Summarize this content to 2000 words in 6 paragraphs in Arabic One might presume that an aesthete like Mary Rozell could procure any painting or fixture her heart desires for the 1876 Italianate brownstone she shares with her husband in Clinton Hill, Brooklyn. In fact, the art lawyer and art historian, who has been the global head of UBS\u2019s art collection for the past decade, often finds things right on the sidewalk.\u00a0\u201cPeople might not think I\u2019m a scavenger,\u201d laughs Rozell, but \u201cfirst of all, I can\u2019t afford the art in the UBS collection. We are essentially operating a museum of sorts.\u201d The Swiss bank has collected more than 45,000 artworks since the 1960s \u2014 including by Gerhard Richter, Cindy Sherman, Jeffrey Gibson and Alicja Kwade \u2014 displayed in 700 offices and public exhibitions around the world.Rozell\u2019s own home is eclectic, combining bohemian heirlooms with art by German contemporary artists. \u201cI also like to recycle pieces, and have a lot of decor from flea markets, through Etsy, on eBay,\u201d she says. And yes: \u201coff the streets \u2014 very Brooklyn\u201d.Once an elegant Gilded Age residence with staff quarters, the house had endured various permutations by the time Rozell bought it in 2011. \u201cIt had been stripped of much of its original detail, including ornate ceiling moulding and walnut panelling, as well as the original doors on both the garden and parlour levels,\u201d Rozell says.Above the coat rack hangs a glass sign reading \u201cEdwards Dining Hall\u201d, which Rozell found in the basement. During the Depression, the brownstone\u2019s stoop was removed to make way for a restaurant to serve nearby Navy Yard workers. Later, the property became affordable housing, with individual rooms for rent. Walt Whitman wrote \u2018Leaves of Grass\u2019 nearby. Patti Smith lived with Robert Mapplethorpe on the next street overIn the 1970s, a local architect acquired the building and made a series of \u201cunfortunate hippie changes\u201d, says Rozell. Walls were stripped to expose the brick, with some \u201creplaced by curious wooden beams and orange Plexiglas\u201d. Pre-renovation photos show a solid metal front door, with a peephole that she describes as a remnant of the house\u2019s location at \u201cground zero of [New York\u2019s] crack wars of the 1980s and 1990s\u201d.But when Rozell and her husband, a publishing lawyer, found the space, they had a vision. \u201cWe had looked all over Manhattan and Brooklyn and various suburbs,\u201d she recalls. \u201cBut I was very taken with Clinton Hill\u2019s rich history, exceptional diversity and the grandeur of its architecture, which is still largely intact.\u201d Originally developed as a rural hilltop escape, dubbed Brooklyn\u2019s Gold Coast, it contains a number of late 19th-century mansions and the Pratt Institute School of Art\u2019s campus. \u201cWalt Whitman wrote Leaves of Grass nearby,\u201d says Rozell. In 1967, \u201cPatti Smith lived with Robert Mapplethorpe on the next street over.\u201dToday, the interior reflects a balance between preservation and Rozell\u2019s interest in contemporary culture and modern art. She has a fear of Victorian overload, she says: \u201cYou want to keep the history but freshen it up. [But] the other big concern for me is waste and wanting to preserve things. There are a lot of things I would not have chosen, like furniture I took from my family house in Upstate New York. You just reupholster them.\u201dIn the kitchen, Rozell envisioned adding a window with a sink beneath and a Poul Henningsen PH-5 pendant overhead. When the vintage model arrived from Craigslist, the lamp was violet, not white as it looked online. She pivoted, remembering the indigo of her childhood bedroom in the Adirondack foothills. She installed pale blue Corian counters, alongside an Eero Saarinen Tulip table and matching purple boucl\u00e9-clad stools. Lavender cushions accent the breakfast nook, upholstered in 1958 fabric by Swedish Modernist architect Sven Markelius, bought at a Stockholm auction. Over the island hangs an east German train station clock, found on a family trip.\u201cIt was through legal work, as an art lawyer, that I got into restitution cases, which started me really thinking about German art,\u201d says Rozell. A huge influence was seeing the Los Angeles County Museum of Art 1991 exhibition Degenerate Art: The Fate of the Avant-Garde in Nazi Germany, a forensic reproduction of the Nazi party\u2019s 1937 Munich exhibition.I don\u2019t want marble countertops everywhere. I just don\u2019t like fancy things\u201cIt had a big impact on me\u2009.\u2009.\u2009.\u2009I got really [fascinated by] that period of history.\u201d She first visited Germany in January 1992: \u201cReunification was just the November before. I travelled by myself in the freezing cold. I was stunned by what was happening there. It changed my life, and I thought, \u2018I have to be here.\u2019\u201d\u00a0Rozell became deeply immersed in the country\u2019s past, from the Holocaust to the cold war, and the country\u2019s 20th-century art, inspiring her to enrol at the Courtauld in London to study German Expressionist art. She then lived in Germany from 1994 to 2000.\u00a0After returning to the US, Rozell worked for Sotheby\u2019s before starting her current role in 2015. As chief curator of UBS\u2019s collection, she visits fairs and galleries around the world to decide which artworks to acquire, as well as how best to engage the public, clients and employees globally. This means she has regular opportunities to stay in the apartment near Viktoria-Luise-Platz in Berlin\u2019s Sch\u00f6neberg neighbourhood that she has owned for nearly 25 years.True to her interests, Rozell\u2019s personal collection is anchored by modern German artists. A trio of Bernd and Hilla Becher photographs line the first-floor hallway. But Rozell contrasts their austere images of fading industrial landscapes with a graphic Chinoiserie wallpaper. In the open living room, a large-scale photo by D\u00fcsseldorf-based Thomas Ruff hangs near an antique dining set inherited from her husband\u2019s family, and a mid-century American walnut sideboard from eBay. This richly layered approach defines Rozell\u2019s style.\u201cI know the feelings I want to create. I want each room to feel different, but I want there to be a thread, a connection,\u201d she explains. \u201cI go down these little rabbit holes with different things, every fixture, every knob. I like to have very simple basics. It starts off pretty minimal, because I want the objects to do the talking. I don\u2019t like luxury, per se.\u201dIn the library-den African masks, antique Chinese bamboo bird cages, and baskets from travels in Botswana can be found. The third-floor guest room is serene, with exposed beams, white shutters and a 19th-century French campaign bed. Rozell updated its upholstery, adding embroidered Otomi pillows from Mexico City.\u201cThis desk chair in here was $5 from a Cape Cod street sale, and the poster over the fireplace I bought in 1995 for 5 Deutsche marks [about \u00a32.20] at the Berlin Gem\u00e4ldegalerie,\u201d she says. \u201cOne of my favourite hotels was in the Dolomites. It was just wood and white sheets, the balcony and the mountains. I don\u2019t want marble countertops everywhere. I just don\u2019t like fancy things.\u201dFind out about our latest stories first \u2014 follow @ft_houseandhome on Instagram<\/p>\n","protected":false},"excerpt":{"rendered":"
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