Tag Archives: Architectural Digest

Kim Kardashian Posts Photos Of Her Mansion And It’s So Empty, People Start Hilariously Roasting It

Kim Kardashian and Kanye West are a very rich couple who can afford a very expensive mansion. The pair – who live with their four children – purchased their current home for $20 million in 2013 before starting extravagant renovations which continued for four years. Kris Jenner later tweeted that the property is now worth $60 million. The family moved into the house in 2017 and their fans and followers have been curious about their life inside the mansion ever since. And they got a few glimpses of it.

After Kim Kardashian and Kanye West purchased their current home, they spent fours years renovating it

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Not so long ago, Vogue went to visit them. Kim called their place a “minimal monastery” and said that it was inspired by Axel Vervoordt, a Belgian art dealer and interior designer, as well as Kanye himself. She also recently tweeted a few pics of the interior, however, a lot of people seem surprised that her and Kanye’s house looks very empty. Which, according to some, is even more confusing given the fact that the power couple have little kids running around.

Eventually, the internet decided to help them decorate, and everyone started photoshopping things into the mansion. Continue scrolling to see Twitter’s interior design ideas, and check out more Photoshop battles that Bored Panda has written about. Like the one with a badass hawk. Or this awkward half-cat.

People seem very surprised that Kim and Kanye’s house looks so empty

Image credits: KimKardashian

Image credits: KimKardashian

Image credits: KimKardashian

Image credits: KimKardashian

Vervoordt said that teaming up with the couple to create the interior for their house was an unlikely meeting of the minds. “I’m not from the pop world, the rapper’s world. But I discovered Kim and Kanye as wonderful human beings,” he told Architectural Digest. “We have common values in life, important human values, like respect for the beauty and spirituality of art. You can call it religion, but this is perhaps beyond religion, a search for cosmic values of peace and positive energy. We had very profound conversations about the space of the mind and the importance of silence.”

The designer and tastemaker explained that these conversations were what guided the vision of the interior. Vervoordt described the process as distillation. “Kanye and Kim wanted something totally new. We didn’t talk about decoration but a kind of philosophy about how we live now and how we will live in the future. We changed the house by purifying it, and we kept pushing to make it purer and purer.”

As a result, many of the rooms in the house were transformed. They became luminous, further accented with pale natural materials. Most of the furnishings consist of Vervoordt’s subtle designs, complemented with works by the likes of Royère and Pierre Jeanneret. “The proportions are the decoration,” Kanye said. However, Photoshop wizards clearly disagree.

Eventually, the internet decided to help them decorate, and everyone started photoshopping things into the $60M mansion

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Here’s what people said about the extravagant house and the Photoshop battle it has sparked

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Continue reading Kim Kardashian Posts Photos Of Her Mansion And It’s So Empty, People Start Hilariously Roasting It

Designer Health: Meeting the Demands of Luxury and Lifestyle


Designer Health: Meeting the Demands of Luxury and Lifestyle

Eligible for NARI & NKBA CEU credits*

Health is the ultimate luxury. The discerning client of the present and the future is redefining the luxury lifestyle. No longer about mere beauty, the most successful and sought-after projects are now designed with health and well-being at the center. Premium materials with healthy finishes that are responsibly sourced are increasing in demand, and clients are willing to pay a premium for them. Like their organic, non-GMO groceries, the homes of today’s luxury clientele need to take care of them from the inside out.

Key Learning Points:

  • Discover the importance of incorporating healthy products into your design
  • Explore emerging materials and methods to effectively design for a health-conscious client
  • Recognize advantages of health-conscious design by reflecting on projects that have successfully employed these objectives

*This webinar is eligible for 1 NARI CEU credits and 0.1 NKBA CEU credits.


