A Contemporary Key Biscayne Apartment with Iconic Furnishings

Details

Contemporary Brown Foyer Table

The entry gathers an Eric Schmitt table, a Hervé Van der Straeten lamp and mirror, and Patrick Naggar chairs, all from Ralph Pucci International. Holland & Sherry wallpaper wraps the space, and Axel Salto’s Janus Head for Royal Copenhagen, from Bernd Goeckler Antiques in New York, holds court.

Contemporary Coconut Shell Foyer Mirror

A coconut-shelled Ochre mirror makes a statement in the entry.

Contemporary White Living Room with Red Statement Rug

A Gustavo Acosta acrylic hangs above the living room’s Jean-Michel Frank console (a re-edition by Ecart International), a stool by Van der Straeten, and Philippe Hiquily chairs. An Axel Vervoordt sofa pairs with upholstered chairs, also by Ecart. The console, stool and all chairs are from Ralph Pucci.

Contemporary Mirrored End Table

A mirrored end table flanks one end of the living room sofa.

Modern Kitchen with Pale Blue Cabinetry

A sophisticated design pedigree makes its way into the sleek and serene kitchen, where Antonio Citterio’s cabinetry for Arclinea recalls the color of seafoam and provides a clean, present-day contrast to a 1950s Stilnovo chandelier from Bernd Goeckler.

White Modern Kitchen Breakfast Area

C&C Milano indigo linen shades cast a deep marine hue over a Janus et Cie table and chairs in the breakfast area. Photographs of jellyfish by Craig Line further the oceanic inspiration. The space looks onto a landscape painting by Vladimir Artykov and a portrait by Miguel Padura in the family room.

Contemporary Brown Family Room Entry

Patrick Naggar drawings from Ralph Pucci join an Ochre ottoman to introduce the family room, lit by an Ochre chandelier and a 1950s Arredoluce floor lamp from Bernd Goeckler. A reissued Jean-Michel Frank cabinet by Ecart International, through Ralph Pucci, anchors one wall. The draperies are from C&C Milano.

Contemporary Gray Family Room

Ralph Pucci also sourced the family room’s Jens Risom chairs and sofa. The water-hued carpet is a custom piece by Fedora Design and anchors Ecart International’s Jean-Michel Frank coffee table, also from Ralph Pucci. A silk wallcovering by Gracie envelops the room.

Modern Gray Guest Bedroom

A Padura piece hangs above a Christian Liaigre guest bed and a lamp by Axel Vervoordt. The coverlet uses a Bergamo Fabrics textile; the wallcovering is by Gracie.

Modern Blue Marble Master Bath

The master bathroom boasts blue marble and a tub from Waterworks. Glass protects an antique hand-blocked panel from Gracie.

Contemporary Brown Entry Hallway

Padura’s Moonstruck painting keeps guard over the entry, around the corner from the powder room. Ochre’s Light Drizzle chandelier, with its glass drops, lends the welcoming space an elegant, glamorous touch. Etel Carmona designed the two wooden Pensil benches for Avenue Road.

Modern White Guest Bedroom Accents

Another guest bedroom gets a hint of texture through Azadeh Shladovsky’s ottoman for Jean de Merry, nestled atop a rug by Fedora Design. A bronze lamp by Jacques Jarrige, from Valerie Goodman Gallery in New York, perches on a Patrick Naggar table. Art by Antoine Bootz pops against wallpaper by Elizabeth Dow for Holland & Sherry.

Contemporary Blue Master Bedroom

A painting by Vadim Stepanov hangs above an Axel Vervoordt bed wearing custom C&C Milano linens in the master bedroom. An Italian lamp adds a sculptural element on an Eric Schmitt table from Ralph Pucci. Holland & Sherry wallcovering wraps the room, and a Fedora Design rug grounds the space.

