Architectural Digest USA - May 2022

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1. A VESSEL FOR CHANGE, A FLOATING OFFICE IN ROTTERDAM DESIGNED BY POWERHOUSE COMPANY. 2. GIFTED BY THE CITY, THE BUILDING MERGES BUSINESS AND PLEASURE. 1 2 Floating the Concept “For us, sustainability also means creating something that people love,” says Nanne de Ru, a founding partner of the international architecture practice Powerhouse Company. “Beautiful things will be reused.” Those ideals are now on full display in Rotterdam’s Rijnhaven port, where the firm’s new project, billed as the world’s largest floating office, is docked. Dubbed A Vessel for Change, the building was conceived in collaboration with the Global Center on Adaptation (GCA), an institute founded by the Netherlands government to research how cities can adapt to climate change as well as implement and accelerate those innovations. “We rose to the challenge and designed and developed this unique concept, making it circular, energy-positive, and carbon-negative,” notes Ru. The 48,438-square-foot office (home to the GCA) can be deconstructed and relocated, traveling by waterway from site to site. In the event of a flood it will rise with the water, adapting to the changing planet. Prefabricated timber and standardized joints, meanwhile, increase ease of construction. “We had to deal with the right kind of floating foundation,” recalls Ru, who explains that the concrete pontoon was not only durable but also thermal efficient, with water cooling the building in summer and helping to heat it in winter. The building is also a crowd-pleaser, with a communal restaurant and a swimming pool. Talk about making a splash. powerhouse-company.com —GAY GASSMANN . Their joint platform, A VESSEL FOR CHANGE: MARK SEELEN. STACKABL: SEAN MCBRIDE. to a striped 52



1. A CANAL WINDS MATERIAL STUDY THROUGH FRIENDSHIP HOSPITAL IN BANGLADESH, A new wave of DESIGNED BY KASHEF MAHBOOB CHOWDHURY OF STUDIO URBANA. 2. AN AERIAL VIEW OF THE CAMPUS. MUUTO FIBER BENE BFRIENDS DESK ARMCHAIR; STAND; BENE.COM KNOLL.COM 1 ARPER MIXU FRIENDSHIP HOSPITAL: ASIF SALMAN. ALL OTHERS COURTESY OF THE COMPANIES. CHAIR, One Brick at a Time DESIGNED IN COLLABORATION Bangladeshi architect Kashef Mahboob Chowdhury of studio URBANA WITH GENSLER; has turned several old boats into floating hospitals so that the humanitarian ARPER.COM group Friendship can reach populated islands in that country’s rivers. Now he has completed his first hospital on land, though water is still very much a REVIVAL CROQUET feature. A canal zigzags like a lightning bolt through a collection of small FLAT-WEAVE buildings that constitute the 80-bed Friendship Hospital in Shyamnagar— a rural area about 200 miles southwest of Dhaka. The canal’s serene beauty OUTDOOR RUG; was reason enough to build it. (Chowdhury believes that a pleasing environ- REVIVALRUGS.COM ment facilitates healing.) But the canal—a dividing line between the hospital’s inpatient and outpatient facilities—serves several practical purposes: It ECOBIRDY collects rainwater from surrounding plazas and rooftops that is stored and MABO PLATES; used for irrigation, and it creates a microclimate, cooling the hospital during ECOBIRDY.COM the region’s hottest months. The MATER OCEAN buildings flanking the courtyard, OC2 BENCH including a 35-foot-high tower BY JØRGEN & that contains potable water from NANNA DITZEL; a deep well, are constructed out MATERUSA.COM of bricks made locally, minimizing the hospital’s carbon footprint. In many cases the bricks form large outdoor “windows” that open onto colonnades, recalling the work of the great Louis Kahn, particularly his National Assembly Building in Dhaka. Chowdhury, who went to architecture school in Dhaka, calls Kahn “my guru.” Now Bangladeshi architects are saying the same about him. kashefchowdhury-urbana.com —FRED A. BERNSTEIN 2 54 ARCHDIGEST.COM

