LOCATED ON THE FORTY-FIFTH FLOOR OF A HIGH-RISE TOWER ON 57TH STREET, THIS THREE-BEDROOM APARTMENT SERVED AS A MODEL FOR PROSPECTIVE BUYERS. THE BUILDING DEVELOPERS WERE RIGHTLY PROUD OF THE FLOOR-TO-CEILING GLASS CURTAIN WALL AND THE SPECTACULAR PANORAMA OF MANHATTAN, SO MUCH SO, THAT THEY WERE RELUCTANT TO BLOCK EVEN AN INCH OF THE VIEW WITH CURTAINS. TO LEAVE THE WINDOWS CLEAR, BUT SOFTEN THE SPACE, FULL-HEIGHT DRAPERIES WERE INSTALLED ON THE LIVING ROOM’S SHEETROCK WALLS, WITH ART HANGING IN FRONT OF THE FABRIC. THE WALLS WERE PAINTED BLACK AND THE CURTAINS WERE HUNG FROM TWISTED CORD ROPE STARTING JUST OVER A FOOT BELOW THE CEILING. THIS ARRANGEMENT CONCEALED THE VENTS FOR THE APARTMENT’S HEATING AND COOLING SYSTEM.

THE GREAT ROOM—WHICH WAS DIVIDED INTO LIVING AND DINING ZONES—WAS FURNISHED WITH A SELECTION OF NEW AND ANTIQUE PIECES. IN THE LIVING AREA, A PAIR OF CUSTOM SOFAS IN TAUPE VELVET WERE PAIRED WITH AN AYALA SERFATY ARMCHAIR, STEPHANE DUCATTEAU TABLES, AND AN ARBRE À BULLES BRASS LAMP. THE CENTERPIECE OF THE DINING AREA WAS A MARBLE-TOPPED TABLE WITH A WATER FILLED, UNDERLIT CENTRAL RECESS AND A SET OF EIGHTEENTH-CENTURY FRENCH LYRE- BACK CHAIRS. DRIFT STUDIO’S FRAGILE FUTURE CHANDELIER, MADE FROM REAL DANDELION ON LED LIGHTS, WAS INSTALLED ABOVE. IN THE DEN, IN PLACE OF FLOOR-TO-CEILING BOOKSHELVES, FREESTANDING, THREE-QUARTER HEIGHT UNITS WERE BUILT, MAKING THE ROOM, WHICH IS LACQUERED AN ACID GREEN, FEEL LARGER. A MONGOLIAN FUR AND BRONZE STOOL BY MARK BANKOWSKY AND A SCULPTURAL GLASS TABLE FURNISH THE PRIMARY BEDROOM, ALONG WITH A WALL INSTALLATION TITLED CONSTELLATION BY MATTHEW SOLOMON AND A CRYSTAL CHANDELIER BY CHRISTOPHER BOOTS.

PHOTOS: MARK ROSKAMS