客户端,一个投资银行家和他的妻子爱上了不动产,说实话,谁不想呢?丰富的树木标本,丘陵one-and-a-half-acre网站忽视了哈德逊河在新泽西州,乔治华盛顿大桥的提供一个视图,更不用说曼哈顿。房子,不过,“你肯定是在挑战类别,”纽约设计师维多利亚哈根说。都铎式风格和固体,在6500平方英尺,从远处看起来令人印象深刻。但是关闭,任何宏伟消失的错觉。“没有凝聚力外观”,妻子回忆说。
里面,这是彻头彻尾的特质,这样奇怪的三个“奇怪的小暗,未使用的阳台,”她说,在上层和mural-covered巴伐利亚餐厅在地下室里。任何清晰的结构可能曾经有过的,早已经失去了一个考虑不周的改造。
寻求帮助,客户转向哈根。“维多利亚的工作给我留下了深刻印象,”妻子说。“这反映出自己的味道。”The couple knew little about the designer when they hired her. "I didn't realize that she was this star in the design world," the wife admits with a laugh. "I think if I'd known that, I'd have been way too intimidated to work with her." Hagan, in turn, brought in Timothy Bryant, an English architect practicing in Manhattan. "We liked him for his design style and his eye for elegance," the wife reports.
架构师出发”摆脱房子的一些笨拙的元素,使它看起来好像已经添加到随着时间的推移,”他说。“我不认为前面的改造是尊重的。你只能增加一个房子。然后就说不”。Bryant was struck by the house's lack of character and light, and the strangely stilted flow of its rooms. "There was no detail to delight the eye."
事实上,有一些细节的房子甚至缺乏室内窗台和其定义外观似乎把一个空白的面对世界。科比的外观,安装一块石头基地和更多的木结构打破它的质量,还有一些窗户周围砖。因为现有的结构性破坏,包括扭曲托梁和墙垂直,“我们最终重组整个建筑,”他说。
哈根和科比在密切合作工作。”他理解我的视线,带自己的,”设计师说。是哈根首先提出一个工艺品看,科比回忆说。“我有一个线索。我熟悉维多利亚的工作,我知道它有空气的质量。我试图把这个努力。”He also drew inspiration from the English architect and designer C. F. A. Voysey, a noted practitioner of the Arts and Crafts style. "Voysey put in windows where he needed them," says the architect. "I wanted to have light infused into the interior where possible."
该小组,包括哈根的一个助理,高级设计师雪莱Pocsidio,带着近乎迷信的方法,增加和扩大窗口,以吸引尽可能多的。一些窗户被改变的一致性:在日光浴室,不平等的海湾是很公道和拱形的窗户在科比所称的“奖杯桃花心木库,”一个黑暗的,有问题的区域,是方符合别人的房子。Glass-paned transoms-a定工艺品touch-were把亮度。这些和其他元素也统一的空间。
几乎每一个方面的结构被修改了。在房子的房间似乎混在一起,目标是房间的风格统一和更有效的部署。在一楼,在众多变化,楼梯被删除,和业主,有三个年幼的孩子,是谁很高兴看到它。“这不是我们今天的生活的方式,”解释了妻子。“我们没有仆人。我们没有问题,我们的孩子使用主楼梯。”Once the staircase was gone, the kitchen, which had been small and awkward, could be greatly enlarged. And upstairs, the cramped balconies were put to better use, becoming a new master bath, a sunroom, and a work area for the children. As for the rathskeller, it was replaced by more conventional basement spaces, including a playroom.
妻子有很强的对室内设计的看法,与哈根的那些完全吻合。“我想点新鲜的,现代设计,”妻子说。“我想要的颜色来自地毯和艺术作品。我不想很多模式或颜色来自沙发和墙壁。”The couple, who had moved from London, bringing only a few pieces with them, hoped for a mix of disparate furniture, which, as it turns out, is something of a hallmark of the designer's. "We like to open up the world of choices, so that it's not all English and not all French," says Hagan.
世界是漂亮的显示在客厅里,在哈根结合的一个独特的詹姆斯翼椅子从她的新家的家具收藏,其他碎片,一种非常古怪的栈桥低表顶部的摩洛哥皮革。后者,以及一个精致的大约1890年Ushak地毯,导致房间的温暖,杏基调。同样,整个房子,以前的房间以为微妙的颜色。主卧室变得清爽的白色,玫瑰的联系;家庭房间,一旦几乎中世纪黑暗的地方,变成了一个青瓷愿景,灵感来自房间的树林中的视图。日光浴室,“不觉得见过太阳,”哈根说,突然被湿透了。这样,房间的房间,房子,曾经似乎完全是残酷的,无情地,进入光。
