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14 ARCHDIGEST.COM 30 Editor’s Letter 32 Object Lesson Alvar Aalto’s three-legged Stool 60. BY HANNAH MARTIN CONTENTS october 100 ADWOA ABOAH, WEARING A BOTTEGA VENETA DRESS AND ANA KHOURI EARRINGS, IN HER LONDON LIVING ROOM. 39 Discoveries AD Visits artist-designer Emmett Moore at home in Miami… 1960s throwbacks for design lovers… Kim Mupangilaï’s sculptural furniture… A new book commemorates the 40th anniversary of Ralph Lauren Home… Dazzling bracelets by Van Cleef & Arpels evoke Italian architecture… Ken Fulk’s magical collection for The Rug Company… Statement-making pendant lights… Landscape architect Thomas Woltz revitalizes Houston’s Memorial Park… A mind-bending restaurant in Lisbon by Jean-Philippe Demeyer… and artist Hamed Ouattara upcycles oil barrels into fantastical functional objects! SUBSCRIPTIONS GO TO ARCHDIGEST.COM, CALL 800-365-8032, OR EMAIL [email protected]. DIGITAL EDITION DOWNLOAD AT ARCHDIGEST.COM/APP. NEWSLETTER SIGN UP FOR AD’S DAILY NEWSLETTER, AT ARCHDIGEST.COM/NEWSLETTER. COMMENTS CONTACT US VIA SOCIAL MEDIA OR EMAIL [email protected]. FOLLOW @ARCHDIGEST SIMON UPTON. ART: © ARIANA PAPADEMETROPOULOS. COVER ART: © MERRY ALPERN/GALERIE MIRANDA, PARIS.
16 ARCHDIGEST.COM CONTENTS october 114 A BAMBOO-SHADED SITTING AREA IN THE GARDEN OF A HOME IN SAN FRANCISCO. The southfacing warm garden in our foggy corner of the city is worth its weight in gold.” —designer Abigail Turin ADWOA ABOAH (WEARING A TOP AND TROUSERS BY FERRAGAMO AND PRADA SHOES) AT HOME IN LONDON. “ENGLISH LIT,” PAGE 100. PHOTOGRAPHY BY SIMON UPTON. STYLED BY SARA MATHERS. FASHION STYLING BY STUDIO&. SANG AN
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20 ARCHDIGEST.COM CONTENTS october ARCHITECTURAL DIGEST AND AD ARE REGISTERED TRADEMARKS OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT © 2023 CONDÉ NAST. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 80, NO. 9. ARCHITECTURAL DIGEST (ISSN 0003-8520) is published monthly except for combined July/August issues by Condé Nast, which is a division of Advance Magazine Publishers Inc. PRINCIPAL OFFICE: Condé Nast, 1 World Trade Center, New York, NY 10007. Roger Lynch, Chief Executive Officer; Pamela Drucker Mann, Global Chief Revenue Officer & President, U.S. Revenue & APAC; Nick Hotchkin, Chief Financial Officer. Periodicals postage paid at New York, NY, and at additional mailing offices. Canada Post Publications Mail Agreement No. 40644503. Canadian Goods and Services Tax Registration No. 123242885-RT0001. POSTMASTER: Send all UAA to CFS. (See DMM 507.1.5.2); NON-POSTAL AND MILITARY FACILITIES: Send address corrections to ARCHITECTURAL DIGEST, P.O. Box 37617, Boone, IA 37617-0617. FOR SUBSCRIPTIONS, ADDRESS CHANGES, ADJUSTMENTS, OR BACK ISSUE INQUIRIES: Please write to ARCHITECTURAL DIGEST, P.O. Box 37617, Boone, IA 37617-0617, call 800-365-8032, or email [email protected]. Please give both new address and old address as printed on most recent label. SUBSCRIBERS: If the Post Office alerts us that your magazine is undeliverable, we have no further obligation unless we receive a corrected address within one year. If during your subscription term or up to one year after the magazine becomes undeliverable, you are ever dissatisfied with your subscription, let us know. You will receive a