The entrance hall walls are covered in narrow panels of handwoven silk whose templates were created by computer. Laotian artisans did much of the fabrication. To find enough delft tile for the walls, Marino's associates patiently scoured auction catalogues for sets of antique ceramics (the search took a year). They succeed each other like the courses of a banquet: a lean, modernist dining room that leaves a clean taste on the palate a luscious sitting room furnished in tones of lemongrass, pomegranate and chocolate and, in a different mood altogether-matutinal-a breakfast room with a tented ceiling. The house was sited to make the most of its water views, and the public rooms are laid out horizontally in a gracious queue. The 18th-century bureau plat is by Etienne Levasseur. On the mantelpiece is a painting by John Wooton. "It takes so much sophistication to use a simple fabric, like cotton," says Marino, who designed a radiant yellow print, bordered with silk, for the living room walls. He was the architect of their Palm Beach villa, where they spend the winter, and of their Manhattan pied-à-terre at the Sherry-Netherland, although the wife had once told him, only half joking: "Greenwich is sacred, Peter-I'll never let you touch it." That, however, is because she knows him so well-as a man for whom nothing is sacred but perfection. But with an empty nest, the contrast between the grand, gloomy rooms and the airy shimmer just beyond their mullioned windows began to feel starker, so they asked Peter Marino to rethink the house for a freer stage in their lives. Over the years the couple-art collectors and philanthropists-made some changes, none radical, to the interiors. Their children grew up on the estate, and three generations of the family now use it primarily as a summer retreat. He lived there in baronial splendor until the '80s, when a financier and his wife, who divide their time between New York and Florida, bought the property. In 1929 one of the farsighted investors who had shorted the market before the Great Crash acquired 10 breezy acres on Long Island Sound, in Greenwich, Connecticut, and a new mansion in the Tudor style that its ruined owners had left unfinished. Compare Standard and Premium Digital here.Īny changes made can be done at any time and will become effective at the end of the trial period, allowing you to retain full access for 4 weeks, even if you downgrade or cancel.This article originally appeared in the May 2008 issue of Architectural Digest. You may also opt to downgrade to Standard Digital, a robust journalistic offering that fulfils many user’s needs. If you’d like to retain your premium access and save 20%, you can opt to pay annually at the end of the trial. If you do nothing, you will be auto-enrolled in our premium digital monthly subscription plan and retain complete access for $69 per month.įor cost savings, you can change your plan at any time online in the “Settings & Account” section. For a full comparison of Standard and Premium Digital, click here.Ĭhange the plan you will roll onto at any time during your trial by visiting the “Settings & Account” section. Premium Digital includes access to our premier business column, Lex, as well as 15 curated newsletters covering key business themes with original, in-depth reporting. Standard Digital includes access to a wealth of global news, analysis and expert opinion. During your trial you will have complete digital access to FT.com with everything in both of our Standard Digital and Premium Digital packages.
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