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Meet the presenter:

Lauren Levant

Lauren Levant is an emerging leader in the luxury kitchen and bath design industry. She has been named among HGTV’s top 10 American Designers under 35, and selected as Designer of the Year by Viking Appliance. In the past five years, her distinctive designs have claimed more than twenty international, national and regional awards. Her projects have been featured widely in Elle Decor, Architectural Digest, Home & Design Magazine and the Washington Post, as well as in hardcover publications such as The Kitchen Bible: Designing the Perfect Culinary Space. www.laurenlevant.com


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Inside the 2018 Kips Bay Decorator Show House

“The Moonlight Room” by Juan Montoya Design. Photography by Nickolas Sargent.

Each year, celebrated designers transform a luxury Manhattan residence into the Kips Bay Decorator Show House, an elaborate exhibition of fine furnishings, art, and technology. This year’s iteration, open May 1-31, is no different. Designers went all out: Juan Montoya Design evokes the cosmos via abstract silhouettes of the moon in both carpeting and wall covering, while Barbara Ostrom Associates transports guests to an avid art collector’s library, crowned by a ceiling inspired by Frank Stella paintings. This year’s pièce de résistance, however, is the grand staircase, Sasha Bikoff’s technicolor ode to past, present, and future. Memphis Milano designers Ettore Sottsass and Alessandro Mendini influenced Bikoff, who included colorful pieces by Chris Schanck and Misha Kahn. It’s a feast for the eyes—and Instagram.

“The Afterparty” by B.A. Torrey. Photography by Nickolas Sargent.
“Art and A La Carte” by Barbara Ostrom Associates. Photography by Nickolas Sargent.
“Gilded Knots” by Bunny Williams Inc. Photography by Nickolas Sargent.
“Diana’s Stair” by Dan Fink. Photography by Nickolas Sargent.
David Netto Design. Photography by Nickolas Sargent.
Drake | Anderson. Photography by Marco Ricca.
“The Moonlight Room” by Juan Montoya Design. Photography by Nickolas Sargent.
Katie Ridder Inc. Photography by Nickolas Sargent.
Marcia Tucker Interiors. Photography by Nickolas Sargent.
Garden terrace by Nievera Williams Designs. Photography by Nickolas Sargent.
“Home Wellness Retreat, for Mind, Body, and Spirit” by Pavarini Design. Photography by Nickolas Sargent.
“The Drawing Room” by Philip Mitchell Design Inc. Photography by Nickolas Sargent.
Staircase by Sasha Bikoff. Photography by Nickolas Sargent.
Staircase by Sasha Bikoff. Photography by Nickolas Sargent.
Staircase by Sasha Bikoff. Photography by Nickolas Sargent.
Staircase by Sasha Bikoff. Photography by Nickolas Sargent.
Staircase by Sasha Bikoff. Photography by Nickolas Sargent.

The Kips Bay Decorator Show House is located at 110 East 76th Street in New York, and is sponsored by Kohler, AJ Madison, Hickory Chair, Hearst Design Group, Morgan Stanley, Farrow & Ball, Cambria, AKDO, The Rug Company, Schumacher, Architectural Digest, and 1stdibs.

Continue reading Inside the 2018 Kips Bay Decorator Show House

Diane Keaton’s 1920s Beverly Hills Residence

The actress and longtime friend and designer Stephen Shadley reemphasized the facade’s Spanish colonial style, giving it a simple—albeit monumental—wood door and metal grillwork at the windows.


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How Rachel Green’s Apartment Compares to Jennifer Aniston’s Los Angeles Home

At first glance, Jennifer Aniston’s Los Angeles home, which appears on the March cover of Architectural Digest, and the New York City apartment of Aniston’s most beloved character, Rachel Green (whom Aniston played on Friends for 10 seasons), do not seem to have much in common. Aniston shares her midcentury California home, set on sprawling grounds that were previously a vineyard, with her husband, Justin Theroux, and their three dogs. On the flip side, Rachel Green shared a two-bedroom West Village apartment with her best friend and former high school classmate Monica Geller (played by Courteney Cox).


The living room of Jennifer Aniston’s Los Angeles home.