full refund on all unmailed issues. First copy of new subscription will be mailed within eight weeks after receipt of order. Address all editorial, business, and production correspondence to ARCHITECTURAL DIGEST, 1 World Trade Center, New York, NY 10007. FOR REPRINTS: Please email [email protected] or call Wright’s Media, 877-652-5295. For reuse permissions, please email contentlicensing@condenast .com or call 800-897-8666. Visit us online at archdigest.com. TO SUBSCRIBE TO OTHER CONDÉ NAST MAGAZINES: Visit condenastdigital.com. Occasionally we make our subscriber list available to carefully screened companies that offer products and services that we believe would interest our readers. If you do not want to receive these offers and/or information, please advise us at P.O. Box 37617, Boone, IA 37617-0617 or call 800-365-8032. ARCHITECTURAL DIGEST IS NOT RESPONSIBLE FOR THE RETURN OR LOSS OF, OR FOR DAMAGE OR ANY OTHER INJURY TO, UNSOLICITED MANUSCRIPTS, UNSOLICITED ARTWORK (INCLUDING, BUT NOT LIMITED TO, DRAWINGS AND PHOTOGRAPHS), OR ANY OTHER UNSOLICITED MATERIALS REGARDLESS OF MEDIA IN WHICH IT IS SUBMITTED. THOSE SUBMITTING MANUSCRIPTS, PHOTOGRAPHS, ARTWORK, OR OTHER MATERIALS FOR CONSIDERATION SHOULD NOT SEND ORIGINALS UNLESS SPECIFICALLY REQUESTED TO DO SO BY ARCHITECTURAL DIGEST IN WRITING. MANUSCRIPTS, PHOTOGRAPHS, AND OTHER MATERIALS SUBMITTED WILL NOT BE RETURNED. 78 Great Design: Hotels AD’s roundup of 21 extraordinary new properties around the world. 100 English Lit With the help of designer Beata Heuman, Adwoa Aboah transforms a London town house into a lively home bursting with vibrant color and personal touches. BY BUSOLA EVANS 114 Green Peace A lush private garden informs the transformation of architectural designer Abigail Turin’s historic San Francisco house. BY ELIZABETH FAZZARE 124 Reference Library Pulling inspiration from all chapters of the decorative arts, designer Ryan Lawson deftly transforms one couple’s Manhattan loft into the ultimate crowd-pleaser. BY SAM COCHRAN 134 Fun House To add edge to her newly built forever family home in LA, Parachute founder Ariel Kaye calls on designer Sally Breer. BY LINDSAY TALBOT 144 History Major The LA home of Oliver M. Furth and Sean Yashar is a case study in the marvelous marriage of old and new. BY MAYER RUS 154 Grand Finale A wondrous 16th-century hammam in Istanbul is reborn. BY SAM COCHRAN 124 A CIRCULAR WINDOW OFFERS A GLIMPSE INTO THE STUDY OF A NEW YORK CITY LOFT. STEPHEN KENT JOHNSON
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24 ARCHDIGEST.COM AD it yourself DESIGN INSPIRATION FROM THE ISSUE Making a Splash Tapped to transform the Manhattan loft of James LaForce and Stephen Henderson (page 124), designer Ryan Lawson packed wit into all 6,000 or so square feet—and the four baths were no exception. Bound by shared design elements yet distinguished by palette and personality, this dynamic quartet offers a case study in nuance.... FOR MORE SMART IDEAS VISIT ARCHDIGEST.COM/AD-IT-YOURSELF RAINBOW CONNECTION FOR THE WALLS OF EACH BATH, LAWSON CHOSE SIX-INCH-SQUARE TILE BUT VARIED THE COLORS TO GIVE THE SPACES THEIR OWN UNIQUE IDENTITIES. FOR A SIMILAR EFFECT, TRY ARCHITECTONICS2 HANDMADE FIELD TILE BY WATERWORKS (WATERWORKS.COM). MOMENTS OF REFLECTION ALTHOUGH BESPOKE VANITIES IN THE SPIRIT OF JOSEF HOFFMANN CREATE A VISUAL THROUGH LINE, LAWSON MIXED UP THE ACCOMPANYING MIRRORS, INCORPORATING VINTAGE FINDS FROM THE COUPLE’S OWN COLLECTION. OFF THE GRID TO DISRUPT THE GEOMETRIES OF THE FLOOR MOSAICS, HE AND HENDERSON ROLLED UP THEIR SLEEVES, PLACING CONTRASTING TILES AT IRREGULAR INTERVALS. SHOWN IS LUMINAIRE HAND CLIPPED MOSAIC BY WATERWORKS (WATERWORKS.COM). STEPHEN KENT JOHNSON