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Home Run The Spanish architects José Selgas and Lucía Cano are known for using curved surfaces, bright colors, and high-tech materials to create attention- getting buildings. But they also know that the less you build, the less carbon will be emitted into the atmosphere, reducing buildings’ contribution to global warming. And that means that renovating, as opposed to tearing down and starting over, is the greenest thing an architect can do. Outside Madrid, the couple, whose firm is known as SelgasCano, practiced what they preach, turning a cluster of rudimentary farm buildings into a weekend compound for themselves and their two sons, doing as little as possible to the original structures. The pair met regularly with 1 builder Luismi Quintana and carpenter 2 Rubén Criba to discuss what materials they had on hand and how they could best employ them. Most of the wood came from the existing house. They raised some of the roofs (Selgas is six four) and added windows, sometimes chiseling irregular holes in concrete walls, then inserting panes of clear acrylic. But they stuck to the agricultural buildings’ footprints. “The scale of the house was really nice. We didn’t need anything else,” says Cano. Adds Selgas, “Wasting space is a problem for our society. You should create space you’re going to use.” When the four-year renovation was complete, a neighbor came to see it. Entering the building, Cano recalls, “she said, ‘But you have done nothing!’ I said, ‘That’s the greatest compliment.’ ” selgascano.net —F.A.B. 1. RATHER THAN START FROM SCRATCH, SELGASCANO ADAPTED OLD FARM BUILDINGS INTO A COUNTRY RETREAT. 2. ONE OF ITS LIVING AREAS. LIQUID GE PROFILE LG MOEN TOTO SELGASCANO: IWAN BAAN. ALL OTHERS COURTESY OF THE COMPANIES. ASSETS TOP-LOAD 600, 700, THE BRAND’S TOP- HIGH-PRESSURE AND THE WASHLET G450 AND 900 SERIES SMART CONTROL SMART WI-FI- ENVIRONMENTALLY INTEGRATED TOILET USES The best new WASHERS CAN ALL ENABLED DISHWASHER CONSCIOUS, THE NEBIA HIGH-PERFORMANCE appliances and DETECT THE AMOUNT OF ALLOWS FOR HALF BY MOEN QUATTRO WATER JETS TO ACHIEVE A fixtures save DIRT PRESENT TO WASHES, LIMITING WATER SHOWERHEAD CUTS SUPER-EFFICIENT LIGHT water without CUT BACK ON RINSES; TO THE TOP OR BOTTOM WATER USE BY SOME 50 FLUSH; TOTO.COM —S.C. sacrificing style GEAPPLIANCES.COM PERCENT; NEBIA.COM RACK; LG.COM 56 ARCHDIGEST.COM



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A CENTURY OF STYLE FROM LEFT: ANTHONY COTSIFAS; JASON SCHMIDT; OBERTO GILI 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

french be Design insider Amanda Brooks visits her friend Sisley executive Christine d’Ornano at her chic summer getaway near Biarritz TEXT BY AMANDA BROOKS PHOTOGRAPHY BY MATTHIEU SALVAING STYLED BY AMAYA DE TOLEDO

auty A WALL HANGING FEATURING AN ALEXANDER CALDER DESIGN OVERLOOKS THE LIVING ROOM, WHERE RED VICO MAGISTRETTI CHAIRS SURROUND A VINTAGE FELT-COVERED GAMES TABLE AND AN INGO MAURER LAMP STANDS ATOP AN INDIA MAHDAVI SIDE TABLE. THE VIVAI DEL SUD CONSOLE AND CERAMIC LAMP WERE FLEA-MARKET FINDS. FOR DETAILS SEE RESOURCES.

I first spotted Christine d’Ornano at a friend’s have become close friends over the years, I have witnessed dinner party in London nearly 10 years ago. the sheer joy she takes in visiting galleries, flea markets, and As we were chatting, I soon noticed—and small-town brocantes to discover not only the very best work envied—her perfect shade of rose lipstick from well-known artists and designers but also carefully and her colorful needlepoint clutch bearing selected yet unpretentious bric-a-brac that adds great charm her children’s names—a gift, she explained, and character to a room. lovingly hand-stitched by her mother. As I While Christine had already created two beautiful homes got to know her better, this all made perfect for herself—first in London and then in Paris—perhaps her most personal project to date is her summer beach house near sense. Christine’s parents founded the Biarritz, in the Basque region of France, overlooking the Atlantic ocean. Having grown up visiting the area on summer beauty brand Sisley, where she is now global trips with her siblings, Christine first saw the house she would buy when walking in the nature reserve that blankets the vice president, and they are often celebrated for their great landscape in front of it. It was a modest house but it had a big terrace overlooking the sea, and she had a vision for what taste, appreciation of beauty, and very personal sense of style. it could become. As waterfront homes often require suitable materials to sustain the forces of nature in close proximity, Christine’s mother, Isabelle d’Ornano, collaborated with Henri Samuel on a sumptuous Paris apartment that has been published several times over the years. (That place and others are the focus of a new book, What a Beautiful World!, published by La Martinière/Abrams.) As Christine and I

