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Cooking. Refrigeration. Dishwashing.

 S U M M E R 2 0 19

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 CONTENTS june

76
THE TEAHOUSE AND
KITCHEN AT MIEKE TEN
HAVE’S GETAWAY IN
UPSTATE NEW YORK.

14 Editor’s Letter
16 Object Lesson
How an icon of Latin American
modernism became one of the most
copied designs of the 20th century.

21 Discoveries
Mark D. Sikes gives his Hollywood
Hills home an easy, breezy new look
. . . Edmund de Waal’s site-specific
porcelains for the Frick Collection
. . . Loewe challenges artisans to
reinvent their traditional crafts . . .
British designer James Shaw
masters plastic . . . A minimalist
poolhouse by architect Roger Ferris
. . . Design firm Workstead puts
down roots in the Hudson Valley . . .
Stylish finds for outdoor living . . .
and more!

60 Play Ground
Kelly Behun conjures a happy
Hamptons retreat for a fun-loving
FOLLOW @ARCHDIGEST SUBSCRIPTIONS NEWSLETTER
family. BY HANNAH MARTIN FOR SUBSCRIPTION SIGN UP FOR AD’S
INFORMATION GO TO DAILY NEWSLETTER,
RICARDO LABOUGLE (2)

ARCHDIGEST.COM, AT ARCHDIGEST.COM/
76 Green Acres CALL 800-365-8032, OR NEWSLETTER.
EMAIL SUBSCRIPTIONS@
Stylist Mieke ten Have breathes ARCHDIGEST.COM. COMMENTS
exuberant new life into an CONTACT US VIA
DIGITAL EDITION SOCIAL MEDIA OR
erstwhile barn in upstate New DOWNLOAD AT EMAIL US AT LETTERS@
York. BY MIEKE TEN HAVE ARCHDIGEST.COM/APP. ARCHDIGEST.COM.

8 AR CHDIGE S T.COM
 CONTENTS june
60
THE KIDS’ ROOM AND
MASTER BEDROOM
86 Glass Act
(BELOW) IN A PLAYFUL Having conquered the lighting
HAMPTONS HOME market, Lindsey Adelman
DESIGNED BY
KELLY BEHUN. turns her focus to bespoke fixtures
of uncommon beauty.
BY HANNAH MARTIN

88 Lofty Ideal
Markham Roberts transforms
an old carriage house into the
perfect studio-retreat.
BY SHAX RIEGLER

92 Party of Five
With help from Clements Design,
Jessica Alba fashions a grown-up
family home in Beverly Hills.
BY DEREK BLASBERG

100 Farm Fresh

A former Kentucky tobacco farm
morphs into a wonderland of
pattern, color, and open-armed
hospitality. BY MITCHELL OWENS

112 Resources
The designers, architects, and
products featured this month.

114 Last Word

An all-girls woodworking group
in Marfa, Texas, builds furniture—
and character.

ON OUR COVERS
FOR DETAILS SEE RESOURCES

“PARTY OF FIVE,” PAGE 92.

PHOTOGRAPHY BY STEPHEN KENT JOHNSON.
STYLED BY MICHAEL REYNOLDS.
FASHION STYLING BY JASON BOLDEN.
STEPHEN KENT JOHNSON (4)

JESSICA ALBA, WEARING ALBA’S MASTER BATH.

A PRADA DRESS
AND SHOES, AT HOME
IN CALIFORNIA.

10 AR CHDI GE ST.COM
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 THE INTERNATIONAL DESIGN AUTHORITY VOLUME 76 NUMBER 6

EDITOR IN CHIEF
Amy Astley

CREATIVE DIRECTOR David Sebbah EXECUTIVE DIRECTOR, DIGITAL Keith Pollock EDITORIAL OPERATIONS DIRECTOR Diane Dragan
EXECUTIVE EDITOR Shax Riegler FEATURES DIRECTOR Sam Cochran
INTERIORS & GARDEN DIRECTOR Alison Levasseur STYLE DIRECTOR Jane Keltner de Valle DECORATIVE ARTS EDITOR Mitchell Owens
WEST COAST EDITOR Mayer Rus

FEATURES AD PRO CREATIVE COMMUNICATIONS + EDITORIAL PROJECTS

SENIOR DESIGN EDITOR Hannah Martin
DEPUTY DIRECTOR, DIGITAL
Kristen Flanagan
SPECIAL PROJECTS DIRECTOR, DIGITAL
Sydney Wasserman
ENTERTAINMENT DIRECTOR Dana Mathews
EXECUTIVE FEATURES EDITOR David Foxley
CLEVER EDITOR Lindsey Mather
FEATURES EDITOR, DIGITAL Nick Mafi
ASSOCIATE ENTERTAINMENT EDITOR
Rachel Wallace
ASSOCIATE CLEVER EDITOR Zoë Sessums
ASSISTANT EDITORS Elizabeth Fazzare,
Katherine McGrath (Digital),
Carly Olson
ASSISTANT TO THE EDITOR IN CHIEF
Gabriela Ulloa
MARKET
MARKET EDITOR Madeline O’Malley
EDITOR Katherine Burns Olson
DEPUTY EDITOR Allie Weiss
SENIOR STYLE & MARKET EDITOR
Benjamin Reynaert
FEATURES EDITOR Anna Fixsen
NEWS EDITOR Madeleine Luckel
REGIONAL NEWS EDITOR Tim Latterner
ASSOCIATE VISUALS EDITOR
Gabrielle Pilotti Langdon
ASSOCIATE EDITOR Mel Studach
PRODUCTION
EDITORIAL OPERATIONS MANAGER
Nick Traverse
PRODUCTION DIRECTOR Nicole Stuart
PRODUCTION MANAGER Brent Burket
PRODUCTION DESIGNER Cor Hazelaar
ART PRODUCTION EDITOR Katharine Clark
COPY AND RESEARCH
COPY DIRECTOR Joyce Rubin
RESEARCH DIRECTOR Andrew Gillings
COPY MANAGER Adriana Bürgi
RESEARCH MANAGER Leslie Anne Wiggins
DESIGN DIRECTOR Natalie Do EXECUTIVE DIRECTOR, PUBLIC RELATIONS
VISUALS DIRECTOR Michael Shome Erin Kaplan
VISUALS EDITOR, DIGITAL Melissa Maria DIRECTOR, EDITORIAL PROJECTS
Jeffrey C. Caldwell
VIDEO
VP, VIDEO Matt Duckor CONTRIBUTORS
SUPERVISING PRODUCER Allison Ochiltree CONTRIBUTING EDITOR AT LARGE
DIRECTORS Matt Hunziker, Dan Siegel, Michael Reynolds
Rusty Ward CONTRIBUTING STYLE EDITORS
SENIOR PRODUCERS Frank Cosgriff, Lawren Howell, Carolina Irving
Ali Inglese CONTRIBUTING EDITORS
PRODUCER Thomas Werner Amanda Brooks, Gay Gassmann
ASSOCIATE PRODUCERS CONTRIBUTORS
Jon Charles Weigell, Kara Yennaco Fabiola Beracasa Beckman,
Derek Blasberg, Peter Copping,
ARCHDIGEST.COM Sarah Harrelson, Pippa Holt,
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Erika Owen Carlos Souza
SENIOR MANAGER, ANALYTICS Kevin Wu EDITOR EMERITA Paige Rense Noland
SOCIAL MEDIA MANAGER Elise Portale

ARTISTIC DIRECTOR
Anna Wintour

CHIEF BUSINESS OFFICER

Eric Gillin

HEAD OF SALES, LIFESTYLE DIVISION Jennifer Mormile

HEAD OF SALES, HOME Jeff Barish HEAD OF MARKETING Bree McKenney VP, FINANCE & BRAND DEVELOPMENT Rob Novick
VP, MARKETING Casey McCarthy HEAD OF OPERATIONS Rob DeChiaro
ASSOCIATE DIRECTORS, MARKETING Caroline Karter, Josh McDonald SENIOR BUSINESS DIRECTOR Jennifer Crescitelli

HEADS OF SALES PUBLISHED BY CONDÉ NAST CONDÉ NAST ENTERTAINMENT

FASHION, AMERICAN Amy Oelkers CHIEF EXECUTIVE OFFICER Roger Lynch PRESIDENT Oren Katzeff
FASHION, INTERNATIONAL David Stuckey EVP / MOTION PICTURES Jeremy Steckler
BEAUTY Lucy Kriz CONDÉ NAST U.S. EVP / ALTERNATIVE PROGRAMMING Joe LaBracio
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12 AR CHDI GE ST.COM
Cu e t he c al m .
feat. T H E E M M E T T C O L L E C T I O N

Rugs for the thoughtfully layered home.

 editor’s letter 2

1. POOLSIDE AT
JESSICA ALBA’S HOUSE
IN BEVERLY HILLS.
2. MIEKE TEN HAVE
AND BABY AT EASE.
3. THE “WACKY BUT
SOPHISTICATED”
INTERIORS OF A KELLY
BEHUN PROJECT
IN SOUTHAMPTON.
4. DESIGNER KELLY
BEHUN AND ME.
5. DESIGNER MARKHAM
ROBERTS’S GUEST
HOUSE/STUDIO IN
DUTCHESS COUNTY,
NEW YORK.

