Modern Living – Upper West Side

The Dining Area in this open loft-like penthouse apartment has views South over the Museum of Natural History with a broad and expansive view of mid-town Manhattan

UPPER WEST SIDE – NYC

Modern Living

Once one passes through the Foyer, this top floor light-filled apartment takes full advantage of the views south over the Museum of Natural history and a broad and expansive view of mid-town Manhattan.

We reconfigured this pre-war apartment with a more open layout for a cosmetic industry executive. This top floor apartment had a great bonus feature, more ceiling height! The original nine-foot ceiling was removed and the ceiling raised to almost eleven feet creating an enviable lofty experience.

One of our studio mantras is “Storage is a key to mental health!”; the opening up of this apartment did not sacrifice storage – to the contrary, the storage space increased substantially.  Aside from the Kitchen cabinets, there are more than thirty-five linear feet of closet space, a queen-sized Murphy bed, and a washer/drier closet!

In the public spaces, the apartment balances classic modern forms, calm neutrality, and comfort, with some visual excitement. The palette of materials and textiles in the public spaces is a range of grays with blues and some hots pops of red.

The open loft-like apartment has a kitchen that is partially open to the Dining area allowing the southern light to fill the room during the day.

Kitchen cabinets are in two different values of grey to add visual layering and to differentiate  between areas of the apartment.

Living Room seating group with a pair of vintage Robsjohn-Gibbings arm chairs, built-in bookcases, and a striking photograph by Jeffrey Rothstein

In the 21st century having a television is a common necessity, but finding a convenient and discreet location can be a challenge. The large built-in bookcase and the remarkable view balance the glossy black of the flat screen television, which is a perfect distance and height for viewing.

The red elements in the artwork tie in with a clear visual line of sight to the red urn in the Living Room. A Lindsay Adelman light fixture marks the center of the room that corresponds to the center of the round area rug below.

In the bedroom, the owner wanted a calm space with some glamour. The first purchase for this room was an antique Japanese textile with graphic curvilinear shapes on a mottled green field mounted in a gild frame that hangs over the bed. The 1920’s crystal Moser lamps from Czechoslovakia  sit upon custom oval bedside tables covered in an ivory linen. The textile inspired the use of complimentary lavender walls and rich purples, and other green accents.

A vintage porcelain lamp  sits upon a custom wood bureau with linen-faced drawers. The striking Lucio Fontana work on paper from the 1970’s brings the rich color purple to this corner of the room seen from the bed.

The Office is open to the Living Room such that there is a flood of light throughout the public rooms due to the unobstructed Southern light. The back wall are cabinets for office storage, out-of-season storage, guest storage and a Queen-sized Murphy bed. The chandelier (one of a pair) are from Schoolhouse Electric.

Dark slate floors without a curb into the shower and a linear drain help to expand the sense of space in this small interior bath. Graphic marble subway tiles gives the room a lot of visual personality only surpassed by the porcelain enamel vanity cabinet in fire engine red!

The dark slate floors are used in the Master Bathroom but with a softer veined marble walls and wainscot. An enormous full-height medicine cabinet gave this cosmetic industry executive plenty of room for her lotions and potions.

Senior Designer Craig Strulovitz
Photos by Gross & Daley

Waterfront Retreat – Maine

Gissler-Maine-Summerhouse-Livingroom-New York Interior Designer

The design of the house, both inside and out, recalls vintage summer houses on the Maine coastline. The spacious, yet cozy, Living Room takes full advantage of the view across the water towards Mount Desert Island dissolving the relationship between inside and out. offers a plethora of different seating and lounging options depending upon the time of day, the activity at hand, or the number of people that have gathered.

SORRENTO, MAINE

Waterfront Retreat

Shore House, as its owners call it, is a new house with deep roots in history, intimately connected to both to both time and place. Its architecture reflects the strong vernacular traditions of downtown east Maine but in a modern enough way that you know that it is of now, not then. Like so many of the best houses, it is a study in subtle contradictions, some yin and some yang. At once elegant but casual, buttoned-up but laid-back. Inside you’ll find family treasures mixed with auction house finds and up-to-date additions. Throughout, says interior designer Glenn Gissler, it shows the owners’ “appreciation for patina, quirkiness, and the willingness to tolerate less than perfection, giving the house a sophisticated and considered aesthetic with a ‘nothing precious’ vibe.”

