Architectural Digest Dec2016

DISCOVERIES DESIGN 1 1. A 2007 plywood-and- FROM TOP: COURTESY OF THE ARTIST AND SALON 94, NEW YORK; ADRIEN DIRAND/COURTESY OF OWENSCORP; antler Stag chair. 2. Rick MATTEO CARCELLI/COURTESY OF OWENSCORP; COURTESY OF THE ARTIST AND SALON 94, NEW YORK Owens furniture and vessels piled high. 3. Michèle Lamy with site- specific works prior to their installation at the new Rick Owens boutique in Manhattan. 4. A 2007 plywood double recamier with leather upholstery. reductive as possible—fur and rock next to a fire in a cave.” He came up with benches and display tables he now describes as “boulders” that have “facets derived from World War II German bunkers, Eileen Gray lines, Jean-Michel Frank restraint, Robert Mallet-Stevens geometry, and Claude Parent’s fascination with the oblique.” Lamy had versions made in Styrofoam, rock crystal, and concrete and covered some with camel fur—a material she fell in love with while traveling in the Middle East. Owens placed the pieces throughout the store, sometimes stacking them like towers, 2 an exercise he likens to “kids playing with rocks and making a fantasy world.” The boutique’s 3 furniture is not for sale (“the stores sell clothes,” Owens explains), but other works are shown at fairs by Salon 94, among his other galleries. When the MOCA team approached Owens about an exhibition, he was initially reticent— he wasn’t convinced it made sense in the muse- um’s Pacific Design Center outpost—but, “upon further investigation, I thought, This looks pretty cool.” Some of the two dozen pieces on display will be from his personal collection, but the vast majority will be made for the show. “People sometimes say, ‘Your furniture is not very cozy,’” he admits. “But I like things that are disciplined, that make you sit straighter, where there is more rigor and more formality. I think there is a place for that. The world is already full of coziness.” —DANA THOMAS 50 4



DISCOVERIES EXPERT EYE T I P 1 : SQUEAKY-CLEAN “We bathe the Murakami guards every couple of weeks using Meguiar’s Gold Class car wash fluid—the same one we use for the Koons—and water, with a soft brush and a chamois to dry,” says Lisa Perry, sitting on her Manhattan terrace. OUTSIDER ART Fashion designer and outdoor-sculpture collector Lisa Perry shares her tips for cleaning a Koons, MAKEUP: JASON ASCHER FOR BARNEYS NEW YORK pruning around a Kusama, and keeping a 20-foot-tall César from getting struck by lightning Lisa Perry is an impulse shopper—especially when it most of the works that now populate her Manhattan terrace and comes to buying art. “You fall in love first, then you the meandering grounds of her North Haven, New York, home. figure the rest out,” she says. But when her eye- Before she knew it, Perry’s city block was closed to allow a crane catching collection of Pop Art by Andy Warhol, Roy to lift a Koons diamond up to her terrace. And out in North Haven, Lichtenstein, Robert Rauschenberg, and equally a six-ton bronze César thumb—fabricated in France, transported exuberant contemporaries including Damien Hirst, by boat, and driven on a flatbed trailer to her doorstep—had Jeff Koons, and Takashi Murakami began to spill out onto the to be hoisted clear over the house in order to reach its grassy plot. lawn, “figuring it out” took on epic proportions. It started with a Suffice it to say, this labor of love requires serious gusto. Here, pair of Gary Hume snowmen. “They were small enough to fit Perry shares her tips for keeping the collection—exposed to wind, through the door,” she explains, something that can’t be said for rain, and snow—in mint condition. —HANNAH MARTIN 5 2 A R C H D I G E ST.C O M PORTRAIT BY STEVE BENISTY