While the Aniston-Theroux home appears clean, the “Green-Geller” apartment seems cluttered, despite Cox’s character’s incessant cleaning. Aniston describes the decor of her L.A. home as “Old World meets New World”—a term meant to encompass the harmony of Abstract Expressionist paintings and midcentury furniture, antique Japanese screens alongside polished concrete and hand-painted wallpaper. Meanwhile, Rachel Green’s apartment is a refreshing reminder of the late ’90s and early aughts.


Rachel Green’s apartment on the set of Friends.


Still, there are a few similarities between Aniston’s enviable L.A. home and the apartment that helped turn her into America’s sweetheart. Despite her L.A. house’s having an overall more pleasing array of colors, the two homes share similar color palettes: Both have white sofas, teal accents, and neutral tones throughout. Both properties opt for Oriental-style rugs in neutral tones and eye-catching throw pillows: In Aniston’s home, shag pillows in both the living room and the master bedroom add texture, while patchwork pillows on the couch in the Green-Geller home add a punch of pattern.


Shag pillows add texture in Aniston’s Los Angeles bedroom.

It’s doubtful that Aniston, along with her design team—which included AD100 interior designer Stephen Shadley and L.A. designers Kathleen and Tommy Clements and Jane Hallworth—sought inspiration from the set of Friends, especially considering the modernity of the home’s design. Regardless, perhaps it’s not a stretch to say there’s just a little bit of Rachel hidden in the final outcome.


Aniston in her office, with a teal-toned wall and a neutral rug.

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How Equinox Gyms Are Becoming Heavy Lifters In The Design World

Their Union Street property in San Francisco had to maintain a lot of the historic buildings.

When you think of the top players in architecture and design, skyscrapers, hotels, restaurants, and homes filling the pages of Architectural Digest come to mind. Gyms? Not so much. But that’s precisely what the team over at Equinox is hoping to accomplish.

The luxury sports club broke the mold of the traditional dingy, smelly workout facilities to create a fitness space that was not only high-end but also worthy of competing in a more general lifestyle market. At the helm of that ship for the last decade has been Aaron Richter, Senior VP of architecture and design. It’s his focus on the emotions of the spaces that have helped transform the brand into one of those top players.

The first key difference, Richter noted, was that they’re a real estate company first and foremost. “We develop our real estate, so that means I can influence the design as early as the lease outline drawing,” he said. “It’s a dynamic process that sort of defines the outline of the club. Our development team makes sure that we can make space for that particular community.”


The Bond Street gym is meant to feel like an artist’s loft.

Unlike other gyms with a cookie-cutter mold across their portfolio, Equinox has a neighborhood focus meaning you will see a broad range of aesthetics across properties. “This is very, very different on purpose,” said Richter.

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For example, Bond Street is one of the oldest streets in New York and is only two blocks long. While researching the area, the team found that around the time of Andy Warhol there were a lot of artists squatting in buildings. So, the design team used that for to create a place that felt as if you had stumbled upon an artist’s loft.

“It’s about trying to insert those elements from the lighting to the type of metal meshes we use,” said Richter. “It’s also very residential and eclectic, so it looks like pieces of the furniture that you might have dragged off the street. It’s a mish-mosh of different vintages from all over the place.”

The Brookfield Place property in Manhattan embraces a nautical theme.

On the other hand, Brookfield Place has a great view of the New York Harbor, so there is a very subtle nautical theme. “It goes from a dark lower level to a brighter upper level, much like a ship would,” noted Richter. “And there are subtle cues throughout that remind you of being at the boatyard.”

It’s this attention to detail and style that caused Richter to purposely not hire anyone with experience designing gyms but instead come from a lifestyle background. “We more go for aesthetics and proof of concept when we hire rather than someone who has designed a strength floor,” he said. “The hard part is making them functionally beautiful.”

That balance between design and function was tested on the company’s Union Street property in San Francisco, a project that took nearly eight years to complete. It was a single screen movie theater that was abandoned, and they had to figure out a way to bring natural light into space while maintaining the historic marquee, columns, stage, and 1920’s historic mural on the interior.

