“One element that I’ve always leaned on when it comes to design is a stark juxtaposition. Anything black and white, hard and soft, rough and polished, geometric and organic is something that really informs my style,” says Katie Vance, partner and chief creative officer of Nashville-based interiors, architecture, and construction firm Powell . Her signature style is especially evident in her most recent commercial project: Nashville chef Sean Brock’s Audrey , opening in early October. Connected by mutual friends and a shared adoration for food, Vance and Brock had a similar vision for Audrey’s interiors, which would serve as a colorful canvas for local makers and artists.
Both parties of the dynamic duo are well-versed on nearby talent: Brock’s expansive collection (some of which are his own work) of folk art is displayed on nearly every wall downstairs, and Vance’s husband—Matt Alexander of Nashville Holler Design —is a maker whose wares are prominently featured on the first floor. “Matt and I like to collaborate. It’s a fun opportunity for him to be able to work on some of Powell’s projects, and for me to see him create special pieces for different spaces I’ve designed,” Vance says.
Her husband isn’t the only local talent Vance has tapped for inclusion in Audrey’s warm design, which varies in style depending on the level of the restaurant. Although the first floor is undeniably Appalachian with its George Nakashima spindle back chairs, saturated emerald booths, and colorful folk art lining the walls, the upstairs takes on a more ethereal look with gentle Mary Mooney watercolors, pale red oak tables, and bright white walls. For the interiors of both floors, however, Vance turned to artisans whose work she discovered at the biannual Porter Flea she’s been hosting in Nashville for the last decade. “It shows me what talent is out there and how I can plug them into my projects. These pieces infuse so much character into a space,” Vance says.
While she focused on the design, Brock took a stab at the 250-piece art collection, including antique folk paintings, black-and-white Ray Di Pietro photographs, and large-scale ethereal watercolors. Brock says, “There are two major themes behind the art I’ve chosen in Audrey: how we present it and why. One is creating a museum-like atmosphere in the layout and size of the collection. I enjoy and want to encourage that ‘discovery’ feeling that you experience in a museum setting. Secondly, the art itself is one of the biggest inspirations behind the food.”
Two of the folk artists whose work he’s collected use mud and wild berries to create their pieces, a process Brock employs in his kitchen. He says, “It’s the same as what we do with lima beans and cabbage, sourcing and cooking them in a way that becomes a new, luxurious experience. It also speaks to our responsibility towards zero waste by respecting and working with the full potential of our ingredients.”
Like any restaurant, the look and feel of the space reflect that of the menu, which is decadent without any trace of opulence or extravagance. It’s a sort of quiet luxuriousness that continues to blossom the longer you’re there. But the driving force behind Audrey was neither the food nor the interiors; it was the feeling Brock and Vance wanted to capture. “For us, it was the full sensory experience. We wanted you to come in and be highly immersed in this Appalachian landscape,” Vance says.
The duo left no detail unattended when it came to the five senses. Vance even took a piece of the Shou Sugi Ban burned wood from Audrey’s façade and brought it to a local tile maker to turn it into a tile that would ultimately line the walls of the open concept kitchens. And upstairs Vance installed three pendants that are equal parts lamp, speaker, and herb dryer. When it comes to unique pieces like these, Vance explains, “We wanted to pull you in, and we focused on the senses.”