relatively small space and made of it a place of unending
interest, through a sensuous mix of lighting and objects.
Here, we feel enveloped by an atmosphere that changes
with the hour. The palette is Spartan—white, black, grey,
charcoal—the furnishings and fabrics anything but. It is
an interior as luxurious as it is disciplined.
A single, sovereign
sculpture sets the
tone for the entire
apartment, and is,
indeed, a sort of
fulcrum or pivot upon
which Dalton's scheme
turns. It is the massive
head of a Buddha in
granite. It occupies
the central windowsill
in the living room, just
above the white silk
sofa. The Buddha
smiles ever so slightly,
framed by sheer white curtains and illuminated subtly
by a special spotlight. We remember that Buddha, in
his journey, once possessed great wealth, and, even
after enlightenment taught the Middle Way, a movement
away from the severe asceticism of earlier sages. In this
interior, Buddha smiles with approval upon the precious
yet simple adornments Dalton has put in place.
HYLAND