CIRCULAR WICKER CHAIRS STAND NEXT TO THE TILE-LINED POOL. OPPOSITE CHRISTINE D’ORNANO IN FRONT OF THE HOUSE’S CENTRAL FIREPLACE. A RAF SIMONS FOR CALVIN KLEIN GAETANO PESCE CHAIR AND WICKER CHAIRS BY TITO AGNOLI SURROUND A FLEA-MARKET COCKTAIL TABLE. she wanted to understand how to transform it into a home that with comfortable cushions scattered on them; they’re invit- would last. Christine collected her own research on favorite ingly casual, welcoming even to those in wet bathing suits and local houses and others in well-known surfing destinations and sandy feet. The kitchen is well stocked with an impressive enlisted local architect Philippe Pastre to help execute the collection of eclectic bowls, vases, glassware, and crockery, “all project. She wanted to maintain the stark white rounded-edge from the local flea market and specifically selected to serve walls that the area is known for, and she envisaged a large a purpose,” Christine eagerly notes. “My set of breakfast plates central fireplace with a Swedish-inspired tile chimney. She cost $1 each. They’re from an old porcelain factory. I love the also wanted a bar just near the entrance, where friends could idea of recycling beautiful things instead of buying everything gather for a drink after surfing or congregate before dinner. new.” I ask her how she gathers this great collection of items together without the room looking cluttered, to which she WHEN I WONDER WHAT she learned from her parents’ great responds, “The kitchen must have a good structure—a simple sense of style, Christine shares that her mother taught her layout that works well for cooking and cleaning up. Having that it is more important that things appear “convivial, rather appliances and shelves in the right place creates a strong than perfect.” And her late father insisted that “every room foundation for organization. And then all the decorative pieces in the house should be utilized and appear lived-in.” This is I add always have a function—whether it’s the perfect bowl evident in every space in Christine’s house. The white sofas for serving olives or the right-size jug for mixing salad dressing. in the living room have cotton- and linen-covered mattresses Nothing is purely ornate.” ARCHDIGEST.COM 69

D’ORNANO AND HER DAUGHTERS (FROM LEFT), ISA, INÈS, AND ALMA. “Everything in this house makes me happy,” Christine d’Ornano says.“It is filled with the joy of wonderful memories.”

CARAVANE SOFAS AND VINTAGE SHEARLING-COVERED PHILIP ARCTANDER CLAM CHAIRS SURROUND A RECTILINEAR COCKTAIL TABLE IN THE LIVING ROOM. LA MANUFACTURE COGOLIN CARPET.

THE KITCHEN IS OUTFITTED WITH A WOLF RANGE AND DEVOL CABINETRY. THE BASKETS AND DISHES WERE MOSTLY FOUND IN FLEA MARKETS AND VINTAGE SHOPS.

IN A GUEST ROOM, LOCALLY MADE WICKER SCONCES HANG ABOVE A HEADBOARD BY ENSEMBLIER. BELOW THE STAIRCASE’S LIGHT FIXTURE AND HATSTAND/RAILING WERE FABRICATED BY LOCAL ARTISANS. THE BENCH CUSHION FABRIC IS BY FLORA SOAMES. AS FOR THE DECORATION, everything in the house has the same feeling of being carefully selected and arranged in a way to suit Christine’s life and that of her three beautiful teenage daughters, all surfers as well. Old and new wicker pieces acquired from famed French design trio Atelier Vime are found throughout the house. A much-envied Raf Simons for Calvin Klein Cassina Feltri chair, crafted from felt and lined with a vintage American quilt, sits by the fireplace. The bedsheets are Porthault, but instead of matching sets, the beds are dressed with a mixed compilation of brightly colored, intentionally clashing florals. The shelves behind the bar are filled with glassware, pitchers, and ashtrays from French bars, adorned with iconic colorful graphics. There are also pieces like the metal hatstand/staircase railing in the entrance hall that Christine conceived of herself and found local artisans to realize. The games area in the living room is a chic quartet of Vico Magistretti chairs in a shade of tomato red that perfectly coordinate with the vintage rattan games table. Anchoring the room is a vibrant wall hanging designed by Alexander Calder that was made to raise funds for the victims of a 1972 earthquake in Central America. Each piece has a story to tell. “Everything in this house makes me happy,” Christine says. “Even just making my coffee in the morning, I smile because I remember where I bought the mug I am drinking from and the friends I was with that day. The house is filled with the joy of wonderful memories.” ARCHDIGEST.COM 73

D’Ornano’s mother taught her that it is more important that things appear “convivial, rather than perfect.”

AN ANTIQUE RATTAN BENCH FROM ATELIER VIME WITH CUSHIONS OF FLORA SOAMES FABRIC STANDS IN THE PRIMARY BEDROOM. THE BED FRAME IS UPHOLSTERED WITH A BORDERLINE FABRICS PRINT AND DRESSED IN D. PORTHAULT LINENS. OPPOSITE AN ATELIER VIME LIGHT HANGS IN THE BATH.

