Regency is the curated biannual journal for inspired innovation in real estate and lifestyles for a discerning global population segment of pioneers, seekers, wanderers, creators, and leaders.
winter 2024 n inspired innovation in real estate & lifestyles r e g e n c y
what makes a most? legend
INSIDE passions personas predictions
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INQUIRIES Sheryl Acheson +1 (971) 727 7797 sheryl.acheson@bonhams.com sell.bonhams.com
LYNNE DREXLER (1928-1999) Grass Symphony , 1962 Sold for $957,975
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r e g e n c y inspired innovation in real estate & lifestyles n winter 2024 the curated biannual journal for a discerning population segment of pioneers, seekers, wanderers, creators and leaders. ADVISORY COUNCIL the advisory council is an unpaid informal collective of thought leaders who provide The Horswell Collection™ with a global perspective on trends, market conditions, and themes of importance to the demographic. Affiliations are for the purposes of identification only. JUTTA ALLEN | CHAIR Arts Patron Portland, Oregon RICHARD J. HORSWELL Principal Creative Executive, Regency Media LLC Portland, Oregon SUSAN MATHESON FERRIS | VICE-CHAIR Public and Government Affairs Counsel Edina, Minnesota CONSTANCE C. CRASS Executive, CAA Los Angeles, California ARGENTINA ERDMAN Consul & Cultural Attaché to Chicago (Ret), Estados Unidos Mexicanos Portland, Oregon JEAN EVES Community Leader
Richard J. Horswell Publisher
w e l c o m e
As Ginette dePriest, the wife of the late iconic Maestro of the Ore- gon Symphony James dePriest, announced as she greeted us upon entering the Arlington Club in Portland for a pre-event cocktail party before the Symphony’s Season Opening Gala circa 1998, “Welcome to my party.” That said, “Welcome to Regency!” This inaugural folio is the result of research to offer a cross section of thought leadership and whimsy, appealing to a select demographic who demands intellectual enrich- ment and a glimpse into the past with a keen eye on future trends of the “state of living.” You join an estimated 25,000 participants in a forum designed to of- fer compelling content, pondering what legends you might inspire in our diverse communities, and reaching to the stars to discover addi- tional ways to maximize lifestyle where skies present no limit. Thank you for being a member of this international audience and I hope that you’ll enjoy this “art edition” where the visual arts take on many forms. You’ll find forecasts, stories of hope, calls to action, and a bevy of fun-filled and inspiring personas along with a little real estate and enduring brands that resonate an intentional spirit that suggests a rallying cry to “remember not just to live, but live well.”
Lake Oswego, Oregon SHANNON K. HAWKINS Principal, Hawkins Investment Properties Vancouver, Washington LEAH Y. KING Vice President, Sales, Fidelity National Title Portland, Oregon DEBRA KRAFT LIBERATORE Community Leader Sarasota, Florida WILLIAM B. LONG III, MD FACS Trauma Medical Director, Legacy Emanuel (Ret) Portland, Oregon DANIEL MERRIMAN Stoller Tualatin, Oregon JEFFREY L. MILLER, AIA Principal, Jeffrey L. Miller Architect, P.C. Portland, Oregon JUIIANNE HOWA MORRIS CEO (Ret), Willamette Communications Portland, Oregon MUFFIE LATOURETTE SCANLAN Real Estate Broker Scottsdale, Arizona & Portland, Oregon
COVER Renowned style director Marie Saturn wearing a legacy ensemble and estate jewels in 2009 from Portland’s former
Saks Fifth Avenue store. Interior by Karol Niemi.
private advisory publisher | Portland, Oregon www.regencymediapartners.com
Appearance by any individual, organization, or business featured within this folio does not constitute an endorsement of any service offered by either Regency Media LLC or The Horswell Collection™ at Windermere Realty Trust, a separate entity. Content contained herein is presented at the sole discretion of Regency. Regency has a strict policy prohibiting advertorial. All content is by invitation. Reproduction of content in whole or in part is strictly prohibited
without the express permission of the publisher. © 2024 Regency Media LLC, All Rights Reserved
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Special thanks to Cameron Perkins Photography for capturing the essence of the legends within Regency in addition to our corporate and organization partners who are valued contributors.
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ONLINE
welina! Our ladies in the sand, Mimi Thies and Marge Becker, have been singing the songs of Oahu for a combined 80 years of extend- ed Winter stays. Their favorite stomping grounds, the famed Halekulani (House befit- ting Heaven), frames the scene for their first set of recommendations from Hawai’i: Seek out veteran bartender Wing Liu who proudly suggests that “all the cocktails are my signature.” With a tenure of over 40 years at Waikiki’s finest five-star resort, he should know.
The House Without A Key is the Halekulani’s gathering spot for sun- set cocktails, appetizers, and Hawai- ian entertainment. Drink in memora- ble sunsets under the 130+ year old Kiawe Tree with views of the Pacific Ocean and Diamond Head. Visit the property to explore the rich history as the first site where Polyne- sians settled in Waikiki Beach. Waiki- ki, meaning “freshwater springs” in Hawaiian, has long been considered a place for hospitality and healing, known for its curative waters. The late Princess Kekau would be proud. www.halekulani.com
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Fine Art + Use Tax = ?
