2021-03-01 Vogue Living

THIS PAGE in the main
bedroom, bed linen from

Once Milano; Pebble
wall light by Kunaal

Kyhaan Seolekar;
raffia wallcovering

(behind bed) by
Misha from VGO
Associates. OPPOSITE
PAGE on the terrace,
Snake scagliola
table designed by
VGO Associates and
produced by Bianco
Bianchi; Classic stools
from Poggi Ugo;
Scenografica floor tiles
by Cristina Celestino
for Fornace Brioni.
Details, last pages.

“The artistic message
that design offers can be
as important as that of

a work of art” VALENTINA GUIDI OTTOBRI

Cool,

calm and

collected AD DI TI O NAL TE X T: MARZ I A NI CO LI N I
The eternal elegance of a Beaux Arts-style mansion in Brussels has been
enhanced by architect David Van Severen and photographer Martina Bjorn
with an expansive and intuitive translation of scope, space and style.

By Verity Magdalino Photographed by Christoffer Regild Styled by Maja Hahne Regild

100 vogueliving.com.au

Mar/Apr 2021 101



THIS PAGE homeowners David Van Severen and Martina Bjorn in the living area; Strips sofa
by Cini Boeri for Arflex, enquiries to Space Furniture; artwork by Bas Princen. OPPOSITE
PAGE the exterior of the home from the garden, which features hundred-year-old trees.





hen the Belgian architect “The decoration
David Van Severen and his process has been
wife, Swedish photographer intuitive. We see it
Martina Bjorn, first came as an interplay of
across their future home in moveable objects
Brussels, they were fascinated and space, which
by the breathtaking grandeur often acts as
a frame” MARTINA BJORN
W of the 19th-century property
located in a quiet, leafy The custom kitchen is just one example that reflects the balancing
residential area south-east act between modern design and heritage features, with its clever
of the city centre. “It faces an avenue with gardens at the front. integration of utilitarian shelving and stovetop unit inside a sandstone
When we first saw it we had one of those ‘this is too good to be true’ fireplace. “It represents the balance between past and present — the
feelings because of its generous open spaces and a big, wild garden true leitmotif of the whole project,” says Bjorn. “One of our favourite
at the back,” says Bjorn. “We also loved the neighbourhood. moments is when we cook a good meal for our friends here, after
It’s known locally as Little Paris because of the many Parisians coming back with fresh ingredients from the city market.”
living here.”
Van Severen and Bjorn’s art collection too hovers between historic
A Beaux Arts-style mansion, the interiors displayed all the typical and contemporary. “Every corner in this home has been drawn and
characteristics of that era: soaring ceilings, elegant tall windows that composed,” says Bjorn. Case in point: the sculpturally bulbous
streamed an abundance of natural light into each room, original concrete stools by Brandlhuber+ and sleek slate-grey marble bench
stucco detailing, marble fireplaces and exquisite parquetry flooring. by Muller Van Severen positioned adjacent to a stunning original
“It used to be a lawyers’ office so the first time we saw it, it was filled staircase of warm caramel-toned timber. “The decoration process
with endless piles of paper and dossiers of all kinds laying around in has been very intuitive,” continues Bjorn. “It comes spontaneously
a chaotic manner,” says Bjorn. “Walls were painted in various colours from our encounters in life and work, rather than from a specific
and the woodwork was dark but the intrinsic qualities were there.” style or trend. We see it as an interplay of moveable objects and
space, which often acts as a frame.”
For self-driven creatives such as Bjorn, who studied architecture
before starting her photographic career, and Van Severen, who Overlaying all these elements — the timeless furniture pieces,
helms the award-winning architecture practice Office Kersten contemporary art and clever fusion of proportion and space — is a
Geers David Van Severen, it was easy to envision the potential to serene atmosphere of peace and calm. It’s a mood enhanced by
transform the offices on the lower three floors of the building into the considered placement of a multitude of mirrors that reflect the
a three-bedroom home for themselves and their two children. green of the surrounding garden outside — which Bjorn describes
“We loved the freedom that this generous, open space was able to as a “wild piece of forest” — and its ancient beech and oak trees.
offer us. Freedom of space and freedom of thought,” says Bjorn. “The It’s little surprise then that one of the couple’s favourite retreats is
spaces are fluid and open despite the very traditional layout.” a long balcony, accessed through generous French doors in the
dining room, with a view of this romantic slice of Eden. “During
The couple’s shared vision to enhance the building’s architectural spring and summer we enjoy our breakfast in the morning sun
beauty meant renovations were light of hand and undertaken only here,” says Bjorn. “The day could not start in a better way.” VL
where absolutely necessary. For example, an enfilade of four officekgdvs.com martinabjornstudio.com
generously sized rooms on the top floor were merged to create one
large open-plan living area for the family with zones for cooking, OPPOSITE PAGE in another view of the living room, Wolfers daybed
dining and lounging. A fresh coat of varnish to bring the aged by Richard Venlet for Maniera; Metrò side table by Piovenefabi
oak parquet back to life was all that was needed to make the for Maniera; 1950s coffee table by Mathieu Matégot; set design
space complete. Other additions included a new steel kitchen and prototype (beside lamp) by Christo Nogues.
a contemporary black spiral staircase wrapped in delicately
perforated metal, which connects all three levels of the house.
“Downstairs it was different, as the space needed a deep renovation,
providing new bathrooms, bedrooms and other essentials,” says
Bjorn. Here in a basement level lies the main bedroom, a warmly
textured, minimalist sanctuary with its own private doorway onto
the wild garden and ancient woodland beyond.

