West End Apartment

Built in 1840, the Greek Revival farmhouse would become a haven for some of the 20th century’s most celebrated artists. Designer Glenn Gissler removed the shutters from the home’s windows to achieve an “ecclesiastical purity [for] the Greek temple front” that offers a more contemporary appearance.

In the dining area of the open-plan living space, a panel from the calligraphic work, ‘Roman Notes’ by Cy Twombly, engages in a compelling dialogue with a Jacob Hashimoto dimensional collage. The composed scene is anchored by an area rug from Stark Carpet and illuminated by Lindsey Adelman’s smoked-glass ‘Branching Bubble’ chandelier. Iconic Eero Saarinen armchairs provide comfortable seating and a curvaceous counterpoint to the multiple geometries.

West End, NYC

West End Apartment

An expansive apartment residence on Manhattan’s Upper West Side offers the best of contemporary urban living. Its generously scaled, sun-drenched rooms are set within a newly constructed building with all the desirable modern amenities and gracious layouts reminiscent of pre-war apartments.

Glenn Gissler Design was commissioned to create a sanctuary for a couple seeking a fresh, calm living environment. Thoughtful architectural details that balance traditional and modernist sensibilities help create a transitional environment grounded in the 21st century, resulting in a sophisticated interplay between metropolitan vistas and natural light while integrating architectural elements that skirt stylistic boundaries. 

We collaborated with our clients to establish a chromatic narrative inspired by the neutral hues taken from beach rocks and sand. The nuanced palette weaves tonal whites and cool-toned grays inflected with subdued organic hues. The first agreed-upon selection was a Scandinavian flat-weave carpet, further defining the design sensibility and palette direction.

The furniture and furnishing we assembled have clean lines and graceful modern proportions, creating understated spaces that eschew ornamentation in favor of pure form. Against this backdrop, the couple’s art collection becomes the focal point as you move between the rooms.

 

Beyond the home’s backdoor and through a split rail fence, summer visitors are greeted by an unobtrusive pool and a former art studio dubbed the “Pleasure Pavilion,” where a swim follows rustic lunches. Several weathered Adirondack chairs rest below a mature Sugar Maple tree, providing a respite from the midday sun.

In the entry gallery, a bespoke runner–crafted in homage to a vintage Swedish flat-weave carpet–establishes the residence’s tonal language. A series of flush-mount fixtures punctuate the ceiling, while picture lights, conceived by modernist master Paul Rudolph, provide discrete art lighting for the side walls. An artwork by Gary Gissler takes pride of place at the far end of the space, while a series of c.1960 ink-on-paper works by Al Held are hung on the left wall.

The side garden features a 19th-century urn in an established bed of pachysandra that came with the house. This is consistent with Glenn’s playful interpretation of classical tradition, which is part of the house’s Greek Revival roots.

A wall-hung cabinet by modern master George Nakashima, fashioned in black walnut and pandanus cloth, floats below a figurative work by the American abstract expressionist painter James Brooks. The silhouette of the undulating vase contrasts with the geometry of the cabinet and the cubist composition.

Just inside the library, a circa 1820 Biedermeier Bar Cabinet is stocked with spirits, where guests are encouraged to help themselves to a cocktail. Hanging above are works on paper by Wilfred Zogbaum (left) and Tomas Eldred (right). The Klismos Chair, one of a pair, is attributed to T.H. Robsjohn-Gibbings.

A striking work on paper by the legendary artist Pablo Picasso hangs above a console table at one end of the living area. The vase, vessel, and branches provide a counterpoint to the table’s geometry.

In the entry hall, a pair of circa 1830 hall chairs rest atop a custom ‘falling block’ patterned hook rug, which Glenn designed for the space. Above the chairs, in what amounts to a mid-20th-century artistic dialog, are works by Alexander Calder (left) and Le Corbusier (right). The Calder is the first work inside the house, which Glenn chose because Calder’s homestead and studio–still maintained by the late artist’s family–are less than two miles away.

In this art-filled view, a pair of swivel armchairs from Holly Hunt, upholstered in a nuanced textile, balance two framed collages by Conrad Marca-Relli, a celebrated modernist whose works are in the permanent collections of many museums. A sculptural lamp, ‘Tornade’ by Hervé van der Straeten, articulates the composition, with a view into the gallery with works on paper by Al Held.

The swimming pool was existing when Glenn purchased the house. He left the coping, but removed the awkward patios to allow it to fit quietly into the backyard landscape as a reflecting pool. The property expands beyond the back gate for some distance before connecting to hundreds of acres of the Roxbury Land Trust’s many preserves.

Diaphanous curtains, suspended from custom-crafted hardware, diffuse natural light and help soften the room’s acoustics. The architecturally refined stepped ceiling detail was introduced to add a pre-war plaster detail to this new construction apartment.

