Katie Harbison is the founder and creative force behind her design studio of the same name, which is known to create interiors that reconcile architectural integrity with warm, contemporary elegance. Katie relies on a background that combines classic influences with the love of Californian ease, and approaches every project by first honing the bones of the building, the details of the time in which they have been lost and ensure that architecture flows seamlessly into the interiors. Her work was praised for his tactile material, the thoughtful restraint and the way every room feels both curated and deeply livable.
Regardless of whether a historic town house in New York is being presented or character is brought to a modern build, Katie's signature is the juxtaposition of vintage treasures with refined, modern lines – soft, deep seats next to smooth marble bars; Decorated architraves paired with gently curved sofas. Inspired by Renaissance symmetry and craftsmanship in the Old World, led by a California sensitivity of light, space and natural materials.
In this conversation, Katie shares the principles that run her work, from her love for marble and Limewash to the importance of negative space, balance and the small unexpected touches that turn a home from stylishly.
(Photo credit: Michael Sinclair/Design by Katie Harbison)
How do you start designing a room? Do you start with a feeling, color or maybe a piece of furniture?
It starts with the architecture. It is important that the cohesion is located through the house and you do not want the facade to feel separated from the interior. Therefore we try to keep these details consistently. I am currently doing a town house in New York and would like to restore the size that would have been and add the shape to replicate what the circumstances should have been and infuse it with panels and ceiling roses that are as close as possible to the original. But then we look at the Californian aesthetics for furniture and accessories, which are in bed linen, soft aspects, comparison and new pieces.
How would you describe the California aesthetics that affect it?
It is about deep comfortable seating, forests, soft pallets, a focus on materiality instead of being excessively fussy or decorated. I would not say that I am a minimalist because I like to get a wealth of treasures and fill the shelves with them. But then I will combine it with something smooth and simple and refined and backed, like a complete marble bar.
How can you design a modern house that doesn't give you the same freedom to play with period details?
I will find ways to bring other details through the house. Perhaps it is curved arches that are then picked up by curved sofas and coffee tables that soften the square corners of a newer build. Ultimately, it is always about finding a balance, that's the key.
(Photo credit: Enda Cavanagh/Design by Katie Harbison)
What is the only element you believe that every room is independent of size or style?
Marble sure – I adore it. I use a lot of Limewash and plaster on the walls while I love the texture. Our bases are always neutral bone colors, even though we carry out more color wet in areas such as powder rooms and bring color through the marble in the most important living areas. I particularly like stone with mossy green veins. I am looking for color depth instead of a stone is too deep or excessively slept.
As you say, you are not a minimalist, but your rooms are still very withdrawn and every object has space to appreciate it. How do you approach this balance?
I would say that when it comes to the larger piece of furniture, I am always aware not to put too much into a room. When it comes to bringing things to the shelves, I'm interested in the negative space. It's not about packing them as much as possible, but should play with different heights or shapes. I'm never looking for straight or linear lines.
(Photo credit: Nicole Franzen/Design by Katie Harbison)
Are there any epochs that you are constantly attracted to as a reference or ideas?
Yes, I'm really dressed by the Renaissance time. It is much more decorated. We were in Florence, Italy last year, and I spent all the time to give away original architraves how they integrated them into the marble and the baseboards and the doors. It was so inspiring.
Is the same feeling of miracle something that you want to inspire in the people you want to inspire in rooms you have designed?
I want you to be calm and happy. Do you know when you are on vacation and feel particularly comfortable and inspired because the hotel in which you are in is curated and well designed? That is what I want to achieve in a living environment – it calms down people to be surrounded by rooms that are decorated in this way.
And finally, what do you think people often overlook when they decorate their houses?
Symmetry! This goes back to the Renaissance period, since symmetry is the basis of the design. But I don't need everything to be totally symmetrical – I am more interested in certain orientations of things such as carpentry and cladding. Then it is good to have one or two things in the room that are only a little gone. I am currently put in a small mirror in a formal salon, on a wall that you may expect to go a larger piece. But I have the feeling that it surrounds a lot and have something unexpected is where the balance comes into play. Here you get this little elevator.
See more of Katie's work at Katie Harbison interior design