we want the gray to be as light as it can be, and don’t want to adjust till we see the proof
Clarkson Potter / Publishers New York 1-13 CR FOB16.indd 2-3
A PASSION FOR
INTERIORS
CAROLYNE ROEHM 3
Wrtten with Marc Kristal
6/7/10 12:36:09 PM
INTRODUCTION NEW YORK APARTMENT WEATHERSTONE WESTBURY page 9
page 14
page 74
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INTRODUCTION NEW YORK APARTMENT WEATHERSTONE WESTBURY page 9
page 14
page 74
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For centuries, connoisseurs have collected architectural drawings, and with good reason: If done well, they can be as beautiful and as moving as the designs they depict. This one, featuring the western elevation of my apartment’s double-height great room, elegantly articulates the space’s dimensions and details. It also helps one to understand the room by showing how its elements are organized: the wainscoting below the bookcases, the bas-reliefs above them, all framed by carefully spaced pilasters and anchored, at the center, by the fireplace. (By contrast, the watercolor I commissioned of the room is more interpretive—the elongated perspective makes it seem like an eighteenth-century palace.)
14-73 CR NYC apt23.indd 18-19
6/9/10 10:07:49 AM
For centuries, connoisseurs have collected architectural drawings, and with good reason: If done well, they can be as beautiful and as moving as the designs they depict. This one, featuring the western elevation of my apartment’s double-height great room, elegantly articulates the space’s dimensions and details. It also helps one to understand the room by showing how its elements are organized: the wainscoting below the bookcases, the bas-reliefs above them, all framed by carefully spaced pilasters and anchored, at the center, by the fireplace. (By contrast, the watercolor I commissioned of the room is more interpretive—the elongated perspective makes it seem like an eighteenth-century palace.)
14-73 CR NYC apt23.indd 18-19
6/9/10 10:07:49 AM
factor that’s no less important. I am as down-home a woman as
forms, and enveloped by walls of dark brown velveteen. I never
you’re likely to meet—I’ve cleaned up after more dogs, I’ll bet, than
do only one genre or country—those kinds of rooms, in which
any human being in history—but I do love glamour. Attaching a
everything is “correct,” are too stiff and perfect for me. And though
story to an environment is important to me, and if, at Weatherstone,
the paintings, which are all of women, came with me from Sutton
I could be Elizabeth Bennet or Scarlett O’Hara, in urbane New
Place, I think a man could live in the space as easily as a woman—
York, with the city lights and skyline as a dazzling backdrop, the
the design is feminine but tailored, not gooey. Most of all, while
mood should be more 1930s Myrna Loy. Sweeping down a thirty-
I love symmetry and order, sometimes to a fault—I have a lot of
foot-high staircase, champagne in hand, as the jazz plays and heads
pairs of things—when you walk in, you feel like you can sit yourself
turn—now that’s glamour.
down and get comfortable. Maybe the best way to describe the style
In the mid-2000s, I thought it might be time for a change, and
is to compare it to Swedish furniture from the Gustavian period,
decided to look for a place farther uptown, near Central Park—
which I truly love. It’s like good eighteenth-century Louis XVI, but
maybe I’d get more exercise. After I’d been searching for a bit,
simpler—less formal, less grand.
an acquaintance in real estate said to me, “There’s an apartment
Which is important. While I do have a reverence for classical
you’ve got to see—it’s the city version of your country house.” And
décor, I don’t want to be a fossil in a museum—one must live in one’s
it was—to an extent that was really kind of freaky. In the two-story
time and find a way, as the saying goes, to make it new. The best way
living room, the owner had installed the same pilasters, capitals,
to do it, I believe, is never to have a room that you don’t actually use,
and classical details that made Weatherstone so indelible. The décor
like the parlors in which our grandparents received guests, but that
was different, of course. But the flavor was virtually identical.
otherwise sat empty. Modernity, whatever one’s style, arrives with
Who needs exercise when you can release your inner Myrna Loy? I took the apartment—and moved a block and a half from Sutton Place.
And then there’s something superficial and cosmetic but also wonderful and essential, and that is the elements: scented candles, a
My furniture, by and large, traveled with me. Decoratively, the
crackling fire, flowers. I am not as happy in my glamorous great room
great room is a mix of mostly eighteenth- and nineteenth-century
when there’s not a bouquet of flowers, because I feel that someone’s
pieces from different parts of Europe, chosen primarily for their
not in residence—and since it’s my home, that someone is me.
20
14-73 CR NYC apt23.indd 20-21
the energy and life we bring to a space when we occupy it.