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30 ARCHDIGEST.COM What could be more satisfying than living in an environment that eloquently expresses your personality, values, and tastes with bespoke perfection? Cover star Adwoa Aboah’s thoughtful words above would be music to the ears of any interior designer. In Aboah’s case, that designer is the Swedish-born, London-based AD100 talent Beata Heuman, who helped the actor-activist-model craft her happy place in a Victorian-era town house in west London. “We wanted something theatrical but still cozy and calm,” Heuman notes of the creative collaboration. This issue features several other city dwellers who enlisted skillful designers to help them achieve their personal visions. James LaForce and Stephen Henderson are those rare New Yorkers who enjoy the luxury of a vast apartment, and they wisely hired Ryan Lawson (“He was great,” Henderson declares) to help them finesse a space that can accommodate both large-scale entertaining and intimate dinners for two. In LA, Ariel Kaye, the founder of minimalist home furnishings brand Parachute, landed the ideal house in which to raise her two young children (near the beach and close to her parents) but confesses, “I needed to leave my safe beige world behind and get funky by bringing on an expert who’d push me out of my comfort zone.” Kaye got exactly what she wished for from designer Sally Breer, who found her client “incredibly open-minded, brave, and trusting.” Finally, AD visits two other California dwellings whose owners, Abigail Turin in San Francisco and Oliver Furth in LA, are both design professionals and conjured their respective dream homes exactly to their personal specifications. “Architects are like shoemakers,” laughs Turin. “We never quite get around to our own projects.” But when they do, the results are thrilling. editor’s letter “Friends have said if they could imagine a house that described me, this would be it. I feel very at peace here. It is my sanctuary.” —Adwoa Aboah AMY ASTLEY Global Editorial Director and Editor in Chief, AD U.S. @amyastley 4. ARCHITECTURAL DESIGNER ABIGAIL TURIN IN HER SAN FRANCISCO SITTING ROOM. 5. THE L.A. HOME OF DESIGNER OLIVER M. FURTH AND BRAND STRATEGIST SEAN YASHAR. 6. WITH YASHAR AND FURTH AT AN EVENT IN L.A. 1. ADWOA ABOAH IN HER LONDON BEDROOM. 2. PARACHUTE FOUNDER ARIEL KAYE AT HOME IN L.A. WITH HER DAUGHTER. 3. JAMES LAFORCE AND STEPHEN HENDERSON IN THEIR MANHATTAN LOFT. 1 4 2 5 3 6 1. SIMON UPTON. 2 LAURE JOLIET. ART: STRAUSS BOURQUE-LAFRANCE. 3. STEPHEN KENT JOHNSON. 4. SANG AN. ART: © 2008 OLAFUR ELIASSON/TANYA BONAKDAR GALLERY, NEW YORK / LOS ANGELES. 5. YOSHIHIRO MAKINO. ART: MICHAEL REY/GALLERIA ZERO. 6. VLASTA PILOT/BFA.COM.
32 ARCHDIGEST.COM object lesson THE STORY BEHIND AN ICONIC DESIGN Leg Work How Alvar Aalto’s thoughtful, 1933 design became the platonic ideal of a stool ALVAR AALTO’S STOOL 60 IN THE BROOKLYN APARTMENT OF NICHOLAS BLECHMAN AND LUISE STAUSS.
