROMO

DISCOVERIES

1. THE LIVING AREA’S POLIFORM
SOFA, PENDANTS BY ACHILLE
CASTIGLIONI FOR FLOS, AND A
VINTAGE CASSINA COCKTAIL
TABLE. 2. THE TERRA-COTTA-HUED
VESTIBULE PARTITION. 3. IN THE
DINING AREA, A KARL ZAHN FOR
ROLL & HILL LIGHT FIXTURE, HAY
CHAIRS, AND KLEIN AGENCY TABLE.
2

RENOVATION

Tectonic Shift
To update a Manhattan loft,
architect Michael K. Chen
conjures the landscape

A R C H D I GES T.COM

BROOKE HOLM

or as long as Manhattan lofts have been livable,
savvy designers have delighted in the challenge of
putting their industrial bones to residential use.
Open layouts, after all, invite experimentation. It
was in that spirit that Michael K. Chen Architecture
(MKCA) approached the recent renovation of
a sprawling NoMad home. When his clients, a young couple
working in tech, bought the unit three years ago, it had
undergone only ad hoc updates by the previous owner, who
had lived there since the building’s conversion. “The loft was
so spectacular in terms of its proportions,” says Chen. But
as far as its fixtures, finishes, and floor plan were concerned,
he adds, “it was also nothing.”
To maintain its historic character while injecting warmth
and personality, MKCA set about breaking down the volume
into a functional but free-flowing scheme, with a second
bedroom and bathroom plus workspaces for husband and
wife. “Our idea was to treat the space as you would a landscape,
introducing features to navigate around,” explains Chen.
Architectural interventions, in other words, function as terrain,
whether in the case of the oversize kitchen island—a faceted
mass of natural stone and metal—or the vestibule partition,
whose sculptural form snakes into the floor plan, masking

The frameless insulated sliding doors by Swiss manufacturer Sky-Frame blend naturally
into their surroundings, creating a seamless continuity between indoors and outdoors and
blurring the line between where the living space ends and the view begins. SKY-FRAME.COM

1. REFORM KITCHEN CABINETRY AND
A BESPOKE ISLAND OF STONE AND STEEL.
2. WALKER ZANGER WALL TILE IN THE
PRIMARY BATH. 3. A CORNER OF THE
PRIMARY SUITE, WITH THE DRESSING AREA
BEYOND. 4. THE GUEST BATH’S CUSTOM
WALLPAPER AND HEATH CERAMICS TILE.

AR C H D I G E S T.COM

its fabrication process. “It looks decorative but it’s actually
the molecular structure responding to heat,” he explains of the
material. That metallurgical fixation continues to the guest
bath, whose custom wallpaper is based on close-up images of
an acid-formed patina. Says Chen, “none of the polite materials made it into the palette—they’re all assertive.”
Bold though the scheme may be, it’s also the little things
that charm the clients on a daily basis. The color of the
bathrooms’ tile grout, the flush edges of round outlets against
stone, the careful integration of HVAC systems—such details
all help to make a beautiful space a functional space. And work,
of course, is precisely what lofts have always been designed
to do. —SAM COCHRAN

BROOKE HOLM

the elevators. “The scale of elements
verges on unusually large,” he says.
That topographical approach extends
to MKCA’s selections of furniture.
The living room’s “ginormous” Poliform
sofa faces multiple directions in a
loose formation, accommodating a range
of concurrent activities. Overhead,
meanwhile, a staggered quartet of
adjustable Achille Castiglioni pendants
can move up or down in a shifting
constellation.
Designers and clients clicked when
4
it came to the overall palette. “We love
how they use materials, colors, and
textures to create spaces that feel
intentional and special, modern and sleek, luxurious but
without pretension,” the owners mused via email. “MKCA
quickly saw we were open to strong choices on that front.
We always thought there was an opportunity for fun.”
Whereas stone slabs tend toward richly figured, hues err on
the side of saturated. (Think salmon-pink lacquer for the
dressing room, deep-green linoleum for the kitchen cabinetry.)
Says Chen, “the scale was such that something too polite
would feel wimpy and out of proportion.”
Bespoke metal elements, meanwhile, nod to the apartment’s manufacturing past—from the hulking tempered-steel
exhaust hood to the powder-coated, perforated island.
The former took on a painterly, iridescent finish thanks to

DISCOVERIES
DEBUT

Salt of the Earth
For their new line of outdoor
fabrics, Miranda Brooks and
Bastien Halard look to the land

A R C H D I GES T.COM

2
3

1. TABLECLOTH OF GREEN
TREE PEONY, ONE OF
CATSWOOD DESIGN’S FIVE
NEW OUTDOOR FABRIC
PATTERNS. 2. AN UMBRELLA
AND LOUNGE CHAIR
IN YELLOW ROSE CHINTZ
WITH CUCKOO, ONE
OF THE FAMILY’S DOGS.
3. A PICNIC SET WITH
PILLOWS IN BOBBLY RIBBON.
4. CUSHIONS IN RED
ROSE CHINTZ WITH FINEFEATHERED FRIENDS.

LOTTIE HAMPSON

1
uring their first
winter in the
Cotswolds, Miranda
Brooks and Bastien
Halard were met
not by glittering
hoarfrost and scenic drifting snow
but by one of the wettest seasons
on record. Rain poured, their 17thcentury stone house was damp,
and the freshly graded landscape
(a former dairy farm) was mud as
far as the eye could see. Despairing
that spring would ever come,
the AD100 Brooklyn expats—he
a French-born designer, she a
Hertfordshire lass turned garden
guru—fashioned a creative escape:
conjuring up flowered fabrics
that would be used on their own
outdoor furniture.
“I figured that chintz would
give me an instant garden whilst
waiting for everything to grow,” says Brooks. What they
intended for their own use, though, is now being introduced
to the public under the couple’s Catswood brand, named for
the house where they live with their two teenage daughters.
The five patterns offer all the botanical bounty that they
hoped for, the motifs and colors adapted from vintage and
antique documents. Roses bloom, leaves unfurl, and butterflies flit, joined by coordinating stripes with their roots in
ikats and tickings.
“It’s easy to find chic outdoor fabrics, but not decorative
ones,” explains Halard, a scion of the family that founded
the influential French textile firm Nobilis. Especially, his wife
points out, fabrics made of invitingly soft synthetic fibers
(stain-proof, mold-proof, and water-resistant) that hold up
against the kind of weather that sparked that winter project
in the first place. “I wanted natural dyes, not carcinogenic
coatings,” Brooks says. “I don’t want to lie on something toxic.”
That includes the flouncy skirted sofa that stretches across
a wall of their kitchen and is slipcovered in red peonies. It’s
the perfect spot for pondering Catswood’s future moves:
five additional patterns that are expected to bloom next year.
catswooddesign.com —MITCHELL OWENS

sixpenny.com

DISCOVERIES
1

CRAFT

Better With Age
Japanese woodworker Toshio Tokunaga likes to say that if more people
practiced Kanna, a traditional carving method, it would bring world peace.
“When a maker understands the wood and makes things with love, it’s
contagious,” his daughter, Yuriko, explains of the slow process, which
involves using handmade iron planes, avoiding power tools and sanding

CRAFT

MOMENTS OF REFLECTION
Jamb, the British purveyor of antique
and reproduction chimneypieces, lighting,
and furniture, appreciates a good patina.
So naturally its new line of mirrors had
to shine just so. Set in aged frames—
some based on early-19th-century English
examples, others after Queen Anne
originals—the glass has been distressed to
replicate the mottled foxing of timeworn
panes. Above a mantel, they’ll sparkle all
the brighter. jamb.co.uk —SAM COCHRAN
RIGHT: JAMB’S GILTWOOD GOODISON MIRROR.

AR C H D I GES T.COM

1. KIYOKO TOKUNAGA. 2. COURTESY OF RADNOR. MIRROR: MICHAEL SINCLAIR.

1. TOSHIO (LEFT) AND YURIKO TOKUNAGA IN THEIR
HYOGO PREFECTURE STUDIO WITH A KYOTO CHAIR,
MADE FROM CENTURIES-OLD ZELKOVA WOOD.
2. BLACK PERSIMMON CHAIR 01.

has been carved and finished with
his proprietary Hassui Ceramic
coating. These days, the duo works
together in Hyogo prefecture to
realize each wonder. (The furniture
is represented exclusively by
Manhattan’s Radnor gallery, whose
founder, Susan Clark, discovered
it while researching Japanese
woodworking.) Father might carve
a frame from centuries-old maple,
while daughter crochets a seat and
back using ink-dyed washi paper.
The pair are now buying abandoned
rice fields to source their wood,
replanting what they use so that a
new crop will be ready in 100 years.
radnor.co –HANNAH MARTIN

DISCOVERIES
JEWELRY

SNAKE EYES

1. A GLASS-WALLED BEDROOM AT
THE NEW ONE&ONLY AESTHESIS RESORT
OUTSIDE ATHENS. 2. THE LAWN
OF A VILLA STEPS TOWARD THE SEA.