design notes THE DETAILS THAT MAKE THE LOOK A VINTAGE TABLE FROM ATELIER VIME I love the idea of STANDS NEXT TO AN ENSEMBLIER recycling beautiful BED IN A GUEST ROOM. VINTAGE RUG; things instead of buying D. PORTHAULT BEDDING. everything new.” —Christine d’Ornano WHAT A BEAUTIFUL WORLD! BY ISABELLE D’ORNANO AND CHRISTIANE DE NICOLAŸ- MAZERY, PUBLISHED BY LA MARTINIÈRE/ ABRAMS; $85. SISLEY-PARIS.COM SUPREMŸA AT NIGHT THE SUPREME ANTI-AGING SKIN CARE LOTION, LE PHYTO-ROUGE SHINE LIPSTICK, AND ALL DAY ALL YEAR CREAM; FROM $60. SISLEY-PARIS.COM GIFFORD WAVES LINEN BY LIZ HOME: MATTHIEU SALVAING. ALL OTHERS COURTESY OF THE COMPANIES. HEADBOARD; CONNELL FOR BORDERLINE; FROM $4,141 FOR TO THE TRADE. ROSEBANK FABRICS.COM KING SIZE. ENSEMBLIER MINI-MEDICI WICKER URNS BY ATELIER LONDON.COM VIME; FROM $635. CUTTERBROOKS.COM BISHOP RATTAN SHORT SURFBOARD BY DINING TABLE BY INDIA JEFF “DOC” LAUSCH AT MAHDAVI FOR RALPH PUCCI; $21,000. SURF PRESCRIPTIONS RALPHPUCCI.COM FOR CYNTHIA ROWLEY; TRADITIONAL APULIAN FLAT PLATE $1,200. CYNTHIA BY FRATELLI COLÌ; $388 FOR A SET OF ROWLEY.COM SIX. ISSIMOISSIMO.COM PRODUCED BY MADELINE O’MALLEY

D’ORNANO DESIGNED THE BAR HEADLANDS RING HERSELF. THE HANGING LIGHT IS BY PENDANT; $698. INGO MAURER, AND THE VINTAGE SERENAANDLILY.COM STOOLS WERE FLEA-MARKET FINDS. TINSLEY STRAW HAT BY JANESSA LEONÉ; $245. MODAOPERANDI.COM ENVELOPE CONCRETE TILE; FROM $25 PER SQ. FT. POPHAM DESIGN.COM The decorative pieces I add always FIG LEAF BEACH TOWEL BY have a function—whether it’s the PETER DUNHAM FOR WEEZIE perfect bowl for serving olives or the TOWELS; FROM $82. right-size jug for mixing salad WEEZIETOWELS.COM dressing. Nothing is purely ornate.” THE TERRACE TABLE SHEEPSKIN CLAM CHAIR BY ARNOLD IS COVERED IN A D’ASCOLI MADSEN FOR VIK & BLINDHEIM; $56,367 FOR A SET OF TWO. 1STDIBS.COM TABLECLOTH. PENDANT LIGHT BY FERNANDO ORIOL. RAFFIA SCALLOP LAMPSHADE; $215. MATILDAGOAD.COM HAVELI TABLECLOTH; FROM $140. DASCOLI.CO ARCHDIGEST.COM 77



HAIR BY GIOVANNI DELGADO USING ORIBE; MAKEUP BY MOANI LEE USING PAT MCGRATH LABS FOR BEAUTY EXCHANGE NYC KACEY MUSGRAVES, WEARING A VALENTINO GOWN, POOLSIDE AT HER NASHVILLE HOME. SHE PURCHASED THE MONUMENTAL CLASSICAL PLASTER HEAD SCULPTURE AT HUNT & GATHER IN MINNEAPOLIS WHILE ON TOUR EARLIER THIS YEAR. FASHION STYLING BY ERICA CLOUD. FOR DETAILS SEE RESOURCES. Musician Kacey Musgraves composes a serene home of her own in Nashville SPARKING JOY TEXT BY LAUREN WATERMAN PHOTOGRAPHY BY LELANIE FOSTER STYLED BY MARY SPOTSWOOD



