Once the architecture satisfied them, including elaborate moldings
Once the architecture satisfied them, including elaborate moldings and coffered ceilings to hide unlevel beams, they turned their well-trained eyes to surfaces. Steil, who teaches at the New York School of Interior Design, likes color; Pike, not so much. “You get tired of one color, and I’d be wanting to change it every six months,” he says. Blessed with such good light, however, they found they could move away from basic white into various shades of gray, each hand-mixed by Pike.
Knowing how to embrace gray areas—whether in design or in relationships—is the key to any good collaboration: “We just trust each other, that’s all,” Pike adds. So much so that they saw eye to eye about how to fill their gray rooms with an emphasis on texture over color, and with a quirk factor to bring in mystery and whimsy.
A taxidermy African nyala head from upstate sets the offbeat tone in the living room by looking askew rather than forward. Next to a Gustavian settee from Lars Bolander, a 1915 bust of a Swedish boy purchased from Dienst + Dotter Antikviteter looks out to the garden below. A Swedish grandfather clock presides across the room with stately grandeur. Each object, whether handmade, found in the woods, or purchased at an antiques shop, is carefully considered to fit in while standing out.
“Their attention to detail, texture, and color just floors me,” says their friend John Derian, the artist, designer, and cult shopkeeper. “You see a passion in everything they do.” สถาปนิก