Furnishings are consciously pared-back to enhance the spacious
atmosphere of the original interiors. There’s a curated mix of big
names and design classics such as Arne Jacobsen’s Series 7 dining
chairs, Achille and Pier Giacomo Castiglioni’s Taccia lamp and
Jasper Morrison’s Cork Family stool with contemporary pieces
including a marble bench by Van Severen’s brother Hannes who, with
his wife and business partner Fien Muller, runs the successful design
studio Muller Van Severen. There are also personal pieces imbued
with meaning, such as a low leather chair made by Van Severen’s
late father, Maarten, a renowned designer who worked closely with
revered Dutch architect Rem Koolhaas. “We still talk about not
adding too much furniture, to keep the majesty of the rooms and
essence of the house,” says Bjorn. “The interiors are made up of an
eclectic family of many pieces, collected personally and professionally
over the years, mixing and matching styles, origins and ages.”

106 vogueliving.com.au



THIS PAGE on the top-floor
landing with a view of the study.

THIS PAGE in the study, shelves from Tixit; Taccia lamp by Achille and Pier Giacomo
Castiglioni for Flos, enquiries to Euroluce; Anna de Rijk portrait photograph (at centre)

by Martina Bjorn; artworks and stone sculptures by Dan Van Severen.







THIS PAGE in the main bedroom, bed linen from Descamps; Stool Solo floor lamp
by Richard Venlet for Maniera; marble slab from Van Den Weghe; resin floor.

OPPOSITE PAGE in the ensuite, glossy black-green painted ceiling, custom marble
bath from Van Den Weghe. Details, last pages.

THIS PAGE in the living area leading
to the fireplace nook of this Paris home,
solid timber armchairs by Dan Pollock
from Galerie Desprez Breheret; fractal
resin coffee table by Marie Claude de
Fouquières from Thomas Tardif; Untitled
– Samarcande Serie (2019) artworks by
François Mascarello from Mouvements

Modernes. OPPOSITE PAGE architect
Marine Bonnefoy in the hallway.