RIGHT A LATE-19TH-CENTURY TRAMP ART BOX STANDS ATOP A BIEDERMEIER-STYLE TABLE ON THE UPSTAIRS LANDING. HAND-KNOTTED MOROCCAN CHECKERBOARD RUG. OPPOSITE IN THE FAMILY ROOM, A VINTAGE MAITLAND-SMITH COCKTAIL TABLE SITS IN FRONT OF A VERELLEN SOFA. it's so we wanted to make everything feel clean. We basically both entirely accurate and a bit of an oversimplification to refer to Star-Crossed, Kacey Musgraves’s fifth studio album, as blanketed the entire kitchen with plaster, even the island, a divorce record. Yes, the acclaimed 2021 release was written to create smooth lines and give it a stonelike texture. Then partially in the wake of her split from fellow singer-songwriter we used a pale mineral paint throughout the house. It Ruston Kelly. But songs like “Justified,” “Breadwinner,” and almost feels like a watercolor; instead of being flat, it gives “Camera Roll” feel more emotionally complex than that descrip- a little dimension.” tor suggests, and they’ll resonate with listeners long after (There is one space that was left untouched: a powder tabloid interest in the 33-year-old Grammy Award winner’s room papered with charcoal sketches by the late, locally love life has faded. prominent artist Hazel King, which aligned uncannily with Similarly, the 3,500-square-foot Nashville home that an idea Musgraves had wanted to implement in her previous Musgraves moved into during the same period both is and is not home. “I’d started collecting nude sketches because I had a divorce house. Its purchase in 2020 was indeed necessitated this vision of hanging them floor to ceiling in a bathroom, but by what she initially refers to as “a big life change.” (She imme- I hadn’t done it. And then it was somehow here, already diately abandons the code words in favor of her usual candor.) manifested, almost exactly how I’d pictured it. It’s one of my But it seems clear that her choices during the renovation and favorite things about the house.”) redecoration were not reactive, at least not in a negative way. Much of the home is now painted white or off-white, “I wanted a place that felt like me,” she says, “where I could but the sunset hues that do appear were chosen for specific, express myself without having to think about another person personal reasons. The piano room, for example, ended up and what they might want. This felt like a new beginning.” a dusky pink that was inspired by a candle Musgraves created Built in 2012, the house was decorated in a bold, colorful, in collaboration with the cult fragrance brand Boy Smells. wallpaper-heavy more-is-more style when the Golden, Texas, “It’s a perfect balance of masculine and feminine,” she says of native first moved in. But together with the interior designer the shade. And the pale-yellow-toned striated-silk wall Lindsay Rhodes, Musgraves soon set about returning the space covering in the dining room complements both the travertine to something more akin to a blank canvas. “Kacey needed to table therein and an orb-shaped Murano glass light fixture start from white to see where she wanted to go,” Rhodes says. that hangs in the entryway, which Musgraves was “really “The house had a lot of subway tiles and Craftsman-style details, proud” to have scored on 1stDibs. ARCHDIGEST.COM 81

LEFT THE ART ROOM BOASTS A STOOL BY FRANK GEHRY FOR VITRA; WEST ELM HANGING LIGHT. RIGHT SUN AT SIX STOOLS PULL UP TO THE KITCHEN ISLAND. RH PENDANT LIGHT; FIVESTAR RANGE; ROHL POT FILLER. “I wanted a place that felt like me, where I could express myself,” Kacey Musgraves says. “This felt like a new beginning.”

LEFT CB2 ARMCHAIRS AND FAINA SIDE CHAIRS (WEARING A PIERRE FREY MOHAIR VELVET) SURROUND A VINTAGE TRAVERTINE TABLE IN THE DINING ROOM. ARCHDIGEST.COM 83

ABOVE LEFT A VINTAGE WOOD HAND CHAIR STANDS IN A CORNER. ABOVE RIGHT OPEN SHELVING IN THE KITCHEN DISPLAYS PLANTS AND A MIX OF POTTERY. “There are a lot of orbs and circles in the house,” Musgraves The photograph of a teenager in a cheerleading jacket smok- says. “I was writing the album at the same time I was moving ing a cigarette? That’s her mother. “She looks like a total into the home, and there were a lot of themes that were kind of badass because she is a badass,” Musgraves says. The jewelry presenting themselves [in both projects]. This theme of full- box filled with bits of blue eggshells? Well, when she and circle-ness kept appearing, and I had some spiritual experiences her boyfriend, writer Cole Schafer, first started dating, he had that involved orbs—I had a psychedelic plant therapy session a dream about a robin’s egg, and then she found one on her in which people from my past kept presenting themselves to front doorstep later that same morning. “And then a handful me in the form of orbs.” She laughs. “Without running the risk of days later…he found a robin’s egg on his front doorstep. of sounding like an absolute psycho, it was really transforma- And a couple of months after that, we were visiting his parents tive for me.” in Indiana, and long story short, there was a robin’s egg on their front doorstep!” The ceramic camel on her bar? She made MANY OF THE HOUSE’S LARGER PIECES—including the enor- it herself the summer before last, in “this clay class with a mous bust on display by the singer’s swimming pool—were bunch of old ladies that was the most fun ever.” The framed purchased second-, third-, or fourth-hand. “I have a huge love half-smoked joint? Given to her by Willie Nelson when the for getting up on a Saturday and browsing estate sales. When two were on tour together in 2014. “He rolled this huge fatty,” I’m on the road, instead of staying locked away on the bus, I’ll she remembers, “and we all sat around and smoked it with get up, get coffee, and find the nearest antiques store. There’s him, and then he said, ‘Save the rest for another time,’ and I did.” something really interesting to me about taking ownership “The interior of this home was my first time trying to embrace over an object that meant a lot to someone else, and kind of a minimalist mindset, and that is a challenge for me,” Musgraves becoming the new steward of whatever it is.” Case in point: the admits. “I love collecting things that intrigue me, which doesn’t antique gilt French bed frame that she placed in one of her always bode well for [maintaining] a minimalist environment.” guest rooms. “I love thinking about who might have slept here, She also invokes wabi-sabi, the Japanese concept of embracing what they dreamed about, the love that was made on this beauty in imperfection, as a way of explaining her actual aesthetic. bed,” she says. “To me, it’s really magical.” “You can’t put your finger on the exact style of this house, and As she walks around, pointing out her favorite things, I’d say the same about my music. Instead, it’s a big patchwork it’s clear that almost everything in the house has a story. quilt of all these things that spark some kind of joy in me.”

