When Florence Knoll pioneered the concept of lifestyle furniture displays in the early 1950s, many visitors to Knoll showrooms were bewildered by the novel approach. Traditional furniture stores typically grouped similar pieces together – chairs with chairs, tables with tables. But it was Yves Vidal, who became Knoll International’s president in 1951, who would take this revolutionary display concept to extraordinary heights in an unlikely setting.
In 1961, Vidal acquired York Castle, a 16th-century Portuguese fortress in Tangier, Morocco. This ancient structure, perched above the beach near the Strait of Gibraltar, had served many roles through history – from a British governor’s residence to a Moorish general’s command post, from a prison to a Sultan’s exotic animal stable. By the mid-20th century, it stood abandoned and deteriorating.
Working with interior designer Charles Sevigny and Belgian architect Robert Gerofi, Vidal undertook an ambitious restoration project that would become a masterclass in blending modernist furniture with historical architecture. The team preserved the fortress’s Moroccan character through traditional elements – terra cotta ceilings, whitewashed walls, and patterned grills. They even maintained fragments of 17th-century wall inscriptions left by Christian prisoners of Barbary pirates.
The genius of York Castle’s transformation lay in its fearless fusion of styles. Modernist Knoll pieces found harmonious homes among oriental artifacts. Saarinen pedestal tables displayed local flowers, while Bertoia wire chairs cast shadows that danced with those from traditional moucharabieh windows. Florence Knoll’s clean-lined seating was softened with Thai silk pillows, creating an environment that L’Oeil art magazine praised in 1962 for showing « how happily contemporary design can be blended with traditional décor. »
At the heart of the castle, Vidal created an octagonal courtyard with arcaded galleries, featuring a swimming pool adorned with traditional Moroccan zelije tiles. This pattern was thoughtfully echoed in a carpet within the castle’s living room, creating a visual dialogue between indoor and outdoor spaces. The terraces, though appearing ancient, were reimagined for modern leisure, featuring wicker sunbeds and outdoor dining areas centered around Saarinen tables.
The transformation of York Castle proved revolutionary in demonstrating how modernist furniture could complement, rather than conflict with, historical settings. The property became a summer destination for international visitors and a testament to the possibility of harmonious design across centuries and cultures. As Vidal later reflected, « It showed people that you could mix it up with different furniture and objects and paintings which were not necessarily modern. »
This pioneering blend of old and new, East and West, helped shift European perceptions of contemporary furniture. The success of York Castle’s interior design influenced a broader acceptance of modernist pieces in traditional settings. « Little by little, » as Vidal noted, « it became absolutely chic to have Knoll furniture in your house. »
Today, York Castle stands as a testament to Vidal’s vision – a perfect illustration of how thoughtful design can bridge temporal and cultural divides, creating spaces that honor both history and innovation. The project’s influence continues to inspire designers who seek to create meaningful dialogues between contemporary furniture and historical architecture.
