Clever design makes a tiny New York City studio seem downright spacious

Thus the owner faced a classic dilemma of small-space living: What do you do with the bed? The answer came in an up-to-date take on a feature found in many prewar studios: the Murphy bed. Patented in 1918, these units fold up into and are concealed by a closet or wall cabinet when not in use. At night they swing down into a room foot first. Wanting a larger bed that didn't extend too far, Menrad hired a contractor to make a queen-size bed that would descend sideways from the niche his studio's original Murphy bed (a twin size) had occupied.

Next: the condo's kitchen and bath. Menrad hired architectural designer/contractor Iain Campbell, who'd worked on several other units in the complex, to do what the owner calls "a sensitive renovation that was modern but reflected back to the building's era."

In the 6 1/2 x 10-foot kitchen, says Campbell, "we created a space where one person with just a step to either side could access all of the cooking spaces and appliances," including the compact, state-of-the-art refrigerator, range, and dishwasher. Menrad's minimal dish-storage needs allowed Campbell to replace heavy wall cabinets with sleek stainless steel shelves. The designer then updated the 5 1/2 x 7 1/2-foot bath's plumbing and fixtures, and restored its original ceramic tile floor.

Menrad's studio now had maximum square footage to accommodate furniture. A devotee of design, he chose iconic pieces one might have found in a stylish home of London Terrace's vintage, including a sofa originally designed by Le Corbusier in 1929; a 1920s Marcel Breuer coffee table; a 1935 Utrecht armchair by Gerrit Rietveld; and a 1929 Barcelona stool by Mies van der Rohe. "The furniture is nicely scaled," says Menrad, "so the room feels spacious."

A simple palette enhances the sense of roominess: white walls, trim, and ceiling; upholstery in white, blue-gray, and gray -- a tone also picked up by a Tibetan wool area rug. Complementing it all are a Richard Serra print and an assortment of black-and-white photos featuring views of prewar Manhattan.

"The whole studio is now a calm, monochrome experience," says Chris Menrad. "After the jar and the jangle of the city outside, it's very soothing."

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