i+D - November/December 2021 - 42

2.
1.
1. An opulent translation of the
natural world in a show house space
created by Andrea Schumacher.
(Image: Emily Minton Redfi eld)
2. Schumacher employs a watchful
eye to survey a carefully layered space.
(Image: Emily Minton Redfi eld)
3. Schumacher goes all in on a
time-honored color scheme for
a result that is patriotic with
notes of classical infl uences.
(Image: Emily Minton Redfi eld)
4. A mix of infl uences from varied
periods is brought together in a
collected presentation in a space
by Schumacher.
(Image: Emily Minton Redfi eld)
5. Global and glamorous:
Schumacher sources infl uences from
distant locales and bygone design
eras for a sophisticated sitting room.
(Image: Laure Joliet)
Steve Martin's art-fi lled, fashion-forward apartment
in Only Murders in the Building. Amy Adams' austere
Malibu mansion in Tom Ford's Nocturnal Animals.
The Marvelous Mrs. Maisel and its layered,
nostalgic 1950s and '60s period design. And the
Sterling Cooper advertising agency in Mad Men,
which sparked among its audience a widespread
resurgence of an entire bygone era. They all have
one thing in common: They're TV or fi lm sets
where the environment not only plays just as
important of a character as the actors themselves
but also translates into real-life interiors.
In fact, Only Murders in the Building takes place
in a fi ctional condominium building called The
Arconia; but its exteriors are actually The Belnord
on Manhattan's Upper West Side, which appears
on the National Register of Historic Places and was
reimagined a few years ago by Robert A.M. Stern.
What's more, the theatrical aesthetic in Martin
Short's apartment (he plays a Broadway producer
on the show) further proves that a set isn't just a set; the piano,
the stage, the heavy red velvet draperies all form a backdrop of
opulence that narrates the rise and fall of his character's career.
That personifi cation is why set decoration sees so many parallels
with residential design. " You're telling the story of who you
are in the choices you have in your home, just like on a set, "
says Andrea Schumacher, who views every interior as the set of
her clients' lives. By now she's had a long career as the creative
force behind her namesake residential interior design fi rm, based
in Denver and Santa Barbara. But early on in her professional
journey, after fi nishing architecture school, Schumacher started
out as an intern in Hollywood, drafting sets and shopping
accessories for them in prop houses. When Sony acquired
Columbia Pictures, she began providing design services for
anyone who had an offi ce at Sony (aka Michael Douglas). While
she was there, she'd peek in on fi lm sets and was blown away
by movies like Hook, whose magnanimous build, engineering
feat, and real rushing water presented a whole other world from
the stacked row of decorated room vignettes she was used to
on the set of the daytime soap opera Days of Our Lives.
42
i+D - November/December 2021
i+D - November/December 2021

Table of Contents for the Digital Edition of i+D - November/December 2021