It was in 1948 that a
snake first slithered
around Bulgari’s elegant
wrist, appearing in
the Serpenti collection of
jewelry watches. Later
interpretations followed,
often marked by
increasingly intricate and
stylized feats of craft.
Today, in celebration of
the motif’s 75th
anniversary, the Italian
luxury brand has released
a series of new Serpenti
treasures, among them
this glittering bracelet in
pink gold, diamonds,
and emeralds. Price upon
request; bulgari.com
—SAM COCHRAN

HOTEL

In the 1950s and ’60s, the Athenian Riviera came to epitomize Greek glamour
thanks to the beach homes that society swans and patrician families strung,
jewellike, along this 40-mile stretch of Aegean Sea. While time later swept away
much of the region’s charms, the past few years have seen the area’s revival,
with sparkling new resorts, beach clubs, restaurants, and parks popping up
among the palms and cypresses. The One&Only Aesthesis hotel, opening
this winter, leans into that nostalgia. Set in the tony enclave of Glyfada, about
30 minutes from central Athens, the complex spans rectangular bungalows,
villas, and a spaceship-like midcentury main building—all set amid fragrant
pine trees and vibrant lavender. Nature played a big role when conceptualizing
the interiors. (It’s also within a 52-acre forest reserve.) “We used local volcanic
stone, oak timber, naturally woven fabrics, and marble quarried from the island
of Thásos,” says Inge Moore, cofounder and principal of the London-based
studio Muza Lab, which designed all 127 accommodations (rooms, bungalows,
residences, and villas) in collaboration with the Greek architecture firms
K-Studio, Audo, and A6Architects. Rooms were conceived to maximize natural
light, with multiple sliding window walls to let in cool sea breezes. Adds Moore:
“It’s all about immersing guests in this spectacular beauty.”
oneandonlyresorts.com —JOHN WOGAN

A R C H D I GES T.COM

1. & 2. ONE&ONLY RESORTS. JEWELRY: COURTESY OF BULGARI.

Greek Mythology

Credit approval required. Terms apply. See capitalone.com for details.

DISCOVERIES
2

DESIGN

Light Hearted
In his new Brooklyn
studio, ceramist
series of lovable lamps

hey’re like characters,” says ceramic
artist Jeremy Anderson, examining a
in Red Hook, Brooklyn. Finished
in 22-karat yellow gold, one appears
dressed in a striped tunic with a

In Red Hook—where interior designer

are all from his latest body of work, which will be
officially unveiled with Gallery Fumi at the PAD London
and Design Miami fairs.
Anderson, who cofounded the lighting brand Apparatus
with Gabriel Hendifar, his now ex-husband, turned a lifelong
pottery practice into his full-time gig after the couple amicably
parted ways a few years ago. “Working with clay is kind of a
lesson in life,” he muses. “You can’t get too attached to anything
because something can always go wrong in the process.” Just
the day before, he opened the kiln to discover that multiple
pieces had fused together or collapsed. But from those failures

A R C H D I GES T.COM

metallic lusters, bespoke beads, and handpainted lines. Lately he’s been experimenting
with pigmented stains that imbue the clay with color. He’s
also trying out larger formats like floor lamps and chandeliers.
In the front-of-house showroom, finished lights mix with
Anderson’s ongoing series of vessels, whose finned shapes
resemble mushrooms growing on a tree. Wabi-sabi in vibe,
with a ceiling draped in linen, shoji-inspired doors, and rustic
wood seating, the studio is a fitting backdrop for Anderson’s
intuitive process. “There’s flexibility and freedom in the
making,” he explains. “But ultimately all the pieces have to
fit together.” jeremy-anderson.com —HANNAH MARTIN

ETHAN HERRINGTON

fringed skirt. The vaguely figurative pieces (each

savoirbeds.com

E L LY S U H , V I O L I N I S T & F L O R I A N L E O N H A R D , V I O L I N M A K E R

DISCOVERIES
DEBUT

Ripe for
the Picking
Exploration has always been at the heart
of the Banana Republic brand. Founded
in 1978, the fashion label got its start
reimagining expedition staples as everyday attire, later evolving into the readyto-wear wardrobe of choice for stylish
professionals. Today, the company is
expanding upon that peripatetic legacy
with the launch of BR Home, a new
furnishings line that celebrates natural
materials, a global spirit, and local handcraft. Tactile wool rugs, for instance, are
knotted by weavers in the Atlas Mountains
of Morocco. Sculptural teak furniture is
carved by woodworkers on the Indonesian
island of Java. And handsome upholstered
seating is made by expert artisans in
North Carolina and Virginia. Styles, all the
while, range from clean-lined and modern
to refined and traditional. “We have vast
archives of ideas and influences,” says
president and CEO Sandra Stangl of the
mix, which spans case goods, bedding,
lighting, and more. “Every single piece has
incredible attention to details and a story
to tell.” bananarepublic.com —SAM COCHRAN
1. A VIGNETTE OF PIECES FROM BANANA
REPUBLIC’S NEW BR HOME LINE INCLUDES
STINSON SOFAS, A ROSE PENDANT LAMP,
PHOENIX COFFEE TABLE, AND HUDSON SIDE
TABLES. 2–4. MAUI ACCENT CHAIR, MELBOURNE
COFFEE TABLE, AND DRACO TABLE LAMP, ALL
FROM THE BR HOME COLLECTION.

FABRICS

KINDRED SPIRITS

1. ACHIKAZI COTTON.
2. INAZUMA LINEN.
3. OSHIBANA LINEN.

2
72

A R C H D I G E S T.COM

Three years after Tory Burch
and Robert Kime launched
their hit Nara collection,
the fashion icon and the late
AD100 maestro’s studio
have revealed a follow-up
array of Japanese-inspired
textiles and wallpapers. All,
Burch says, are an ode to a
man who “made everything
look perfectly imperfect.”
robertkime.com —HANNAH MARTIN

1.–4. COURTESY OF BANANA REPUBLIC. FABRICS: COURTESY OF ROBERT KIME LTD.

a 170 year legacy of craftsmanship & innovation
Discover why steinway remains at the heart of
cultured homes around the world.

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floor template
Please scan the QR Code or visit:
steinway.com/ad-floor-template

DISCOVERIES

1. KOSTAS LAMBRIDIS
WITH BRIC-A-BRAC IN
HIS ATHENS STUDIO.
2. ALL YOU NEED NOW
IS SOME OXYGEN
(2023), FROM HIS NEW
SHOW AT CARPENTERS
WORKSHOP GALLERY
(CARPENTERS
WORKSHOPGALLERY
.COM). 3. SPIN, RISE,
AND THRUST IN
RANDOM DIRECTION
(2023). 4. MIX THEM
TOGETHER (2023).

EXHIBITIONS

Facts of
the Matters
Kostas Lambridis
mines the magic of
everyday materials

e treat everything here
with the same respect—
or lack of respect,” says
Kostas Lambridis,
describing the assorted
stuff filling his Athens
studio. On a given day that might include
chairs scavenged from the city streets, hunks
of Pentelic marble, and a piece of a beatup car, all sitting alongside the stained glass
and handmade ceramic mosaics that his
team painstakingly produces in-house.
This nonhierarchical approach is central
to Lambridis’s art and design practice, in
which odds and ends plucked from across
the value spectrum coalesce into functional
sculptures. One new table, for example,
started with slabs of Greek and American
walnut but grew to incorporate, among
other timber flourishes, the decorative base

handful of finials. “I wanted to show the full range of the
material, from the raw to the super processed,” he says of
the all-wood piece, which stars in “Reverse Fireworks in Slow
Motion,” his first American solo exhibition, on view through
November 23 at New York’s Carpenters Workshop Gallery.

AR C H D I GES T.COM

new plastic. And a cocktail table is totally
mineral, with volcanic rock purchased
from a garden store, cast glass, and terracotta bricks. “That white marble comes
from a sink in an Athenian apartment,” Lambridis says of the
hunk embedded in the base. “This is the same marble as the
Acropolis. But for some reason when people renovate their
apartments, this is one of the first things they remove.”
kostaslambridis.com —HANNAH MARTIN

1. PINELOPI GERASIMOU. 2.–4. MATT HARRINGTON/COURTESY OF CARPENTERS WORKSHOP GALLERY.

serenaandeiey.com

ELEGANCE
WITH ATTITUDE
Pearls by Assael, wondrous
natural treasures of the
ocean, renowned for their
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THE LIVING ROOM IS OUTFITTED
WITH A STUDIO GIANCARLO VALLE
SOFA, WOOD-AND-RAFFIA CHAIRS
BY GREEN RIVER PROJECT, A
GIANFRANCO FRATTINI COCKTAIL
TABLE, AN INGO MAURER TABLE
LAMP, A GIANCARLO VALLE FOR
NORDIC KNOTS RUG, AND MEXICAN
BUTAQUE CHAIRS. PAINTING ON
THE RIGHT BY ANASTASIA BAY.