By Jennifer Young When you buy artwork, you invest in your future appreciation in several senses—enjoyment of sheer beauty, support of artists and other makers, and potential literal value appreciation. The investment has several costs besides the payment for the work of art itself: commissions, shipping, insurance, and potentially sales tax on the purchase. An Ashland, California buyer may pay over 10% in com- bined California and local sales taxes while an Idaho buyer will pay 6%. Montana and Oregon buyers pay no tax as these states do not have a sales tax. States with sales taxes also impose “use tax” on purchases made with- out paying sales tax. As an example, an Ashland, California resident who buys furniture while in Ashland, Oregon pays no sales tax on the purchase, as Oregon has no sales tax. However, California laws require that the resident report this purchase and pay all applicable state and local sales taxes. Other states have similar rules—taking ownership of taxable property in another state does not eliminate sales tax, even if the seller doesn’t collect it on the original sale. Some states, however, provide exceptions. Setting up a nonprofit such as a private art museum may allow works of art to be purchased without paying sales tax. This may be suitable for large collections, and can pro- vide some additional tax benefits beyond sales tax savings, but what if you are purchasing just a few pieces as gifts for others or for enjoyment in your home? In this case, lending your artwork to a public museum if properly structured may allow you to purchase art without incurring a sales tax obligation. Here’s how it can work: 1. You plan to purchase a piece of art. 2. You arrange with a museum in a state that does not impose sales taxes to exhibit your artwork for a period of time. Currently, Del- aware, Montana, New Hampshire, and Oregon are the four states without a sales tax. (Alaska is often included in this list, and Alaska has no state-level sales tax, but several local jurisdictions in Alaska impose sales taxes—sometimes at rates higher than other state’s sales tax rates.) 3. Upon purchase and before you take possession of the art, it is sent to the museum on loan. 4. Your art is exhibited for a period of time. 5. When you first take possession in your own state, this possession isn’t considered “first use” and is therefore not subject to sales tax. Several museums including the Delaware Art Museum in Wilmington, Delaware; the Hood Museum of Art in Hanover, New Hampshire; the Jor- dan Schnitzer Museum of Art in Eugene, Oregon; and the Portland Art Museum in Portland, Oregon, have all exhibited private works on loan. In 2023, the Portland Art Museum hosted Sandro Botticelli’s Madonna of the Magnificat, which had been purchased by a private collector from the estate of the late Paul Allen. Of course, it’s not known whether the owner is even subject to sales tax, let alone whether the loan was structured under sales tax rules, but the Magnificat is a recent example of significant artworks purchased by private collectors and exhibited under temporary loan. The Jordan Schnitzer Art Museum posts information regarding its Shared Visions program on its website. Works on display in Septem- ber 2023 include Jean-Michael Basquiat’s Valentine and Henry Taylor’s From Congo to the Capital, and black again. While the process described above may sound complex on its own (it is) there are many other factors to consider. It is important to confer with your tax advisor regarding specific tax implications in your state as they
PHOTO Stimmungsbilder1 - stock.adobe.com
vary from state to state and change from time to time. If you determine it’s a good option, since it is essential to place the art before your state considers you to have first use, discussions with the museum should be- gin early. There may be additional costs associated with the exhibition, such as additional shipping and handling charges, security, insurance, and storage if the museum can’t exhibit the work directly after your pur- chase, among others. It’s also important to note that the IRS doesn’t al- low a deduction for the use of the art. Along with the financial and tax implications, you may want to consider non-financial aspects such as the exhibition context and any information the museum intends to provide with the artwork. You may want to in- clude your legal counsel regarding these aspects and to review terms of the loan. If you reach an agreement, you can receive sales tax benefits, as well as the knowledge that you have provided the public what may be one last look at a masterpiece. An example of a Francis Bacon painting at the Museu de Arte Contemporânea - Coleção Berardo (above). Francis Bacon’s Three Studies of Lucian Freud triptych was sold in November 2013 for US$142.4 million to collector Elaine Wynn, which at the time was the highest price attained at auction for a work of art when not factoring in inflation. It was housed at Portland Art Museum before heading to its final destination. It is estimated that nearly $11 million in use tax would be avoided by displaying the artwork in Oregon, however details are known only to the collector.
Jennifer Young, CPA Director | Moss Adams
Jennifer has provided tax assistance to large multistate companies since 2002. She delivers state income, franchise, sales, Oregon CAT, Portland CES, Washington B&O, and property tax experience in multiple industries, with a specialization in transportation and logistics.
