A Glass-Walled Aerie Marked by Minimalism and Contrast
Paola Singer
Updated
David Mann, the founding partner of MR Architecture + Decor, lived in a Greenwich Village studio for 35 years. It was a distinctive prewar penthouse with an impressively large corner terrace where the architect hosted countless summer parties, yet it had only 400 square feet of living space. After Mann’s longtime partner, Fritz Karch, moved in, the apartment’s limitations began to outweigh its charms. “We decided we needed a little bit more space, so we moved uptown to an adult apartment,” says Mann, half-jokingly, referring to the couple’s 1,800-square-foot, 19th-floor residence at United Nations Plaza, a set of modernist glass-walled towers designed by Wallace Harrison and Max Abramovitz in 1966.
In addition to comfortable proportions, the property has a sensible layout, with two bedrooms on opposite ends of the space, two bathrooms, a foyer, a kitchen with a breakfast nook, and a grand living and dining area. Mann, whose firm has an eclectic portfolio that includes everything from construction to decoration, gravitates toward minimalism when it comes to his personal style. He’s also drawn to the color black (it’s rare to see him wear anything but black Prada suits), which is seen in many of the apartment’s walls, as well as in carpets and other surfaces. There’s plenty of white as well. “One of the things I like about black walls is that they recede at night, which is when I use the apartment the most,” he says. “And white reflects light.”
In the breakfast nook, Mann placed an intriguing self-portrait by contemporary artist Benjamin Cottam, which was glazed over in black. “I think the work is about looking more intensely,” says Mann. “I have to tell people to look for the face.” The light pendant above the marble-topped table (with an Angelo Mangiarotti base) has an optical trick as well: Look through the pentagram-shaped acrylic lenses, and everything appears magnified.
As for choosing the furniture, he approached the task as if he were compiling the guest list to one of his parties. In other words, he assembled a collection of wildly diverse objects that he really loves. “I think the disparity holds together because everything had a special allure for me,” he says. “I didn’t really have a specific look in mind.” The dining area, for example, is anchored by a chandelier made of bronze electrical circuits connected to real dandelion seeds. To go underneath this light installation, Mann commissioned a solid-brass table, pairing it with slim black leather armchairs by Mario Bellini. On the opposite side of the room, the sitting area features a set of Finn Juhl bench sofas with very simple lines, and two dark stone sculptures used as coffee tables.
While the apartment clearly reflects the architect’s minimalist sensibilities, it also shows off his partner’s taste. Karch—an author, stylist, and former magazine editor—is an avid collector of vintage curiosities, things like ceramic owls, tiny clocks, or old motel room keys. Many of these are on display in one corner of the master bedroom, as well as a section of the library. “He would pack everything full of stuff; that’s a big difference between us,” says Mann, adding that he nevertheless often collaborates with Karch on interior decoration projects. They do, however, have separate weekend homes.
A Glass-Walled Aerie Marked by Minimalism and Contrast
This 1,800-square-foot apartment at UN Plaza, a set of modernist towers built in 1966, is the home of architect David Mann and his partner, Fritz Karch, an author and collector of vintage and antique decorative objects. Mann, the founding partner of MR Architecture + Decor, lived in a Greenwich Village penthouse studio for 35 years before moving into this more “adult” space. A lighting sculpture by Studio Drift, made with real dandelion seeds, anchors the dining area. “It’s called Fragile Future, so I guess it will fall apart at some point, but it’s all still there,” jokes Mann. He commissioned a solid-brass table to go underneath it, pairing it with black leather armchairs by Mario Bellini for Cassina.
Another distinctive light fixture is seen in the foyer. Called Lace No. 1, this mounted piece was made by Coma Studio using salvaged pieces of glass from the 1950s found at the now-defunct Hotel Bristol in Italy. The green tones in the vintage James Mont chair are echoed in the large Wolfgang Tillmans print on the opposite wall.
The apartment’s second bedroom was turned into a library packed with books about art, architecture, and photography. Mr. Mann chose an eclectic collection of furnishings, including a custom daybed with contemporary lines, a set of post-modern 1970s chairs by Boris Tabacoff for Mobilier Modulaire Moderne, and a Siirt throw rug from Eastern Anatolia, purchased at Kea Carpets and Kilims.
This corner of the library belongs to Mann’s partner, Fritz Karch, so to speak. The shelves on the back wall are stocked with a miscellany of vintage finds, part of Karch’s ever-growing collection of curiosities. The abstract armchair and ottoman are by Israeli designer Ayala Serfaty, purchased at Maison Gerard.
After a complete renovation, the kitchen features a sleek look with contrasting all-white and all-black surfaces. The Corian countertop in Glacier White matches the wall color, Benjamin Moore’s Super White. Cork floor tiles add a touch of warmth.
In the breakfast nook, Mann placed an intriguing self-portrait by contemporary artist Benjamin Cottam, which was glazed over in black. “I think the work is about looking more intensely,” says Mann. “I have to tell people to look for the face.” The light pendant above the marble-topped table (with an Angelo Mangiarotti base) has an optical trick as well: Look through the pentagram-shaped acrylic lenses, and everything appears magnified.
The couple’s aesthetic differences are quite obvious in the master bedroom. Except for the Matthew Solomon table lamp, Mann’s steel nightstand is nearly unadorned, while Karch’s matching nightstand is brimming with bric-a-brac. The white-on-white artwork above the bed was a housewarming gift from artist Cary Leibowitz. It says “Truman Capote Probably Slept Here.” Capote once lived in the building.
Nero Marquina marble on the wall and sink help create a luxurious atmosphere in the renovated master bathroom. The look is enhanced by a set of stately Chinese foo dogs from the early 1900s, bought at auction.
Mann wanted this triptych by Yun Hyong-Keun, acquired from Axel Vervoordt Gallery, to be the focal point of the living room. “They are very powerful,” says the architect and designer about the paintings. “There’s a poetry about them, and yet they’re incredibly simple.” Below them is a long felted wool bench by artist Dana Barnes. “I wanted to soften up the room because it has no curtains, and I guess I also wanted to keep people away from the art,” explains Mann.
The living room has a pared-down yet bold look. These velvet sofas, designed in 1953 by Finn Juhl, were inspired by traditional Japanese building techniques. The coffee tables are stone sculptures by Korean artist Yongjin Han, and the black goat-hair rug is from Mark Nelson Designs.
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