5
3

“We wanted a place to watch our

kids play and grow up. This is AD100 designer Rodman Primack, which delights and surprises
with such unexpected moments as a Memphis Group boxing-
our dream house!” —Jessica Alba ring bed in the guest barn and what the inhabitants proudly call

1., 3. & 5. STEPHEN KENT JOHNSON; 2. RICARDO LABOUGLE; 4. ZACH HILTY/BFA.COM

This issue is full of blissful peeks into various people’s happy
places—often summer retreats but in the case of cover star
Jessica Alba, her family’s main residence in, astoundingly,
L.A. (Her pool, garden, and vast canyon views do not scream
city living at all!) Actually, many of the featured homeowners
use similar phrases (often dream house) and emotions (cer-
tainty!) to convey their feeling of love at first sight. Alba, for
example, says she “walked in and knew within 20 minutes this
a “ridiculous” amount of wildly patterned wallpaper, fabric,
and rugs impactfully wrapping the rooms in a riot of color. “We
wanted to create our own world,” says owner Stephen Reily—
and they did, too. For AD100 designer Markham Roberts,
creative opportunity knocked when he started renovating and
decorating the old carriage house at his weekend retreat in
upstate New York. The resulting cozy, knotty-pine-paneled
space is part guesthouse, part personal
studio, and all his own. “It probably 4

was exactly what we were looking for.” Mieke ten Have, one sounds selfish, but it’s mostly just for
of AD’s trusted photo stylists, treasured for her excellent eye, me,” he confesses. Living in your
writes of her Dutchess County, New York, barn: “Ownership own world has never looked better.
of this house was a fait accompli the minute I walked through
the door.” In Southampton, a client of the innovative AD100
designer Kelly Behun told AD, “I didn’t want the typical
shingled Hamptons house. It sounds clichéd, but we wanted AMY ASTLEY
to build our dream house—from the ground up.” And they Editor in Chief
did! We also visit a storybook farm in Kentucky created by @amytastley

14 AR CHDI GE ST.COM
 object lesson THE STORY BEHIND AN ICONIC DESIGN
Butterfly Effect
How an icon of Latin
American modernism became
one of the most copied
designs of the 20th century
S 1. MIGUEL FLORES-VIANNA; 2. & 3. COURTESY OF KNOLL; 4. FRANÇOIS DISCHINGER
ome furniture designs become so ubiquitous
that their creators get relegated to the footnotes.
Such is the case of the Butterfly chair, originally
called the BKF or Hardoy chair after the trio of
Le Corbusier alums—Grupo Austral’s Antonio
Bonet, Juan Kurchan, and Jorge Ferrari Hardoy—
who created it in Buenos Aires in 1938.
“Most people don’t know it’s Argentinean,” says Barry
Bergdoll, MoMA’s former chief curator of architecture, of the
modern adaptation of Joseph Beverly Fenby’s 19th-century
campaign-style Tripolina. “But if we went into the design
department and looked at a lineup of chairs, it would be the
single most recognizable Latin American design.”
It was another erstwhile MoMA curator who solidified
that fate. Back in 1940, after the seat was exhibited in Buenos
Aires, the industrial-design curator Edgar Kaufmann Jr.
imported two back into the U.S. One went to MoMA, the other
to his parents’ new pad—Frank Lloyd Wright’s Fallingwater.
16 AR CHDI GE ST.COM
1. BUTTERFLY CHAIRS AT AD100
DESIGNER DANIEL ROMUALDEZ’S
IBIZA RETREAT. 2. KNOLL’S 1950
INDEX OF CONTEMPORARY
DESIGN. 3. KNOLL’S BUTTERFLY
CHAIR. 4. VINTAGE MODELS IN
JASON AND MICHELLE RUBELL’S
MIAMI BEACH HOUSE.
4
The low, leather-and-iron chair that Bergdoll praises for
being easy to move, easy to clean, and comfortable (“until you
try to stand up”) was a wild success Stateside, where Artek-
Pascoe started producing it in 1941; Knoll took over in 1948.
Still, Hardoy wrote Kaufmann in 1942 that, despite its popular-
ity, “we have received, in two years, the miserable sum of
$11.37.” The chair had taken off and left its makers in the dust.
After losing a lawsuit seeking copyright protection, Knoll,
too, ceased production in 1951. Once in the public domain, the
design spawned, by some estimates, 5 million copies in the 1950s
alone. These days, penny-pinchers can buy a version for $30
at Walmart, or purists can wait for a new one from Knoll, which
will resume production later this year. knoll.com —HANNAH MARTIN
INDEPENDENT, ADVENTUROUS,
GRACIOUS AND GLORIOUS.
JUST LIKE YOU.
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 DISCOVERIES
THE BEST IN SHOPPING, DESIGN, AND STYLE EDITED BY SAM COCHRAN

THE DESIGNER ADDED

NEW BOOKCASES
TO THE LIVING ROOM
OF HIS HOLLYWOOD
HILLS HOME AS
PART OF ITS HEAD-
TO-TOE MAKEOVER.

WORLD OF

Mark D. Sikes
With new fabrics, a dash of wicker, and
some clever rearranging, the designer
injects his Hollywood Hills home with
an easy, breezy new look
P HOTOGRAPHY BY AMY NEUNSI NGE R ARCHDIGEST. COM 21
 DISCOVERIES

1.–3. OJAI SALAD PLATE, SCONSET SPONGEWARE MUG,

AND OJAI NAPKINS, ALL BY SIKES FOR BLUE PHEASANT.
4. BRUNSCHWIG & FILS CARSTEN CHECK LINES THE DINING
3 ROOM. 5. RH OUTDOOR FURNITURE IN THE GARDEN.

I
5

’m obsessed with checks,” gushes interior designer

Mark D. Sikes on a recent visit to his Hollywood Hills
house. He’s gazing approvingly at the dining room,
which, as part of the latest update to his longtime home,
he’s swathed, drapery to tablecloth, in blue-and-
white gingham by Brunschwig & Fils. “Look at Renzo
Mongiardino, Mark Hampton, Albert Hadley. There were
always checks. It’s a proven formula.”
This injection of pattern was just one of many recent
changes to the 1928 residence, which he shares with his partner,
Michael Griffin, and their French bulldog, Lily. Like most
makeovers, the project stemmed from issues of functionality.
“We never used the living room, because it felt so formal,”
he reflects. “Lifestyles change, and our homes need to change
with our lifestyles.”
PRODUCT: COURTESY OF RESPECTIVE COMPANIES

That didn’t mean all their belongings went out the door.
Among many thoughtful tweaks, a dining table got a new skirt,
a leather settee a new chintz slipcover, and chinoiserie panels a
new gingham backdrop. Dining chairs, meanwhile, migrated to
the living room, where Anglo Indian antiques and wicker finds
entered the mix. And everywhere cottons, linens, and chintzes
replaced velvets and animal prints.
“Look at this!” Sikes exclaims, pulling a vintage throw from
the arm of a nearby chair. “We found it in Europe and made
a rug after it.” That adaptation will join his new collection of
carpets and bedding for Annie Selke, launching in June.
Meanwhile, his tabletop line for Blue Pheasant, stacks of which

22 ARCHDI GE ST.COM
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 DISCOVERIES 2
3

1. THE READING ROOM

IS TENTED IN A STRIPED
SCHUMACHER FABRIC
BY SIKES. 2. & 3. BRISBANE
THROW AND SANTA
MONICA PILLOW, BY
SIKES FOR ANNIE SELKE.
4. OJAI RUG BY SIKES
FOR ANNIE SELKE.
4

line his kitchen shelves, reinterpret Nantucket spongeware

and Portuguese tile patterns. “It’s that idea of mixing a preppy,
East Coast sensibility with a bohemian, West Coast vibe.”
The unifying factor for these collections, as well as his many
others for the likes of Schumacher, Hudson Valley Lighting,
and Merida, is a classic blue-and-white palette. And the same
is true of his home, save for one upstairs guest room, which is
dressed to the nines in a rosy tree-of-life print by Braquenié.
For Sikes, the color combination remains simple and timeless:
“Have you ever met someone who doesn’t like blue?”
markdsikes.com —HANNAH MARTIN
1

EXHIBITIONS

Historic
Resonance
PRODUCT: COURTESY OF RESPECTIVE COMPANIES; FRICK: CHRISTOPHER BURKE
Edmund de Waal made his first pot
at age five. Now 54, the ceramic artist
(and best-selling author of The Hare
with Amber Eyes) estimates that he has
turned out tens of thousands, along
the way achieving renown for his large-
scale installations at historic houses and
museums around the world. In de Waal’s
latest intervention, “Elective Affinities,” at
New York’s Frick Collection, nine hauntingly
subtle site-specific pieces temporarily
displace Renaissance bronzes and French
porcelains. The elegant Englishness of
the museum’s dining room “makes me
want to break things,” de Waal writes in
the exhibition catalogue. To represent
that urge, the pair of vitrines standing in
front of two Gainsborough portraits in the
room hold paper-thin sheets of porcelain
leaning against booklike steel boxes filled
with shards of the fragile yet enduring
material—a reflection on the making of
history and its loss. On view through
November 17; frick.org. —SHAX RIEGLER

24 ARCHDI GE ST.COM
Luxury furnishings. Every style. All online.
DISCOVERIES
2

DEBUT

Dream Weavers
For its newest home
collection, Loewe challenges
artisans to reinvent their
traditional crafts

L
oewe creative director Jonathan Anderson has
baskets on the brain. For the Spanish luxury 1

brand’s spring 2019 show, he presented handbags

woven from raffia and straw alongside pieces

Loewe Craft Prize finalists. And for Salone del

Mobile, months later, Anderson commissioned more than a
dozen other international talents to apply their traditional
weaving techniques to Loewe’s signature leather. The unique
results coincided with the debut of Loewe’s new home collec-
tion, starring baskets and lamps by Spain-based artisan Idoia
Cuesta, who works on a nature reserve near Galicia’s Minho
river. She has reimagined her usual crocheted confections—

a homespun vibe for a cleaner, Japanese-inspired approach.

Braided out of thin strips of tanned leather, her new creations
riff on bamboo Ikebana baskets. Her accompanying pendant
lights, meanwhile, feature sculptural double-helix forms knit
in slatted, geometric patterns. Owing to what she describes
as her “chaos technique,” no two pieces are alike. And like any
3
beautifully crafted object, Anderson confirms, “They’re only
going to get better with age.” loewe.com —CARLY OLSON

ONE TO WATCH

James Shaw
“I mean, it’s literally everywhere,” says the
32-year-old British designer James Shaw,
describing plastic, a material now ravaging
the earth. “It’s in our clothes; in our teeth.
And it’s a genuine problem that we need to
sort out.” For his 2013 graduation project
FROM TOP: COURTESY OF LOEWE; WILL SANDERS

at London’s Royal College of Art, he called

attention to the issue with a wonky machine
that turned landfill-bound plastic waste into
thick, gooey strands that he then molded
into a delightfully globby side table. For a
young designer starting off, the substance
had another advantage: He could get tons
(actual tons) of it for free. Six years later,
Shaw has used leftover polyethylene from a
nearby recycling factory to create sculptural
tables, door handles, tureens, fountains—
even a ladder. “The thing about plastic,” he
explains, “is it can become anything.”
jamesmichaelshaw.co.uk —HANNAH MARTIN

SHAW, LEFT, AT HIS SOUTH LONDON STUDIO.

 Isle of Skye, Scotland

THE SHIP IS OUR SECOND HOME.

THE CREW. THEY’RE OUR SECOND FAMILY.
AND THE VIEWS. THEY’RE SECOND TO NONE.

A Crystal Experience® in the United Kingdom.