114 vogueliving.com.au

La By Freya Herring
Photographed by François Coquerel
Styled by Sarah de Beaumont

nouvelle

Mar/Apr 2021 115

It is emotion that informs the output of Paris-based
architect Marine Bonnefoy. “I create my architectural
projects around memories and the atmosphere
within those memories,” she says. “It’s about what
I feel.” An elegant dream-like ambience permeates
the spaces she creates, none more acutely than in
her latest project, an apartment in Paris’s beating
heart — the first arrondissement — in the shadow of
the Palais-Royal, round the corner from the Musée
du Louvre.
Bonnefoy has completely transformed the two-bedroom
apartment, set within a Directoire building typical of the city’s
late-18th century architecture, by splicing through the centre
of it with a 20-metre-long wall. Constructed from chestnut
wood — “I like its hue and veining,” she says — and snaking
through the space, it has changed a standard-issue layout into
something fluid and sensuous. Now that the rooms are shaped
to encourage movement, one imagines oneself involuntarily,
non-ironically, caressing the curves of the wall while ambling
down the hall.

Almost every room in the 96-square-metre apartment now
has a wall replete with curves and Bonnefoy has filled them
with objects that highlight and enhance their newfound
voluptuousness. The apartment is entirely her vision, from the
interior architecture down to the interior design and decoration.
“The profession of architecture lost its nobility when architects
stopped designing their furniture and thinking about the space
as a whole,” she says. “In order to re-enchant the everyday, we
must make the drawings and choose the furniture.”

An elegant ash wood bench, custom-designed by Bonnefoy,
traces the rounded wall in the main living area, flanked by
a heavy-set lacquered wood and travertine table that she
sourced on Leboncoin, France’s equivalent of Gumtree. The
furniture — a blend of vintage, second-hand and newly
designed — feels wholly cohesive and realised, leaning towards
strongly accented, curved lines and generous, grounded bases.
Despite the diminutive size of the apartment, an entire room
has been dedicated to the French art of paresser — that is, to
laze around. Here, two glossy black armchairs designed by Dan
Pollock, made from solid wood — “I love the roundness and
softness of his pieces,” explains Bonnefoy — face a pared-back,
restored fireplace. It creates a place to pause for the owner,
a publisher in her 40s, who shares this polished home with her
boyfriend, to sit and read for pleasure. ››

116 vogueliving.com.au







“I create my architectural projects around memories and
the atmosphere within those memories” MARINE BONNEFOY

THIS PAGE in the zebrawood breakfast
nook, designed by Marine Bonnefoy,
candlesticks from Galerie Arcanes;

cups from Revol; Artichoke bowl
from Jean Roger. OPPOSITE PAGE
in another view of the main living
area, 1970s travertine coffee table
from Roche Bobois; circa 1930s
pulegoso glass vase (on table) by
Romano Mazzega from Graziella
Semerciyan; Bump glasses from Tom
Dixon, enquiries to Living Edge; bowl
from Galerie Arcanes; TV cabinet
designed by Marine Bonnefoy; floor
lamp by Jacques Adnet from Galerie
Desprez Breheret; Ensemble de 4
céramiques (2018) ceramic pieces
(on bookshelf) by Matthew Chambers

from Mouvement Modernes.

‹‹ The impetus to work together started where so many creative
collaborations have flourished: on social media. “The client
posted an advert on Instagram,” says Bonnefoy. “She said she
was looking for an architect who doesn’t design like everyone
else. She received a hundred names in all, and chose me.” She
put her full trust in Bonnefoy. “I was given carte blanche to
express myself freely,” says the architect. “She simply said,
‘I want an apartment to entertain my friends in and to party in.’”

In response, Bonnefoy slicked the walls with ochre yellow
paint so that Paris’s legendary pink-tinged light is brightened
and intensified as it floods the rooms. “The client tells me that
every day, in every space and at every hour, they are amazed by
the light.” It’s a colour that, with its rustic associations, both
references the building’s 200-year-plus history, and helps to
highlight the many handmade objects within. A bespoke
‘conversation bench’ links the kitchen to the fireplace nook.
“It was custom-made by a friend, Hervé Brisot, who is a basket-
maker,” says Bonnefoy, who commissioned the piece. “His work
with wicker demonstrates great delicacy.” Over in the narrow
kitchen — with what Bonnefoy terms its “small window;
a poetic little coquetry, offering a view of the rooftops of Paris”
— deep brown granite makes up the worktop and inset sink.
“The stone looks strangely like fossilised wood,” muses
Bonnefoy. “When your hand skims across it, it feels like the
veins you feel in a piece of timber.”