ART: ANASTASIA BAY

evolution

At their Connecticut country
escape, Jane Keltner de Valle
and Giancarlo Valle accentuate
the new in New England style
TEXT BY

MAYER RUS

PHOTOGRAPHY BY

STEPHEN KENT JOHNSON
STYLED BY COLIN KING

THE DINING ROOM HAS
BONACINA CHAIRS, A GREEN
RIVER PROJECT TABLE, A
STUDIO GIANCARLO VALLE
CREDENZA, A VINTAGE IRON
CHANDELIER, CURTAINS
OF MALABAR FABRIC, AND
A GIANCARLO VALLE FOR
NORDIC KNOTS RUG.
CERAMIC WALL MEDALLIONS
BY MATT MERKEL HESS.

ROMAN AND PALOMA FROLIC ON THE LAWN OF THE 1863 HOUSE, BUILT ON THE SITE OF ONE
OF THE FIRST SCHOOLS FOR GIRLS IN THE UNITED STATES.

ART: MATTHIAS MERKEL HESS

the
august English writer and critic Samuel Johnson once opined,
“The two most engaging powers of an author are to make new
things familiar and familiar things new.” Johnson’s maxim
finds eloquent expression in the captivating Connecticut home
of Jane Keltner de Valle, cofounder of children’s skin care line
Paloroma (and AD’s former style director), and her husband,
AD100 designer Giancarlo Valle. Together, the dynamic couple
have conjured a vision of classic New England charm animated
by a wholly contemporary spirit—a marriage of the familiar
and the novel that speaks to their professional pedigrees, their

personal passions, and the spirit of their young family. It is
also a testament to the twin virtues of innovation and restraint,
inspiration and ease.
The site for the Valles’ adroit balancing act is a stalwart
1863 house, painted crisp white with dark green shutters,
which once served as a parsonage for the town’s historic Greek
Revival church. Trim and subdued, the original, essentially
cubic structure has a wood-paneled living room added in the
1920s and a kitchen extension built in the 1970s. “We loved the
proportions. It felt very modern in its simplicity. It’s gracious,
but not in an overdone kind of way—elegance without the frills,”
Giancarlo says of the home’s appeal. “The house was wellloved, and you could feel the good energy,” adds Jane. “It had
an unimposing formality that we tried to maintain. Even as
we put our own stamp on it, we wanted the house to remain
as it has always been.”

AR C H DI G E S T. CO M

IN THE KITCHEN, A VINTAGE ITALIAN CHANDELIER HANGS ABOVE A CUSTOM ISLAND INLAID
WITH DELFT BY PLAIN ENGLISH TILES. THE CAFÉ CURTAINS ARE IN A KRAVET STRIPE.

MAKEUP BY JOSEPH CARRILLO; ART: ANASTASIA BAY

“Even as we put our own stamp on it,
we wanted the house to remain as it has
always been.” —Jane Keltner de Valle

ABOVE FROM LEFT,
JANE KELTNER DE VALLE,
AND PALOMA, ROMAN,
AND GIANCARLO VALLE.
LEFT AXEL EINAR HJORTH
CHAIRS PULL UP TO A
SWEDISH FARM TABLE IN
THE BREAKFAST ROOM/
PANTRY. A FISHER &
PAYKEL REFRIGERATOR IS
CONCEALED IN THE CUSTOM
CABINETRY. PAINTING BY
ANASTASIA BAY.

AR C H DI G E S T. CO M

JULIA B. CASA CHAIRS
SURROUND AN ANTIQUE
MILLSTONE TABLE
BENEATH A TOWERING
MAPLE IN THE GARDEN.
LANDSCAPE DESIGN BY
KTISMASTUDIO.

STUDIO GIANCARLO VALLE’S PALOMA MIRROR ADORNS DAUGHTER PALOMA’S BEDROOM. ROMAN SHADES IN MAHARAM FABRIC,
QUILT FROM PAULA RUBENSTEIN, CHARVET EDITIONS BEDSPREAD FROM JOHN DERIAN.

That meant no anachronistic Pilates studio or open-plan
kitchen, no hammam, and no marble-clad bathroom large
enough to host an ice cream social. Yet within the house’s rooms,
the couple teased a palpable sense of wonder and delight
through discreet decorative gestures that put an entirely new
complexion on the traditional architecture. Naturally, examples of Giancarlo’s own furniture designs buoy the winsome
ambience: the toothsome chunkiness of his dining room
sideboard; the insouciant curves of his living room sofa; and
the custom kitchen island inlaid with delft tiles, to name just
a few. In the primary bedroom and bath suite, he added
attenuated, branch-form columns that introduce a note of
fairy-tale forest magic to the sprightly mix.
Many of the pieces were crafted in a makeshift woodshop
set up in the garage, including a series of boxy sconces
knocked up from scrap wood. “Fabricating things on-site made
them feel even more special and connected to the life of the
house,” the designer notes. “My dream is to turn our dilapidated barn into a proper woodshop and guesthouse, but that’s
going to have to wait until we catch our breath.”

CONTRIBUTIONS BY FRIENDS AND COLLEAGUES underscore

the feeling that the renovation is truly a family affair. Designer
Minjae Kim, who once worked in Giancarlo’s studio, is represented by wood benches he fashioned for the couple’s two
children, one inscribed “PV” for daughter Paloma and the
other “RV” for their son, Roman. The work of designers Aaron
Aujla and Benjamin Bloomstein of Green River Project, fellow
members of the AD100, appears throughout the house, notably
in the signature raffia-festooned club chairs that enliven the
living room, and the dining room table incised with an outline
of the Green River in upstate New York, which meanders
through Bloomstein’s family property. (“The kids use it as a
track for marbles,” Jane offers.) The dining room walls are
adorned with medallions by ceramist Matt Merkel Hess, representing local flora and fauna, including moths, leaves, horses,
birds, acorns, and even ticks, the scourge of Connecticut.
Of course, Jane’s incisive eye and deft touch are unmistakable in the house’s sophisticated color palette, the chic yet
unpretentious fabrics and finishes, and the array of antiques
and vintage treasures, many collected from local shops and

AR C H DI G E S T. CO M

ROMAN’S BEDROOM HAS A
CUSTOM DAYBED AND A
SCHOOLHOUSE TABLE LAMP.
ABOVE A PLATEAU LAMP (LEFT)
BY STUDIO GIANCARLO VALLE
AND NATALIE WEINBERGER IS
JOINED BY PIERRE PAULIN
CHAIRS AND A CUSTOM SOFA
AND SCONCE IN THE DEN. THE
LINEN-WRAPPED COCKTAIL
TABLE IS FROM THE ESTATE OF
MARIO BUATTA. THE LARGE
PAINTING IS BY LANDON METZ.

ABOVE THE PRIMARY BEDROOM IS FURNISHED
WITH STUDIO GIANCARLO VALLE BEDSIDE TABLES,
A MINJAE KIM BENCH, PAAVO TYNELL SCONCES,
A PIERRE JEANNERET CHAIR, A GIANCARLO VALLE
FOR NORDIC KNOTS RUG, AND ROMAN SHADES
OF ZAK+FOX FABRIC. RIGHT IN THE LIVING ROOM,
A JEAN PROUVÉ SWING-ARM LAMP SURMOUNTS
A PIERRE JEANNERET DESK AND CHAIR.

auction houses as well as sources in New York and abroad. Her
own childhood desk and dollhouse add a decidedly personal,
nostalgic flourish to Paloma’s fetching bedroom. “The look is
very traditional, East Coast country-club vernacular—stripes
and splashes of hunter green—but all filtered through our lens,”
Jane says, describing the aesthetic sensibility that permeates
the home. “The process was a true collaboration in every
sense, and a chance for Jane to really flex her design muscle,”
Giancarlo adds, tipping his hat to his estimable wife. “It was
also a unique opportunity to create a home that blends our
worlds together.”
That blending has indeed paid handsome dividends in
scenes of pure domestic bliss. “So many memories have been
made here: Christmases, Easter egg hunts, birthdays, summer
garden parties with bouncy houses and cornhole. The children
already feel a real connection to this place,” Jane attests. And
what better seal of approval could one ask for?

“Fabricating things on-site made them feel
even more special and connected to the life of
the house.” —Giancarlo Valle

IN THE PRIMARY BATH,
A GREEN RIVER PROJECT
STOOL SITS IN FRONT
OF A PORTOLA TUB FROM
VINTAGE TUB & BATH.