DISCOVERIES EXPERT EYE T I P 2 : ELECTRIC POWER “We had to get our electrician involved,” Perry explains. “A 20-foot-tall bronze thumb in the air is a lightning conductor!” A copper rod was installed in the base of César’s Le Pouce to channel electric currents into the ground if light- ning strikes. As for cleaning? Use simple soap and water. TIP 3: DIY CLOCKWISE FROM TOP LEFT: STEVE EICHNER/WWD/REX/SHUTTERSTOCK; DANIEL GONZALEZ; STEVE BENISTY; COURTESY OF LISA PERRY When Perry fell for a set of Zhu Jinshi rings—crafted out of wood for temporary use at an event—she had them remade in a durable wood composite, which gets a fresh coat of paint every year. TIP 4: TURF WARS “You’re supposed to hand-cut the grass around the Yayoi Kusama pumpkin,” Perry says. “If you use a lawn mower, stray grass clippings will stain the white part. But when I saw the landscapers on their hands and knees with scissors, I installed artificial turf.” T I P 5 : WEIGHT WATCH “The Koons diamond is around 2,500 pounds,” Perry says. “For an install like this, you have to consult an engineer to make sure the roof can sustain the weight.” 5 4 A R C H D I G E ST.C O M



DISCOVERIES TRAVELS 2 1 FRENCH FLAIR Long famous for its Roman ruins, the city of Arles is reborn as the art world’s new hot spot A rles has never been Maja Hoffmann, an art-world power bro- museum, part think tank—tentatively at the top of the list for ker who grew up in the nearby Camargue called the Center for Human Dignity and tourists visiting region and went to school locally. Ecological Justice. Its façade of stainless Provence. Certainly the steel and stone was inspired by the ancient French city, Now Arles is fast becoming a popular city’s almost 2,000-year-old Roman situated near the mouth year-round destination, thanks to the amphitheater as well as the surrounding of the Rhône, has enough charm—and good sweeping vision of this Swiss-born phi- region’s craggy limestone cliffs. “I light—to have inspired artists. Van Gogh lanthropist, an heir to the fortune of met Frank in 2005 and was impressed spent a manically productive 15 months the pharmaceutical company Hoffmann- by his all-encompassing approach,” there, painting more than 200 works (but La Roche. A derelict rail yard is being Hoffmann recalls, “the way he mixes losing an ear). Picasso frequented the bull- transformed into a 15-acre international contemporary art and architecture, fights and made portraits of his second cultural campus, called LUMA Arles, the freedom of his lines and thoughts.” wife, Jacqueline, in Arlesian costumes. Still, that will be devoted to the arts, the envi- it has always lacked the languid romance ronment, and human rights. (Hoffmann’s 1. A picturesque street in Arles. 2. A mural by of those picture-perfect villages in the umbrella LUMA Foundation is named Maurizio Cattelan and Pierpaolo Ferrari South of France. “Arles has remained more after her children, Lucas and Marina.) lines one of the industrial buildings renovated or less the same—open in the summer The year after next will see the opening by Annabelle Selldorf on the LUMA Arles but rather shut down in the winter,” muses of the park’s centerpiece: Frank campus, which will also feature a tower by Gehry’s glittering ten-story tower—part Frank Gehry and gardens by Bas Smets. 5 6 A R C H D I G E ST.C O M PHOTOGRAPHY BY RICHARD POWERS