Contrasting with these ancient stones and handicrafts,
contemporary art features throughout. Above a sofa, designed
by Bonnefoy and upholstered in oatmeal-toned Rubelli fabric,
hangs a sculpture by glass artist Jeremy Maxwell Wintrebert.
“This work is hypnotising,” she says. “His glass-blowing
technique is spectacular. Its pearly rendering makes it so
mysterious.” A Vincent Beaurin sculpture selected for the main
bedroom sits like two coloured pebbles above the bed. Made of
tiny glass flakes, it is dangerously tactile, its mottled texture
emphasising the room’s ancient timber columns and, with its
curves, that of the newly designed wall. “It’s a work that both
contrasts and blends with the spirit of the room,” says Bonnefoy.

The magic of these spaces reveals itself in these juxtapositions
— in the vibrant colours and provocative textures, and in the
creatively sourced objects that sit among it all. Nothing jars;
it feels neither forced nor conscious. “I put a lot of faith in my
intuition,” says Bonnefoy. By engaging her instincts, she has
created a deeply felt masterpiece. VL
en.marinebonnefoy.com

120 vogueliving.com.au



“Architecture lost its nobility when architects stopped
designing their furniture and thinking about the space as

a whole. In order to re-enchant the everyday, we must
make the drawings and choose the furniture” MARINE BONNEFOY



All in the

BALANCE

Interior designer Edwina Glenn elevates the everyday in the
Melbourne home of philanthropist, advocate for women’s rights

and self-described “brazen hussy” Jill Reichstein OAM.

By Annemarie Kiely Photographed by Sharyn Cairns

124 vogueliving.com.au

HAIR AND MAKE-UP: ALANA HOLMES

Mar/Apr 2021 125

Offer any mother the Albert Schweitzer insight that happiness
belongs to those who have found how to serve and get ready for
the ensuing rant. The bare truth of it, as recently told with biting
reality, is that women still bear the brunt of household hardship
and have been disproportionately impacted by the pandemic.
The notion of serving, in this gender regressive moment,
seems more rooted in perpetuating patriarchy than the pursuit
of happiness, which makes this project all the more deserving of
scrutiny. Not because it’s an object lesson in how to redress period
architecture for 21st-century living but because it enshrines the
discretion, humility and quiet strength of two women who live by the Schweitzer maxim.
One does so with a design vigour that seeks to elevate the life experience of others in
structure, and the other does so with a philanthropic determination to effect structural
change so that everyone has equal access to that elevated experience.
Meet Edwina Glenn, the interior designer, fielding a full-time design practice and three
young children, and her client Jill Reichstein OAM, a mother of two whose overtaxed time has
long fed entirely into philanthropy. She currently serves as chair of the Reichstein Foundation,
the not-for-profit charity established by her late industrialist father Lance Reichstein;
a member of the Australian Environmental Grantmakers Network, an entity matching donor

dollars to change-makers, science and sustainability; and as a board member on trusts
including Australians Investing in Women (formerly Australian Women Donors Network),
an organised advocacy for women, which she cofounded with Eve Mahlab AO in 2009.

For services to philanthropy Reichstein was awarded the Medal of the Order of Australia
in 2000. But the altruistic activist is at pains to counter any perception that she belongs to
a privileged coterie of wealth dispensing money through private trust fund for the feathering
of family nest and crest. She frames more as an agent of change — a ballsy blond, or, better
still “a brazen hussy” as she self-describes in borrow of the title attaching to a recently
released documentary on 1970s Australian feminism.

Reichstein stood at its rebellious frontline, marching in protest of the Vietnam War,
fighting for abortion law reform, forging community child-care centres for working migrant
mothers and cofounding the first women’s refuge in Victoria. “It’s still so critical for women,”
she says in reference to Covid’s fanning of domestic violence flames. “I’m so pleased the state
government has decided to get behind social housing.”

‘Change not charity’ is the mantra that pushes her philanthropy down uncharted
pathways. “But in order to create real change,” Reichstein says, “it’s important that you don’t
do it for people, you do it with people.”