W H E R E L U X U R Y I S P E R S O N A L™

CRYSTALCRUISES.COM 1.888.722.9996
OR CONTACT YOUR TRAVEL ADVISOR
©2019 Crystal Cruises, LLC.
 DISCOVERIES
ARCHITECTURE
In the Swim
Nestled into the earth, a minimalist poolhouse
by architect Roger Ferris is a stroke of genius
T
he architect Roger Ferris is known for designing
modern, statement-making homes. But his latest
project, a waterfront poolhouse in Westport,
Connecticut, is magnificently minimalist in form,
its single story concealed beneath a verdant
berm out of deference to the landscape. Save for
the skylight that runs the length of its green roof, the building
is hardly visible as you approach it. Even the entrance—
a sloping lawn down to the front door, between two angled
retaining walls—looks more like sculpture than structure.
“I just wanted this gentle rise, with as little of the building
showing as possible,” Ferris recalls of the project, designed for
28 ARCHDI GE ST.COM
A CONNECTICUT
POOLHOUSE BY ROGER
FERRIS + PARTNERS
(FERRISARCH.COM).
Fiona Garland, an avid swimmer, and her husband, Andrew
Bentley. “The poolhouse is something you should discover.”
Inside, elegant concrete walls bookend a 75-foot-long pool
and, on the other side of a barely-there glass partition, a
generous living-dining room with a Grayson Perry tapestry.
The latter room doubles as guest quarters thanks to a fold-
down bed hidden behind Douglas-fir paneling. (Becky Goss
of the local design store The Flat consulted on the other
furnishings.) While the northern side of the floor plan, tucked
PAÚL RIVERA
into the earth, contains the kitchen, bath, and changing areas,
the south-facing window wall offers breathtaking views of the
Long Island Sound.
 YOUR FAVORITE PANORAMIC VIEW.
YOUR FAVORITE DRINK WITHOUT ASKING.
THESE ARE THE INGREDIENTS OF UNFORGETTABLE.

Bar Waiter

W H E R E L U X U R Y I S P E R S O N A Lª

CRYSTALCRUISES.COM 1.888.722.9996
OR CONTACT YOUR TRAVEL ADVISOR
©2019 Crystal Cruises, LLC.
 DISCOVERIES
THINK PIECE

Hide and
Seek
When Van Cleef & Arpels opens
the doors to its newly redesigned
Beverly Hills flagship next month,
on the occasion of the boutique’s
50th anniversary, a wondrous
collection of new high jewelry will
await. Paying homage to
1 Shakespeare’s star-crossed lovers,
Romeo and Juliet, the pieces play
2 with visual dualities and symbols of
love. The Philémon watch, its name
derived from the Greek word for
“kiss,” mingles diamonds, emeralds,
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30 ARCHDI GE ST.COM
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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
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“ O F T E N , W H AT G I V E S A N O B J E C T

AUTHENTICIT Y IS THE ONE WHO IS BEHIND

T H E O B J E C T— I T S M A K E R —A N D I T S F I N I S H ,

I T S TO U C H . A N AU T H E N T I C P I E C E I S N ’ T “ O F

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Interior Designer/Co-Founder Nickey Kehoe
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Town and Country

Already a big-city sensation,
the design firm Workstead puts
down Hudson Valley roots 3

R
4
obert Highsmith, Stefanie Brechbuehler, and Ryan Mahoney—
cofounders of the design studio Workstead—know how to build buzz.
In Brooklyn, their industrial-inspired scheme for the Wythe Hotel
put Williamsburg on the map for world travelers. In Charleston, their
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Highsmith says of the fixtures, whose conical shades adjust up and down, alternately
widening or containing the glow. For the Workstead trio, the upstate space offers
a welcome counterpoint to their Brooklyn-based architecture practice, led by
JEFF HOLT

Mahoney, who notes: “You think so differently when you’re in the city versus the
country. It’s nice to have balance between the two.” workstead.com —SAM COCHRAN

34 JOIN ADPRO, THE NEW MEMBERS-ONLY COMMUNITY FOR DESIGN-INDUSTRY PROFESSIONALS, AT ARCHDIGESTPRO.COM
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PLAY
GROUND
Kelly Behun conjures
a happy Hamptons
retreat for a
fun-loving family
TEXT BY HANNAH MARTIN
PHOTOGRAPHY BY STEPHEN KENT JOHNSON
STYLED BY MICHAEL REYNOLDS
 TWO THOMAS
HEATHERWICK–DESIGNED
CHAIRS ENTERTAIN
THE HOMEOWNERS’
CHILDREN IN A GARDEN
BY AD100 HOLLANDER
DESIGN LANDSCAPE
ARCHITECTS. FOR
DETAILS SEE RESOURCES.
A CHILD’S CHAIR BY
LUCAS MAASSEN
(LEFT), SOFA BY THE
CAMPANA BROTHERS,
AND ARMCHAIR BY
KONSTANTIN GRCIC
FORM A SITTING AREA
ON THE SECOND
FLOOR. ARTWORKS
BY AC GROUP (ON
WALL) AND GUFRAM.
it sounds clichéd, but we wanted to
build our dream house,” says this
mother of three, an author, about
her place in Southampton. She
and her husband had spent years
summering in the area, always
shacking up at his parents’ house.
But when they found a large, park-
like four-acre plot, set back from
the ocean (but still close enough
to catch its breeze and soothing soundtrack), they
knew it was time to establish a place of their own.
Their dream? A house that was anything but cliché.
“I knew I didn’t want the typical shingled
Hamptons house,” the homeowner explains. “I
wanted something I built from the ground up.” They
called on local architect James Merrell, known for his
modern Hamptons homes, to realize a structure with
strong lines, spacious but not ostentatious square
footage, and enough vernacular touches (a gabled
roof; dormers) to fit in with the neighborhood. The
result, in Merrell’s words, “walks the tightrope
between the 21st century and our idea of the tradi-
tional Hamptons village.”
Organized in an H-shape, with its long axis
running east to west, his design helps the family get
in sync with nature. Sunlight follows them as
they move through the day—waking them up in the
morning, illuminating the kitchen in the afternoons
and evenings, and putting on a show with each
rise and set, in the glass-encased living room. Thanks
to thoughtful positioning, plantings by AD100 land-
scape architect Edmund Hollander, and well-placed
windows, the homeowner attests, “You can stand in
any room and see outside in both directions.” That’s
by design. “The architecture informed the landscape,”
says Hollander. “Once the house was sited we asked
ourselves, What do we want to see?”
As a playful foil to the architecture, they tapped
New York–based AD100 designer Kelly Behun to
inject the Zen interiors with color and conversation
pieces. “We love wacky,” says the homeowner. “But
I also wanted sophistication.”
Behun delivered, dipping into her extensive
Rolodex of artisans to fill the place with eye-catching
furniture sure to get people talking. Brooklyn-based
Ladies & Gentlemen Studio strung their Shape Up
chandelier over the family-room table. Colorful rugs
designed by Kinder Modern and Behun herself for
the Rug Company jazz up the floors. And Memphis
Group ceramics (one of Behun’s favorite design eras)
sit alongside contemporary vessels by Brooklyn-based
Erica Prince and Chicago- and Gary, Indiana–based
Manal Kara.
“Of course furniture needs to be comfortable
and functional,” says Behun. “But I like to go in and
respond to a space as though it were a landscape.
I think of furniture as sculpture.”

ARCHDIGEST. COM 63
 ABOVE JAMES MERRELL ARCHITECTS DESIGNED THE SOUTHAMPTON HOUSE WITH VERNACULAR TOUCHES.
BELOW PENDANTS BY APPARATUS ILLUMINATE A CUSTOM HUDSON FURNITURE DINING TABLE AND STUDIO VAN DEN AKKER CHAIRS.
OPPOSITE A CHANDELIER BY STEPHEN ANTONSON HANGS IN THE DOUBLE-HEIGHT LIBRARY.
HOLLAND & SHERRY COTTON VELVET ON VLADIMIR KAGAN SOFAS; BESPOKE RUG BY KELLY BEHUN FOR THE RUG COMPANY.

64 ARCHDI GE ST.COM
 A ZIPPER ARTWORK BY MARK RICHARD HALL IN THE GARDEN. OPPOSITE CONTEMPORARY AND MEMPHIS GROUP CERAMICS MINGLE
IN THE FAMILY ROOM. LIGHTING BY LADIES & GENTLEMEN STUDIO OVER CUSTOM TABLE AND BENCH BY KELLY BEHUN.

66 ARCHDI GE ST.COM
“We love wacky," says the
homeowner. “But I also
wanted sophistication."
“I like to respond to a space
as though it were a landscape,”
says Behun. “And I think of
furniture as sculpture.”
 A SOFA BY FRANCESCO
BINFARÉ WITH PILLOWS
BY ZAK + FOX AND
MARTYN THOMPSON
STUDIO SPREADS
ACROSS THE EXPANSIVE
LIVING ROOM. 1960
ARTWORK (FAR LEFT)
ATOP ARTERIORS SIDE
TABLE; OTHERS BY ALICE
HOPE, DIEGO CABEZAS,
JOEL PERLMAN,
AND PAMELA SUNDAY.
HOPE: COURTESY OF THE ARTIST AND SALOMON

OF JEFF LINCOLN ART + DESIGN GALLERY

CONTEMPORARY; PERLMAN: COURTESY
ABOVE COLORFUL BENJAMIN MOORE PAINTS BRIGHTEN CUSTOM BUILT-INS IN THE KIDS’ ROOM. PIERRE PAULIN CHAIR; KINDER MODERN CARPET;
JASMIN ANOSCHKIN CERAMICS. BELOW THE GARDEN FEATURES A BESPOKE OAK, HORSEHAIR, AND STAINLESS-STEEL CHESS SET.
ABOVE CHAISE LONGUES BY RH, SIDE TABLES BY THOMAS RODRIGUEZ, UMBRELLAS BY TUUCI, AND A CUSTOM HANGING DAYBED SIT POOLSIDE.
BELOW BEHUN DESIGNED A SPLIT-LEVEL TABLE, ROUND MIRROR, AND WALL-HUNG CONSOLES FOR THE HOME’S ENTRY. VASE BY L’OBJET.

ARCHDIGEST. COM 71
 RIGHT THE BOWLING
ALLEY FEATURES
CUSTOM JEAN
DUBUFFET–INSPIRED
WALLPAPER. A NEON
INSTALLATION IN THE
STYLE OF ARTIST
ROBERT IRWIN HANGS
OVER THE PIT.

