HYLAND
Take, for example, the dining room of this Upper East Side
post-war apartment decorated by Hassan. It is small, it
is ever so cool, and yet it is warm. The walls are painted
deepest charcoal gray, Benjamin Moore's 'Silhouette'
tone, not a recipe for warmth, and yet it works because
Hassan has planted there seminal furniture—a dining
table by Matthew Hilton and chairs by Norman Cherner—
possessing the glow of deep walnut wood. The Hilton Cross
Extension table puts in mind of Carlo Mollino, as do the
Cherner chairs. The ensemble is streamlined, it is sexy, yet
it evokes home and hearth, a place communal rather than
corporate. Hassan appears to have followed Billy Baldwin's
precept of dark colors for small rooms and boldly filled the
room with furniture—arguably some of the best the mid-
