Furnishings in the entrance hall of a house make a powerful first impression.
Basically, the entry is like a screen-grab of taste that telegraphs what’s to come in terms of style. Together with color, it helps create a mood. Of course entries, or foyers, vary. In extremely modern, open-plan spaces such as these lofts by New York architect and designer S. Russell Groves, they are created by placing eye-stopping furniture vignettes directly in the initial sight line. Above, sleek sconces flanking a leaf-theme painting set over a mirror-polish Parsons console table says young, urban and modern to me. While vases provide a spot of color and a bench below the table fills the void, this arrangement remains modern by using shape and the interplay of materials and surfaces rather than the numbers and colors of objects.
A similar arrangement in another loft delivers a different message. Carved pine benches add an earthiness below the tall table. The mirror of choice — much copied but still very hip — is based on a classic black leather-bound mid-century modern piece that’s the signature look of French designer Jacques Adnet.
The 12-inch diameter original Jacques Adnet 1950s mirror [left] has a leather frame and strap with brass buckles. It was offered at a 2006 Treadway Gallery auction with a $800-$1200 estimate. I took this photo of BDDW’s popular modern interpretation of Adnet’s mirror at a design show. Due to the black background, it’s difficult to see the strap but the BDDW was likely used by Groves — however it may be a Pottery Barn copy, about $250, now discontinued, called the Channing mirror.
In a family loft, an anodized bronze screen acts as a room divider. The lamp style on the wood table signals function over display.
What’s interesting is to see it look much less severe from a different view with the kitchen and dining room beyond, noting the way the color of the table connects to the kitchen cabinets in the adjacent space.
