new york
creative ideas shared by leading design professionals
Published by
Panache Partners, LLC 1424 Gables Court Plano, TX 75075 469.246.6060 Fax: 469.246.6062 www.panache.com Publishers: Brian G. Carabet and John A. Shand Copyright © 2011 by Panache Partners, LLC All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system, except brief excerpts for the purpose of review, without written permission of the publisher. All images in this book have been reproduced with the Knowledge and prior consent of the professionals concerned and no responsibility is accepted by the producer, publisher, or printer for any infringement of copyright or otherwise arising from the contents of this publication. Every effort has been made to ensure that credits accurately comply with the information supplied. Printed in Malaysia Distributed by Independent Publishers Group 800.888.4741 PUBLISHER’S DATA
Perspectives on Design New York Library of Congress Control Number: 2011929214 ISBN 13: 978-0-9832398-0-2 ISBN 10: 0-983239-80-0 First Printing 2011 10 9 8 7 6 5 4 3 2 1 Right: I.J. Peiser’s Sons, page 141 Previous Page: Bernsohn & Fetner, page 87 This publication is intended to showcase the work of extremely talented people. The publisher does not require, warrant, endorse, or verify any professional accreditations, educational backgrounds, or professional affiliations of the individuals or firms included herein. All copy and photography published herein has been reviewed and approved as free of any usage fees or rights and accurate by the individuals and/or firms included herein. Panache Partners, LLC, is dedicated to the restoration and conservation of the environment. Our books are manufactured with strict adherence to an environmental management system in accordance with ISO 14001 standards, including the use of paper from mills certified to derive their products from wellmanaged forests. We are committed to continued investigation of alternative paper products and environmentally responsible manufacturing processes to ensure the preservation of our fragile planet.
3
foreword by related companies
T
he breathtaking landscape of New York and its vibrant urban centers have long inspired design professionals to create destinations that are both
distinctive and contextual. Cities—including the most populous city, New York—take shape through the collaboration of myriad artisans who design the buildings that anchor communities. The role of the developer is foremost: before the architect draws up, before the builder builds, before the craftsman adds finishing touches, before the designer fills the interior, the site must be envisioned and planned. The idea harnessed by the developer becomes part of the architectural fabric of the landscape, the community, and the city. At Related, our vision is to develop and build significant and iconic structures that enhance and engage the community. Since 1972, our buildings have enriched the skylines and streetscapes of great American cities from coast to coast. Our portfolio includes residential, mixed-use, retail, office, and exhibition spaces. We regularly join forces with legendary architects, designers, artists, and other industry specialists—many based right here in New York— who mastermind and enhance our spaces artfully. Our commitment to design excellence extends to sustainable design across our entire new development portfolio. Our buildings have revolutionized the concept of sophisticated urban living and are at the vanguard of new urbanism. Throughout New York, developers and designers are defining skylines and lifestyles with artistry and style. Within this unprecedented collection, you’ll discover the crème de la crème of New York designers of all stripes.
Above: In 1999, we pioneered the practice of commissioning celebrated
Previous Pages: The One Central Park residences start on the 52nd floor of
architects to design residential properties by selecting Robert A.M. Stern to
Manhattan’s Time Warner Center at Columbus Circle. At Time Warner Center,
plan his firm’s first luxury condominium property. Reminiscent of the legendary
we re-envisioned sophisticated metropolitan living in New York City and
pre-war buildings situated on Park Avenue and the intimate tree-lined streets of
trademarked the term Five Star Living®. We ensure our residents receive the
the Upper East Side, The Chatham is a 34-story residential tower in Manhattan.
best in every aspect of the luxury residential experience: inspired architecture
A distinctive exterior of red brick and limestone is matched by the sumptuous
and design, the most desirable locations, captivating views, superior service,
lobby and residential amenity spaces personally appointed by Robert
and world-class amenities. The One Central Park super-luxury residences
A.M. Stern.
occupy the same mixed-use building as stylish retail and four-star restaurants.
Left photograph by Peter Aaron/ESTO
With Time Warner Center, we transformed Columbus Circle and created a new
Right photographs by Scott Frances
paradigm in mixed-use development. On the 71st floor, Architectural Digest’s design exhibit features a living room by interior designer Joanne de Guardiola
Facing Page: Astor Place, located in an eclectic downtown Manhattan
that includes Mies van der Rohe daybeds, ancient Indian sculptures, and a 1990
neighborhood, is more than a place to live. Designed by Gwathmey Siegel &
Roy Lichtenstein piece.
Associates Architects, the building combines art, architecture, and the city to
Left photograph by David Sundberg/ESTO
become a veritable “sculpture for living.” Metropolitan loft living is transformed
Right photograph by Scott Frances
at Astor Place.
Photograph by Scott Frances
“Collaboration among top developers, architects, designers, and specialists fosters the pursuit of creative ideas and unique solutions that enhance people’s lives and the city’s skyline.”
—Jeff T. Blau
Left: One of several distinctively appointed lounges at The Caledonia, the
Assouline Culture Lounge is a haven for aficionados of books and design alike. Clodagh Design and French luxury publisher Assouline created an intimate, library-like space featuring a custom-made graphite cement hearth and a stunning wall-to-wall collection of art, fashion, design, and photography literature.
Photograph by Scott Frances
Left & Below: Boston’s Back Bay is home to The Clarendon and One Back
Bay, a luxury hybrid property designed by Robert A.M. Stern Architects. The storied and dignified New England backdrop informs the traditional yet contemporary design. A façade of brick and glass with steel accents allows the exterior to merge seamlessly into its ideally situated location amid Boston’s finest neighborhoods, and the elegantly appointed interiors are a graceful postmodern tribute to Boston heritage. The grand-scale lobby boasts intricate white oak wood paneling, marble flooring, and furniture designed by Robert A.M. Stern complemented by an exclusive art collection by American artist Sol LeWitt.
Left photograph by John Horner Below photograph by Steve Freihon
Above: Named after the exclusive London neighborhood of Brompton Cross,
The Brompton expresses the mantra “stylishly proper” in every sense. Befitting its location in an established Upper East Side neighborhood, the eco-friendly building is characterized by classic design and English sensibilities—a blend of timeless and contemporary styles. The gothic-inspired Robert A.M. Stern architecture is echoed in the dramatic arched entryway with cherrywood paneling and marble floors. Right: The Veneto, a collaboration with interior designer Adam D. Tihany, blends
sophisticated glamour with classical elegance. From its name to its location in Manhattan’s famous and cultured East 50s Sutton Place neighborhood, The Veneto embodies stylish and cosmopolitan charm. The grand lobby’s spectacular cascading chandelier signals arrival to a European-inspired urban enclave.
Photographs by Scott Frances
Above: Crowning Manhattan’s Time Warner Center, One Central Park residences
Facing Page: Nestled in New York’s quiet yet vibrant West Village, Superior Ink
begin on the 52nd floor. The residential lobby features a contemporary tableau
assumes the former site of the Superior Ink factory built in 1919. Robert A.M.
of elegantly appointed amenities to greet residents and their guests. Opulent
Stern Architects designed a luxury waterfront condominium and seven one-of-
textures—onyx, leather-upholstered walls, marble surrounds—and artwork by
a-kind townhouses lining Bethune Street. Yabu Pushelberg curated the serene
Helena Hernmarck converge to establish an aura of refinement.
and sophisticated amenity spaces. Myriad textures—exotic wood and stone,
Photograph by Scott Frances
brushed bronze metal screens, striking artwork, a sculptural floating pool— distinguish the rich and sensuous lobby space. The façade’s classic architecture and the warm, natural interior design bridge the past and the present.
Top left photograph by Scott Frances Top right & bottom photographs by David Sundberg/ESTO
Left & Facing Page: The Los Angeles neighborhood of Century City is
home to The Century, a super-luxury condominium designed by Robert A.M. Stern Architects. Transitional and modern, lavish yet tranquil, The Century transcends West Coast elegance. The building’s elliptical shape rises 42 stories into the sky, affording unparalleled views of the Pacific Ocean, Santa Monica mountains, and the Los Angeles skyline. The tower presides over almost four acres of lush gardens designed by landscape architect Pamela Burton. Burma teak marble, gold limestone, and sycamore wood paneling adorn the luxurious and grand lobby. A double-height glass canopy creates a luminous porte-cochère as fountains evoke a soothing atmosphere. A sophisticated state-ofthe-art Marmol Radziner-designed kitchen invites culinary inspiration. Committed to sustainability and environmentally conscious choices, The Century is a green oasis in every sense.
Left, facing page bottom left & middle right photographs by Fred Licht Facing page top & bottom right photographs by Steve Freihon
Edmund D. Hollander Landscape Architects, page 209
introduction
Ben Krupinski Builder, page 77
Loebs + Gordon Poolcraft, page 229
C
reating the spaces in which we live and achieving the beauty we desire can be a daunting quest—a quest that is as diverse as each of our unique personalities. For some, it may be serene hardscaped gardens; for others it may be opulent marble entryways. Aspiring chefs may find a kitchen boasting the finest in technology their true sanctuary while some may long for a calming spa-like bath. No matter your design craving, there’s an expert who can bring it to life marvelously.
Perspectives on Design New York is a pictorial journey from conceptualizing your dream home to putting together the finishing touches to creating an outdoor oasis. Alongside the phenomenal photography, you will glean rare insight into how the featured tastemakers achieve such works of art. Within these pages, the region’s finest artisans will share their wisdom, experience, and talent. It is the collaboration between these visionaries and the outstanding pride and craftsmanship of the products showcased that together achieve the remarkable. Learn from leaders in the industry about the aesthetics of a finely crafted sofa, how appropriate lighting can dramatically change the appearance of a room, and what is necessary to create a state-of-the-art home theater. You’ll come away amazed and inspired by these luminaries’ personal perspectives on design. Whether your dream is to have a new home or one that has been redesigned to suit your lifestyle, Perspectives on Design New York will be both an enjoyable expedition and a source of motivation.
the concept Barnes Coy Architects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Brian O’Keefe Architect, P.C. . . . . . . . . . . . . . . . . . . . . . . . . . 35 Cicognani Kalla Architect . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Frank Greenwald Architect . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Macrae-Gibson Architects . . . . . . . . . . . . . . . . . . . . . . . . . . 65
the str ucture Ben Krupinski Builder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Bernsohn & Fetner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 CNR Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Interior Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Xhema Industries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
elements of str ucture Les Métalliers Champenois Corporation . . . . . . . . . . . . . . . . . . 127 I.J. Peiser’s Sons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Precision Stone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Rimi Woodcraft Corp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Audio Video Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 E.R. Butler & Co. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Stairs New York . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 Zeluck Incorporated . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Colombo Construction Corp, page 221
contents elements of design Ingrao . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Megna Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 Cousins Furniture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 FJ Hakimian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 Foster Reeve & Associates . . . . . . . . . . . . . . . . . . . . . . . . . 205
living the elements Edmund D. Hollander Landscape Architects . . . . . . . . . . . . . . . . 209 Colombo Construction Corp . . . . . . . . . . . . . . . . . . . . . . . . 221 Loebs + Gordon Poolcraft . . . . . . . . . . . . . . . . . . . . . . . . . . 229
“The language of form is the language of life: no building is alive that does not speak.”
—Gavin Macrae-Gibson
Zeluck Incorporated, page 171
Audio Video Systems, page 159
Stairs New York, page 167
FJ Hakimian, page 201
Megna Glass, page 191
Foster Reeve & Associates, page 205
Edmund D. Hollander Landscape Architects, page 209
Les MĂŠtalliers Champenois Corporation, page 127
Precision Stone, page 147
Barnes Coy Architects, page 25
Brian O’Keefe Architect, P.C., page 35
the concept
Cicognani Kalla Architect, page 45
Frank Greenwald Architect, page 55
Macrae-Gibson Architects, page 65
A "
rt and architecture are a way of exploring the world and expressing yourself," says Christopher Coy of
Barnes Coy Architects, who joined fellow architect Robert Barnes to establish the firm in the late 1980s. The two met in boarding school and were both influenced by the school’s modern architecture. They enjoy the stimulation of working directly with homeowners, and they take inspiration from the endless variation and complexities of residential projects. The firm also has a commercial portfolio that includes the 550,000-square-foot Solaris development in Vail, Colorado. Maintaining a modestly sized firm allows the principals to stay involved in every step of the process. During its first several years, Barnes Coy maintained a construction management division in order to ensure correct execution of designs. Today the firm considers a continued strong on-site presence necessary in order to monitor the builder’s progress and guarantee detail adherence. The property owner’s desires and requirements—the program—together with the site context help to generate an original design response. This method results in projects true to the firm’s core belief that architecture begins with the site and is further informed by the end user’s program.
24
p e r s pe ct i v e s o n d es ig n
“Houses interest us because they contain elements of every building type: sanctuary, museum, and gathering place.”
—Christopher Coy
Barnes Coy Architects arc hi t ec t ure
25
26
p e r s pe ct i v e s o n d es ig n
“Executing the same concept in different ways keeps designs fresh. It’s best to eschew developing a predictable house style.”
—Robert Barnes
Above, Facing Page & Previous Pages: We built the Westhampton house to contain elements tailored to the residents’ lifestyle. Located on a tenuous, low-lying
barrier island of sand between the Atlantic Ocean and the bay, the house is oriented to the cardinal points of the compass. The fissure between the master suite and the rest of the house is aligned along the north-south axis. A trumpet-shaped deck projects out toward the ocean along with the living room, both cantilevered above a patio with a built-in barbecue and seating around an outdoor fireplace. Next to the patio is a 50-foot rectangular pool terminated at the seaward end by a Jacuzzi and a teak pad for drying and sunning. The principal materials, such as center-matched cedar, cedar shingles, Pennsylvania limestone, and the glass curtain wall, pass from exterior to interior to express the continuity of space.
Photographs by Paul Domzal
arc hi t ec t ure
27
“Even in northern climates, we emphasize indoor-outdoor living by creating ambiguity between spaces through the use of covered loggias with fireplaces.”
—Christopher Coy
Right: To create a telescopic viewing device that frames views, we
designed sheltering walls and a stainless steel shade device to guide the eye. The Pennsylvania limestone walls establish a sense of permanence. The island house’s entryway and the master bedroom face east to take best advantage of the sunrise over the sea.
Photograph by Lynne Grossman
28
p e r s pe ct i v e s o n d es ig n
arc hi t ec t ure
29
30
p e r s pe ct i v e s o n d es ig n
“Residential architecture allows us to work on the front lines, involved in a little bit of everything.”
—Robert Barnes
Above & Facing Page: Everything in the plan of the island house is part of our design for optimal viewing conditions. Black volcanic rock from Indonesia lines the
pool to keep the water warm and match the deep blue color of the sea, further enhancing the views. Inside, the open plan contains comfortable seating, the dining table, and an open kitchen with island, concrete countertops, and full-height cabinetry. To maintain transparency throughout the space, cantilevered treads jut out from the stone wall leading up to the second level. Teak and glass pocket doors open the entire wall out to the patio and zero-edge pool. As an eco-conscious touch, the house’s air-conditioning system pumps the heat removed from the house into the pool.
Photographs by Lynne Grossman
arc hi t ec t ure
31
“Modern houses can be durable, warm, and sheltering. If the form makes rational sense, the materials can be anything.”
—Christopher Coy
Above & Facing Page: A cantilevered overhang protrudes over the entrance to the East Hampton waterfront house. A low stone wall gives privacy to the inner
courtyard that adds daylight to the living room. While the upper rooms are cantilevered, the downstairs rooms are two-sided glass boxes framed by stone walls on either end. Bright red beams nod to the owner’s Chinese heritage. As the master bedroom faces the woods, the residents can enjoy total transparency while maintaining privacy. Through full-height sliding glass walls on both sides of the loggia fireplace, the house blurs the lines between indoor and outdoor. Pennsylvania limestone walls and bluestone from Rajasthan, India, on the terraces and floors provide a comforting sense of shelter.