DISCOVERIES TRAVELS 1 2 MORE TO DO 1 IN ARLES 1. Le Galoubet’s dining room. SIGHTS “It’s quite a treat to experience the 2. The Rhône, in town, which has stayed the same size Arles, a major port since antiquity,” says photographer François Halard. “Arles is both ancient during the Roman and modern, and that’s very rare.” Empire. 3. Outside The Arènes d’Arles, a majestic amphi- theater built by the Romans in A.D. 90, the Fondation is now used for bullfights (arenes-arles- Vincent van Gogh .com). The elaborately carved Church Arles art museum. of St. Trophime anchors an elegant town square. Two years ago a 15th- 3 century stone mansion was transformed into the Fondation Vincent van This past summer Annabelle Selldorf multiscreen installation by William Gogh Arles (fondation-vincentvangogh- completed renovations of the second Kentridge. Performances were given by arles.org), a thoroughly modern of two cavernous 19th-century industrial choreographer Benjamin Millepied’s museum featuring the Dutch artist’s buildings once used to build and repair company, L.A. Dance Project, which has works alongside contemporary trains. “The original structures, with just begun a three-year residency in Arles. pieces (Urs Fischer’s sculptures and their cast-iron columns and steel trusses, paintings are on view through January). had very graceful proportions, with When the campus opens in full, in a rather neoclassical exterior,” she says. 2018, it will be united by a garden-filled HOTELS “The task was to work with that, to public park conceived by Belgian land- One of the most deluxe options is not interrupt it, to make calm and flexible scape architect Bas Smets. Meanwhile, as L’Hôtel Particulier, a grand 19th- exhibition space. Of course, it’s always savvy Parisians infiltrate Arles’s ancient century property with whitewashed much more complicated than meets the Roman gates, stylish hotels and ambi- rooms (ask for one in the main eye. But that’s my business.” tious restaurants (including Hoffmann’s house) and a tranquil garden with a own Hôtel du Cloître and L’Ouvre Boîte pool (hotel-particulier.com). Michel The buildings—the larger of which tapas café) are opening at a rapid pace. Montagnier’s La Maison Molière, with is 65 feet wide and column-free—now pro- “It’s a great opportunity,” says photogra- five inviting guest rooms, is filled vide space for artists’ studios, exhibitions, pher François Halard, who bought an with superstylish vintage furnishings, and performances. This summer’s launch 18th-century house in Arles shortly after not to mention beds made up with exposition at the restored Mécanique visiting friends there in the 1990s. Italian linens and cashmere coverlets Générale included a group photography “LUMA will give the town new life (lamaisonmoliere.fr). India Mahdavi show curated by a quartet of talents, and fresh energy. What Maja is doing is has decorated the Hôtel du Cloître including Zanele Muholi and Walead fantastic. She is breaking all the rules.” with panache, using every color Beshty, as well as a room-encompassing luma-arles.org —VICKY LOWRY in the rainbow (hotelducloitre.com). RESTAURANTS The convivial Cuisine de Comptoir is always packed. Here’s why: A $16 lunch includes a tartine—foie gras and onion jam, for example—a glass of wine, salad, and good French coffee (cui- sinedecomptoir.com). A young trio who met in Paris have just opened Chardon, an ambitious restaurant drawing guest chefs from all over the world (hellochardon.com). Elevated bistro fare is served under a romantic arbor at Le Galoubet (18 rue du Dr Fanton), and inventive tapas are on the menu at L’Ouvre Boîte (lesmaisonsdarles.fr). SHOPS Get into the Provençal spirit with a pair of jaunty espadrilles from Jute (3 rue Jouvène). Potterymaking is a beloved tradition in the South of France: Cécile Cayrol creates ceramics with a timeworn look at her atelier (cecilecayrol.com), while Atelier Sophie Lassagne takes a bold approach with zingy glazes (alcaline.com). Christine Millerin (christinemillerin.free.fr) has a gift for finding intriguing vintage textiles, and the Dervieux family sells a dazzling array of antiques from their 1713 mansion (5 rue de Vernon). 5 8 A R C H D I G E ST.C O M