Their Union Street property in San Francisco took over seven years to complete.

“They left the popcorn and gave us the keys,” said Richter. “But we had to convince a passionate community to let us make changes like putting in a skylight. We made it work and were able to restore the marquee, murals, and even maintain the art deco style. I don’t believe anyone else could have done it.”

In fact, the Equinox design team works with historians often to make their gyms both stand out and blend in with a community. For their Kensington gym in London, they were required to embed a historian into their project team. And for other locations, they’ve consulted with arborists to ensure any nature requirements are met and community boards to understand the day-to-day life of the locals. “We have got quite a bit of specialty we have worked with over the years.”

The team worked with a historian for the Kensington property.

It’s this dedication and attention to detail that Richter hopes will not only get the recognized as a top gym but also a competitor in the larger design market. “People are getting bombarded from a design standpoint,” he said. “You are having dinner at a restaurant that is very well designed, and your home is probably very well designed. So, you have a level of design standards in your life. Why should your health club be any different?”

He added, “We know we need to keep up with that to maintain this luxury positioning.”

Moving forward, the design team will seek to up their game when it comes to finding interesting buildings and creating unique spaces. They will also focus more on creating a “living room moment” or a place for members to socialize pre-and post-workout.

The new St. James property in London upped the ante on their community space.

“People want to get a massage an hour after their session. So, why can’t they have space just to stay and catch up on emails,” said Richter? “We want to provide better facilities for you to do that.”

Since 2013, their average square footage for lounge spaces has gone from 100 to 200 square-feet to 450 to 700 square feet. This number will go up so long as there is a demand from members. “What we are finding is that the fitness community organically grows,” said Richter. “These people are like-minded. So, if you provide them space, they will congregate and create a community.”

The Hollywood club blends right into the neighborhood.

This point was proven when Equinox opened their largest community space (920 square feet) at their Union Street location in San Francisco in 2014. They found it was the most actively used with at least 40 people working in the lounge at any given time.

It’s this community that has allowed the brand to spur off shoots like Blink, Equinox Project, and the highly-anticipated Equinox Hotel. “The design that we have done or the last 10 years has given us permission from our members to get into other spaces,” Richter concluded. “And I think you will see more of that out of us as all of our concepts together.”

Jordi Lippe-McGraw, travel writer, certified holistic health, and creator of Well Traveler. Follow her on Instagram at @welltraveler and Twitter at @jordilippe.

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Diane Keaton’s 1920s Beverly Hills Residence

This article originally appeared in the November 2008 issue of Architectural Digest.

Who says opportunity knocks only once? Not Diane Keaton, who ignored it once, then grabbed it with both hands when she again heard it tapping on her door. Opportunity in this case was not a choice part in a movie but something that was just as important to a woman whose passion is restoring old California homes: a Spanish Colonial Revival in Beverly Hills with a beautifully proportioned interior courtyard. She actually bought the house when it first came on the market at the beginning of the decade, but she backed out during escrow and let another buyer take it. “It needed a lot of work,” she explains, “and I got cold feet.” When it went up for sale again two years ago, she bought it a second time—this time for keeps.

The house was designed in the 1920s by California architect Ralph Flewelling, who was also responsible for one of the most visible landmarks in all Los Angeles, the fountain at the busy intersection of Wilshire and Santa Monica boulevards. In the few years they owned it, the previous residents had made some appealing changes, combining several small rooms to create a large master bedroom upstairs and a huge kitchen/family room downstairs. “Diane loves big spaces,” says New York designer Stephen Shadley, a close friend who has worked with her on several renovations. “No ceiling can be too high, and no space can be too big for her.”