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A GLOBAL PIANO EXPERIENCE Visit our showroom at 3003 SE Milwaukie Ave in Portland to see, hear & play an extraordinary selection of new and used pianos from the world’s greatest makers
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Her teachers told her to save the money because “Artists are born, not taught.” Marilyn Murdoch says that was an accurate assessment, as her art passion was in display. “When I was a youngster, I would cut my parents’ art books apart, put the pictures on my bedroom wall and draw frames around them. Henri Rousseau, Sleeping Gypsy (1897), was my favorite,” she remembers. With a framing history that started in 1974, Murdoch began her ca- reer as a sales designer learning the basics of framing and business. In 1984, she created Framing Solutions to offer services to hotels in volume art and framing. Meeting Dennis Katayama that same year, he had a frame shop dedicated to historic frame design, gilting and ex- panded art services where she became manager while also running the other commercial enterprise. The success resulted in a funda- mental question: leave, or merge with Katayama Framing because of the strain on both businesses. On short order, they outgrew a tem- porary space and doubled in size to 10,000 square feet across the street to the current location at 2219 NW Raleigh, Portland. After her children went into grade school, she studied and became a docent for the Portland Art Museum. “I had the interest, but not the courage to do a good job. My first docent tour was with a group of 12-year-old kids who were only interested in nudes. A museum guard threatened to throw us all out if I could not get them under control. On that day and on my way out in tears I ran into [the late] Gordon Gilkey, the museum’s Curator of Prints and Drawings. He asked me what was amiss and when I told him he suggested I come work with him as a volunteer assistant to him and his print collection. I accepted and worked with him for 10 years and he changed my life.” Gilkey referred many people to Murdoch’s services throughout the years, including their most expensive job to frame a Picasso paint- ing from a New York auction priced at $3.2 million. The firm retains its earned placement as the trifecta winner for numerous collectors who trust Murdoch’s staff to frame, place, and light artwork of note throughout the city and beyond. Marilyn’s daughter Sally works in public relations while her son Peter manages Katayama as its vice president. “Something extraordinarily exciting for me is my son’s dedication to creating his own line of archi- tecturally-inspired carved frames that, like our revered centuries old frames, will be honored for lifetimes.” His designs are seen on Instagram @hillside_frameworks. While Pe- ter represents the second generation woodworker in the family, Kata- yama announces the addition of Petra Murdoch, his daughter, as the newest third generation of its framing dynasty. Katayama serves many artists and galleries on the West Coast and felt the need to give back by investing in community arts. One obvi- ous way was to purchase from local art dealers and art producers. The outcome of this amassed art was beyond wall placement and storage and she opened a gallery in the Wonder Ballroom basement with Mark Woolley in 2005 called Guestroom Gallery. “It was a new idea for Portland. I would choose those artists who represented ex- cellence and innovation in their medium then ask them to select their favorite artist and curate an exhibition.” This became a platform for The Murdoch Collections where several thousand art pieces are ac- cessibly stored. “Its my favorite client experience to watch people look through the slots, contemplate a purchase, and bring more peo- ple back to view. It’s my chance to visit my own art.” More information: www.katayamaframing.com
Marilyn Murdoch mixes with thousands of artworks daily within her collections. PHOTO: Cameron Perkins Photography
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Celebrating for over a century. Headwear / Clothing / Accessories
Has The Patient Been Forgotten ? WILLIAM B. LONG, PRINCIPAL ARCHITECT OF OREGON’S LEVEL-1 TRAUMA SYSTEM, THINKS SO There’s a certain joy when a first responder or surgeon helps someone become one of the unexpected survivors from a trauma incident. Bill Long has framed his entire career as a physician and surgeon around the simple notion that everyone, despite income level or situation in life, deserves high quality medical care when it is need- ed. In a time when priorities and politics are radically shifting the paradigm of quality care, he has devoted his retirement to sounding an alarm bell throughout the system to heed a warning so patients are not forgotten by the system built to care for them. Coming from a long line of medical professionals, Bill’s father, grandfather, and uncle (all were esteemed doctors in their own right) begged him to choose any other profes- sion than their own. They knew there was a distinct possibility that the harsh realities embedded in the current healthcare system would cause discomfort and deflect his long-term vision of hope. Over time and through significant training, he turned the odds in favor of the patient by becoming an international expert in trauma case sever- ity scoring and the opportunities to create a Level I Trauma Center at Legacy Emanuel Hospital in Portland, Oregon in 1982 and the Oregon Trauma System in 1988. As many medical professionals generally operate in “silos,” Dr. Long set a plan in motion to break down barriers to create a patient-first environment. “Look at how a hospital is designed by departments,” he explained. “Radiology is on one floor and surgery is on another, often widely separated. Time is of the essence.” Long designed a state-of-the-art trauma center adjacent to the ambulance bay and emer- gency department. He also trained emergency physicians and nurses to work as a team to diagnose a stable trauma patient within 20 minutes of arrival, Emanuel was the first hospital on the West Coast to have a dedicated emergency CT scanner in the new trauma center. Long then took his theories on the road. He created the mobile surgical transport team (MSTT) and armed first responders and rural hospital staffs with the knowledge on how to initially stabilize patients with critical need. “When you go somewhere in this region and are in need of care - we will come to your emergency department, stabilize you, and bring you back to our trauma center to fix you.” He further devel- oped a foundation that funded workshops to train doctors in rural hospitals on certain protocols and techniques for stabilization. Buy-in is easy once people answer one question: “Do you want this service for you if something happens?” Dr. Long’s commitment to the patient transcends that of a traditional health system architecture, which is built on a hierarchy of knowledge and expertise. He feels that those who are new to medical careers could use a clear refo- cus on the direction of individual practices. “Medicine can be lucrative,” Long notes, having received his fair share of patents and rewards for quality care along the way. “But, we can never lose sight of the most important reason why we choose this career - the patient comes first.” Long chose trauma as a career because he felt no one else wanted to take care of the patients with the highest need. “You cannot offer a certificate to practice thoracic surgery in three days,” he explained. “This requires mentorship, long hours, on-call commitments, and things that the medical professionals of tomorrow must re-learn as a matter of quality care.” He claims a system that should be designed to provide timely and effective care to pa- tients has become riddled with self-interest at all levels of health system management. “There should be no ‘profitability’ in ‘non-profit,’ he emphasized. Long references his desire for a denconstruction of healthcare administration to new patient care system based on service. In retirement, he commits his time to sharing knowledge from a career of more than 50 years dedicated to the “patient first principle.” He provides podcasts on the topic, will soon publish a book on his experiences, and is proactive about keeping the voice of the underserved at ‘top of mind.’ Dr. Long’s podcast is available online at: flatlinetolifeline.buzzsprout.com
William B. Long, III, MD FACS Trauma Medical Director (Ret) Legacy Emanuel Hospital
facts of trauma
Emanuel’s Trauma Program: 1. First hospital in the Pacific Northwest to:
a. Provide trauma fellowship, trained attending surgeons and anesthesiologists, and a trauma nursing OR crew to be in the hospital 24/7 to enable immediate surgery. b. Provide by contract with specific surgical specialists’ groups that each critical surgical specialist on call for that specialty would on call only for trauma and be in the trauma center within 30 minutes: Neurosurgery, OroMaxilloFacial Surgery, Cardiothoracic surgery, Orthopedic surgery, Vascular surgery, Urology. c. Educate and train nurses in the ER, OR, and ICU to be trau- ma specialty nurses or Trauma Resuscitation Nurses (TRNS) to stay with each trauma patient as the patient was moved from hospital department to department to document and provide continuity of care. d. Build a state of the art trauma center near the ED ambu- lance entrance, next to the trauma operating rooms, near the Emergency Department, and trauma ICU, and the satellite STAT laboratory and blood bank and cat scanner, e. Place a trauma dedicated trauma cat scanner in the new trauma center f. Direct to OR for unstable trauma patients. No surgery in the Emergency Department which is not an operating room. g. Create a Mobile Surgical Transport Team (MSTT) to fly to rural hospitals with patients too unstable to transport. h. Create a mobile blood bank to take with the MSTT to provide essential blood components which many rural hospitals don’t have i. Use a portable cardiopulmonary bypass machine to take with the MSTT to hospitals requesting assistance j. Develop a trauma CQI program for rural hospitals to help them address delivery of care. k. Training scholarships for rural surgeons and rural scrub nurses to learn how to work together as a team when using new technology and operating skills.. l. Establish a trauma training program for the Madigan Army Medical Center surgery residents to learn how to do mod- ern trauma care. m. Develop a multidisciplinary trauma CQI committee which in- cludes all surgical specialists, anesthesiologists and trauma nurses. 2. Develop the first western statewide trauma systems based on many of the principles described above.
