Designer Justin Shaulis and Karen Shaulis, in vintage Dior, during the Holiday House NYC gala.
Several weeks ago, I attended the press preview and opening gala of the Holiday House NYC. The array of rooms presented a wave of sensory pleasure as I ambled through the spaces created by some of the top designers in the United States. One of adroyt’s pals, Justin Shaulis, was among these visionaries; and as the pale peacefulness of his space unfurled along the top floor, the storied art on the walls personified the theme he’d chosen—Gallery Hopping in Miami—with aplomb.
What was obvious to me the second I set foot in the room was that Justin had nailed the essence of a serene version of South Beach—one I would want to inhabit. And I do know this world well, as I lived there for six years. Not only did he agilely interpret the influence of the Art World (capitals intended), he intuited the experience of living on that particular stretch of the ocean viscerally. But there was another oceanfront milieu that kept tugging at my consciousness as I studied the room—the scenes in Jean-Luc Godard’s film Contempt that were shot on location at Casa Malaparte on the Isle of Capri. The carpet he’d so thoughtfully designed for the roomy space read to my eye like the Gulf of Salerno stretching to the horizon line during those moments when a petulant Bridget Bardot paced the wide terrace of the Casa like a sultry feline.
I happen to know that Justin came to the project with little time to spare so I asked him if he’d answer some questions about the experience, thinking his point of view might educate other designers who’ve never taken on the thrill (and challenges) of this type of project. Fortunately, he obliged. I hope you enjoy hearing about the talented designer’s experience of pulling together a luxuriantly modern space at warp speed!
Justin Shaulis Space, Gallery Hopping in Miami, at Holiday House NYC 2014.
adroyt: Was this your first show house?
Justin: Yes, this was, though I did participate in a season of HGTV’s Home Rules so I have experienced the fast-paced decision-making and frenetic installations that come along with this type of effort before.
adroyt: Tell our readers about how it felt to have manufacturers help you make such a beautiful space happen in such a short period of time.
Justin: First, I have to mention the bespoke area rug by Crosby Street Studios, which I designed at such a large scale [15 feet by 30 feet]. It was critical to the success of this space because I worked from the floor up to create the chic Miami aesthetic. It’s funny because now when I talk about it, to call it a rug seems so inadequate: it is actually a beautiful sculpture in its own right.
Also, I owe so much to Beth Bates, an amazing artist in her own right. I met the design producer while filming Home Rules and I must say she kept me sane and focused during the eight-day install.
Pryor Callaway, another talented artist and friend attended the first meetings at Holiday House with me. She kept me true to my vision and concept, and supported and encouraged me throughout the process. She also lent me the Alexander McQueen-inspired table in the center of the room, and created the custom white bar she sculpted from lacquered fiberglass based on my concept in just five weeks!
The lighting for the art, the area rug and the conversation areas was a massive feat considering I was working in a grand New York City mansion that hasn’t seen much of an electrical rehab over the years. Thankfully, David Kass of Urban Steel Design stepped in, along with Lighting by Gregory, to develop a system of suspended tracks with high-output LED to spot the art and illuminate the other areas.
The professionals at Xperience, the workroom I have tapped to create my draperies and upholstery for nearly a decade, didn’t blink when I asked—politely, of course—that they fabricate 12-foot-tall panels to wrap the room. To put it in perspective, that’s 320 yards of sheer fabric and 200 yards of black out material.
Lazzoni USA was gracious in lending me their minimalist European-styled furniture. I guess I’m letting the proverbial cat out of the bag on this one because their fabulous furnishings have made the company one of my best-kept secrets until now!
The art deserves a particular set of kudos: galleries I tapped include Berry Campbell, who worked with Dan Christensen’s lovely widow to secure my main piece of art, which was hanging in her home in East Hampton. She generously agreed to allow me to use it [Blue Flame, 1971, oil and enamel] as the centerpiece of my space. And what a coup that I was able to hang the Andy Warhol portrait of Mick Jagger created in 1975, which was my birth year! It was fabulous seeing the lead singer of the Rolling Stones smiling at me each time I crossed the threshold of the room. Dorfman Projects made it possible for me to hang that iconic portrait.
Like the central table and the bar made by Pryor Callaway, the paintings had to speak to each other to achieve the overall design cohesion, and the person who made all of this happen was art consultant Elizabeth Sadoff. She paved the way by giving me access to the galleries who provided the art. She was also a critical ear and sounding board as I struggled to curate an art collection that spanned from the late 19th-century to the present.