But the owners had also made some changes that were more appalling than appealing. They had raised the entrance hall ceiling from one story to two, and, in the process, they had created a space that had all the charm of a cardboard box, without a box’s utility. “It was by far the worst room in the house,” says Keaton. “The size was completely wrong.” To tame that awkward space, Keaton and Shadley—their working relationship is now so close that it goes “beyond collaboration,” says Shadley—turned it into the library, replacing its flat ceiling with a groin vault and lining the walls with bookshelves. Now when people walk through the door and see an extensive book collection devoted entirely to the visual arts, together with pots and other artifacts from an earlier California, they know exactly what Keaton’s passions are: art, architecture and the often neglected heritage of her native state. “The library sets the mood,” says Shadley. “It’s a distillation of everything that goes on in the house.”

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Keaton’s image, the result of her Oscar-winning performance in Annie Hall (1977), is that of a lovable flake who wears men’s hats and can’t keep a straight thought. In fact, she is better organized than most Harvard M.B.A.’s, and her hats—20 brimmed hats, two top hats and 34 caps and berets—are displayed as neatly in her bedroom closet as they would be in the best hat shop in New York or London.

Keaton’s image, the result of her Oscar-winning performance in Annie Hall (1977), is that of a lovable flake who wears men’s hats and can’t keep a straight thought. In fact, she is better organized than most Harvard M.B.A.’s, and her hats—20 brimmed hats, two top hats and 34 caps and berets—are displayed as neatly in her bedroom closet as they would be in the best hat shop in New York or London.


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Jane Fonda, Lily Tomlin, and the Creator of Grace and Frankie Tell Us All About the Show’s Beach House

Just in time for the fourth season, the stars of Grace and Frankie and Emmy-nominated production designer Devorah Herbert talk unconventional cohabitating

Grace and Frankie, the Netflix comedic hit that chronicles how former rivals become roommates after their husbands fall in love with each other, is as beautiful as it is brave and bawdy. That, in large part, can be attributed to the show’s efficacious set design, helmed by Emmy-nominated production designer Devorah Herbert.

“Grace and Frankie is a story about odd couples,” Herbert says. “In the beach house we have two women who are integrating their lives and bumping up against each other, so there is some contrast.” (While the beach house is narratively in La Jolla, its exteriors were shot in Broad Beach, California, and the interiors are shot on a soundstage).

The characters’ opposite styles—Grace’s meticulous perfection and Frankie’s bohemian ease—are on full display in their shared beachside home. “Grace likes to control her environment, and decorated the house with her impeccable taste,” Herbert says of Jane Fonda‘s character. “She came in and wanted everything just so. Maybe it looked like a gorgeous magazine spread, but then Frankie came in and she moved everything aside.”

As Fonda describes it to Architectural Digest, Grace “tolerates” Lily Tomlin’s character’s messiness and penchant for the unusual. “There’s a little bit of Frankie, but most of the beach house is subtle and tidy, and that’s all Grace,” Fonda explains.

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Cocreator and executive producer Marta Kauffman agrees: “Grace clearly had the upper hand in decorating, but Frankie’s imprint is visible, too.”


The sofa, coffee and side tables and the kitchen stools are all from Dovetail; the orange chairs are from Wayfair.

Indeed, Frankie’s eccentricity spills over into many of the beach house’s more put-together, Grace-approved spaces, which creates a visual tug-of-war that’s both beautiful and unexpectedly hilarious. “We wanted to show these two really different styles, which is where the comedy comes from,” Herbert explains. “Frankie has her meditation room—with her Indonesian art, her pot, her incense—and then she has her studio with the penis pottery.”

For Tomlin, working in Frankie’s studio provides a critical connection to the character. “Frankie’s studio is the space most evocative of her personality,” Tomlin says. “When I enter the studio, I feel as though I am a painter and all the works hanging and sitting around are indeed of my making.”

The beautiful works seen on the show are not actually crafted by Tomlin’s own hand, but are primarily the work of Nancy Rosen, a Chicago-based artist whose paintings and drawings serve as one of the main vehicles for Frankie’s artistic voice. “Nancy is who Frankie is in terms of her maternal instinct [and] her passion for her work, her family,” Tomlin says. “When I sit in a scene studying a painting, I think, When did I paint this? It’s a memory I’ve forgotten, but it’s just as it should be. It’s just what I intended.”

