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

Introspective Magazine

INTROSPECTIVE MAGAZINE

DESIGN STYLES

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See the High-Style 1970s Home of a Renowned New York Preservationist

by Glenn Gissler
Photography by Joshua McHugh

We offer the first public peek at a Joe D’Urso–designed Upper West Side apartment that hasn’t been touched in 40 years — and discover the many lessons both the space and its owners, Arlene and Bruce Simon, have to teach.

Joe D’Urso — a pioneer of forward-looking, minimalist modernism — designed the apartment of Bruce and Arlene Simon on New York’s Upper West Side more than 40 years ago. Thanks to the Simons’ careful upkeep — she’s a well-known preservation advocate — it remains a study in sleek black, white and gray. Top: For the dining room, D’Urso created a modular table system (one leaf hangs from the wall when not in use, looking like an Ad Reinhardt painting deployed as bulletin board), and he added chairs in the style of Marcel Breuer’s 1920s Cesca design.

Even in the analog days of the 1970s, word traveled fast about a certain emerging and remarkably talented interiors star. His name was Joe D’Urso, and he was shaking up the design world.

I still remember the first time I saw his work, just after I graduated from high school and 10 years before I would start a design practice of my own. It was in Architectural Digest’s November/December 1976 issue, which featured a New York City home D’Urso had reinvented as an exemplar of High Tech design, the extreme minimalistmodernindustrial style that had become his signature. The Upper West Side apartment was unlike anything I had ever seen or imagined.

The space, located at the top of a West 67th Street Gothic-revival atelier building, was a four-bedroom duplex belonging to prominent labor lawyer Bruce Simon and his wife, Arlene Simon, a childrenswear designer who in 1985 would cofound the trailblazing neighborhood preservation group LandmarkWest!. In creating the apartment’s design, D’Urso used the most limited palette of colors and materials and the fewest pieces of furniture possible. He covered the floors in nearly black commercial-grade carpeting of a sort not usually associated with residential design, contrasting its dark hue and low, nubby texture with smooth high-gloss white paint. This he used on every paintable surface, from the wood paneling and balusters to the built-in cabinets, doors, walls, beams and ceilings.

His design for the home’s soaring main space, a double-height living room overlooked by a balcony originally intended to accommodate musical performances, felt radically new.

He furnished the space sparsely, with a few blocky, rolling black-Formica coffee tables and a couple of low-slung woven chairs set on a high carpeted platform. That plinth was one of several he created to break up and define various sections of the room, using one as a sofa, another as a daybed, and one even as a table. To help balance out the cavernous volume, D’Urso suspended a large split-leaf philodendron on wires from the ceiling, and Arlene added black canvas pillows to the extended built-in sofa, with more on the daybed near the fireplace.

Read the full Article on 1stdibs.com

 

Gracious Apartment – Upper West Side

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An eclectic array of furniture marks the transition from living room to dining room, the latter seen through wide French doors. In the Living Room, an antique Italian armchair by Ulrich Guglielmo, from the 1950s echoes the curves of the Danish Modern rosewood pedestal table, the Frank Gehry Wiggle Chair, and Herve van der Straeten’s “Tornade” lamp.

UPPER WEST SIDE – NYC

Gracious Apartment

Works of fine art by Picasso, Cy Twombly, Brice Marden, Al Held, and Terry Winters hang amid furniture of comparable aesthetic stature in this classic ten-room apartment on West End Avenue on Manhattan’s Upper West Side. For the clients, empty nesters, we mixed mid-twentieth century design with traditional forms of furniture that speak to supreme comfort. So distinctive are certain 20th century artifacts–icons of the avant-garde of their time–that they approach the level of fine art.

Seen with a magnificent Sultanabad carpet, c. 1900, deeply upholstered English-style sofas and armchairs, and plain yet luxurious draperies, the contemporary objects such as architect Frank Gehry’s corrugated “Wiggle Chair” take on new resonance and context; just as an Ethiopian carved wood chair, c. 1900, seems mysteriously to fit with the undulating mahogany and brass cabinet by Tommi Parzinger, c. 1950, we chose for this project.