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36 ARCHDIGEST.COM I t all started with a leg. The year was 1933 and Finnish architect Alvar Aalto and carpenter Otto Korhonen, who had been experimenting with wood bending since the ’20s, made a seemingly simple breakthrough: a piece of Finnish birch, bent at a right angle so it could screw securely into a surface. The reality was more complex. Slits were cut at its top, almost like a comb, and thin pieces of glue-dipped wood were inserted into the negative space then bent with hot steam. Aalto liked to call this versatile L-leg, patented that year, “the little sister of the architectural column.” Their design became a standardized part used in more than 50 different products. The first? The lightweight, stackable, and later flat-packable, three-legged Stool 60, a seat, side table, plant stand, and more (use E60, the stronger, four-legged cousin, if you need a step stool). After its unveiling at the London department store Fortnum & Mason, orders flew in. In 1934, 2,000 were sent to England; hundreds were installed in Aalto’s Viipuri library. In 1935, Artek was founded in large part to meet the production demands. Made in Turku, Finland, using a highly manual, 48-step process, Stool 60 quickly infiltrated visual culture, outfitting schools, churches, and offices—Audrey Hepburn even posed for a photo with one in 1946. The stool evolved with the times. During WW II, glue shortages mandated a less complex finger joint in the leg. Postwar prosperity introduced finer versions clad in teak, elm, and mahogany, followed by brightly lacquered renditions, and faux leather seats in the ’70s. In the last decade, the stool became a canvas—Rei Kawakubo added polka dots; Supreme made it into a checkerboard; and during this year’s Milan Design Week, Daisuke Motogi hacked the stool, proposing 100 clever uses. For the stool’s 90th birthday, design studio Formafantasma reevaluated Artek’s standards for wood selection, launching the Villi (Wild) model, which uses a wider variety of specimen that might show knots, spots, or insect trails—some of which are effects of climate change. Still, it’s the classic, from $385, in clear-lacquered Finnish birch, that is seared into our collective design consciousness (the near-identical, now-discontinued IKEA knockoff is partially responsible). Fans range from AD100 firms like Ashe Leandro, Neal Beckstedt, and Toshiko Mori to singer Demi Lovato, who has one prominently placed in her LA entryway. For Beckstedt, who recently installed 100 in a Manhattan office, the appeal comes down to “extreme functionality—it’s lightweight, the perfect scale, and stackable.” Simple as that. artek.fi —HANNAH MARTIN 1. STOOL 60 IN AN 1870s BROOKLYN BROWNSTONE BY OLIVER FREUNDLICH. 2. AALTO, CIRCA 1935. 3. SAVOY 7 FLOOR IN HELSINKI, DESIGNED BY AALTO AND HIS WIFE, AINO AALTO, IN 1937, AND REVAMPED THIS YEAR BY STUDIOILSE. 4. STOOL 60 VILLI IN COLLABORATION WITH FORMAFANTASMA. 5. GUIDEPOINT OFFICE IN NEW YORK BY NEAL BECKSTEDT. object lesson THE STORY BEHIND AN ICONIC DESIGN 1 2 5 4 3 1. TREVOR TONDRO. ART: JESSICA DICKINSON. 2. COURTESY OF ALVAR AALTO MUSEUM. 3. ANTON SUCKSDORFF. 4. STEPHEN KENT JOHNSON. 5. COURTESY OF ARTEK.
ARCHDIGEST.COM 39 THE LIVING ROOM OF EMMETT AND SARAH NEWBERRY MOORE’S MIAMI HOUSE, DESIGNED IN COLLABORATION WITH ARQUITECTONICA, FEATURES FURNISHINGS OF HIS OWN DESIGN AND A REWORKED VINTAGE SOFA THAT BELONGED TO HER GRANDPARENTS. THE BEST IN SHOPPING, DESIGN, AND STYLE EDITED BY SAM COCHRANDISCOVERIES AD VISITS Life at Sea Designer-artist Emmett Moore builds a waterfront Miami home to stand the test of time and tides PHOTOGRAPHY BY ORI HARPAZ STYLED BY FILIP BERDEK ART: TED GAHL