Photographs by Paul Domzal
32
p e r s pe ct i v e s o n d es ig n
arc hi t ec t ure
33
A
rchitect Brian O’Keefe’s vocational leanings were evident very early: he would often explore houses
in his neighborhood during the construction stage, re-envisioning and re-designing to suit his imagination. Today he takes people’s visions and aspirations, then shapes them into the house of their dreams. Established in 1993, Brian O’Keefe Architect is his eponymous firm. Not one to be confined to a particular style and very adept at designing in any vernacular, Brian has been able to work with a variety of homeowners whose tastes range from traditional to more contemporary. To Brian, what’s most important is not merely whether a house fits a particular prescribed approach, but that each detail is well-executed no matter what and that the entirety is both beautiful and functional. Above all, it must fit the homeowner’s lifestyle. Among noted interior designers, Brian is something of a best-kept secret—someone who can be trusted to handle the architectural side of their designs. These designers regularly commission Brian to collaborate on first-rate residences, valuing his versatility, personal attention, and comprehensive design.
34
p e r s pe ct i v e s o n d es ig n
“Today’s architects must appreciate the vast and eclectic range of styles from historic to modern, and be able to design within any language. Manipulation of space and details is critical.”
—Brian O’Keefe
Brian O’Keefe Architect, P.C. arc hi t ec t ure
35
36
p e r s pe ct i v e s o n d es ig n
“Perfect integration of architecture, interior, and landscape lends clarity to the spatial flow and the overall design vision.”
—Brian O’Keefe
Right: As part of my long-standing design collaboration with
acclaimed interior designer Marjorie Shushan, I created architectural interiors for the south Florida residence. The island-classical style is full of rich details and materials. The formal dining room features a custom-designed plaster crown moulding and ceiling appliqués, which mask and hide elements like the air-conditioning vents and speakers. Specialty painted wood wainscoting and upholstered fabric grace the walls. Facing Page Top: California’s Hearst Castle’s 16th-century Spanish
library ceiling inspired the stained walnut coffered ceiling design of the formal living room. Venetian plaster-finished walls and stained walnut plank floors complement the coral stone door casing trim and base, which are carved in classical profiles for an island feel. Facing Page Bottom: Antique limestone flooring from France,
cabinetry by Promemoria of Italy concealing the refrigerators and other appliances, pecky cypress ceilings inspired by those of Addison Mizner, and walls finished in plaster distinguish and unify the kitchen and butler’s pantry. Previous Pages: The home’s family stairwell and formal entry
stair hall further articulate the island-classical style, reminiscent of Barbados villas by Oliver Messel. A Chippendale-patterned railing of painted woodwork keeps the space light and airy despite its interior location within the home. The grand entry hall’s split staircase is composed of a custom-designed iron railing capped with a stained walnut handrail. The stone walls and staircase and stained walnut coffered ceiling establish a sense of grandeur, while the carved coral steps, columns, and archways underpin the classical facets.
Photographs by Liz Ordoñez
arc hi t ec t ure
37
“Drawing upon the chosen vernacular and the strengths of the site is the most effective way to create unique architectural solutions.”
—Brian O’Keefe
Above: Richly stained butternut paneling paired with an intricate crown
Facing Page: The same butternut wood paneling and crown moulding as
moulding and frieze lends warmth to the library. A small flat-screen TV sits
the adjacent library pervade the office. The billiard room and its adjoining
within the built-in bookcase along with a combination of real and faux books
bar feature walnut flooring in a herringbone pattern. The bar cabinets are
that cleverly screen cabinets and storage.
also walnut, crowned by three-inch-thick hammered-edge stone countertops; custom-designed wood fronts cover all appliances. A Jacobean-influenced cornice differentiates the billiard room from the other room styles.
Photographs by Liz Ordoñez
38
p e r s pe ct i v e s o n d es ig n
arc hi t ec t ure
39
40
p e r s pe ct i v e s o n d es ig n
“Refining is an ongoing, absolutely necessary part of the process. Great design does not stem from the inclusion of every idea possible.”
—Brian O’Keefe
Right: The master bedroom’s decorative plaster ceiling design is in
the Adamesque style inspired by the morning room of Scotland’s Haddo House. Drapery panels in the corners infuse the room with softness. A rather minimal yet elegant limestone fireplace surround is in keeping with the classic simplicity of the room. The cabinet at the foot of the bed camouflages the TV. Facing Page Top: Her bath suite and dressing room feature
light, crisp shades of blue with silver accents. Inside the semicircular bath, I designed a spectacular marble mosaic floor of azul macauba, calacatta gold, carrara, crema marfil, and azul celeste, to name a few. Slabs of calacatta gold form the countertops and walkin shower, while wood paneling on the walls and tub is painted with a decorative treatment in the style of Louis XVI. The dressing room wardrobe doors include wire mesh backed with sheer fabric. A matching pair of chandeliers helps to connect the spaces. Facing Page Bottom: Masculine dark marble and metallic finished
wood dominate his bath suite and dressing room. Leather insets in the drawer fronts and pilasters add a touch of richness to the dressing room, which also features a specialty painted metallic bronze finish on all of the cabinetry. The bath’s paneled walls and mouldings, as well as the bathtub and vanity countertops, are all carved from slabs of dark emperador marble from Spain. The floor pattern is a combination of dark and light emperador. The leather touches from the dressing room repeat on the tub enclosure and vanity cabinet. Plaster crown moulding on the ceiling, highlighted with goldleaf, completes the striking look.
Photographs by Liz Ordoñez
arc hi t ec t ure
41
“Every project needs to reflect the homeowner’s hopes, dreams, aspirations, lifestyle, and comfort.”
—Brian O’Keefe
Above: In conjunction with interior designer Richard Keith Langham, we
Facing Page: The sequence of entry vestibules features faux painted limestone
transformed a city townhouse from a haphazardly arranged office building
walls and ceilings as well as patterned limestone floors. I designed iron doors in
into a stunning New York City family home. The library and dining room have
the French neoclassic style. The plaster crown moulding and cove lighting and
been carefully restored and enhanced to contain modern elements. Freshly
faux painted coffered ceiling are all fresh details that complement the plaster
added French polished, stained mahogany paneling and bookcases reinforce
shield above the archway, original to the home.
the aesthetic of the French neoclassic front façade, as does the completely
Photographs by Durston Saylor
restored plaster crown moulding. In the dining room, new crown moulding and latticework aid in linking the historic coffered ceiling, transformed by a regal color palette of light blue and gold. Upholstered crimson silk damask walls, an antique red marble mantel with ormolu mounts, and French polished mahogany doors with P.E. Guerin hardware reinstate the room’s original glory.
42
p e r s pe ct i v e s o n d es ig n
arc hi t ec t ure
43
W
ith
a
decidedly
European
mindset,
Pietro
Cicognani and his team design all of their projects
to last for a very long time, both physically and stylistically. They believe that in a society of constant change, architecture—independent of its vernacular—must remain consistent in quality while its creators look to the future for greater energy efficiencies, broader palettes of materials, and ideas that are innovative yet timeless. Cicognani Kalla Architect specializes in residential design but its leadership notes that its body of work would be incomplete without the valuable experience that commercial commissions afford. Understanding how to give an office building the intimacy of a residence or a private home the grandeur of a large-scale public space is an intrinsic part of the firm’s creative process. The firm was established in the mid ’80s by Italian Pietro Cicognani and the late Ann Kalla, an American-born architect and professor. Intentionally maintaining an intimately sized firm of fewer than a dozen, Pietro, in collaboration with associate Nicholas Stanos, is personally involved in every project that his firm undertakes, whether in New York or overseas.
44
p e r s pe ct i v e s o n d es ig n
“Glass is a beautiful material, but when it’s used for large surfaces, the room must be impeccably lit or it will end up functioning as a mirror in the evening rather than a portal to the views.”
—Pietro Cicognani
Cicognani Kalla Architect arc hi t ec t ure
45
46
p e r s pe ct i v e s o n d es ig n
“Embracing natural light and protecting art need not be disparate goals. The technologies we have today are incredible.”
—Pietro Cicognani
Right: Pale Male and Lola, the famous avian residents of a nest
outside a Fifth Avenue penthouse overlooking Central Park, were the inspiration for their next-door neighbors’ Lalannecommissioned dining table. Two hawks, cast back to back in solid bronze, form the pedestal—a whimsical complement to the framed sketches of birds in flight. Unique to the area, the 3,000-square-foot residence has one bedroom and a generous amount of open space to maximize the views and the wraparound balcony. The dining area and kitchen can be easily subdivided with a full-height door that is usually pocketed into the wall. Slivers of marble—half an inch wide by about six inches long—create an intriguing effect as the kitchen flooring, and the cherry cabinetry continues the textural grain. Facing & Previous Pages: The goal was to transform the penthouse
apartment into an elegant yet relaxed setting for an art collection, where daily life and vistas of the city could be fully enjoyed. We designed the space in collaboration with interior designer Alexa Hampton, and CNR Group handled the construction. A soft contemporary tone is established in the entry hall with an abstract painting accentuated by the white-goldleafed wall and its subtle square patterning; the square blocks of end-grain wood flooring carry the mosaic effect throughout the home. Farther in, the main space opens to generous panoramic views of Central Park, flanked by several more pieces of art. Two sculpturally cantilevered window seats invite the residents to lie down and feel like they are in an outdoor cocoon, connected with the park and city beyond.
Photographs by Ron Amstutz
arc hi t ec t ure
47
“I always advocate using noble materials in a timeless manner.”
—Pietro Cicognani
Above & Facing Page: The core of the new house retains the original 1920s house’s U-shaped formation, which maximizes light, air, and views across the expansive
26-acre Long Island estate. New extensions include a garage and family motor court, a guest wing, a master wing, and a subterranean arcaded game area with theater and wine cellar that respond to the 21st-century needs of the young family. In collaboration with the homeowner, who is an interior designer, and the builder, we drew inspiration from the original building’s Norman and English Provincial exterior while reinterpreting the original interior details and finishes with a restrained yet intimate eclecticism. An east-west axis from the entry court through the enlarged main hall heightens the unfolding view across the west garden’s reflecting pool to a restored pond in the distance. The master plan, which included the addition of a new pool house, greenhouse, outbuildings, and the installation of an imported Chinese pavilion on the pond’s island, was further elaborated by Nelson Byrd Woltz Landscape Architects, which restored the original walled gardens, reinvigorated existing woodland areas, and created new environments, all of which are based upon ambitious but realized principles of sustainability.
Photographs by Ron Amstutz
48
p e r s pe ct i v e s o n d es ig n
arc hi t ec t ure
49
50
p e r s pe ct i v e s o n d es ig n
Above & Facing Page: The home’s finely crafted quality is achieved through a rich palette of materials, meticulous design, and collaboration with trusted artisans.
Connecting the main level to the basement and the second floor, the stairway’s sculptural aesthetic is enhanced by Les Métalliers Champenois’ iron railing and balusters, which play counterpoint to the smooth stucco walls and the limestone and oak floor. All interior spaces are oriented outward to capitalize on the picturesque setting, and the screened porch, which converts to a solarium in the winter, enjoys a particularly intimate relationship to a small parterre fronting a restored walled garden.
Photographs by Ron Amstutz
arc hi t ec t ure
51
Above: In the heart of the property, and separated from the main house by
Facing Page: The principal body of the pool house’s cruciform plan, with an
a cedar woodland, the pool and pool house pavilion form a wonderful spot
interior lounge at its center, contains an imposing two-story open porch facing
for personal reflection or entertaining groups of all sizes. The pool house also
the pool, and at the opposite end, a discreet entry facing a pebbled motor
accommodates friends and family as private quarters. The pavilion has become
court. Flanking the main body are cabanas that tuck into the woods and informal
a frequent retreat for the owners throughout the year.
dining spaces that are oriented to the meadow and pond. Cheerful secondfloor guest suites are carved within low roof eaves. The pavilion is deliberately scaled down in deference to the grandeur of the main house and its formal gardens. While sharing architectural details with the main house, its fieldstone exterior and white oak interior establish an earthen, casual, rustic identity.
Photographs by Ron Amstutz
52
p e r s pe ct i v e s o n d es ig n
arc hi t ec t ure
53
N
ative New Yorker Frank Greenwald has been one of the premier Hamptons architects since establishing
his namesake firm in 1992. Frank spent his childhood exploring abandoned houses, and he brings that same inquisitiveness to his work as a professional architect today. The firm’s location in East Hampton allows it to be part of a community, fostering organic, authentic designs that draw on a true understanding of New York geography and society. Naturally, Frank Greenwald-designed residences dot the East Hampton and Southampton landscape, but also pop up in New York City and upstate New York, Florida, and Caribbean locales from the Bahamas to Jamaica. Wherever the site, Frank’s designs blend modern ideas and technology with classic and indigenous styles. Extremely high quality standards and close collaboration with his homeowners are the hallmarks of the Frank Greenwald design process and philosophy.
54
p e r s pe ct i v e s o n d es ig n
“Inspiration comes from the landscape, my homeowners’ visions, the architects I admire, a design vernacular—anywhere.”
—Frank Greenwald
Frank Greenwald Architect arc hi t ec t ure
55
56
p e r s pe ct i v e s o n d es ig n
Above & Facing Page: Comprised of cedar, stone, mahogany, and lead, the
Previous Pages: An oceanfront home nestled into the Southampton dunes
Bridgehampton home is a contemporary version of a beach house. Classic and
possesses an elegant entrance courtyard. With the main house flanked on both
modern elements converge to form a “village” of small barn-like structures
sides by matching structures, the effect is symmetrical and classic beachfront.
made of locally sourced components. The interior, warm with woods and
Photograph by Jeff Heatley
other organic touches—woven rug on the stairs, stone fireplace in the family room, green tile surround in the kitchen—is a cleaner echo of the exterior’s natural theme.
Photographs by Ron Papageorge
arc hi t ec t ure
57
“Warm and comfortable homes that bridge traditional construction and modern accoutrements become friendly refuges.”
—Frank Greenwald
Above: Great Viennese architects like Adolf Loos inspired the traditional
Facing Page: A modern family requested a new Shingle-style home, requiring
materials and open loft-like interior of the coastal home. Waterfront living calls
us to rethink that vernacular’s traditional vocabulary. Bold elements from the
for low-maintenance design and construction: to have symmetry in the plan and
windows to the columns accomplished that goal, and then the entire house
balance in the elevation is essential.
received a coat of clean, pure white paint. A matching pool house—inspired by the architecture and landscape of the islands—with a mirror for reflecting the sun on the water completes the fresh design.
Photographs by Jeff Heatley
58
p e r s pe ct i v e s o n d es ig n
arc hi t ec t ure
59
60
p e r s pe ct i v e s o n d es ig n
“The history of the countryside and its former structures—underground potato barns, colonial farmhouses—are a constant point of reference.”
—Frank Greenwald
Above: We brought together an assemblage of traditional elements on a tract
Facing Page: In a windswept oceanfront locale, the rooflines of the more formal
of farmland once a part of colonial Crown lands in the heart of East Hampton
Southampton home resemble sails. Porches all around the perimeter allow for
village. We took our cues from European agricultural and country structures,
indoor-outdoor living, and details like eyebrow windows draw light into the
naturally, that we melded together to form a new building with a story to tell and
dramatic, soaring two-story interior spaces.
an instant history. Stucco, cedar, bluestone, crushed gravel, custom-made doors,
Photographs by Jeff Heatley
repurposed brick, and lead immediately establish a sense of permanence.
arc hi t ec t ure
61
“Even within the bounds of traditional architecture, there are opportunities for unique and unconventional elements.”