STUDIO GIANCARLO
VALLE SIDE TABLES AND
PAAVO TYNELL COPPER
SCONCES FLANK A CUSTOM
BED UPHOLSTERED IN A
BRAQUENIÉ FABRIC
FROM PIERRE FREY IN A
GUEST ROOM. A MINJAE
KIM BENCH RESTS
ON A TUFENKIAN RUG.

design notes

THE DETAILS THAT MAKE THE LOOK

COPPER PANS HANG
ABOVE A FISHER
& PAYKEL RANGE IN
THE KITCHEN.

A VINTAGE STOOL IS
TUCKED BENEATH A
STUDIO GIANCARLO VALLE
DESK OF RECLAIMED
WOOD IN A GUEST ROOM.

PALOMA MIRROR; PRICE
UPON REQUEST.
GIANCARLOVALLE.COM

TAPESTRY DAYBED;
PRICE UPON REQUEST.
GIANCARLOVALLE.COM

LINEN NAPKINS
BY CHARVET EDITIONS;
$172 FOR A SET OF SIX.
JOHNDERIAN.COM

SIDNIE LAMP;
FROM $399.
SCHOOLHOUSE.COM

BENGALI COTTON BY
BRAQUENIÉ; TO THE
TRADE. PIERREFREY.COM

MELIN TREGWYNT
WELSH BLANKET;
$305. US.TOA.ST
SMOOTH SAILING
GENTLE CLEANSING
BAR; $12.
PALOROMA.COM
BIG COLLINA
SMALL VASE
BY GAETANO
PESCE FOR
CORSI DESIGN
FACTORY; $355.
ARTEMEST.COM

The house is relaxed and
comfortable but energized with
a contemporary sensibility.”
—Giancarlo Valle
P ROD U C ED BY M AD ELI NE O ’ M A L L E Y

IN THE COUNTRY
BY INGE MORATH AND
ARTHUR MILLER.

RADICCHIO
SERVING BOWL;
FROM $92.
PORTA-NYC.COM

We designed the
kitchen in humble
materials. I think we’ve
overdosed on marble
trophy kitchens.”
—Jane Keltner de Valle

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BY BROOKLYN
COPPER COOKWARE;
$770. MARCHSF.COM

SENTEI GARDEN
SCISSORS BY NIWAKI; $35.
GOODEEWORLD.COM

INTERIORS: STEPHEN KENT JOHNSON. COOKWARE: BEN KIST. IN THE COUNTRY: INGE MORATH/VIKING PRESS,
NEW YORK, 1977. BENCH & MIRROR: CLÉMENT PASCAL. ALL OTHER PRODUCTS COURTESY OF THE COMPANIES.

DAISUKE QUILT BY
A.P.C. x SACAI; $1,060.
APC-US.COM

A MEXICAN BUTAQUE
CHAIR SITS IN A CORNER
OF THE LIVING ROOM.

BUTAQUE CHAIR
BY CLARA PORSET
BY LUTECA; $3,510.
1STDIBS.COM

OBJETS NOMADES
STOOL BY ATELIER
OÏ; $5,650. LOUIS
VUITTON.COM

ARCH DI G E S T. CO M

101

ART: JULIA CONDON

IN THE PRIMARY BEDROOM,
A BESPOKE BED IS DRAPED
IN A CLAREMONT SILK TAFFETA.
THE CURTAINS, INSPIRED BY
A PERIOD ROOM IN NEW YORK’S
METROPOLITAN MUSEUM OF
ART, ARE OF THE SAME FABRIC.
CHILDREN’S PORTRAITS BY
JULIA CONDON ARE DISPLAYED
ON A GUSTAVIAN-STYLE
DRESSER. SWIFTY, A MALTIPOO,
STANDS ATOP AN ANTIQUE
BENCH COVERED IN GREEN SILK
TWILL BY CLAREMONT. THE
SIBYL COLEFAX & JOHN FOWLER
ARMCHAIR WEARS PINK
GINGHAM BY LE MANACH.

SPARK JOY
Tastemaker Caroline Sieber puts her soigné
stamp on a lush town house in London
TEXT BY

DEREK BLASBERG

PHOTOGRAPHY BY

OBERTO GILI

STYLED BY

SARA MATHERS

ART: PHOEBE DICKINSON. PAUL BENNEY.

THE DRAWING ROOM’S GREEN
SILK TAFFETA CURTAINS ARE
MODELED ON THOSE IN PAULINE
DE ROTHSCHILD’S LEGENDARY
LONDON APARTMENT. A
PORTRAIT OF CAROLINE SIEBER
AND FRITZ VON WESTENHOLZ’S
DAUGHTERS, CLEOPATRA AND
ELECTRA, BY PHOEBE
DICKINSON, HANGS ABOVE

THE FIREPLACE. FURNITURE
INCLUDES A BESPOKE SOFA IN
A CLAREMONT STRIPE AND
AN OTTOMAN IN A LE MANACH
PRINT, A CIRCA 1935 FRENCH
ZEBRAWOOD DESK BY GOUFFÉ,
AND A MIX OF OTHER ANTIQUES.
THE PORTRAIT OF VON
WESTENHOLZ (IN BACK CORNER)
IS BY PAUL BENNEY.

to her first Chanel show in 2008) and styled sittings for
nyone who’s renovated
Vogue shoots in London. When she and her husband, Fritz
a house knows delays are
von Westenholz, a London-born financier, started their family
practically inevitable. But
a decade ago, she shifted her exacting eye from runways to
Caroline Sieber, a Londoninteriors. “Design is both creative and, in a way, an extension
based fashion consultant,
of fashion,” she says from the sitting room of the house, which
had an effective tactic to
dates back to the 1840s. “Just as I am drawn to a more timeless
stay on schedule when
style in fashion, this also resonates with my taste in interiors.”
refurbishing her Chelsea
After the house’s meticulous renovation, Sieber can boil
town house: A true due
down her design philosophy into four simple rules:
date. “It turns out people don’t like to argue with a pregnant
First, spaces should be beautiful to look at but simple.
woman,” she smiles, recalling how she’d show up on-site mere
“Never ordinary!” she declares. “And never clutter.”
weeks before she gave birth to her third child. “There I was,
Second, carpets should be used sparingly. “English people
inhaling paint fumes and tripping over cables, cheering and
love carpeting bathrooms, which is baffling to me.”
spurring everyone on to work quicker so that we could move
Third, sitting areas should be functional and neat. “I
in before the baby arrived.” It worked!
don’t like sofas that look too comfortable or that you have to
Sieber is a familiar face in the fashion world. She’s a former
slump into.”
Chanel ambassador and a regular on best-dressed lists in
And finally, think light and bright. “No muddy colors or
New York and London. In the aughts, she was Emma Watson’s
dark, heavy furniture.”
stylist (she brought the actress, still in her teens at the time,

LEFT CAROLINE SIEBER WITH
HER CHILDREN BALTHAZAR
(IN A TOY CAR FROM HARRODS),
CLEOPATRA, AND ELECTRA.
FAR LEFT IN THE BREAKFAST
ROOM ANTIQUE CHAIRS
SURROUND A BONACINA TABLE
DRAPED WITH AN EBNETER
& BIEL CLOTH. WINDOW SHADE
AND WALLPAPER OF A SOANE
BRITAIN FLORAL.

REMARKABLY, SIEBER DECORATED the entire residence
herself. But unlike her work as a stylist, which sees her
dressing other people, she has no desire to decorate beyond
her own interiors. She says she “wouldn’t dare” to do it
professionally. “The house is decorated for us and to suit
the way we live, the decoration is intuitive and personal.
I so enjoyed doing it.”
Similar to fashion work, her design process included
scrupulous research and cataloging. The window treatments
in the primary bedroom copy designs in a period room at
New York’s Metropolitan Museum of Art, which she photographed on her phone and saved for years until she could have
them made for her own home. The curtains in the drawing
room replicate those in Pauline de Rothschild’s London
apartment. Inspired by Horst P. Horst portraits in archive
issues of Vogue, the breakfast room is covered in Soane
Britain wallpaper with window shades in the same pattern.
She stalked auctions, including Christie’s, Sotheby’s, Stair
Galleries, and Dorotheum in Vienna.

Sieber was born in Vienna and raised in stately homes
there and in the mountains that were always picture-perfect.
“They were very formal spaces, with a lot of things that we
weren’t allowed to touch or come near to as children,” she says.
“I wanted our house to be accessible, unforced and not too
precious. Everything in it serves a purpose.”
She spent a year at the Sorbonne in Paris and then enrolled
in the European Business School London, where she received
her MBA. Did a business degree help coordinate contractors,
builders, movers, and upholsterers? “Let’s just say it has come
in handy many times,” she deadpans.
She met von Westenholz not long after moving to London
two decades ago, and they were married in 2013. (Her wedding
dress was Chanel Haute Couture, designed by Karl Lagerfeld.)
They have two girls, Electra, seven, and Cleopatra, five, and a
three-year-old son called Balthazar. “We thought they sounded
like superhero names,” she says. “I knew when I was six that
should I have a son he would be called Balthazar. Fritz took
some convincing.”