A PHOTOGRAPH OF MUSGRAVES’S MOTHER ADORNS THE PIANO ROOM WALLS, WHICH ARE PAINTED IN FARROW & BALL’S DEAD SALMON. THE BUILT-IN SEATING IS CUSHIONED IN VELVET AND MOHAIR FABRICS. VINTAGE FRENCH COCKTAIL TABLES; ANTIQUE OUSHAK RUG. “When I’m on the road, instead of staying locked away on the bus, I’ll get up, get coffee, and find the nearest antiques store.”

ABOVE A PIECE BY CUBAN ARTIST LUCIA LOPEZ HANGS ABOVE THE BESPOKE BED IN THE PRIMARY BEDROOM. CB2 SCONCES; CRATE AND BARREL BEDSIDE TABLES. LEFT VINTAGE NUDE SKETCHES PAPER THE POWDER ROOM. BELOW A WATERMARK TUB FILLER IN THE BATH ALCOVE.

A GUEST ROOM FEATURES A CIRCA 1900 FRENCH BED WITH ITS ORIGINAL UPHOLSTERY. IKEA LANTERN; ANTIQUE TIBETAN RUG.

After partnering with New Story COURTESY OF MISSION OF HOPE to build 10
0
homes for Haitians displaced by natural disaster, AD offers a first look at the newly completed community TEXT BY CARLY OLSON WITH THE SUPPORT OF AD, THE NONPROFIT NEW STORY HAS BUILT 100 HOUSES IN TITANYEN, HAITI. THE COMMUNITY IS NOW HOME TO FAMILIES AND INDIVIDUALS WHO HAD BEEN DISPLACED BY THE 2010 EARTHQUAKE.

a fresh start

when a 7.0-magnitude earthquake rocked Port-au-Prince, Haiti, on COURTESY OF MISSION OF HOPE January 12, 2010, just before 5 p.m., the effects were catastrophic. Buildings crumbled, leaving more than 200,000 dead and displac- ing countless others. Roads filled with rubble. Communication systems were destroyed. Twelve years later, parts of the nation are still struggling to recover. Deprived of permanent shelter, many people continue to live in appalling conditions, with no privacy, no protection from the elements, and no form of safety. In Titanyen, a village some 12 miles north of Port-au-Prince, the wounds are visible. Paul Farius had spent his life working as a farmer, saving up to build a home for his family. After the quake, all that was left of that home was a pile of concrete. In the decade that followed he raised his eight children in a makeshift temporary structure: wooden posts wrapped with a blue tarp and topped with a sheet of metal. The money that Farius earns goes to feeding his family and paying for schooling. “The roof blows off with the wind, the ground floods with the rain,” he recently explained. “It all feels broken and temporary. Even the land this house is built on isn’t mine—it belongs to a friend. This property doesn’t belong to me. Nothing belongs to me. I’ve worked my entire life as a farmer yet own nothing.” His story echoes that of many in the village. Since 2017, Architectural Digest has teamed with the Atlanta-based nonprofit New Story to raise $650,000 and build a new community in Titanyen. With generous donations from readers, architects, and designers—in particular members of the AD100—those efforts have yielded 100 permanent houses, constructed from the ground up on a breezy expanse of rocky grassland with an ocean view. Each home accommodates one family, often multigenerational, and late last year, Farius and more than 500 others in need moved into the homes, which are only a five-minute walk from the tent encampment where so many of them had lived. “We have to stand for something more,” says Amy Astley, AD’s global editorial director and U.S. editor in chief, reflecting on the brand’s commitment to championing design for the greater good. Upon arriving at AD in 2016, she began searching for a major philanthropic initiative. When she was introduced to New Story by a friend of the magazine, the founder of the nonprofit advisory Gina’s Collective, a partnership made immediate sense. AD is plugged into a vast network of design lovers—all passionate about the power of community. Recalls Astley, “I was actively looking to expand the dream of home for more people.”