Then there’s the actual sculpture—in a house with

so many windows, the always-visible outdoor art can
feel like an element of the interiors. Behun worked
closely with Hollander to place and light the family’s
growing collection, including a stainless-steel zipper
sculpture by Mark Richard Hall embedded in the grass
(Behun tracked it down after spotting it on Instagram)
and an eight-foot-tall painted-fiberglass sculpture,
lurking in the willow trees along the driveway, com-
missioned from Brooklyn-based Chiaozza. For the
kids, she fabricated a supersized chess board and
planted a pair of Thomas Heatherwick’s Spun chairs
in the yard like two enormous tops.
“Those are the kinds of things you never tire of,”
Behun says. “They make you smile.”
Still, by grounding the interiors in neutral tones,
luxe materials, and subtle, stained white oak, Behun
kept the house feeling refined. In the living room,
Francesco Binfaré’s sprawling, modular On the Rocks
sofa mixes with furnishings in brass (a Haas Brothers
Hex stool) and stone (a 1,300-pound cocktail table
carved from Italian marble). In the master bedroom,
the client’s wish for wall-to-wall fuzzy wool carpet
and après-ski vibes led Behun to concoct a sandy-hued
1970s-esque chalet-by-the-sea feel, with the addition
of a ribbon-like vintage chair, pendant lights by cera-
mist Eric Roinestad, and a channel-tufted headboard.
Behun was designing the family fantasy, all
while keeping their reality in mind. “I’m a novelist,”
explains the homeowner, “so great spaces to read
and that honor books were very important to me.”
In the library—situated by Merrell in the home’s
central, double-height volume—Behun created
an area where the family comes together on a pair
of Vladimir Kagan sofas to read and listen to their
daughter play the piano. In the kids’ shared “bunk-
room,” capsule-like beds and cozy wall nooks were
destined for little ones hiding away with a good story.
The final note of fun emerged from a less predict-
able request: a bowling alley in the basement. “I’ve
never done a bowling alley, and I don’t know if I’ll
get a chance to do one again,” recalls Behun. “So I
thought, What the heck? Go for it!”
Taking inspiration from French artist Jean
Dubuffet’s monumental sculptures, Behun wrapped
the basement-level lanes, to perception-bending
effect, in a graphic, black-and-white pattern printed
on Élitis wallpaper. The family was thrilled. “We’ve
managed to find enough fun, nonelectronic things to
prove there’s life outside the iPad,” the homeowner
says. “Now all the kids’ friends want to come over.”

72 AR CHDI GE ST.COM
design notes THE DETAILS THAT MAKE THE LOOK

BEHUN DESIGNED
THE KITCHEN’S
CABINET DOORS;
THERMADOR HOOD
AND WOLF RANGE.

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FOR ROLL & HILL; $13,550.
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JAIME HAYON FOR BD

A CHAIN STOOL
FROM CLIC (BELOW
LEFT) AND HANDS
STOOL BY STUDIO A
HOME DECORATE
THE MASTER BATH;
TUB FILLER BY VOLA.

—Kelly Behun
SPUN CHAIR DESIGNED BY
THOMAS HEATHERWICK
FOR MAGIS FOR HERMAN
MILLER; $895. DWR.COM

SMILE CHAIR BY GIANCARLO

VALLE FOR DOMEAU & PÉRÈS;
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KINDER MODERN; $3,150.
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 OFFSET TABLE
BY KELLY BEHUN
STUDIO; PRICE
UPON REQUEST.

JULIETTE WALL
COVERING;
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ELITIS.FR

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family,” says the

homeowner. “We
were all for things
that would make

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P RODUCE D BY M AD ELI N E O’MALL EY ARCHDIGEST. COM 75

A CONVERTED 18TH-CENTURY BARN IN DUTCHESS COUNTY, NEW YORK, MAKES A BUCOLIC GETAWAY
FOR STYLIST MIEKE TEN HAVE, HER DOGS, AND HER FAMILY. FOR DETAILS SEE RESOURCES.
GREEN
ACRES
Heeding
the call of the
country, stylist
Mieke ten
Have breathes
exuberant
new life into
an erstwhile
barn in upstate
New York
TEXT AND STYLING BY
MIEKE TEN HAVE
PHOTOGRAPHY BY
RICARDO LABOUGLE
ABOVE THE LIVING ROOM IS FILLED WITH ART, INCLUDING SIX WORKS BY FRANÇOIS ROUAN. FROM LEFT, GEORGE SMITH SOFA
COVERED WITH A PIERRE FREY COTTON-BLEND; JEAN-MICHEL FRANK AND ADOLPHE CHANAUX COCKTAIL TABLE FROM RALPH PUCCI;
LOUIS XVI BERGÈRE IN A LE MANACH COTTON; AND LOUIS XVI SETTEE IN A 1940s FRENCH DAMASK. OPPOSITE TEN HAVE (LEFT)
LOUNGES ON THE DOCK WITH DAUGHTER WILLEMIEN, HUSBAND TYLER GRAHAM, AND DOG GRINGO.
I don’t think of myself as an irrational person, but when
I first pulled up to this converted 18th-century barn
on a drab December morning, I was overcome with
possessiveness. “What are they doing here?” I snarled
at my husband, Tyler, when I spotted another couple
and a broker walking the grounds. Even before we
had reached the front door, the wild, almost accidental-
looking allée of willows that guided us down the
meandering driveway convinced me this was the place
we had been looking for. It was the glorious, ancient
beams, though, each carved with Roman numerals by
the Dutch settlers who built it, that made my pulse quicken.
Our ownership of this house was a fait accompli the minute I
walked through the door.
Nestled in the pastures of Dutchess County, New York, the
house had lain unoccupied for some time, with rotted-out
windows, an untold number of broken pipes concealed behind
the walls, no kitchen of which to speak—not to mention a cast-
iron claw-foot tub sitting in the middle of the living room,
leaving deep grooves in the floor tracing a would-be looter’s
path. But as in any good romance, none of this gave me any
pause. I was besotted—equal parts abject desperation and
rapture. The majestic great room, the soaring bookcases, the
views out to fields and wooded hills were too much country
fantasy for this Manhattan-born and -raised girl to bear.

ARCHDIGEST. COM 79
ABOVE A PANEL COVERED IN A MANUEL CANOVAS LINEN-BLEND CENTERS THE MASTER BEDROOM, WHERE THE HEADBOARD IS
FROM TEN HAVE’S CHILDHOOD BEDROOM. BIEDERMEIER CHEST OF DRAWERS WITH MARBLE TOP. OPPOSITE A COLE & SON WALLPAPER
SWATHES THE NURSERY. ANTIQUE HITCHCOCK CHAIR, WICKER CHAIR, AND DRESSER.

Love, they say, is blind. In this case, it also made me
impervious to the charms of running water and heat—neither
of which we had during our first celebratory overnight stay in
March 2016. We brought only a few basics up with us, namely
our two dogs, some champagne on ice, and boxes of dishes I
had pulled from their hiding places under sofas and dressers;
they had long outgrown the confines of our china cabinet.
Calling myself a collector would be a polite euphemism for
what I really am: a pack rat. So my first endeavor was carefully
unwrapping cobalt transferware, sets of artichoke and oyster
plates, Wedgwood tea services, and lusterware pitchers to fill
the glass-fronted cupboards in what would eventually become
our kitchen. Heat, water, oven, and refrigerator be damned;
at least I had my plates in order.
With 25-foot ceilings, the 25-by-30-foot great room
formed the heart of the house, and I quartered the space into
distinct areas dedicated to dining, entertaining, reading,
and working. I’d like to say I had some sort of decorative plan
to make them all cohere, but the truth is that I just filled the
room with things I like. I am not a matchy-matchy type—and
in designing this house I realized I rather like seeing pretty
things do battle with one another. Much of the furniture came
out of storage—pieces I had bought or inherited and held
on to simply because I loved them, not knowing where they
would eventually live.
That isn’t to say I didn’t have a wish list. This included
Le Manach’s Mortefontaine, a Second Empire–style printed
cotton redolent of my chintz- and moiré-filled 1980s child-
hood home, which I used in the living area on a Louis XVI
bergère my mother had given me. I picked a Pierre Frey fabric
for one of the sofas and upholstered it on the reverse because
its striéed plum pulled out the flowers in the chintz chair. A
1940s French crimson silk damask totally clashed, but it was
a deliciously opulent foil. To tone down its sheen, I also used
it on the reverse for the settee; the three pieces together make
for strange but charming bedfellows.
I also knew I wanted to indulge my wallpaper fetish.
Fornasetti’s blustery, surreal clouds—Wuthering Heights in a
wall covering, says a friend—blow you into the great room
from the front door. For a Marie Antoinette–meets–monastic
look, I paired a Farrow & Ball damask print in a vigorous
shade of blue with an ultrasimple white IKEA canopy bed in
the guest room. Meanwhile, I wanted the study, which would
eventually become a nursery for our daughter, to feel like a
tree house; Cole & Son’s Great Vine, with its dense, lush leaves,
fit the bill.
 “I’d like to say I had some sort
of decorative plan, but
That first winter, I had no idea what
the warmer months would summon from the the truth is that I just filled the
room with things I like.”
landscape. Now I’ve become familiar with
the arrival of spring, when the red-winged
blackbirds’ song returns to the windows and
we find nests of baby bunnies tucked into the
lawn. In early June, a wall of peonies unfurls along the eastern Karl Lagerfeld—I quickly abandoned that idea. I’ve learned
perimeter of the house, so heady their scent fills the ground how much work goes into a property like this. Luckily, our
floor and so tall I can cut them by merely opening a window farmer neighbor, Ed, arrives unannounced every so often on
and reaching out. The house had no real outdoor space, so that his tractor to help us with our winding driveway, often
first summer we built a large screened-in room, half devoted impassable in mud season, and offers invaluable tips, like how
to living, half to dining. We’ve dubbed it the teahouse, and to remove algae from the pond and where to look for foxes
intrepid (or inebriated) guests can sleep on its wrought-iron (my favorite local animal). He’ll drop off a dozen eggs with
bed to a bellowing chorus of nighttime animal sounds. The marigold yolks while he’s at it.
fireflies arrive in early summer, and we blow the hurricanes out The last space I tackled was our master bedroom; its
to watch their erratic dance after dinner. It is not uncommon asymmetry had me at a decorative dead end until I met the
for the eerie howls of coywolves to wake you from deep sleep. perfect fabric. Manuel Canovas’s Compiegne, a vividly hued
On summery Saturday mornings, I walk down our dirt road take on verdure tapestry, beckoned me to disappear into
and pillage the never-ending supply of my favorite weed, Queen its landscape. Sixteen yards and an amused upholsterer later,
Anne’s lace, for frothy centerpieces and bedside bouquets. I hung it as a giant panel, centering the bed. It reorients
For now, the barn has sated my rural ambitions. While I had your eye, as though the succulent summer fields outside the
initially wanted chickens—specifically White Crested Black window have stolen their way in, and the bedroom’s beams
Polish Bantams, whose plumage bears a slight resemblance to are merely trees in its forest.

