合并在公园

查看幻灯片

如果整个指数大于各部分的总和,它是由于人捡起碎片。匀整,easy-flowing复式公寓,你看—冠状头饰古典风格公园大道建筑最初作为一个公寓,然后切碎,切断了。这对夫妇买了主块,现在休息,将它们结合自己的时尚。“我们伤了两个厨房,两个客厅,“老公,一个私人股本投资者,坦白。“我们stymied-we只知道我们不想要的,这是恢复到原始。布局设计不同的一代,有大量的小仆人的房间。”To solve their residential Rubik's Cube, they called in two accomplished wonder-workers, Oscar Shamamian and Mariette Himes Gomez.

“传统智慧是,架构师做蛋糕和室内设计师提供结霜和填充,”戈麦斯说。”但我不把家具,我不只是decorate-I让大角度回顾示意图和施工图的架构师,我参加每周一次的演练。,幸运的是,奥斯卡更善于装饰方面比他的大多数成员专业:他不仅重组空间,他补充道复杂和微妙的背景。”

Shamamian的挑战在于把所有元素和杂乱的计划使他们成卷的空间与理性。“但与给定数量的房间requirements-five卧室+几个主要房间+提供他们所需的循环——5000平方英尺是消耗很快,”他回忆说。尽管如此,由此产生的地板计划(比before-yielded far-better-proportioned的典型布置房间,在第一个层面上,一个两层高的入口画廊,慷慨的客厅,餐厅和图书馆工作的套房,和一个大厨房,第二,一个宽敞的主人,为每个孩子一个单独的卧室,和一个巨型游戏室。

详细说明是故意克制比通常会发现在传统的大公寓。墙上了相对自由的装饰展示客户的20世纪的作品在纸上;门的典型公园大道桃花心木的数字都配备了滤光玻璃面板;和windows已经大大扩大增强“观点”。

时刻发生的伟大建筑的楼梯入口大厅:一个Neoclassical-like栏杆协同叠加在蜿蜒的现代感的石膏楼梯马车,它只不过是一个主要的雕塑作品。Shamamian切换方向从左到右不仅创造一个更加镀锌空间动态,向着陆提供更好的访问挥霍无度地种植全景的露台,设置的这对夫妇做的娱乐。幸运地,在取出内脏阶段架构师发现第二个staircase-the旧服务stair-entombed石膏的后面。“我练了一个小城市考古,”他笑着说。现成的“完美的连接,”它链接新洋溢着厨房上面的绚烂地软垫游戏室。

“我们没有认真对任何特定时期的家具,”戈麦斯说。奖品是无可置疑地圆形餐桌。“这是唯一适合的多用途的目标,”丈夫讲话,指的是事实,它的大小减少了一次,再一次。“我相信轮tables-they对群体会话更好,”声明了妻子,谁是参与各种慈善活动。的设计师,以建立和平衡每个房间她绕着它的几何图形,直接总结圆桌:“他们动态、自旋空间”。Ellsworth Kelly's 18 Colors Cincinnati, long and skinny, plays off against the shape of the table (itself reinforced by the spherical chandelier above it). Gomez, knowing that a big chunk of mahogany can be dangerously heavy, covered the backs as well as the seats of the dining chairs with a soft, self-effacing fabric.

六塞•托姆布雷携手在纸上作品定下了基调和调色板的客厅。“客户是想处理它们放在一起在一个墙,”她说。“我放在房间的四周所以你坐任何你可以体验他们。”Gomez customarily hangs all the art. "If it's properly scaled with every other thing in a room, it will feel integral and comfortable; it should never be gallery-hung—you know, where everything marches." Because there's a grayish-green tint to the Twomblys, she was especially careful with the carpet, picking out a light-colored Tabriz. "You don't copy or match the art, you play to it. We're talking about references so subtle you shouldn't even be aware of them—you should feel them but not see them." When it came to placing the furniture, so as not to overload a space that "wasn't exactly English-drawing-room size," she floated it all into the formerly dead center of the room.

1940年代Adnet写字台的大图书馆窗口长而窄,覆盖着luggage-colored皮革(Adnet与爱马仕,戈麦斯指出的那样)。没有任何窗口或门Shamamian建造了一个书架。“如果你有一个美丽的图书馆”——设计师手势就要像在沙发上面,壁炉的斯特拉——“你应该使用它。”In fact, the couple share the desk, working side by side.

大师套件是“vanilla-I的意思是,你有多少种方法描述白?”Gomez asks rhetorically. Well, as the writer Ali Smith dazzlingly rhapsodized, there's "the white before green"; there's "blue-sky white, heat-haze white"; there's "the white of sun, the white that's behind all the colors there are…open-mouthed white…white spilling over itself"; there's even "the white that longed for bees, that wanted you inside it, dusted, pollen-smudged." Gomez is a designer who appreciates just how complex white can be.

她和Shamamian给了客户一个研究出优雅而不太正式的;一个语气,是永远不会折断。但是,作为一个设计师的许多咒语,平静并不意味着被动。“实际上的公寓很年轻和精神双点在公园,”丈夫说,补充道,“我们希望它看起来像我们的,不认识别人的,对我们和他们想要的。”