Serhat created a chic galley kitchen by cleverly covering the old cabinetry with modern white handleless doors and adding a sleek black granite worktop and dark gray floor tiles. In response to the dated 1980s pastel-hued tiled ensuite in the main bedroom, he introduced cool tones of white Calacatta marble and installed a glass shower and vanity unit. A gold pineapple-shaped custom-made mirror he designed is a whimsical contrast to the minimalist accents.
His inventive flair for mixing and matching art, unique antiquities, and design classics spans eras, with a play on balance, form, and function. “I find things on my travels, and at flea markets and through vintage dealers,” Serhat explains. “I have a curiosity for design and I never buy pieces with a plan on where to put them in my apartment or to match them with the wall color. I don’t want it to look like a showroom, I just buy what I love, but I rearrange things constantly,” he says with a laugh.
Serhat’s loves include Jean-Michel Basquiat– and Edvard Munch–inspired paintings by Cuban artist CB Hoyo in the living area and office, and a trio of abstract drawings by French designer Ronan Bouroullec that brightly punctuate the wall of the monochromatic kitchen. Shape and surface are constant themes in his treasured furniture collection as well: the Art Deco–style curves of Autoban’s Union sofa in the living area, the flute-like base of Eero Saarinen’s Knoll Tulip chair, the splayed metal legs of Jean Prouvé’s Compass Desk in his office. Stealing the show are the much-coveted V-leg Pierre Jeanneret Chandigarh chair in his bedroom and a set of Marcel Breuer Cesca chairs flanking the dining table. In one corner a Roger Capron midcentury ceramic coffee table decorated with Fornasetti candles evokes the ’70s, while in another, the L-shaped seat of Jonathan Adler’s St. Germain Club chair pitched on two steel orbs gracefully fuses Japanese-meets-Scandi modernism.