Page 10 - CooperatorNews May 2021

10 COOPERATORNEWS — MAY 2021 COOPERATORNEWS.COM ATTORNEYS Abrams Garfi nkel Margolis Bergson, LLP 1430 Broadway, 17th Floor, New York, NY 10018 212-201-1170 • www.agmblaw.com Barry G. Margolis, Esq. • Robert J. Bergson, Esq. Himmelfarb & Sher, LLP • (914) 682-0040 Cooperative and Condominium Law—Real Estate Closings One North Broadway, Suite 800, White Plains, NY 10601 Contact: Ronald A. Sher, Esq. • Norman D. Himmelfarb, Esq. Law@himmelfarb-sher.com • Direct Dial: 914-461-0220 ACCOUNTANTS ARCHITECTS SERVICE DIRECTORY  Over 30 years of coop & condo experience  Hands on Personal Attention Timely Service  Contact: Gary Adler, CPA Sarah Haar CPA   www.bassandlemer.com 516-485-9600 adler@basslemer.com Advertise In CooperatorNews Service Directory —Call 212-683-5700— Target Key Decision Makers In e Co-op, Condo Community By Placing Your Ad Here Helping your Board with Legal Issues Answering Questions - Solving Problems Cooperative and Condominium Law Residential - Commercial Real Estate One North Broadway-Suite 800 White Plains, NY 10601 email: law@himmelfarb-sher.com website: www.himmelfarb-sher.com Contact: Ronald A. Sher, Esq., Norman D. Himmelfarb, Esq. Tel: (914) 682-0040 Direct Dial: (914) 461-0220 WE LISTEN. WE ADVOCATE. WE NAVIGATE. WE DELIVER. Cesarano & Khan, PC Certified Public Accountants PROVIDING PROFESSIONAL SERVICES TO THE COOPERATIVE AND CONDOMINIUM COMMUNITY Reporting on Financial Statements • Tax Services Budgeting & Consulting • Election Tabulation Services For additional information, contact Carl M. Cesarano, CPA 199 JERICHO TURNPIKE, SUITE 400 • FLORAL PARK, NY 11001 (516) 437-8200 and 718-478-7400 • info@ck-cpas.com cesarano &khan1_8 use this_:cesarano &khan 4 7/22/15 4:59 PM Page 1 LUCIDITY SIGNS 728 East 136th Street Bronx, NY 10454 SIGNS 728 East 136th Street Bronx, NY 10454 LUCIDITY PHONE: 718-361-7845 CELL: 917-399-3929 E-mail: margaret@luciditysigns.com nity spaces, instilling a sense of restraint and serenity.” Infl uencing Factors In addition to location and population, the very type of construction and the age of a building can have outsized e ects on design considerations. Some color combinations and textures work well in prewar buildings, while others are preferable for postwar structures, and the newest, most modern buildings may require a whole di erent approach. “Each building, each location, each period of architecture, and each building’s popula- tion are di erent and deserve to celebrate those di erences,” says Sygrove. “We work very hard to individualize each building and not fall into the ‘cookie-cutter’ category, or to o er only one particular designer’s ‘signature’ look. We design each property individually but stress the commonality of the residents in their selection of their building in its speci c location. is is the rst layer of ‘glue’ to any project. We then design from there based on color preferences from the population or our recommendations. Every one of our clients wants something that looks timeless, classic, clean, durable, and easy to maintain. ese factors are the core requirements. “O en,” explains Sygrove, “prewar build- ings have wonderful, amazing ‘bones’ for us to work with—natural marble, mosaics, tiles, metal nishes, grillwork. Many already are a neutral color shell, and we can add discreet pops of color in a chair or bench that give it an interesting yet elegant twist. By the use of color and clean lines, we can make a prewar building appealing to younger buyers. When working in more modern buildings, it is all about simplicity and the elegance and per- ceived value of the materials used and the richness of color. We would either embrace a large bold pattern as a focal point, or a deep rich color to contrast with light-colored, eas- ily-cleaned materials.” Coblin adds that “Prewar buildings tend to have higher-end nishes, so we generally choose to enhance those terrazzo, stone, and panelized nishes. It’s a ne juggle to update these already highly-designed spaces. Postwar structures actually allow designers a bit more freedom. O en, they are in poor shape, have a mix of classical and 1960s detailing, and are in grave need of a new design aesthetic. We see postwar buildings, with their modern ex- terior and structure, as a chance to develop an equally contemporary interior.” Sygrove also suggests that regardless of building type or vintage, organic combina- tions are very popular now—natural woods, textures, stone references, and overall organic patterns. Also, fresh updates to period build- ings with art deco, mid-century modern, and neoclassical architecture are now paired with modern interpretations of these styles and colors that are fresh, while still respecting the architecture of the building, either embracing it or playing with it for a contemporary spin. Working with the Board “We spend a lot of time with our boards and design committees,” says Coblin. “ ese spaces we are designing are their public spac- es, individual to them. It’s important that they understand the design approach we are using, and the related color and nish options. e board and residents need to buy into the aes- thetics as uniquely theirs. at is why each of our designs is exclusive.” “We have an organized and e cient ap- proach to interface with the board and the resident population when designing for them,” concurs Sygrove. “We not only listen to the board, but also help the board listen to the shareholders or unit owners so that everyone has a voice in the project. e bottom line is that we listen, and that can take many forms to get to the right place. We know that not ev- eryone will be happy with any single design, but they do appreciate having a voice. We try to design to the majority.” Interestingly, Sygrove also reports that in their specialty design niche, designing for cooperative and condominium communities, they listen very carefully to the board, design committee, and residents. ey nd that the overwhelming majority of their clients re- quest ‘neutral’ colors—the de nition of which has changed over the years from warm beig- es to cool grays and gray-greens. “ ese are the ‘safety’ default color basics that we work from,” Sygrove says. Coblin also notes that in New York City at the moment, the color environment is par- ticularly subdued. It is tastefully incorporated in a way that can be changed while the basic framework of a design scheme is timeless and neutral. “ e use of color is to enhance the overall design of the space,” says Coblin. “It helps us make a space feel taller, grander, and for longer lobbies, the gradations of intensity help us modulate, add rhythm, and improve the overall look.” “Looking towards the future with every design we develop is the fun of it,” says Sy- grove. “Pushing towards the long term rather than just the present. We advise buildings to spend their money on quality, because quality is the universal. I always use this example: You can buy a can of paint with a color that looks ‘cheap,’ or you can spend that same amount of money on a can of a paint color that looks rich. at is where the design talent comes in; selecting that timeless, classic, delicious color that a ects the mood of every person who walks into the lobby or halls—whether fresh, or soothing, or neutral.” In the nal analysis, using color and tex- ture and accompanying elements to design that welcoming space is the art of design and the art of designers. But as each building is dif- ferent and individual, it is critical that the resi- dents and their board be not only on board with the choices, but directly involved with making those choices. Design is conceived and born of the right interface between build- ing, designer, and residents. ■ A J Sidransky is a sta writer/reporter for CooperatorNews, and a published novelist. USING COLOR... continued from page 1