ARCH DI G E S T. CO M

107

THE PRIMARY BATH IS
OUTFITTED WITH
WATERWORKS FIXTURES
AND TILE. SOANE BRITAIN
SCONCES; A 1940s ANTIQUE
TABLE FROM PARIS.

“The house is
decorated for us and
to suit the way
we live,” says Sieber.
“The decoration
is intuitive
and personal.”
RIGHT AN ANTIQUE CHAIR WEARING A
LE MANACH ARCHIVE PRINT PULLS UP TO A
VINTAGE JANSEN DESK IN SIEBER’S STUDY.
BELOW A HOUSE-SHAPED BOOKCASE
STANDS IN THE PLAYROOM. LE MANACH’S
PLUMETTES COVERS THE WALLS AND
DRESSES THE GEORGE SMITH CHAIR.

HER DAUGHTERS SHARE A ROOM and sleep in twin canopied
beds that are hung with D. Porthault pink-clover-pattern
fabric. The walls are covered with a mural designed to evoke
Ludwig Bemelmans drawings. “The curtains are inspired by
my childhood bedroom in Vienna, and I adored them growing
up,” says Sieber, adding that Bemelmans was Austrian and
they read his stories in his native German.
Built on a garden crescent in a row of similar historic
houses, the home is surrounded by lush greenery both in the
front and back, and filled with exceptional natural light. “It’s
green as far as the eye can see, which is unusual for this part
of London,” Sieber says. “We get woken up by birdsong in the
morning.” The Garden of Ninfa, a sublime park built in a
medieval town near Rome, has long been her garden fantasy.
She commissioned Milan Hajsinek and, after a few conversations, gave him free rein. She only asked for evergreens. “It
was essential to consider the months when we are in London
to choose flowers that would bloom while we are at home.”
Sieber’s favorite room? The study, which she calls her refuge.
“The view of the garden is so pretty—and no one apart from
me is allowed inside!” But she strives to keep the whole house
just as peaceful. “I constantly roam the house with a mission
to declutter,” she confesses. “Mess can make me uneasy!”

ARC H DI G E S T. CO M

109

“I wanted our house
to be accessible,
unforced and not too
precious. Everything
in it serves a purpose.”

ELECTRA AND
CLEOPATRA’S BEDROOM
FEATURES CUSTOM
CANOPY BEDS DRAPED
WITH D. PORTHAULT’S
TRÈFLES. OPPOSITE THE
GARDEN WAS DESIGNED
BY MILAN HAJSINEK.

design notes

THE DETAILS THAT MAKE THE LOOK

A GUEST ROOM
FEATURES A BED
TENTED WITH
LE MANACH FABRICS
AND DRESSED IN
D. PORTHAULT BEDDING.

BATIK COTTON
BY LE MANACH;
TO THE TRADE.
PIERREFREY.COM

TRÈFLES BOUDOIR
SHAM; $295.
DPORTHAULT
PARIS.COM

ROUND BASKET;
$250. DIOR.COM

Just as I am drawn
to a more timeless style in
fashion, this also resonates
with my taste in interiors.”

FRAISIER CARPET BY
MADELEINE CASTAING
FOR CODIMAT
COLLECTION; PRICE
UPON REQUEST.
CODIMAT
COLLECTION.COM

JARDIN MIRROR; $2,150.
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PILASTRO TABLE
LAMP WITH AMBI
LAMPSHADE BY OKA x
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EXAGONAL TABLE BY MARIO
BONACINA AND RENZO MONGIARDINO
FOR BONACINA; PRICE UPON REQUEST.
BONACINA1889.IT

112

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

THE PETAL WALL
LIGHT; FROM
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CHAIR WITH OVAL
BACK; $1,727.
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POTTED PAPER
DELPHINIUM BY
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SCROLLING FERN SILHOUETTE WALLPAPER;
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SIEBER’S DRESSING
ROOM IS CARPETED
IN A MADELEINE
CASTAING DESIGN.

A CIRCA 1935
ZEBRAWOOD
DESK BY GOUFFÉ
STANDS IN A
CORNER OF THE
DRAWING ROOM.
ESSENTIAL SKIRTED
TABLE; $253.
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INTERIORS: OBERTO GILI. ALL PRODUCTS COURTESY OF THE COMPANIES.

RACHAEL TEACUP; $135.
HERENDUSA.COM

I constantly
roam the
house with a
mission
to declutter.”
HAMPTON SMALL CHANDELIER
BY AERIN FOR VISUAL
COMFORT; $739. AERIN.COM

IN THE LIVING ROOM,
A MURANO GLASS SCONCE
HANGS ABOVE A VINTAGE
COCONUT LAMP, TURNTABLE,
AND THE ANDY WARHOL–
DESIGNED COVER OF DIANA
ROSS’S 1982 ALBUM, SILK
ELECTRIC, ON A SHELF NEXT TO
BESPOKE LACQUERED ZIRICOTE
CABINETRY. OPPOSITE HUGO
TORO DESIGNED THE LIVING
ROOM’S CURVING SOFA, WHICH
WEARS A PIERRE FREY VELVET.
VINTAGE COPPER SCONCES
FLANK A FRAMED MOROCCAN
HORSE SADDLE. 1970s
COCKTAIL TABLE; CUSTOM
CARPET BY ÉDITION 1.6.9.

the suite life

Steps from Paris’s Parc des Buttes-Chaumont,
in-demand young designer Hugo Toro reimagines
his 1960s-era apartment as a globally inspired
retreat from daily life
TEXT BY

MARINA HEMONET

PHOTOGRAPHY BY

MATTHIEU SALVAING

STYLED BY

SARAH DE BEAUMONT

ARC H DI G E S T. CO M

115

says. He began his redesign by tearing down everything and
hen Hugo Toro
then starting anew, reorganizing the space to create a more
first saw his
open, light-filled loft. “I didn’t want a Haussmann-style flat
new apartment
in eastern Paris, with moldings, I wanted a more cinematic feel,” he explains.
close to the Parc “It’s a space that’s not rooted in the Parisian vernacular, but
which touches me more directly. It allows me to disconnect
des Buttesfrom my other projects when I get home in the evening.”
Chaumont, he
At the heart of the project is a powerful palette of rich hues
immediately
and calculatedly dramatic contrasts. Since his early childhood,
realized its potential. He had been looking at buildings from
Toro has been fascinated by the play of colors and textures,
the 1960s and ’70s, and he was drawn to the floral pattern on
the floor in the entrance of this unit. As soon as he saw it, Toro influenced by his Mexican mother who admired the painter
Diego Rivera. “There’s a pictorial side to this apartment,” he
decided to turn it into a motif for his personal project: “I used
notes. “I love Luis Barragán and his Casa Pedregal in Mexico
a geometric version of the checkerboard in the hall, choosing
City—the green color of the pool, the pink walls. It’s one of the
red and white travertine to retain the building’s period feel,
houses that has made the strongest impression on me. Even
and then I repeated the pattern throughout the apartment.”
though I’ve never lived in Mexico, its textures and colors fill
As with other apartments he has designed, this one was
the sketches in the pages of my notebooks.” Indeed, influences
conceived as a warm, welcoming hotel suite. “For me, there’s
from around the world can be seen in all of his design work,
nothing better than a hotel room where you feel good,” Toro

OPPOSITE THE DINING
ROOM’S RED LACQUER
TABLE AND OVERHANGING
LAMP WERE DESIGNED BY
TORO. 1970s CHAIRS; JULESAIMÉ GROSJEAN VASE FROM
GALERIE VAUCLAIR. THE
LACQUERED SWEET GUM
CONSOLE AT RIGHT HIDES
THE TELEVISION. RED AND
WHITE TRAVERTINE COVERS
THE FLOOR HERE AND

THROUGHOUT THE
APARTMENT. RIGHT A 1968
IRON SCULPTURE BY SIDO
AND FRANÇOIS THEVENIN
FROM GALERIE PATRICK
FOURTIN STANDS ON THE
TERRACE OUTSIDE THE LIVING
ROOM. A CHAMPAGNE BUCKET
SERVES AS A VASE, AND THE
GLASSWARE IS BY BACCARAT.
BELOW TORO IN A SWEATER,
SHIRT, AND KILT BY DIOR MEN.

