A Manhattan Apartment That Pays Tribute to the City’s Jazz Age
On a quick block in Manhattan’s East 40s, the 18-story Beaux Arts apartment complex is one of the city’s most important architectural gems, designed in 1929 by prominent New York architects. Raymond hood And Kenneth Murchison. Originally intended to offer residential and studio locations to Midtown’s community of artists, it consists of twin structures built across the street from each other with art deco-style aspects of limestone, brick and steel.
33-year-old Canadian interior designer Martin Br Martinlé The city, after years of living between Miami, Paris and Montreal, discovered Beaks Arts five years ago while hunting for a home base in New York. He was immediately transferred. “I am associated with the ’20s and’ 30s,” says Brole, who often incorporates 20th-century motifs in his work: streamlined but luxurious materials and finishes, like velvet, lacquer and polished wood. Monochrome hues and geometric patterns; And bold period furniture. “For me, Decorating art Was a harbinger of Modernity It has never really been equaled. “
When Br Whenlé first saw an apartment with a 1,300-square-foot space on the 14th floor, the entrance was a tight passageway, leading to a kitchen cover in Formica (“the very ’90s Home Depot)” There are strange sofits in the room. But at the end of that room there was a large casement window which, if you were standing at the right angle, completely framed the iconic steel spire. Chrysler Building, Was built around the same time as Bucks Arts. On that day Brole signed the lease.
In highlighting some of the more undesirable features of the apartment, Brole got the freedom to experiment, bringing a relief that recounts not only the New York jazz era, but the ’80s reinterpretation of’ Art Deco ‘, which gave a monochromatic temperament. Mixed with minimalism. They hid the two-bedroom padded wooden floors with velvet wool carpets – chocolate brown in one room and creamy ivory in the other – and painted the walls to match. They decorated and adorned the walls of the main living room-cum-dining room with a faux cursive finish, which consisted of a mixture of lime, parchment and travertine, and whose gravitas were soft. Perhaps most dramatically, she ripped Formica into the kitchen and replaced it with displaced brushed stainless steel cabinets and a polished black granite countertop. He then locked a smog oven and found cooktop in a closet at the north end of a living room, close to the kitchen, which he hid from floor to ceiling with white. Drape day line Curtains. It may sound too pretty to be practical, but Brole is in fact often a rare eight-foot-long ’20s Art Deco bronze-and-marble guerrilla table bought from his former employer, interior designer and antique dealer Jean. Around 15 for dinner. -Pul Beauzard
MAIN ROOM divides itself into two parts: the half closest to the kitchen is anchored by a marble guridon, which Brole picks up on the mower’s doll to rotate it around the room for dinner or a meeting ( The apartment also doubles accordingly) office). On the west wall, a small 1948 Joseph albers The painting that hangs above the chimney serves as a mere splash of the color of the space; Nearby, an ornate Carlo Bugatti mosque chair and a 1926 rosewood-and-parchment secretary adorn a niche. The other half of the room, which overlooks the street, is its living area. The east wall is lined with low black lacquer IKEA cabinets that span the entire length of the room. They complement the 1980s antella wooden table Kazuheed Takahama That Br thatlé uses as a desk.
The focal point of space is the ’90s LC4 Followed by Charlotte Periand, Le Corbusier And Pierre Jeanernet, Located in front of that 10-foot-high casement window, which is filled with panels of ivory raw silk curtains. “When I was growing up, that chair was the most basic thing in the world,” Brole says. And while it’s true that Chase has become almost a part of contemporary interior design, it takes a fresh look at the context of Brole’s home, and is able to appreciate its bold functionality. “Some pieces have more presence, and you need to give them space,” he explains.
But it is Brimatelé’s bedroom which is the most intimate (and revealing) location in the apartment. At first glance it is modest: a mattress on the floor with white sheets, a lone oak chair on its side. But the sheets were custom-made for brole in a mill in Italy, the pillows are of the finest canada goose and the chair is a rare Carlo Bugatti from 1906: everything simple, but chosen with care. This is how Brûlé design, as well. “I love it the most,” he says, “is a choice that is almost invisible.”