Issue link: http://papercitymagazine.uberflip.com/i/806991
beautiful legs and shoes — they're all different, but they all look great together," he says. For anyone familiar with Bodron's work, the use of so much color in the house might come as a surprise. "The Youngs like more color and pattern than I do, but I tried to keep it as neutral as I could get away with because of the art," he says. Pale pink and lavender upholstery worked perfectly with the delicate clay color in the Mexican brick, he notes. Patterns such as the Fort Street Studio rug under the Giuseppe Penone in the living room, feel painterly without competing with the art. For the Youngs, their house became precisely what they wanted. "Michael and I care about aesthetics and design," Sharon says. "When you look at a piece of art, it's not how you respond with your eye, but does it make you cry, does it make you laugh? At the end of the day, our home and our art is a reflection of the way we think and what we care about." Clockwise from top left: The magnolia-wood staircase is original to the house, as is the terrazzo floor. Robert Mapplethorpe self-portrait, 2010. In the dining room, vintage Tommi Parzinger table from Todd Merrill Studio, NY. Vintage T.H. Robsjohn-Gibbings chairs from 20th-century Interiors, San Francisco. Fortuny upholstery from Ellouise Abbott showroom. Gerhard Richter's Silikat Studien, 2003. Juan Muñoz's With Silver Feet, 2001. Alessandro Pessoli's Tavola Morandi, 2012. Leg detail of Tommi Parzinger table and T.H. Robsjohn-Gibbings chairs. 69