It is a quiet retreat for two but near enough to extended family to be a gathering place for many. It is, as the owners spelled out, a house that is comparatively small but, as Gissler puts it, “lives spaciously.” Gissler, who is based in New York, had worked with the homeowners before; their home base is Boulder, Colorado, but they have a pied-à-terre in Manhattan that he designed. The architects–Kay Stevens Rosa and Augusto Rosa of Bar Harbor’s A4 Architects—had not previously worked with the couple but found that their goals and ideas for making the house were perfectly aligned.

A vintage Thebes stool is set with a pair of modern wing chairs in rich raspberry cotton velvet that flank the fireplace used on cool summer evenings. The custom-made tile surround soft iridescence. When the nights are warm, the chairs have the best view looking south towards Mount Desert Island.

The stairway features an American arts and crafts table, circa 1910, with a  number of vintage and antique items, with a flower arrangement gathered from the property. The print on the stair landing is from a local artist, 90-year-old artist Dan Miller.

While much of the furniture in the house was already in the family, the farm table was custom made for the living room; the chairs are Yorkshire spindle-backs with rush seats from the late-eighteenth or early-nineteeth century.

In the kitchen, vintage turned chairs with rush seats pull up to a center island topped with Vermont granite. Overhead is a new vintage-style Holophane light fixture. The cabinets, which were crafted locally, are hand painted in Farrow and Ball’s “Pelt.”

Nearly every room in the house has views of the water with the Kitchen being no exception. The spacious eat-in Kitchen has stools and vintage chairs with rush seats, with the understated vernacular building methods including board & batten walls, and a wood-clad ceiling.

Dreamy spot in all seasons with a  view to Mount Desert Island beyond

"Wow, Glenn and Craig, the interior lighting you have found for us is wonderful. We love the look of every piece, and as a whole. Great job, thanks very much."

– Client

The design of the house connects it both to its setting and to the coastal traditions of downeast architecture.

A circa-1910 American arts and crafts oak desk provides work space in the office, and an articulated oak armchair with wide drop-leaf arms (also American, circa 1910) offers a spot to relax and read. Sailing memorabilia, including a framed chart, serve to reinforce the house’s seaside location.

The bedroom features a window seat as well as an antique hooked rug. The antique painted table was bought at auction. The jolly and stylish Lollipop chair by George Hunzinger is from the late-nineteeth century.

In the owner’s suite has an understated country elegance, the steel four-poster bed and the Gustavian-style chests are paired with vintage cloisonné lamps.

The flagstones for the terrace were found on the property which helps to literally ground the house. The double sliding doors make for a dissolution between outside and in, with a view to the sophisticated but livable decor inside.

Senior Designer Craig Strulovitz
Photos by Jonathan Reece

Pied-à-Terre – Greenwich Village, NYC

An antique Tabriz area rug with stylized floral pattern in indigo and cream, is keynote of this richly patterned and textured room. The custom Belgian sofa is from Jonas. Interesting objects–two pairs of mounted oryx horns; a cross-legged Aesthetic Movement table–add detail and depth.

GREENWICH VILLAGE – NYC

Pied-à-Terre

The Ottoman Empire, with its richly figured carpets and ornaments, was the vision this Colorado couple had for their two-bedroom condominium in a Greenwich Village building renovated by designer Victoria Hagan, who had preserved its prewar character.

We decided to articulate the room separations by using casings, moldings, and a portiere to create a greater sense of sequence to the rooms. To further emphasize room separations, we changed coloration from one room to the other, with the entry  lacquered a vivid cinnabar. Judiciously placed mirrors expanded and lightened the spaces.

The clients were very interested in vintage textiles, so we introduced layering of Persian rugs and embroidered or tapestry wall-hangings. A selection of patterned textiles, woven or embroidered rather than printed, and often antique in appearance, are carefully juxtaposed. Many of the upholstery and pillow fabrics are actually new, but they have a luscious, aged look.

The result is not a recreated Turkish interior, but a place where imagined travel meets the incomparable comfort of home, in this case, a second one in one of the most charming neighborhoods New York City has to offer.

A provenance with panache: this Italian walnut Baroque chest of drawers, 19th century with 18th century elements, is from Loring House, Massachusetts, home of the Codman family.

An antique Tabriz area rug with stylized floral pattern in indigo and cream, is keynote of this richly patterned and textured room. The custom Belgian sofa is from Jonas. Interesting objects–two pairs of mounted oryx horns; a cross-legged Aesthetic Movement table–add detail and depth.

