Style Setter

How Elizabeth Graziolo Makes Space for Black Women in Design

Elizabeth Graziolo in a yellow dress standing in a doorway at her firm, Yellow House Architects, in New York

The name Yellow House Architects may bring to mind a leafy small-town cul-de-sac. But it turns out to be a fitting moniker for Elizabeth Graziolo’s award-winning New York City–based design firm. 

In the five short years since Graziolo launched it, Yellow House — named for her favorite color — has become a glowing beacon in a vast field. For her clientele, her style, which she calls “clean classicism” — a design ethos rooted in classical principles of balance and proportion — offers the promise of inviting and harmonious spaces. For a younger generation of aspiring architects and designers, meanwhile, Graziolo is a symbol of hope and optimism, as the relatively rare female architect of color.

“Some kids see me and think, ‘Oh! There’s somebody who looks like me, I can do this! I can be an architect or an interior designer!” says Graziolo. “It really encourages kids of color to have role models and industry support.”

To that end, Graziolo gives her time and energy to a variety of organizations that help promote more diversity in her field. This year, she’s partnered with 1stDibs to curate the site’s Black History Month Collection, which supports Black sellers in the 1stDibs community. She’s also on the jury panel for a Female Design Council x 1stDibs grant to be awarded in March to an exemplary woman of color in interior design. Founded in 2016 as a professional support network for women in architecture, design and the applied arts, the Female Design Council is now a major advocacy organization helping build equity in a field long dominated by men.

A workroom with bookshelves, desks and computers at Yellow House Architects, in New York
Custom oak bookselves and leather-topped desks, as well as sheepskin chairs, a vintage Berber chest and a 17th-century tapestry that Graziolo found at the Paris flea markets, give the Yellow House office a warm feel.

“I’m looking for someone who is showing great creativity, someone who wants to push boundaries and who will eventually have an impact in the design industry,” Graziolo says of the potential grantees. “It’s a competition, and they will be head-to-head against amazingly talented designers. The question is, What do you do to set yourself apart?”

It’s a question that Graziolo knows well. “I won’t deny that I’ve had to work extra hard to prove myself, as a woman and as a Black woman,” she says. She recalls going to job sites where she’d walk into the room and be asked where the architect was. “Believe it or not, twenty years later, in some parts of the country, I still get that look,” she says. “You’re not taken seriously until you show that you know what you are doing.”

But Graziolo doesn’t linger on the adversity she’s faced. It almost came as a surprise to her, in fact. “I think it’s been a bit different for me since I didn’t grow up here,” she says. 

Born in Haiti to a family of means, Graziolo was exposed to colonial European architecture and traveled in Europe as a child. At the age of 13 she moved to New York, where she excelled academically and graduated from high school early. By the age of 16, she was enrolled at the Cooper Union, the prestigious art, architecture and engineering school. She was so focused at the time, she didn’t really think about how homogenous the institution was. “I was really good at math and science, and I loved to draw, so I thought, I’m just going to go for this,” she recalls. She had considered pursuing structural engineering but ended up in architecture and loved the mix of math, creativity, rigor and conceptual thinking.

A spread from the book "The Living Room," by the Design Leadership Network (published by Assouline)
Elsewhere in the office, a spread from the book The Living Room, by the Design Leadership Network (Assouline), shows how Graziolo’s architectural savvy contributed a graceful air to a Manhattan penthouse designed by Redd Kahoi.

After graduation, she landed a job with architecture firm Cicognani Kalla, where she found an early mentor in cofounder Ann Kalla. She spent several years on staff there before she was hired by classically trained architect Peter Pennoyer, known for traditional design. At his firm, she ascended the ranks to partner, overseeing projects from grand historical estates to ground-up New York City luxury residences while honing her expertise in the ideals of classicism — balance, symmetry, proportion — and working with traditional materials, like plaster.

“Classicism is a language that has proved itself over and over again. Why not learn from it and use it, even in a contemporary way?” she says, noting her fondness for problem-solving when it comes to adapting historical spaces for modern use. 

