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of Ethelind Coblin Architect, a New York
City-based design and architecture firm with
clients throughout the Northeast, says, “To
‘lift’ the space, we incorporate light metal-
lic finishes in the upper tray. Generally, our
use of color is spare and restrained, minimally
incorporating it in artwork and accents, such
as pillows, etc. Our goal is creating timeless
public spaces such as lobbies, halls, commu-
nity spaces, instilling a sense of restraint and
serenity.”
Influencing Factors
In addition to location and population,
the very type of construction and the age of
a building can have outsized effects on design
considerations. Some color combinations and
textures work well in prewar buildings, while
others are preferable for postwar structures,
and the newest, most modern buildings may
require a whole different approach.
“Each building, each location, each period
of architecture, and each building’s popula-
tion are different and deserve to celebrate
those differences,” says Sygrove. “We work
very hard to individualize each building and
not fall into the ‘cookie-cutter’ category, or to
offer only one particular designer’s ‘signature’
look. We design each property individually
USING COLOR...
continued from page 1
but stress the commonality of the residents in
their selection of their building in its specific
location. This is the first layer of ‘glue’ to any
project. We then design from there based on
color preferences from the population or our
recommendations. Every one of our clients
wants something that looks timeless, classic,
clean, durable, and easy to maintain. These
factors are the core requirements.
“Often,” explains Sygrove, “prewar
buildings have wonderful, amazing ‘bones’
for us to work with — natural marble, mo-
saics, tiles, metal finishes, grillwork. Many
already are a neutral color shell, and we
can add discreet pops of color in a chair or
bench that give it an interesting yet elegant
twist. By the use of color and clean lines,
we can make a prewar building appealing
to younger buyers. When working in more
modern buildings, it is all about simplicity
and the elegance and perceived value of the
materials used and the richness of color.
We would either embrace a large bold pat-
tern as a focal point, or a deep rich color to
contrast with light-colored, easily-cleaned
materials.”
Coblin adds that “generally, prewar
buildings have higher-end finishes, so we
generally choose to enhance those terrazzo,
stone, and panelized finishes. It’s a fine jug-
gle to update these already highly-designed
spaces. Postwar structures actually allow
designers a bit more freedom. Often, they
are in poor shape, have a mix of classical
and 1960s detailing, and are in grave need
of a new design aesthetic. We see postwar
buildings, with their modern exterior and
structure, as a chance to develop an equally
contemporary interior.”
Sygrove also suggests that regardless
of building type or vintage, organic com-
binations are very popular now — natu-
ral woods, textures, stone references, and
overall organic patterns. Also, fresh up-
dates to period buildings with art deco,
mid-century modern and neoclassical ar-
chitecture are now paired with modern in-
terpretations of these styles and colors that
are fresh, while still respecting the architec-
ture of the building, either embracing it or
playing with it for a contemporary spin.
Working with the Board
“We spend a lot of time with our boards
and design committees,” says Coblin. “These
spaces we are designing are their public spac-
es, individual to them. It’s important that they
understand the design approach we are using,
and the related color and finish options. The
board and residents need to buy into the aes-
thetics as uniquely theirs. That is why each of
our designs is exclusive.”
“We have an organized and efficient ap-
proach to interface with the board and the
resident population when designing for
them,” concurs Sygrove. “We not only listen to
the board, but also help the board listen to the
shareholders or unit owners so that everyone
has a voice in the project. The bottom line is
that we listen, and that can take many forms
to get to the right place. We know that not ev-
continued on page 18
INTERIOR DESIGN...
continued from page 17
Milazzo Smith agrees: “I think any time
that you spend time at your home, you
should be inspired, and you should be nour-
ished and you should be uplifted. And I think
there’s never been a time in my lifetime that I
remember really needing that so much, and
everyone around you needing that so much.
Your environment has a psychological effect
on you—the colors that you choose and the
finishes that you choose to surround yourself
with can really be uplifting. Of course, we
don’t know what our future holds as far as the
pandemic, but I do see people nestling into
their homes a little bit more, and getting used
to that idea of being able to really, really get
inspired by their home as well.”
Rodriguez also has a similar perspective.
“Wellness is really the focus now for design-
ers, developers, owner/operators, and resi-
dents alike,” she muses. “Many of the shifts
and trends we’ve seen in the past year reflect
a growing recognition that our homes need
to support our physical health and our emo-
tional wellbeing.”
Perhaps Mullendore sums it up best when
he says, “I have seen families rediscover the
joy of being at home, and being with each
other, and this has prompted them to start
paying more attention to the wellbeing and
enjoyment of their most important space:
HOME.”
n
Darcey Gerstein is Associate Editor and
Staff Writer for New England Condominium.