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Television celebrity Amy Roloff said it best at an annual gala celebrat- ing the accomplishments of Bridge Meadows: “It’s a business case.” Bridge Meadows is an innovative concept that creates and inspires in- tergenerational communities to enrich the well-being of children, fami- lies, and elders. By providing a platform to create permanent adoptive family situations for high-risk foster children, the organization has - on short order - achieved its vision to create a world where every gener- ation is cherished. Beginning in 2004 after being inspired by the book Hope Meadows by Wes Smith, Portlanders Rhonda Meadows and Pam Resnick toured the Rantoul, Illinois Hope Meadows Community firsthand. After a weekend visit, they said “Let’s do this,” and set their goals to create a similar type of community in Oregon. After a six-year process that included local support from the City of Portland, the square block campus opened in 2011 with nine family homes able to accommodate three to four children and their adoptive parent/s and 27 apartments for elders. Children benefit from wisdom of years of life experience from the “grandparent figures” who hold the keys to such benefits as a library and computer room, and a weekly “Happiness Hour” brings the entire community together. Under the leadership of Executive Director Derenda Schubert, PhD, the experiment has been so successful that it won The Eisner Foundation’s “Eisner Prize” for its intentional design for parents, foster children, and low-income adults. Other entities took note and a similar campus was opened in Beaverton, Oregon in 2017 and Redmond, Oregon in 2021. Schubert and her team have built a sustainable, results-driven organi- zation that includes trauma-informed architectural design. While the work has been successful and saves an estimated $1 million per child in future costs, Schubert is constantly fielding calls from municipalities and other groups throughout the country to learn how to implement their own successful versions of the flagship “enterprise” of hope.
Derenda Schubert, PhD, Executive Director, Bridge Meadows Learn more at: www.bridgemeadows.org
Tale of two Philanthropies a business case for giving
With a goal to build dignity, restore power, and promote autonomy, Path Home empowers families with children to get back into housing and stay there. By envisioning a community where no family experiences homelessness and where they receive the support and compassion necessary to thrive, the organization has evolved from its beginnings as the Goose Hollow Family Shelter in Portland, Oregon’s First United Methodist Church to a multi-dimensional model that includes Life Lab Skills Training (tenant education, life skills, parenting) and case man- agement. Since its founding in 1994, the organization has grown exponentially to meet the needs of the changing environment in Portland. Brandi Tuck, the organization’s executive director, started in 2005 as a volunteer kid time and overnight host and has shepherded its development since assuming the leadership role in 2007 when Path Home had four part- time paid staff, including Tuck. Path Home provides trauma-informed, culturally competent services to over 500 families annually (over 1,800 children and their parents). Path Home uses trauma informed care in its programmatic practice with families. Trauma-informed care is a strengths-based framework that includes an understanding what happens in the brain when someone experiences psychological trauma like homelessness, and a commit- ment to respond in a way that emphasizes physical, psychological, and emotional safety for both clients and providers. It is the first and only shelter in Oregon featuring trauma-informed de- sign and architecture. The result is 3,021 families served since its in- dependent operation in 2008. With a housing-first model, 87% of its families have kept their housing long-term.
