Bridge For Design Spring 2014 Bridge For Design Spring 2014 Issue | Page 140

INSPIRED BY | Richard Shapiro

reinforced a point of view and the core philosophy of the owner
and could blend intelligently with more humble objects.
I realised that I needed to put aside any concern for the judgement
of others, that I should be spontaneous, open-minded and
embrace a spirit of adventure. Once these principles were in
place, a tremendous sense of liberation came over me.
Of course, I was determined to avoid another horrible faux
Tuscan monstrosity so common in Los Angeles. I wanted an
authentic, European and, in my case, Italian environment, one so
convincing that any sophisticated European visiting from abroad
would forget instantly, as he passed through my gate and into the
entrance hall of my home, that he was in Los Angeles.
I had already amassed an exemplary collection of post-war
art, which included great examples of such luminaries as Judd,
Rauschenberg, Twombly, Lewitt, Richter, Manzoni, Fontana and
Warhol.
I had seen many similarly wonderful collections on my travels and
was most impressed when they were displayed in ancient, somewhat
shabby villas, played off against frescos, splintered beams and worn
stone floors.
I am always perplexed by discerning Americans who, after
travelling extensively to Italy and France, return home ►

THIS PAGE: In the entry foyer a first century Roman torso of an Amazon is in
striking contrast to Ellsworth Kelly’s monumental black wedge painting hung
above the staircase.
TOP RIGHT: The dining room/gallery features a 192 Element installation
“The Surrogates” by Allan McCollum.
MIDDLE: The mahogany-panelled master bathroom features a reclaimed
19th-century French copper and zinc bathtub.
BOTTOM RIGHT: The interior of the Palladian portico is furnished with casual
bamboo seating and a well-used antique stone fireplace found in a garage
in Antwerp.

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Bridge for Design Spring 2014