DISCOVERIES WORLD OF “I wanted the flowers and plants to be bizarre and unusual. You’re not going to find peonies or sweet peas here. Also, I like having living, breathing organisms.” LAUREN MAKEUP: MIN MIN MA FOR HONEY ARTISTS USING YSL ROUGE PUR COUTURE; FOR DETAILS SEE SOURCES SANTO DOMINGO Lauren Santo Domingo in the For her new appointment-only recently opened Moda showroom, the Moda Operandi Operandi Madison on New cofounder and style doyenne dressed York’s Upper East Side. the walls in complexion-flattering shades, raided her own homes for decor, and issued a ban on cut flowers S o many shops are just about putting as much prod- curated just for her. And what a space it is: Santo Domingo deco- uct as possible in front of your eye—it’s the same rated it herself, splashing the walls in flattering shades of peach experience as when you go to a grocery store,” says and emerald, and drawing from her various residences for fur- Lauren Santo Domingo. “That’s not what we’re try- nishings. A Giacometti side table from her Manhattan home ing to replicate here.” Situated in a historic town- flanks a curved rose velvet couch in one room, while a constella- house on a residential Upper East Side block just off tion of bronze starbursts taken from the foyer of her Paris apart- Madison Avenue, Moda Operandi Madison is a beacon of 21st- ment alights in the green gallery. “It’s all revolving,” she says of century civility. “High tech, high touch,” Santo Domingo calls it. the decor. In fact, hardly anything in the two-story space is fixed. E-commerce software allows the luxury fashion retailer—once All of the racks are movable, allowing the versatility to host an online-only destination—to know a customer’s sizes and style a salon-style show one morning and a private appointment that whims before she walks in the door, so the entire space can be same afternoon. “E-commerce has retrained the way we shop, 6 0 A R C H D I G E ST.C O M PHOTOGRAPHY BY MATTHEW WILLIAMS STYLED BY REMY RENZULLO



DISCOVERIES WORLD OF “We’re this blend of high tech and high touch, so the physical space needs balance between traditional and modern. That’s the philosophy that guided every decision.” The jewelry salon is wrapped in wallpaper and sheer window panels by de Gournay, with refurbished 1991 Austrian vitrines from 1stdibs. “Our client is as inter- ested in fashion as she is in fine jewels, home, and art.” A Dimorestudio The color-blocked stairway walls leading to the garden level were inspired ceiling fixture by Le Corbusier’s home in the South of France. The hues were greets visitors custom made, with a hand-rubbed wax finish by John Opella of Minium. in the entry- way. “I love it and the in-store experience hasn’t responded to that,” Santo Domingo says. “We wanted the freedom to be flexible.” because it’s like you’re entering Despite the prewar bones—classic moldings, herringbone floors—there’s a freshness to the space. This was intentional, a parallel Santo Domingo explains: “No gilded furniture and Frenchy universe—our chairs! My thought was, Anything that’s coming in has to be modern.” She commissioned New York–based designer Samuel universe.” Amoia to create the malachite consoles and placed a Dimore- studio chandelier in the entry. Perhaps the best example of this 6 2 A R C H D I G E ST.C O M modern vision, however, is the greenery, the work of Brooklyn florist Saipua. Santo Domingo issued one mandate: No cut flowers. In their place are an enchanting array of bonsai trees and ever-changing arrangements composed of surprising foliage. “Our client lives in a perfectly curated and decorated home,” she says. “I didn’t want her to come in here and feel like we’re giving her more of the same.” By appointment only, 24 E. 64th Street, New York; 212-727-7120 —JANE KELTNER DE VALLE



