Magdalena Keck Inc. is a New York City-based studio focusing on interior design and creative direction.
Founded in 2003, the firm has gained a reputation for pied-à-terre and vacation dwellings designed for an international clientele. Recent projects include private residences at The Four Seasons Hotel and The Beekman in NYC, an estate in Hawaii, as well as weekend homes in the Catskills and the Hamptons. Commercial work includes collaborations with tech, financial, and real estate Clients.
The studio’s approach is characterized by the search of balanced resonance between inhabitants, space, and objects. We draw inspiration from history, art, and travel to create new relevant contexts.
The residential work is the subject of a book published in 2017 by Glitterati titled Pied-à-Terre: Magdalena Keck, written by of contemporary architecture Tiziana Proietti with a foreword by design editor Dan Haworth.
Combining a distinct aesthetic with disciplined implementation, attentive collaborations bring a distinctive voice to each project.
This apartment explores the boundary between a residence and a gallery. The pure architecture of Renzo Piano-designed 565 Broom Street presented a stage for Magdalena Keck’s signature warm minimalism that quietly stimulates the senses while being functional and approachable.
The building’s architectural features informed many of the design decisions. Furniture is placed and oriented to maximize the panoramic city views, and fully glazed curved corners are made focal points. A soft sheer grey curtain emphasizes the verticality of closely spaced mullions while creating a light-diffusing envelope around the floor-to-ceiling windows.
In the living space, a restored rosewood Joaquim Tenreiro chair is paired with the sculptural sofa by Christophe Delcourt. Donald Judd print presides over the setting.
Furniture, art, and lighting are used together to offer a level of subtleness and precision and result in a sequence of carefully curated vignettes. The balance of contemporary and modern is achieved by pairing the original Pierre Jeanneret desk and chair with other works by Jorge Zaluszpin and Jean-Pierre Vitrac.
The art collection highlights include works by Robert Andersen and Larry Lee Webb.
Lighting is carefully considered to offer different moods and levels through pendants, wall sconces, and table lamps. In the primary bedroom, Pierre Yovanovich table lamp is layered with the Hans Verstuyft floor lamps.
In the TV den, a low sofa sits atop a soft rug. Stacking trays serve as tables.
Sheila Hicks Advancing, Beginning to End, 1970 creates a nostalgic moment in the den.
For the second project inside the Renzo Piano-designed 595 Broome tower in SoHo, the studio has taken a playful and exploratory approach to the interiors of a three-bedroom apartment for a family with young children.
The project loosely references the works of French designer André Monpoix through unusual combinations of bold but desaturated colors against primarily neutral tones. Contemporary and modernist pieces are placed in tandem translating into a language that is clean-lined and organized but not too rigid or serious.
In the kitchen, geometric stools and Japanese vessels are placed against the fluted oak and soapstone. Their substantial presence contrasts with the detail of the vase with dainty flowers.
Natural fibers and tactile materials are juxtaposed with sleek surfaces and accented with lighting that is approached as art objects in the space.
A long hallway leading to the kids’ room is punctuated by a multi-colored threaded Bonbon lamp, followed by Moroso ball poufs at its end that draw one into the space. A modular, minimal Vitsoe shelving system provides storage and a work area lit by iconic Projecteur 165 clip lights opposite the twin beds.
For a four-bedroom seasonal getaway in East Hampton, a multifaceted art collection is combined with decadent furnishings and sumptuous finishes—achieving comfort and an air of old-world luxury but with a fresh, contemporary take.
In the kitchen, dramatically veined marble wraps the entire back wall, including the cooker hood, and forms the counters and island top. Custom black-steel cabinets with ribbed glass doors provide a visual tie to a pair of Pelle pendant lamps while juxtaposing linen slip-covered chairs, and a French antique vessel paired with contemporary brass candle holders.
As with many of the studio’s projects, artwork takes center stage throughout the residence. Abstract sculpture, oil paintings, and vintage photographs are unexpectedly brought together.
