HYLAND
I daresay Bigelow-Silver have imbued the space with some
San Franciscan intrigue: the atmosphere captured in many
a classic suspense film, from the film noir of Bogart in
The Maltese Falcon, to the saturated, moody Technicolor
of Jimmy Stewart and Kim Novak in Vertigo. Just as the
interiors in those films were places of nocturnal drama,
so is Bigelow-Silver's project an aerie by starlight. One
half expects Alfred Hitchcock himself to step out of the
shadows.
The four level penthouse, in the interesting hands of Big-
elow-Silver, is a study in chiaroscuro. The walls are a rich
grey-brown, the color almost of sable. This is a place of
startling angles, Cubist in aspect, a space sculpted as well