DISCOVERIES ART SCENE 1. Artist Kathryn Andrews poses with a work in progress at her Los Angeles studio. 2. Crazy Straw, 2015. 2 1 LOOK AGAIN elevated park in Manhattan. On view until March 2017, that presentation Blending cultural references both high and low, sculptor coincides with a traveling survey of her Kathryn Andrews transforms the familiar into meticulous mysteries work, currently at the Nasher Sculpture Center in Dallas. T here are artists whose For one series Andrews juxtaposed FREDRIK NILSEN/COURTESY OF GLADSTONE GALLERY, NEW YORK stamp is unmistakable— graphics from 19th-century presidential Her latest feats, meanwhile, are now Jackson Pollock’s splat- campaigns with actual superhero debuting at L.A.’s David Kordansky ters, for example, or costumes from Hollywood blockbusters. Gallery, in a solo show that runs through Yayoi Kusama’s polka For a separate installation she hung December 17. Titled “Black Bars,” the dots. Kathryn Andrews a mirror opposite a work by John exhibition features compositions of has no such obvious signature. Over the Baldessari, incorporating the reflection overlapping familiar images (Popsicles, past decade the Los Angeles–based sculp- of his creation—and the likeness cupcakes, melon slices) obscured like tor has created a diverse body of work of the viewer—into her finished piece. redacted text and set in deep frames. that explores issues of authorship, mixing Recent sculptures blend slick images “I think of this imagery as quite vapid,” found pictures and artifacts (political, of lips with sleek steel pedestals. reflects Andrews, who studied at pop cultural) in highly polished, meticu- Pasadena’s Art Center College of Design lously produced pieces. “How do we cre- “She’s working at the crossroads and later worked for Mike Kelley. ate associations with what we’re seeing? of Pop and appropriation,” says Cecilia “I try to make it as beautiful as I can.” How do those associations become a Alemani, director and chief curator of crutch, stopping us from looking in an High Line Art. “Her rigorous approach If her work defies easy categorization, engaged way?” she asks, walking through questions our visual surroundings in Andrews concedes that leitmotifs appear, her Highland Park studio. “A lot of a critical and humorous way.” Alemani’s whether film props or polished metal. what I make deals with these questions.” organization recently commissioned “You do need a language that recurs so Andrews to make two pieces for the there is something for people to grab on to,” she says. “Otherwise you’re talk- ing only to yourself.” —SAM COCHRAN 6 4 A R C H D I G E ST.C O M PORTRAIT BY NOAH WEBB



On the Market FROM TOP: COURTESY OF SHERRY FITZGERALD; EVAN JOSEPH/COURTESY OF DOUGLAS ELLIMAN REAL ESTATE; ESTATE OF PABLO PICASSO/ARTISTS RIGHTS PERMANENT SOCIETY (ARS), NEW YORK/COURTESY OF UZÈS SOTHEBY’S INTERNATIONAL REALTY COLLECTION Three extraordinary homes for sale that come with priceless creative works Skibbereen, Ireland $8.4 MILLION Built in the 1850s as a summer retreat for a prominent Irish clan, this 163-acre compound was transformed in the 1990s when new owners enlisted James Turrell to create an outdoor installation. He responded with a giant crater— slightly larger than a basketball court—anchored by a stone plinth and accessed via a tunnel in the woods. The earthwork, dubbed The Irish Sky Garden, is best experi- enced lying on the masonry monolith while contemplating the emerald landscape and shifting sky. The property now operates as a resort, with a refurbished Victorian main house, mews, and lake lodge (together offering 25 bedrooms). contact: sherryfitz.ie; +353-1-639-9300 Uzès, France $10 MILLION In the early 1960s Pablo Picasso left his mark on this 14th-century Provençal estate, known as Château de Castille. At the urging of his friend and the property’s then-owner Douglas Cooper, the legendary artist had five drawings sandblasted onto a veranda wall, where they have since been granted special protection by the French government. After Cooper sold the seven-bedroom, 8,600-square-foot castle in the late ’70s, the next owners spearheaded a sensitive update, adding a dining room mural by Iraqi painter Naman Hadi and serene Mediterranean gardens complete with a maze. contact: sothebysrealty.com; +33-4-66-03-10-03 New York City $12 MILLION While renovating this 8,000-square-foot Tribeca loft 15 years ago, architect Todd Ernst made a dazzling discovery. Behind the walls lurked an original Keith Haring mural, painted by the artist in 1979. Back then the Renaissance Revival edifice (officially the American Thread Co. building) mounted regular exhibitions with the School of Visual Arts, where Haring was enrolled at the time. His signature squiggles scroll across a nook off what is now the apartment’s great room, a massive space with 26-foot-tall cast-iron columns and glorious arched windows. The three-bedroom triplex also boasts a wine cellar, gym, and sprawling master suite with its own wet bar. contact: elliman.com; 917-622-2334 —GEOFFREY MONTES View more prime properties online at archdigest.com/onthemarket. 66





































MICHAEL MUNDY Hail to the Chief: Luncheon is served in the White House’s Old Family Dining Room. DECEMBER A R C H D I G E ST.C O M 7 7

