the industrial shell; the only trace of
the loft���s past is its expansive square
footage and windows. The scale of the
rooms brings to mind ancient Venetian
feet, which were 347 millimeters as
opposed to the 300 millimeters which
comprise the modern foot. In other
words, there is a grandeur here which
brings to mind early twentieth century
Paris as much as lower Manhattan.
Kelly���s transformation of surfaces is
variegated and exquisite, as in the deep
mahogany paneling sheathing the walls
of the library, a moody room partly inspired
by Jean Michel Frank���s parchment
paneled living room for Charles de
Noailles. Against this paneling hangs
a gilt-framed Cubist painting by Albert
Gleizes (1906). Deep sofas upholstered
in rust plush surround a white boucle
table and a white horsehair ottoman
designed by Buzz Kelly. The silvery,
coruscated lamps are of 1950s mercury
glass. A mysterious touch is a giant
single dice on the coffee table. Could
it be that this artist-decorator through
its central placement acknowledges
the world of random fate in the middle
of astutely executed design? Adjacent
to this sober den is a light-filled music
room, with a grand piano and a cabinet
HYLAND