The side garden features a 19th-century urn in an established bed of pachysandra that came with the house. This is consistent with Glenn’s playful interpretation of classical tradition, which is part of the house’s Greek Revival roots.

A John Saladino glass table lamp, circa 1970,  graces a bespoke cabinet with a stone top. The recessed cabinet panels are covered in grass cloth, adding dimensionality.

Beyond the home’s backdoor and through a split rail fence, summer visitors are greeted by an unobtrusive pool and a former art studio dubbed the “Pleasure Pavilion,” where a swim follows rustic lunches. Several weathered Adirondack chairs rest below a mature Sugar Maple tree, providing a respite from the midday sun.

Quiet geometric forms and horizontal planes, emblematic of modernist design, are balanced against the sweeping curves of the circling chairs in this layered space. The interplay of lustrous woods–from the hand-finished flooring to the walnut dining table and accent furnishings–creates a pleasing interplay with the blue-grey textiles.

In the entry hall, a pair of circa 1830 hall chairs rest atop a custom ‘falling block’ patterned hook rug, which Glenn designed for the space. Above the chairs, in what amounts to a mid-20th-century artistic dialog, are works by Alexander Calder (left) and Le Corbusier (right). The Calder is the first work inside the house, which Glenn chose because Calder’s homestead and studio–still maintained by the late artist’s family–are less than two miles away.

Two tailored sofas complement the living area’s club chairs, providing generous seating for intimate gatherings while framing rich urban vistas through an expansive wall of windows. A bespoke coffee table and streamlined ottoman center the layout. The custom ceramic ceiling fixture is from Dumais Made.

The swimming pool was existing when Glenn purchased the house. He left the coping, but removed the awkward patios to allow it to fit quietly into the backyard landscape as a reflecting pool. The property expands beyond the back gate for some distance before connecting to hundreds of acres of the Roxbury Land Trust’s many preserves.

An Ethiopian carved chair, circa 1900, pecan-toned herringbone floorboards, and the gestural marks of a Cy Twombley work on paper forge a sophisticated interplay of linear patterns in this vignette.

Just inside the library, a circa 1820 Biedermeier Bar Cabinet is stocked with spirits, where guests are encouraged to help themselves to a cocktail. Hanging above are works on paper by Wilfred Zogbaum (left) and Tomas Eldred (right). The Klismos Chair, one of a pair, is attributed to T.H. Robsjohn-Gibbings.

Subtle adjacencies draw your eyes around a space. These proximities can transform individual pieces into an alchemical relationship where each element enhances its neighbors. Such is the case with Rispal’s ‘Giraffe’ floor lamp from the 1950s and the architectural turret visible just beyond the window. The side table is by Warren Platner for Knoll.

With a flat-screen TV hanging on the adjacent wall, this armless corner sofa affords ample seating for movie viewing, especially on chilly winter evenings with a crackling fire. Chunky seagrass matting underfoot grounds the tableau.

A pleasing geometric tension emerges between a linear-patterned carpet and mosaic-inspired wall covering. A tuxedo arm sofa provides primary seating in this intimate retreat. Artist David Shapiro created the suite of works on paper.

The furnishings in this corner of the living room include an English Arts & Crafts table, a pair of 1940s French Bergeres covered in lush velvet, and a vintage industrial-inspired lamp. It’s the perfect spot for an intimate dinner for two or as a sun-splashed work desk. The art includes a piece by David Dupuis (left) and an anonymous tantric work from India (right).

One corner of the Library is animated by Architect Frank Gehry’s iconic ‘Wiggle Chair,’ fashioned from corrugated cardboard. The graphic, curvaceous silhouette breaks free of the room’s geometric order. The custom-designed bookcases accommodate part of the couple’s book collection.

The furnishings in this corner of the living room include an English Arts & Crafts table, a pair of 1940s French Bergeres covered in lush velvet, and a vintage industrial-inspired lamp. It’s the perfect spot for an intimate dinner for two or as a sun-splashed work desk. The art includes a piece by David Dupuis (left) and an anonymous tantric work from India (right).

In the gentleman’s study, bespoke cabinetry finished in a soft earth tone provides a backdrop for a lifetime’s collection of books and cherished artifacts. Bold picture lights cast light across the curated assemblages, lending depth and intimacy.

In this view of the living room, an unusual 19th-century Thebes chair fashioned from slender bamboo branches sits in front of a pair of cocktail tables by T.H. Robsjohn-Gibbings. Directly above the fireplace is Untitled (Dollar Bill) 2000 by Thomas Friedman; to its left is a portrait by the late Donald Baechler, which was Glenn’s first art purchase after arriving in New York.