Executive Order Decorated by Michael S. Smith for the Obamas, the White House’s private quarters are as worldly and relaxed as the family that calls them home 7 8 A R C H D I G E ST.C O M

Designer Michael S. Smith specified a Donald Kaufman paint for the Yellow Oval Room. Artworks by Paul Cézanne (left) and Daniel Garber flank the mantel, and a Claremont fabric and Samuel & Sons trim dress the sofas. For details see Sources. TEXT BY MAYER RUS PHOTOGRAPHY BY MICHAEL MUNDY STYLED BY CAROLINA IRVING PRODUCED BY MARGARET RUSSELL

Smith mellowed the Yellow Oval Room with smoky browns, greens, golds, and blues. The 1978 Camp David peace accords were signed at the antique Denis-Louis Ancellet desk in the foreground. 8 0 A R C H D I G E ST.C O M

C onsidering the epochal achievements of the Obama administration— the Affordable Care Act, the legalization of same- sex marriage, the Recovery Act, the Paris Agreement on climate change, and so much more—it seems triv- ial to append a footnote that reads, “The President and First Lady have a pretty chic dining room, too.” But the fact is, they do. And for anyone who appreciates the power of design, Michelle and Barack Obama’s emendations to the White House speak volumes about the sea change in American culture the two have championed for the past eight years. Adorned with an unprecedented array of 20th- and 21st-century artworks, their private quarters remain an oasis of civility and, yes, refined taste in a political arena so often bereft of both. “Because of Michael Smith, the private residence of the White House has not only reflected our taste but also upheld the proud history of this building. Above all, it has truly felt like a home for our family,” says Mrs. Obama in praise of the Los Angeles–based decorator, who has collaborated closely with the First Family dur- ing their tenure in Washington, D.C. Smith returns the compliment by describing his work as a response to the First Lady’s progressive spirit: “Mrs. Obama often talks about bringing new voices into the national conversation, and that idea informed many of the deci- sions we made,” he says. “We selected artists and designers who would never have appeared in the White House before.” Smith was introduced to the Obamas by a mutual friend in Chicago following the 2008 election. “They were unbelievably charming, gracious, and thoughtful, and those qualities were reflected in the design of their home,” the decorator says. “It was very welcoming and comfortable, with books everywhere, and I immediately grasped the spirit of their family.” With less than two months to make plans before the Obamas moved into the White House, Smith had to hustle. “The number one priority for the First Lady was getting Malia’s and Sasha’s rooms and her mother’s room set up,” explains Melissa Winter, who is the deputy assistant to the President and senior adviser to the First Lady. “The most important thing was ensuring the com- fort and happiness of her family.” The Smith-Obama collaboration progressed in much the same way as any typical designer-client relationship. Smith began by sending the Obamas various design books—his own included—which they notated extensively. “They’re very focused, and they laid out their preferences quite clearly,” he says. “They’re drawn to elegant, simple things.” Still, for all the talk about the comfort and ease of a young family, the Obamas and Smith were acutely aware of the sym- bolic resonance of any changes they made to the White House. “To understand the context, I read every letter and note from Abigail Adams, Jacqueline Kennedy, Sister Parish, Stéphane

In the West Hall, Alma Thomas’s 1973 Sky Light hangs above a circa-1895 English mahogany pier table. 8 2 A R C H D I G E ST.C O M

