{"id":52708,"date":"2026-05-27T18:07:23","date_gmt":"2026-05-27T18:07:23","guid":{"rendered":"https:\/\/lifestylemag.com\/?p=52708"},"modified":"2026-05-27T18:07:23","modified_gmt":"2026-05-27T18:07:23","slug":"onde-a-arte-encontra-a-mesa-marcel-na-sothebys-breuer","status":"publish","type":"post","link":"https:\/\/lifestylemag.com\/pt-br\/where-art-meets-the-table-marcel-at-sothebys-breuer\/","title":{"rendered":"Onde a arte encontra a mesa"},"content":{"rendered":"
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\n\nOnde a arte encontra a mesa<\/span>\n\n<\/div>\n\n
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\"\"<\/figure><\/div>\n\n\n\nFotografia de Sean Thomas.<\/span>\n\n<\/div>\n<\/div>\n\n
\n\nDentro do Breuer Building da Sotheby\u2019s, Marcel re\u00fane casa de leil\u00f5es, mesa de jantar e est\u00fadio de design em uma sala cuidadosamente escolhida.<\/span>\n\n<\/div>\n\n
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<\/div><\/div>\n\n\nRich Stapleton Marcel Interior.<\/span>\n\n<\/div><\/div>\n\n
\n\nO edif\u00edcio de 945 Madison Avenue abrigou quatro institui\u00e7\u00f5es em sessenta anos, cada uma acrescentando uma nova camada de sentido \u00e0 geometria original de Marcel Breuer. Inaugurado em 1966 como Whitney Museum of American Art, ele se tornou uma das obras mais assertivas da arquitetura brutalista nos Estados Unidos: granito em balan\u00e7o, massa em forma de pir\u00e2mide invertida e janelas trapezoidais que Breuer chamava de olhos, desenhadas para modular a entrada de luz nas galerias sem revelar a rua do lado de fora. O Whitney mudou-se para o centro em 2015. O Met Breuer ocupou o edif\u00edcio entre 2016 e 2020. A Frick Collection o utilizou temporariamente durante a reforma de sua sede. Em 2024, a Sotheby\u2019s comprou a estrutura por cerca de cem milh\u00f5es de d\u00f3lares e contratou Herzog and de Meuron para restaur\u00e1-la como sua nova sede global, em uma interven\u00e7\u00e3o que os arquitetos su\u00ed\u00e7os descreveram como quase invis\u00edvel, agindo apenas onde o concreto original exigia reparo estrutural. 945 Madison Avenue<\/strong><\/a> has housed four institutions in sixty years, each one layering new meaning onto Marcel Breuer<\/strong><\/a>‘s original concrete geometry. It opened in 1966 as the Whitney Museum of American Art<\/strong><\/a>, one of the most assertive works of Brutalist architecture in the United States: cantilevered granite, inverted-pyramid massing, and those distinctive trapezoidal windows, which Breuer called “eyes,” designed to modulate the light entering the galleries without revealing the streetscape outside. The Whitney<\/strong><\/a> moved downtown in 2015. The Met Breuer occupied the building from 2016 to 2020. The Frick Collection<\/strong><\/a> used it temporarily while its own building was under renovation. In 2024, Sotheby’s<\/strong><\/a> purchased the structure for a reported one hundred million dollars and commissioned Herzog and de Meuron to restore it as the auction house’s new global headquarters, a restoration the Swiss architects have described as “quasi-invisible,” intervening only where the original concrete demanded structural repair.