This missive about collaboration and change makes any ensuing ask about improvements
to her bayside terrace home sound utterly superficial. But ever the advocate for women, ››



“We inserted a generous new arched opening between the two front rooms,
demolished a dining room wall and reorientated the kitchen, laundry and
powder room. This transformed the house”

‹‹ Reichstein regales with the list of females who, over the years, have elevated her domestic
experience with design and enthuses about Glenn’s grasp of her character. “I’m a triple
Libran,” she says in generalisation of her own aesthetic sensibility, “always fighting for
a balanced world view.”

Glenn, who came to Reichstein’s attention through the recommendation of friends, fed
that desire for equilibrium into a revised plan that opened up an introspective front-of-house
to the picturesque vista of a tree-lined street and reinstated division between rear kitchen and
dining rooms where recent renovation had merged them into an indiscriminate whole.

“We inserted a generous new arched opening between the two front rooms, demolished
a dining room wall and reorientated the kitchen, laundry and powder room,” recalls Glenn.
“This transformed the house and created two new sight lines.

“No need to appease a tribe here,” she adds in reference to all the child-centred design
requests she receives from clients with lives likes her own — “getting up at 5am, pumping out
concept, getting breakfast for the kids, getting them to school, continuing to work with
a toddler at my feet, doing school pick-up, homework, more work, dinner…”. Refreshingly,
Reichstein is a “grounded” and busy empty-nester, who expressed a liking for Carrara marble
and the rugged bush-meets-beach coastline of Flinders on the Mornington Peninsula.

Glenn accordingly clad rejigged service areas in honed Arabascato Corchia marble from
Signorino, and conjured the Peninsula coast as a textured and tonal evocation of its mist-

filled air, washed-out eucalypt woodlands and bleached driftwood. Grey, the defining colour
of Flinders’ bluestone boulders and stormy seas applied to oak cabinetwork, painted in
Resene Silver Chalice, while the white of foaming waves coloured key walls and sculptural
lamps by Ingo Maurer and Anna Charlesworth.

“I need everything around me to be quiet,” says Glenn, who majored in Chinese History
and Gender Politics at university before diving into post-grad studies in interior architecture.
“I think most mothers do.”

Balancing period detail with modern comfort and her client’s want to find a new home for
any site discard, Glenn was at pains to manifest Reichstein’s self-deprecating philanthropy
with an understated generosity of space, as displays in the upper-level master suite —
a luxuriously low-key synthesis of stair landing and two small bedrooms.

“She is such an extraordinary woman who practices what she preaches,” says Glenn in
justification of this expansive gesture. “I’ve learnt so much from her in such a short time and
know that I and many others stand on her shoulders.”

And after walking so tall for so long under such collective weight, Reichstein is deserving
of the long luxury lie-down posits Glenn. But knowing that her triple Libran client will
only consider the nap after true balance is found for all repeats her role model’s words: “Only
when there is equity for women will there be social justice.” VL
edwinaglenn.com.au reichstein.org.au

Bright

THIS PAGE in the library of this Milan apartment, original bookshelves, vintage sofa
reupholstered in Kvadrat fabric; chairs from Galleria Luisa Delle Piane. OPPOSITE

PAGE homeowner Tamu McPherson in the living room. Details, last pages.

Photographer, writer and editor Tamu McPherson adds a vivid
zing of uplifting colour and the shapely silhouettes of statement

furniture to energise an historic Milan apartment.