The silhouette of a vintage ceramic Kelby lamp with hand-applied modernist decoration sits on a richly grained walnut side table. Linen curtains with a subtle woven texture frame the composition.

A second custom-designed hook rug rests on the upstairs landing, which features the home’s original spindles and handrail. A pair of African masks adds a tribal note.

A suspended pendant hangs in front of the powder room mirror. The linear rhythm of the powder room’s linear wallcovering contrasts with the matte solid marble washstand.

The kitchen retains its farmhouse sensibilities but was updated with modern appliances. Muted-sage green cabinetry and trim are offset by black granite counters and the original floors, which Glenn stained dark walnut throughout. Period-style fixtures and pendant lights hang from the beadboard ceiling to illuminate the space.

Earthtones ranging from sandstone to rich brown punctuate this guest bedroom. A ceramic lamp by Dumais Made–one of a pair in the room–rests atop a vintage nightstand.

The breakfast room has a simple round pedestal table paired with directors’ chairs. The tableau is comfortable and unassuming, inviting guests to enjoy coffee while watching the mist burn off the morning landscape, the birds visit the feeder, and a few chipmunks scamper about. The Russell Wright servicewear is part of an extensive collection that could serve an expansive buffet dinner.

In the guest bedroom, wall-spanning Belgian linen curtains are suspended from custom hardware. A bespoke bench harmonizes with the upholstered bed, while above, a multi-branched chandelier cascades light. Two framed works on paper provide an artistic focal point.

In this view of the living room, an unusual 19th-century Thebes chair fashioned from slender bamboo branches sits in front of a pair of cocktail tables by T.H. Robsjohn-Gibbings. Directly above the fireplace is Untitled (Dollar Bill) 2000 by Thomas Friedman; to its left is a portrait by the late Donald Baechler, which was Glenn’s first art purchase after arriving in New York.

Lyrical, calligraphic works on paper by the late Brice Marden hang above a bespoke upholstered bed in the primary suite; their gestural forms find a counterpoint in David Shapiro’s composition on the opposing wall. A simple yet sophisticated three-tiered paper pendant by Ingo Maurer bathes the space in gentle light.

The furnishings in this corner of the living room include an English Arts & Crafts table, a pair of 1940s French Bergeres covered in lush velvet, and a vintage industrial-inspired lamp. It’s the perfect spot for an intimate dinner for two or as a sun-splashed work desk. The art includes a piece by David Dupuis (left) and an anonymous tantric work from India (right).

Upon observation, the nuanced textures of the bedding and bespoke curtain fabric emerge, evidencing an interplay between warm and cool neutrals. 

With a flat-screen TV hanging on the adjacent wall, this armless corner sofa affords ample seating for movie viewing, especially on chilly winter evenings with a crackling fire. Chunky seagrass matting underfoot grounds the tableau.

Handcrafted Danny Kaplan Studio table lamps grace twin bespoke walnut nightstands, flanking a custom upholstered bed. The furnishings rest on a quietly graphic area that inspired the room’s color palette.

Senior Designer: Craig Strulovitz
Photos by Alexandra Rowley

Connecticut Farmhouse

Built in 1840, the Greek Revival farmhouse would become a haven for some of the 20th century’s most celebrated artists. Designer Glenn Gissler removed the shutters from the home’s windows to achieve an “ecclesiastical purity [for] the Greek temple front” that offers a more contemporary appearance.

Mature globe boxwoods were moved from the paddock behind the house to soften the transition between the road and the front door. A sea of pachysandra enhances the effect. Many of the stone walls and walkways around the property appear ancient but were lovingly added over the years by Gissler and a supremely talented local stone mason.

LITCHFIELD, CT

Connecticut Farmhouse

Having fantasized about owning a weekend retreat within driving distance of New York City for nearly three decades, Glenn Gissler finally found this historical yet unassuming Greek Revival farmhouse on eight acres in Litchfield County, Connecticut. Reviewing his wishlist for a home, the property appealed for many reasons, not the least of which is that it is surrounded by three hundred acres of the Roxbury Land Trust, which ensured the pristine land adjacent to the property would continue in perpetuity in its magnificent, natural state.

Initially established in 1840 as the Ezekial Beardsley Homestead, the main house was sensitively expanded over the decades, meaning no immediate structural changes were necessary. So Glenn first focused on the sprawling landscape, removing spent trees and opening a bucolic vista beyond a discrete swimming pool. As the seasons progressed, he focused on the pleasant rooms beyond the facade’s pedimented portico.

Like many designers before him decorating their homes, Glenn carefully considered each finish, furnishing, and detail, ultimately creating a house with rooms that reflect his extensive knowledge of the decorative arts and inflected with the burnished colors and classical patterns that define his aesthetic. 