Herbert echoes the significance of Frankie’s artwork: “It’s one of the most personal elements on the show. We didn’t go to a prop house—we had it all commissioned. It’s all so specific, and being able to handcraft each item every time Frankie has a new piece of artwork or an art show, that is really fun.”

Beyond Frankie’s creations, the world of Grace and Frankie is brought to life by pieces sourced from just about everywhere.


Frankie’s hanging chair is from Antropologie.

“We have a lot of vendors that we go back to over and over again, like Wayfair, Dovetail, Palecek, Palau,” Herbert says. “We sprinkle in some more traditional vendors like Pottery Barn, Williams Sonoma, and Anthropologie, which is where Frankie’s hanging chair in the meditation room comes from.”

Looking ahead to season four, premiering January 19 on Netflix, Kauffman says that the beach house takes on a new meaning of sorts. “​The beach house becomes a metaphor for that time in your life when your body and your bones betray you,” Kauffman explains. “The story of the house is an arc through the season.”

Herbert is just as coy: “I can’t say exactly what happens. But I will say that the biggest challenge and the most exciting thing, design-wise, for season four was taking and evolving the sets that we already have in pretty dramatic ways. The set changes really follow the story changes—you’ll have to tune in to see.”

No matter what the future has in store for the unlikely duo, it’s clear that without that beach house, Grace and Frankie wouldn’t be Grace and Frankie as we’ve come to know them. Their shared home is much more than a weekend getaway destination—it’s a central figure that propels the show’s themes of friendship and reinvention forward.

“The beach house is where these​ ​women learned to be friends,” Kauffman says. “This is the place that healed them. ​It is the third main character.”

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Josh Duhamel’s New, $2.65 Million Encino Bachelor Pad Is Everything He Told Us It Would Be

Josh Duhamel’s new, $2.65 million bachelor pad in Encino, California, has all the amenities the adorable actor told us he loved most when he first discussed purchasing his solo home: outdoor entertaining areas, barbecue space, and places to hang-out with friends. The actor, who snapped up the 3,300-square-foot, five-bedroom, 3.5-bathroom home late last year, previously told Architectural Digest about his love for outdoor design, and given the recently released images of the property, it’s not hard to see how that love will translate into an amazing hangout space for Duhamel and his pals.

Continue reading Josh Duhamel’s New, $2.65 Million Encino Bachelor Pad Is Everything He Told Us It Would Be

Ricky Martin Takes AD Inside His Blissful Beverly Hills Home

Globe-trotting superstar Ricky Martin trades in his nomadic existence to set up house in Beverly Hills with artist Jwan Yosef and their twin sons 

To say that the 40-something Ricky Martin maintains a boyish appeal may be the understatement of the year. The Puerto Rican superstar seized the spotlight as an angelic 12-year-old phenom in the boy band Menudo, beloved by teenyboppers and grandmothers alike. He has rarely been out of the public eye since. Fresh off a blockbuster 2017 residency at the Monte Carlo Resort and Casino in Las Vegas, Martin’s latest star turn has him portraying Gianni Versace’s boyfriend Antonio D’Amico in producer Ryan Murphy’s The Assassination of Gianni Versace: American Crime Story, on FX this January.

The Martin family at home

Ricky Martin and Jwan Yosef, with Matteo and Valentino, in their Beverly Hills home. Martin wears an Armani shirt and Canali joggers. Yosef wears a Louis Vuitton sweater and shoes and Armani trousers. Matteo and Valentino wear Armani Junior trousers. Sculpture on left by Larry Bell.

Yet for all his success, Martin’s greatest joy lies in the happy home life he has built with fiancé Jwan Yosef, a Syrian-born Swedish artist, and their nine-year-old twins, Matteo and Valentino. The couple met two years ago in London, where Yosef was living at the time, and spent the next twelve months traveling the globe on Martin’s One World Tour. The children were with them for the entire ride.

