When a Northern California couple with two young children acquired a pied-à-terre in Manhattan, there was no doubt about who could transform it into their fantasy New York escape. At the time, they were building a house with Atelier AM, which had already completed homes for them in Hawaii and Montana. “We have spent eight years working together,” says Alexandra Misczynski, who founded the AD100 firm with her husband, Michael, more than two decades ago. “They’re amazing clients, trusting and open. It’s a gift to have that sense of trust, a true luxury.”
The apartment is in one of the city’s most storied hotel-residences, built in 1930 with all the marble grandeur and subtle Art Deco detailing you would expect of that glamorous era. It has views of Central Park just above tree level, filling the windows with greenery and sky. “It was important to the clients that they really felt that they were in Manhattan,” says Alexandra. “They love being part of the history of the city.”
“They wanted something jazzy,” Michael explains. “They believe in having different styles in different places, and this apartment is definitely more traditional than their California house.”
If this was something of a dream project, it was not without its challenges. Ceiling heights were low, the rooms were not large, and the layout was less than ideal. It was a puzzle. Then COVID struck, forcing delays. And as if that were not enough, well into the renovation, the couple had the opportunity to purchase the apartment next door. The merger offered space for a relaxed family room, a guest apartment that could be closed off for privacy, and the creation of a new powder room, which the original apartment lacked.
Of course, that kind of surgical augmentation requires skillful precision. “It’s so important to get the architecture right,” says Michael. “We spent a lot of time drawing.” It was only after they had mastered the complex layout that the designers turned to interior refinements. They specified new oak Versailles parquet flooring throughout to unify the spaces and collaborated with the renowned French firm Féau Boiseries to devise custom wall treatments. These range from silver-leafed plaster panels in the glamorous entry to creamy paneling complete with garlands and cartouches in the living and dining rooms (“More traditional than we would usually use,” Michael admits), gleaming mercury glass mirrors in the hall, and pale oak paneling in the son’s bedroom that’s evocative of an Ivy League library.
While Atelier AM places as much emphasis on the spaces between as on the objects themselves, that doesn’t mean furnishings aren’t crucial. This apartment hosts an array of pieces by some of the most important masters of the 20th century. There are cabinets and tables by Jean-Michel Frank; lamps by Alberto Giacometti; chairs by Eugène Printz, Marc du Plantier, and Jean Royère; a screen by Jean Dunand; and a stool by Émile-Jacques Ruhlmann. That’s just in the living room, and that’s not even a complete inventory.
But what is truly impressive is that none of these pieces shout for attention. Nothing commandeers your eye, angling for the spotlight. The immediate effect is one of harmony, an atmosphere of restraint, a balance of form and space. Much of the beauty in these rooms reveals itself only over time, at a second, third, or fourth look. Even the smallest items have presence and provenance: an umbrella stand by Pierre Chareau, a mirror by Line Vautrin, a side table by Jules Leleu, a tray by Claude Lalanne. “While adding the second apartment made things more complex,” admits Alexandra, “it also gave us the luxury of more time for acquiring the best pieces. It bought us another auction season or two. And fortunately, we had the enthusiastic buy-in of the clients.”
The feeling of serenity is reinforced by the subtle color palette of the fabrics and rugs. The muted, almost faded, shades of plum, cream, gold, rust, and bronze seem of an earlier era. “The clients normally prefer neutrals,” Alexandra says, “but when I suggested adding a little color, they said, ‘Let’s do it.’ The palette evolved over time, and it was also a response to the nature of the furniture. These are not new pieces, and that’s reflected in the fabrics.” These include a seductive silk velvet on the sofa, horsehair on a pair of chairs, curtains of slubby raw silk, and cushions covered in cashmere and bouclé linen. “Our work is more about atmosphere and mood than objects,” says Michael. “We wanted to diffuse all those fancy pieces. We wanted the apartment to be approachable, and at the same time seem a bit out of time. Is this a 1970s apartment, or from the 1930s? What is it?” Adds Alexandra, “Yes, it’s a jewel box, but it is also warm and comforting. And the clients love it.”
This story appears in the AD100 issue. Never miss a story when you subscribe to AD.