—Frank Greenwald
Left: A traditional Shingle-style home with a whimsical element
reminiscent of a lighthouse or a silo sits on a farm field overlooking big dunes and the sea. Accordingly, a third-floor viewing platform inside—accessed by a great ladder—allows residents to watch the ships go by. An abundance of trim dresses the traditional windows. Facing Page Top: The elements of the home blend Victorian
and Shingle styles, especially in terms of the woodwork details. The round cupola and decorative lattice frieze along the porch are Victorian-inspired facets translated into Shingle-style and developed with the help of modern craftsmen. Facing Page Bottom: A contemporary pool house, fitted out
with an outdoor fireplace and a raised platform, allows for alfresco dining with a view of the pool on one side and open fields on the other. A lead roof and stone walls and chimney combine to create a structure evocative of an old smokehouse.
Photographs by Jeff Heatley
62
p e r s pe ct i v e s o n d es ig n
arc hi t ec t ure
63
J
ust as each building site is particular, each work of architecture, from grand apartment to lake retreat, is
distinct, communicating a unique perspective derived from the meaning of site and purpose. Such perspectives are ways of seeing into the heart of architecture, and they come to life in the work of Gavin Macrae-Gibson through the careful selection and arrangement of forms derived from vernacular, modern, and historic traditions. These languages of form vary greatly in relation to specific circumstances. As a result, each project’s style and meaning is quite different. For Gavin, such Perspectivism in design opposes the modern tendency for all things to be similar in every place. By contrast, his architecture celebrates the richness of life through the wonder of form. Gavin was born in London, England, and received his first degree in architecture from Cambridge University. He was awarded a Mellon Fellowship to earn his Master of Architecture at Yale, where he subsequently taught for 10 years before establishing his namesake firm. Macrae-Gibson Architects has refined Gavin’s method for more than 25 years in New York City, creating upward of 200 buildings and architectural interiors for residential, commercial, and institutional projects. The firm has been awarded work from the Caribbean to Canada.
64
p e r s pe ct i v e s o n d es ig n
“Architecture is about values: we must seek the perfect perspective.”
—Gavin Macrae-Gibson
Macrae-Gibson Architects arc hi t ec t ure
65
66
p e r s pe ct i v e s o n d es ig n
Above & Facing Page: We transformed a raw TriBeCa industrial space into a
Previous Pages: We comprehensively designed a classic Park Avenue
dramatic modern residence that fuses art and lifestyle. Each of the loft’s parts
residence to provide an elegant interior consistent with its prestigious location.
evokes its own feeling: a tranquil meditation space, secluded media room,
We reorganized the plan, enlarged openings between rooms, and provided
luminous bedroom suite, and minimalist charcoal-grey gallery with stainless
individual character to each space through new flooring, ceilings, lighting, color,
steel and glass sculpture vitrines. These parts are arranged around a grand
and mouldings. The foyer-gallery combines floating ceiling panels that integrate
open living area with curving walnut library anchored by terracotta-colored
lighting for artwork displayed on deep blue walls with a crisp black and white
columns theatrically illuminated from below; the space opens diagonally to
marble floor. Oversized mahogany doors lead to a chanterelle-colored dining
a roof terrace with a Manhattan skyline view. The echo of the industrial past
room with lustrous cream-hued trim. Additional reception rooms, a master
resonates through the luxurious palette of materials as the space unfolds from
bedroom suite, and a service wing are arranged around the foyer.
one area to the next.
Photographs by Durston Saylor
arc hi t ec t ure
67
“The language of form is the language of life: no building is alive that does not speak.”
—Gavin Macrae-Gibson
Above & Facing Page: We renovated two previously connected apartments in a modern Manhattan high-rise building. At the beginning, the whole was less than
the sum of the apartments, but we were able to unify the architectural experience through simplicity of composition and magnify it through luxurious materials and the extension of space and view. Green granite walls, quartersawn oak parquet floors, bookmatched anigre paneling, and ivory encaustic plaster panels are used throughout, while spaces have been opened up and allowed to breathe.
Photographs by Fred Charles
68
p e r s pe ct i v e s o n d es ig n
arc hi t ec t ure
69
70
p e r s pe ct i v e s o n d es ig n
Above & Facing Page: We were inspired by a repertoire of forms characteristic of New England: rural barns, meeting houses, and simple pitched roof structures.
Our addition to an authentic Colonial farmhouse is larger than the original building, but is broken into three distinct small-scale parts on the exterior which form a complementary garden wing. The wing consists of a breakfast room, kitchen with master bedroom above, and family room with porch overlooking the garden. These forms are arranged to create a sense of geometrical abstraction in relation to nature. The seven-sided family room is wrapped on five sides by a wide porch that becomes an elevated outside living area, providing a transition to the landscape.
Photographs by Mick Hales
arc hi t ec t ure
71
“Architecture has an inner life: it is revealed through the poetic logic of form.”
—Gavin Macrae-Gibson
Above & Facing Page: The vacation house is located on a lake in Quebec that has both English and French architectural traditions. We created an off-grid building
that integrates the forms of the light wood-framed English summer bungalow with the massive construction and tall roof profile characteristic of the Quebec Normandy farmhouse. This combination allows light, air, and views to be appreciated from all directions while giving the house a sense of rootedness to its place. It also permits both natural ventilation by convection and a very high level of insulation. The sustainable materials of the house and its low carbon footprint are symbolized by the lyrical form of maple and ash trees saved from the site during construction and used as ornamental elements of both the interior and exterior.
Photographs by Claude-Simon Langlois
72
p e r s pe ct i v e s o n d es ig n
arc hi t ec t ure
73
Ben Krupinski Builder, page 77
Bernsohn & Fetner, page 87
the structure
CNR Group, page 97
Interior Management, page 107
Xhema Industries, page 117
T
he first house Ben Krupinski ever built was his own. After digging the hole, pouring the concrete, laying
the foundation, and carrying out all other tasks himself— with some help from his wife Bonnie—in the early 1970s, he knew he’d found at least one way to satisfy his desire to work with his hands and spend his days outside. Through work for his wife’s sand and gravel company early in his career, Ben came into contact with the homebuilding industry. A request to put in a window gave him all the excuse he needed to start his own business in 1980. Today Ben Krupinski Builder is a go-to resource in the Hamptons, and the founding principal himself is easily recognizable there. A perfectionist and extremely hard worker, Ben has been a diligent entrepreneur since childhood. Ben Krupinski-built homes have a good reputation because Ben builds them according to his own rigorous quality standards. Not one to sit in an office, Ben is on-site alongside his craftsmen throughout the entire homebuilding process. Today his homeowners and architects are aware that he does this work because he enjoys it and value him as down to earth, flexible, and communicative. It’s clear that Ben takes care of his homeowners as well as their homes—even after the project is complete.
76
p e r s pe ct i v e s o n d esig n
“Great houses are the result of perfectionism at every step of the design and construction process.”
—Ben Krupinski
Ben Krupinski Builder c ust om homeb ui l d i ng
77
78
p e r s pe ct i v e s o n d esig n
Above: Built in record time, the classic Greek revival oceanfront home boasts
Facing & Previous Pages: We crafted a large traditional family home to fit
extensive wooden elements and great public spaces. Warm interiors and
seamlessly into the Sagaponack landscape. The warm, comfortable house—
staggering views result in a superb place to entertain.
an elegant mix of stone, shingling, and wood—shows off an exquisite level of
Photograph by Jeff Heatley
detail inside and out.
Facing page photographs by Jeff Heatley Previous pages photograph by Doug Kuntz
c ust om homeb ui l d i ng
79
80
p e r s pe ct i v e s o n d esig n
“There’s a kind of sixth sense that you develop when you’ve lived somewhere for a long time. You intuitively know what’s going to work best with the land.”
—Ben Krupinski
Above: While a very modern structure, the house sits in perfect harmony with
Facing Page Top: Nestled in the dunes, the home’s traditional shell—green-
the farmland site. Interesting innovations abound, such as a durable fiberglass
trimmed accents, salt-washed exterior—hides a flawlessly crafted interior.
roof and a 200-foot wall that provides privacy and acts as an interior wall for
Photograph by Doug Kuntz
portions of the home while functioning as an impressive design element.
Photograph by Thomas Choi
Facing Page Bottom: The expansive Georgica Pond estate typifies the classic
shingled summer cottage. Inside, big and bright seascaped living spaces are quite at home.
Photograph by Doug Kuntz
c ust om homeb ui l d i ng
81
82
p e r s pe ct i v e s o n d esig n
Above: The home’s stunning East End location allows its owners to enjoy
Facing Page: Strong traditional and classic lines dominate the home. Six stately
breathtaking ocean views over unique “double dunes.” Restored to mint
chimneys dot the roof, while oversized windows flood the interior with clean,
condition, the traditional house provides a casual summer retreat for the family.
bright air.
The renovation includes an English windmill, a testament to the origins of East
Photographs by Jeff Heatley
Hampton’s agrarian society and native technology.
Photograph by Doug Kuntz
c ust om homeb ui l d i ng
83
“From traditional to ultramodern, we’ve built it all and can handle any vision in any style.”
84
p e r s pe ct i v e s o n d esig n
—Ben Krupinski
Above & Facing Page: The owner’s vision always partners with the builder’s skill. A thoroughly contemporary house emphasizes that collaboration: the requested
modern touches like stone tiles fabricated on-site in Styrofoam molds and steel doors and windows make a big impact. Floor-to-ceiling openings at the back of the house lead to an airy poolside atmosphere.
Photographs by Laurie Lambrecht
c ust om homeb ui l d i ng
85
I
nnately drawn to the finer things in life, Randall Bernsohn and Steve Fetner established their firm to provide high-
quality construction services to a discerning clientele. Their sensibility of artistry and ethos—Steve studied classical music theory and composition, while Randall pursued philosophy—is precisely what makes them successful and is manifest in each project they undertake. Like a symphony, each job requires an impeccable manuscript and the right blend of people: Randall and Steve are the conductors, attentive to every detail, ensuring each home is realized to perfection under their stewardship. Known for its unmatched integrity and dedication to excellence, Bernsohn & Fetner is comprised of handselected project managers and craftsmen who have an almost spiritual reverence for their work. Whatever the scope of the luxury residential project at hand, the team’s dedication to creating a true sense of place for individuals and families is evident.
86
p e r s pe ct i v e s o n d esig n
“Direct involvement and clear communication lead to the best-executed projects.”
—Steve Fetner
Bernsohn & Fetner cu sto m resi d ent i al i nt er i or s
87
Above, left & Facing Page: We fully renovated the 9,000-square-foot penthouse
to boast Cumaru wood floors, decorative plaster walls, and recessed lighting, among other signature details. To accommodate a new stairwell planned close to the south wall of the building, we relocated a portion of the exterior wall on both floors—shifting it 18 inches further south—and extended the roofline to match. Statuary marble and jet mist granite walls, floors, and counters define the bathroom. Previous Pages: The modern bathroom’s white sivec stone floors feature radiant
heating; the bathtubs, sinks, and vanities are each made of a single piece of stone. Concealed electronic plumbing valves with push-button controls act as the water stoppers for sinks and tubs for a high-tech green touch. White neon lighting in knife-edge lines surrounds recessed coves that hide air-conditioning diffusers. Floor-to-ceiling acid-edged opaque glass walls divide and border the space, and any ceilings and walls not made of glass or stone are finely finished with white marmorino plaster.
Photographs by Paul Warchol
88
p e r s pe ct i v e s o n d esig n
“The best approach to building is to be serious and thorough, yet calm and unflappable.”
—Randall Bernsohn
cu sto m resi d ent i al i nt er i or s
89
“An architect, like a composer, needs someone to realize his work.�
—Steve Fetner
Left: All rooms are separated by swing and pocket doors custom
made with Bendheim rice paper glass and dark patina metal. The centerpiece of the living room is a geometric stainless steel and mahogany bar set atop a hammered titanium floor whose pattern mirrors the ceiling soffit. The entire apartment uses decorative plaster as a finish instead of painted surfaces. The vanity is a 1,200-pound, five-foot-long cubic piece of Siena stone cantilevered and underlit for maximum effect. Facing Page: The lighting has been tailored to the needs of the
museum-quality art collection prominently featured throughout the residence. The media room boasts state-of-the-art audiovisual capabilities, including a roll-down screen hidden in a stainless steel valance. A seamless 28-foot-long piece of stainless steel serves as the kitchen countertop.
Photographs by Scott Frances
90
p e r s pe ct i v e s o n d esig n
cu sto m resi d ent i al i nt er i or s
91
92
p e r s pe ct i v e s o n d esig n
“An owner and an architect sitting side by side virtually every step of the way leads to high-quality results.”
—Randall Bernsohn
Above & Facing Page: Our precisely executed renovation created a luxurious space with white high-gloss floors and ceilings, a 16-foot sliding glass bedroom door,
motorized televisions that hide from view in columns when not in use, a concealed kitchen with hidden millwork doors, carved stone sinks, and highly reflective polyester millwork finishes throughout.
Photographs by Thomas Loof
cu sto m resi d ent i al i nt er i or s
93
94
p e r s pe ct i v e s o n d esig n
“Are we better than we were a year ago? Yes. Constantly evolving is key.”
—Steve Fetner
Above: In a mere 10-month time frame, the architect designed and we undertook
Facing Page: The gallery foyer houses a limestone staircase, limestone floors
and completed a 12,000-square-foot penthouse’s renovation. The fast-track
with inlays, and ornamental plaster crown mouldings and friezes. The space acts
project involved importing two 18th-century pine-paneled room reproductions
as a showcase for not only the homeowner’s extensive art collection, but also
from England to be installed on-site in rooms built to fit, the office and the
decorative painting and glazing on the ceiling finishes, an ornamental bronze
media room. An elaborate audiovisual system throughout the home reaches its
and brass stair railing, and 14-karat gold lighting fixtures.
apex in the media room, where a theater screen rolls down over the window and
Photographs by Alec Hemer
faux bookshelves open to reveal speakers.
cu sto m resi d ent i al i nt er i or s
95
C
NR Group grew out of glowing word-of-mouth recommendations and that same solid reputation
propels the builder today. CNR has become synonymous with passion, integrity, craftsmanship, and distinction. Owned by Jesse Krzywon, the company specializes in high-end construction and renovation, continuing its relationships with homeowners by handling maintenance work as well. CNR Group, present every step of the way for homeowners and other design team members, is committed to creating structures that last. The firm’s craftsmen, primarily European-taught, are fully acquainted with the meaning of quality. Many details are taken care of in-house—including finish carpentry, tiling, and plasterwork—to allow CNR greater quality control and schedule flexibility, as well as assurance that all the moving parts will come together as proposed. Regular feedback throughout the process allows the firm to draft and adhere to realistic budgetary guidelines, a pleasant surprise for the homeowner and a source of pride—not to mention a sound track record— for the company. Meticulous attention to detail and an unswerving dedication to service makes CNR Group a reliable builder in every possible sense.
96
p e r s pe ct i v e s o n d esig n
“It doesn’t cost more when it’s done right: it costs more when it has to be done twice.”
—Jesse Krzywon
CNR Group c ust om homeb ui l d i ng
97
“The best project we can build involves every team member—the homeowner, the architect, the designer, and the builder all on the same page.”