“Tino and Matteo were born on the road. They’re used to spending two weeks in one place and then moving on,” Martin says. “Our kids are stable when we are together. Wherever we happen to be, that’s home.”

Today, however, the family’s concept of home has an actual address, specifically in Beverly Hills. “We were considering living in London or New York City, but then we decided to rent in Los Angeles for a month, to get a feel for the vibe. L.A. totally caught us off guard—we loved it. By the end of the month, we knew we wanted to be here,” Yosef recalls. After a marathon three-day house-hunting expedition, the couple settled on the first place they had scouted, a serene, modernist residence with a surprising architectural pedigree. At the core of the 11,000-square-foot dwelling was a 3,000-square-foot home designed by acclaimed midcentury architect Gregory Ain for psychiatrist Fred Feldman and his wife, Elaine, in 1953.

“Even though the house had been greatly expanded over the years, we still wanted to respect its original vision—the clean lines, the openness, and the sense of calm,” Martin says. With less than two months from purchase to move-in, the couple enlisted AD100 designer Nate Berkus, whom they had met through mutual friends, to facilitate the process. Fortunately for everyone involved, Martin and Yosef neither required nor desired a miraculous makeover.

The pool patio

Furniture by Teak Warehouse, cushioned in a Sunbrella fabric, sits poolside. Concrete cylinders by RH. Candles by Baobab Collection.

“We weren’t interested in a completely decorated home with a specific look done to the last detail. We wanted to get the basics covered so it would be comfortable for us and the kids, but we left plenty of room for the house to grow and evolve in the years to come,” Yosef explains.

Berkus seconds the notion. “Ricky and Jwan are both artists, and they have very particular ideas about how they want to live,” the designer observes. “Ultimately, I helped give them a solid, neutral foundation that they can cultivate together to make the home truly theirs. The sense of place is all about the future of their family.” The foundation that Berkus and his clients laid relies heavily on classic modern designs of the 20th century—including signature pieces by Ray and Charles Eames, Milo Baughman, and Hans Wegner—invigorated by an array of spruce contemporary furnishings by the likes of BassamFellows and Tom Dixon. The mix also encompasses a few sentimental favorites, among them the long wood dining table, an erstwhile desk that Martin acquired in 1996.

There’s so much potential for crafting a vibrant, creative environment for our family.

“It was my first real piece of furniture, and it works perfectly here,” the singer says. “Jwan has impeccable taste, so I give him most of the credit for how good everything looks,” he adds. “My main concern was for comfort and practicality, and I think we’ve accomplished that.”

One of the delights of moving into their new home was the ability to incorporate works from the couple’s nascent but growing art collection, which largely eschews the predictable trophies of contemporary acquisition in favor of intriguing, lesser-known young artists’ creations.

“I’m a young artist myself, and it’s fun to live with work created by my friends and fellow artists,” says Yosef, whose own compelling paintings and prints are displayed to great advantage on the crisp white walls. Meanwhile, Martin’s musical background is reflected in a series of black-and-white photographs of legendary singers on the order of Janis Joplin, David Bowie, John Lennon, Louis Armstrong, and Frank Sinatra. The idiosyncratic assemblage also includes a few blue-chip pieces, such as a recently acquired sculpture by Larry Bell and a fantastic canvas by Cuban artist Wifredo Lam that Martin purchased in 1998, when he began collecting Latin American art in earnest.

The home’s former yoga room has now been converted into an artist’s atelier for Yosef, and Martin has plans to build a recording studio on the property. As for Matteo and Valentino, the kids are looking forward to serious playtime in a tree house that has yet to be installed amid the branches of one of the gorgeous specimens that dot the estate.

“There’s so much potential for crafting a vibrant, creative environment for our family,” Martin says. “You can never be sure what the future will bring, but I can’t wait to find out.”

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