And as an avid entertainer, the home’s four bedrooms provide for a steady stream of eclectic guests, while a well-equipped kitchen and sprawling dining room that seats ten stands at the ready for dinners near the home’s original fireplace. With a sense of joy and abundance, Glenn sees his house as a place to be shared with friends and family where fun, playful, and considerate guests always get invited for return visits.

Beyond the home’s backdoor and through a split rail fence, summer visitors are greeted by an unobtrusive pool and a former art studio dubbed the “Pleasure Pavilion,” where a swim follows rustic lunches. Several weathered Adirondack chairs rest below a mature Sugar Maple tree, providing a respite from the midday sun.

Beyond the home’s backdoor and through a split rail fence, summer visitors are greeted by an unobtrusive pool and a former art studio dubbed the “Pleasure Pavilion,” where a swim follows rustic lunches. Several weathered Adirondack chairs rest below a mature Sugar Maple tree, providing a respite from the midday sun.

The swimming pool was existing when Glenn purchased the house. He left the coping, but removed the awkward patios to allow it to fit quietly into the backyard landscape as a reflecting pool. The property expands beyond the back gate for some distance before connecting to hundreds of acres of the Roxbury Land Trust’s many preserves.

The swimming pool was existing when Glenn purchased the house. He left the coping, but removed the awkward patios to allow it to fit quietly into the backyard landscape as a reflecting pool. The property expands beyond the back gate for some distance before connecting to hundreds of acres of the Roxbury Land Trust’s many preserves.

The side garden features a 19th-century urn in an established bed of pachysandra that came with the house. This is consistent with Glenn’s playful interpretation of classical tradition, which is part of the house’s Greek Revival roots.

The side garden features a 19th-century urn in an established bed of pachysandra that came with the house. This is consistent with Glenn’s playful interpretation of classical tradition, which is part of the house’s Greek Revival roots. 

The breakfast room has a simple round pedestal table paired with directors’ chairs. The tableau is comfortable and unassuming, inviting guests to enjoy coffee while watching the mist burn off the morning landscape, the birds visit the feeder, and a few chipmunks scamper about. The Russell Wright servicewear is part of an extensive collection that could serve an expansive buffet dinner.

The breakfast room has a simple round pedestal table paired with directors’ chairs. The tableau is comfortable and unassuming, inviting guests to enjoy coffee while watching the mist burn off the morning landscape, the birds visit the feeder, and a few chipmunks scamper about. The Russell Wright servicewear is part of an extensive collection that could serve an expansive buffet dinner.

The kitchen retains its farmhouse sensibilities but was updated with modern appliances. Muted-sage green cabinetry and trim are offset by black granite counters and the original floors, which Glenn stained dark walnut throughout. Period-style fixtures and pendant lights hang from the beadboard ceiling to illuminate the space.

The kitchen retains its farmhouse sensibilities but was updated with modern appliances. Muted-sage green cabinetry and trim are offset by black granite counters and the original floors, which Glenn stained dark walnut throughout. Period-style fixtures and pendant lights hang from the beadboard ceiling to illuminate the space.

In the entry hall, a pair of circa 1830 hall chairs rest atop a custom ‘falling block’ patterned hook rug, which Glenn designed for the space. Above the chairs, in what amounts to a mid-20th-century artistic dialog, are works by Alexander Calder (left) and Le Corbusier (right). The Calder is the first work inside the house, which Glenn chose because Calder’s homestead and studio–still maintained by the late artist’s family–are less than two miles away.

In the entry hall, a pair of circa 1830 hall chairs rest atop a custom ‘falling block’ patterned hook rug, which Glenn designed for the space. Above the chairs, in what amounts to a mid-20th-century artistic dialog, are works by Alexander Calder (left) and Le Corbusier (right). The Calder is the first work inside the house, which Glenn chose because Calder’s homestead and studio–still maintained by the late artist’s family–are less than two miles away.

The library’s furnishings, woven together like a historical tapestry, tell the story of Glenn’s interest in 19th—and 20th-century design. Pieces include a coffee table by T.H. Robsjohn Gibbins for Widdcomb, a 1940s sloping-arm sofa draped in an antique Suzani, and a Greek temple model found at a yard sale perched atop a marble pedestal. Part of his collection of objects by late 19th-century designer Christopher Dresser is presented on the top shelf of the etageres. The ceiling is covered in Farrow & Ball bumblebee paper.

The library’s furnishings, woven together like a historical tapestry, tell the story of Glenn’s interest in 19th—and 20th-century design. Pieces include a coffee table by T.H. Robsjohn Gibbins for Widdcomb, a 1940s sloping-arm sofa draped in an antique Suzani, and a Greek temple model found at a yard sale perched atop a marble pedestal. Part of his collection of objects by late 19th-century designer Christopher Dresser is presented on the top shelf of the etageres. The ceiling is covered in Farrow & Ball bumblebee paper.

