CooperatorNews May 2021

May 2021 COOPERATORNEWS.COM way, in the widest possible range of situations, by the broadest ar- ray of users, without special adaptation, modification, or specialized solutions. They can be applied to evaluate existing designs, to guide new ones, or to educate designers and consumers. Jonathan Baron, principal of Jonathan Baron Interiors, also lo- cated in New York City, explains the movement in simple terms. “The concept came out of architects’ and interior designers’ con- NEW YORK THE CO-OP & CONDO RESOURCE COOPERATORNEWS continued on page 7 205 Lexington Avenue, NY, NY 10016 • CHANGE SERVICE REQUESTED As the biggest global health crisis of mod- ern times continues to impact the world, it leaves a wake of changes to the way we live, eat, work, play, learn, plan, and even how we dream. Humans — a species well-known for our adaptability — are finding ways to adjust our lifestyles to this new environment. In many cases, however, we are adjust- ing our environments to suit these new life- styles — and no one knows more about the trend than interior designers. In speaking to many who work in multifamily build- ings throughout the Northeast, as well as in the Chicagoland area, the common refrain among interior experts was how busy they’ve been in the last year-plus. Whether carving out space in private homes to accommodate remote working and schooling, or reimagin- ing common areas to allow co-op and condo residents to enjoy amenities safely, interior designers have been hard at work using their skills and imaginations to adapt our living environments to the post-COVID reality. Flexibility Is Key Across the board, interior designers working in residential buildings express the need for flexibility in domestic spaces. Especially in urban areas where vertical liv- ing dominates, many homeowners can’t ex- pand their footprint due to having neighbors above, below, and next door in all directions. Reconfiguring a limited interior space—es- pecially within the confines of the condo as- sociation’s or co-op corporation’s alteration rules and parameters—requires a particular set of skills and ideas. Ximena Rodriguez, Principal and Direc- tor of Interior Design for New York design firm CetraRuddy, says that even before the pandemic, new construction clients like the Rockefeller Group, developers of the Rose Hill condominium tower in Manhattan’s The idea that ‘form follows function’ is one of the basic concepts underlying nearly every design discipline—but function for whom? For many people living with disabilities, it often seems that ‘function’ covers a very narrow range of ability—rendering many forms clumsy at best, and completely useless at worst. While a cascading stairway might provide drama to a public space, for example, it may present an insurmountable obstacle to anyone making use of a wheelchair or other mobility aid. While in the past accessibility for differently-abled individuals may have been an af- terthought (if it was a thought at all), in recent years, architects and designers have begun to change their view of how to best achieve form and function for everyone, regardless of age or ability. Two key drivers of that change were the adaptation of the theory of Univer- sal Design, and the passage and implementation of the Americans with Disabilities Act (ADA). Universal Design “Universal Design was developed in 1997,” says Eric Cohen, senior associate principal at Ethelind Coblin Architect, an architecture and design firm based in New York with clients across the country. “It was the brainchild of a working group of architects, product designers, engineers, and environmental design researchers led by Ronald Mace at North Carolina State University. Universal Design is the design and composition of an environment so that it can be accessed, understood, and used to the greatest extent possible by all people regardless of their age, size, and ability. It is a fundamental process of good design.” Cohen goes on to explain that there are seven principles of Universal Design: equitable use, flexibility in use, simple and intuitive use, perceptible information, tolerance for error, low physical effort, size and space for approach and use. Taken together and applied, these principles ensure that an environment can be used in the most independent and natural Design is what makes the difference be- tween a space looking like a seductive bou- doir… or the interior of a cardboard box. Neither may be appropriate for a co-op or condo lobby, but somewhere in between lies the comforting, welcoming common space we hope to encounter when we arrive home. The key to creating that welcome lies largely in the use of basic elements of color, texture, and light. While all three interlock to create a unified, coherent aesthetic, color is at the heart of the puzzle. Defining Color & Palette “Words are always a challenge for design- ers to describe when seeking to create a spe- cific mood,” says Marilyn Sygrove, principal of Sygrove Associates Design Group, based in New York City. “One person’s ‘dark’ is an- other person’s ‘rich.’ One person’s ‘light and bright’ is another person’s perceived mainte- nance nightmare. So we have to be sensitive to the perceptions of our clients. It is all about balance, and selectively choosing what can be used effectively, and where. Accent walls, floors, a piece of furniture, a desk are also to be weighed against wear and visual impact.” A community’s population can heavily influence its color preferences; so can its loca- tion. “Beachfront condominiums in Brook- lyn and Long Island like to reference water- colors and sunsets,” says Sygrove. “Urban communities generally like more edgy com- binations, or subtle neutrals with deep, rich contrasts. We are definitely seeing colors that reflect a ‘sense of place’ reflecting the geogra- phy surrounding the property, whether parks or riverfronts, especially in special setbacks with respect to their landscaping.” Ethelind Coblin, architect and principal of Ethelind Coblin Architect, a New York City-based design and architecture firm with clients throughout the Northeast, says, “To ‘lift’ the space, we incorporate light metallic finishes in the upper tray. Generally, our use of color is spare and restrained, minimally incorporating it in artwork and accents, such as pillows, etc. Our goal is creating timeless public spaces such as lobbies, halls, commu- Universal Design & the ADA Design for Every Body BY A. J. SIDRANSKY Using Color to Create Mood and Make a Statement Your Palette Makes a Difference BY A. J. SIDRANSKY Interior Design Responds to COVID Flexibility, Technology, Nature, & Gratitude BY DARCEY GERSTEIN continued on page 10 continued on page 8