98
p e r s pe ct i v e s o n d esig n
—Jesse Krzywon
Above, Right, Facing & Previous Pages: A majestic floating staircase running
alongside a continuous wall of cabinetry connects all four levels of the Upper West Side brownstone, facilitating family communication within a vertical townhouse lifestyle. We painstakingly rebuilt the 19th-century structure from the ground up, beginning with a finished basement with laundry and exercise rooms that leads up to a double-height ground-floor parlor area topped with a living space on the mezzanine above. Full-height glass apertures cut from the rear wall unify the two spaces and let in light. We altered the elevations in order to create these floor and ceiling expansions. The 50-foot staircase, composed of bubinga wood treads and steel stringers and structure, required laser survey equipment to ensure all the contiguous components fit together perfectly. Bubinga and clear maple create myriad built-in features and lighting coves in the master bedroom suite. A mechanical overhaul paved the way for state-of-the-art features like a home automation system for the lighting and home theater elements and radiant floor heating in all bathrooms and on the lower levels’ tile and stone. One powder room includes mosaic wall tiles and acid-edged translucent glass blocks.
Photographs by Seong Kwon
c ust om homeb ui l d i ng
99
“Residences completed more than a decade ago should still look like we just left the job.�
—Jesse Krzywon
Left: Our repertoire includes high-end commercial and residential
spaces. The Manhattan restaurant Caravaggio received a fullblown gut renovation that transformed the layout. We were able to comply with the aggressive schedule, thanks in no small part to our close association with a metalworking shop that allowed us to fabricate a polished copper bar featuring a lightbox shining from below. We also revamped the electrical and lighting systems of the pre-war building location.
Photographs by Ron Amstutz Facing Page: For a 5,000-square-foot Chelsea loft, we completely
reconfigured unstructured open space into inviting family areas, from a cozy dividable media room to a bright kitchen. Frosted glass and stainless steel sliding partitions allow residents to shift the space from private to public as needed, while allowing light from the huge windows on either side to permeate the center portion. Tucked into a recessed niche but open to the dining and living quarters, the kitchen boasts new woodwork: full-height, high-gloss cabinetry ranging from white lockers to walnut shelving, a walnutpaneled island, and Brazilian walnut flooring.
Photographs by Jason Penney Studio Inc.
100 p e r s pe ct i v e s o n d esig n
c ust om homeb ui l d i ng 101
“When specifications aren’t set in stone, we have the opportunity to actively collaborate and come up with even more original design solutions.”
—Jesse Krzywon
Above & Facing Page: For our second project at a Fifth Avenue apartment eight years after the first, we expanded into the floor below with a sweeping stairway. The
floating stair linking the two floors appears to be a monolithic stone structure thanks to marble stair treads with plaster risers and stringers faux painted to match. We brought the library originally built on the upper floor down into the lower space, seamlessly recreating the same stained and glazed cherrywood paneling, to make a continuous double-height library. The elevator lobby opens to a view of the stair to make a strong impression as guests and residents enter; Venetian stucco walls lend elegance while floors of the same marble as the stair treads unify the spaces. The new ground-floor kitchen contains classic Fifth Avenue subway tile laid out in a rare no-cut technique incorporating bull-nosed corner tiles. Other notable features include the built-in bookcase niche with underlit floating oak shelves, the island counter of embedded glass tiles framed in stainless steel, white statuary marble countertops, and stainless steel cabinetry designed to fit seamlessly into the tile dimensions.
Photographs by Jason Penney Studio Inc.
102 p e r s pe ct i v e s o n d esig n
c ust om homeb ui l d i ng 103
“We work from the same side of the table as our homeowners, not opposite.” —Jesse Krzywon
Left: In conjunction with architecture firm Cicognani Kalla, we
undertook a gut renovation of a 3,000-square-foot Fifth Avenue penthouse. We opened up and expanded the living space windows to allow for Central Park views and installed durable endgrain fir flooring. Initially an immovable structural column posed a challenge, but at the suggestion of the auto-enthusiast homeowner we covered it in stainless steel sheet metal with an engine turn pattern to make it a seamless part of the home: a classic example of evolution and innovation on the spot. The gentleman’s bath possesses a masculine character thanks to oiled teak and green slate materials.
Photographs by Ron Amstutz Facing Page: The Cooper Square loft, a suburban family’s
Manhattan getaway, boasts a flexible design that allows living room to transform into art gallery, while making space for a secluded Japanese-inspired master bedroom. Motorized panels containing artwork move on ceiling-mounted pivots to create an ever-changing art display that can be retracted at any time to restore the space to a family room. The original concrete flooring of the pre-war building was re-polished, then sealed. The master bedroom features tatami mat flooring bordered in palm wood, bamboo cabinetry and bed, and a sliding shoji screen partition, all fabricated in France.
Photographs by Jason Penney Studio Inc.
104 p e r s pe ct i v e s o n d esig n
c ust om homeb ui l d i ng 105
I
nterior Management is well-versed in turning ordinary properties into truly magnificent residences. The family-
owned firm specializes in making homeowners’ interior renovation dreams a reality by coordinating the often complex construction process from raw plans through to completely transformed living spaces. The Interior Management team members have proven to be experts at completing these dramatic changes within highly
restricted timelines. Al Martinez started the visionary business in the early 1980s when he took on a project as a favor to a friend. From the very beginning, Interior Management has been committed to providing exceptional service, meticulous execution, and extraordinary workmanship. A decade later, Al began teaching his son Mark the intricacies of the business in preparation for the leadership role that he assumed in 2002. Since Al’s retirement, Mark Martinez has expanded on his father’s original vision so that the one-time oneman operation could grow to accommodate upward of 50 employees. Today Manhattan’s most sophisticated residents continue to rely on Interior Management to produce aspirational homes at the city’s most exclusive addresses.
106 p e r s pe ct i v e s o n d esig n
“It’s paramount to make each space the most beautiful it can be.”
—Mark Martinez
Interior Management c ust om homeb ui l d i ng 107
108 p e r s pe ct i v e s o n d esig n
“Standards must be exacting, deadlines consistently and punctually met, to be successful in New York City.”
—Mark Martinez
Left: Every room and window of the Manhattan apartment opens out
to views of Central Park, including the clean-lined living room. Oriented toward an indoor-outdoor lifestyle, the space—free of mouldings, baseboards, or trim—transitions easily from room to balcony through floor-to-ceiling doors and windows. Zebrawood floors, tinted Venetian plaster walls applied using the stucco lustro technique, Japanese tamo paneling, and recessed lighting are some of the details that establish an elegantly modern tone.
Photograph by Matthew Millman Previous Pages: At the West 13th Street apartment, intricate marble slab
work dominates the entry hall. We crafted marble portals from three-inchthick slabs and mirrored the floor’s architectural pattern in the ceiling with plaster. In the great room, cabinetry of wood clad in iron resembles an antique safe. Barkpaper-covered walls and a cast plaster ceiling with a flatstep crown are the final details our craftsmen applied to the space.
Photographs by Eric Piasecki
c ust om homeb ui l d i ng 109
Above: The 12,000-square-foot Bridgehampton home—built to accommodate
Facing Page: Flowing smoothly into the great room is the large open kitchen.
two young families—boasts soaring ceiling heights in the great room. The
The rift-cut oak cabinetry, inset with glass panels and laid out horizontally
baseboards, mouldings, and hardwood floors fit seamlessly into the space. The
as opposed to vertically, has been French polished. The feel of the two-inch
huge floor-to-ceiling windows framed in English steel overlook the pool and
quartzite countertop is wholly organic, especially against the white bleached
spa, while doors in the same style lead out to a screened porch for indoor-
oak floors.
outdoor living. Cast plaster crown moulding and a travertine mantel finish out
Photographs by Eric Piasecki
the room.
110 p e r s pe ct i v e s o n d esig n
c ust om homeb ui l d i ng 111
112 p e r s pe ct i v e s o n d esig n
“Every project is an opportunity to learn.”
—Mark Martinez
Above: The fireplace—made of a cast plaster mantel and a limestone surround—
Facing Page Bottom: Within a three-month summer construction window,
is the star of the formal living space at an East 69th Street address. Stucco lustro
we completed a 720 Park Avenue renovation that resulted in a new kitchen
tinted, troweled plaster walls, and dark-stained oak floors offer a rich contrast.
and master bathroom. In the latter, we produced a polished nickel medicine cabinet, folding mirror, and vanity of lacquer and parchment panels to perfectly
Facing Page Top: After combining two adjacent Upper East Side residences
complement the Thassos stone. Art lighting and nickel and reeded glass
inside a pre-war building, we fabricated a living room, dining room, office, library,
sconces allow the painted wood paneling and marble slab floor to shine.
and kitchen. The formal living room features ideal lighting for illuminating an art
Photographs by Ricky Zehavi
collection, bleached oak floors, and painted wall paneling.
c ust om homeb ui l d i ng 113
Above: The entry gallery of a 960 Park Avenue apartment is luxuriously outfitted
Facing Page: Over the course of four months we provided new windows, plaster
with radiant-heated flooring, crotch mahogany passage doors, and wooden
crown and mouldings, a marble fireplace, and mahogany doors accented with
crown moulding over-door finishes and surrounds. Many of these features recur
decorative hardware to a Fifth Avenue maisonette. Inset lighting highlights
in other rooms. From the inlaid marble floor to the wall finishes, the foyer sets
the art collection throughout, including in the living room’s built-in bookcases.
an impressive tone for the rest of the home.
Crotch mahogany doors, cabinetry with heavy pilaster details, and a curved panel complete with paneling create a magnificent space.
Photographs by Durston Saylor
114 p e r s pe ct i v e s o n d esig n
c ust om homeb ui l d i ng 115
I
n 1971, Jim Xhema recognized the demand for highquality remodeling and finishing work and founded
his own building company. Acquisition of a 90-year-old woodworking company in Greenwich, expansion into fullscale construction, and establishing a Manhattan office followed as the business thrived. Today Xhema Industries is a premier homebuilder, with projects scattered throughout New York City and Westchester and Fairfield counties as well as the Hamptons and New Jersey. Jim Xhema and Pier Giorgetti, president of the New York office, have a dedicated team that relentlessly pursue perfection, ingenious craftsmanship, and a thorough execution of even the minutest details. Painstakingly restoring projects from historic townhouses to stunningly opulent country residences, Xhema’s artisans bring zeal and precision to every home. The all-inclusive, fully staffed firm is able to build beyond compromise, to realize even what might be deemed impossible. Whether a 25-car subterranean garage, an indoor pool below sea level, Italian murals worthy of Michelangelo, or even an unprecedented three-month timeline for doubling the size of a house, Xhema has executed it all with flair and grace.
116 p e r s pe ct i v e s o n d esig n
“When a builder has an in-house team of painters, plasterers, carpenters, millwork specialists, and other artisans, and two woodworking mills, seamless, on-time execution is guaranteed.”
—Jim Xhema
Xhema Industries c ust om homeb ui l d i ng 117
“As builders, we consider ourselves problem solvers. We work with the project team of architects, designers, and consultants to come up with the right solution.”
—Jim Xhema
Above: The grand Georgian estate’s kitchen and butler’s pantry contain elegant,
Facing Page: The grand entrance to the house leads through a sequence of
timeless details that contribute to the overall long-standing feel of the home.
rooms, each with a different shape, as inspired by noted Scottish architect
Curved forms recur in the home, as in one end of the kitchen: the cabinetry,
Robert Adams. From the rectangular foyer to the larger elliptical hall to finally
shelves, walls, and even countertops—cut from a single piece of green Turkish
the long stair hall on a cross-axis ending at a grand circular staircase, guests’
limestone—are all curved. Fumed, hand-scraped oak floors lend an antique
awe increases with each step. Every detail is rich and intricate: the lunettes
look to the space. The butler’s pantry doubles as a hallway leading to different
over the entryway, the starburst-patterned limestone floor crowned with a
eating areas; a mahogany door with French polish sets a distinguished tone.
domed ceiling, the ornamental cast plaster moulding of the oval hall, and the
The gallery is curved at both ends to echo the kitchen’s semicircle, but has the
embedded LEDs for illumination.
extra element of a stenciled detail on the floor. Previous Pages: Inside and out, the house has the permanence of centuries.
The 25-room, 16,000-square-foot estate on a 100-acre lot in the middle of New Jersey’s “horse country” an hour from Manhattan boasts three dining areas amid Georgian opulence. Carved French limestone surrounds the front door.
Photographs by Durston Saylor
118 p e r s pe ct i v e s o n d esig n
c ust om homeb ui l d i ng 119
Above: We undertook a gut renovation of a historic lower Manhattan
Facing Page: The powder room is a lavish showcase of white glass, polished
townhouse, built in 1863, and a commercial attachment added in 1905: a total
nickel metalwork, and stone. The ballroom leads out to a landing that transitions
of 20,000 square feet. We replaced the flooring, plumbing, electrical, and all
from the original building to the addition. Art Deco flourishes characterize the
other systems and refurbished it as a private residence encompassing many
ballroom. The metal fretwork, both decorative and functional, acts as a source
styles, from classical to Art Deco.
of air-conditioning to the ballroom. The mirrors, pilasters, and chandeliers give the room a grand feel.
Photographs by Durston Saylor
120 p e r s pe ct i v e s o n d esig n
c ust om homeb ui l d i ng 121
122 p e r s pe ct i v e s o n d esig n
“The key to success when building in New York City is a deep understanding of neighbors, co-op boards, building supers, and assorted rules and regulations.”
—Pier Giorgetti
Above & Facing Page: Not limited in vernacular, we can tackle any style at any scope. A sleek contemporary apartment masquerades as an art gallery: everything
doubles as a canvas for the homeowner’s art collection. We crafted a transformer wall containing panels that extend and move to allow for varying views of different artwork. Brava limestone floors and window linings create a monolithic minimalism that keeps attention on the art. From the great room to the mahogany panel in the office—grooved to facilitate art hanging—the space is perfect for lovers of art and modern architecture.
Photographs by Phillip Doherty
c ust om homeb ui l d i ng 123
“There’s no margin for error in the construction of high-end modern architecture.”
124 p e r s pe ct i v e s o n d esig n
—Pier Giorgetti
Above & Right: Floor-to-ceiling windows in an apartment on the 48th floor
emphasize the view while bringing in a modern perspective. Dark oak floors lend a sense of height. We completed the cabinetry and millwork, construction, and lighting: both the living room and the office contain built-in niches for books and television.
Photographs by Phillip Doherty Facing Page Top: Atop a walnut vanity in the contemporary apartment’s powder
room sits a stone sink that resembles petrified wood. Against the limestone walls, the disparate warm tones pop.
Photograph by Phillip Doherty Facing Page Bottom: For a Fifth Avenue pied-Ă -terre utilized as a professional
office, we fabricated the millwork, dark-stained maple with bronze accents.
Photograph by Vincent Ricardel
c ust om homeb ui l d i ng 125
“As artisans and craftsmen, taking pride in our work is absolutely essential.”
126 p e r s pe ct i v e s o n d es ig n
—Jean Wiart
elements of structure W
ith decades of experience, the esteemed atelier of Les Métalliers Champenois Corporation—known
as LMC Corp.—continues in America the ancient European tradition of fine ornamental metalwork. After the achievements the firm’s artisans made with landmark historic restoration projects like the Palace of Versailles and the Place Stanislas in Nancy, France, Les Métalliers Champenois was chosen to recreate the torch and flame of New York’s famous Statue of Liberty, initially completed in 1886. The sculptor Frédéric Auguste Bartholdi’s original vision of a gilt torch had never been realized until 1984 when the firm stepped in. Today those same artisans, trained according to the rigorous metalworking guild standards of France, work for architects and interior designers commissioned by distinguished homeowners as they craft fine metalwork to match the caliber of century-old antiques. For Les Métalliers Champenois, dedicated artistry through timeworn methods is paramount.
Les Métalliers Champenois Corporation met al w or k 127
128 p e r s pe ct i v e s o n d es ig n
“The same level of craftsmanship, dedication, and loyalty to the trade instilled in us across generations ever since our 19th century predecessors describes our work today.”
