Here we are on the front page of NYMag.com!

You can see the full slideshow and story by going here: http://nymag.com/homedesign/features/jonathan-chanduvi-2012-8/ .

We are all very excited that Jonathan’s hard work has brought him this far (with support from his friends, colleagues, and neighbors of course!).

Antique restoration has always been in Jonathan’s life – both his father and grandfather were restorers and are the source of much of his knowledge of the craft. A few years after relocating to the states, Jonathan’s father, Romulo, was recognized by the Connecticut Heritage Arts Program as a “Living Legend” and master restorer. While working as an apprentice under his father for many years, Jonathan learned a vast array of old world techniques for restoring antique pieces laden with history and also how to apply these techniques to contemporary pieces.

After establishing Chanduvi Restorations in NYC, Jonathan relied on the basis of restoration skills taught to him by his father, but more importantly the innovative spirit and determination his father had bestowed upon him. It took  an extreme amount of dedication and hard work, but within a few months Jonathan had built a steady client list. Now, his work is to be featured at the 2012 Kips Bay Show House and listed in the upcoming New York Design Hunting magazine published by New York Magazine.

Of course talent plays a huge role in the success of his business, however, Jonathan’s approach to restoration is something unique and genuine in a design world where “the newer the better” is commonplace. Jonathan truly believes that in art and design, history should continue to be both relevant and of significant value. In the same line of reasoning, restoration should always be presented as an option when considering antique furniture and design pieces, or even architectural features with historical significance. This is why Jonathan approaches every restoration project with the hope of reviving and revitalizing a piece, while maintaining its historical integrity.

But, in order to thrive in today’s competitive design world, Jonathan cannot simply rely on applying his knowledge to antique pieces. Instead, many of the interior designers or private owners employ his skills to alter an existing contemporary piece. For example, a standard, dull wrought iron table base is enlivened with distressed sliver leaf. Or, a dingy nightstand is lacquered in a brilliant red, yellow, or blue to bring the bedroom to life.

Here are a few photographs of his finished work to get a better idea on exactly what it is a restorer does:

Restoration of antique hand-painted table after damaged from ceiling collapse

Lacquered campaign chest in Currant Red

Reproduction of missing shelf in wood with a hand-painted faux finish to match existing marble top

For those of you unfamiliar with our history, Studio 323 New York began as a concept long before we were able to acquire a space. Jonathan had been in New York for a little less than a year, slowly building his restoration business and getting acquainted with a new city. Often when visiting a client’s house he noticed the contrast of contemporary art with antique furniture which provided a striking, yet appealing visual effect. With this idea always in the back of his mind, Jon jumped at the opportunity to rent the small storefront space on East 108th Street in December, 2010.

Looking back at the original space, I realize now why our friends and neighbors thought we were partially insane. They saw a rundown hair salon, formerly used as a cover for drug dealers, which had not been rented for almost five years. Jon saw the potential for something great – not only physically in the space itself, but also as a haven for art and creativity in the neighborhood.

After opening the space for the first time, we were met with about two inches of dust and grime covering the floor, mustard yellow and Pepto Bismol pink walls, a huge broken mirror on one wall and a dingy drop ceiling with florescent lighting. Oh and don’t forget the awning for “Cynthia’s Unisex Salon” that we had to look at for months.

Sitting here in the gallery today, I cannot believe how far we have come in less than a year. Visitors, whether from our neighborhood or from downtown, no longer look at us like we have three heads, but rather are intrigued and excited about what we are trying to accomplish here.

The video below, created last July when we “officially” opened, shows the process of creating the space we have today. It took about six months, but after countless hours of work, Studio 323 New York, complete with gallery lighting, a new canopy, and white walls, was ready to open.

Unless you’re on the same level as Gagosian with a constant stream of clients, many galleries go long periods of time without more than a handful of visitors during a typical week. Luckily, here at the studio we have a storefront and the artwork on display in the front window draws in foot traffic from our neighborhood. Even so, one of the greatest challenges we have faced is bringing the downtown audience uptown to 108th Street. Despite the great neighborhood and rich arts community we have here, it still takes persistent phone calls and emails to business contacts or potential clients in order for them to break through that invisible barrier that divides Harlem from the rest of Manhattan.

Who is it, you may ask, that makes these contacts? Meet Lynne, COO of Studio 323 NY. While Jon is busy being creative, coming up with bigger and better ideas for the studio and Mia is planning our events, Lynne takes care of all the day to day operations. Everything from bookkeeping (yuck) to selecting artworks for display, liaising with artists, scheduling meetings, marketing the antiques, and updating the website. Check out the video to see more about how Lynne became involved with the studio!