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nterior designer Michael Simon is uniquely placed to harmonize rooms, having begun his creative life not as a decorator but as a musical composer, studying from the age of fifteen under the legendary Stephen Sondheim. Just as a writer, this one included, might read aloud her words to test them for cadence or alliteration, for example, rearranging a particle here, reuniting an infinitive there, so one has the impression that Michael Simon tests the tone of every relationship in a room, making of it a chord: the right place of a pillow, a plaid. Synaesthesia, the crossover or correspondence of one sense with another—music and color, for example—is vividly in play in Simon's work. I HYLAND