“I like to engage with traces of the past, as a way
of preserving the soul of a place,” says Toro.
and other touchstones include the buildings of Otto Wagner
and Adolf Loos in Vienna and John Lautner in Los Angeles—
two cities where he did his graduate work.
After school, he launched his own studio in 2020. Since
then, the now 34-year-old designer has been taking on a
rapidly growing number of big projects. His latest ones include
Booking Office 1869, a bar-restaurant in London’s St. Pancras
station, which took a Victorian winter garden as its inspiration; the remodel of the studio atop the historic Payne Whitney
Mansion, Villa Albertine’s New York City headquarters;
and Orient Express’s La Minerva Hotel, in the former Palazzo

Fonseca in Rome, due to open at the end of 2024. Toro’s
approach is to imagine an entire world with its own strong
narrative. His architectural work has a scenographic quality,
with every project conceived as a set, complete with carefully
staged spaces and an extreme attention to detail.
IN THIS APARTMENT, in addition to the geometric floor, another
element helped shape the space: the yellow lacquer on the
ceiling. Toro chose the color because the walls were initially
covered with a yellow moiré fabric, and it complemented the
watery green tone of the bath’s original wallpaper. Those walls

AR C H DI G E S T. CO M

117

ABOVE LEFT IN THE
BATH, BRECCIA SIENA
MARBLE CLADS THE TUB,
AND THE NICHE IS
COVERED IN FLUTED TILE
BY CÉRAMIQUES DU
BEAUJOLAIS. TRAVERTINE
SIDE TABLE FROM TORO’S
AMANECER COLLECTION
FOR KOLKHOZE GALLERY

AND M ÉDITIONS;
MERMAID SCULPTURE BY
HENRY PARAYRE FROM
GALERIE PATRICK FOURTIN.
ABOVE RIGHT A VINTAGE
LAMP AND BRUTALIST
MIRROR SOURCED AT A
FLEA MARKET HANG
ABOVE A CUSTOM TORODESIGNED SINK.

have since been refinished in a custom limewash, Toro notes,
adding, “I like to engage with traces of the past, as a way of
preserving the soul of a place.” He continues, “Both lacquer
and bold color are less common in apartments, but I use them
regularly in my hotel and restaurant projects. Clients don’t
come to me looking for beige and gray.”
While admitting that it’s important to find the right balance,
“I don’t think you get tired of colors,” he asserts. “But I’d rather
get tired of a color than not take any risks.” With the apartment’s nine-foot-high ceilings, the lacquer also helped to instill
a sense of verticality to the space, while its play of reflections

118

AR C H D IG E S T.COM

provides indirect light. In this apartment, wood is also used
to striking effect, with three different species—walnut, sweet
gum, and ziricote—employed to provide contrast.
Toro also designed much of the furniture himself, punctuating the space with travertine pieces from his new Amanecer
collection, created with Kolkhoze gallery and M Éditions. In
the bedroom, the angled niche above the bed adds a surprising
element. “I wanted to achieve a hotel feel, but at the same time
follow a more Brutalist approach,” he notes. “Here, it’s almost
like a temple or Batman’s lair in his villa…only more exotic.”
He also worked extensively with curves to counterbalance the
rectilinear aspect of the apartment, smoothing the transitions
between spaces as well as materials and volumes. “I like
accidents,” he confesses. “I’m neither a maximalist nor a
minimalist; I like living architecture.”
(Translated from French by John Newton.)

“I don’t think you get
tired of colors.
But I’d rather get tired
of a color than
not take any risks.”

FOR THE BEDROOM, TORO
DESIGNED A WALL-SPANNING
UNIT INCORPORATING THE BED,
HEADBOARD, NIGHTSTANDS,
AND STORAGE CUPBOARDS.
CHROME CEILING FAN; MURANO
LAMP (IN NICHE ABOVE BED);
1930s CHROME LAMPS BY JOSEF
HŮRKA FOR NAPAKO; BEDSPREAD
BY MAISON DE VACANCES.

ARTISTS
IN
RESIDENCE

For best-selling author
Suleika Jaouad and
Grammy-winning
musician Jon Batiste,
home is a soulful
Brooklyn town house
that celebrates their
heritage and their
vision for the future

HAIR BY JENNA ROBINSON; MAKEUP BY JESSE LINDHOLM; ART: WILLIE COLE. ANNE FRANCEY.

TEXT BY SULEIKA JAOUAD
PHOTOGRAPHY BY FRANK FRANCES
STYLED BY MIEKE TEN HAVE

IN THE LIVING ROOM, A
WATER-BOTTLE CHANDELIER
BY WILLIE COLE HANGS
ABOVE A VINTAGE GEORGE
SMITH SOFA WEARING A
SCHUMACHER’S ANTIQUE
STRIE VELVET AND VINTAGE
SWIVEL CHAIRS IN A
LORO PIANA CASHMERE.
OPPOSITE JON BATISTE,

IN A PIERRE-LOUIS
MASCIA SHIRT AND SAINT
LAURENT TROUSERS,
AND SULEIKA JAOUAD,
WEARING A CHRISTOPHER
JOHN ROGERS DRESS,
WITH RIVER, A LABRADOR
GOLDEN RETRIEVER
MIX. FASHION STYLING
BY ANTON SCHNEIDER.

IN THE DINING ROOM, A MULLER
VAN SEVEREN LAMP ANGLES
OVER A FARMHOUSE TABLE FOUND
ON FACEBOOK MARKETPLACE
AND VINTAGE BENTWOOD CHAIRS.
OPPOSITE IN THE KITCHEN,
THE BACKSPLASH IS COMPOSED
OF TILE CRAFTED IN TUNISIA.
APPARATUS PENDANT LIGHT;
WATERWORKS FAUCET; LACANCHE
RANGE; HANDMADE COOKWARE
BY NETHERTON FOUNDRY FROM
NICKEY KEHOE; REJUVENATION
CABINET KNOBS.

I sensed it
the moment
I crossed
the threshold.
The soaring archways and streaming light reminded me of
the architecture of Tunisia, where my father is from, and it
immediately felt like home.
Jon and I had been looking to buy our first place for months.
We’d seen close to 70 properties, but none fit our specifications
of a space where we could both live and create. Jon needs
the freedom to explore making sounds and congregate with
fellow musicians. As a writer, I need total silence and solitude.
Touring the 1890s Brooklyn Italianate, I saw that the thick
walls and large, atmospheric rooms could hold both. I called
Jon, who was on the road, to say I’d found the One. In a leap
of faith, he made an offer, sight unseen.
Until then, home for both of us had been makeshift and
fleeting. Jon’s 20s were spent traveling with his band and
bouncing between disparate creative projects, with layovers
in a small Washington Heights apartment, where he dined
on canned beans each night surrounded by suitcases. When
he played piano (noon or night) his neighbors would bring
out the broomstick and get to banging. For me, a child of
immigrants, home always felt elusive. I attended six schools

on three continents by age 12. At 22, I was diagnosed with an
aggressive form of leukemia, and for the next few years,
the grim fluorescence of a hospital was my primary dwelling.
Eager as we were to put down roots, we had a long road
ahead. A peek behind the walls revealed a gut renovation was
needed. Friends regaled us with tales of couples who’d been
sundered by similar projects, and we soon understood why.
Suddenly we were faced with decisions around budget, collaborative dynamics, and division of labor like never before.
We also had to find a way to merge our tastes, lifestyles, and
visions for the future in both symbolic and pragmatic ways—
and let me tell you, pragmatism is not a strong suit for either of
us. I wanted to preserve and restore every decaying tin ceiling—
to fill the house with one-of-a-kind salvaged objects, each with
a whimsical backstory, including a vintage elephant-shape bar
and a taxidermied peacock that became the topic of fraught
debate. Jon had his own outrageous dreams, like a yellow brick
road running through the garden, and for a while, a Mardi
Gras theme: everything furnished in purple, gold, and green.
My diplomatic reply was an upbeat: “That sounds great… for
your recording studio!”

ARC H DI G E S T. CO M

123

“The vision for the
house was deeply tied to
who Jon and I are as
humans—to our creativity
and our lineage.”

THE PRIMARY BATH FEATURES A CAST-IRON TUB BY BARCLAY PRODUCTS WITH WATERWORKS FITTINGS.
BESPOKE PENDANT LIGHT BY APPARATUS; WALLS IN PLASTER FINISHES BY PORTOLA PAINTS.

CLOCKWISE FROM ABOVE GUCCI’S
LILLIES WALLPAPER HIGHLIGHTS
A WALL OF THE STUDIO LOUNGE.
MOROCCAN-INSPIRED TABLE
FROM QUITTNER, A 1940s FRENCH
FLOOR LAMP, AND A VINTAGE
LEATHER CHAISE LONGUE FURNISH

A CORNER OF THE PRIMARY
BEDROOM. IN THE CALIFORNIA
CLOSETS–DESIGNED DRESSING
ROOM, A TÊTE-À-TÊTE BY JOHN
DERIAN FOR CISCO BROTHERS
STANDS ON A VINTAGE WOOL
OUSHAK RUG FROM NICKEY KEHOE.

