the Art of Juxtaposition
L I V I N G L I G H T LY I N A H I S TO R I C TOWNHOUSE
This Victorian- era brownstone is deeply appreciated by its owners for its fine craftsmanship and age. “My clients respect the house for the same reasons I do,” says interior designer Deborah Mariotti, a transplant to Brooklyn from Italy. “We were responsible for its continued preservation, wherever it remained authentic. In areas where it was not original, though, we had no doubt that we would design contemporary space. It wasn’t even a question.”
An architect in her native Italy, Brooklyn-based Deborah Mariotti has worked as an interior designer since moving to the U.S. in 2005. On this project, a 19th-century brownstone in a historic district, she collaborated with clients raised in northern Europe. “We share the preference for preservation, and also the delight in juxtaposition,” Mariotti says.
“I would never delete history that has survived. In Italy we have so many historic buildings, but we are used to integrating contemporary design with the old. The dialog between new and old is always interesting.”
To a great extent, the house was a time capsule. The previous owners—for about 40 years—had taken very good care of it, but lacked the funds to upgrade or renovate. Some major repairs were needed, and systems had to be brought up to code. New plumbing and HVAC have been carefully integrated and hidden.
The original façade, staircases, woodwork, mantels, mouldings, and most of the flooring had remained intact. During renovation, a few minor walls were rebuilt to echo the original floor plan.
Paint colors and furnishings, especially, are decidedly modern, if already classics. Bridging the old and new are built-ins that blend with original woodwork, such as a bookcase added to an original arched niche in the dining room. A large entertainment center in the front parlor is not attached to the structure and can be removed.
New finishes are not copies of original material, but were chosen for their decorative and handmade qualities. Figured cement tile, for example, is the backdrop for the kitchen spaces as well as a new laundry room. “The dark pattern really makes the reused antique marble sink stand out,” Mariotti says, “and one hopes it will making doing laundry more fun!”
That historic console sink, with a sculpted marble backsplash incorporating a mirror,
was found stored in the basement.
The matching sink and backsplash remains in an upstairs bathroom, along with the clawfoot tub. “There’s always an issue of practicality, during renovation,” Mariotti says. “The clients decide how to proceed, because utility spaces affect everyday life.
“In this house, we could afford to keep a bathtub that might not have been practical in a small house or apartment without extra baths. They opted to preserve the old fixtures.”
The kitchen is the most startling new space. Located in a rear extension, it is sleek, contemporary, and functional. The original kitchen was, of course, long gone; a servants’ area, it would have been located in the rear of the ground floor. The kitchen that occupied the extension when these owners bought the house was a poorly designed 1970s affair, dated and worn. The extension itself was so rotted, it needed to be razed and rebuilt. All reasons to forego any attempt at historical conjecture, Mariotti explains, and instead indulge the desire for a minimalist design.
Oddly enough, the exterior of the kitchen extension looks historic, despite being new. In this landmark district, any work on the exterior must follow historical precedent. Exterior and interior together present another interesting juxtaposition.
For her part, though, Deborah Mariotti would have preferred a new design. Generally, “if something is more than 80% destroyed, I don’t believe in rebuilding it,” she says. “There are so many beautiful examples of this approach, throughout history. If it’s done correctly, a contemporary addition actually enhances the historical beauty of the original. A balanced contrast asks us to appreciate the aesthetics of another era.”