This residence fuses luxury with restraint, comfort with discipline, and fine art of the highest order with consummate works of decorative art. It represents a lively and inspired collaboration between clients and the designer in creating a new collection, and implanting its art and artifacts in a home as livable as it is stylish.

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Surprising harmonies in rich reds, ebonies and honey tones are exemplified by the custom red wool area rug from Martin Patrick Evan; the Chinese camphor wood altar table from Shanxi Province, c. 1850; and textiles from Donghia and Gretchen Bellinger. An aquatint etching by Cubist artist Jacques Villon is posed on a cast iron artist’s easel.

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Comfort meets culture: above the custom sofa from Jonas Upholstery in Holly Hunt’s “Great Plains Paisley” are two prints by Brice Marden. The custom coffee table is topped in pale gray honed marble; the walls are in a Donald Kaufman paint; and antique Asian modern lamps are from Glenn Gissler Design’s inventory.

The 1947 painting, “Fugue,” by Abstract Expressionist James Brooks, rivets our attention. Poised on the custom coffee table is an ancient work of Pre-Columbian art, a Colima Carinate Vessel, between 300 B.C. and 300 A.D., from Douglas Dawson Gallery. (Second) A corner devoted to interesting early and mid 20th century design: the Vienna Secession side table by Gustav Siegel, c. 1905, accompanies a luxurious tufted custom daybed upholstered in Lee Jofa’s “Tahira Ottoman” fabric. The modernist floor lamp was designed in the 1950s by Austrian designer J.T. Kalmar.

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Picasso’s portrait of Dora Maar of 1939-42 hangs above an Ethiopian carved wooden chair, c. 1900, from Kimcherova. On the adjacent wall, above Austrian designer Tommi Parzinger’s mahogany and brass cabinet, c. 1950, hangs a print by contemporary abstract artist Terry Winters.

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A quartet of bold ink drawings by Al Held defines this space, where a comfortable banquette in a Holly Hunt Great Plains Fabric surrounds a custom table of solid walnut. The distinctive side chairs are by Ico Parisi, Italy c. 1947, from Leon Hamaekers. The milk glass chandelier with Edison bulbs is from Early Electrics.

"A day doesn't go by where I don't find myself thrilled to be in this apartment!"

– Client

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Comfort and earthiness define the Family Room, with two deep, boxy Jean-Michel Frank sofas upholstered by Jonas Upholstery. The rugged central light fixture–a new machine age artifact–was custom made by Daniel Berglund, its frame composed of industrial conveyor belt links. A boldly striped wool rug from Martin Patrick Evan grounds the ensemble.

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Two framed collages by Conrad Marca-Relli from Hollis Taggart Galleries invoke a neo-primitive element. A large Nassau coffee table from Williams-Sonoma invites piles of books. The room’s woody quality is accentuated by vintage or contemporary hand hewn wooden side tables, including the round Heliotrope table from Newman Studio.

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Soft neutrals create an inviting sense of repose. The king sized upholstered bed is by Baker, Knapp & Tubbs, the fabric by Pollack. Contemporary designer Lindsey Adelman’s chandelier is of oil-rubbed bronze with hand-blown glass globes; the unusual floor lamp is by French designer Rispal, 1955; and the bedside chrome and clear glass table lamps are from Saladino.

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A curvaceous Boudin armchair with ottoman, upholstered in Pollack fabric is perfect for reading, illuminated by the Rispal lamp. The sculptural Tetra table is from C.S. Post & Co. Custom flat roman shades in Sahco fabric and curtain panels in Pollack fabric were made by Boaz Sharoni Design. The carpet is from Paul H. Lee.

Senior Designer Craig Strulovitz
Photos by Gross & Daley

Modern Living – Upper West Side

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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.

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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.

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

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

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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.

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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.

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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.

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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.

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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.

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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!

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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

Bachelor’s Home – Upper West Side

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A melange of textures inflects this stylish living room–a nubby bouclé tub chair, crisp linen curtains, a sumptuous velvet sofa, and a thick pile rug. Wooden pieces, and the marble coffee table, add an organic quality, all nestled in a subtle envelope of barely-there blue-gray walls and ceiling.