A dramatic departure from the airy spaces upstairs, the atmosphere changes when descending to the basement, where a bold shade of deep green was chosen for the walls, ceilings, and drapes across an entertainment lair. “We wanted to create a mood of a bygone-era social club, with a cocoon-like enveloping feeling of warmth and decadence, but done in a fresh way,” said Keck. “The green feels rich, deep, and luscious. It’s the color of forests but also gems, fancy liquor bottles, and game tables.”
The design concept is inspired by the atmosphere present at 700 feet. The 63rd floor, cocoon-like space suspended in the sky is composed of warm whites and soft varied textures underlined by decisive forms. There is a sense of oneness rooted in an awareness of light and balanced composition. The apartment suggests an idea of a gallery where objects are placed in the space to evoke emotions, memories and aspirations. These qualities are bridged with function and comfort.
A Dominic McHenry sculpture marks the entrance to the dining area composed of a bleached maple table by Mark Jupiter and Densen chairs by Egg Collective, set against a photograph by Robert Andersen. Happy Together light by Michael Anastassiades hangs low grounding the atmospheric experience.
A trio of photographs by Robert Andersen captures the spirit of Marfa, Texas. The Italian 1960s daybed in Perrine Rousseau fabric reflects the mood of the photography.
Located in the Catskills Mountains, set between woods and meadows, the retreat includes: a three-bedroom house, a guest house, a work workshop and outdoor space including pool and a fire pit area.The house is a harmony of American craftsmanship, Japanese philosophy and admiration for a Scandinavian mid-century aesthetic. It evokes its setting by drawing on the heritage of the clients. The design is equally driven by the fascination with the abundant beauty and balance found in nature, given the setting and purpose of the house, as well as the passion to dive deep, take apart and put back together the ethos of the inhabitants.
Scandinavian mid-century design roots undeniably reach back to the Japanese aesthetic. Furnishings highlights include a Hans Wegner CH163 sofa, CH53 stools and a Finn Juhl bench as well as dining table and chairs.
Set against the picture window, the dining area is composed of a Finn Juhl teak dining table and Reading chairs with a brass Allied Maker pendant light hanging above.
60 White Street is a historical, sustainable development of eight condominiums located in TriBeCa. The sister buildings originally erected in 1869 have been developed by Sorgente Group of America, a firm recognized for its involvement and passion for historically significant architecture, and sustainable approach. Magdalena Keck curated the furnishings, accessories, and art for the featured model apartment.
The furnishings are a collection of vintage American and Brazilian as well as fine contemporary pieces. The 1950’s furniture reinforces the concept of sustainability and celebrates some of the most iconic designers, such as Edward Wormely and Joaquim Tenreiro. The contemporary pieces gracefully complement their vintage counterparts and the historical building envelope.
Fourteen black and white photographs by Joseph Jursen flank the dining area at eye level reaching back to nature and its connection with humanity.
Misuzu Takemoto’s Woman’s Body wood sculpture is quietly set against flowing draperies and wooden windows.
The master bedroom features works of The Hilton Brothers and Nicole Schmolzer. Jorge Zalszupin credenza, and Joaquim Tenreiro nightstands, accompanied by the walnut bed rest atop a textured mohair rug.
Brooklyn Terrace is a 100 square feet outdoor space on the 20th floor of Bel Atlantic building in Brooklyn.
The objective was to create a dining area from which the view of Manhattan could be enjoyed, along with a lounge seating, a gourmet grill, and greenery, and maintain an open space for entertaining. Space is expanded visually thru the presence of horizontal planes of materials, colors, and textures.
Bowery Penthouse takes the top floor of Scarano on the Bowery. Situated in NYC’s East Village the 2500 square feet dwelling is composed of equal interior and exterior spaces. Most prominent feature is the structure of transverse (diagonal) steel beams exposed on the interior.
The furnishings are placed freely away from windows and walls giving a sense of airiness and allowing full exposure of the views. Two oversized Flexform chaise lounges take the place of sofas. A variety of light sources is present to create and master the mood. A vintage chandelier hangs low above a side table between the two chaises, and a Tom Dickson ball floor lamp flanks the opposite end of the space.
The dining area’s furniture focuses on the structure of the elements, featuring Cassina chairs and a Molteni & Dada extension table. Tai Ping silk and wool rug unifies the living and dining areas.