A PA S S I O N F O R I N T E R I O R S
A PA S S I O N F O R I N T E R I O R S
21
6/9/10 10:08:09 AM
factor that’s no less important. I am as down-home a woman as
forms, and enveloped by walls of dark brown velveteen. I never
you’re likely to meet—I’ve cleaned up after more dogs, I’ll bet, than
do only one genre or country—those kinds of rooms, in which
any human being in history—but I do love glamour. Attaching a
everything is “correct,” are too stiff and perfect for me. And though
story to an environment is important to me, and if, at Weatherstone,
the paintings, which are all of women, came with me from Sutton
I could be Elizabeth Bennet or Scarlett O’Hara, in urbane New
Place, I think a man could live in the space as easily as a woman—
York, with the city lights and skyline as a dazzling backdrop, the
the design is feminine but tailored, not gooey. Most of all, while
mood should be more 1930s Myrna Loy. Sweeping down a thirty-
I love symmetry and order, sometimes to a fault—I have a lot of
foot-high staircase, champagne in hand, as the jazz plays and heads
pairs of things—when you walk in, you feel like you can sit yourself
turn—now that’s glamour.
down and get comfortable. Maybe the best way to describe the style
In the mid-2000s, I thought it might be time for a change, and
is to compare it to Swedish furniture from the Gustavian period,
decided to look for a place farther uptown, near Central Park—
which I truly love. It’s like good eighteenth-century Louis XVI, but
maybe I’d get more exercise. After I’d been searching for a bit,
simpler—less formal, less grand.
an acquaintance in real estate said to me, “There’s an apartment
Which is important. While I do have a reverence for classical
you’ve got to see—it’s the city version of your country house.” And
décor, I don’t want to be a fossil in a museum—one must live in one’s
it was—to an extent that was really kind of freaky. In the two-story
time and find a way, as the saying goes, to make it new. The best way
living room, the owner had installed the same pilasters, capitals,
to do it, I believe, is never to have a room that you don’t actually use,
and classical details that made Weatherstone so indelible. The décor
like the parlors in which our grandparents received guests, but that
was different, of course. But the flavor was virtually identical.
otherwise sat empty. Modernity, whatever one’s style, arrives with
Who needs exercise when you can release your inner Myrna Loy? I took the apartment—and moved a block and a half from Sutton Place.
And then there’s something superficial and cosmetic but also wonderful and essential, and that is the elements: scented candles, a
My furniture, by and large, traveled with me. Decoratively, the
crackling fire, flowers. I am not as happy in my glamorous great room
great room is a mix of mostly eighteenth- and nineteenth-century
when there’s not a bouquet of flowers, because I feel that someone’s
pieces from different parts of Europe, chosen primarily for their
not in residence—and since it’s my home, that someone is me.
20
14-73 CR NYC apt23.indd 20-21
the energy and life we bring to a space when we occupy it.
A PA S S I O N F O R I N T E R I O R S
A PA S S I O N F O R I N T E R I O R S
21
6/9/10 10:08:09 AM
W
Within the classical setting formed by the architecture, there are decorative elements derived from antiquity.
22
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A PA S S I O N F O R I N T E R I O R S
A PA S S I O N F O R I N T E R I O R S
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W
Within the classical setting formed by the architecture, there are decorative elements derived from antiquity.