By Jane Keltner de Valle Photographed by Valentina Sommariva

Mar/Apr 2021 133



amu McPherson’s journey from Kingston, Jamaica, “My childhood
to the heart of Milan just goes to show that house in Jamaica
you can’t always pin your destination in advance. was green on the
After leaving the Caribbean as a child for the outside. I grew up
artistic enclave of Nyack, New York, she eventually with colour. I’ve
moved to the Big Apple to study at Fordham Law, always loved it”
where she fell for an Italian student. Once each
had graduated, Milan was the clear place for them TAMU MCPHERSON
to build a home and, in McPherson’s case, a hit
lifestyle website. There the two had a son, and
McPherson, with a trove of design at her fingertips, launched online
forum All the Pretty Birds in 2008, capturing the fashion world’s
attention. And now, even amid the pandemic, the style-setter has
continued to tell uplifting bold and brilliant fashion stories.
Her weekly #prettylockdown Instagram posts have juxtaposed
inspiring outfits with her elegant apartment.
The family of three moved into the historic three-bedroom home,
distinguished by original wood panelling and mosaic floors, several
years ago, though it wasn’t new to her husband. His mother had
purchased it nearly two decades prior as a place to reconnect with
her two sons after the passing of their father. Its unique U-shape
configuration allowed for mother and children to have their own
wings, affording the 20-somethings a degree of independence.
As time passed and the kids flew the coop, the apartment proved too
big for just la madre. So when McPherson and her husband began
searching for a larger place for themselves and their own son,
she handed them the key.
McPherson credits her mother-in-law, an academic and aesthete,
with opening many doors. “She introduced me to life in Milan.
I would go to the opera with her and her friends, sit in her box at
La Scala.” Signora also provided valuable decorating guidance,
bequeathing vintage treasures by the likes of Le Corbusier and
Carlo Scarpa and connecting McPherson with antiques dealer
and interior decorator Raimondo Garau, whom she enlisted to help
furnish her home.
“My mother-in-law has spectacular taste,” McPherson says.
“I didn’t want to do a lot of work to the apartment.” She and Garau
started by painting the walls an elegant sage green, then set
about layering antiques he procured with the existing furnishings,
among them dining chairs sourced at Salone del Mobile and a credenza
from the old Pirelli headquarters that they repurposed as a china
cabinet. “Our previous apartment was all Le Corbusier and everything
you see now on Instagram,” says McPherson. “Raimondo told me,
‘You need to introduce a new spirit and make this home your own.’ ”
For McPherson, known for her vibrant ensembles, there is nothing
more personal than colour. “My childhood house in Jamaica was
green on the outside!” she says with a laugh. “I grew up with colour.
I’ve always loved it.” In her living room, a magenta sofa by Florence
Knoll and a chocolate-brown one by Luigi Caccia Dominioni now
surround a 1970s cocktail table accented with tiered blue-glass
discs. Nearby, a pink Ettore Sottsass Shiva vase is displayed atop an
antique Chinese lacquered cabinet. The art on their walls also carries
a certain sentimentality. Hanging in the entryway, for instance, is a
Micaiah Carter photograph that shows a young woman’s braided
hair in barrettes, reminding McPherson of “little black girls growing
up”. And her biographical journey further reveals itself in the
kitchen, where she has mastered Italian staples like risotto but
proudly declares, “We make our chicken soup with green plantains.”
In cooking, as in decorating, colour adds personality. VL
@tamumcpherson raimondogarau.com

Mar/Apr 2021 135



THESE PAGES in another view of the living room with the dining
room beyond, magenta sofa by Florence Knoll for Knoll, enquiries

to Dedece; sofa by Luigi Caccia Dominioni; chairs from an
antiques market in the French Riviera; coffee tables sourced by
Raimondo Garau; antique Chinese lacquered cabinet; grey vase
(on cabinet) from Understate; Shiva vase by Ettore Sottsass for
BD Barcelona Design, enquiries to Living Edge; dog statuette,
present from McPherson’s mother-in-law; 1970s Spanish brass

and timber floor lamp; photograph by Filippo Chieli.







THIS PAGE in the main bedroom, 1950s chair reupholstered in Kvadrat fabric; Frère Jaques
bed by Philippe Starck for Cassina; custom-designed closet with fabric fronts. OPPOSITE PAGE
McPherson in her studio, reupholstered vintage chairs sourced by Raimondo Garau; Shogun

lamp by Mario Botta for Artemide; painting by Marcel Cordeiro. Details, last pages.

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P HOTO G RAP H E R: DAV E WHE E L E R. STY L I ST: ATE L I E R LA B They may be the hardworking hubs of the home but kitchens and
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Produced by Victoria Baker

Mar/Apr 2021 145