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自然光線下寧靜的紐約公寓第1張圖片

Tour a Serenely Decorated New York Apartment Where Natural Light Rules the Day

由專筑網澄鏡之水,小R編譯

詢問任何經驗豐富的裝飾師,他們會告訴你:每個客戶都有自己獨特的東西?赡苁菍N房臺面的癡迷,或者只是對設計師椅子的偏愛。對于室內設計師Hadley Wiggins和建筑師Anderson Kenny最近在紐約上東區的一個項目而言,人們關心的是顏色,或者更確切地說,如何最好地呈現顏色的缺失。 客戶 Elanna Allen 是一位著名的插畫家和動畫導演,以繪制精美的兒童書籍和卡通片而聞名。 她與丈夫和兩個年幼的孩子同住一起,“她是一位令人難以置信的藝術家,具有令人難以置信的色彩感,所以她不會說:‘哦,我希望它是奶油色的,帶有一些骨色調! 而是說‘這300種顏色我們要選擇哪一種呢?為什么?’”Wiggins回憶道。

Wiggins準備迎接挑戰。 “我喜歡這種特殊性!彼姓J。Wiggins 是一位自學成才的設計師,在開始從事設計事業之前從事廣告工作,她以色彩豐富、質地豐富的室內設計而聞名,由于精心挑選的復古家具,始終具有獨特的生活古銅色和藝術感。 事實上,她在長島的北?碎_了一家古董店好幾年了,現在這里是她各種設計項目的‘武器庫’。 她認為中性色調的公寓描述為精確和克制的練習。 “對我來說,這是最簡約的!彼蛉さ。

為了開發戰前三居室公寓的色彩面板,Wiggins向色彩專家Eve Ashcraft尋求建議,Eve Ashcraft曾為Martha Stewart和SOM事務所等客戶提供咨詢服務。 他們一起研究了房屋暴露在自然光下的情況:朝南的明亮主臥室光線強烈而直接,而朝西北的客廳和餐廳光線較弱,“我們花了很多時間思考光線和陰影在一天中會如何變化!盞enny說,他拆除了幾個較小的室內房間的墻壁,將廚房和相鄰的圖書館面向西側開放,“這能夠提升使用者的感受!

他們在廚房、客廳、餐廳和主臥室應用兩種主要色調,即白色和灰色,再結合通透的淺綠色,“所有的色調都有一種美麗的在地性!盬iggins談到色調時說,這些色調具有復古的柔和的品質!八械娘椕娑挤浅8蓛、光滑和平坦!

從那里開始,他們開始建立次要色調!拔覀兒茉缇驼J為這種淺綠色天鵝絨是我們想要的效果!盬iggins說,因此應用這種織物裝飾客廳沙發。她解釋說,客戶選擇它是因為它與他們以前家中心愛的家具相似。 “我們稱之為家庭織物!彼a充道。 她在客廳的各種花卉圖案中加入了相同的色調,隱藏的吧臺中的威廉莫里斯壁紙、壁爐旁貼著克拉倫斯宮印花軟墊的老式鍛鐵長凳,還有沙發上的枕頭。

考慮到公寓的特點,Wiggins認為家具需要有著同樣的特征,“我不喜歡房間里有英雄作品!彼忉尩!跋喾,我在考慮,我想讓你的眼睛停在哪里?我想看透這個空間嗎?還是四處隨意看呢?”

她將不拘一格的古董與當代作品混合在一起,創造出一系列平衡的畫面。 例如,在客廳里,她選擇了一系列柔軟而圓潤的中世紀斯堪的納維亞扶手椅,搭配鋒利的現代石灰華咖啡桌、由Kenny設計的黃銅和橡木書架、粉紅色大理石頂的安妮女王風格邊桌,以及一組Charlotte Perriand貼花燈,還有類似于從后面照亮的紙鞘。餐廳的焦點在于客戶收藏的酒紅色皮革 BDDW 椅子。 Wiggins定制了一張長木餐桌以匹配他們簡單的輪廓,然后她用微妙的有機色調和形狀圍繞著餐桌,比如一個球形的吊墜、一個書柜,和一個絲帶狀的大理石雕塑,它在午后熠熠生輝。

盡管家里有點修道院的感覺,但Wiggins引入了她標志性的色彩,在浴室里,她用鮮艷的色彩襯托墻體,主浴室里有深紅色的蕨類植物圖案,客房化妝間里有靛藍色的鳥和樹枝圖案。 “我們想擁有一些飽和的顏色!彼忉,“就像平靜海洋中的小寶石!