ARCHDIGEST. COM 81
BENJAMIN MOORE’S GEORGIAN GREEN PAINT COVERS THE GREAT ROOM’S BOOKSHELVES.
CASAMIDY CONSOLE; VINTAGE COCKTAIL TABLE; LOUIS XV BARREL-BACK CANED CHAIRS.
 ABOVE THE CAST-IRON TUB WAS FOUND IN THE HOUSE. ON STOOL FROM WISTERIA, FOUTAS BY SOUKRA. OPPOSITE A CASAMIDY
CHANDELIER HANGS OVER THE DINING TABLE DRAPED WITH A LES INDIENNES FABRIC AND MAHOGANY FEDERAL CHAIRS SLIPCOVERED IN
ARJUMAND’S WORLD BY IDARICA GAZZONI LINEN. 19TH-CENTURY AUSTRIAN BENCH.
 NEW YORK–BASED LIGHTING DESIGNER
LINDSEY ADELMAN WITH HER LATEST
PIECES IN PROGRESS AT URBANGLASS.

86 ARCHDIGE S T.COM
 GLASS ACT
Having conquered the lighting
market, Lindsey Adelman turns
her focus to bespoke fixtures of
p
uncommon beauty
retend you’re designing
for Donatella Versace.”
That was the brief
lighting designer Lindsey
Adelman gave herself
ahead of New York’s 2006
ICFF, where she planned
to show her Branching
Bubble chandelier for the
first time. “I was trying to make a show-
stopper,” she explains of the now iconic,
wildly influential system of Y connectors,
tubes, and glass orbs. So, to achieve the
desired bling, she had all the metal parts
plated in 24K gold.
Shortly after the debut, orders
started rolling in, though most custom-
ers opted for a finish of nickel or brass.
Now, more than a decade—and countless
sales—later, Adelman reports, “It’s
because of the Branching Bubbles that
a company happened.”
On its momentum, her studio has
grown to 35, that initial design has given
way to ten more lighting systems, and her
Lafayette Street atelier has just expanded
onto a second floor, which will serve
as a showroom. In their first iterations,
the fixtures had to be delivered in one
piece (the glass shades were not yet
designed to be removable); now they can
be neatly deconstructed, packed into
boxes, and shipped across the globe. It’s
a well-oiled machine. Meaning Adelman
finally has the time to tinker with her
wilder concepts, creating one-of-a-kind
fixtures that aren’t designed to scale.
“I have always filled sketchbooks with
ideas,” says the designer, her fingers still
dirty from doing watercolors all weekend.
“I just didn’t have the chance to execute
that work until I got a handle on the prod-
uct design, the order fulfillment, the
finances, the client relations. Once I did,
I gave myself permission to indulge the
other, more self-expressive work.”
TEXT BY HANNAH MARTIN PHOTOGRAPHY BY
One of those ideas has finally sprung
to life at UrbanGlass, the Brooklyn hot
shop where Adelman has been working
with glass artist Michiko Sakano to create
an array of unique treasures. Titled
Paradise City, the series debuts June 11
at Design Miami/Basel.
“The hardware looks like it’s desper-
ately trying to stop time or stop change,
while the clear glass looks fluid, like it’s
organically bubbling up and fractalizing,”
Adelman says of the fixtures, in which
glass forms bulge out of thin, scaffolding-
like hardware, flop over metal beams, or
are cinched with calipers. It’s an idea she
dreamed up after rereading W. Somerset
Maugham’s The Razor’s Edge and listen-
ing to Guns N’ Roses. “I realized they
were saying the same thing,” she muses,
chuckling at the absurdity of the con-
nection. “It’s about our attempts to hold
on to the moment, whether it’s good
or bad.”
To achieve the textured glass clusters,
which drew aesthetic inspiration from
Venetian optic molds, Adelman created
graphic 3-D-printed forms, made plaster
molds of them, and then blew glass into
the molds. To illuminate them, mean-
while, she designed her own proprietary
LEDs tailored to the shape of each
fixture. “There are no bulbs, or at least
they don’t look like bulbs anymore—
no sockets, no wires,” she explains. “In
some cases we’re using gold foil to
conduct electricity.”
It’s all a bit more cerebral than
that first Branching light, but Adelman
remains tethered to her industrial-
design roots: “In the end, it’s lighting—
it’s got to be the perfect size to hang
over someone’s dining room table,”
she admits. “All these thoughts went
into it, but it doesn’t really matter if
the buyer knows that. They just have
to like it.”
JASON SCHMIDT
 AT DESIGNER MARKHAM ROBERTS’S CARRIAGE HOUSE TURNED STUDIO IN UPSTATE NEW YORK, HARRIET,
A POODLE-SCHNAUZER MIX, STANDS ON A SWEDISH-MOTIF RUG BY TIBETANO. A VINTAGE MILO BAUGHMAN
CHAIR WEARS A YELLOW CLARENCE HOUSE LINEN; THE PILLOW IS OF A RAOUL TEXTILES FLORAL PRINT.
PENDANT LIGHT BY COUP STUDIO. FOR DETAILS SEE RESOURCES.

88 ARCHDI GE ST.COM
Designer Markham Roberts transforms an
lofty ideal
old carriage house into the perfect studio-retreat
TEXT BY SHAX RIEGLER PHOTOGRAPHY BY STEPHEN KENT JOHNSON STYLED BY HOWARD CHRISTIAN
 LEFT THE GROUND-
FLOOR MUDROOM,
LIKE THE REST OF THE
SPACE, IS PANELED IN
ROUGH KNOTTY PINE.
VINTAGE MURANO-GLASS
LIGHT; CIRCA-1969
SWEDISH BENCH, CIRCA-
1830 ENGLISH TABLE,
AND ANTIQUE CHINESE
BRONZE VESSEL;
MOROCCAN RUG.
RIGHT THE CARRIAGE
HOUSE RETAINS ITS
ORIGINAL WOOD ON
THREE SIDES. THE WEST
FAÇADE RECEIVED A NEW
WINDOW AND SIDING
PAINTED IN BENJAMIN
MOORE’S BARN RED.
LOWER RIGHT ROBERTS
AT HIS WORK TABLE.

D esigner Markham Roberts’s

neighbors were very curious
when he started renovating the
carriage house that sits across
the road from his weekend retreat
in upstate New York. “It’s a small
town,” says the ebullient AD100
talent of his Dutchess County
hamlet. “So, you know, when you start something, everyone
wants to know what you’re doing.”
Even so, this level of interest was greater than anything
Roberts had experienced in the seven years since the
Manhattan-based designer and his partner, art-and-antiques
dealer James Sansum, had purchased the six-acre property. “Our house on Lake Michigan when I was little had it, and it
Basically, everybody wanted to know if the rumors they was beautiful,” the Indiana native recalls of his family’s summer
had heard from parents or grandparents were true: Had the place overlooking Grand Traverse Bay. “It’s the cheapest thing,
carriage house’s hayloft really been used as a speakeasy in but I’ve always loved it. And it was just right for here.”
the 1920s? Sure enough, there was a 10-foot-long bar right Shell in place, Roberts set about decorating. The enormous
in the middle of the space. That Prohibition-era relic now 45-by-27-foot studio has become a repository for objects he
sits in a nearby barn where Roberts and Sansum often host has owned and loved but never had space for: Scandinavian
parties. As for the hayloft, it has become an at-home studio, Modern furniture, a Victorian chaise longue covered in muslin,
a place where Roberts can spread out samples and dream an heirloom Arts and Crafts cabinet, and a large circular
up schemes for clients. worktable set atop a giant piece of burl wood that he picked
Though the nearly 150-year-old carriage house had long up one year at Nashville’s annual antiques-and-garden show.
sat all but completely neglected, it was actually in good shape. Furniture designed by Roberts is part of the mix, as are
After shoring up the structural sags, putting in new windows, beloved art, old toys displayed like sculpture, and a sophisti-
and installing insulation, heat, and water, Roberts finished cated blend of fabrics. “I just buy what I like,” he says, “and
the reno by paneling the rooms in unfinished knotty pine. when I put it together it always seems to end up working.”

90 ARCHDI GE ST.COM
 His talent for mixing—and his abiding love of fabrics—
is exemplified by the curtain panels hanging at either end
of the studio. Composed of bands of textiles by Lisa Fine,
Kathryn M. Ireland, and Schumacher, custom-dyed vintage
crewelwork, and several trims on a muslin ground, the
hangings are a tour de force. Still, he admits, “my curtain-
maker was not happy.”
In addition to a room in which Roberts could satisfy
his whims, the studio also happens to be an ideal spot
to show off his aesthetic vision. Indeed, a few clients have
come to meet him there. “But it’s mostly just for me—
which probably sounds very selfish,” the interior designer
says, without a hint of self-reproach in his voice. “I had
always wanted to do something like this, and this was
my chance.”
HAIR BY DAVY NEWKIRK FOR THE WALL GROUP USING HONEST BEAUTY; MAKEUP BY AURORA BERGERE
USING HONEST BEAUTY; NAILS BY KIM TRUONG FOR STAR TOUCH AGENCY USING CHANEL LE VERNIS
PAR
TY OF FIVE
With help from Clements Design,
Jessica Alba fashions a grown-up family
home in Beverly Hills
TEXT BY DEREK BLASBERG PHOTOGRAPHY BY STEPHEN KENT JOHNSON
STYLED BY MICHAEL REYNOLDS