Brandi Tuck, Executive Director, Path Home Learn more at: www.path-home.org
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John Goodwin, Director of Community Philanthropy at the Portland Art Museum with its Africa Fashion exhibit. PHOTO: Cameron Perkins Photography
Moving to Portland in 1995 to care for a family member battling can- cer, John Goodwin fell in love with the city and never looked back. His lifetime work has been dedicated to hospitality and promotion of many Portland institutions along the way. One of those pivotal moments as the State of Oregon continues to enhance its commitment to diversity was a site visit to the Victoria & Albert Museum where he was part of a team from Portland Art Museum reviewing opportunities to bring the Africa Fashion exhibit to the Pacific Northwest. “One of the V&A trustees suggested that they had experienced one of the most diverse audiences to ever visit and was extremely popular, so our leadership jumped at the chance to participate as the only West Coast stop,” Goodwin said. As part of a Black Artists of Oregon exhibit, he also placed one of his own pieces on loan for display. His personal collection also contains works not exhibited that include those by Otis Quaicoe, Jeremy Okai Davis, Tristan Irving, Carrie Mae Weems, Shedrich Williams and Ralph Chessé. The youngest of seven children, Goodwin considers family matriarchs ART: [IT’S RELATIONAL]
as major influences throughout his life. “Kind, respectful, and grateful to everyone no matter who they are or their financial status” are guideposts that have led him to be a trusted philanthropic advisor to museum do- nors. Keeping the Portland Art Museum at top of mind is a priority. The financial goal for the long-awaited Rothko Pavilion is $141 million. The late renowned abstract painter Mark Rothko spent his childhood in Port- land and had his first exhibit in the city. “We are $21 million from our goal and are actively searching for leadership gifts to fully fund the project.” Art makes John think about his childhood and the struggles of his com- munity and how they survived and are surviving now. By using art as a statement, he believes that black art and culture can provide visual con- text to many issues that are still relevant to examine today. Advice to developing collectors: “buy only what you LOVE LOVE LOVE. If you can walk away and can’t get it out of your mind, that’s a good sign you’ll enjoy it for a long time. Go back and bring it home!” More information at: www.portlandartmuseum.org
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SUPERYACHTS PORT HERCULE
44-X-Space Sanlorenzo
PHOTOS ©Monaco Yacht Show
of sustainability was at the forefront of all discussions, capturing the at- tention of the media, visitors, and exhibitors alike. The crucial role of the Sustainability Hub in promoting more responsible practices within the industry was fully realized by providing an exceptional showcase for clean energy solutions. This incubator for companies specializing in eco-friendly solutions, selected in partnership with the Water Revolution Foundation, holds crucial importance as the yachting sector continues to evolve toward higher sustainability standards. Tickets will be available in the near future including the sought-after Sapphire Experience Pass. More information about the 2024 show: www.monacoyachtshow.com
The 33rd edition of the Monaco Yacht Show (MYS) takes place Septem- ber 25-28, 2024 in Port Hercule. The 2023 edition was marked by en- thusiasm shared among all stakeholders in the yachting sector. The MYS was hailed as an essential and powerful media and commercial catalyst, underscoring its importance of the MYS in addressing societal and envi- ronmental issues that have become intrinsic to the development of the yachting industry. Featuring a diverse exhibition showcasing 565 exhibitors and a fleet of 117 superyachts, with increased attendance from potential clients (11,634 private visitors out of a total of 27,223 visitors), MYS 2023 reinforced the industry’s recent shift toward more responsible navigation. The theme
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Hamoody Houdroge with a variety of haute couture packaging for an incredible array of unmistakably rich
Lebanese chocolate flavors. PHOTO: Cameron Perkins Photography
signatures
His father’s youngest brother was rumored to have settled in Portland in 1970 after he and 10 friends applied to multiple universities across the U.S. They decided to all go to the state of the university that selected the majority of them, and Hamoody Houdroge’s path toward Oregon seemed inevitable as more of his father’s family moved out of Lebanon due to the continuing civil war. He followed and moved to the city in 1987. He revisited Beirut in 2000 for a wedding with his girlfriend with the intention of showing her the country through his eyes, and happened to pay a visit to the Hamoush family, childhood friends and owners of a renowned chocolate factory with boutiques throughout Lebanon, the Middle East, and Europe. Once she tasted their chocolates, she could only think about how to import them to the U.S. for sale. After two years of convincing the family, the first store in The Gregory in Portland’s Pearl District opened on March 3, 2003 as Verdun Chocolates . Now approaching its 21st year in the same spot and expanding and contracting throughout the various phases of downtown retailing and changes, the pronounced packaging of hand-wrapped colorful foils still sets the tone for elegant host gifts with a sweet edge. “The approach shouldn’t be novel,” Hamoody explains. “Just like any- thing of value, the packaging is the first thing you notice before you sample what’s inside. If your packaging is elegant, it should be certain
that what’s inside is a sweet treasure on its own.” The presentation couples on the firm’s virtue that exquisite flavor and texture should be beautifully presented. That is the formula that makes Verdun the ultimate choice for occasions of all types. In addition to the delicious taste, he also lists the benefits of how the company’s product is made. “Gluten-free, low sugar, no preservatives, organic, and no GMOs are the hallmarks of success with this type of product,” he notes. “We have served anyone and everyone who has come into our store in a welcoming way that showcases the product as the celebrity. The tradi- tion of fine product within fine packaging is meant to evoke that special feeling as they walk through this door.” While producing such a diverse portfolio of flavors is rewarding, he does make time to spend time with his two daughters, traveling, snowboard- ing, camping, and river activities. “I can see what kept my uncle here so many years ago,” Hamoody thinks back to a different cultural landscape. “We know that everyone loves the finer things in life, and that Verdun is there to always provide a special and unique gift for someone who has everything. Like fashion, these are statement pieces, but edible.”