Ask any seasoned decorator and they’ll tell you: Every client has their own particular thing. It could be an obsession with the kitchen countertops, perhaps, or simply just a penchant for designer chairs. For a recent project on New York’s Upper East Side by interior designer Hadley Wiggins and architect Anderson Kenny, that concern was color—or rather, how best to render the lack of it. The client, Elanna Allen, is a celebrated illustrator and animation director known for lushly drawn children’s books and cartoons. She shares the home with her husband and two young children. “She is an incredible artist with an incredible color sense, so this was not a case of her saying: ‘Oh, I want it to be creamy with some bone tones. This was ‘which out of the 300 shades of bone do we want and why?’” Wiggins recounts.
Wiggins was up for the challenge. “I love this kind of specificity,” she admits. A self-taught designer who got her start in advertising before embarking on a career in design, Wiggins is known for interiors that are drenched in color and rich in texture, always with a distinct lived-in patina thanks to a careful selection of vintage furniture and art. In fact, she ran an antique shop for several years in North Fork, Long Island, which now serves as an arsenal for her various design projects. She describes the neutral-toned apartment as an exercise in precision and restraint. “For me, this is minimal,” she quips.
To develop the palette for the three-bedroom prewar apartment, Wiggins sought advice from color expert Eve Ashcraft, who has counseled clients ranging from Martha Stewart to blue-chip architecture firm Skidmore, Owings & Merrill. Together, they studied the home’s exposure to natural light: strong and direct in the bright south-facing primary bedroom, and dimmer and more diffuse in the living and dining room looking northwest. “We spent a lot of time thinking about how the light and shadows would change over the course of the day,” says Kenny, who tore down the walls of several smaller interior rooms to open up the kitchen and adjacent library to west-facing windows. “And how that would contribute to the sensation of being in the apartment.”
They landed on a two-tone palette in subtle variations of white, gray, and barely there pale green for the kitchen, living room, dining room, and primary bedroom. “There’s a beautiful dustiness to all the tones,” Wiggins says of the hues, which have the muted quality of a vintage photograph. “All of the finishes are really dry and thirsty and flat.”
From there, they began to build up the secondary tones. “We identified this sour green velvet early on as our accent,” says Wiggins, who used the fabric to upholster the living room sofa. She explains that the homeowners chose it for its similarity to a beloved ottoman in their previous home. “We called it the family fabric,” she adds. She incorporated the same shade in various floral-patterned accents in the living room: a William Morris wallpaper in the hidden wet bar; a vintage wrought-iron bench upholstered in a Clarence House print next to the fireplace; and Pierre Frey throw pillows resting on the sofa.
Considering the apartment’s desaturated aesthetic, Wiggins knew the choice of furniture had to be equally subdued. “I don’t like for there to be a hero piece in the room,” she explains. “Instead, I’m considering, where do I want your eye to stop? Do I want to see through this space? Or have the eye travel around?”
She came up with a series of carefully balanced tableaux by mixing eclectic antiques with contemporary pieces. In the living room, for instance, she chose a collection of soft and round midcentury Scandinavian armchairs, which she joined with a sharp-edged contemporary travertine coffee table, a brass and oak bookshelf designed by Kenny, a pink marble-topped Queen Anne–style side table, and a set of Charlotte Perriand appliqué lights that resemble sheaths of paper lit from behind. In the dining room, the starting point was a set of burgundy leather BDDW chairs that were already in the homeowners’ collection. Wiggins custom-designed a long wood dining table to match their simple profile, which she then surrounded with subtle organic tones and shapes, like a globe-shaped Noguchi Akari pendant, a floating burl credenza by Ruemmler, and a ribbon-like marble sculpture, which glows in the afternoon light from its perch on the window sill.
Despite the home’s somewhat monastic feel, Wiggins was able to introduce a touch of her signature color behind closed doors—so to speak. In the bathrooms, she lined the walls with vibrant paper: A dark red fern motif in the primary bath and an indigo pattern of birds and branches in the guest powder room. “We wanted to make sure there were a few moments of saturation,” she explains of the decision. “Like little jewels in a sea of calm.”

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在制定整體平面圖時,Kenny從曾經的大門廳削減了幾平方英尺,以便在房子的其他部分開辟額外的空間。新入口采用流線型的皇冠造型和一個反映相鄰走廊比例的小型裝飾壁龕。 “這是一個將城市與家庭隔開的空間!盞enny說。

When developing the overall floor plan, Kenny shaved several square feet off the once grand foyer in order to open up extra space in other parts of the house. The new entrance features streamlined crown molding and a small decorative niche that mirrors the proportions of the adjacent hallway. “It’s a liminal room that separates the city from the home,” Kenny says.

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Wiggins特意選擇了便于兒童使用的家具。 “我想確保它能夠承受兩個小男孩的使用,并且無需裝飾。,”她說。 Wiggins加入了一套老式的丹麥俱樂部椅子,兩把Alf Svensson的 TeVe 椅子,一張橡木和石灰華咖啡桌,以及一盞Benjamin Wilson的現代主義燈,它位于一張帶有粉紅色大理石臺面的復古安妮女王風格的邊桌上。

Wiggins deliberately chose furniture that would be easy to upkeep with children. “I wanted to make sure it could withstand two young boys flinging themselves into it without requiring any primping afterward,” she says. Wiggins joined a set of vintage Danish club chairs with two TeVe chairs by Alf Svensson, an oak and travertine coffee table, and a modernist lamp by Benjamin Wilson, which sits on a vintage Queen Anne–style side table with a pink marble top.