—Jean Wiart
Above: The stairway’s finely chased bronze work incorporates typical details of
Previous Pages: The Brazilian mahogany wood cap rail runs 31 feet along the
classical American style, including eagles, pinecones, and swags. We attached
upper landing segment of the staircase. The center of each metal swag features
all parts mechanically and precisely, without any welding or brazing works.
a laurel leaf design embellished with seed elements. A dark bronze patina subtly highlights the ornaments’ details. In accordance with the architect’s vision,
Facing Page: The sweeping curved stair railing, made of bronze, was inspired
the slope of the starting and upper landing transitions softly, curving gently.
by the original at Cheekwood, an 18th-century-style house built in Nashville in
The massive size of the wooden cap provides support and strength for the
the 1930s.
metal rail.
Photographs by Peter Krupenye
met al w or k 129
“The door, the gate, the stairwell retain more than just an aesthetic purpose, for they must also be useful companions and friends to the homeowners.”
—Jean Wiart
Above: The bottom of the bronze rail sits atop a bronze moulding, creating a
Facing Page: From the ground floor up through the fifth floor, the 100-foot-long
refined progression from the top segment of the stone stringer to the lower bar
bronze rail flows seamlessly from landings to stair flights. Inspired by a stair rail
of the rail. The bronze ornaments have been carved in pear wood first, then cast
design by 18th-century French architect Ange-Jacques Gabriel, the rail is the
and chased. The frieze features high-quality cast and hand-chased bronze work,
central focal point of a mansion near Fifth Avenue.
as well as a Brazilian mahogany wood cap.
Photographs by Peter Krupenye
130 p e r s pe ct i v e s o n d es ig n
met al w or k 131
132 p e r s pe ct i v e s o n d es ig n
“Like a hat on the head of a refined woman, a marquee canopy over the entrance of a grand home must be a delicate, elegant decoration that enhances and elevates.”
—Jean Wiart
Right: The iron and glass canopy, which projects nine feet out, is
reinforced with an ornate frieze, highlighted with gold leaf. The quarter-inch-thick, semi-translucent wired glass adds a touch of Belle Époque while meeting today’s building code security standards. The canopy has an inverse slope and rainwater flows into an urn-like water collector adorned with hand-repoussé gilded acanthus leaves. Facing Page: In Paris, an Atlanta homeowner fell in love with
a graceful feature of sophisticated buildings: the canopy. The quarter-round canopy and entrance door with gilt highlights are made in the 19th-century Parisian style, with custom-made hanging lanterns.
Photographs courtesy of Les Métalliers Champenois Corporation
met al w or k 133
“Can a home be called great without a grand staircase?”
—Jean Wiart
Above: A lay light of wrought iron figures prominently in the ceiling of a Brooklyn
Facing Page: Semi-opaque security glass lites lend a soft glow and highlight
mansion’s grand staircase. The lay light, three feet wide and 14 feet long, is
the contours of the bronze entrance door’s ornamentation. The grand staircase,
decorated with repoussé ornaments with antique gold highlights.
in the Louis Philippe style, serves as the chief passage from the reception hall to the owner’s private quarters. Fitting the wrought iron rail perfectly is a mahogany cap rail; a chased iron gold-leafed, ribbon-like embellishment wraps around the newel post elegantly.
Photographs by Peter Krupenye
134 p e r s pe ct i v e s o n d es ig n
met al w or k 135
136 p e r s pe ct i v e s o n d es ig n
“Sheer admiration for the Old Masters motivates us and inspires us to bring a sense of balance, musicality, and elegance to our work.”
—Jean Wiart
Right: The two-tone patina finish—dark oxidized black iron and
medium statuary bronze—provides a distinguished touch of lightness and elegance to the forged iron and bronze front entrance door of a Palm Beach residence. The grillwork on the fixed side lights and the transom are operable for ease of cleaning of the privacy glass—the glass lites are opaque when the power is off and transparent when on. Facing Page: A generously sized nine-foot-high entrance door to
a Park Avenue residence measures more than three feet in width. The mild steel door incorporates two operable grilles that allow for glass cleaning, and a security lock is stylishly concealed in the jamb. The scalloped design is entirely mechanically secured and not welded to preserve its sharpness—the repoussé palm leaf ornaments are riveted onto the curved steel piece, secured in place by the acorn motif underneath.
Photographs by Peter Krupenye
met al w or k 137
“Even easily overlooked details require the utmost attention: every piece must have the maximum amount of harmony and sensitivity to ensure high quality from workshop to installation.�
—Jean Wiart
Above: In order to create a gate reminiscent of the entrance to a century-old
Facing Page: Stone columns 16 feet in height flank a set of monumental bronze
estate, solid forged bronze bars that make up a 16-foot-wide bronze gate are
gates, hand-wrought and designed in the style of 18th-century Italian grillwork.
finished with a chemical verdigris. The two motorized gate leaves weigh more
The service gate and two pedestrian gates were fabricated in bronze for the
than 3,200 pounds and lead to a breezeway punctuated by a set of five bronze
estate in Montecito, California.
gates. The bronze floral ornaments are reminiscent of the luxuriant vegetation
Photograph by Todd Young
of Florida.
Photograph by Peter Krupenye
138 p e r s pe ct i v e s o n d es ig n
met al w or k 139
140 p e r s pe ct i v e s o n d es ig n
I.J. Peiser’s Sons New York, New York
“In order to maintain quality standards, milling must be precise and moisture content monitored and evaluated at every stage of production.” —Howard Estrin
Above & Facing Page: In conjunction with contractor Bernsohn &
Fetner, we executed architect Richard Meier’s design of a mollusklike twisting staircase set against a Hudson River backdrop. The rift grain white oak treads, risers, and matching wood floorboards were selected for tight linear grain from old-growth timbers. A fanlike patterned landing enhances the stairway spiral.
Photographs by Scott Frances
fl oor i ng 141
142 p e r s pe ct i v e s o n d es ig n
“In order to draw out colors strong enough to distinguish a room but soft enough to display intricate grain patterns, we employ an array of hardwood tints and techniques.”
—Stephen Estrin
Above Left: Our in-house designs include a
Facing Page: To carry out the vision of architectural
geometric pattern of ebonized jarrah and bleached,
firm Gwathmey Siegel for the study, we worked
quartered, and riftsawn American white oak.
with builder A.E. Greyson to lay down exceptionally
Photograph by Phillip Ennis Photography
wide oak planks that ran to glass inserts ringing the room. The sap-free bleached American white
Above Middle & Right: Two M.C. Escher-inspired
oak, selected from giant logs, kept floor seams to
patterns feature quartersawn jatoba in a triangular
a minimum.
alternating pattern or inlaid with whorls of swirling
Photograph by Paul Warchol
Australian lacewood.
Photographs by Phillip Ennis Photography
fl oor i ng 143
144 p e r s pe ct i v e s o n d es ig n
“Minimalist projects, often the most difficult to execute, are the yardstick by which we judge the quality of our work.”
—Howard Estrin
Above & Facing Page Top: Suiting architect Kang Chang of Gwathmey Siegel’s architecture as realized
Above Bottom Right: Quartersawn white oak with
by LICO Contracting construction, the monolithic quartersawn maple wood flooring changes directions,
maple and mahogany marquetry in an atomic symbol
a divergence subtly denoted by a thin silver floor inlay. We selected planks for grain direction and
design is an elegant choice.
uniformity of color. The floor acts as an elegant grounding element in the exciting space, which includes
Photograph by Phillip Ennis Photography
a grand piano overhang.
Photographs by Paul Warchol
Facing Page Bottom: Residences are enhanced by
decorative flooring, from concentric squares of ebonized Above Top Right: There are infinite options when it comes to wood flooring as artistic detail, such as
quartersawn wenge and mahogany by architect Peter
zebrawood with an Art Deco ornamental border of wenge and anigre.
Marino to a stained quartersawn afromosia parquet
Photograph by Phillip Ennis Photography
framed with aluminum in an Art Deco fashion.
Photographs by Phillip Ennis Photography
fl oor i ng 145
146 p e r s pe ct i v e s o n d es ig n
Precision Stone
“From monumental façades to intricate model work to tedious and cantankerous mosaics, a stonemason must be master of all aspects of the trade.”
—Jonathan Tibett
Westbury, New York
Above Left: Portoro marble of the Italian island of Porto Venere, one of the most revered and classic
marbles in the world, shapes an exquisite bathroom. Multidimensional pieces, along with handmade mosaics utilizing portoro and giallo Siena, create a masterpiece.
Photograph by Jonathan Tibett Above Right: When working with stone, choosing the right material is tantamount. We carved a sink into
a cubic, 10-inch-thick chunk of statuary marble, taking care to hide all the plumbing components out of sight. When dealing with such large, delicate pieces that have minimal tolerance, smart fabrication and installation is key. The jet mist granite backsplash adds a strong contrast.
Photograph by Paul Warchol Facing Page: Lapis lazuli, a rare and precious stone requiring extreme delicacy, creates a one-of-a-kind
bathroom. After personally inspecting the material in Italy to confirm quality, color, consistency, and soundness, we utilized a combination of high-end technology and centuries-old techniques performed by talented artisans to handle the costly, beautiful stone.
Photograph by Jonathan Jacobsen
st onew or k 147
148 p e r s pe ct i v e s o n d es ig n
Above: The entire façade of the residence becomes a timeless piece of art
Facing Page Top Right: Each limestone piece of the monumental façade was
thanks to European limestone, known as the most eternal building material due
manufactured in Europe according to our studio’s technical drawings, then
to its role in forging and decorating homes since prehistoric times. A multitude
shipped across the ocean to fit together exactly. Stone profiling, molding,
of craftsmen and stone industry experts—including European quarry specialists,
carving, and cutting are all important elements, especially when working on
manufacturers, carvers, sculptors, draftsmen, engineers, and stonemasons—
such a grand scale.
collaborated to bring about the most magnificent and seamless execution.
Photograph by Jonathan Jacobsen
Photograph by Jonathan Jacobsen facing page bottom: The kitchen countertops and backsplash feature statuary Facing Page top left: The terraces around the home’s limestone façade and
marble, a historic material used most noticeably during the Renaissance to
pool area required a functioning surface capable of handling rain, snow, and
carve masterpieces like Michelangelo’s David and Pietà sculptures. To ensure
ice. Granite pavers act as the terraces’ hardscape, creating a surface pitched
such a modern application is seamless, continuous, and balanced, we precisely
in a way undetectable by the eye but that sheds water into strategically placed
matched the veins and mitered all edges. The end result is a work of art worthy
drains to prevent water buildup.
of the material.
Photograph by Jonathan Jacobsen
Photograph by Paul Warchol
st onew or k 149
“Polished, artistically installed stone adds an inimitable strength and beauty.”
—Jonathan Tibett
Above: The timeless character of stone allows it to be equally successful
Facing Page: Large panels of blue granite from Brazil compose the whole
in spaces traditional or modern. In one bathroom, white and cappuccino
façade of the modern home. Thanks to precise installation, the exterior wall
onyx—a fragile material difficult to fabricate—posed a challenge because of its
alignment is uncompromised.
translucent quality; we had to prepare the surfaces and the material flawlessly.
Photograph by Jonathan Tibett
In the bathroom of blue handmade glass mosaic and black Italian slate, the reflective glass and subtle stone play off each other to outline the space and generate a Zen ambience.
Left photograph by Jonathan Tibett Right photograph by Paul Warchol
150 p e r s pe ct i v e s o n d es ig n
st onew or k 151
152 p e r s pe ct i v e s o n d es ig n
Rimi Woodcraft Corp. New York, New York
“A cabinetmaker’s pride comes from taking the design from an abstract idea to paper to finished product.”
—Anthony Rizzo
Above & Facing Page: Cabinetry must be fully functional as well as
beautiful. Perfect engineering ensures this. The double-sided wine cabinet functions as a divider between the mid-Manhattan high-rise’s kitchen and dining room. The temperature-controlled enclosure, made of bronzecovered wood and glass, allows refrigerated bottles to be accessible from either side. The round column, a storage closet three feet in diameter, blends into the curved ceiling to appear like part of the room’s structure. We installed teak cabinetry and stainless steel and stone countertops in the kitchen. Teak possesses an ability to withstand constant usage and it’s possible to refinish to its original optimal state, making it a great choice for an active kitchen.
Photographs by Paul Warchol
c ab i net r y 153
“To craft such beautiful, delicate pieces from the most basic of materials— wood from trees— cabinetmakers must be true artists and artisans.”
—Anthony Rizzo
Left: The curved mahogany bookcase making up one half of
the room’s walls required special delicacy because of the curved glass floor inserts directly below. We worked closely with those in charge of the glass-and-oak floor to align all the elements with a central fulcrum.
Photograph by Paul Warchol Facing Page: The living room, dining room, and bedroom of
an elegant apartment all contain strong wood elements. We orchestrated the design and installation of many of these pieces, including the coffee table, the TV enclosure, the kitchen cabinetry, and the bedroom furniture of vertical anigre with a clear lacquer, closed-pore finish.
Photographs by Christopher Weil Photography
154 p e r s pe ct i v e s o n d es ig n
c ab i net r y 155
156 p e r s pe ct i v e s o n d es ig n
Above: The living room and powder room share dramatic wood features. In the sumptuous living room,
Facing Page: Cabinetry, doors, and shelves of anigre as
crotch mahogany center panels surrounded by straight-grain African mahogany for all the vertical
well as the glass elements and furniture choices establish
pieces and rails establish a tone of unmistakable luxury. Crotch mahogany is an elusive wood to obtain,
a modern tone for the high-rise office.
but one that creates a beautiful picture. The detailed powder room boasts woodwork installed with a
Photograph by Paul Warchol
high-quality black finish, gilded on the mouldings, then painted by an artist. Careful engineering and installation was of paramount importance.
Photographs courtesy of Rimi Woodcraft
c ab i net r y 157
158 p e r s pe ct i v e s o n d esig n
Audio Video Systems Armonk, New York — Plainview, New York — New York, New York
“Why not make technology beautiful?”
—Billy Becker
Above & Facing Page: Being involved in the earliest stages of a
home’s design is certainly the most effective way to accomplish the functional and aesthetic requirements of an audiovisual system. But we also appreciate a good challenge, so when we were asked to correct the technology integration of a fully constructed media room, of course we were happy to lend our expertise. We had to reconfigure quite a few elements to keep the sound and picture as crisp as the architectural design.
Photographs by Salvatore Dovi
home aut omat i on 159
“The most innovative designs are often dreamed up as solutions to challenging parameters.”
—Billy Becker
Above: At one point in time, home automation may have been considered
Facing Page Top & Bottom Left: The bedroom’s layout required an innovative
a luxury, but it is increasingly becoming a requirement because it is lifestyle-
solution for television viewing, so our engineers designed a mechanism that
enhancing and the epitome of environmental sensitivity. Customized,
allows the screen to automatically pivot out from the wall at a right angle when
preprogrammed settings mean that at the touch of a button you can drop the
it’s on. We took a similar approach in a family room to ensure that the television
shades, let the temperature rise a bit, and enjoy significant savings on electricity
would be viewable from various angles and out of the way when not in use.
even in the middle of a hot summer—from anywhere in the world. We like to work with the latest user-friendly technology and have even used platforms like
Facing Page Bottom Right: We collaborated with the architect to design
the iPhone. For the master bedroom of a Fifth Avenue apartment, we chose a
a multifunctional home theater space. Working on East Coast homes, we
Crestron touch panel that integrates television, music, lighting, shading, HVAC,
develop relationships that take us across the country and overseas. As part of
and security systems.
the installation process, we’ll visit a home at different times of day to program lighting and sound scenes that complement how residents interact with the space. The life-altering potential of technology integration is tremendous.
Photographs by Salvatore Dovi
160 p e r s pe ct i v e s o n d esig n
home aut omat i on 161
162 p e r s pe ct i v e s o n d es ig n
E.R. Butler & Co. New York, New York
“Hardware encompasses design, history, and material sciences— it’s technical and decorative all at once.”