22
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A PA S S I O N F O R I N T E R I O R S
A PA S S I O N F O R I N T E R I O R S
23
6/9/10 10:08:10 AM
I
’VE
LIVED IN EVERY COLOR OF ROOM ONE COULD POSSIBLY
imagine. But what makes this one succeed is a neutral background—walls of brown velveteen, set off by architectural details finished in a very bright matte white—that works with every color. While the room’s three primary fabrics—damask on the pair of facing settees, a stripe enveloping the
sofa on the mirrored wall, and a second stripe on the eighteenth-
century Swedish side chairs—seem at first to be quite different,
the group is unified by a shared pair of tones: golden yellow, and a taupe that has the flavor of burnished silver. For me, it’s a bit like designing a grouping of clothes—a wardrobe for the room. Although the various elements wear different garments, they’re all related. The classical quality of the architecture is restated, at a more
intimate scale, in the decorative elements, especially the many busts and sculptures. I have great affection for the white marble figure of Diana, reputedly modeled on Madame de Pompadour, watching over the piano, and the miniatures of historic elements, like the handsome pair of bronze Roman columns flanking the equestrian figure—none other than Marcus Aurelius—atop his marble plinth. The artworks, by Winterhalter, Vigée-Lebrun, Van Dyck, and others, may not be specifically classical. But the women in them seem comfortable—which is how I like everyone to feel when they’re here. 24
14-73 CR NYC apt23.indd 24-25
A PA S S I O N F O R I N T E R I O R S
A PA S S I O N F O R I N T E R I O R S
25
6/9/10 10:08:10 AM
I
’VE
LIVED IN EVERY COLOR OF ROOM ONE COULD POSSIBLY
imagine. But what makes this one succeed is a neutral background—walls of brown velveteen, set off by architectural details finished in a very bright matte white—that works with every color. While the room’s three primary fabrics—damask on the pair of facing settees, a stripe enveloping the
sofa on the mirrored wall, and a second stripe on the eighteenth-
century Swedish side chairs—seem at first to be quite different,
the group is unified by a shared pair of tones: golden yellow, and a taupe that has the flavor of burnished silver. For me, it’s a bit like designing a grouping of clothes—a wardrobe for the room. Although the various elements wear different garments, they’re all related. The classical quality of the architecture is restated, at a more
intimate scale, in the decorative elements, especially the many busts and sculptures. I have great affection for the white marble figure of Diana, reputedly modeled on Madame de Pompadour, watching over the piano, and the miniatures of historic elements, like the handsome pair of bronze Roman columns flanking the equestrian figure—none other than Marcus Aurelius—atop his marble plinth. The artworks, by Winterhalter, Vigée-Lebrun, Van Dyck, and others, may not be specifically classical. But the women in them seem comfortable—which is how I like everyone to feel when they’re here. 24
14-73 CR NYC apt23.indd 24-25
A PA S S I O N F O R I N T E R I O R S
A PA S S I O N F O R I N T E R I O R S
25
6/9/10 10:08:10 AM
26
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27
6/9/10 10:08:11 AM
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6/9/10 10:08:11 AM
This elevation, presently the back of the house but formerly one of the sides, served as the staging area for reconstruction after the fire. Once the cranes withdrew, there was nothing left but compacted mud, and so we turned over the soil and put in a garden. The big trees that had been lost were replaced with a row of standard viburnum and stately silver lindens. The covered porch was initially questioned by the local historic preservation overseers, who felt that it was without legitimate precedent. But we found a dark line running along the stone suggesting that “something” of a porchlike nature had existed “previously,” so we were allowed to proceed.
A PA S S I O N F O R I N T E R I O R S
74-133 CR Weatherstone 20.indd 82-83
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This elevation, presently the back of the house but formerly one of the sides, served as the staging area for reconstruction after the fire. Once the cranes withdrew, there was nothing left but compacted mud, and so we turned over the soil and put in a garden. The big trees that had been lost were replaced with a row of standard viburnum and stately silver lindens. The covered porch was initially questioned by the local historic preservation overseers, who felt that it was without legitimate precedent. But we found a dark line running along the stone suggesting that “something” of a porchlike nature had existed “previously,” so we were allowed to proceed.
A PA S S I O N F O R I N T E R I O R S
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83
6/9/10 9:42:04 AM
M
More than a means of circulation, a stairway can be a habitable space and a work of sculpture.
94
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A PA S S I O N F O R I N T E R I O R S
A PA S S I O N F O R I N T E R I O R S
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6/9/10 9:42:20 AM
M
More than a means of circulation, a stairway can be a habitable space and a work of sculpture.
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W
Weatherstone’s pristine double-height by the architect, is my neoclassical 98
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A PA S S I O N F O R I N T E R I O R S
great room, impeccably realized fantasy brought to life. A PA S S I O N F O R I N T E R I O R S
99
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W
Weatherstone’s pristine double-height by the architect, is my neoclassical 98
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A PA S S I O N F O R I N T E R I O R S
great room, impeccably realized fantasy brought to life. A PA S S I O N F O R I N T E R I O R S
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I’d planned to have bookshelves on the main floor as well as in the gallery, but I fell in love with the antique mirror to the left of the fireplace, and had it copied so that I could hang one on the other side, too. I’m proud of the twin chandeliers. I found a picture of one in silver, designed by William Kent for Kensington Palace, and had copies made in mahogany by a master carver. Then I bought some paint from Home Depot and went to work, adding a layer of crackling medium to create Instant Age.
11 2
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A PA S S I O N F O R I N T E R I O R S
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6/9/10 9:43:20 AM
I’d planned to have bookshelves on the main floor as well as in the gallery, but I fell in love with the antique mirror to the left of the fireplace, and had it copied so that I could hang one on the other side, too. I’m proud of the twin chandeliers. I found a picture of one in silver, designed by William Kent for Kensington Palace, and had copies made in mahogany by a master carver. Then I bought some paint from Home Depot and went to work, adding a layer of crackling medium to create Instant Age.