"You guys are amazing. It's really kinda thrilling to be in the presence of your genius, vision, passion, professionalism. Thanks."

– AV

The dining room became a study which can be used for occasional entertaining, centered upon the Empire round table the clients brought from Colorado. Chairs are from a 1930s ocean liner. Meant to be flexible, the table may be set up as a dining table, buffet, or bar. At right, a portiere in Kravet’s double-sided “Interweave” fabric marks the separation from the bedroom.

A place for reflection: a contemporary photograph of a Chinese dam joins a patinated brass ceiling fixture and a crystal orb.

Outsider art, insider ceramics: a charming primitive painted in a hand-made “tramp art” frame joins Arts & Crafts Movement pots.

Nothing less than sumptuous, the king-sized bed features Williams-Sonoma’s faintly curving “Sutton” upholstered headboard. The crimson, persimmon, black and cream stylized floral pattern bed covering is an antique Suzani. The slightly shimmering “Fiori” wallpaper is by Rose Tarlow.

Senior Designer Craig Strulovitz
Photos by Gross & Daley

High-Rise Duplex Apartment – NYC

The living room is a tour de force of understatement, a sumptuous composition of palest greys, silvery blue tones and creams, accented by early-to-mid-century French and Scandinavian ceramics. The armchairs are from Holly Hunt, and the sofa is upholstered in a rich velvet by Gretchen Bellinger.

MIDTOWN EAST – NYC

High-Rise Duplex Apartment

The challenge posed by this 4000 square foot duplex near the United Nations, in one of a pair of towers built by architect Wallace Harrison in 1966, is that its exterior glass walls epitomize modernity, while its apartment interiors are organized into more traditional rooms. The building, once inhabited by the great decorator Billy Baldwin, treads an odd ground between the radiant utopia represented by the U.N. complex and the old-world gentility of nearby Beekman Place.

When client Caroline Hirsch, proprietress of Caroline’s Comedy Club, acquired the duplex apartment on a very high floor, with its incomparable natural light and views, we had to invent a language of architectural detail which would respect the modernity of the building’s skin while creating a greater sense of texture and material richness within the rooms, which, as Hirsch remarked, were “like a blank canvas,” devoid of ornamentation. Our strategy was inspired by looking at a certain early Cubist Picasso painting which evinced architectural clarity yet had a warm, rich palette.

We shifted interior walls and partitions to better correspond to the building’s mullion grid, reinstating and clarifying the classical layout of the public rooms and kitchen on the lower floor, bedrooms above. Then we introduced eight-foot mahogany doors with thick frames and custom nickel hardware; and in the library, oak paneling against which Modernist works of art are hung. The palette, muted, is calibrated from white to ivory to beige to taupe to brown to shades of blue. The 20th century furniture forms a quietly elegant counterpoint to Hirsch’s ambitious art collection, which takes pride of place.

At the foot of the dramatically curving staircase, carpeted in velvety cut pile, a massive torso by Rodin signals the superlative array of modern art collected by Hirsch.

In the entry, a mirror above the ebonized console presents an alluring reflection of the winding staircase. On the console, an eclectic selection of small fine and decorative art works includes an Antique Greek head and a 20th century glass lamp.

In the living room, a bronze torso by Enzo Piazzotta tops an American mahogany center table. A gilded x-framed stool adds a grand geometric note.

A 1955 painting by Joan Mitchell in a gilded frame hangs above the mantelpiece.

Art Deco ceramics, and glass in tones of deep chocolate and burnt orange, decorate an ebonized console.

In the dining room, 1930s Jules Leleu chairs circle a custom oval table. The French forties bronze chandelier complements a Max Ernst figure, also in bronze; the painting is Ross Bleckner’s Flow and Return (2001).

"Glenn’s broad knowledge of architecture, interior design and lifestyle were immensely important to a successful and enduring project. His focus on quality, understatement and comfort has created a gracious & livable home."

– Client

A sparkling view of the United Nations–one of many spectacular views in this duplex–enlivens a quiet workspace with desk and chairs.

Works by Franz Kline, Giacometti and Lipschitz hang against a wall paneled in golden oak. The sofa is upholstered in Clarence House velvet.

A highly polished library table is accompanied by a round-seated Biedermeier chair and a biomorphic 1950s table lamp.

The master bedroom is a subtle, luxurious expanse of neutrals: palest biscuit and cream tones. The sweeping curtains are in fabric by Rogers & Goffigon; the bed linens by Frette, Hirsch’s linens of choice.