—Rhett Butler
Above: We design and manufacture Early American, Federal, and Georgian period
hardware for doors, windows, and furniture utilized by architects, builders, and cabinetmakers, understanding that 21st-century technology combined with a deep comprehension of historic designs results in new pieces that work better than the originals. We consider fine hardware a decorative art, a way to bring continuity to a series of disparate spaces. That’s the case with our “VC” series of hand-patinated oxidized brass cabinet knobs, manufactured by our subsidiary W.C. Vaughan Co.
Photograph by Lauren Coleman Facing Page: We often collaborate with designers to bring their visions to life. A
pair of hand-patinated oxidized bronze candlesticks represents one design of our 19-piece series with Ted Muehling. Inspired by the classic but delicate Biedermeier candlestick shape, he was stymied by cost and technique for years until I suggested a computerized lathe technology that allowed him to realize his designs.
Photograph by Don Freeman Photography
hard w are 163
“Hardware speaks to the homeowner—it is, after all, the only architectural element that is physically touched. It’s a transitional element from public to private, an elegant holder of secrets.”
—Rhett Butler
Above: Designed by Ted Muehling and manufactured by us, the antique
Facing Page: We believe in absolute, extreme perfection for all of our pieces.
24-karat gold butterfly pulls make a fun, playful, yet elegant addition to any
It’s our philosophy that hardware doesn’t come out of a box but out of a
drawer or cabinet in large, medium, and small sizes.
passion—it can be transcendental. Deborah Ehrlich-designed hurricane lamps
Photograph by Don Freeman Photography
of hand-blown Swedish crystal and hand-patinated bronze represent a graceful merging of textures and colors. Hand-silvered, hand-patinated bronze and clear crystal door and cabinet knobs from the “GC” design series are one of the classic mainstays of our collection. A brass pull in the Arts-and-Crafts style is one way to carry architecture into the minutest details.
Photographs by Lauren Coleman
164 p e r s pe ct i v e s o n d es ig n
hard w are 165
166 p e r s pe ct i v e s o n d es ig n
Stairs New York
“Custom-made, one-of-a-kind staircases inherit Old World craftsmanship and involve hand carving whether traditional or modern.”
—Garrick Dolberg
Brooklyn, New York
Above: Much of my work is freehand, as in the hand-carved volute
for an Upper East Side project. Thanks to my education—an MFA in sculpture from the Art Institute of Chicago; growing up with a furniture maker father—I’m able to bring a level of unique artisanship to my work. I met my business partner and wife, painter Elisa Amoroso, at the Art Institute of Chicago and together we moved to New York and started Stairs New York in accordance with our desire to run a small specialized artisan shop.
Photograph by Danny Sit Photography Facing Page: A freestanding stair ascends and curves gracefully
up five flights of a six-story townhouse. While freestanding, the stairway intersects with the arches above the doorway to forge a connection to each floor. The handrail is carved from solid pieces of rift and quartered white oak. Architecture and interior design by M (Group).
Photograph by Alex Hemer
st ai r s 167
“A high level of craftsmanship is always my goal.”
—Garrick Dolberg
Above: The six-story townhouse’s entry landing houses the beginning of the grand five-flight wooden
Facing Page: The townhouse’s five-flight stair stretches
stair. The structure’s design resulted in a particularly interesting challenge to undertake, one I enjoyed.
up to a crowning skylight in an arcing elliptical shape. The
Architecture and interior design by M (Group).
impact of the viewpoint from the ground floor vantage
Photograph by Alex Hemer
point reveals the power of the design in conjunction with a beautifully crafted stair. Architecture and interior
Above Right: I hand-carved an ebonized mahogany volute cap for a carriage house on a Long Island
design by M (Group).
beachfront estate.
Photograph by Alex Hemer
Photograph by Danny Sit Photography
168 p e r s pe ct i v e s o n d es ig n
st ai r s 169
170 p e r s pe ct i v e s o n d es ig n
Zeluck Incorporated Brooklyn, New York
“Start with the finest materials, then enlist a team of artisans to hone them. That’s the recipe for forging the best windows and doors.”
—Kevin Zeluck
Above: Our designs are suitable for all architecture, from traditional to
modern. A modern home features entirely mahogany oversized doors and windows. Considering their size—a challenge in and of itself—it’s even more impressive to recognize that all have been tested and approved for hurricane impact conditions. Facing Page: The home’s classical French style allowed us the opportunity
to reproduce the look of the old utilizing the technology of the new. While the windows set in limestone appear to be hundreds of years old, they are in compliance with the strictest standards.
Photographs courtesy of Zeluck Incorporated
w i nd ow s and d oor s 171
172 p e r s pe ct i v e s o n d es ig n
“Fine windows and doors involve merging beauty and geometry, precision and artistry.”
—Roy Zeluck
Right: Our windows score the highest in the country according
to the most rigorous hurricane testing. A New York City project involved reproducing magnificent windows to accent a historic private residence built of limestone. Contrary to popular belief, the quality of yesterday is absolutely available—this is proof that true craftsmanship lives on. Facing Page Top: Wood windows clad in bronze lend a traditional
yet functional touch—bronze is both beautiful and maintenancefree. Crafted in Italy, the windows are exported around the world by our international company Fenestra America. Facing Page Bottom: A Shingle-style home in the Hamptons
features a wide range of classical windows and doors designed to maximize and frame surrounding views. In many cases, a door is flanked by matching windows in the same style. We’ve become a favorite among the architectural community thanks to our continuous search for the best in engineering, design, fabrication, and service.
Photographs courtesy of Zeluck Incorporated
w i nd ow s and d oor s 173
“I’m comforted by the beauty and craftsmanship of tradition but inspired by the innovations and opportunities of modern life.”
174 p e r s pe ct i v e s o n d es ig n
—Tony Ingrao
elements of design chapter f o ur
I
ngrao is a multifaceted design firm, antiques gallery, and fine art showroom. Proprietor and designer Tony Ingrao
masterminds elegant homes that uniquely infuse traditional elements into modern living. When he’s not overseeing luxe apartments and beach estates for the likes of Jack Welch and Howard Stern, he’s developing the three-floor art gallery that inspires him and his homeowners. The airy space, bathed in natural light, features furniture, sculpture, artwork, and antiques set on pedestals to create a fantastic art gallery. Raised in a family of New York clothing manufacturers, Tony has always been fascinated by textiles, furniture, architecture, and art. He studied at the Rhode Island School of Design, then spent the 1980s as an antiques dealer in Paris. Armed with a vast fine antique collection, he returned to New York to launch Ingrao in 1990. Creative director Randy Kemper joined forces in 1998 after a career as a fashion designer. While their list of clientele is star-studded, what Ingrao envisions for someone else’s space is always tinged with the firm’s preference for bringing century-old pieces into the contemporary era by surrounding them with modern artwork. Never one to shy from dramatic touches, Tony and Randy love to give antiques vibrant, relevant 21st-century settings while listening to homeowners’ dreams. Impeccably curated, boldly styled, completely re-imagined—that’s the Ingrao hallmark. And that’s just the way their homeowners like it.
Ingrao ant i q ues and fi ne ar t 175
Left & Facing Page: Much of our work is composition—attempting
to construct interesting arrangements of global art produced during various periods of history. The word often used to describe this is “eclectic.” It applies in the midtown Manhattan apartment that blends contemporary design with antiquities and 18th- and mid-century furniture. A custom-made John Lewis coffee table mixes with a Paul Dupré-Lafon parchment table, Biedermeier chair, Eugène Printz round table, 1st-century Roman bronze leg, Henry Moore sculpture, and Han dynasty vase.
Left photograph by Anastassios Mentis Facing page photograph by Eric Piasecki Previous Pages: To establish our gallery, we transformed a late
19th-century townhouse into a contemporary floating space that’s perfect for displaying art. Townhouses are usually dark, so we added skylights and opened spaces between the floors while voiding all extraneous elements—light replaced detail. Two 18th-century mirrors—one, an English Adam; the other, an Italian baroque from Rome—appear to float within the gleaming white gallery. A granite staircase winds its way up to the atrium.
Photograph by Anastassios Mentis
176 p e r s pe ct i v e s o n d es ig n
ant i q ues and fi ne ar t 177
178 p e r s pe ct i v e s o n d es ig n
“It’s about time fine furniture fully engaged contemporary art.”
—Randy Kemper
Above: A translucent blue John Lewis coffee table—crowned by a small
Facing Page: The classically balanced living space, blessed with clean and
Harry Bertoia sculpture and 19th-century English silver candlesticks—lends
traditional architecture and interiors, mixes mid-century and Russian pieces
an airy feel to the library. The bookshelves house a collection of various 20th-
with 20th-century art. Early 19th-century Russian chairs flank a coffee table by
century objects. An opalescent glass lamp atop a Biedermeier end table
Paul Dupré-Lafon; a small Jean Royère table holds an 18th-century Japanese
and tailor-made Jean-François Lesage cork-embroidered curtains round out
vase. Paintings by Joan Mitchell and Hans Hofmann frame a Tang dynasty horse
the space.
sculpture. With the Gerhard Richter color palette, the overall effect remains
Photograph by Anastassios Mentis
eclectic, but not as varied: haute classic living.
Photograph by Eric Piasecki Above Right: Set against a large floating sofa and white fox rug, a sculptural
Ron Arad table reflects and magnifies the views from the glass apartment tower on Manhattan’s Lower West Side. Thanks to the modern base, the Roman marble bust from the 1st century AD reads as a cohesive part of the contemporary tableau.
Photograph by Anastassios Mentis
ant i q ues and fi ne ar t 179
Left: An English Regency chandelier sets the stage for the entry to
a grand Georgian home in Greenwich. The space feels completely open upon arrival. The stair runner is a contemporized version of the floor’s geometry; the blacks and whites play off the pattern while drawing guests up the stairs to the mezzanine with a bridge that connects the house’s two wings. A large Regency table and armchair at opposite ends of the room tie everything together.
Photograph by Anastassios Mentis Facing Page: A virtual castle of a house, traditionally styled,
flows from the 17th to the 18th to the 19th century. In the living room, Gothic overtones pay homage to the late-18th, early-19th centuries. French 18th-century furniture blends with an Italian mid18th century blackamoor bust and a French 18th-century painting by Desportes hung over a tapestry hand-woven in France. The tapestry matches the curtains’ borders.
Photograph by Derry Moore
180 p e r s pe ct i v e s o n d es ig n
ant i q ues and fi ne ar t 181
“Each home represents the dialogue between the designer and the homeowner. The resulting challenges give rise to big, limitless ideas.”
—Tony Ingrao
Left: In the Greenwich Village duplex entry, a Herve van de Straeten
light fixture from France crowns the custom-made bronze and silver reed stairway by Schwartz’s Forge & Metalworks. The ’60s-inspired chair adds subtle chic to the confined space. Facing Page: A Manhattan bedroom takes cues from the 1940s,
’50s, and ’60s through a diverse yet carefully curated mix of furniture and textiles. An Arne Jacobsen “Egg” chair covered in nutria paired with a French table from the ’40s, in addition to the mid-20th century Felix Agostini sconces and André Arbus bedside tables that surround the polished steel bed, all represent disparate styles that come together seamlessly—masculine yet relaxed. Hand-embroidered Lesage curtains from France with a ’60s vibe finish out the multifaceted composition wonderfully.
Photographs by Reto Guntil
182 p e r s pe ct i v e s o n d es ig n
ant i q ues and fi ne ar t 183
184 p e r s pe ct i v e s o n d es ig n
Right: The living room exhibits rustic eclectic design at its finest.
Before the fireplace sprawls a massive sequoia table that appears rooted to the floor. A willow rocker from Minnesota sits opposite a 1950s armchair designed by Jacques Adnet for Hermès, as a pair of 18th-century faience lions stand guard over the Stark rug.
Photograph by Durston Saylor Facing Page: A newly constructed greenhouse with pool and
indoor-outdoor dining area connects two buildings, part of a converted monastery. White painted brick, a Victor Vasarely painting, and sculptural lighting incorporating a playful mix of paper chandeliers give the space a relaxed look that suits its onthe-water location.
Photograph by Reto Guntil
ant i q ues and fi ne ar t 185
Above: An illuminated bed of cerused oak, perched atop a wool and silk shag
Facing Page: For the bedroom of a boy who loves airplanes, we brought in a
rug, dominates the robust yet cozy space. The room makes a serene backdrop
bespoke bed frame crafted from an original 1940s plane propeller.
for a sculpture collection that includes a piece by Donald Judd.
Photograph by Cynthia Clift
Photograph by Eric Piasecki
186 p e r s pe ct i v e s o n d es ig n
ant i q ues and fi ne ar t 187
“The space should be as exciting as possible, embodying the homeowner’s vision in a broad sense through a series of big statements.”
Above: Unusual materials like glass mosaic for the walls and distinctive
—Randy Kemper
Facing Page: We collaborated with Ron Arad to design the striking fireplace—
pieces like Paul Evans dining chairs lend glamour to the uniquely contoured
an example of art as function.
dining room.
Photograph by Cynthia Clift
Photograph by Anastassios Mentis
188 p e r s pe ct i v e s o n d es ig n
ant i q ues and fi ne ar t 189
190 p e r s pe ct i v e s o n d es ig n
Megna Glass East Hampton, New York
“What do I love about glass? It’s older than bronze yet I can still create something entirely new from it today.”
—Martin Megna
Above: To craft a 20-foot amber cylinder light, we attached 135 blown glass
light cylinders of varying lengths to a silver brazed bronze pan then lit them with Edison light bulbs. The stalactite design is excellent for its versatility in colors, shapes, and lengths.
Photograph by Mariann Megna Facing Page: Our shop’s location—a historic village by the sea—influences
our glasswork. We love to marry tradition with innovation and working with hot glass accommodates that desire wonderfully. The blue hanging pendant light contains three light elements and can be up to 20 feet long with 200 color variations; it’s the result of molten glass stamped into antique bronze molds that decorate the surface.
Photograph by Simon Caudullo
g l ass ar t 191
“We strive to capture the beauty of nature in glass.”
—Mariann Megna
Above Left: The cabinet knobs and doorknobs are
Above Right:
created by hand one at a time; no two are alike.
ranging from eight to 16 inches in diameter within
A molten coil of hot glass surrounds a hollow
the sharp angles of a bronze frame—held together
interior, resulting in magnificent creations like the
by vanishing wire—create a geometric rotating
cranberry and opal black cobra wrap, spindle-
sculpture tower. The 17-foot dynamic piece
style doorknob.
sits atop black granite, illuminated by orbs on
Photograph by Mariann Megna
the ground.
Multicolored blown glass orbs
Photograph by Martin Megna Above Middle: Commissioned by the Mohegan Sun
Casino of Uncasville, Connecticut, to complement
Facing Page: We love working with innovative,
a sunset theme, a 10-inch orb of blown glass in
forward-thinking designers—we thrive on their
vibrant sunset colors attaches to sand-casted,
dynamic energy and the challenges they present
nickel-plated bronze to forge a low-voltage light.
us. At the request of designer Ingrao, we created
Photograph by Martin Megna
a 14-foot-by-10-foot rectangle; the subsequent design evolved with an inner rectangle. In each shape, handmade clear and off-white fused glass tiles completely cover a welded steel frame illuminated by LEDs. The subtle patterns in the glass soften the glowing geometric design.
Photograph by Martin Megna
192 p e r s pe ct i v e s o n d es ig n
g l ass ar t 193
194 p e r s pe ct i v e s o n d es ig n
“In glassmaking, it’s the human touch that we treasure in the finished piece: the organic brushstrokes that distinguish art from machine-created.”