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Regency’s Car of the Year A 2020 YouTube video of the world digital premiere of the Mercedes-Maybach S-Class piqued interest in this vehicle. In the video, Mercedes-Benz Group Chairman Ola Källenius compares the evolution of this best-in-class automobile to a French chef determined to create the best stone-baked bread in the world. He says that “little overture” of the culinary ex- perience was a precursor and something not expected, ex- cellence right down to the last detail. Find the video post at: privateclientstandard.blogspot.com Fast forward to 2024 - the S 680 Mercedes-Maybach continues to demonstrate that luxury is not as the company notes “opu- lence and wastefulness,” but today Källenius suggests that they would “rather understand it as a state of great comfort, ease, and timeless aesthetics.” www.mbusa.com
PHOTO Mercedes-Maybach S-Class Night Series Courtesy Mercedes-Maybach (2023)
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PARADISE REMEMBERED
Anyone over the age of 50 has an almost immediate identifica- tion with this backyard in the Holmby Hills area of Los Angeles. It beckons viewers to ponder with trepidation the phrase, “who wants to go swimming?” The home was the backyard scene of the 1981 film Mommie Dearest starring Faye Dunaway. 355 South Mapleton Drive is located on one of the most ex- clusive streets in the United States that also counts The Manor, Los Angeles County’s largest home at 55,000 square feet, as its neighbor. The 1.66 acre 6,055 square foot home along with its tennis court and iconic pool are now a memory of the past as tastes in design and functional living change throughout time. Designed by in 1939 by architect-to-the-stars Robert Finkelhor, 355 Mapleton exuded traditional Hollywood elegance as a home built for motion picture pioneer Allan Dwan. With an evolution in entertaining styles, smaller purpose-oriented rooms have giv- en way to larger gathering spaces to facilitate aspects of new lifestyle trends. The $18.8 million sale was curated through the work of Christophe Choo at Coldwell Banker Global Luxury. The new owner, who maintains several properties in the area, is exercising a flair of creative energy as many new residents have in this particular sector of the Bel-Air/Beverly Hills area. In addition to this property, an adjacent property once belonging to Hugh Hefner and directly behind the back gate to the Playboy Mansion was also purchased to allow for a particular flow with the new residence currently under construction.
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Christophe and his wife Gabrielle have built a uniquely recog- nizable and unstoppable brand presence in the Beverly Hills community. In the social media spectrum, it is hard not to notice the genuine spirit in how they experience life and career bal- ance. A core love of every facet of the luxury sector is evident, but never forced. He also shares his knowledge through speak- ing engagements throughout the world and is a consistent top producer known for innovation in marketing. Building his real estate practice over a period of more than three decades, he was an early adopter of making the Platinum Triangle accessible to an international audience through adept storytelling, hints, and value-added specialized information. Analysis of his business also showcases the skilled artform of negotiation and an ability to naturally guide a transaction to- ward success that rallies all real estate professionals to a higher standard.
Marketing a property of this magnitude requires an extraordinary and creative skill set to make sure it can be a durable commodity for a sometimes-extended absorption rate at a significant price. In the luxury space, exceptional work is the point of entry for brokers who have a recognized footprint in representing banner properties. Christophe Choo maximized the opportunity to present not only an estate but a property steeped in the culture of filmed entertainment lore. From re-imagining the entire property design for a modern life- style interpretation while carefully respecting the past, he ultimately delivered on client goals through his persistent and patient persona. More information: www.christophechoo.com
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7 NO TRUMP
Not a political statement - but the highest possible bid in the card game of Bridge if “re-doubled.” A re-double occurs when a player has enough confidence in their hand of 13 cards, combined with their part- ner’s, to make their contract and get even more points, after the oppo- nents expressed doubt that the contract would make by “doubling” it. This is one of many complexities and the intricate language of bidding that Zack Woodbury has mastered in a short 13 years, obtaining the rank of Bronze Life Master in the game. Realizing that “bridge” was a not a common name that most 30 or 40-somethings would associate with playing cards, he turned to his rolodex to craft a novel international first on many levels: a sequence of instruction leading up to the creation of the world’s first Gen X / Millen- nial gay men’s bridge group that has been thriving since its inception in January 2012. He just simply enjoyed the game and wanted to teach his friends, never imagining this would become a group having such a positive impact on so many lives. Woodbury used a distinct model for fostering the fledgling group. “I used to be in a fraternity and was always part of recruiting new mem- bers. I later owned a recruiting company so I knew a thing or two about persuading people to try something new. People like to be around their peers. I simply taught my friends how to play bridge, we post- ed pictures of ourselves playing and having fun, and then friends of friends wanted to be part of this.” Located in Portland, Oregon, Woodbury remembers back to his child- hood interest in the game. “My mom has played since she was nine, and I can remember her bridge parties where there would be tables throughout the house when I was a kid. I had to stay in my room when this took place so I was always curious but only could sneak glimpses of what they were doing,” he said. Self-taught from online sources, his family also has a long history with the game. The first wife of his great uncle, Betty Rossmann, had more master points than anyone in the City of Portland and recently died in 2021 as a “Platinum Life Master.” He also enjoys an occasional game at the Multnomah Athletic Club, of which his great-grandfather was pres- ident in 1947. Zack has competed against celebrities like James Holz- hauer and Joshua Donn: James, known as “Jeopardy James” for being the second highest all-time winner in Jeopardy, and Josh as one of the youngest Grand Life Masters in Bridge. “I played against them in a tour- nament in January with my friend Michael Pham and got first place!” Now 46, he is technically retired after a career in investment banking and acquisitions. He received a finance degree from the University of Oregon and MBA from UCLA. Bridge has had other benefits including meeting his life partner Matthew Dudley who joined the group as a new player in 2015. Between his parents Sid and Judee Woodbury, he is the youngest of a blended family of six children. The gay men’s duplicate bridge group lives on and has naturally spread its wings beyond a weekly game. Activities now include vaca- tions, birthdays, parties, dinners, hikes, trivia and other game nights. “I’ve seen people get new jobs from people they’ve met at bridge, new roommates, and occasionally a relationship,” he notes. The group has also earned national attention in the Bridge world, and was featured in the May 2016 Bridge Bulletin, which is the monthly magazine of the American Contract Bridge Leage (ACBL). Advice for aspiring bridge players: “You’re going to get beat up nu- merous times before you get good, but you’ll be glad you didn’t quit.”