A collage of images of Elizabeth Graziolo at events with young interior designers and architects
Graziolo makes time to share her insights about the industry with the next generation of architects and designers. Here, she’s pictured (clockwise from top left) in conversation with Dennis Scully, host of the Business of Home podcast, at the New York School of Interior Design (NYSID); at an event cohosted by Yellow House and online magazine Madame Architect; with attendees after her NYSID talk; and receiving a president’s citation from her alma mater, the Cooper Union, from student trustee Jadyn Hammond. Photo by Sara Haile (Madame Architect)

Classical principles inform her vision when engaging with modern spaces, as well. “I love good architecture. I love when things are well-thought-out. That’s why everything I do is about human proportion.” 

Bringing a human touch to a practice that can be highly cerebral and alienating is one of Graziolo’s goals. She always starts with hand-drawn sketches, for instance. “There’s more of a human connection when something is made by hand,” she says. And she has a deep appreciation for artisans who are skilled with their hands, especially in crafts like plaster work and wood milling.

Kristie Ollendorf (left) and Elizabeth Graziolo at Yellow House Architects, in New York
Graziolo reviews plans with her interior design director, Kristie Ollendorf.

In drawing inspiration from the past, Graziolo also reaches far beyond Western design practices. “Traditions are different in Japan or Morocco, but they are still traditions,” she points out. “When I say clean classicism, that can apply to a riad in Morocco, too.   

Since founding her own firm, Graziolo has been taking on more of an interior design role while continuing to practice architecture. “It all goes hand in hand,” she says. One of her earliest interior projects was the design of a model apartment for the Art Deco landmark One Wall Street, the first skyscraper to be converted from offices to luxury residences post-COVID.  

The den of a model apartment at One Wall Street in Manhattan with interiors designed by Elizabeth Graziolo of Yellow House Architects
For the den in a model apartment at One Wall Street in Manhattan, Graziolo designed a long sofa upholstered in plush mohair from Schumacher. She found the zebra-hide-covered pillows at FORSYTH on 1stDibs. Photo by Brittany Ambridge

“I love the Art Deco period, especially the blend of influences from ancient Egyptian art and architecture with the modern industrialization and glamour of the time,” she says. “This fusion resulted not only in a striking new architectural style but also in the creation of exquisitely luxurious furniture. I love almost anything by Émile-Jacques Ruhlmann.”

In the One Wall Street model unit, she met the building’s opulent limestone facade with a creamy neutral palette (as well as some trademark dashes of yellow) and materials like shagreen and mohair, tying the space together with such statement-making designs as a vintage Vladimir Kagan Zoe sofa and Jean Royère–style sconces. “I love the use of some mid-century pieces,” she says. 

Although Graziolo embraces history, her taste isn’t confined to a single style or era. She gravitates toward anything that is meticulously made and stands apart from the ordinary. “Good craftsmanship covers it all for me, from object design to architecture,” she says.

Her 1stDibs curation for Black History Month includes a variety of beautifully made, subtle statement pieces, like a large early-1930s Pierre D’Avesn for Daum glass vase with a relief of three swimming fish and a 17th-century French tapestry illustrating the History of Psyche. “I got hooked on tapestry two years ago,” she says. “People don’t use it that much anymore.” She points out that in the 17th century, tapestries were highly valued as both art and insulation for grand interiors. The one in her 1stDibs collection “is fascinating for its exquisite craftsmanship and storytelling,” she adds.

A 17th-century French tapestry illustrating the History of Psyche, for sale on 1stDibs
Among Graziolo’s selections for 1stDibs’ Black History Month collection is a 17th-century French tapestry illustrating the History of Psyche.

Graziolo is currently working on projects across the globe, from dwellings on Manhattan’s Upper East Side and in Upstate New York to far-flung residences in Turks and Caicos, Iowa and Miami. The Florida home “is super modern, which is something I have always wanted to explore,” she says. “People associate modernism with coldness or even brutalism. But we are going to make it feel warm and interesting.”

Graziolo has taken a similar approach in the design of Yellow House’s office, which accommodates a team of 18. “My goal was to make it homey, to design an inviting space where we wanted to come every day, and where clients felt at home, too,” she says. “It’s not like a traditional architectural office.” 