JESSICA ALBA (WEARING A LOUIS VUITTON DRESS AND

DUDLEY VANDYKE EARRINGS) AND CASH WARREN WITH THEIR
CHILDREN HAVEN (LEFT), HONOR, AND HAYES IN THE FAMILY
ROOM. CUSTOM SECTIONAL COVERED IN BELGIAN LINEN;
CUSTOM OTTOMAN IN A MOORE & GILES LEATHER. FASHION
STYLING BY JASON BOLDEN. FOR DETAILS SEE RESOURCES.
★ EXCLUSIVE VIDEO JESSICA ALBA AT HOME, ARCHDIGEST.COM.
 i n January 2019, Jessica Alba, the
actress and cofounder of the eco-
friendly megabrand The Honest Co.,
threw a 40th-birthday bash for her
husband, Cash Warren, producer and
cofounder of lifestyle brand Pair of
Thieves. Throughout his 30s, she’d
organize an over-the-top pajama party
every year—blowouts that would
include beer pong, Twister, charades,
and even a corn-hole toss. But this
year, because they had recently moved
into a home perched on the edge of
a scenic, leafy canyon in Beverly Hills, she decided to
combine the birthday with a housewarming. And
after their beautiful, new, expansive backyard—a hot
commodity in this part of town—had been mauled by
tents, bars, and wild corn tossers at the extravaganza,
she decided to retire the tradition. “He’s in his 40s
now, so he can do other stuff!” she says, laughing.
“This is our dream house!”
Alba and Warren met on the set of Fantastic Four,
Honor, in 2008. A second daughter, Haven, arrived
in 2011, and son Hayes was delivered on New Year’s
Eve 2017. The couple, who had been living in a house
just down the street for the past decade, already had
started looking for a new one with more space, and
a big backyard was on their wish list. “We wanted a
place to watch our kids play and grow up,” Alba says.
They found it on the very first day of their search.
It wasn’t officially listed, because the sellers wanted
to stage it first, but Alba cajoled her Realtor into
getting her in that afternoon. “I thought, I have an
imagination and I know what I want. I walked in and
knew within 20 minutes, even though [the previous
owners’ style] wasn’t our vibe, this was exactly what
we were looking for.”
The couple’s “vibe” has two touchstones. Warren’s
mother lives in Provence, and one of Alba’s Pinterest
boards is filled with pictures of houses in the French
countryside and apartments in Paris. The second is
Ellen DeGeneres and Portia de Rossi’s house in Beverly
Hills. “They’d have us over for holiday parties, and
we’d leave and say to each other, ‘Their house is so
in 2004. They married and had their first daughter, sick!’ ” When Alba closed on this property, she asked

94 ARCHDI GE ST.COM
 ABOVE MATCHING LINEN-SLIPCOVERED SOFAS FACE OFF IN THE LIVING ROOM. ARMCHAIRS WEAR
MOORE & GILES SHEARLING. OPPOSITE ON THE SIDE DECK, 18TH-CENTURY SWEDISH CHAIRS SURROUND
A 19TH-CENTURY FRENCH TABLE, BOTH FROM GALERIE HALF.

“We wanted a place a surprise since her company is based entirely on

to watch our kids

thoughtfully produced, safe products.” On the other
hand, Kathleen jokes that Warren’s major concern

play and grow up,”

was “where was the basketball hoop going to go?
That was a very big deal, and he was very specific.”

Alba says.
At first, Alba thought it would be a quick and
easy renovation. “I was like, ‘I’m pretty much fine
with everything; let’s just paint it!’ And then all
of a sudden we walked into the house, and it had
been stripped down to the studs. I mean, there were
DeGeneres for an introduction to her designers, the literally no walls! I said to Cash, ‘Did we know this
mother-son team of Kathleen and Tommy Clements. was going to happen?’ And he said, ‘This explains the
“It’s easy to see why Jess is such a successful bill!’ ” She laughs. “Apparently you can’t just pop
businesswoman,” Tommy says. “She’s organized, hyper- off crown moldings.”
focused, and superdecisive—there is no vacillation.” Ultimately, the renovation took 18 months and
The Clementses left their weekly client meetings with more than new paint. In order to create a more flowing
their entire to-do list ticked off. In describing Alba’s family zone, the foursome modified the original
style, Tommy notes she was always drawn to organic ground-floor plan, opening the former family room up
materials, natural fibers and fabrics, hemp textures, to the kitchen. In the process they removed a bar to
and reclaimed wood, “which didn’t exactly come as gain square footage and create more storage. (“I didn’t

ARCHDIGEST. COM 97
 ABOVE FARROW & BALL’S MOLE’S BREATH COVERS THE MASTER BEDROOM’S WALLS. CUSTOM UPHOLSTERED
HEADBOARD IN WASHED BELGIAN LINEN; VINTAGE FRENCH SCONCES AND OAK SIDE TABLE. OPPOSITE A STEEL-FRAMED
GLASS DOOR ENCLOSES THE MASTER SUITE’S SHOWER AND TUB. KALLISTA SHOWER AND BATH FITTINGS; IN-EX TUB.

want to see all that stuff—coffee machine, toaster
oven, dirty blender—all day,” Alba says.) And they blew
out the back of the house and installed a folding glass
wall that opened up the space to the incredible view.
At first Alba and Warren were wary of obstructing
that prospect. But when the children of some friends—
movie producer Jamie Patricof and his wife, Kelly
Sawyer Patricof, the cofounder of Baby2Baby, a charity
Alba supports—outgrew their play set, Alba and
Warren took it. A good businesswoman knows a deal
when she sees one. Now sitting just beyond the pool,
it signifies that this is a truly family-friendly home.
“It’s sweet to have something that is worn in and has
been loved by kids already,” Alba says.
Alba also enjoyed hunting for just what she liked.
To update the bathrooms, she went to RH (“I don’t
have a deal with them; I just think their stuff is
supercute”), and she found the kitchen range by
scouring the internet (“I’ve been dreaming about
a stove like this my whole life”).
“Jess didn’t feel the need to spend money she didn’t
need to,” Tommy Clements says. “She’s not the type
of person to spend for the sake of spending. She sees
through that kind of stuff.” Indeed, Alba is especially
proud of the laundry-room flooring, which she found
herself at a home-improvement store. “Someone
quoted us a $70,000 option, and I thought, There’s got
to be something better than that!” she explains. “So
I put a hold on the vintage Italian limestone and went
and talked to my new friend at Lowe’s.”
Now fully settled in, Alba finishes in an unex-
pected spot when she gives house tours to friends:
“This is our pride and joy,” she says, showing off
a meticulously organized and labeled wall of circuit
breakers, light switches, and other gear related
to the house’s electronics. Alba, who does a mind-
boggling job splitting her time between being an
actress, entrepreneur, and mother, looks on the
display with pride. “All this organization is literally
my wildest fantasy come true.”

98 AR CHDIGES T.COM
farm fresh
A former Kentucky tobacco
farm morphs into a high-voltage
weekend wonderland of pattern,
color, and open-armed hospitality
TEXT BY MITCHELL OWENS PHOTOGRAPHY BY STEPHEN KENT JOHNSON

INDIAN BEAN’S MAIN

HOUSE. OPPOSITE THE
FAMILY ENJOYS GAME
TIME INSIDE THE
CORRUGATED-METAL
POOL CABANA DESIGNED
BY ROY MCMAKIN. FOR
DETAILS SEE RESOURCES.
P erhaps the last place on
earth one would expect
to find one of Japanese
designer Masanori Umeda’s
boxing-ring beds would
be a farm not far from
Louisville, Kentucky. But
there the 1980s Memphis
Group provocation
proudly stands, anchoring
the soaring living area of
a guest house that has been disguised as a vernacular
barn. “It really calls for people to get prone, talking
and hanging out in a different way that reflects our
goals for the whole property,” says Stephen Reily,
who shares the nearly 400 here-meadowed, there-
wooded acres—now called Indian Bean, for the
catalpa, a.k.a. Indian bean tree, that grow in profu-
sion—with his wife, Emily Bingham, three children,
two standard poodles, and a steady stream of visitors.
“There’s nothing like spending 18 or 24 or 30 hours
with friends or even people you don’t know very
well—having meals, taking walks, swimming, going
target shooting,” Bingham explains. “This place
has shaped our family culture deeply.”
Like the barn, nothing is what it seems at Reily
and Bingham’s idiosyncratic retreat, which is located
in an unpretentious agricultural area more to their
 ABOVE AN ASSORTMENT OF AFRICAN DUTCH WAXED TEXTILES COVERS THE STUDY’S WALLS. OPPOSITE MARCEL BREUER CHAIRS SURROUND
A JONATHAN MUECKE TABLE IN THE DINING ROOM. MARTHE ARMITAGE HAND-BLOCKED WALLPAPER; PAAVO TYNELL BRASS PENDANTS.

laid-back liking than Louisville’s supersocial horse
country. “We wanted to create our own world,”
says Reily, an entrepreneur, collector of 20th-century
Italian design, and, as of 2017, the director of
Louisville’s acclaimed Speed Art Museum. He and
Bingham, a historian from a storied Louisville clan—
she wrote the award-winning Irrepressible, a 2015
biography of Henrietta Bingham, her flapper-era
grandaunt—purchased Indian Bean in 1998 and have
been tinkering with it ever since.
Take the feedlot, for example. Once a concrete
wasteland, it has been jackhammered into oblivion
and recast as a formal garden brimming with
vegetables for the table and flowers for the rooms.
What looks like an open-air, corrugated-metal
tractor shed is a pool cabana, one of several works by
architect and furnituremaker Roy McMakin. Then
there’s the property’s centerpiece, an Arts and Crafts
house with eccentric flaring roofs that reminded
Bingham of pagodas when she first set eyes on the
place. “That was very striking and felt a little exotic,”
she recalls, adding, “The bones of the house were
beautiful; it had been loved and lived in.”
Storybook in appearance and painted pastel yellow,
the house conceals Indian Bean’s most improbable
surprise: rooms wrapped so densely in riotous patterns
that the couple delightedly use the word ridiculous
to describe the impact. The impresario behind these