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42 ARCHDIGEST.COM DISCOVERIES W hen Emmett Moore, a furniture designer and sculptor, began planning his Miami house in 2014, he had one parameter: The ground floor needed to fit a sailboat. It wasn’t entirely aspirational. His then girlfriend and now wife, Sarah Newberry Moore, is a professional sailor. (She’s currently training for the 2024 Olympics.) An 18-square-foot box with 11.5-foot ceilings—large enough to store a catamaran—became the basic building unit of the home. But the two-story concrete residence on the banks of the Seybold Canal keeps the sea top of mind in more ways than one. “In theory, you could launch a boat from our front driveway,” says Moore, speaking to the inevitability of rising water levels. Working with the Miami-based firm Arquitectonica, Moore built the structure five feet off the ground and incorporated myriad strategies for coastal resiliency, among them catch basins, French drains, and an absorbent landscape of salt-tolerant plants. In dire conditions, the first floor (his studio) could even be relinquished to the tides, leaving the couple’s top-level living quarters untouched. The place is also designed with passive cooling techniques, solar power, a rainwater collection system, and a garden that produces a bounty of fruits and vegetables. “The whole idea,” he says, “was to consolidate our life into this one building.” Moore, who describes the house as “a balance between tropical modernism and light industrialism,” took inspiration from the surrounding Spring Garden neighborhood, where warehouses and boatyards sit chockablock with single-family homes. “Many buildings erected along the nearby Miami River were simple concrete block structures, similar in material and form,” explains Arquitectonica’s Raymond Fort. The results are a South Florida riff on 1970s high-tech style, in which everyday materials mix with colors reminiscent of an airbrushed sunset, from the bright red front door to the pink deck ladder that leads to the roof. In keeping with indoor-outdoor connections, exterior stairs are the only link from first floor to second. Streamline Moderne 1. IN THE KITCHEN, A CHANDELIER OF KEYS HANGS ABOVE A CYPRUS-ANDALUMINUM DINING TABLE, BOTH MOORE’S DESIGNS; VINTAGE EMECO NAVY CHAIRS. 2. THE COUPLE WITH 1 4 2 3 THEIR SON, IREN; PAINTING BY TED GAHL. 3. THE HOME AS SEEN FROM THE STREET. 4. THE ENTRY’S T-SHIRT TAPESTRY AND FAUX-CORAL-ROCK BENCH ARE BY MOORE. ART: EMMETT MOORE/NINA JOHNSON
ARBITER SOFA SYSTEM COLLECTION DESIGNED AND COORDINATED BY ANTONIO CITTERIO
accents like porthole windows and faux-terrazzo concrete floors further insert the design into a quintessentially Miami vernacular. “Everything in the house has a very specific logic, a very local logic,” explains Moore, who grew up here and studied at RISD, returning to Florida a few years after graduation. His work (represented by Miami’s Nina Johnson gallery) mines touchstones of his beloved city. At home, the living room armchair is made from breeze-blocks, the kitchen chandelier from hundreds of old keys to a downtown building. The table and chairs on the screened-in porch, meanwhile, consist of stacks of T-shirts that he bought by the pound then slicked with epoxy resin. When constructing the foundation for the house, Moore unearthed heaps of Miami limestone or oolite—many call it coral rock—which became a new fixation. “It’s basically the reason Miami exists,” he explains of the city’s bedrock, often used (as he did) for retaining walls. He didn’t want to use the actual stone in his furniture practice so he devised a proxy, sculpting scrap foam embedded with shells and fossils and coating it with polyurethane and sand-textured paint. When he and Newberry Moore needed a bookcase, this concoction passed the strength test. Now he’s using it to make lamps and more. Since their 2020 move-in date, the couple have turned the house into a playful backdrop for their lives, which now include two-year-old son, Iren. In the living room, a Moore-designed cocktail table, stamped with a smiley face, dollar sign, and Playboy Bunny logo, sits with woven-wool traffic cones by Katie Stout, Moore’s longtime friend from RISD. Bumper stickers plaster the kitchen bar. And while there’s presently no boat downstairs, a 2017 painting of one hangs over their bed. A wedding gift from their friend James A. Flood, the canvas depicts the couple sailing around Nantucket, a dreamy analogy for the home that has launched their lives. —HANNAH MARTIN 1. IN THE STUDIO, LAMPS IN PROGRESS ARE MADE FROM FAUX CORAL ROCK. 2. THE RED-ACCENTED GUEST BEDROOM FEATURES A PAINTING BY THE GRAFFITI ARTIST NECKFACE AND BEDDING BY HAY. 3. THE PRIMARY BATH. 4. MOORE MADE THE SCREENED PORCH’S TABLE AND CHAIRS USING T-SHIRTS; THE CHARRED-PLYWOOD BUSTS OF THE COUPLE ARE BY RAY SMITH. 1 4 2 3 ART: © ELLSWORTH KELLY FOUNDATION/MATTHEW MARKS GALLERY. NECKFACE. RAY SMITH.