Works by Robert Rauschenberg (left) and Alma Thomas make a modern splash in the Old Family Dining Room. Curtain fabric by George Spencer Designs; Anni Albers– style carpet by Scott Group Studio. Boudin, Kaki Hockersmith—anyone who had ever contributed the First Lady serves as honorary chair. The works displayed in to the history of this building,” Smith says. That immersion pro- the residence and offices, however, are chosen at the discretion cess extended to phone calls with Nancy Reagan and a lunch of the President and First Lady, and it is in those private spaces with Lee Radziwill, Mrs. Kennedy’s sister. that the Obamas unleashed their desire for a more diverse art program that underscores the message of an inclusive administra- Smith had a more hands-on ally in William Allman, the cura- tion and closely hews to their own particular tastes. tor of the White House. “Michael was sensitive to staying within the traditions of the White House while at the same time M ore than any of Smith’s soigné flourishes—the adding strategic modern touches,” Allman says. “He managed dreamy Oushak carpet in the Yellow Oval Room, to introduce an array of abstract and contemporary artworks— the custom-stenciled abaca wall covering in the particularly in the Obamas’ private rooms—without disrupting Treaty Room, the Peter Schlesinger ceramic urns the gravitas and historic character of the building.” in the West Hall Sitting Room—it is the art that rings the most clar- ion bell of modernity in the Obama White House. With many works That delicate balancing act comes to life with particular borrowed from august Washington repositories—the National eloquence in the redesign of the State Floor’s Old Family Dining Gallery of Art and the Hirshhorn and Smithsonian museums—the Room, which, at Mrs. Obama’s behest, was opened for public remarkable assortment includes pieces by contemporary artists viewing in 2015 for the first time in White House history. Glenn Ligon, Sean Scully, Robert Mangold, and Pat Steir, as well as There, alongside a stately early-19th-century mahogany dining by Jasper Johns, Louise Nevelson, Sam Francis, and Hans Hofmann. table and a sideboard once owned by Daniel Webster, the First Lady selected several American abstract works that were Lest any traditionalists start clutching their pearls over the donated to the White House permanent collection. They influx of so much bold modern and contemporary art, it should include two of Josef Albers’s signature nested squares, a 1998 be noted that the President and First Lady selected an unim- piece by Robert Rauschenberg, and a 1966 canvas by Alma peachable nocturne painting by James McNeill Whistler to hang Thomas, the first African-American woman artist represented above the fireplace in their serene, monochromatic master bed- in the White House. room. As Smith points out, “This is their sanctuary—private, ele- gant, and calm. You really want to make sure that the President Art intended for the permanent collection goes through of the United States gets a good night’s sleep.” extensive vetting by Allman’s office as well as the Committee for the Preservation of the White House, an advisory board on which

The Treaty Room—filled with memorabilia including one of the President’s two Grammy Awards, family photos, and a personalized football—is where Mr. Obama often retreats late at night. He uses the room’s namesake table (far right), which has been in the White House since 1869, as a desk. George Catlin scenes of Native American life hang on walls covered in custom-stenciled Larsen abaca. Eighteen-fifties overmantel mirror; 1930s Hereke carpet. 8 4 A R C H D I G E ST.C O M

“The private residence of the White House has not only reflected our taste,” Mrs. Obama says, “but also upheld the proud history of this building.”

President Obama and PORTRAIT: PETE SOUZA his daughters, Malia (left) and Sasha, in the Treaty Room. The Family Sitting Room contains a Sean Scully art- work, a Baker floor lamp, and a Jasper side table. A view of the Family Sitting Room, with Glenn Ligon’s Black Like Me #2 (far right). 8 6 A R C H D I G E ST.C O M

Late-1960s Robert Mangold works hang on the Family Dining Room’s Jasper-fabric-covered walls. The circa- 1800 sideboard hosts Christopher Spitzmiller ceramic lamps.

8 8 A R C H D I G E ST.C O M

The master suite’s antique canopy bed is curtained with Larsen and Jasper fabrics and outfitted with Nancy Koltes bed linens. Mirrors and sofa fabric by Jasper.

Exquisite Copse Surrealism blooms in a Michigan garden where Magritte-style sculptures mingle with topiary oddities At Sherry and Alan Koppel’s Michigan home, the Walled-In Garden opens to a vineyard view. For details see Sources. 9 0 TEXT BY ELAINE LOUIE PHOTOGRAPHY BY FRÉDÉRIC LAGRANGE

The Koppels, joined by poodles Rosey (fore- ground) and Bacci, take the measure of their roses. Antique French gazebo from Architectural Artifacts. A R C H D I G E ST.C O M 9 1