Upper West Side – NYC

Bachelor’s Home

This comfortable, graciously-scaled apartment, purchased by a new-media maverick, came with a rather imaginative client brief: Create a New York apartment that felt like a European magazine editor lived there.

Rising to the challenge, Glenn Gissler Design began by establishing a refined palette of burnished jewel tones: topaz, aquamarine, citrine, garnet, and amethyst. Taken collectively, the colors draw the eye from one surface to the next in much the same way the 18th-century gentry traveled from London to Paris to Rome and then on to points East. The furnishings extend the concept with silhouettes and finishes that reference many of the far-flung locales to which our itinerant client has decamped.

And as for far-flung locales, items purchased abroad–from art and artifacts to furniture and textiles–were incorporated into the design. The result? A serene haven perched above the city’s frenetic streets, deeply reflective of the homeowner’s wanderlust lifestyle.

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A Chinese scroll painted by Shanghai-born, Singapore-based artist Hong Zhu takes pride of place above an expansive four-seat sofa in the style of Jean Michel Frank, which is upholstered in lush velvet. Framed and hung in landscape format, the work creates a horizon, establishing a dialogue with the striped club chair seen to the left. The small Isamu Noguchi lamp enhances the linear motif. 

The Choros Chandelier, designed by Barry Goralnick, strikes a serpentine counterpoint.



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Crisp geometries forge a masculine edge in this corner vignette, which is subtly mitigated by the barely-there curve of the club chair arms and the sinuous brass lamp fashioned from a Late Qing Dynasty Chinese urn. A matching lamp illuminates the dining room.

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The richly patinated mahogany finish on this Chinese Chippendale breakfront lends a note of historical reference while housing a collection of Asian pottery and cherished books. A single carved side chair, which compliments the cabinet, stands at the ready to be pressed into service for guests.

Fantastique! What a setting...Sophisticated and timeless...!

– Client

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In the apartment’s entryway, an arresting painted-wood Lanna Thai Buddhist manuscript holder, which once held contemplative texts, now provides a surface to display an ever-changing montage of books, flowers, and object d’art. The ink-on-newspaper drawing above is by the Vietnamese artist Dinh Y Nhi.

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The multipurpose seating area does triple duty as a combined dining room, sitting room, and office. “Join The Circle” 2003, a joyful, exuberantly kinetic work by the artist Pacita Abad, informs the color palette.

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Anchoring the opposite side of the entry, an expansive collection of oft-referenced books, housed on oak shelves, creates a pleasing rhythm while revealing the interests of the homeowner. Donald Sultan’s “Eight Red Poppies” 2002 hangs above. The Chinese infant is actually a porcelain headrest from Beijing.

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A more expansive view includes a bronze sculpture titled “Dancers” by the late Israeli artist Noemi Schindler, who reimagined the human form. The armless sofa was chosen to reflect the space’s casual, eclectic vibe. The orange lumbar pillows were fashioned from a textile purchased in Myanmar.

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The silhouette of this bronze table lamp can be traced to prehistoric China when potters modeled their work after organic forms. The adjacent lacquered box, in the shape of a deer, is from Cambodia and is one of our client’s favorite treasures.

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Hand-engraved hardware set against patinaed wood defines this Korean blanket chest, which historically held a bride’s wedding dowry; the modernist table lamp provides a counterpoint.

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White subway tiles and a hexagonal black-and-white patterned floor evoke a retro-sensibility in the master bath. Their graphic lines are set against a naturalistic malachite-patterned wallpaper designed by Piero Fornasetti, which can be seen in the mirror. The surprisingly glossy cinnabar ceiling warms the architecture.

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A pair of Korean blanket chests, one taller than the other, serve as bedside tables in the master bedroom. The walls are sheathed in muted sapphire and are complemented by the terracotta-toned pic-stitched bed cover. A seagrass area rug and a canvas by Southeast Asian artist Eric Chan anchor the room.

Senior Designer Craig Strulovitz
Photos by Gross & Daley