11 2
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A PA S S I O N F O R I N T E R I O R S
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I have always loved painted furniture, which looks especially delightful in a bright room such as this. The English embroidery pattern on the sofa and chairs suits what is a distinctly Anglophilic space.
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I have always loved painted furniture, which looks especially delightful in a bright room such as this. The English embroidery pattern on the sofa and chairs suits what is a distinctly Anglophilic space.
A PA S S I O N F O R I N T E R I O R S
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The bed in one of Westbury’s two guest rooms, which I had crafted in New York, is upholstered in a French fabric that—like many things in the house—was selected for its Scandinavian flavor. This light-filled room is delightful to inhabit, and the writing desk and upholstered chair and ottoman help to personalize the space. After all, every guest needs to escape from his or her host now and then, and this room provides a variety of ways to do so.
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The bed in one of Westbury’s two guest rooms, which I had crafted in New York, is upholstered in a French fabric that—like many things in the house—was selected for its Scandinavian flavor. This light-filled room is delightful to inhabit, and the writing desk and upholstered chair and ottoman help to personalize the space. After all, every guest needs to escape from his or her host now and then, and this room provides a variety of ways to do so.
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hat brought my friend to Aspen was the skiing — but what kept him coming back was its incomparable beauty. And when he decided to build a house, I suggested that he surround himself with it: mountains, rivers, snow — and aspen trees. 210
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hat brought my friend to Aspen was the skiing — but what kept him coming back was its incomparable beauty. And when he decided to build a house, I suggested that he surround himself with it: mountains, rivers, snow — and aspen trees. 210
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The view outward is exciting and panoramic. The view inward: cozy, warm, and inviting.
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The view outward is exciting and panoramic. The view inward: cozy, warm, and inviting.
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I love the rhythmic layering of the stairs, balustrades, and spindles — simple, elegant, and soothing.
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I love the rhythmic layering of the stairs, balustrades, and spindles — simple, elegant, and soothing.
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ESTBURY ALSO ENJOYS TWO SMALLER
public rooms. They’re quite different in character, and somewhat divergent in use. What they share is an embrace of the landscape—fold back the shutters, swing open the windows, and it’s almost like being in a tree house.
The room at right I jokingly refer to as Westbury’s “business center.”
It’s got that cheerful desk and a computer that Simon’s guests use to check e-mail. In actual fact, it’s a small study and occasional guest room, and the style, I admit, remains a hodgepodge. Two things about the little space, however, are certain. It’s always gloriously light-filled. And it’s really, really red. For the latter reason, even the beige-and-off-whiteloving crowd is enamored of it—it’s a happy place to be. The other public room, conversely, which serves as both the library and Simon’s private study, feels like the kind of masculine chamber in
which a head of state would sign a declaration of war—a mood reinforced by the bust of a determined-looking John Paul Jones. Yet the library serves as the house’s cozy room, to which everyone escapes to envelop themselves in the autumnal colors—olive green, ochre, brown. Still, the library’s windows are just as big—and as complete in their embrace of nature—as those of the study. It’s nice to feel sheltered from the unpredictable world. But at Westbury, the allure of the Rockies is irresistible. 248
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W
ESTBURY ALSO ENJOYS TWO SMALLER
public rooms. They’re quite different in character, and somewhat divergent in use. What they share is an embrace of the landscape—fold back the shutters, swing open the windows, and it’s almost like being in a tree house.
The room at right I jokingly refer to as Westbury’s “business center.”
It’s got that cheerful desk and a computer that Simon’s guests use to check e-mail. In actual fact, it’s a small study and occasional guest room, and the style, I admit, remains a hodgepodge. Two things about the little space, however, are certain. It’s always gloriously light-filled. And it’s really, really red. For the latter reason, even the beige-and-off-whiteloving crowd is enamored of it—it’s a happy place to be. The other public room, conversely, which serves as both the library and Simon’s private study, feels like the kind of masculine chamber in
which a head of state would sign a declaration of war—a mood reinforced by the bust of a determined-looking John Paul Jones. Yet the library serves as the house’s cozy room, to which everyone escapes to envelop themselves in the autumnal colors—olive green, ochre, brown. Still, the library’s windows are just as big—and as complete in their embrace of nature—as those of the study. It’s nice to feel sheltered from the unpredictable world. But at Westbury, the allure of the Rockies is irresistible. 248
210-288 CR Aspen 20.indd 248-249
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