Agora, o pr\u00e9dio tem um restaurante. Marcel abriu em 16 de abril de 2026, em uma colabora\u00e7\u00e3o entre a Sotheby\u2019s e Roman and Williams, o est\u00fadio nova-iorquino fundado por Robin Standefer e Stephen Alesch. O nome permite uma dupla leitura: Breuer, arquiteto formado pela Bauhaus que desenhou o edif\u00edcio, e Duchamp, artista conceitual cuja grande retrospectiva acontece no MoMA at\u00e9 agosto. Seja intencional ou feliz coincid\u00eancia, a alus\u00e3o combina com uma sala que trata a fronteira entre arte e vida cotidiana como algo a ser dissolvido, n\u00e3o preservado. Marcel<\/strong><\/a> opened on April 16, 2026, a collaboration between Sotheby’s and Roman and Williams<\/strong><\/a>, the New York design studio founded by Robin Standefer and Stephen Alesch. The name invites a double reading: Breuer, the Bauhaus-trained architect who designed the building, and Duchamp<\/strong><\/a>, the conceptual artist whose major retrospective happens to be running across town at MoMA<\/strong><\/a> through August. Whether the allusion is intentional or serendipitous, it suits a room that treats the boundary between art and daily life as something to be dissolved rather than respected.<\/span>\n\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n\n
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\n\nNada aqui foi escolhido por conveni\u00eancia, tudo foi escolhido com prop\u00f3sito.<\/strong><\/span>\n\n<\/div>\n\n
\n\nRoman and Williams<\/strong><\/a> Roman and Williams est\u00e1 por tr\u00e1s de alguns dos interiores de restaurante mais influentes de Nova York nas \u00faltimas duas d\u00e9cadas. Ace Hotel, lobby do Greenwich Hotel, Le Coucou, The Dutch: cada projeto ajudou a estabelecer um vocabul\u00e1rio de materiais densos, com pe\u00e7as vintage e feitas sob medida que parecem herdadas, n\u00e3o simplesmente desenhadas. La Mercerie, restaurante do est\u00fadio no SoHo, ocupa o t\u00e9rreo da Roman and Williams Guild, sua pr\u00f3pria loja de design. Quem j\u00e1 passou por ali entende o princ\u00edpio: artesanato, com\u00e9rcio, arte e os rituais da comida convivem no mesmo plano. N\u00e3o h\u00e1 hierarquia entre o croissant e a cer\u00e2mica feita \u00e0 m\u00e3o sobre a qual ele chega. The Ace Hotel<\/strong><\/a>, the Greenwich Hotel<\/strong><\/a> lobby, Le Coucou<\/strong><\/a>, The Dutch<\/strong><\/a>: each project established a particular material vocabulary, a dense layering of vintage and custom elements that reads as inherited rather than designed. Their downtown restaurant, La Mercerie<\/strong><\/a>, occupies the ground floor of the Roman and Williams Guild, the duo’s own design store in SoHo, and anyone who has spent time there understands the operating principle: craft, commerce, art, and the rituals of eating exist on the same plane. There is no hierarchy between the croissant and the hand-thrown ceramic it arrives on.<\/span>\n\n\n\nMarcel leva esse princ\u00edpio para o Uptown e o insere em um contexto arquitet\u00f4nico radicalmente diferente. O projeto trabalha com aquilo que Robin Standefer chama de tens\u00e3o coreografada: a densidade calorosa de uma sensibilidade downtown dentro da casca de concreto disciplinada de Breuer. Paredes revestidas de nogueira. Luz de velas. Bancos de mohair em um tom de cacau empoeirado. Lumin\u00e1rias de bronze e vidro fundido criadas por Roman and Williams aparecem ao lado de pe\u00e7as originais especificadas por Breuer para o Whitney. O bar \u00e9 uma composi\u00e7\u00e3o espelhada de garrafas e vidro, onde coquet\u00e9is chegam em copos japoneses artesanais. Talheres e pe\u00e7as de servi\u00e7o v\u00eam da Guild, detalhe que comunica a filosofia do lugar sem precisar de legenda: nada aqui foi escolhido por conveni\u00eancia. Tudo foi escolhido.<\/span>\n\n\n\nA sala de jantar recebe obras em rota\u00e7\u00e3o do acervo da Sotheby\u2019s. Em uma noite, as paredes podem trazer um Warhol, uma Joan Mitchell, um m\u00f3bile de Calder ou uma escultura de Fran\u00e7ois-Xavier e Claude Lalanne. Vitrines pr\u00f3ximas \u00e0 entrada exibem joias de David Webb e Boucheron ao lado de objetos menos esperados, como um fragmento de asteroide ou um dente de Tyrannosaurus rex. Se um vinho servido durante o jantar conquista o convidado, uma caixa pode ser comprada pela Sotheby\u2019s Wine antes mesmo de ele deixar o pr\u00e9dio. A linha entre jantar e adquirir foi apagada de prop\u00f3sito. Andy Warhol<\/strong><\/a>, a Joan Mitchell<\/strong><\/a>, a Calder<\/strong><\/a> mobile, or a sculpture by Fran\u00e7ois-Xavier<\/strong><\/a> and Claude Lalanne<\/strong><\/a>. Vitrines near the entrance display jewelry by David Webb and Boucheron<\/strong> <\/a>alongside more unexpected objects: an asteroid fragment, a Tyrannosaurus rex tooth. If a guest discovers a wine they enjoy during dinner, a case can be ordered through Sotheby’s Wine before they leave the building. The line between dining and acquiring has been deliberately erased.<\/span>\n\n<\/div><\/div>\n<\/div>\n\n