She used soft leathers and woods in warm tones and carefully selected artwork to make it cozier, including a tapestry she found in a Paris flea market. It depicts a party scene, and she hopes it will inspire a collaborative atmosphere among her employees and clients. “I invite clients to participate as much as they can,” she says. “You’d be surprised. Sometimes they come up with ideas, and you’re like, Oh, my gosh, this is never going to work. And then it does!” 

Elizabeth Graziolo in a yellow dress standing in a conference room at her firm, Yellow House Architects, in New York
“My goal was to make it homey, to design an inviting space where we wanted to come every day, and where clients felt at home, too,” Graziolo says of her workplace. “It’s not like a traditional architectural office.” In the main conference room, she hung Mycelium Mongo, a 2019 piece by Yemeni-Bosnian-American artist Alia Ali, between an antique French easel and vintage teak-root pedestals.

She cites a penthouse-apartment renovation in a historical building on the Upper East Side. “The client was very involved and focused and wanted to raise the roof to create more space. “I didn’t think we could, since the building was landmarked,” she recalls. “But we agreed to look into it, and guess what? We were very pleasantly surprised.” They were able to get two more feet of space.

“I learned that at times, it’s worth trying to push the buttons to see if we can change something.” 

Quick Picks

Parisian tapestry depiciting the History of Psyche, 17th century, offered by Boccara Gallery Inc.
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Parisian tapestry depiciting the History of Psyche, 17th century, offered by Boccara Gallery Inc.

“I love me a great piece of tapestry. This particular one is fascinating for its exquisite craftsmanship and storytelling. Fun fact: It was created during the seventeenth century, when tapestries were highly valued as both art and insulation for grand interiors. It’s a great reminder of the level of sophistication of Parisian workshops.”

Jean Cocteau for Atelier Raymond Picaud Orphée à la Lyre wool tapestry, 1889, offered by Boccara Gallery Inc.
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Jean Cocteau for Atelier Raymond Picaud Orphée à la Lyre wool tapestry, 1889, offered by Boccara Gallery Inc.

“Another favorite tapestry — more modern this time. It reflects Cocteau’s interpretation of the legend of Orpheus, transforming a classical theme into a contemporary masterpiece. So inspiring and beautiful.”

Maison Arlus glass-globe six-arm chandelier, ca. 1950, offered by Euro Antiques
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Maison Arlus glass-globe six-arm chandelier, ca. 1950, offered by Euro Antiques

“I appreciate this mid-century French chandelier for its modern geometry, which makes it a standout piece in any interior.”

German opal glass pendant light, 1920s, offered by Der Werterhalter
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German opal glass pendant light, 1920s, offered by Der Werterhalter

“This opal-glass ball lamp is so charming and beautiful. I find it to be a romantic piece that could be used in a cozy space.”

Dolce & Gabbana couture wood-beaded jute-fringe dress with crystals, 2005, offered by One of A Kind Archive
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Dolce & Gabbana couture wood-beaded jute-fringe dress with crystals, 2005, offered by One of A Kind Archive

Oh là là, this dress is a stunning fusion of natural materials and luxurious embellishment, making it both a wearable work of art and a source of design inspiration. Its intricate beadwork and layered jute fringe evoke a tactile richness that could be translated into interior design through textured wall hangings, statement rugs or furniture upholstery.”

Pair of glass bowls with appliqué blue rim and handles, late 18th century, offered by VDP Vintage
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Pair of glass bowls with appliqué blue rim and handles, late 18th century, offered by VDP Vintage

“This pair of bowls is a striking example of eighteenth-century craftsmanship, blending delicate forms with vibrant accents. I find them not only beautiful but also versatile. They can be used as elegant serving pieces for special occasions or decorative accents on a mantel or sideboard, bringing a touch of timeless sophistication to any setting.”

Jean Paul Gaultier resin petal ring, 1990s, offered by La Exotica
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Jean Paul Gaultier resin petal ring, 1990s, offered by La Exotica

“Last but not least, I love the boldness of this Jean Paul Gaultier ring. It’s like wearable art, exemplifying Gaultier’s avant-garde approach to design and perfect for adding a touch of artistic flair to any outfit.”

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