Zack Woodbury with all the tools for duplicate bridge game play. PHOTO: Cameron Perkins Photography
BRIDGE PLAYING RESOURCES Beverly Hills Bridge Club www.bridgewebs.com/beverlyhills/ Palm Beach Bridge Club www.jourdanspalmbeach.com Palm Springs and the entire Coachella Valley Bridge Club www.duncanbridgecenter.com Portland Bridge Club
www.portlandbridgeclub.com San Francisco Bridge Club www.unit506.org Seattle Bridge Center www.seattlebridgecenter.net
American Contract Bridge League www.acbl.org Many private social clubs offer significant opportunities to play bridge. Consult a member services staff for additional information.
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Agatha Christie and her noble cast of characters will not be on this journey that has a history for hosting famed parties and intriguing guests, among them spies, authors, ambassadors and royalty. Hospitality scion Belmond has a reputation for memorable connections made through storied experiences. In 1976, Belmond’s founders received the keys to the leg- endary Hotel Cipriani in Venice. A year later they began col- lecting the carriages for the Venice Simplon-Orient-Express, launched in 1982 to whisk travelers to La Serenissima in style. Enter a world of timeless glamour, where each carriage holds a new experience to be discovered. Be wined and dined in meticulously restored 1920s dining cars before raising spar- kling toasts in iconic Bar Car ‘3674’ (pictured above). Between plush cabins and palpable history, an astonishing journey awaits. For the first time in its history, the train embarks on a new journey connecting two iconic destinations: Paris and Portofi- no; the sojourn continues at Splendido where the train’s Chef, Jean Imbert, hosted a Gala Dinner for its inaugural trip. Due to popular demand, the legendary train will also add a sec- ond Paris to Istanbul return journey, in addition to its regular August itinerary. Its first alpine journey headed to the French Alps in December 2023 will return again this December. Fol- lowing the success of the introduction of Grand Suites and Suites onboard the train, eight new suites will join the rake in 2024, bringing a total of 16 Suites and six Grand Suites. Belmond joined LVMH Louis Vuitton Moët Hennessy in April 2019, reinforcing its place among the international leaders in luxury. For over 40 years they have followed a pioneering spirit and passion for authenticity to create and uncover some of the world’s greatest travel adventures. www.belmond.com “Ticket for one . . . . . . the name’s Christie.”
PHOTOS Courtesy Belmond
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art foreward
Jordan Schnitzer’s leadership role in advancing the ex- pression and public appreciation of art cannot be disputed. The newest treasure and gift to the region from his seem- ingly boundless creative thought process is The Schnitzer Collection in Portland, Oregon. The new space features rotating shows of artwork selected from the Jordan D. Schnitzer and his Family Foundation’s collection of over 22,000 works. Through March 30, the “We Are The Revolution” exhibition occupies the space. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both social commentary and aesthetic experimentation from the 1960s to today. Driven by the conviction that history is construct- ed through continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and reveal connections among historical and contemporary artists and artworks. It is curated by Converge 45 Guest Curator Christian Viveros-Fauné. Schnitzer is committed to making art from the collections of Jordan D. Schnitzer and his Family Foundation accessible to qualified museums in diverse communities. Since the program’s inception, the Foundation has organized over 160 exhibitions and has art exhibited at over 120 museums. “For me, waking up each day without art around me would be like waking up without the sun. When you live with art around you, your mind and soul are filled with the beauty of life and the creativity of the human spirit,” he said. www.jordanschnitzer.org
Retired Oregon State Senator Betsy Johnson and Jordan D. Schnitzer.
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PHOTOS Courtesy The Schnitzer Collection
YOUR ICONIC DESTINATION FOR LUXURY AND CONTEMPORARY FASHION.
Jonas Nordwall amongst several of 6,700 pipes within the Mary L. Collins Memorial Pipe Organ. PHOTO: Cameron Perkins Photography
When at 16 he gave a command performance on the accordian before King Gustav VI Adolf of Sweden, Jonas Nordwall’s eventual career as one of the most celebrated virutoso organists in the world was the last ambition he had pondered for his future. While he began his musical studies at age four, his lifelong love of the pipe organ bloomed in high school where he perfected the craft to become equally talented in both classical and theatre genres of musical presentation.
guests at homes of friends like Phil Maloof, his favorite venue was located on Portland’s Skyline Blvd. at the estate of Howard Vollum, Tektronix founder and father of Oregon’s ‘Silicon Forest.’ Vollum built a music pavilion on his property that was the rival of a concert hall, and Jonas regularly led ‘music salons’ with divas like Opera Star Gloria Cutsforth Allen as they recorded albums of Vollum’s favorite tunes that still live on today.
Nordwall joined Portland’s First United Methodist Church (FUMC - the oldest church congregation in the city) music staff in 1971. As organist for what is commonly known as one of the finest music ministries in the United States, he also has over 30 highly-acclaimed recordings on a variety of labels. In addition to his musical performances, Nordwall has been a major influence in the latter 20th century design and manufacturing of both pipe and electronic organs. He has performed in North America, Japan, Europe, China and Australia. Notable national television appearances include the Today Show and Good
In the present time, he is still enhancing the Mary L. Collins Pipe Organ at FUMC after it earned the title as the largest pipe organ in the Pacific North- west funded by a grant by both the Collins Family and their foundation. Debuting in 2007, it contains 6,700 pipes and 114 ranks and was rebuilt and sig- nificantly expanded to include non-traditional musi- cal effects. It is considered the most technological- ly advanced instrument of its kind in the world. “Generosity has fueled the expansion of opportu- nity and appreciation of the pipe organ in recent times,” Nordwall suggested. “We are lucky to have an instrument of this magnitude that everyone can
pipe dreams
Morning Australia . As organist for the Oregon Symphony Orchestra during the tenure of Maestro James DePriest, Nordwall was a soloist for several concerts and recorded with the orchestra on the Delos label. Mastering an instrument like the organ opens many pipe chambers along the way to a smattering of individuals with the financial wherewithal to install them in private residences. While he delighted
claim as a musical treasure of the city.” With almost 60 years of invention and a host of stories in his ev- er-expanding repertoire, he hasn’t contemplated retirement and just produced a concert to pay tribute to the now-closed popular Organ Grinder Restaurant in Portland where he was senior organist to hon- or its would-be 50th anniversary in 2023. “Why would anyone quit when there’s so much more to do?”
