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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).
A complete and well thought out space with beautiful architectural details and scale, lovely texture just outside the window and simple but elegant decoration. Everything from the choice of fabric on the windows to the chandelier and tub, speak to elegance, refinement and sophistication.
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I am often asked to describe or define a “luxury” bath. There is, of course, no one answer to that difficult and subjective question. But here is my opinion. Luxury is never about how much money is spent. It is about the wise and comfortable use of proportion and scale, meticulous installation, well-articulated architectural details, functionality and the accessories used to personalize the bath. And, it doesn’t matter if the space is large or small. The important factors are: clean and classic lines, quality materials, artisanal craftsmanship, elegant and nuanced surfaces, and outstanding functionality.
This is the photo that started me on the quest for dark cabinetry in the kitchen. It is clean and fresh with modern accents. The white floor adds brightness to the space.
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The new or renovated all-white kitchen has become ubiquitous! I was recently on the jury for New York Cottages and Gardens design awards. It was difficult to find the definitive winner in the kitchen category. They were all well designed, functional and attractive. But, it was hard to distinguish one from the other with their Carrara marble counters and matching backsplashes. With that in mind, I went looking for examples of kitchens where dark cabinetry, tiles, counters, walls or floors added a bit of drama.
Beautiful egg and dart moldings, richly grained doors and the elegant simplicity of the balusters create architectural details that are sophisticated and refined.
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A summer program in architecture at Carnegie Mellon in Pittsburgh changed the career direction of John Murray from uninspired pre-med student to architect. And, from his large and distinguished body of work, fifteen projects are presented in his new book CLASSICAL INVENTION, THE ARCHITECTURE OF JOHN MURRAY. The book confirms my belief that Murray’s decision to immerse himself in the language of classical design was the right one–his work has certainly enriched the lives of his patrons and clients.