Just inside the library, a circa 1820 Biedermeier Bar Cabinet is stocked with spirits, where guests are encouraged to help themselves to a cocktail. Hanging above are works on paper by Wilfred Zogbaum (left) and Tomas Eldred (right). The Klismos Chair, one of a pair, is attributed to T.H. Robsjohn-Gibbings.

Just inside the library, a circa 1820 Biedermeier Bar Cabinet is stocked with spirits, where guests are encouraged to help themselves to a cocktail. Hanging above are works on paper by Wilfred Zogbaum (left) and Tomas Eldred (right). The Klismos Chair, one of a pair, is attributed to T.H. Robsjohn-Gibbings.

A large-scale painting on paper by Melinda Stickney-Gibson takes pride of place at one end of the dining room, which is furnished with a 10-foot antique table and a set of leather-covered Anglo-Colonial X-back chairs that have been in Glenn’s possession for more than thirty years. At left, an 18th-century English server rests beneath a large mirror that amplifies the glow of a chandelier that Glenn designed.

A large-scale painting on paper by Melinda Stickney-Gibson takes pride of place at one end of the dining room, which is furnished with a 10-foot antique table and a set of leather-covered Anglo-Colonial X-back chairs that have been in Glenn’s possession for more than thirty years. At left, an 18th-century English server rests beneath a large mirror that amplifies the glow of a chandelier that Glenn designed.

Vintage Siapo Tapas rendered on barkcloth from Samoa, encircled in a broad gilt frame, add a cross-cultural reference on the opposite side of the dining room. The pattern is meant to depict Oceana’s flora and fauna stylistically. For Glenn, it also recalls Indian tantric paintings for meditation and barn decoration by Amish farmers.

Vintage Siapo Tapas rendered on barkcloth from Samoa, encircled in a broad gilt frame, add a cross-cultural reference on the opposite side of the dining room. The pattern is meant to depict Oceana’s flora and fauna stylistically. For Glenn, it also recalls Indian tantric paintings for meditation and barn decoration by Amish farmers.

In this view of the living room, an unusual 19th-century Thebes chair fashioned from slender bamboo branches sits in front of a pair of cocktail tables by T.H. Robsjohn-Gibbings. Directly above the fireplace is Untitled (Dollar Bill) 2000 by Thomas Friedman; to its left is a portrait by the late Donald Baechler, which was Glenn’s first art purchase after arriving in New York.

In this view of the living room, an unusual 19th-century Thebes chair fashioned from slender bamboo branches sits in front of a pair of cocktail tables by T.H. Robsjohn-Gibbings. Directly above the fireplace is Untitled (Dollar Bill) 2000 by Thomas Friedman; to its left is a portrait by the late Donald Baechler, which was Glenn’s first art purchase after arriving in New York.

With a flat-screen TV hanging on the adjacent wall, this armless corner sofa affords ample seating for movie viewing, especially on chilly winter evenings with a crackling fire. Chunky seagrass matting underfoot grounds the tableau.

With a flat-screen TV hanging on the adjacent wall, this armless corner sofa affords ample seating for movie viewing, especially on chilly winter evenings with a crackling fire. Chunky seagrass matting underfoot grounds the tableau.

The furnishings in this corner of the living room include an English Arts & Crafts table, a pair of 1940s French Bergeres covered in lush velvet, and a vintage industrial-inspired lamp. It’s the perfect spot for an intimate dinner for two or as a sun-splashed work desk. The art includes a piece by David Dupuis (left) and an anonymous tantric work from India (right).

The furnishings in this corner of the living room include an English Arts & Crafts table, a pair of 1940s French Bergeres covered in lush velvet, and a vintage industrial-inspired lamp. It’s the perfect spot for an intimate dinner for two or as a sun-splashed work desk. The art includes a piece by David Dupuis (left) and an anonymous tantric work from India (right).

A second custom-designed hook rug rests on the upstairs landing, which features the home’s original spindles and handrail. A pair of African masks adds a tribal note.

A second custom-designed hook rug rests on the upstairs landing, which features the home’s original spindles and handrail. A pair of African masks adds a tribal note.

Artworks by Roberto Matta hang above an 18th c. William & Mary bureau purchased at auction in this bedroom, which features a minimalistic four-poster bed dressed in vintage textiles. To the right of the window is a work by artist Nancy Spero. Because the room has no closet, Glenn attached shaker knobs at intervals around a high molding so that guests could hang their travel clothes. Two boudoir wing chairs provide seating.

