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Thomas O’Brien loves bathrooms. In each one of his baths there is a link between modern and traditional elements (traditional raised panel cabinetry and Aero fittings, for example). The spaces are comfortable and honest, highlight good structure and authentic details. He loves open shelves for the practicality of towel storage and the display of decorative objects as well as the appearance of open space. He is a great editor and taste maker.

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We were cruising down Route #1 in Maine when I spotted a sign that said Swans Island. I have been a fan of Swans Island blankets since I first experienced them at the Nicky-Kehoe shop in LA several years ago. Could it be that I had serendipitously found the place where they are made, right on the highway in mid-coast Maine?

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Generally, I am not a fan of “vanities”. They often look like kitchen cabinets that have been transported into the bath. I fully understand their practical aspects; much needed storage, counter tops for amenities, decorative hardware, space fillers… However, what I prefer is something that looks more like furniture and is more compatible with furniture in the adjacent rooms.

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In his new  book, AERO Beginning to Now, Thomas O’Brien featured two baths that have captured not only his brand of “warm modernism” but my sensibility as well. Today’s post is about a mammoth bath in a grand Beaux Arts building in New York infused with American, Radio-City like glamour. (The other was the well-documented 1999 Kips Bay Showhouse).

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