Who doesn’t love the idea of living in a loft—the space, the light, the openness. Our own Barry Goralnick and his partner, composer-lyricist Keith Gordon, certainly did when they bought a large raw space in a converted factory in the Flatiron District. But they also needed visual and aural privacy—both for Keith’s composing and recording activities and for frequent house guests. So Barry did a brilliant job of dividing up the space, creating an expansive living-dining area, a library, two bedrooms, and a recording studio. The ingenious layout skillfully blends the organization and privacy of a traditional apartment with the spaciousness and industrial feel of a New York loft. Here’s a look at how Barry has achieved the best of both worlds.
The foyer is the only place in the loft where the ceiling was lowered, but a reveal at the edges creates the impression of a floating plane. The six-foot-wide opening to the loft gives the sense of separation without creating a wall. The French Neoclassical painting, War of the Huguenots, which was acquired from the Museum of Fine Arts in Boston, is lit to bring a touch of drama to the space.
The structural bones and sprinkler pipes of the former factory, visible here in the dining area and throughout the loft, lend an industrial vibe. New maple floors were installed and stained sable to create a sense of uninterrupted flow. The 1950s painting on the back wall is by Miles Forst, while the work above the opening, a polemical text hammered into a sheet of lead, is by Rodney Ripps.
The 1960s dining chairs were bought from a dealer in Florida.
A vignette in the living area features a 1954 painting, Blue, Green and Orange, by William Freed above a Clio console from the Goralnick Collection. The 1950s sconces are from Robert Massello Antiques in Miami.
In the midst of a large loft, the library, a small nine-foot-by-nine-foot hideaway with an 11-foot high ceiling, is an intimate retreat where everyone wants to sit.
A wall of photographs in the low-key bedroom.