BUT IN TIME, A SHARED AESTHETIC LANGUAGE EMERGED.

With the invaluable help of our friend, the writer and designer
Hallie Goodman, who became my collaborator on the interiors,
we achieved a balance. Hallie and I both love all things thrifted,
and we developed an unconventional, possibly inefficient,
but powerfully organic process. We’d find one object, say on
Facebook Marketplace or in a flea market, and it would lead to
one idea and then another. Gradually a room would coalesce.
The vision for the house was deeply tied to who Jon and I
are as humans—to our creativity and our lineage. We began to
meld Tunisia and New Orleans into a style we call “Tunisiana,”
an homage to our shared Francophone and African roots. We
wanted a home that felt soulful, timeless, and elegant, with a
playful twist.
It’s there in the poetry of the arches and curves of the
millwork. It’s there in the contrast between white limewashed walls and those drenched in color. The pink kitchen,
inspired by the New Orleanian love of saturated hues, pairs
perfectly with the blue Tunisian tile backsplash. (The tiles
were made by my friend, Mokhtar Lahmar, who hand-makes
and paints each tile in a garage turned atelier in the seaside
town of Nabeul.) It’s in the 19th-century beaded Moroccan
light in our bedroom, and the giant, drippy chandelier in the
living room made of upcycled water bottles by artist Willie
Cole. It’s in the art, which ranges from paintings by my Swiss
mother, Anne Francey, to the Haitian American artist Patrick
Eugène, to my grandfather’s collection of vintage posters. It’s
in the traditional Parisian furnishings and the North African
pottery, textiles, and rugs, collected over a lifetime of trips
back to the fatherland.
Striking this balance wasn’t seamless. At times we found
ourselves at a stylistic impasse, though often those yielded
absurdly humorous exchanges. Once I fell in love with a pair
of vintage Poliedri sconces, made up of smoky Murano glass
polyhedrons. I thought they were weird and beautiful, like
sexy, moody dinosaur jewelry. I texted Jon a photo, certain
he would love them too. He responded: “Like an enemy
starship descending upon earth, with several ports to launch
flames and laser beams through.” Then, “they look like trash
hanging on the wall, or a fungal growth.” And then later, “I
feel assaulted by this design. But if you want them, go for it.”
With that, I let the sconces go—though light became a
guiding principle for us. Once, in reference to a lamp, Jon said
in an exaggerated fashion, “Now this light is healing!” It
cracked us up, and we put it on repeat. About anything that we
loved, anything that was beautiful and life-giving, we’d say,
“This is healing.”

hospital for my second bone marrow transplant, we got married in the living room in an intimate, impromptu ceremony.
The house was mid-construction, but Hallie had the first
floor swept free of debris and filled with flowers and candles.
We served fried chicken sandwiches and champagne to the
handful of guests who joined us, and Jon serenaded me on a
grand piano that he’d rented just for the night. It felt like an
act of defiance, to make a promise to our future life in that
space, a wager that all the hopes contained there would come
to pass—to say, “We will be here. We will live here.” It was
another leap of faith.
To have cancer is to live for the next deadline. You have to
get through this chemo protocol, survive this procedure, get
to this milestone. But the biggest goal for me was making it to
this new home. For years now, I’ve relied on a creative practice
to navigate illness by alchemizing life’s interruptions into
something beautiful, and this time was no different. I spent
the next two months in the hospital doing two things. The first
was painting watercolors of one fever dream after another,
like a self-portrait with a giraffe as my IV pole. The second was
scouring the internet for delightfully imperfect objects to
THOSE WORDS TOOK ON A NEW TIMBRE and became a more
make our house completely our own.
literal guiding principle last winter when I learned that after
I entered the hospital in winter. The day I was discharged
a decade-long remission, my leukemia was back. A relapse so
far out is extremely rare, and my chances of survival were slim. was sunny and fully spring. I was weak, in need of a walker to
get around, but I was so happy and relieved. As Jon and I made
At that point, we could easily have put the renovation on
our way through the house, I had tears in my eyes—not just
pause, or dropped it altogether. Instead, we doubled down—
as Jon said, we had a plan, and we were not going to let cancer because it far exceeded our expectations. We had finally made
it home.
derail it. On February 5, 2022, the night before I entered the

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“We wanted a home that felt
soulful, timeless, and elegant,
with a playful twist.”

IN THE STUDIO LOUNGE,
BATISTE, WEARING A
ZEGNA SWEATER, VIVIENNE
WESTWOOD TROUSERS,
AND GUCCI LOAFERS, ON
A CUSTOM VELVET FLOOR
COUCH BY DESIGNWAY.
OPPOSITE AN ANTIQUE
JEWEL-TONED STAINEDGLASS PANEL FILTERS LIGHT
IN THE PRAYER ROOM.

At London’s iconic Barbican Estate,
designer Bryan O’Sullivan crafts
a dreamy—and deeply personal—
home for his young family
TEXT BY

SAM COCHRAN

PHOTOGRAPHY BY

JAMES MCDONALD

STYLED BY

SARA MATHERS

BRUTALIST

HONESTY

AT THE LONDON APARTMENT
OF BRYAN O’SULLIVAN AND
JAMES O’NEILL, SALON-STYLE
ART ARRANGEMENTS WRAP
THE LIVING AREA, WHICH
IS FURNISHED WITH A VINTAGE
CESARE LACCA SOFA, CHAIRS
OF O’SULLIVAN’S OWN DESIGN,
AND AN ORIOR CREDENZA;
1950s CEILING LIGHT BY MAX
INGRAND IN COLLABORATION
WITH THE ARTIST DUBÉ.

here are buildings that loom as large in
our imaginations as they do on the skyline.
For Bryan O’Sullivan, the Barbican has
been that landmark. “Ever since I was a
student I’ve been obsessed,” the designer
says of the London icon: a cluster of
Brutalist beauties by Chamberlin, Powell
and Bon that date to the 1960s and ’70s.
Visible from far and wide, its three towers
transfixed the budding aesthete when he first moved to
the city from Ireland. “You can’t miss them,” he notes, still
awestruck at their jagged silhouettes. It was there, in the
complex’s beloved theater, that he graduated from university,
there that he’s reveled in countless live performances, and
there, in its galleries, that he’s absorbed exhibition after

exhibition. Put simply, O’Sullivan reflects, “the Barbican
always pulls me back.”
So when an apartment came up for sale in the westernmost tower, he and his husband, James O’Neill, jumped
at the opportunity to lay roots amid the concrete. Set on the
39th floor, the unit offered a bird’s-eye perch above the city,
looking out toward the London Eye, Buckingham Palace, and
Hampstead Heath. “At first I needed some convincing, but
when I got there and saw the views I was sold,” recalls O’Neill,
a music artist who doubles as the commercial director (and
jack-of-all-trades) at O’Sullivan’s eponymous firm. “There is
nowhere else in London like it.”
The apartment had only ever been owned by one couple
who had renovated the kitchen and baths, sparing O’Sullivan
and O’Neill the guilt of disturbing original details. “I’m all for

ART: MARLENE DUMAS

LEFT LOCATED HIGH IN
ONE THE BARBICAN’S
THREE TOWERS, THE FLAT
ENJOYS SWEEPING CITY
VIEWS OF THE LONDON
EYE, BIG BEN, AND BEYOND.
RIGHT A TERRACE WRAPS
THE UNIT. OPPOSITE
O’SULLIVAN (LEFT) AND
O’NEILL WITH THEIR SON,
COSMO, AFTER WHOM
THEY NAMED THE TABLE
LAMP FROM O’SULLIVAN’S
DEBUT FURNITURE LINE.

preserving the past, but that 1970s kitchen would not have
at the time the mastermind shepherding the Maybourne
worked for modern-day life,” notes the designer, who opened
Group’s portfolio of legendary properties. McKillen encourup the galley cookspace to create a more loftlike layout. The
aged him to submit ideas for The Berkeley Bar & Terrace
three existing bedrooms, meanwhile, were rejiggered to form
in London, ultimately falling in love with O’Sullivan’s vision—
a primary suite with its own bath and dressing room, a smaller a wood-paneled watering hole that braided homages to
guest room, and a cozy TV room. The result, O’Sullivan notes,
the Duke of Wellington, Brutalism, and Carlo Scarpa. That
were “two zones: an elevated entertaining area and a slouchier, commission led to many more: the Red Room speakeasy
cozier space.”
and adjoining cigar lounge at the Connaught; another bar as
He certainly knows how to set a mood. Prior to opening his well as suites, penthouses, and the newly opened brasserie
own firm, O’Sullivan honed his craft under some of the design
at Claridge’s; and an array of spaces at the Maybourne Riviera
world’s leading talents, among them AD100 titans Annabelle
in the South of France. Today there are collaborations in the
Selldorf, Luis Laplace, and Martin Brudnizki, plus the late great works in Beverly Hills and beyond.
hospitality maestro David Collins. Since launching Bryan
Expanding on his love of hospitality, O’Sullivan says,
O’Sullivan Studio 10 years ago, he has built his own name in the “you get to push the boundaries and dig deep into a concept.”
hotel world thanks to a chance meeting with Paddy McKillen,
He credits that creative passion to his mother and father,

ARC H DI G E S T. CO M

131

IN THE KITCHEN, SURFACES
OF RICHLY FIGURED MARBLE
COMPLEMENT CUSTOM
CABINETRY IN THE SPIRIT OF
LE CORBUSIER; STOOLS BY
O’SULLIVAN. OPPOSITE THE
DINING AREA’S PENDANT LIGHT,
TABLE, AND CHAIRS ARE ALL
FROM O’SULLIVAN’S DEBUT
COLLECTION OF FURNITURE;
UPHOLSTERY FABRIC
BY CLAIRE DE QUÉNETAIN.