ARCHDIGEST. COM 103

rollicking interiors is AD100 designer Rodman
Primack. In the living room, hand-blocked blossoms
and vines meet a red-gingham armchair and a carpet
of irregular grass-tone stripes. Tropical-leaf wallpa-
per transforms the staircase into a vertical jungle,
while more than a dozen wax prints, the bold fabrics
worn by women in Central and West Africa, stripe
the study. It’s a leitmotif of sorts for Primack: At the
couple’s Louisville house, a vintage African photo-
graph of a woman in a black-and-white striped dress
sparked the creation of razzle-dazzle curtains that
Primack calls “Southern John Fowler.” Even the
farm’s hulking green pool table (“It was unhappy
aesthetically,” Reily recalls) got into the act. Given a
geometric makeover by Louisville artist Monica C.
Mahoney, it now looks for all the world like a
Memphis Group treasure that time forgot.
Layering on multitudes of motifs, believe it or
not, wasn’t the original plan. “We just started adding
pattern and more on top of that, and it just kept
getting better,” Reily explains of the vibrant sur-
roundings, among them a big kitchen walled with
large blue, off-white, and gray cement tiles and
illuminated by red tube lights and yellow sconces.
Adds Primack, who incorporated existing pieces,
such as a sofa upholstered in a Josef Frank botanical
print, “When it’s done well, all those patterns
practically become a neutral in a sense.”
Simple, clean-lined furniture and lighting—Marcel
Breuer’s cantilevered Cesca chairs, Paavo Tynell
 ABOVE IN THE MASTER BEDROOM, A LISA FINE TEXTILES LINEN COVERS A CUSTOM
BED BY RP MILLER. CUSTOM COVERLET BY RP MILLER; SCHWEITZER LINENS; SISTER
PARISH WALL COVERING. LEFT CLUB CHAIRS WEAR A JOSEF FRANK PRINT IN THE
STUDY. MAX KUEHNE COCKTAIL TABLE; CUSTOM RECYCLED ROPE RUG BY RP MILLER.

pendant lights of softly gleaming brass—sit serenely
amid a visual exuberance that recalls Charleston, the
East Sussex gathering place that Bloomsbury Group
artist Vanessa Bell, its chatelaine, once rapturously
called “a dithering blaze of flowers and butterflies
and apples.” (Coincidentally, Bingham’s grandaunt
Henrietta was one of the few Americans in the
Bloomsbury circle.)
That being said, “it’s ended up being more Nabis,”
Reily says, referring to the late–19th century circle
of French artists, among them Édouard Vuillard,
whose flowery painted interiors are so aswirl with
motifs that the people in the canvases seem to
disappear. Says Primack, “Emily and Stephen aren’t
interested in decorating per se as much as they are
in using their homes as a canvas.” At the couple’s
Louisville residence, a vertiginous 1870s redbrick
Victorian that’s yet another Primack project—
he’s also working on the couple’s escape in Cape
Cod—artists were commissioned to paint walls,
floors, and more.
Some of what isn’t patterned at Indian Bean
patiently awaits the brushes of admired artists.
Mahoney, using glow-in-the-dark paint, cheekily
decorated a white cabinet with the caterpillars
that munch catalpa leaves. Given her medium, Reily
says, “it works like a night-light.” Some blanket
chests are up for grabs, along with a few other prime
locations. “Rodman,” Bingham contentedly observes,
“left us places to work out over time.”

ARCHDIGEST. COM 105

 “This place has shaped our
family culture deeply,” notes
Emily Bingham.
POODLES LAIKA (FRONT) AND CLEO PLAY WITH THE CHILDREN BY THE POOL.
BOXING RING, BY
MASANORI UMEDA,
COMMANDS THE
GUEST HOUSE’S MAIN
ROOM. OPPOSITE IN
THE KITCHEN, CUSTOM
CEMENT TILE BY
MOSAIC HOUSE
PROVIDES A SERENE
BACKDROP FOR
COLORFUL ACCENTS.
BERTAZZONI RANGE;
JIELDÉ SCONCES; RAIS
WOOD-BURNING STOVE.
design notes
IN THE SITTING ROOM,
A DOKTER AND SIGNAL LAMP; PRICE
MISSES CABINET. UPON REQUEST.
JIELDE.COM

LITTLE HAVANA

We went from white

Sheetrock to pattern
on pattern on pattern.”
—Rodman Primack PHILIP LINEN; TO THE TRADE.
RAOULTEXTILES.COM

OLD MAN’S BEARD WALLPAPER BY

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PRODUCE D BY MAD ELINE O’MA LL EY

 A LISA FINE
TEXTILES WALL
COVERING
ENVELOPS A
BEDROOM;
SERENA & LILY
WICKER
SIDE TABLE.

It really does
have this goofy,
wonderful farm-
house look.”
—Emily Bingham

TIKA PALM BY LISA FINE

TEXTILES; $184 PER YARD.
HOLLYWOODATHOME.COM

ARMCHAIR 336
IN BARANQUILLA
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ANDLILY.COM

Rodman made
use of a lot of things
we already had.”
INTERIORS: STEPHEN KENT JOHNSON; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES

—Stephen Reily

BABOUCHE NO. 223

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KATSURI FLOWERS FABRIC BY RP MILLER TEXTILES;