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為了在起居室原本柔和的美感中呈現出令人驚訝的流行圖案,Wiggins在隱藏的吧臺內部襯有William Morris的綠色和粉紅色花卉壁紙。

For a surprising pop of pattern within the living room’s otherwise subdued aesthetic, Wiggins lined the inside of the hidden wet bar with a green and pink floral wallpaper by William Morris.

自然光線下寧靜的紐約公寓第5張圖片

Wiggins定制了這張桌子,用于搭配由BDDW設計的酒紅色皮革餐椅系列。上面是一個吊墜,后墻上掛著兩個來自法國的中世紀黃銅燭臺,窗臺上是Paul Bloch的帶狀石灰石雕塑。

Wiggins custom-built the table to match the proportions of the couple’s collection of BDDW-designed burgundy leather dining chairs. Above sits a Noguchi Akari pendant, on the back wall hangs two midcentury brass sconces from France, and on the window ledge sits a ribbon-shaped limestone sculpture by Paul Bloch.

自然光線下寧靜的紐約公寓第6張圖片

Pierre Frey的靛藍色植物印花壁紙裝飾化妝間,與 HWI 定制的大理石水槽完美搭配。

An indigo blue foliage print wallpaper by Pierre Frey decorates the powder room, perfectly matching the custom marble sink by HWI.

自然光線下寧靜的紐約公寓第7張圖片

Kenny解釋道:“在廚房中,我們希望擁有更明亮、更現代的飾面,包括大型面板、懸臂[擱板]、漆[飾面]和樸素的細節。廚房需要低調一些,但也要呼應傳統的空間!

“We took a departure with the kitchen,” Kenny explains. “We wanted to have a brighter, more modern finish with big slabs, cantilever [shelves], lacquer [finishes], and austere details. The kitchen needed to make a statement without being loud, but also work within the context of the [home’s] more traditional details.”

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一個曾經是管家儲藏室的小壁龕變成了早餐角落。 Wiggins定制設計了 U 形長椅,呼應了壁龕的舒適比例,并應用了Norbar Fabrics 的 Bombar Pewter 裝飾座椅。 餐椅是Dietiker,工業吊燈是復古的,影像來自奧地利攝影師Josef Hoflehner。

A small alcove that used to be the butler’s pantry was transformed into a breakfast nook. Wiggins custom-designed the U-shaped banquette to fit the alcove’s snug proportions and upholstered the seat in Bombar Pewter by Norbar Fabrics. The dining chair is Dietiker, the industrial pendant lamp is vintage, and the photograph is by Austrian photographer Josef Hoflehner.

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根據Kenny的說法,圖書館中定制的橡木木制品的靈感來自于 Jean-Michel Frank和Jean Royère等中世紀設計師。為了從相鄰的房間引入自然光,他安裝了玻璃和黑色鋼制口袋門,這也與溫暖的木質色調形成了微妙的對比。

According to Kenny, the custom-cerused oak millwork in the library was inspired by midcentury designers like Jean-Michel Frank and Jean Royère. To bring natural light in from adjacent rooms, he installed glass and blackened steel pocket doors, which also provide a subtle contrast to the warm wood tones.

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Wiggins在臥室的休息區采用了類似的柔和色調面板。墻壁是Benjamin Moore的灰霧和白鴿顏色的微妙色調對比。 Flou 的 Argan 床采用 Holland & Sherry 面料裝飾,床頭燈來自 Studio La Josa,古董黃銅燭臺是 Soane 的,定制床頭柜是 Faithful Roots 的,上世紀40年代的吊燈有著復古韻味,這歸功于瑞典設計師Einar Bäckström。

Wiggins followed a similar muted palette to the seating area in the bedroom. The walls are a subtle tone-on-tone contrast of Benjamin Moore’s Gray Mist and White Dove colors. The Argan bed by Flou is upholstered in Holland & Sherry fabric, the bedside lamps are Studio La Josa, the antique brass sconces are by Soane, the custom bedside tables are by Faithful Roots, and the 1940s pendant lamp is vintage, attributed to Swedish designer Einar Bäckström.

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在主浴室里,Wiggins選擇了William Morris的深紅色植物印花壁紙,搭配白色大理石柜臺和來自Waldorf Astoria酒店的老式黃銅燈。

攝影:Tim Lenz

In the primary bathroom, Wiggins opted for a deep red botanical print wallpaper by William Morris, which she paired with white marble counters and a vintage brass lamp salvaged from the Waldorf Astoria hotel.
Photography by Tim Lenz

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