“Ever since I was a
student I’ve been
obsessed,” O’Sullivan
says of the iconic
London building he
now calls home.
“The Barbican always
pulls me back.”

who owned a number of bars and restaurants in the Irish
town of Kenmare, where he grew up, as well as his maternal
grandfather, a hotelier with properties throughout surrounding County Kerry. But today the designer is just as busy
with private residential projects, the pace and intimacy of
which engage different parts of his brain. “You can take your
time developing a world that’s bespoke for the people who
live there.”
AT THE BARBICAN, he has been able to apply that same rigor

and attention to detail to his own home. Normally decisive,
O’Sullivan admits to initially struggling with the total freedom
that comes with designing for yourself. “Being your own
client for a change is surreal,” he says. Ultimately, the couple
tied as much of the interiors as possible back to the era of the
Barbican but reinterpreted for the 21st century. The entry is
clad in oak-burl paneling, the walls and ceilings slathered in
Marmorino plaster, and the floors lined in end-grain blocks of
wood. Furnishings, meanwhile, mix vintage finds by the likes
of Gio Ponti, Jean Royère, and Max Ingrand with O’Sullivan’s
own creations—from the dining table (inlaid with brass
vegetables and mother-of-pearl psychedelic mushrooms) to
the entry’s starburst mirror. Both pieces are part of O’Sullivan’s
debut furniture collection, which elegantly blends bygone
glamour with present-day pizzazz.

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A R C H D IG E S T.COM

The apartment’s overall palette, though subdued, stays
cheerful, punctuated with notes of pink and blue reminiscent
of sunsets. “Our goal,” explains O’Sullivan, “was to counterbalance all that concrete, to make the spaces feel as uplifting as
possible.” These days, the space is bringing smiles to many faces
as the couple hosts regular dinner parties for their families
and friends, among them like-minded neighbors. O’Sullivan,
an avid chef, finally has enough space to entertain a crowd,
cooking in a showstopper kitchen with oak cabinetry that
echoes the Barbican’s jagged façades.
And there’s a new mouth to feed. This past year, the couple
welcomed the arrival of their first child, Cosmo. Come bedtime,
he gets his bath in the marble-lined tub then settles into his
charming nursery, previously the guest room but now wrapped
in Claire de Quénetain wallpaper. Then it’s downtime for
daddies as O’Sullivan and O’Neill snuggle into the television
room for a show or just gaze out across the city—looking out
from the Barbican after so many years looking up at it. “We
always get a sunset,” notes O’Neill. “At magic hour the whole
apartment seems bathed in honey. It feels like a real retreat
up in the clouds.” Adds O’Sullivan, still awestruck: “You can
see everything.”

ART: SAM WOOD

O’SULLIVAN DESIGNED
THE BED, SIDE TABLES,
AND TABLE LAMPS IN THE
PRIMARY SUITE; VINTAGE
MAX INGRAND MIRROR.
LEFT COSMO’S NURSERY
IS COCOONED IN A CLAIRE
DE QUÉNETAIN PATTERN;
DRAWINGS BY SAM WOOD.

“Our goal was to counterbalance
all that concrete, to make the
spaces feel as uplifting as possible.”

THE GUEST BATH IS LINED IN CIPOLLINO MARBLE, WITH A MATCHING SINK CARVED
FROM A SINGLE BLOCK OF STONE; FITTINGS BY WATERWORKS.

design notes

THE DETAILS THAT MAKE THE LOOK

BARBICAN LIGHT; $37,125. BRYANOSULLIVAN.COM
EMMETT
ANTIQUE BRASS
TAPER CANDLE
HOLDER; FROM
$30. CRATEAND
BARREL.COM

NED SOFA; $24,145.
BRYANOSULLIVAN.COM

The apartment became a
laboratory for our new furniture
collection.” —Bryan O’Sullivan
CIPOLLINO MARBLE; PRICE UPON
REQUEST. ABCWORLDWIDESTONE.COM
CIPOLLINO MARBLE
ENVELOPS THE GUEST BATH.
CUSTOM GRAY ONYX BASIN;
WATERWORKS FITTINGS.

MACAROON
ARMCHAIR; $6,640.
BRYANOSULLIVAN.COM

JELLYFISH MIRROR;
$55,840.
BRYANOSULLIVAN.COM

RAINBOW SWIRL
SHOT GLASS BY
AQUAZZURA CASA;
$161 FOR A SET
OF TWO. MATCHES
FASHION.COM

CIPOLLINO MARBLE FIELD
TILE; $83 PER SQUARE FOOT.
ARTISTICTILE.COM

COSMO LAMP; $21,885.
BRYANOSULLIVAN.COM

JADE FABRIC;
$129 PER METER.
CLAIREDE
QUENETAIN.COM

THE SOFA IN THE OAKPANELED TV ROOM
WEARS A MOHAIR VELVET.

PATCHWORK PILLOW; $130.
INCASABYPABOY.COM

1748 MODEL CEILING
LIGHT BY MAX
INGRAND AND DUILIO
“DUBÉ” BARNABÉ FOR
FONTANAARTE;
$23,595. 1STDIBS.COM

LIBERTAD CUSHION; $155.
LELIEVREPARIS.COM

BEMBO CREDENZA;
PRICE UPON REQUEST.
ORIORFURNITURE.COM

ALESSI STERLING
SILVER KETTLE BY
MARIANNE BRANDT;
PRICE UPON REQUEST.
SHOP.NEUEGALERIE.COM

We get to live
in a space that
is finished to the
level of one
of our projects.”
—James O’Neill
PR OD UC ED BY MA DEL INE O’MAL L EY

AN AURA MIRROR BY BRYAN
O’SULLIVAN COLLECTION
HANGS ABOVE A BESPOKE
GLASS CONSOLE IN THE
ENTRANCE HALL. ARTWORK
BY CORMAC BOYDELL.

ARCH DI G E S T. CO M

137

grand finale

“There must be quite a few things a hot bath won’t
cure, but I don’t know many of them,” Sylvia Plath
wrote in The Bell Jar. Granted the writer was hardly
the Gwyneth Paltrow of her day, but in this case
her wellness tip bears out—a good bath is indeed
good for the soul. Just ask Ashley Hicks, the puckish
designer, artist, and son of the legendary arbiter
elegantiae David Hicks. At his home in Oxfordshire,
England, hard by the famous garden his father
cultivated on the family’s country estate, Hicks has
crafted an idiosyncratic marvel of ablutionary
splendor. The walls of the hexagonal room, formerly
a storage space, are wrapped in the designer’s

own hand-painted mural depicting figures from
Michelangelo’s Sistine Chapel ceiling. (Seen here are
the Delphic Sibyl and the Prophet Ezekiel.) Hicks,
who crafts similar feats for clients, surmounted those
scenes with his vision of Bertel Thorvaldsen’s frieze
of Alexander the Great’s triumphant entry into Babylon,
rendered to simulate terra-cotta. Images of flowers
leaven the classical pageantry with lyrical notes from
the garden. The tub is encased in his signature resinfoam boulders, and the floor is painted to resemble
terrazzo. “I love to read in the bath, being glared at by
these stern apparitions,” says the designer.
ashleyhicks.com —MAYER RUS

ASHLEY HICKS

Super Soaker

NEW YORK

Request the Exhibition Catalogue

Laurence A. Campbell (b.1939) Rain in the City, 5th Avenue $ 75,000

Q U E S T R O YA L F I N E A RT, L L C
Important American Paintings
903 Park Avenue (at 79th Street), Third Floor, New York, NY 10075 T: (212) 744-3586 F: (212) 585-3828
HO UR S : Monday–Friday 10–6, Saturday 10–5 and by appointment
E MA I L : gallery @ questroyalfineart.com www.questroyalfineart.com