At home, David Al­had­eff, founder of The Fu­ture Per­fect, has cre­ated a sur­pris­ingly tran­quil New York liv­ing space that ex­em­pli­fies his de­sign busi­ness.

VOGUE Living Australia - - CONTENTS - By Bon­nie Vaughan VOGUE­LIV­ING.COM. AU Pro­duced & styled by Helle Wal­sted

At home, David Al­had­eff, founder of The Fu­ture Per­fect, has cre­ated a sur­pris­ingly tran­quil New York liv­ing space that ex­em­pli­fies his de­sign busi­ness

Look­ing out from the wrap­around ter­race of David Al­had­eff ’s river­side apart­ment on Man­hat­tan’s Lower East Side — in an area known as Cor­lears Hook, which is about as ‘lower’ and ‘east’ as you can get — a vis­i­tor could very eas­ily get con­fused. The view em­braces the Em­pire State Build­ing, One World Trade Cen­ter and the Brook­lyn sky­line all at once. It would seem a geo­graphic im­pos­si­bil­ity to even the most sea­soned New Yorker, and that in­cludes David Al­had­eff, founder of The Fu­ture Per­fect, a US-based plat­form for col­lectible con­tem­po­rary de­sign and bell­wether for the in­dus­try. “I’d lived in the city for 22 years and be­fore I went to this open house, I’d never been over here,” Al­had­eff mar­vels. “My bub­ble was drawn in Brook­lyn — I had a lit­tle cir­cle on my map — but this prop­erty is so close, it got pulled into my list­ings. I re­mem­ber see­ing it and say­ing, ‘What is that view? What is that bal­cony?’ My hus­band [art di­rec­tor Ja­son Duzan­sky] and I were both like, ‘That’s too good to be true.’”

To their as­ton­ish­ment, it wasn’t. Here, Al­had­eff talks about what he loves most about his 212-square-me­tre, “in­cred­i­bly serene” liv­ing space and how it re­flects the 15-year evo­lu­tion of his de­sign busi­ness and the for­mi­da­ble tal­ent he has nur­tured over the years (which in­cludes Mi­lan De­sign Week lu­mi­nar­ies Marta Sala, Dimore Stu­dio and Cal­lico Wall­pa­per).

The build­ing was built in the 1950s as a mid­dle-in­come hous­ing pro­ject for seam­stress union work­ers. It was part of the NYC Hous­ing Au­thor­ity — it was pri­va­tised in the 1990s, and many of the orig­i­nal ten­ants still live here. Ba­si­cally, this apart­ment had not been touched ex­cept for the kitchen since the ’50s. There was noth­ing re­ally ap­peal­ing about it but this in­cred­i­ble ter­race and qual­ity of life. It was all bad, but it was awe­some. ››

‹‹ My apart­ment is the em­bod­i­ment of The Fu­ture Per­fect. It’s only with hind­sight that I can say that. With­out real­is­ing it, through the last 15 years I’ve col­lected a lot of what we’ve shown in the gallery. This pro­ject brought every­thing to­gether and put it all back into this space. You can see the dif­fer­ent eras of the peo­ple we’ve worked with — some have gone on to other parts of their ca­reer. Oth­ers, like Lind­sey Adel­man and Ja­son Miller, we’ve been work­ing with al­most from the be­gin­ning of both of our ca­reers. Each is such a suc­cess in their own right, and we have all been to­gether for so long — it has been an in­cred­i­ble jour­ney. One of my favourite pieces is the chandelier in the din­ing room by Eric Roines­tad. I met him through In­sta­gram, which is re­ally cool. He was do­ing a se­ries of large-scale ves­sels for us, and I ap­proached him with a cus­tom com­mis­sion to de­sign an il­lu­mi­nated ce­ramic fix­ture for me. He came back with a se­ries of con­cepts that were so good, I turned around and said, “We need to pro­duce and present more of th­ese.” I launched that light­ing col­lec­tion at De­sign Mi­ami in 2016, and it was re­ceived with in­cred­i­ble in­ter­est and at­ten­tion. We launched ver­sion 2 at De­sign Mi­ami 2017.

I re­ally love the hand­painted bronze dan­de­lion by Tony Matelli. I’m a huge fan of his work. In the years I’ve gath­ered ob­jects and brought them to­gether and lived with them, there are so many I find I tire of, or that fall into the back­drop. But this is a piece that aes­thet­i­cally for me is al­ways in the fore­ground. It’s just so whim­si­cal and ironic and yet crafted with such a de­gree of per­fec­tion that it moves me ev­ery time I see it.

The colour we se­lected for the liv­ing room is Pigeon by Far­row & Ball; it’s painted in a high gloss. It re­ally is the colour of a pigeon — it’s a green but it’s a blue and it’s a grey, and it morphs into those shades. It changes through­out the day, and it changes wall to wall. Most of the view is sky and wa­ter, and we feel this per­fectly cap­tures the sen­ti­ment. I feel re­ally lucky to have this view — this is an in­cred­i­bly serene apart­ment for liv­ing in a city as chaotic as New York.

this page, clock­wise from top left: in an­other view of the LIV­ING ROOM, The Fu­ture Per­fect founder David Al­had­eff sits on a Di­vano 067 sofa cov­ered in Walk­ing and Fall­ing fabric, both from Dimore Stu­dio; Alma Allen bronze stools; Michael Anas­tas­si­ades Tip of the Tongue brass ta­ble lamp. In a de­tail of the DEN, Tran­sience mir­ror by Lex Pott and David Derk­sen. In a HALL­WAY, Hopi Kachina dolls col­lected by Al­had­eff and Duzan­sky. op­po­site page: in an­other view of the liv­ing room, vin­tage San­luca chair by Achille Castiglioni for Gav­ina; art­works on shelves by Ryosuke Yazaki, Reinaldo San­guino and Eric Roines­tad. De­tails, last pages.

Pho­tographed by Wich­mann + Bendt­sen

this page, clock­wise from top left: in the DEN, Gubi 2.0 din­ing ta­ble; Philippe Starck chairs. In the DIN­ING ROOM, Eric Roines­tad HL03 ce­ramic pen­dant. In the EN­TRY­WAY, Weed sculp­ture in hand­painted bronze by Tony Matelli. op­po­site page: also in the en­try­way, Michael Anas­tas­si­ades brass Beauty mir­ror; 200 Me­tal­ware chairs; pho­to­graph by Steven Meisel.

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