Contemporary Blue Master Bedroom Console

The master bedroom includes a formidable setting: a Butterfly cabinet by Chris Lehrecke from Ralph Pucci, and, from Bernd Goeckler, a floor lamp and round tables by Pietro Chiesa for FontanaArte, all from the 1940s, and Art Moderne chairs from the 1950s. The screen, by Piero Fornasetti, is also from Bernd Goeckler.

Robert Frost regarded himself as more of an “awakener” than a “teacher” because he felt he merely unlocked capacities that were already inherent in his students. New York and London-based designer Tinatin Kilaberidze is of the same mind. “I like to involve my clients down to every detail,” she says. “However, I am only an instrument to understand what they could be dreaming of.”

Arguably, two of her most eager pupils are John Brock, CEO of Coca-Cola Enterprises, and his wife, Mary. During the past 20 years, Kilaberidze has gently guided the couple along the design continuum, inspiring greater risk-taking with homes in Connecticut, Brussels and Atlanta. “Tinatin is such a great teacher,” says Mary. “I can’t believe how much I’ve learned about design. Working with someone who can really give you the background and insight is so important.”

The trio’s latest undertaking, an apartment in Key Biscayne (pulled together simultaneously with their Atlanta penthouse), takes them further than they’ve ever gone together. It focuses more resolutely on assembling an important collection of furnishings by such designers as Gabriella Crespi, Piero Fornasetti, Chris Lehrecke, Patrick Naggar, Jens Risom, and Hervé Van der Straeten, among others—much of it with the helpful connoisseurship of eminent dealers Ralph Pucci and Bernd Goeckler.

But any collection needs a context, and for Kilaberidze that begins with a location. “Every place calls for a very specific approach to design,” she explains. “I don’t like to make spaces artificially inappropriate to the environment. In Miami, it’s all about color and the ocean; everything is so vibrant and bold.”

Hence the palette, which begins with tans and browns at the condominium’s center. “They’re the colors of sand,” says Kilaberidze, “and as you move toward the windows, the light makes the colors appear brighter.” That strategy informs the scarlet-and-pink living room rug, the green grass cloth on the master bedroom walls, the grays and ceruleans in the family room, and the deep indigo window shades in the kitchen. Each room’s tones are established by rugs designed by Federica Tondato of Fedora Design, with Kilaberidze chiming in on color palettes for these custom floorcoverings.

Art Deco is another site-specific influence. But, notes Kilaberidze, “Because the apartment itself has modern architecture, the proportions only allowed a slight taste of Deco style.” Low ceilings and modest-size rooms, for example, could only handle traces of this glamorous style. Max Ingrand sconces in the master bathroom, a Jean-Michel Frank console in the living room and Axel Salto’s Janus Head sculpture in the entry, as well as more pieces by Frank in the family room, all subtly insinuate the era.

Furnishings from the 1950s through the ’70s are more naturally at home in this milieu, so Kilaberidze was more generous with pieces from these decades, such as Italian lighting by Arredoluce, FontanaArte and Stilnovo, as well as accent pieces that include a marble table by Angelo Mangiarotti in the family room, a Fornasetti paravan in the master bedroom and Crespi bedside tables in a guest room.

Kilaberidze also drew from the locale’s Latin character with a collection of contemporary Cuban paintings, which she mixed with Russian art acquired for the Brocks’ former Belgian residence. Contemporary designers—Azadeh Shladovsky, Van der Straeten, Naggar, and Axel Vervoordt—tie everything together in a completely up-to-date way.

Although the furnishings are quite an assortment, they are precisely what gives the residence its most distinctive effect, or what Kilaberidze refers to as “quiet chic.” This comes from mixing pieces of extraordinary provenance—from disparate eras and styles—in a way that appears utterly casual and effortless. For the Brocks, reaching this level of design only whets their appetites for even higher learning. In their Connecticut home, where their relationship with Kilaberidze began, says Mary, “There are things we’re going to do that will give more of a sense of how we feel about design now.” Their thirst for education— or awakening, as Frost would say—is clearly endless.

—Jorge S. Arango

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