ABOVE, FROM FAR LEFT NEW RESIDENTS DURING A MOVE-IN DAY LAST NOVEMBER; A SPECIAL THANK YOU A VIEW OF THE NEWLY CONSTRUCTED HOUSES; ANOTHER SCENE FROM MOVE-IN. TO OUR TOP It can be a challenge to know how and where to focus one’s charitable efforts when SPONSORS FOR THEIR EXTRAORDINARY there is so much work to be done in the world. One must consider not only where help will FUNDRAISING EFFORTS be effective but also where that aid will be welcomed. In order to make meaningful and AND GENEROUS DONATIONS ethical impacts, New Story relies on community outreach. “I think the way of us checking Apparatus ourselves is really listening to families and working with local partners,” says Joanne Ng, Atelier AM Anna and Gregg a senior manager at New Story. “We’re not coming in with our assumptions of what’s good Brockway Bunny Williams Inc. for others and what kind of house they should live in.” Charles & Co. Condé Nast To determine which families Cullman & Kravis Associates would participate in the program, “It goes back to Drake/Anderson New Story held a voluntary lottery, listening to families Elizabeth Roberts followed by focus groups among Architects future residents in Titanyen, to learn Fairfax & Sammons what people would need. Families Ferguson & Shamamian Architects requested outdoor cooking areas, and working G.P. Schafer Architect since many use charcoal, and Gachot lightweight tin roofs, in case of with local partners.” April Gargiulo another earthquake. Most of all, Georgis & Mirgorodsky Architecture & Design people wanted to feel safe. With an —Joanne Ng, Gina’s Collective uptick of local gang violence in Key Hall recent years, it was important for New Story Peter Hunsinger residents to be comfortable walking Donna Husmann around their new neighborhood. Ike Kligerman Barkley New Story also employed local Ingrao Inc. Jamie Bush + Co. artisans and materials to build the homes, creating jobs for community members and Julie Hillman Design Kelly Behun Studio stimulating the Titanyen economy. Some workers have even moved into the homes they Ken Fulk Inc. built. “As much as possible we use local labor, so that we are not bringing in outsiders,” Marmol Radziner Martyn Lawrence Ng says. And by building groups of homes close together, New Story avoids disrupting the Bullard Design social fabric of communities. Elisabeth McGowan Hannah and Tracy For Farius, a new home represents a fresh start. Sitting outside his family’s old tent, Monahan he acknowledged that it was time to leave it behind. “This new house is a gift from God,” Monique Gibson Interior Design he noted. “This will be permanent. This will be my land. In my name. For my family. Nate Berkus Associates Nicole Fuller Interiors And that is freedom.” Mitchell Owens Julia Pemberton Redd Kahoi Rosemary Regis Robert Stilin Sara Story Design Sawyer | Berson Sobia and Nadir Shaikh Studio Volpe Suzanne Kasler Interiors Nicole and Kevin Systrom Victoria Hagan Interiors Alexandra and Spencer Wells ARCHDIGEST.COM 91

Astrid and Eddy Sykes of wrinkleMX transform a compact duplex outside Mexico City into a laboratory of avant-garde design TEXT BY MAYER RUS PHOTOGRAPHY BY FERNANDO MARROQUIN STYLED BY TESSA WATSON CASA FANT

THE ENTRY FOYER IS ANCHORED BY A CUSTOM DISPLAY CASE WITH CERAMICS BY CASA AHORITA. RUG BY ROBERTO MICHELSON FOR CHUCH. OPPOSITE THE KITCHEN’S BRASS CEILING, MARBLE ISLAND, AND BRASS PANTRY WERE DESIGNED BY WRINKLEMX AND FABRICATED, RESPECTIVELY, BY MATERIAM, TALLER FRAGA, AND HERRERÍA ROJAS. PENDANT LIGHTS BY STUDIO DAVIDPOMPA; VASES BY ARTE ANANÅS. FOR DETAILS SEE RESOURCES. ÁSTICA

T here’s an element of spectacle LEFT A CAST-BRASS STOOL BY WRINKLEMX STANDS BESIDE and obsession, perhaps even A CUSTOM SOFA IN A CORNER OF THE LIVING ROOM ON A FIELD a bit of madness, in the work OF CONCRETE TILES DESIGNED BY PABLO KOBAYASHI AND of Astrid and Eddy Sykes, WRINKLEMX. ABOVE ASTRID AND EDDY SYKES WITH ONE OF founders of the multidisci- THEIR PITCH DROP STOOLS IN BLACK MARBLE. plinary Mexico City–based firm wrinkleMX. Tucked starting with how someone enters a room, the doorknob and discreetly behind the histori- the light switch, where they plug in their iPhone. We focus on cal façade of an early-20th- points of contact, places where questions of ergonomics and century building on the outskirts of the Mexican capital, the tactile experience present opportunities to create something duplex apartment that the designers crafted for a young family extraordinary,” he explains. is a tour de force of materials exploration and sculptural brio, astonishing and completely sui generis. The kitchen alone, The couple’s individual résumés hint at the genesis of with its folded planes of brass and a marble island that reads their decidedly unconventional approach. Trained as an like a Mayan sacrificial altar, is worthy of a dissertation on architect, Eddy branched out into engineering, working for eccentricity, experiential design, and structural derring-do. a company that developed high-tech systems for aerospace In short, there’s nothing quite like it. and military applications, as well as custom projects for “It took us three months just to make the dish rack. We obsess architects and designers on the order of Rem Koolhaas, David over everything that people touch, how they engage with a Chipperfield, Diller Scofidio + Renfro, and Rick Owens. His space and the objects that fill it. This is our passion,” Astrid says. personal investigations into form, material, and technology Eddy underscores the philosophical imperative that propels have yielded a plethora of mad-scientist concoctions, notably the firm’s far-flung experiments: “We work micro to macro, his Yakuza Lou series of mechanized, origami-like chandeliers. Astrid received a master’s degree in architecture in Paris before decamping to UC Berkeley for another one in landscape architecture. She spent a decade working for Los Angeles landscape maestro Mia Lehrer at Studio-MLA, contributing to major public commissions such as the Lucas Museum of Narrative Art, the Holocaust Museum LA, and Ishihara Park in Santa Monica. 94 ARCHDIGEST.COM

