![]() “I was a little worried about all the light colors at first,” Donnersberg says, noting the young family now has four kids under the age of ten. “Because of all the glass, there aren’t really walls to hang things,” she says, noting that, in this residence, “Manhattan is the work of art.”Īt the client’s request, she enveloped the abundant cityscape-panoramic tableaux that evolve with the daylight, weather, and seasons-in a dappled cloudlike palette. While Donnersberg, who favors neutrals, typically reaches for art to bring in dramatic accent hues, that wasn’t possible here. Gunnar Nylund vases, Damien Langlois-Meurinne pendant, and custom rug from Rosemary Hallgarten. (She added a second office in her hometown in 2009.)Ī pair of Raoul Guys chairs and a custom Paul Reber banquette flank a table furnished by the client. Since opening her first office in New York in 2007, Donnersberg has frequented design fairs around the globe and cultivated relationships with gallerists and artisans. Fortunately, she had an array of options to present. “I knew right away it would have to be custom,” Donnersberg says of the table, given the proportions of its setting. Paul Reber worked too from the outset of the project to transform the apartment, in his role as interior architect. Then came incontrovertible proof that Donnersberg was dealing with a major space: the table’s future setting, a glass-sheathed penthouse in the building known as the “Jenga Tower,” designed by the Pritzker Prize–winning firm Herzog and de Meuron. “It had to be large enough to seat a dinner party for 12,” Donnersberg says-practically Brobdingnagian by New York City standards. The piece’s size was the first indicator this was no ordinary project. Could Donnersberg help the former makeup artist source a dining room table for her young family’s Tribeca apartment? In 2018, an Instagram follower reached out to Parisian designer Emma Donnersberg with a minor request.
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