Moonlight Sonata
House & Garden, April 2004
Hail to silver, the new gold.
Silver is the moon’s own metal, the element of alchemists
– in this case designers Tim Haynes and Kevin Roberts, who
transformed a traditional Manhattan apartment into a relaxed yet
sophisticated home for a busy, athletic couple with rambunctious
young daughters.
The client wanted something fresh, with furniture that felt useful.
no clutter, to accommodate real life. Earth tones, to relax the
apartment’s inherent formality. And absolutely no gold. “I
don’t like apartments with a lot of gold and gold leaf,”
Roberts recalls hearing. The designers could retain the feel of
a Park Avenue apartment, but, the client cautioned, “Don’t
give me my mother’s grandmother’s I want this to be
elegant, simple, and mine.”
Haynes, a Harvard-trained architect, and Roberts, who has graduate
degrees in cultural anthropology, had worked with the family on
a Hamptons house. “They had faith in us,” Roberts says,
“and we knew their sensibility.” The result of the designers’
“serious commitment to silver” is a spare, high-ceilinged
home. The aesthetic juxtapositions of mid-century-modern French
and Italian furniture with eighteenth-century French and early-twentieth-century
Austrian pieces is as welcoming of a gaggle of little girls as it
is of grown-ups. The flow from public to private space withstands
the occasional tricycle and scooter race, while the sweep from gallery
to dining room accommodates the most urban adult gathering.
The designers’ success is obvious right at the vestibule,
with its walls covered in silver tea paper. But it’s in the
gallery, lit by a 1940s French crystal and silver globe, that the
soulfulness of the marriage of eighteen-and min-twentieth-century
designs becomes evident. A large 1940 French mirror, framed in mirror
and cobalt blue lozenges, updates the eighteenth-century conceit
of the mirror-in-a-mirror. Flanked by silver sconces, it hangs over
an antique ebony Venetian bench. The effect recalls Cocteau’s
1946 fantasy La Belle et la Bete. Customized sterling silver hardware
enlivens mahogany doors with panels of book-matched crotch-cut veneer.
Despite the sheer elegance of the pieces, most of the team’s
design was governed by a plebeian restriction: a prohibitively small
service elevator. The Venetian bench arrived through a window, requiring
rope, skill and a city permit.
Roberts’s juxtaposing continues in the living room. The soft
Louis XVI pieces came from Maison Jansen, a mid-twentieth-century
French design house ruled by Stephane Boudin, whose clients included
Jacqueline Kennedy when she redid the White House. Josef Hoffmann,
cofounder of the Wiener Werkstatte, a key element in the development
of French Art Deco, designed a pair of circular end tables as sleek
as seals. Haynes and Roberts remade a coffee table with silver leaf.
The well-proportioned space also holds an important parchment and
ebony writing desk by Gio Ponti and a powerfully simple cigarette
table by the French Moderne designer Jacques Adnet. “Each
piece speaks for itself,” Haynes says. “They have a
certain quality that comes from being designed, and they make great
and interesting combinations.” Yes, the children use the room,
sliding off the seating, hiding in the curtains. The only restriction:
no food.
In the dining room, under a gently vaulted ceiling Haynes designed
to give the space more height, are an Art Deco-style parchment table,
a mid-century Murano glass chandelier, two Warhols, and an Adnet
sideboard. The combinations shows Haynes’s crossover agility
and suggests evenings of bons mots from men in ventless cashmere
dinner jackets and women in silk-satin bias-cut gowns.
And while that silver-screen image wafts through the entire apartment,
practicality anchors the project. A truly enormous 1920s Brillie
electric French station clock dominated the celadon and sage eat-in
kitchen, with its enclave for homework and play. The limestone walls
along the passage to the bedrooms can be washed quickly with a spray
cleaner.
In the end, it’s the idea of kids being kids that defines
the home, right down to the Venetian plastered walls installed in
the public rooms. The ancient technique requires at least eight
paper-thin layers of plaster applied by hand. It is a painstakingly
slow, meditative exercise for painter Lillian Heard and her team,
a process she loves “because it allows me to think like an
artists and be involved in projects I consider really important.”
The end results are walls of subtle colorations where each square
inch has been worked over, the way an artist would approach a canvas,
except “with the walls, the final layers is sealed and waxed,”
Heard says. What’s more, the walls stand up to a lot of wear
and tear without needing a touch-up.
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