A WRINKLEMX CEILING FIXTURE HANGS ABOVE A LUTECA DINING TABLE WITH THE CLIENTS’ OWN CHAIRS AND AN ARTE ANANÅS VASE. MASSIVE PIVOTING DOORS OPEN ONTO A TERRACE.

BELOW THE PRIMARY BEDROOM IS COVERED IN A PIERRE FREY PAPER. CARPET BY THE RUG COMPANY; BEDDING BY ESPERANZA. OPPOSITE A CUSTOM CARNOVSKY OPTICAL WALLPAPER LINES THE LIVING ROOM. STOOLS FROM CHIC BY ACCIDENT.

“They wanted something different, something special, but they essentially left it up to us to decide what that meant.” —Astrid Sykes After moving from L.A. to Mexico City three years ago, the duo launched wrinkleMX as a hybrid architecture, design, landscape, and custom-fabrication practice. The firm’s big break came in the form of an open-ended assignment to reimagine an urban pied-à-terre for a couple with two young children. “Their entire brief and inspiration board was one photo of the Peacock Room,” Eddy recalls, referring to the Aesthetic Movement salon crafted by Thomas Jeckyll and James McNeill Whistler, which was built in London and subsequently relocated to the Freer Gallery of Art in Washington, D.C. “We knew they wanted something different, something special, but they essentially left it up to us to decide what that meant,” Astrid elaborates. ARCHDIGEST.COM 97

ABOVE ANOTHER VIEW OF THE KITCHEN, WITH TRAVERTINE SINKS BY WRINKLEMX. OPPOSITE THE BESPOKE PRIMARY BATH HAS WATERWORKS SHOWER FIXTURES, WALLPAPER BY WATTS OF WESTMINSTER, AND A PERLA VALTIERRA VASE. Over the next two years, the Sykeses embraced the challenge presence in the space, particularly in contrast to the lush with gusto, conjuring a series of spectacular, interconnected vegetation of the interior and terrace gardens. In the entry coups de théâtre of decorative art and architecture. The focal foyer/library on the ground floor, a sepulchral arched book- kitchen on the upper floor gathers strength from four compel- case and a dramatic curving stair of wood and plaster, both ling design elements: an island of pieced Tikal green marble painted in a fearless purple hue, immediately announce to from Guatemala, with a topographical mountain range separat- visitors that this is no ordinary abode. ing the cooking surface from the counter; an elongated archi- tectonic sink of coarse travertine; a bravura ceiling of folded brass Arresting moments continue in the compact primary bath, planes that cascades down into a wall of faceted brass pantry which the couple designed with an elaborate slot-and-pin doors; and a floor of swirled tiles of colored concrete and system that accommodates slabs of highly figured quartzite marble dust, designed in collaboration with Pablo Kobayashi within a tensile brass armature. “It’s a very small space, with and handmade on-site. “The various pieces speak their own a super-narrow shower enclosure, so we approached it as design languages, but they remain in conversation with one an object that functions as a statement piece. Everything from another and with the users of the space,” Eddy observes. the credenza to the sink and drawers was meticulously plotted,” Astrid explains. Here, as in the bedrooms, conspicu- THE SEDUCTIVE TILES EXTEND into the open living and dining ously traditional wallpaper provides a foil to the couple’s areas, whose walls are wrapped in an optical paper with a subtly avant-garde design calisthenics. undulating three-dimensional effect activated by LED lights. The ceiling fixture above the dining table—a honeycomb-like “This apartment is not a container for beautiful things. The configuration of mouth-blown glass in various shades of pink, space itself is the beautiful thing,” Eddy says of wrinkleMX’s suspended in hexagonal brass frames—makes a striking chef d’oeuvre. “Our clients have always collected art, but now they see architecture as something unique and collectible. They understand that architecture can be art.” 98 ARCHDIGEST.COM

“The various pieces speak their own design languages, but they remain in conversation with one another.” —Eddy Sykes

ANIMAL KINGDOM With the help of Ellen DeGeneres, the Dian Fossey Gorilla Fund unveils a spectacular Rwanda campus dedicated to education and conservation TEXT BY FRED A. BERNSTEIN PHOTOGRAPHY BY IWAN BAAN