Justin Shaulis’ Holiday House NYC space rivaled the red-hot Miami gallery scene.
adroyt: What was the most challenging part of pulling this off?
Justin: There were things in my personal life that were crumbling around me as I did this, and I believe the pain caused there made me more determined to design a space of solace—a place of peace—where a visitor could breathe and have their soul elevated. Without great pain there cannot be great art, right? I think with most charitable actions, you must find a way to focus on what is important, and for me that was to do the best I could to benefit the Breast Research Cancer Foundation and not cave in to the personal issues.
adroyt: That sounds quite fulfilling in its own right but was there a takeaway from the design aspects of the project?
Justin: Working with Holiday House solidified a number of relationships with vendors and professionals I had already known in the industry; with Holiday House by my side, those relationships deepened and new friendships were created.
adroyt: Tell me about how it felt to be in the space with the terrific party spirit swirling around you.
Justin: Seeing my idea, Gallery Hopping in Miami, come to life at the opening gala was a dream come true and there were so many special moments. First and foremost, my mom Karen, who was my date, was dressed in vintage Dior. It felt amazing to share the experience with her and to introduce her to the wonderful people I’ve met through the journey that has been my design career. Also, rekindling relationships with those I had known previously was one of the best parts.
adroyt: Have you identified a benefit from having participated in the Holiday House?
Justin: There is much in life we wish to control and to change, but I believe essentially we all want to give back. If the design in my space can provide someone struggling with breast cancer some hope; if the funds from it can help them leave the stress and financial complications behind, and to possibly live more meaningful lives through healing, I will feel the world has benefitted, as have I.
Justin Shaulis created an art extravaganza at the Holiday House NYC.
adroyt: Do you have a favorite thing about the space now that it has all come together?
Justin: Hanging the Luke Jerram glass sculpture from Heller Galleries below the skylight was the most fun and the most stress I felt during the install. Thankfully, Jordan Kronquist, my assistant who has done multiple stints in television and film production design, had a plan, and all I could keep saying was, “Wow!” because it worked perfectly!
adroyt: What has been your proudest moment so far?
Justin: I believe it was when my mother arrived for the gala. Though she had seen images of each piece of art, the furniture and the beautiful carpet, and had heard about the people she met because I have spoken to her and my father so much about them in the past, her expression each time she put names to the faces was priceless! I was happy I had dedicated the room to my grandmother and godmother because each time I looked around and saw it filled with happy people, I felt uplifted. The only thing lacking was that my father, who had work commitments, couldn’t attend the gala. He was with us in spirit, and given the number of photos we sent during the event, he probably felt like he really was there! I’m sure we will be talking about that special night for a very long time.
adroyt: What comments have made you the most happy?
Justin: I believe the best have been about the gala party—the fact that the celebration continued until we were shut down says it all!
adroyt: What’s the biggest piece of advice you’d give a designer considering their first show house?
Justin: Understand and dedicate yourself to the cause of the show house. It must be personal and you will need a connection to it in order to be successful. And know from the start that to put together a space in any show house requires not only dedication; it demands a supreme amount of focus.
I’d like to thank Justin for sharing his thoughts with us and for the terrific party that was indeed difficult to leave, especially since the room was filled with pals like Pryor Callaway, Jade Dressler, Tamara Matthews Stephenson, and Toma Clark Haines (aka The Antiques Diva). And what a great surprise to bump into my new pals David Ecton and Lance Jackson of Parker Kennedy Living (you’re the ultimate lightning rod for connections, Bethanne Matari)!
Speaking of Jade: she posted a fabulous romp through the show house on her blog; and Crosby Street Studios published this post on Justin’s space if you want to stop by there and have a read. Don’t miss this Rio Hamilton recap, which exhibits splendid proof that a good time was had by all!
The show house is open until December 21st; you can find details about visiting the event on the HH site. And here’s a nice “on location” piece that Michael Bruno’s 1stdibs produced about the first show house in 2008 that will give you an overall backstory.
And lastly, the video above is a love letter to Casa Malaparte in Italy, which I mentioned in the opening. If you are a fan of early Italian modernism and art films, it will be a nostalgic journey for you. I post it here because the home and the film coalesce into a visceral representation of the beauty Justin’s room evoked for me.
Text of Gallery Hopping in Miami (in NYC) © Saxon Henry, all rights reserved. Saxon Henry is the EIC of adroyt, the founder of the Literary Blog to Book Movement, and author of Home of the Brave and Four Florida Moderns. She is the founder of adroytLABS, a burgeoning think-tank regarding online content-creation, editor of Productrazzi, and a new media strategist based in New York City.
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