Artworks by Roberto Matta hang above an 18th c. William & Mary bureau purchased at auction in this bedroom, which features a minimalistic four-poster bed dressed in vintage textiles. To the right of the window is a work by artist Nancy Spero. Because the room has no closet, Glenn attached shaker knobs at intervals around a high molding so that guests could hang their travel clothes. Two boudoir wing chairs provide seating.

"The people who come here and know a lot about art history, their eyes bug out."

GG

Maintaining a through line between the house’s past and present was paramount, so Glenn kept the existing mustard-yellow toile wallpaper in the primary bedroom to acknowledge the previous owners. By day, ample sunlight streams through the room’s large casement windows; in the evening, a pair of James Mont’s Open Helix Lamps from the 1950s illuminate the space.

Maintaining a through line between the house’s past and present was paramount, so Glenn kept the existing mustard-yellow toile wallpaper in the primary bedroom to acknowledge the previous owners. By day, ample sunlight streams through the room’s large casement windows; in the evening, a pair of James Mont’s Open Helix Lamps from the 1950s illuminate the space.

An ever-expanding collection of surrealist artworks animates the room, including works by Leon Golub, Alphonse Osorio, Gary Gissler, Pidder Auberger, James Siena, Hans Bellmer, Jacqueline Lamba, and Richard Tuttle. Also in the mix is a work by artist David Hare, a previous house owner. The framed works are installed almost randomly, referencing how the late Peggy Guggenheim displayed art in the Surrealist Gallery at her groundbreaking New York gallery, Art of This Century.

An ever-expanding collection of surrealist artworks animates the room, including works by Leon Golub, Alphonse Osorio, Gary Gissler, Pidder Auberger, James Siena, Hans Bellmer, Jacqueline Lamba, and Richard Tuttle. Also in the mix is a work by artist David Hare, a previous house owner. The framed works are installed almost randomly, referencing how the late Peggy Guggenheim displayed art in the Surrealist Gallery at her groundbreaking New York gallery, Art of This Century.

Photos by Gross & Daley

Riverfront Country House – Nyack

Glenn Gissler - Sharpe Nyack - New York State
Chiseled into the sloping terrain between the main house and the Hudson River, the newly constructed terrace with its infinity edge pool and cabana provides a superb respite from the bustling streets of New York City, less than an hour away.

NYACK, NY

Riverfront Country Home

While throughout the 18th and 19th centuries, the riverside hamlet of Nyack, New York, bustled with a thriving shipbuilding industry, today, the locale is better known as a much sought-after community just forty-five-minute from the gridded streets of Manhattan.

Established clients of Glenn Gissler Design were looking for a weekend property when we found a newly-built architect-designed shingle-style Colonial Revival home on the Hudson River. The rooms were gracious and well-detailed yet not ostentatious, with remarkable river views, presenting the perfect backdrop for a restrained mix of contemporary, vintage, and antique furnishings.

A color palette of tempered marine blues, celadon, and sophisticated neutrals was chosen, paying homage to the verdant landscape and gleaming water beyond the structure’s facade. The resulting spaces are comfortably classic and ideally suited to the stunning naturalistic panoramas.

With the interiors complete, the focus turned to the client’s wish for a pool and cabana, presenting a daunting set of challenges. Working closely with an engineer, landscape designer, and an experienced pool builder, the team moved the earth–quite literally–to create a plateau for a resort-inspired infinity edge pool. The resulting terrace appears effortlessly carved into the landscape—as if it has always been there—the ultimate hallmark of successful exterior design.

blank
A backless, streamlined daybed allows a view of the crackling fireplace throughout the fall and winter seasons. The painting over the mantel is by American Abstract Impressionist Richard Pousette-Dart’s 1969-1970 Untitled (Radiance). Pousette-Dart is a widely recognized member of the New York School of painting, creating a poignant relationship between the artist and this Hudson River home.
blank

A stylized Chinese-inspired chain-link motif unfolds across a custom-designed area rug, establishing a colorful dialog with two armchairs in the style of Jacques Adnet, upholstered in similarly-hued paisley. Two lean classical end tables, a custom-colored linen table at the center, and a cast bronze thorn-leg table by Herve van der Straeten provide gracious space for a pair of white crackle-glazed lamps, drinks, books, and cherished mementos.

blank

Three pendant lights are hung from a blue ceiling in the dining room, lending rhythmic gravitas to the room’s lighting. Lush linen curtains frame the windows and French doors. Subtle curves define the suite of chairs, while Winged Creature (2014), by Frank Bowling, takes pride of place above the marble-and-millwork mantle.