TO THE TRADE. RPMILLERDESIGN.COM

ARCHDIGEST. COM 111

 resources
Items pictured but not listed here are not
sourceable. Items similar to vintage and
antique pieces shown are often available from
the dealers listed.
(T) means the item is available only
to the trade.
PLAY GROUND
PAGES 60–75: Interiors by Kelly Behun Studio;
kellybehun.com. Architecture by James
Merrell Architects; jamesmerrellarchitects
.com. Landscape design by Hollander Design
Landscape Architects; hollanderdesign.com.
PAGES 60–61: In garden, Spun chairs by
Heatherwick Studio for Magis; hermanmiller
.com. Curtains of Tarifa acrylic, in natural,
by Wind from Hines & Co. (T); hinescompany
.com; fabricated by Distinctive Window
Treatment Plus; distinctivewindows.com.
On Plateau daybeds, in weathered teak, by
Bonetti/Kozerski for Sutherland (T);
sutherlandfurniture.com; cushions of Nailhead
acrylic, in blanca, by Perennials (T);
perennialsfabrics.com. Montecito pillow by
Serena & Lily; serenaandlily.com. Cocktail
table by West | Out East; westouteast.com.
Brimley outdoor rug, in sand crystal, by
Patterson Flynn Martin (T); pattersonflynn
martin.com. PAGES 62–63: I’m a Woman Not
an Object child’s chair by Lucas Maassen from
Kinder Modern; kindermodern.com. Cipria
sofa by the Campana Brothers for Edra;
edra.com; in faux fur by Dualoy Leather (T);
dualoy.com. Sam Son armchair by Konstantin
Grcic for Magis; hivemodern.com. Guframini
Cactus by Gufram from Barneys New York;
barneys.com. Monkey side table by Jaime
Hayon for BD Barcelona; bdbarcelona.com.
Custom wool Cloud rug by Kelly Behun
Studio; kellybehun.com; fabricated by The
Rug Company; therugcompany.com. PAGE 64:
In dining room, pendants by Apparatus;
apparatusstudio.com. Custom bleached oak
and bronze dining table by Hudson Furniture;
hudsonfurnitureinc.com. On Paolo dining
chairs by Studio Van den Akker; studiovanden
akker.com; Tapisserie Jacquard silk-blend by
Lauren Hwang New York (T); laurenhwang
newyork.com. Custom wool rug by Tai Ping
(T); houseoftaiping.com. Laurel side table
(left) by Luca Nichetto for De La Espada from
the Future Perfect; thefutureperfect.com.
On Dudotta armchair (left) by Lazzarini &
Pickering for Marta Sala Éditions from the
Future Perfect, Rive Gauche mohair velvet,
in malpeque, by Holland & Sherry (T);
hollandsherry.com; and Duke mohair velvet, in
rose ancien, by Pierre Frey (T); pierrefrey.com.
PAGE 65: Plaster chandelier by Stephen
Antonson; stephenantonson.com. On Vladimir
Kagan sofas (similar) from Holly Hunt (T);
hollyhunt.com; cotton velvet by Holland &
Sherry (T); hollandsherry.com. Custom wool
rug by Kelly Behun Studio; kellybehun.com;
fabricated by The Rug Company; therug
company.com. Custom stone mosaic-top
cocktail table, bookshelves, and Split Jane
printed artwork; all by Kelly Behun Studio.
Noos pillows by Zak + Fox; zakandfox.com.
PAGE 67: On shelving, ceramics by Erica
Prince; erica-prince.com; Manal Kara;
manalkara.com; and Kelly Behun Studio;
kellybehun.com. Shape Up lighting by Ladies
& Gentlemen Studio; ladiesandgentlemen
studio.com. Custom table, custom bench, and
lacquer vases; all by Kelly Behun Studio.
On bench, pillows of Mungo viscose-blend, in
reglisse, by Pierre Frey (T); pierrefrey.com.
PAGES 68–69: On the Rocks sofa by Francesco
Binfaré from DDC; ddcnyc.com. Pillows by
Zak + Fox; zakandfox.com; and Martyn
Thompson Studio from the Future Perfect;
thefutureperfect.com. Fur throw from Roman
and Williams Guild; rwguild.com. Serafina
side table by Arteriors; arteriorshome.com. On
Smile chair (background, corner) by Studio
Giancarlo Valle; giancarlovalle.com; Pebble
pillow by Martyn Thompson Studio from the
Future Perfect. Modi andirons by Caroline
Ranicar from Chesneys; chesneys.com. Hex
stool (foreground) by the Haas Brothers from
R & Co.; r-and-company.com. On Dudina
armchairs (right) by Lazzarini & Pickering for
Marta Sala Éditions from the Future Perfect,
Rive Gauche mohair velvet, in malpeque,
by Holland & Sherry (T); hollandsherry.com;
and Duke mohair velvet by Pierre Frey (T);
pierrefrey.com. Carved wood side table
by Caleb Woodard Furniture; calebwoodard
furniture.com. PAGE 70: In kids’ room, on
custom built-ins by Kelly Behun Studio;
kellybehun.com; Lazy Sunday, Springhill
Green, Iris Bliss, and Waterfall paints;
all by Benjamin Moore; benjaminmoore.com.
Mushroom Junior chair by Pierre Paulin
(similar) from Ralph Pucci; ralphpucci.net.
Hexagoncolor split wool carpet by Kinder
Modern; kindermodern.com. Baby Rabbit
chair, in white, by Stefano Giovannoni for
Qeeboo; qeeboo.com. Himalayan faux-fur lilac
beanbag by PBteen; pbteen.com. On custom
bench, cushion of Lanzarote cotton-linen,
in marfil, by Gastón y Daniela (T); kravet.com.
Pillows by Kelly Behun Studio of Paloma
cotton satin, in lagoon, campanula, and
cilantro; by Romo (T); romo.com. In garden,
custom chess set and bench, both by Kelly
Behun Studio. PAGE 71: In pool area, on
Mustique teak chaise longues by RH; rh.com;
cushions of white canvas by Perennials (T);
perennialsfabrics.com. Soixante 3 side tables
by Thomas Rodriguez for Ligne Roset;
ligne-roset.com. Ocean Master Max Classic
umbrellas by Tuuci; tuuci.com. On custom
hanging daybed by Kelly Behun Studio;
kellybehun.com; cushions of Nailhead acrylic,
in blanca, by Perennials (T). Harbour Island
floor pillows by Serena & Lily; serenaandlily
.com. Roll chairs by Patricia Urquiola for
Kettal; kettal.com. Pool design by James
Merrell Architects; jamesmerrellarchitects
.com. In entry, custom lacquered table, wall-
hung consoles, and mirror with linen tassel;
all by Kelly Behun Studio. On table, vase by
L’Objet; l-objet.com. PAGES 72–73: Bowling
alley design and millwork by James Merrell
Architects; jamesmerrellarchitects.com;
fabricated by QubicaAMF; qubicaamf.com.
Custom wallpaper by Kelly Behun Studio;
kellybehun.com; fabricated by Élitis (T);
elitis.fr. Custom neon installation by Kelly
Behun Studio.
GREEN ACRES
PAGES 76–85: Interiors styling by Mieke ten
Have; mieketenhave.com. PAGES 78–79: In
living room, on sofa by George Smith (T);
georgesmith.com; Erevan cotton-blend, in
prune, by Pierre Frey (T); pierrefrey.com. On
Jean-Michel Frank and Adolphe Chanaux
cocktail table (re-editioned by Ecart
International) from Ralph Pucci; ralphpucci
.net; incense burner by Apparatus;
apparatusstudio.com. On Louis XVI bergére,
Mortefontaine cotton by Le Manach (T);
pierrefrey.com. Dhurrie by Madeline Weinrib;
madelineweinrib.com. On vintage lamps,
shades by Bunny Williams Home; bunny
williamshome.com. PAGE 80: On panel (behind
bed), Compiegne linen-blend by Manuel
Canovas (T); cowtan.com. On bed, linens by
Trousseau; trousseau.us. On Biedermeier
chest of drawers, lamp with shade by Bunny
Williams Home; bunnywilliamshome.com.
PAGE 81: On walls, Great Vine wallpaper by
Cole & Son (T); kravet.com. Savannah crib by
Ducduc; ducducnyc.com. On armchair,
Maintenon cotton, in petale, by Manuel
Canovas (T); cowtan.com. Checked rug by
Bunny Williams for Dash & Albert;
annieselke.com. PAGES 82–83: On bookshelves,
Georgian Green paint by Benjamin Moore;
benjaminmoore.com. Molecule Long console
by Casamidy; casamidy.com. Vintage tray-top
cocktail table (similar) from Montage
Antiques; montageantiques.com. On sofa,
pillow by Bunny Williams Home; bunny
williamshome.com. PAGE 84: On stool from
Wisteria; wisteria.com; foutas by Soukra;
soukra.co. PAGE 85: Hiver (Musée Picasso)
chandelier by Casamidy; casamidy.com.
Tablecloth by Les Indiennes (T); lesindiennes
.com. On vintage chairs, slipcovers of Kavuk
Flower linen by Idarica Gazzoni for
Arjumand’s World (T); arjumandsworld.com.
On table, small vase by Frances Palmer
Pottery; francespalmerpottery.com.
LOFTY IDEAL
PAGES 88–91: Architectural renovation and
interiors by Markham Roberts Inc.; markham
roberts.com. Select furnishings throughout
from James Sansum Fine and Decorative Art;
jamessansum.com. PAGES 88–89: Raynor
Swedish woven flat rug, in fall, by Tibetano;
tibetano.com. On vintage Milo Baughman
chair, Joplin linen, in citron, by Clarence
House (T); clarencehouse.com; with pillow of
Pondicherry linen-cotton by Raoul Textiles
(T); raoultextiles.com. Sea Urchin pendant by
Coup Studio; coupdetatsf.com. On custom
chaise by Markham Roberts Inc.; markham
roberts.com; Remix wool-nylon, in 10, by
S. Harris (T); fabricut.com. Oak cocktail table
with inset leather top by Markham Roberts
Inc. Antique Japanese bronze floor lamp (in
foreground) from James Sansum Fine and
Decorative Art; jamessansum.com; with shade
of Arya Vine linen, in spring field, by Jim
Thompson Fabrics (T); jimthompsonfabrics
.com. Custom muslin curtains by Markham
Roberts Inc. PAGES 90–91: In mudroom,
circa-1969 Murano glass lamp from Bernd
Goeckler; bgoecklerantiques.com. Circa-1969
Swedish bench and circa-1830 English table
from James Sansum Fine and Decorative Art;
jamessansum.com. Antique bronze Chinese
vessel from Naga Antiques; nagaantiques.com.
Moroccan wool rug from Tibetano;
tibetano.com. On carriage house exterior
(western façade only); Barn Red paint by
Benjamin Moore; benjaminmoore.com.
PARTY OF FIVE
PAGES 92–99: Jessica Alba of the Honest Co.;
honest.com. Interiors by Clements Design;
clementsdesign.com. PAGES 92–93: Custom
sectional and ottoman by Clements Design;
clementsdesign.com. On ottoman, Potomac
leather, in tan, by Moore & Giles (T); moore
andgiles.com. PAGE 94: On chaise longues,
fabric by Summit Furniture (T); summit
furniture.com. PAGE 95:Custom brass hood by
Clements Design; clementsdesign.com. Sully
range by Lacanche; lacanche.com. On cabinets,
Down Pipe paint by Farrow & Ball; farrow-
ball.com. On backsplash, glazed Cotto tiles,
in chalk, by Eco Outdoor; ecooutdoorusa.com.
Farol chandelier by Bowles and Linares;
bowlesandlinares.co.uk. Sink fittings
by Kallista; kallista.com; and Waterstone;
waterstoneco.com; both in unlacquered brass.
PAGE 96: Antique chairs, table, and vase from
Galerie Half; galeriehalf.com. PAGE 97: Custom
sofas by Clements Design; clementsdesign.com.
On armchairs, Shearling, in dusty beige, by
Moore & Giles (T); mooreandgiles.com. Custom
oak cocktail table and marble fireplace
surround by Clements Design. Vintage stool
from Rose Tarlow; rosetarlow.com. Between
armchairs, Pierre Jeanneret stool from
Galerie Half; galeriehalf.com. Jute rug from
Lawrence of La Brea; lawrenceoflabrea.com.
PAGE 98: On walls, Mole’s Breath paint by
Farrow & Ball; farrow-ball.com. Custom bed,
headboard, bench, and coverlet by Clements
Design; clementsdesign.com. Vintage sconces
from Nicky Kehoe; nickeykehoe.com. Vintage
oak bedside table from Lucca Antiques;
luccaantiques.com. PAGE 99: Showerhead and
fittings by Kallista, in unlacquered brass;
kallista.com. In shower, personal care products
by the Honest Co.; honest.com. Normal
bathtub (similar) by IN-EX; inex.la. One tub
fittings by Kallista, in unlacquered brass.
Vintage stools from Waldo’s Designs;
waldosdesigns.com.
FARM FRESH
PAGES 100–111: Interiors by RP Miller Design;
rpmillerdesign.com. PAGE 101: Sofa, tables,
and chairs by Roy McMakin; roymcmakin.org.
PAGES 102–03: In dining room, Cesca chairs
by Marcel Breuer from Knoll; knoll.com.
MWS white oak table by Jonathan Muecke
from Volume Gallery; wvvolumes.com. Old
Man’s Beard wallpaper by Marthe Armitage
from Hamilton Weston; hamiltonweston.com.
Paavo Tynell 1965 pendants from Chairish;
chairish.com. Custom rug by Fedora Design;
fedoradesign.com. PAGES 104–05: In study,
on club chairs and sofa pillows, Vegetable
Tree linen by Josef Frank for Svenskt Tenn;
svenskttenn.se. Vintage Max Kuehne cocktail
table (similar) from 1stdibs; 1stdibs.com.
Custom recycled marine rope rug by RP
Miller Design; rpmillerdesign.com. In master
bedroom, on custom bed by RP Miller
Design, Tika Palm linen, in sage, by Lisa Fine
Textiles (T); lisafinetextiles.com. Custom
coverlet by RP Miller Design. Bed linens by
Schweitzer Linen; schweitzerlinen.com. On
walls, Sunswick linen, in blue, by Sister Parish
Design; sisterparishdesign.com. Signal sconce
by Jieldé; jielde.com. Rug by Shyam Ahuja (T);
shyamahuja.com. PAGE 108: Custom cement
tile by Mosaic House; mosaichouse.com.
Bertazzoni range, in red; bertazzoni.com.
Uplift tea kettle by OXO; oxo.com. Loft wall
sconces by Jieldé; jielde.com. Rondo wood-
burning stove (similar) by Rais; rais.com.
Custom tube lighting by RP Miller Design;
rpmillerdesign.com. Sink fittings by Grohe;
grohe.com. PAGE 109: Tawaraya “boxing ring”
by Masanori Umeda from Memphis Milano;
memphis-milano.com. On pillows, Burundi
cotton by Nathalie Du Pasquier and Triangolo
fabric by George Sowden, both from
Memphis Milano.

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112 ARCHDIGE S T.COM


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archdigest360
 last word 1

1. LUMBER CLUB
MARFA, AN ALL-GIRLS
WOODWORKING
GROUP IN WEST
TEXAS. 2. MEMBERS
AT WORK ON THE
MACHINERY. 3. THE
CLUB’S SIGNATURE ON
THE UNDERSIDE OF A
STOOL. 4. A VIGNETTE
OF FINISHED PIECES.

Squad Goals
Every Friday a group of girls, ages seven to 14, assembles in a woodshop
in Marfa, Texas. Supervised by artist Larry Bamburg, they don masks and
goggles, taking turns on the machinery to craft three-legged stools out
of walnut, mahogany, and the like. Proceeds from the simple but sculptural
pieces (available for purchase, with a three-month wait list) go to the girls’
college funds. It all began six years ago, when Bamburg and his wife, curator
Jenny Moore, moved to Marfa with their two young daughters. “I remember
trying to find something with a sense of place to get the girls involved in,”
recalls Moore, the director of the local Chinati Foundation. What was initially
an informal family activity has now grown into Lumber Club Marfa, a proper
collective with two-hour sessions followed by pizza dinners and games of
tag. If the program isn’t quite a formal production shop, it is an incredible
confidence-builder. “Watching a little girl take on a sander is powerful,” says
Moore. “I’ve seen them push through their comfort zone, wipe away tears
and sawdust, and get back at it.” From $300; lumberclubmarfa.com —RIMA SUQI

114 ARCHDIGE S T.CO M PHOTOGRAPHY BY D OUGLA S FRIED MAN

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