IN THE AIR Feel the Groove Psychedelic touches and ’60s throwbacks take today’s design lovers on a trip 46 ARCHDIGEST.COM AYAZ RUG BY TOM DELAVAN FOR BENI RUGS; FROM $662. BENIRUGS.COM BON BON WALL LAMP BY DRAGA AND AUREL; PRICE UPON REQUEST. NILUFAR.COM IN A LOS ANGELES HOME UPDATED BY AD100 FIRM STUDIO SHAMSHIRI. UNTITLED (MUSHROOM PLATE) LOVE ME LOVE ME NOT CHAIR BY CHRIS WOLSTON; PRICE UPON REQUEST. THEFUTUREPERFECT.COM TOPLESS SUNBATHERS WALLPAPER; $750 PER ROLL. VOUTSA.COM FLOWER POWER VELVET BOTTOMAN; $1,592. HOUSEOFHACKNEY.COM MOJAVE CHEESEBOARDS BY L’OBJET x HAAS BROTHERS; $475 FOR A PAIR. MATCHES FASHION.COM MINERAL MUSHROOMS; FROM $100. CREELANDGOW.COM OCTAVIA CABINET; PRICE UPON REQUEST. INSTAGRAM.COM/ FREELINGWATERS PRODUCED BY MADELINE O’MALLEY DISCOVERIES INTERIOR: STEPHEN KENT JOHNSON. ART: THE HAAS BROTHERS/SHULAMIT NAZARIAN. WALL LAMP: FEDERICA LISSONI. CABINET: © PETER TIJHUIS. WALLPAPER: ANNIE SCHLECHTER. PLATE: JEFF MCLANE/THE FUTURE PERFECT. ALL OTHERS COURTESY OF THE COMPANIES.
Copyright 2023© Signature Kitchen Suite, 111 Sylvan Ave., Englewood Cliffs, NJ 07632. All rights reserved. “Signature Kitchen Suite” and the Signature Kitchen Suite logo are trademarks of Signature Kitchen Suite. Designers, epicureans, and guests. The French door that satisfies them all. Introducing our new fully integrated 48-inch French Door Refrigerator/Freezer; designed to fit any kitchen’s style and every entertainer’s needs. Thanks to its impressive capacity, and features like the exclusive 5-mode Convertible Drawer and Dual Ice Maker with Craft Ice™, your favorite foods and growing guest lists will be well taken care of. That’s how we stay #TrueToFood SignatureKitchenSuite.com
48 ARCHDIGEST.COM KIM MUPANGILAÏ AT HOME IN BROOKLYN WITH SOME OF HER NEW FURNITURE PIECES AND VINTAGE CARVED-WOOD SCULPTURES. ONE TO WATCH Self Discovery Designer Kim Mupangilaı¨ unearths her roots in a bold foray into furniture T hey’re meant to look like they’re dancing,” says Kim Mupangilaï, reflecting on the eight works in her inaugural solo show at Manhattan’s Superhouse gallery this past summer. Unveiled in a vitrine-like space on the second floor of a Chinatown mall, her furnishings do have an uncanny, anthropomorphic energy. A sinuous bench wears a swingy, banana-fiber skirt; an armoire seems to stomp its heeled foot; and a groovy floor lamp sports a shade modeled after a precolonial Congolese hairstyle. Their surreal silhouettes might recall the work of Antoni Gaudí, Philippe Hiquily, or Joan Miró, made at a time when many creatives mined colonial Africa for inspiration. But Mupangilaï’s pieces, which she describes as “cross-cultural self-portraits,” chart new territory, mixing the visual references handed down from her Congolese father with the woodworking techniques she learned from her Belgian maternal grandfather. Mupangilaï’s parents themselves met salsa dancing in Antwerp, where they later raised their daughter. Mupangilaï studied design and interior architecture in Belgium before moving to New York in 2018, where she got her start designing private residences and hospitality hot spots like Ponyboy bar in Brooklyn. During the pandemic, as she took a deeper look at her biracial heritage, she turned her attention to conceptualizing furniture. Paging through African history books, she became fixated on the sculptural shapes of currency tokens— objects like bracelets, cooking utensils, or weapons that were used for trade or to commemorate life events. Versions of them soon filled her sketchbooks. “I felt like I was creating a new language,” she says of the forms, which she twisted, morphed, and merged, like building blocks, into furnishings. The swooping profile of a daybed, for instance, mimics a throwing knife. The armoire was inspired by a warrior’s shield. “Growing up in Belgium, my natural instinct was to blend in,” explains Mupangilaï, who now translates that experience through the unique interplay of materials in her work, which she produces in close collaboration with Indonesian artisans. Sumptuous teak merges with volcanic stone via puzzle joints or balls and sockets—no metal fasteners are used—while woven-banana-fiber accents might seamlessly integrate into carved wood. “It really shows the yin and yang of my heritage,” explains Mupangilaï, who is bringing this approach to forthcoming projects like a residence in Hudson, New York, and new furniture concepts. “I hope it urges viewers to look inward and explore their own cultural landscapes.” instagram.com/pangilai —HANNAH MARTIN DISCOVERIES PHOTOGRAPHY BY GABRIEL FLORES