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Art et Architecture
Architectural Digest

Architectural Digest May 2018

Architectural Digest is the world's foremost design authority, showcasing the work of top architects and interior decorators. It continues to set new benchmarks for how to live well—what to buy, what to see and do, where to travel, and who to watch on the fast-paced, multifaceted global design scene.

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12 Numéros

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2 min.
“location, location, location!”

Comporta, Ibiza, Palm Beach, Catalonia, Jaipur: a bucket list of dream destinations where the living is easy and sheer natural beauty defines the allure of the land. In this, AD’s annual Travel issue, we visit exceptionally blissful holiday homes in each of these locales. Jacques Grange takes cover honors with the circa-1930 Spanish-style villa in Palm Beach he decorated for an internationally based longtime client. The house is a little bit Hollywood (the “Sinatra bar” has a Palm Springs Rat Pack vibe) and a little bit continental (the chic, lush pool cabana reminds the homeowner of Antibes’ Hôtel du Cap-Eden-Roc), but ultimately it is very Grange, who describes its spirit as “happy and comfortable, not traditional”—and that, I think, is an apt summary of the enduring allure of Monsieur himself.…

2 min.
shelf life

After visiting Kyoto’s Katsura Imperial Villa in 1940, Charlotte Perriand developed an obsession: the shelves. “[They were] arranged on the walls, in the form of a cloud,” the French designer wrote in her journal. “A free form that gives rhythm to space and enhances the objects it supports.” Nearly a decade later, she unveiled Nuage (French for “cloud”), a modular bookshelf that could be rearranged in various configurations, thanks to sliding panels, trays, and shelves. Perriand marveled at the way simple components could create entire walls or pieces of furniture. The first renditions were made of wood—due to war rationing it was the only material available—but by the time the series officially debuted in 1956, the shelves included aluminum. For a design rooted in serenity, Nuage has had a turbulent history. When originals—produced…

2 min.
the french connection

“It was a place for pleasure, to be alone, to meet friends, to play cards.”—Andrea Teufel, conservationist When the Duke of Phuong Hoa—young, artistic, sickly—acceded to Annam’s throne in 1916, he took the regnal name Khai Dinh, meaning “augur of peace and stability.” The emperor’s personal taste, though, shook up Hue, the imperial capital. If he had to be the puppet monarch of a French protectorate (today’s Vietnam), then he would do it by synthesizing Sun King swagger with his own cultural traditions. Thus, Cung An Dinh, a captivating pastry of a palace that overlooks the turgid An Cuu Canal. The three-story mansion’s “mixture of Western coquetry and Annamite art cannot fail to surprise,” a French journalist observed in the 1920s. Nothing has changed. Imperial-yellow façades in Italian Renaissance and neoclassical modes—the…

1 min.
pattern play

For its latest collection, Italian textile house Dedar dug deep into its archives—unearthing a range of treasures marked by complex construction and layered motifs, several of them inspired by vintage neckties. The designs are among the countless fabrics available at Dedar’s first Stateside showroom, opening this month at New York’s D&D Building. dedar.com CLOCKWISE FROM FAR LEFT: FRÉDÉRIC LAGRANGE; STEFANO GALUZZI (4)…

2 min.
cast away

Chris Wolston was on a Fulbright grant in Colombia, researching manual and manufactured modes of production, when he became obsessed with an object that embodied both: the humble aluminum hot-chocolate pitcher in his apartment. “Everyday objects here have a handmade quality,” the rising design star says by phone from his current studio in Medellín. (He splits his time between there and New York.) “They’re like individual sculptures.” Though Wolston originally came to Medellín to study pre-Columbian ceramics and brick-making, his newfound material crush took hold. First he tracked down the pitcher’s producers: a team of local artisans specializing in sand-casting. Then, observing how they melted soda cans, engine blocks, and other discarded scraps—shaping the metal in molds of sand—the RISD graduate began forging his own tables, lamps, and chairs, using chunks…

1 min.
earth studies

“NATURE IS ALWAYS MY INSPIRATION,” sculptor Manuela Zervudachi says one morning at her Paris studio, a venerable metal-and-glass hut that, appropriately enough, resembles a little greenhouse. Here a bronze tree candelabra sprouts, there a bark-textured door pull waits, left over from 200 pieces of hardware that her twin brother, Tino, an AD100 designer, ordered for a client. Zervudachi traces her themes to childhood, when she and Tino shared a tree house and searched the skies for the heavenly bodies that also inform her oeuvre, from monumental (a staircase) to mignon (a ring). The siblings grew up to be creative forces in a clan of Greek financiers and Irish war heroes, but the similarities end there. “We balance each other,” Zervudachi explains. “He’s more rigorous and scholarly; I’m more out there.”…