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DOWNTOWN WITH
NICK POE

Architectural designer, visual artist and restaurateur Nick Poe grew up in NYC, a short
walk from where he now lives and works near Bowery. He took us (and his dog, Fido) to
a few of the supply shops he relies on to create his utilitarian design aesthetic, which
can be seen everywhere from restaurants to private residences to gallery shows.

NOVEMBER

2022

“There are so many nooks and crannies around the city I love—Washington Mews, a street just north of Washington Square Park, is like an old-world time capsule in the middle of everything, but it’s also easy to miss.”

“As a kid, I used to run around in this building on the corner of Broadway and Houston where my dad had an office. There was something playhouse-ish about it—it had these porthole windows and a back hallway like a maze with secret passageways and tunnels where we’d play tag.”

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I’ve always had a fascination with vacant spaces and lofts,
even before I got into design work. I would set up viewings
to get into the buildings and take photos, and built up a
collection of images. In New York, space is the ultimate
luxury, and lofts are a celebration of space and openness.

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Q+A

WITH NICK POE

How does light factor into your design sensibility?

NP: I think a lot about ways to bring natural light into spaces. There are ways to do it with mirrors and reflective surfaces to channel light down like shafts. Growing up in a loft with skylights really influenced me.

Any tips on how to make a room feel more open and spacious?

NP: Mirrors go a long way—in the right location it really works. We have a mirror next to a window at our restaurant, and mirrors between the windows and ceiling to extend the space. White or off-white ceilings and walls make a space feel bigger in residential settings. I usually prefer a darker floor for a more grounded feel.

Tell us your feelings about light fixtures.

NP: It’s really hard to get a good one! I use standard porcelain light fixtures all the time because they’re inexpensive and inoffensive. I always use dimmers—I like the antique European look of push-button dimmers which also give you a lot of control over the brightness. I’ve been thinking about the graphic designer Tibor Kalman—he had a philosophy of “high or low but not in between,” and that’s how I approach lighting.

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In design, like in many industries, it’s about how you make
something—not the cost. There’s a whole world of
inexpensive materials that are really beautiful. It’s a
celebration of resourcefulness that shows there doesn’t have
to be a correlation between high quality and a high price.

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