—Martin Megna
Above: The 20-foot-long stalactite chandelier consists of a bronze pan cradling
Facing Page: For a homeowner with a passion for jewelry design, we
135 mirrored, amber-colored blown glass cylinders in lengths anywhere from
collaborated with Ingrao to craft hanging strands of goldleafed blown glass and
eight to 24 inches. The gentle gold and amber tones lend a warm aura to
rock crystals wrapped in gold wire illuminated by six lights above. Silver-brazed
the space.
bronze laced with wire embraces clear and pale amber orbs to form a spinning
Photograph courtesy of Architectural Digest
obelisk monument. A five-foot grape cluster chandelier lit from within, inspired by Long Island vineyards, features violet glass topped with copper patinated leaves and coiling vine.
Top and middle photographs by Mariann Megna Bottom photograph by Simon Caudullo
g l ass ar t 195
196 p e r s pe ct i v e s o n d es ig n
Cousins Furniture Deer Park, New York
“Everyone we work with knows exactly what to expect, as the same experienced craftsmen are involved from draft to review. Our continuity becomes their trust.”
—Jack Rodrigues
Above: We’ve been in business as architectural woodworkers since 1989 and
continue to build on our strong family legacy. Our years of expertise, wide range of stylistic ability, and large in-house facility allow us to provide invaluable input along with accurate proposals and drawings. We love to see those we work with excited about our projects in the planning stages and awed upon completion. The Manhattan penthouse’s country-inspired living room contains reclaimed hemlock pine accented by classical framework and lighting. We helped the designer Gael de Brousse of Maison de France choose the wood, antique material salvaged from an old building, and we selected the final finish color.
Photograph courtesy of Cousins Furniture Facing Page: We formulate color samples and finish options to aid the
architect or designer in realizing the vision for each project. In collaboration with Giambertone Architects, we fabricated the cherry library with a closedpore finish. A large family portrait on a pulley system comes down to hide the television, satisfying the aesthetic demands of a classical room.
Photograph by Célia Fonseca
w ood w or k 197
198 p e r s pe ct i v e s o n d es ig n
Above & Right: One Long Island home’s bathroom and kitchen share a maple
building material, but diverge considerably in style. We designed and created the bathroom, an addition to the property. The wood is great glazed to accent the mouldings and carvings then painted in gilded silver leaf. The kitchen’s woodwork was finished in an antique stain glaze. Facing Page: White glazed cabinetry harmonizes with reclaimed yellow pine
cabinetry and archways in a country-inspired North Shore kitchen. We turned Giambertone Architects’ drawings into detailed shop documents—our forte— and brought in wood recovered from an old construction.
Photographs by Célia Fonseca
w ood w or k 199
200 p e r s pe ct i v e s o n d es ig n
FJ Hakimian
“The right rug unifies the room, the art, and the furniture. It serves as the basis and the backdrop for a collection.”
—Joseph Hakimian
New York, New York
Above: As purveyors and designer-creators of high-quality rugs, we helped
designer Patrik Lönn accent two spaces within one long room with the perfect rugs. The informal, casual seating area features a plush, cozy vintage Swedish rug to set an intimate, furnished tone. The soft-colored rug also balances and harmonizes with the dramatic art piece by Michele Oka Doner. Facing Page: The area on the other side of the room features a complementary
vintage kilim composition of geometric patterns and horizontal stripes as well as pillows made from vintage Swedish wall hangings. As a Swedish designer, Patrik wanted to bring some Scandinavian touches into the room while staying true to its beachfront location and we assisted him in choosing the best rug and pillows for that end. The somewhat classical and formal space feels chic and contemporary thanks to these cohesive, coordinated textiles.
Photographs courtesy of FJ Hakimian
c ar p et s 201
202 p e r s pe ct i v e s o n d es ig n
“Artisan-created carpets are one-of-a-kind: if not vintage or antique, then fresh creations inspired by archival designs.”
—Joseph Hakimian
Above: The basement game room needed an appropriate rug, so we aided
Facing Page Bottom: Our antique Oushak carpet graced a room designed by
designer Bradley Stephens in choosing a playful, billiards-oriented pattern to
Matthew Patrick Smyth in collaboration with Gloria Vanderbilt. A recreation of
act as a foundation for the space.
her beloved childhood bedroom—including a passage from her diary about the room that she wrote on the wall and signed—the room’s centerpiece is our
Facing Page Top: Designer Thom Filicia fell in love with our vintage kilim
soft rug. Gloria commented on how strikingly similar the style and color is to the
“Bräda” composition—made of Turkish panels circa 1940—and designed the
one from her childhood bedroom that her aunt Gertrude Vanderbilt Whitney
room around it. The large 17-by-12-foot rug, based on a Swedish carpet, informs
originally chose.
every element of the space and makes a superb grounding element.
Photographs courtesy of FJ Hakimian
c ar p et s 203
204 p e r s pe ct i v e s o n d es ig n
Foster Reeve & Associates Brooklyn, New York
“Our goal is to bring the craftsmanship of the great European masters into the workings of homes and historic edifices again, and forge a renewed tradition.”
—Foster Reeve
Above: To enhance a historic townhouse on 63rd Street in New York and
play up 1920s details, we added plaster elements to the ceiling of a room. We studied period designs intensely before replicating historic features like the bold, pointed palmettes on the cornice and crown moulding, a quarter motif on the crown, delicate tracery, and the custom-designed ceiling medallion. All plasterwork is fabricated in our studio, then transported and installed on-site. Facing Page: We brought French Art Deco wall panels to life in plaster
from a photograph provided by the homeowner. Our comprehensive development program involved full-scale charcoal drawings photographed and sent to our design team, a complete clay model, and a large rubber mold before the final casting and installation occurred alongside the architects’ efforts for the dining room.
Photographs courtesy of Foster Reeve & Associates
p l ast er w or k 205
“Plaster is very stable, environmentally friendly, and when it’s moulded by true artisans it has unprecedented beauty and longevity.”
—Foster Reeve
Above Left & Middle: A library’s custom-made
Facing Page Top: A cloister hallway features a
ornamental ceiling required the efforts of our entire
French traditional finish called stuc pierre along
design team. Leaves sculpted on the ceiling panels
the walls and plaster ceilings and in the custom-
blend with the floral patterns of the crowns for eye-
carved, ornate over-door panel. An integral colored
catching fusion. Coved lighting along the top of the
veneziano finish and pre-cast domed groin-vaulted
room sets off the intricate, ornate details brilliantly.
ceilings complete the look. Small, subtle details
Photographs courtesy of Foster Reeve & Associates
tie together the vast space and prove that plaster can be a lovely, cost-effective alternative to stone.
Above Right: In collaboration with designer Richard
History, tradition, and geometry inform a modern
Cameron and Ariel Atelier, we produced a stunning
assembly of products that perform as well as their
rendition of a ceiling from an 18th-century Irish
historic counterparts.
castle for a private office. A simple and naïve floral
Photographs courtesy of Foster Reeve & Associates
pattern is so intricate and unique it never once repeats itself—necessitating an intricate weave of
Facing Page Bottom: Our artisans and craftsmen
castings, lending a handmade quality—and gives
are committed to perfect module expression
off a lush character.
through a room—all pieces and parts lining up
Photograph courtesy of Ariel Atelier
properly and regularly. We ensure such faultless expression through hand-applying details after the plaster comes out of the mold, as well as sculpting on top of components that have been made, cast, and assembled. In the tradition of the great European masters, our team’s cumulative architectural knowledge and plasterwork expertise goes into every project.
Bottom left photograph by Rob Chatterson Bottom right photograph courtesy of Foster Reeve & Associates
206 p e r s pe ct i v e s o n d es ig n
p l ast er w or k 207
“Combining finely designed built forms with nature’s most elegant plant arrangements yields landscapes of enduring beauty.”
—Edmund D. Hollander
208 p e r s pe ct i v e s o n d es ig n
living the elements chapter f o ur
E
dmund D. Hollander and Maryanne Connelly are the principals of Edmund D. Hollander Landscape
Architects. The two met while pursuing master’s degrees in landscape architecture at the University of Pennsylvania. In 1991, they joined forces in New York City to create their firm. Today they guide a team of a dozen landscape architects on work that has taken them from China to the Caribbean to the UK, although their focus remains solidly on country estates in New York, Long Island, and Connecticut as well as townhouse, penthouse, and rooftop gardens in New York City. More
than
landscape
architects
and
horticulturalists,
Edmund and Maryanne are communication specialists who place the joint vision of the homeowners and the architect at the fore. Each project starts with an understanding of the natural features of the property, the context of its setting, the style and particulars of the architecture of the home, and the program, needs, and dreams of the homeowner. The goal is to create beautiful, functional spaces that extend the feeling of the architecture into the landscape, while creating elegant, environmentally friendly places. These homes that are both house and landscape feel organic and masterminded by one source; they become places the homeowners will enjoy and use for years.
Edmund D. Hollander Landscape Architects l and sc ap e arc hi t ec t ure 209
“No matter how many different components are involved in a project, it must feel as if it were authored by one entity, one master plan, one hand.”
—Maryanne Connelly
Right: An allée of white flowering crepe myrtle intersects a walkway,
breaking away from its geometric form to integrate with the surrounding informal butterfly garden. Underplantings of ornamental pennisetum and fescue grasses resist deer browsing and dance in the near-constant cooling ocean breezes. Previous Pages: The oval garden forms a transitional element between
the house and pool area. A pergola draped in wisteria and bordered by Endless Summer hydrangeas covers the adjacent walkway.
Photographs by Charles Mayer Photography
210 p e r s pe ct i v e s o n d es ig n
l and sc ap e arc hi t ec t ure 211
212 p e r s pe ct i v e s o n d es ig n
“The sum of our work is an integration of built and natural spaces that create wonderful places for families to gather and enjoy the beauty of their surroundings.”
—Edmund D. Hollander
Above: A pergola draped in grapevines provides cooling shade for a dining
Facing Page Bottom: We created an entry drive running through an allée of
area that overlooks the infinity-edge pool, dunes, and ocean beyond.
mature kwanzan cherries. A simple wood rail gate opens to reveal the majestic elegance of the trees in flower. Further dramatizing the space even when the
Facing Page Top: Borders of ornamental and native grasses ease the transition
from rolling upland lawn areas to wetlands near a pond.
trees aren’t in flower is the sense of movement traveling into and out of the shade of the allée.
Photographs by Charles Mayer Photography
l and sc ap e arc hi t ec t ure 213
“Landscapes are veritable outdoor rooms, dramatizing spatial ideas and highlighting the senses.”
—Maryanne Connelly
Above: An open-air pool house designed by architect John David Rose allows
Facing Page Bottom Left: A walkway of square sandstone pavers with moss
unrestricted sightlines to the garden beyond. The shape of the pool and its
joints sits beneath a pergola draped with white wisteria connecting the main
relationship with the pool house are an example of a successful collaborative
house with the pool area.
effort between all members of the design team. Facing Page Bottom Right: Stepping stone pavers create a rhythmic walking Facing Page Top: Lush gardens of maritime perennial flowers and shrub
surface linking the stepped stone walls and gardens.
roses adjoin the pool terrace. A low cedar picket fence sits on an 18-inch-high
Photographs by Charles Mayer Photography
stone wall, enclosing the pool area without obstructing views of the house and gardens.
214 p e r s pe ct i v e s o n d es ig n
l and sc ap e arc hi t ec t ure 215
216 p e r s pe ct i v e s o n d es ig n
“While our world focuses on aesthetics, we can only create beautiful, elegant spaces by understanding the spatial qualities that make up these areas, the materials and details of construction that give them the look we are trying to achieve, and the plantings that give them life, color, and fragrance.”
—Edmund D. Hollander
Top: A sloping lawn leading up to a cedar and mesh net fence gives
a Har-Tru tennis court an expansive feel, while a pergola dripping with wisteria creates a shady resting spot. Middle: Stairs lead down from a pool area to the surrounding lawn.
Lush plantings of lavender and Blushing Knock Out shrub roses run alongside the carefully detailed stone walls and wooden picket fencing and gate. Bottom: White flowering Natchez crepe myrtle trees underplanted
with billowing masses of blue Endless Summer hydrangeas and Rozanne geraniums surround the walkway to the pool. Facing Page: A formal garden of lush blooms punctuated with
boxwoods set in beds formed by gravel paths and stone edging gives way to a reflecting pool set between double allées of lindens with natural cedar pergolas on either end.
Photographs by Charles Mayer Photography
l and sc ap e arc hi t ec t ure 217
“Our experience, talent, and curiosity allow us to work with people to create that private oasis of their dreams.”
—Maryanne Connelly
Above: An infinity-edge pool spills into a basin surrounded by ornamental
Facing Page Bottom: A green garden of clipped boxwood and stone-dust
grasses. The clean lines of the pool and walls complement the building’s
paths leads to a latticed closed seating area. At the top of an informal garden’s
architecture by Annabelle Selldorf.
grass path meandering between drifts of white perennial flowers and shrubs, a stone bench provides a place to rest and enjoy the pastoral landscape.
Facing Page Top: Multiple levels of terraces make up a garden featuring twin
stewartia trees on either side of an upper seating area with views of the pool, while below a grouping of four London plane trees lends shade to the dining terrace adjacent the house. In a cutting garden enclosed within a boxwood hedge, English holly flanks a wooden picket gate and arbor that doubles as a support for climbing roses; a semicircle of towering Japanese cedar trees lines the rear of the garden.
218 p e r s pe ct i v e s o n d es ig n
Photographs by Charles Mayer Photography
l and sc ap e arc hi t ec t ure 219
220 p e r s pe ct i v e s o n d es ig n
Colombo Construction Corp Brooklyn, New York
“The bowl is an ancient and beautiful vessel weighted with symbolic meaning; it represents the feminine nature to nourish and implies the masculine urge to fill. The appearance is organic and appears to have mushroomed from the ground.”
—Elena Colombo
Above: Bowls are the most basic of containers and their beauty lies in
their minimalism. At nearly six feet in diameter, a large Cor-Ten steel firebowl matches the scale of the surrounding landscape. It’s an ideal gathering place. Cor-Ten’s patina rusts then stabilizes, aging over time from fiery red to tobacco brown to blend in with the site. A rich juxtaposition, the firebowl is pure and simple, yet big and powerful enough to burn a bed.
Photograph by Rob Lettieri Photography Facing Page: A fire feature within a modern home echoes the various
cantilevered and angled architecture. TIG-welded of stainless steel, the leaning branch wall sits outside the bedroom as a romantic lighting element. The branch sculpture is one of four separate fire features within the home and is visible from many spaces. When seen against the cityscape, it becomes part of the architectural fabric.
Photograph by Brown Design
out d oor l i vi ng 221
“By adorning our exterior environment, we are collaborating with nature in a timeless and ritualistic manner.”
—Elena Colombo
Right: I work with the idea of abstracted branches as a way to blend art into
nature using metal. The branches are arranged in a random pattern that nonetheless retains a controllable sculptural feel. I’ve created branch wall fire features in various scales using materials ranging from Cor-Ten steel to mild and stainless steel as well as copper and bronze. Past installations range from an eight-foot residential piece to a 30-foot sculpture for a Vail resort.
Rendering by Hans Jürgen Eberdorfer
222 p e r s pe ct i v e s o n d es ig n
out d oor l i vi ng 223
224 p e r s pe ct i v e s o n d es ig n
“Fire is not only mesmerizing and beautiful; it naturally fosters a feeling of community and human interaction.”
—Elena Colombo
Right: My proposed memorial for Scottish architect Charles Cree
Doig honors his legacy as the designer of the “whisky pagoda.” His malting chimney and ventilator roof became a common feature of classic Irish and Scottish whisky distilleries. The solid copper construction contains an eternal flame to symbolize the malting chimney and the hearth. The current of air that draws peat smoke through the barley from the kiln fires below in whisky distilling receives abstract form in the design.