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\n\nA cozinha \u00e9 liderada pela chef e s\u00f3cia Marie-Aude Rose, tamb\u00e9m respons\u00e1vel pela La Mercerie, e pela p\u00e2tissi\u00e8re Rae Gaylord, que trabalha ao lado de Rose desde a abertura do restaurante em 2017. O menu \u00e9 continental, com sotaque franc\u00eas bem definido: confit de canard, c\u00f4te de boeuf para duas ou quatro pessoas, salm\u00e3o grelhado, tartines com presunto franc\u00eas e comt\u00e9. Mas o prato que ancora a experi\u00eancia \u00e9 o gratin de cabillaud, um bacalhau envolto por uma crosta dourada de farinha de p\u00e3o fina, que cede para uma base de pur\u00ea cremoso. \u00c9 uma prepara\u00e7\u00e3o de simplicidade enganosa, daquelas em que a t\u00e9cnica se esconde dentro do conforto, oferecendo uma satisfa\u00e7\u00e3o profunda que muitos menus degusta\u00e7\u00e3o prometem e raramente entregam. A p\u00e2tisserie funciona como destino dentro do restaurante, com madeleines gla\u00e7adas, flans cremosos e tortas sazonais em caixas com fitas nas cores azul antigo, p\u00eassego claro e lavanda. Marie-Aude Rose<\/strong><\/a>, who also oversees La Mercerie, and pastry chef Rae Gaylord<\/strong><\/a>, who has worked alongside Rose since La Mercerie opened in 2017. The menu is continental with a pronounced French accent: confit de canard, c\u00f4te de boeuf for two or four, grilled salmon, tartines with French ham and comt\u00e9. But the dish that anchors the experience is the gratin de cabillaud, a cod encased in a golden crust of fine breadcrumbs that yields, beneath, to a bed of creamy mashed potato. It is a dish of deceptive simplicity, the kind of preparation where technique hides inside comfort, and it delivers the sort of deep satisfaction that elaborate tasting menus often promise and rarely achieve. The p\u00e2tisserie operates as a destination within the restaurant, offering glazed madeleines, custardy flans, and seasonal tarts that arrive in ribbon-bound boxes in dusty blue, pale peach, and lavender.<\/span>\n\n\n\nDo lado de fora, o jardim de esculturas repensado oferece servi\u00e7o da manh\u00e3 \u00e0 noite, entre \u00e1rvores, obras contempor\u00e2neas e um bar ao ar livre. \u00c9 um espa\u00e7o ajardinado que protege os convidados de Madison Avenue enquanto os mant\u00e9m dentro da arquitetura do Breuer. Nesta primavera em Manhattan, poucos lugares para comer ao ar livre parecem t\u00e3o considerados.<\/span>\n\n\n\nMarcel est\u00e1 aberto para o jantar, com servi\u00e7o diurno completo previsto para seguir. O endere\u00e7o \u00e9 945 Madison Avenue, na altura da 75th Street. O pr\u00e9dio j\u00e1 viveu muitas vidas. Marcel talvez seja a mais convivente delas. 945 Madison Avenue, at 75th Street<\/strong><\/a>. The building has lived many lives. Marcel may be its most convivial.<\/span>\n\n<\/div>\n<\/div>\n\n
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<\/div>\n\n\nConfeitaria Suzanne Saroff, Madelaine Shells.<\/span>\n\n<\/div>\n<\/div><\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":7,"featured_media":52709,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"tpgb_global_settings":"","footnotes":""},"categories":[5,41],"tags":[247,248,249],"edicao":[277],"class_list":["post-52708","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts-culture","category-mix","tag-marcel-at-sothebys-breuer","tag-sothebys","tag-interiors","edicao-the-vineta-hotel"],"acf":{"subtitulo_materia":"","tempo_leitura":"","creditos_texto":"","creditos_fotografia":"","creditos_beleza":""},"yoast_head":"\nMarcel's at Sotheby's Breuer: Exploring Architectural Legacy | Lifestyle Mag<\/title>\n<meta name=\"description\" content=\"Experience the artistry of dining at Marcel's at Sotheby's Breuer, located in a historic 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