The roof terrace affords a 360-degree view of Manhattan.
It is lined with greenery and an extra-long sofa. Distinctively silhouetted Hardoy chairs and Hay side tables float liberally in the center of the space populating freely around the white outdoor fireplace.
The 700 square foot piede à terre is located in The Towers, a converted 1930’s building, in New York City’s Greenwich Village.
This apartment was designed for Clients from Rome. The intent was to offer a minimal interior that was respectful of the original architecture. The vaulted ceiling was exposed. The layout was opened up by installing two French doors across from each other in the living space, allowing for all six windows of the northern exposure to be perceived all at the same time.
The minimal interior is offered as a canvas for familiar elements from various time periods and places.
The flexible dining area can be created at will. The drop leaf table has its lasting place in the kitchen, but on occasion it is brought to the living space where it transforms the area and affords dining for six.
The elongated shape of the kitchen is exaggerated further by long floating shelves. In the far end the minimalist kitchen cabinetry and fully integrated appliances nearly disappear into the architecture
of the apartment. The wide plank pine floor, which is present through the entire apartment brings in natural warmth.
Chinatown Loft is a tribute to a shared passion for clarity and curiosity. The 1800 square feet space claims the corner of Henry and Rutgers Street in New York’s Chinatown, its 14 windows looking directly onto the gray stone façade of St. Theresa’s church.
The generous living and dining space, two bedrooms, two bathrooms, and the large galley kitchen are well appointed within the space, comfortably settled in acres of brick walls and windows. The furnishings reside here with ease, the feeling is of a convivial informal elegance.
The rhythm of windows is liberally appreciated from the kitchen. The custom solid white oak breakfast bar is placed directly opposite the working kitchen and against the windows facing the gray stone façade of the church across Henry Street.
In a distance, the dining table’s thin marble top is suspended over tapered beech wood legs, surrounded by dining chairs made of Richlit, partially recycled steel, wood, and have brass rivets. The chairs are inspired by the humble elegance of Japanese tea houses. The details embody a unique approach to material, form, and construction.
The loft is designed as a pied-à-terre for a client from San Paulo, who became charmed by the oversized ceiling beams, the original wood floors, and even the raw industrial locale out the window.
The client and the designer enthusiastically embraced the challenges and were determined to make some key changes.
The most aspiring objective was to replace the windows with balcony doors to allow maximum daylight in and to add even a small outdoor space.
One of the original window headers has also been left exposed, the second one had perished in a fire and has long been replaced.
The understated dining area with vintage furniture echoes the character of the ceiling against the illuminated texture of white washed brick walls.
The unusual bedroom proportions are embraced and exaggerated by the installation of the extra long open closet on the right. Davide Groppi minimalist lights illuminate the ceiling.
The original wood ceiling was stripped of layers of paint, the beams and the steel hangers fully exposed and fireproofed with a clear, matte coating. The wood floors were restored and washed white, so were the weathered brick walls – all to cultivate lightness in the space.
The new, polished elements of the loft balance the restored, distressed ones; the loft resonates with the past and the present.
In the kitchen the back wall is composed of tall pantry cabinetry with Viking wall oven, warming drawer, a full height wine cooler, and a concealed microwave. The kitchen island is all stainless steel enclosed in black Corian.
The introduced loft materials: white oak, stainless steel, black Corain are in balance with their distressed envelope.
2500 square foot Park Avenue residence embodies the studio’s signature approach. Generously proportioned, with 13 foot high ceilings and overscaled windows, the apartment was reconfigured to offer even greater living space by incorporating one of the bedrooms into the main open area. Designed for a family of four, it balances the private and the public, the formal and the informal components with clarity and ease. The tonal richness of the color palette provides a still backdrop for the Clients art collection.
MaryBeth Thielhelm’s “Premordial Waters” painting presides over the formal part of the living room setting the tone of composed serenity. The fern patterned silk and wool rug offers a quite layer of comfort.
The foyer opens with a collection of urban and abstract photographs, and leads into a dinning area fitted with bannquets, and a custom chrome and glass dining table.
Shown here is the informal part of the living room, where the family gathers for movie watching and reading.