Rendering by Hans Jürgen Eberdorfer Facing Page Top: The branch construction is versatile enough
to work both vertically and horizontally. As safety is a major consideration for any venue, I developed the vertical branches as an aesthetic screen completely surrounding and protecting you from the flame. This innovative silhouette is perfect for the security needs of more commercial venues. I designed the horizontal branch troughs to fit inside a more traditional fireplace shape as a cradle for the flame.
Left rendering by Hans Jürgen Eberdorfer Right rendering by Michael de Luca Facing Page Bottom: Durable, architectural-grade Cor-Ten steel
shapes two fire designs, an acid-etched tree wall and a curved slab. The traditional two-dimensional technique of acid-etching enhances an outdoor, three-dimensional piece. On the wall, acid has eaten away 1/16 of an inch of steel within a stencil of a tree photograph. The etched area is then filled with exterior black vinyl paint. Flames emanate from the rock bed. The curved slab radiates heat outward: it’s a dramatic large-scale piece thrusting through the ground plane that begins at 10 feet tall and eight feet wide.
Renderings by Michael de Luca
out d oor l i vi ng 225
“For 700,000 years humans have shared food, stories, and experiences around the fire; during the last hundred we seem to have abandoned the hearth as the focus of community. My goal is to help restore the hearth as a ceremonial place and as a point of convergence.”
—Elena Colombo
Above: Fire features can extend homeowners’ square footage out into the
Facing Page: I like to say I create “art that works” as opposed to artwork.
landscape so that residents make use of the exterior environment as much as
My designs bridge art and industry and make sculpture accessible and alive.
the interior. They’re great for making under-utilized yard spaces functional. Fire
A simple 12-foot-long fire trough placed at the edge of a Hamptons pool,
acts as a sacred invitation that draws people together. In the case of a 12-foot-
level with the top of the water, gives the illusion of a flame dancing atop the
long floating table with a built-in central fire feature, a sense of community is
water. My poof-shaped fire cage design is another answer to safety concerns:
assured. The table is large enough to prevent any fire from reaching the seats,
this way, hotel guests can enjoy the ambience of fire without any danger of
and the gas flame eliminates the chance of bothersome smoke. The stage is set
encountering it. A cast bronze nest is a premier piece that employs Old World
for a warm, communal gathering.
sculpture techniques. I selected beautiful branches, many 30-year-old gnarled
Rendering by Hans Jürgen Eberdorfer
chardonnay vines, then cast them in bronze and welded them together onsite. The resulting osprey nest creation lives effortlessly at a Southampton beachfront residence.
Top photograph by Greg Yale Bottom left rendering by Hans Jürgen Eberdorfer Bottom right photograph by Liz Glasgow
226 p e r s pe ct i v e s o n d es ig n
out d oor l i vi ng 227
228 p e r s pe ct i v e s o n d es ig n
Loebs + Gordon Poolcraft East Hampton, New York
“The right design elevates a pool from body of water to dynamic architectural element that emphasizes form, shape, material, and texture.”
Above & Facing Page: Running underneath an elevated house is a restrained
freeform pool built on a foundation of wooden friction piles and concrete beams for stability. The rim-flow edge pool reflects the underside of the residence from many different angles and vantage points, creating unique and eye-catching reflections throughout the property, from the masonry veneer to cedar boards. The interplay of forms and colors results in a pool complementary to the home’s design—indeed, a seamless part of it.
Photographs by Jeff Heatley
—Dennis Loebs
p ool d esi g n 229
“Once an owner gets a taste of artisan-level quality, there’s no going back.”
—Dennis Loebs
Above: The reflective pool weaving underneath the
Facing Page: We consulted with architect Rafael
structure, which also bisects the property at two
Viñoly on his design for a six-story luxury residential
right angles and becomes a waterfall, highlights
complex in Uruguay. A series of five 3,400-square-
the many different surfaces utilized in the home’s
foot pools atop rooftop terraces stacked in
exterior, including a highly textured stone veneer
progressive steps—one for each story—called
and sandblasted bluestone.
for a very carefully engineered concrete and steel
Photographs by Jeff Heatley
structure cantilevered over the story below. Stone copings comprise 240-foot edges, and the glass rail at the water’s edge required precise detailing as well.
Photograph courtesy of Rafael Viñoly Architects PC
230 p e r s pe ct i v e s o n d es ig n
p ool d esi g n 231
232 p e r s pe ct i v e s o n d es ig n
“To take an architect’s conceptual design to concrete reality, substantial input from a qualified pool designer is essential.”
—Dennis Loebs
Right: We executed architect Paffard Keatinge-Clay’s pool design:
a multi-use space combining a dedicated lap lane with a kids’ play area. The German firm Polenz custom-created the play structure of a slide, stairs, bridge, and waterfalls. The laminar fountains arcing into the pool flow seamlessly from small holes in the limestone paving, resulting in a fun feature. Facing Page Top Left: A relatively simple design of a rectangular
pool on a rectangular terrace is enhanced by a play of contrasts: smooth, dark coping and dark interior against textured, lightcolored stone. Facing Page Top Right: Concentric, intersecting curves define
a pool and spa; glass tile creates a vanishing edge along the perimeter. In order to obtain true and correct curves with concrete and masonry coping, careful planning and faultless execution are essential. Facing Page Bottom: Blue tile and blue plaster combine with
the vanishing-edge pool’s reflective effects to create a liquid echo of the sky enhanced by nearby trees, rather than another body of water.
Photographs by Jeff Heatley
p ool d esi g n 233
“Creating a one-of-a-kind pool requires both technical savvy and artful attention to detail.”
—Dennis Loebs
Above & Facing Page Top: In both a classically landscaped garden and a multi-
Facing Page Bottom: Long, rectangular pools can embody a variety of styles.
use terrace area, pairing a rim-flow pool with a more traditional stone spa
While a granite pool and teakwood deck blend into the “modern Polynesian”
creates a balanced yet interesting look. The combination creates a living area
theme of one home, different materials yield a more sculptural look appropriate
perfect for play, exercise, reflection, and entertaining.
for the expansive yard of a contemporary residence.
Photographs by Jeff Heatley
Photographs by Dennis Loebs
234 p e r s pe ct i v e s o n d es ig n
p ool d esi g n 235
perspectives
on design New York Team ASSOCIATE Publisher: Dana Sandberg Senior Graphic Designer: Emily A. Kattan Editor: Sarah Tangney
Managing Production Coordinator: Kristy Randall Traffic supervisor: Drea Williams Contributing photographer: Phillip Ennis
headquarters Team Publisher: Brian G. Carabet Publisher: John A. Shand Executive Publisher: Phil Reavis Graphic Designer: Lilian Oliveira Graphic Designer: Paul Strength Managing Editor: Rosalie Z. Wilson Editor: Anita M. Kasmar Editor: Jennifer Nelson Project Coordinator: Laura Greenwood Administrative COORDINATOR: Amanda Mathers Client Support Coordinator: Kelly Traina ADMINISTRATIVE ASSISTANT: Tommie Runner PANACHE PARTNERS, LLC CORPORATE HEADQUARTERS 1424 Gables Court Plano, TX 75075 469.246.6060 www.panache.com www.panachedesign.com
Rimi Woodcraft Corp., page 153
index Audio Video Systems . . . . . . . . . . . . . . . . . . . . 159 Franklin Karp 25 Adams Court Plainview, NY 11803 516.739.1010 www.audiovideosystems.com Plainview, NY—Armonk, NY—New York, NY Barnes Coy Architects . . . . . . . . . . . . . . . . . . . . 25 Robert Barnes, AIA Christopher Coy, AIA 1936 Montauk Highway Bridgehampton, NY 11932 631.537.3555 www.barnescoy.com Bridgehampton, NY—New York, NY—Vail, CO Ben Krupinski Builder . . . . . . . . . . . . . . . . . . . . 77 Ben Krupinski 99 Newtown Lane East Hampton, NY 11937 631.324.3656 www.bkbuilder.com East Hampton, NY—Southampton, NY Bernsohn & Fetner, LLC . . . . . . . . . . . . . . . . . . . 87 Randall Bernsohn Steve Fetner 625 West 51st Street New York, NY 10019 212.315.4330 www.bfbuilding.com Brian O’Keefe Architect, P.C. . . . . . . . . . . . . . . . . 35 Brian O’Keefe 243 West 30th Street, 6th Floor New York, NY 10001 212.957.9790 www.bokapc.com Cicognani Kalla Architect PLLC . . . . . . . . . . . . . . . 45 Pietro Cicognani 6 East 46th Street, 6th Floor New York, NY 10017 212.308.4811 www.cicognanikalla.com CNR Group . . . . . . . . . . . . . . . . . . . . . . . . . . 97 C.N. Renovation Co., Inc. Jesse Krzywon 61 Willett Street, Building L, Suite 1 Passaic, NJ 07055 973.890.9898 www.cnrgroup.us.com
Colombo Construction Corp . . . . . . . . . . . . . . . . 221 Elena Colombo 342 Park Avenue Brooklyn, NY 11205 718.399.2233 www.firefeatures.com Cousins Furniture . . . . . . . . . . . . . . . . . . . . . . 197 Jack Rodrigues Ilidio Rodrigues 515 Acorn Street Deer Park, NY 11729 631.254.3752 www.cousins-furniture.com Edmund D. Hollander Landscape Architects . . . . . . . . 209 Edmund D. Hollander, FASLA Maryanne Connelly 200 Park Avenue South, Suite 1200 New York, NY 10003 212.473.0620 www.hollanderdesign.com E.R. Butler & Co. . . . . . . . . . . . . . . . . . . . . . . 163 Rhett Butler 55 Prince Street New York, NY 10012 212.925.3565 www.erbutler.com FJ Hakimian, Inc. . . . . . . . . . . . . . . . . . . . . . . 201 Joseph Hakimian 136 East 57th Street, 2nd Floor New York, NY 10022 212.371.6900 www.fjhakimian.com Foster Reeve & Associates, Inc. . . . . . . . . . . . . . . 205 Foster Reeve 1155 Manhattan Avenue, Suite 1011 Brooklyn, NY 11222 718.609.0090 www.fraplaster.com Brooklyn, NY—Los Angeles, CA Frank Greenwald Architect . . . . . . . . . . . . . . . . . 55 Frank Greenwald 40 McGuirk Street East Hampton, NY 11937 631.329.1567 www.frankgreenwaldarchitect.com
I.J. Peiser’s Sons Inc. . . . . . . . . . . . . . . . . . . . . 141 Stephen Estrin Howard Estrin 1891 Park Avenue New York, NY 10035 212.348.7500 www.ijpeiser.com
Precision Stone Inc. . . . . . . . . . . . . . . . . . . . . . 147 Jonathan Tibett 95 Hopper Street Westbury, NY 11590 516.997.6190 www.abcworldwidestone.com Westbury, NY—Brooklyn, NY
Ingrao Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Tony Ingrao Randy Kemper 17 East 64th Street New York, NY 10065 212.472.5400 www.ingrao.com
Related Companies . . . . . . . . . . . . . . . . . . . . . . 5 60 Columbus Circle New York, NY 10023 212.801.1000 www.related.com
Interior Management, Inc. . . . . . . . . . . . . . . . . . 107 Mark V. Martinez 405 East 50th Street New York, NY 10022 212.750.3700 www.interiormanagement.com Les Métalliers Champenois Corporation (LMC Corp.) . . . 127 Julien Legeard 77 Second Avenue Paterson, NJ 07514 973.279.3573 www.l-m-c.com Loebs + Gordon Poolcraft . . . . . . . . . . . . . . . . . 229 Dennis Loebs, SWD 28 Goodfriend Drive East Hampton, NY 11937 631.725.2700 www.loebsgordon.com Macrae-Gibson Architects . . . . . . . . . . . . . . . . . . 65 Gavin Macrae-Gibson, AIA, LEED AP 450 Seventh Avenue, Suite 2406 New York, NY 10123 212.294.2940 www.m-ga.com Megna Glass Inc. . . . . . . . . . . . . . . . . . . . . . . 191 Martin Megna Mariann Megna 8 Plank Road, Unit One East Hampton, NY 11937 631.725.1131 www.megnaglass.net
Rimi Woodcraft Corp. . . . . . . . . . . . . . . . . . . . . 153 Anthony Rizzo 1185 Commerce Avenue New York, NY 10462 718.794.3609 www.rimi.net Stairs New York LLC . . . . . . . . . . . . . . . . . . . . . 167 Garrick Dolberg Elisa Amoroso 676 Union Street Brooklyn, NY 11215 718.638.5304 www.stairsnyc.com Xhema Industries . . . . . . . . . . . . . . . . . . . . . . 117 Jim Xhema Pier Giorgetti 150 East 58th Street New York, NY 10155 212.752.0270 www.xhema.com New York, NY—Greenwich, CT Zeluck Incorporated, LLC . . . . . . . . . . . . . . . . . . 171 Roy Zeluck 5300 Kings Highway Brooklyn, NY 11234 800.233.0101 www.zeluck.com
Dream Homes Series
Spectacular Homes Series
Perspectives on Design Series
An Exclusive Showcase of the Finest Architects, Designers and Builders
An Exclusive Showcase of the Finest Interior Designers
Design Philosophies Expressed by Leading Professionals
Carolinas Chicago Coastal California Colorado Deserts Florida Georgia Los Angeles Metro New York Michigan Minnesota New England
California Carolinas Chicago Colorado Florida Georgia Heartland London Michigan Minnesota New England
New Jersey Northern California Ohio & Pennsylvania Pacific Northwest Philadelphia South Florida Southwest Tennessee Texas Washington, D.C.
Metro New York Ohio & Pennsylvania Pacific Northwest Philadelphia South Florida Southwest Tennessee Texas Toronto Washington, D.C. Western Canada
California Carolinas Chicago Colorado Florida Georgia Great Lakes London
Minnesota New England New York Pacific Northwest South Florida Southwest Western Canada
Art of Celebration Series
City by Design Series
Spectacular Wineries Series
Inspiration and Ideas from Top Event Professionals
An Architectural Perspective
A Captivating Tour of Established, Estate and Boutique Wineries
Chicago & the Greater Midwest Colorado Georgia New England New York Northern California South Florida Southern California Southern Style Southwest Toronto Washington, D.C.
California’s Central Coast Napa Valley New York Sonoma County Texas Washington
Atlanta Charlotte Chicago Dallas Denver Orlando Phoenix San Francisco Texas
Experience Series
Interiors Series
Spectacular Golf Series
The Most Interesting Attractions, Hotels, Restaurants, and Shops
Leading Designers Reveal Their Most Brilliant Spaces
An Exclusive Collection of Great Golf Holes
Boston British Columbia Chicago Southern California Twin Cities
Specialty Titles The Finest in Unique Luxury Lifestyle Publications 21st Century Homes Cloth and Culture: Couture Creations of Ruth E. Funk Distinguished Inns of North America Extraordinary Homes California Geoffrey Bradfield Ex Arte Into the Earth: A Wine Cave Renaissance Shades of Green Tennessee Spectacular Hotels Spectacular Restaurants of Texas Visions of Design Southern California Weddings
Colorado Texas Western Canada
Florida New York Southeast
PanacheDesign.com
Panache Books App
Where the Design Industry’s Finest Professionals Gather, Share, and Inspire
Inspiration at Your Fingertips
PanacheDesign.com overflows with innovative ideas from leading architects, builders, interior designers, and other specialists. A gallery of design photographs and library of adviceoriented articles are among the comprehensive site’s offerings.
Download the Panache Books app in the iTunes Store to access select Panache Partners publications. Each book offers inspiration at your fingertips.
B O O K S