Jaunty red and white striped linens adorn a guest bedroom, along with quiet American antiques and 20th century ceramics.

Senior Designer Craig Strulovitz
Photos by Gross & Daley

Grand Country Residence – Westchester

The living room is a study in soft greys and mellow burgundies, with sofas by Jonas Upholstery. The stool is 19th century, made from whale vertebrae; the tree-trunk table is of petrified wood, and the mirror over the fireplace is from Herve van der Straaten. The custom chandelier from Daniel Berglund is made partially from discarded jet-engine parts.

WESTCHESTER, NY

Grand Country Residence

These Manhattan clients acquired a horse farm in upstate New York and decided to build a house from scratch. We were commissioned to invent the interiors, and were involved almost from the inception. The gabled rustic stone house, with vast expanses of steel casement windows, was designed by Tasos Kokaris Architects, and is reminiscent of a country manor house designed for William Randolph Hearst in the early 20th century.

With an abundance of space to work with, the challenge was to create unity, flow and meaningful yet understated decorative relationships from room to room. This we achieved by concentrating on a repertoire of rich, resonant materials–artisanal plaster, cerused oak paneling, planed stone floors–and a muted palette of taupes and driftwood greys which, rendered in the pigmented plaster, achieve a subtle glow. Accents of burgundy, red and persimmon are provided by fabrics and objects. Dark wood floors and sisal carpeting and rugs assure continuity throughout the house.

The overall effect of these rooms is manorial, the reenactment, in 21st century America, of great country houses, both here and abroad. The public spaces invite entertaining on a grand scale, yet they never lose their warmth and dignified informality.

In furnishing these spaces, we looked to eras much earlier than his favorite late 19th and early 20th centuries. The scale and mood of the rooms seemed to demand a more massive, even rugged approach, with 16th and 17th century European carved oak chests and tables an appropriate choice. Interestingly, the use of these pieces from a remote time did not result in period rooms, but in an aura of timelessness. Combined with comfortable large sofas and club chairs upholstered in highly textured fabrics such as washed linen and chenille, the early pieces take on a new relevance, even modernity.

A custom daybed features a leather surround trimmed in nailheads; the mattress and bolsters are upholstered in linen, with an intricate Suzani textile from Uzbekistan for color. The lacquered steel table is designed by Konstantin Grcic; the delicate low-voltage floor lamp is as minimal as a lamp can be.

A 17th century Spanish altar table with one deep drawer to hold a bible sits in front of a large steel casement window, simple steel lamps with paper shades offer light and a sculptural piece of vintage African currency on a stand.

In the guest bedroom, diamond patterns form a leitmotif in the structure of the steel headboards and in the woven sisal rug. The chairs, by Thomas O’Brien, add a modern incarnation of the Arts & Crafts period.

A sofa upholstered in dark green chenille complements the grey of the artisanal plaster walls, adding textural interest. On the table, a Tibetan vessel in vibrant red-orange is juxtaposed with an ancient Greek sculpture fragment.

In the hallway, artisanal plaster walls in a pale cocoa offer a variation in palette. A massive 16th century Roman Renaissance table hosts an array of bone-colored artifacts, including a large stone lamp, pottery of various eras and a work on paper by James Siena.

The double-height dining room, with a library catwalk above the dining area, is a tour de force of light and shadow. Above the mantelpiece is a photograph of the interior of a cave by Jeff Whetstone, which, in tones similar to that of the cerused oak paneling, seems to have been created just for this room. The chairs are French, c. 1900, with their original leather upholstery, from Lucca Antiques. The enormous refectory table is custom; the chandeliers, vintage Sarfatti.

Warmth, informality and honesty in materials infuse the Kitchen, where open shelving holds white porcelain and hand-made tiles face the wall behind the stove. Other materials include Uba Tuba granite, stainless steel and cerused oak.

The kitchen, graced by vast steel casement windows, is grandly rustic, with its long line-edge table prepared for eight in vintage-style wicker chairs.

Rugged elegance characterizes the master bedroom, where the rug is of woven suede, the bedcover of handwoven raw silk. The sling back chairs are by Frederik Kayser, c. 1950. The antique trunk is Korean.

In the master bath, a solid stone tub is complemented by the carved marble stool, from Stephanie Odegard. The aluminum chandelier is titled “New Growth,” from C. P. Lighting.

Senior Designer Craig Strulovitz
Photos by Gross & Daley