Inside a Park Avenue Co-Op That Playfully Breaks With Convention
Stephen Treffinger
·9 min read
“I am not formal at all,” said designer Brock Forsblom’s client, who grew up on the Upper East Side. “I have a love affair with Los Angeles and want to get off the elevator and feel like I am in California.” She appreciated Old Hollywood glam but also sought a bit of organic informality to counteract the chaos of living in New York. Her husband is a somewhat more formal sort, a suit-and-tie guy with refined taste. Forsblom imagined the home for the couple and their two young children as “Slim Aarons does Martinique,” something casual yet glamorous. With lots of plants. (More on that later.)
The original apartment was a classic six with over-the-top traditional elements wedged into a ’70s building with nine-foot-high ceilings. “It was full-on Missy Marie Park Avenue,” Forsblom tells AD. “Hey, everyone has their own fantasy!” But the chunky crown moldings and chandelier medallions had to go. It was a (nearly) total gut renovation, the whole thing taking about a year to complete. Forsblom loved the challenge of designing everything from the new molding to the door paneling—as well as the furnishings. “As someone with a lot of traditionalist tendencies in my bones, it was fun to rip out a traditional interior and make it feel fresh.”
A central wall was razed, but original parquet Versailles floors in these two rooms was left behind, albeit stripped and whitened. “Missy Marie sur la plage! And really, the parquet square is perhaps the little black dress of flooring,” the designer notes. Leaving some of the Park Avenue–ness intact in some places while completely abandoning it in others is what gives the place its considerable charm.
The new open arrangement is light and airy—in part due to the 15-foot-wide windows—but it did require some novel thinking. “The more you open up the plan, the more you restrict your material palette. Everything looks at everything.” Forsblom says it forced him to keep it tight, a process he found highly enjoyable. Once a few elements were set—oak floors, gray walls, white marble—it began to fall into place. “We were trying to create a really legible vocabulary for the architecture so that, as you move in the space, it feels really consistent.” Part of this scheme, involving relatively low ceilings, was the decision to have no full-length curtains.
To maintain this unity, every room got the same crown molding, every window got the same cabinet detailing below. “This idea of creating a really crisp, clean architecture was important, because you can be playful on top of that yet remain rigorous and fresh.” He also wanted to eschew the Park Avenue parade of styles that sometimes happens—an English country living room, a Georgian dining room, and a French library, what Forsblom refers to as a curio box of the last 300 years of design history.
Inside a Park Avenue Co-Op That Playfully Breaks With Convention
The furnishings plan was decided early on: a low and curvy European ’50s and ’60s vibe. “Plush but washable–a baby-friendly, boozy lounge,” Forsblom notes. Most of the pieces were purchased at the beginning of the project, during two trips Forsblom took to Paris, where decisions were made largely over text. “But everything showed up looking fabulous, and they loved it.” The Paris finds were supplemented by things already owned by the couple, who inherited some art during the renovation, providing some striking moments that probably wouldn’t have happened otherwise. (One particularly bold example is a Larry Rivers painting in the entryway.)
But the element that makes it all so unique is (technically) not a furnishing at all. It is the abundance of plants, which began with a request from the couple for a living wall. Forsblom saw an opportunity to tap into his maximalist side. The plants could function as sculptures, albeit ones you could put everywhere without being ridiculous. “I know it’s Park Avenue, I know there’s a lot of velvet, I know there’s a lot of shiny gold and brass,” Forsblom says. “But it feels really chill, and I think a lot of it has to do with the push toward real plants—in quantity.” His client agrees: “For a moment you forget you are in the concrete jungle.”
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