blank
The patinated oak finish and graphic contours of the 1940’s pecan-toned sideboard by Parisian furniture maker Charles Dudouyt lend a historical note to the dining room, while Hale Woodruff’s Landscape No.2 (1966) hangs above, referencing the lush landscape beyond.
blank
To one side of the living room, en route to the paneled library, a second seating area invites casual conversation with its armless sofa. The coffee table and chairs are French, with silhouettes establishing a note of continental modernity. Completing the tableau is The Studio, a 1952 canvas by female Abstract Impressionist Yvonne Thomas, who has garnered considerable attention in the years since her death.
blank
Three handsome barstools, clad in a burnished blue-grey textile, add a colorful counterpoint to the kitchen’s celadon-and-off white palette. A small yet striking painting by Franz Kline, Untitled 1960, is perched on the counter, underscoring the homeowner’s interest in modern abstraction.
blank
The custom millwork, marble, slate, and subway tile in the expansive, perfectly appointed chef’s kitchen are softened by several unlined Roman shades tailored in a handsome Zimmer + Rohde stripe.
blank
In the library, pine paneled walls strike a stately note; their color echoes on a caramel leather club chair and vintage coffee table. A melange of slate blue textiles, both plain and patterned, perfectly balances the atmosphere. The painting over the mantel is Bradley Walker Tomlin’s Number 19 (1952-53).
blank
A subdued palette in the primary bedroom, similarly hued yet softer than the rest of the home’s interiors, hits just the right chroma-note for encouraging a peaceful night’s rest. The textural rug and curvaceous settee mimic the undulation of the Hudson river just below the room’s adjacent terrace. Rock-crystal lamps and the sculptural ‘Supra Bubble’ chandelier provide ambient light.
blank
A crystal chandelier from the 1960s by the influential Venetian architect and designer Carlo Scarpa hangs above a decidedly feminine bath adjacent to the primary bedroom. Marble mosaic tiles and custom built-ins meet creature comfort in a lavishly upholstered sling-backed slipper chair, while an abstract geometric embroidered linen fashioned into a Roman shade diffuses the afternoon light.
blank
A study in perfect contrast, the home’s entryway is at once stately with its double-height ceiling and understated in its elegant simplicity. The monumentally-scaled canvas by Frank Bowling emphasizes the grand sweep of the staircase from above, while the angular Chinese Chippendale fretwork railings sway in juxtaposition to the perpendicular lines of the slate floor.
blank

In this vignette, a Gustavian chest, one of a pair flanking a custom upholstered bed, is coupled with a cylindrical, mother-of-pearl inlaid side table. The rock crystal lamp is ingeniously produced from the detritus of larger crystal cuttings wired together, from CL Sterling & Sons.

blank
Playful polka dot curtains and a gestural line-drawn garden scene rug–rendered in tones of pink, rose, and cream–add to the joyful atmosphere in the daughter’s bedroom. And because it’s never too early to expose children to art, Winter Rose by Kikuo Saito hangs above a diminutively-scaled Chesterfield sofa, chair, and elephant side table.
blank
The infinity-edge pool, cabana, and multiple seating areas for al fresco dining are visible from nearly every room in the home. An adjacent boat launch provides private access to waterside recreational activities.
blank
The cabana, open on three sides to circulate river breezes, draws its architectural inspiration from the shingled house above. A suite of chaise lounges and umbrellas are oriented to capitalize on the remarkable views.
blank

A teak table and fretwork chairs, which allude to the stair railings in the home’s entry, are arranged on a bluestone terrace just off the kitchen, providing seating for an intimate meal.

Senior Designer Craig Strulovitz
Photos by Peter Murdock

Family Home – Greenwich Village

blank

In the living room, bold scale molding and architecture details were added to the bright and sunny room. The decor is a mix of bold furnishings based on classic forms and the fabrics are a mix of Bohemian woven textiles all placed on top of a red and rich chocolate-brown contemporary carpet. The sculpture abstract root-like table lamps are vintage James Mont.

GREENWICH VILLAGE – NYC

Family Home

This grand-scale duplex apartment in a 1906 building was purchased as a raw space ready to create a home. Glenn Gissler Design was given the task of creating, essentially from scratch, a livable and happy space for a young family while connecting the design to the building’s past. Appropriately scaled architectural elements and moldings were added as well as a grand-scale curving stair. The furnishing and decoration were selected to be cheery and classic yet strong and bold enough to hold up in these large-scale rooms.

blank

The entrance vestibule was painted a rich and dramatic aubergine. The contemporary antiqued brass and glass globe light fixture hang in contrast to the patina of the 19th-century Chinese bench and console cabinet. The mirror sconce is custom designed by Glenn Gissler.

blank

Up a few stairs from the front door, the spacious stair hall is paneled in cerused oak adding a light, yet rich surface. The 1940’s French table with a pair the vintage bronze lamps are placed center in the dynamic space serving to anchor the room.

blank

The newly built curving stair wrapped in cerused oak paneling, appearing as if it had always been a part of the building. An enormous custom Lindsey Adelman chandelier hangs dramatically in the large curved volume.