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With Oregon’s adventurous spirit as their guide, Brad Whiting and Seth O’Malley began a two-year journey of experimentation. Free from the confines of traditional thinking, they combed Seth’s vast li- brary of botanical samples, created dozens of unexpected combina- tions, and experimented with various production methods. A shared vision to elevate non-alcoholic cocktailing led to found- ing Wilderton in Hood River, Oregon. Using raw botanicals sourced from around the world, the company draws from traditional methods of tea making, perfumery, and spirits distillation to transform raw botanicals into bold, complex, delicious non-alcoholic expressions. not without . . .
Stripe’s Type: A citrus-forward concoction that’s mouthwateringly tart and juicy with a smooth, balanced finish. Ingredients p 1.5 oz. Wilderton Lustre N/A Spirit p 1 oz. Wilderton Bittersweet Aperitivo p 1 oz. Grapefruit Juice p .5 oz. Lime Juice Directions p Shake with ice cubes and fine strain into a chilled coupe. p Garnish with a lime wheel.
www.wildertonfree.com
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When she was 15, her father handed her an ad from a local Portland, Oregon newspaper for a new opportunity to use her voice to earn “pocket money.” By answering that ad, Katherine Horswell began what would become later in life an odd, shirttail relationship with McMenam- ins known for its restaurants/breweries, wineries, and concert/movie venues in both Oregon and Washington. The ad that Horswell answered was for funeral soloist at the Little Chapel of the Chimes. There, Katherine continued for 35 years to pro- vide comforting song during services. “Yes, it was certainly a bizarre part-time job for anyone,” Katherine admits. “But, it provided total flex- ibility over the years to balance college at PSU, singing internationally with Bruce Kelly’s New Oregon singers, and ultimately starting a family, so it was great!” She quickly added, “but don’t think funeral directors didn’t enjoy a joke at the expense of a young girl. They tried all kinds of tricks to scare me, but it never worked.” That longtime funeral home now houses McMenamins’ headquarters, along with a pub and brewery. Upon finding out these new develop- ments, Katherine gathered several friends to see whether the pipe or- gan, which the fabled “Mrs. Webster” had played over so many years, was still there. Strangely enough, she said, the same instrument re- mains and is still played on special occasions. Rewind even further to when Katherine was a kindergartener, wander- ing the halls of Northeast Portland’s Kennedy Elementary School (now McMenamins Kennedy School). There, the young Katherine stepped into the classroom of Mrs. Martha Jordan, one of the first African Amer- ican teachers to work in a primarily white public school in Portland. “She formed the fundamentals and expectations I measured all future teachers with,” remembers Horswell. “She loved us, she hugged us, and she made us feel important and that we were all good in her eyes.” In touring the school-turned-hospitality destination, she and her best friend, Kathleen, reminisced about Maypole dances and marveled on the evolution of their old school. In her teen years, Katherine changed high schools from Grant to Park- rose. In those formative times, she was unaware that her Uncle Nate and Aunt Tillie Zusman were the gatekeepers to and owners of what is now well documented as the most notorious nightclub in the history of Portland’s extraordinarily checkered past: The Desert Room. Located downtown at SW 12th Ave and Stark St, The Desert Room was the unofficial hub of the city’s political, underworld, and West Hills powerbases. Katherine’s sense of humor took hold as she delighted in taking unsuspecting school dance dates into the club, under the guise of showing Aunt Tillie the dress she had picked out for the evening affair. They were ushered into a den of hedonism where national en- tertainers like Sammy Davis Jr. performed while the police vice squad kept watch as dancers paraded on stage. Customers were handpicked like a vintage version of the velvet rope at New York’s famed Studio 54. The underaged Katherine and her date for that night were seated in what was affectionately coined “Katherine’s Corner,” situated by the back door should the establishment receive a visit from the OLCC. Decades later, McMenamins acquired the storied property in order to piggyback on the popularity of its Crystal Ballroom, just one block away (which McMenamins had reopened in 1997). Hearing that the old Desert Room building had been purchased, Katherine’s son, Richard, contacted McMenamins Historian Tim Hills. A three-hour interview was scheduled, where Katherine offered photos and a historical perspec- tive on the building. Company leadership pondered the recording and Katherine’s continual reference to “Zus” (pronounced ‘Zeus’), which was her uncle’s nickname for Tillie. In 2011, McMenamins refurbished the space within the Crystal Hotel, and crowned it Zeus Café (now Hal’s). Katherine’s visits to the location now include ordering the “Til- lie Sandwich,” as she remembers the homage of hospitality that Mc- Menamins has curated with “total grace.” Horswell’s accidental relationship with the company has ignited won- derful memories from the past as she curiously wonders, “what will they do next?”
THREE DEGREES OF HISTORY
Katherine Horswell with a photo of her Uncle Nate Zusman she donated to McMenamins for display in its Crystal Hotel. The mural on the building featured her Aunt Tillie as part of
its original branding for the property. PHOTO: Cameron Perkins Photography INSET: Regency
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