blank

The warm dining room is enveloped by a commissioned mural by artist Kevin Paulsen, depicting a fantastical landscape of an imagined history of New York City. The large-scale oak dining table was custom made and a pair of vintage Moroccan lanterns and the feeling of exoticism to the room.

blank

In the sitting room, a series of large Walton Ford editions are installed in a grid on the rich green-brown walls. The pair of vintage 1970’s table lamps are the perfect complement to the tailored upholstery in a warm mix of deep browns, greens, and oranges.

blank

For the draperies of this sitting room, the reverse side of a formal paisley fabric of used to achieve a more vintage handmade affect.

blank

The large custom kitchen was painted a Farrow and Ball ‘Hague Blue’ a deep blue-green. The backsplash is a handmade brick-like subway tile. The island was finished in the same cerused oak to found in other areas of the home.

blank

The corner banquette and oak pedestal table are the perfect place in the kitchen for a cozy family meal. The chairs are English oak with a unique spindle back

"Glenn Gissler Design did a tremendous job transforming an imposing raw space in an historic building in the West Village into an architecturally beautiful home that is warm and comfortable. Our family will be happy in our home for many years to come!"

– Client

blank

In the upstairs stair landing the squiggle linear pattern of the contemporary carpet lead your eye to the large-scale Lindsey Adelman chandelier and the canvas by Robert DeNiro Sr. is an unexpected splash of color.

blank

Formerly an airshaft the focal point of this symmetrical secret garden is the bronze sculpture titled ‘The Elan’ by Bill Barrett which sites inform of a large architectural mirror that reflects light and creates a feeling of openness in the small space. The trellis above gives a sense of enclosure and privacy from above. The garden is filled with green plantings like boxwood, magnolia trees, and climbing vines mixed with perennials

Senior Designer Craig Strulovitz
Photos by Gross & Daley

Duplex Loft – SOHO

blank

View of the living looking directly at the custom marble-clad fireplace with its design roots in early modern architecture, large custom coffee table, a pair of French Art Deco arm chairs with sinuous wood arms, striped custom flat weave rug and the oversized mirror. One can also see the custom lighting made to reinforce the industrial legacy of the space, and to provide proper lighting for the clients’ art collection.

SOHO – NYC

Duplex Loft

After living for more than a decade on the Upper East Side, these empty nesters headed a few miles south to Soho to try loft living.  While some items from their expansive classical pre-war apartment made it to the new address, most everything was selected specifically for this apartment.

The expansive very open Living – Dining – Kitchen with 12 foot ceiling and a wall of large windows facing west offering protected views over the landmark district and ever-changing sunset views.

To create a living area that suited many functions we created a custom 20-foot L-shaped sofa with one end offering ideal TV viewing, and other end creating a seating group focused on the marble-clad fireplace. To amplify and expand the incredible light and views, we had the largest possible framed mirror made that would fit into the building’s elevator. Custom cabinetry combined with steel shelving house the discretely displayed television, books, and ceramic collection.

blank

The elevator opens directly into the Dining Room where the large work on paper by artist Julian Schnabel holds court. The delicate lines of the steel and leather chairs and the steel and light wood table create a casual but chic first impression.

"Glenn has impeccable taste - he was both sensitive to our needs and aesthetic and to the integrity of the space in which he worked."

– Client

blank

The large main space has an open view from the Living and Dining areas to the Kitchen and the stairs to the second floor beyond. 

blank

Asymmetrical carpet design inspired by a Gio Ponti carpet made with cowhides with a  center table creates a modern stair hall.

blank
blank

Hallway to lower bedrooms, powder room and laundry painted dark grey is lined with artwork; a custom ‘X’ base stool anchors the end wall with two works of art.

blank

A wonderful 1920’s cabinet by Gio Ponti and Emilio Lancia was originally purchased for their ‘uptown life’ was reused in this apartment along with the Herzog and De Meuron ‘Hocker’ stool, a bold work on paper and other decorative objects. 

blank

Living area detail showing a ‘Hocker’ stool by Herzog & De Meuron, a pair of French Art Deco chairs with sinuous wood arms and an oversized framed mirror hanging over a custom fireplace clad in ‘Grey Goose’ marble. 

blank

TV corner of the over-sized Living Room sofa with a photograph by Frank Thiel, a detail of peeling paint, and a Toio floor lamp designed by Achille Castiglioni in 1962, and a leather ottoman that works well for feet, books or beverages.

blank

View over the adjacent low-rise historic district with a view of the residential towers at NYU (with the needle of the Empire State building popping up) and the expanding metropolis at Hudson Yards, in the distance.

blank

Wide view of the living area looking at the wall of large windows.

Senior Designer Craig Strulovitz
Photos by Gross & Daley