Gerald Luss, whose sophisticated designs for Manhattan high-rise offices and lush layouts for residential interiors helped define the look known as midcentury modern — particularly his plan for the Time-Life offices, which was so true to its era that it provided the model for the sets of “Mad Men” — died on April 1 at his home in Manhattan. He was 98.
His wife, Susan Luss, confirmed the death.
Mr. Luss trained as an architect, and while he built only one notable structure — his own hillside home in Ossining, N.Y. — his interior designs went far beyond the mere placement of tables and chairs.
For the Time-Life offices, at 1271 Avenue of the Americas in Midtown Manhattan, he brought order to what might have been chaos, given the glass-and-steel tower’s massive wide-open floors.
Using what he called the plenum system, he divided the floor into a grid, with each three-by-four-foot module serviced by electricity, fire control and lighting. Lightweight walls could be easily reconfigured using the grids.
His interior, however, was no hyper-rationalist cage. He decorated the walls with murals by artists like Josef Albers and Fritz Glarner. Even the lowliest clerk could walk along rich plush carpets or gaze down on the Avenue of the Americas (Sixth Avenue to most New Yorkers) like a royal.
He also designed many of the office’s tables, chairs and other furnishings. They had to be lightweight and easy to move; they also had to be comfortable and easy to clean without looking sterile. He relied on bright colors and comfortable fabrics to soften them, elements that became part of the midcentury-modern design vocabulary.
“The person who works spends more time in the office than at home,” he told The New York Herald Tribune in 1959. “Therefore, offices should be as carefully planned as homes.”
Mr. Luss was best known for his interiors, but his 1955 home remains a favorite among fans of modernist architecture.
Perched on a five-acre hillside above the eastern bank of the Hudson River, the house is a precisely crafted essay in minimalism, with cypress and oak paneling and floor-to-ceiling windows that blur the line between the interior and the forest outside.
Mr. Luss oversaw every detail of the project. He even built a treehouse on the site so he could live close by during the nine-month construction project.
He later used the home to host executives from Time-Life, giving them a close-up sense of his approach to design. He sold it in 1959; he said he needed more space for his growing family, though some friends speculated that with the house complete, he needed a new challenge.
Over his 70-year career, Mr. Luss worked for clients of all sizes: corporate behemoths like Owens Corning, hospital systems like Northwell Health, and wealthy families, like the one that hired him to outfit a penthouse apartment near the United Nations.
The apartment, completed in 1969, was rich in contrasting materials, like verde antique stone walls, thickly woven tapestries and rich oak detailing.
“The immensely luxurious materials so unfamiliarly placed, and the tension between hard, cold echoing surfaces and soft, warm, quiet ones, produce drama,” Interiors magazine wrote in 1969. “As a whole, the interior negates the impersonal steel-and-concrete filing-cabinet format of our apartment buildings.”
Gerald Luss was born on Oct. 7, 1926, in Gloversville, a city in central New York, to Jewish immigrants from Eastern Europe. His father, Isadore, came from what is now Poland and worked in a glove factory; his mother, Anna (Saiger) Luss, came from what is now Russia and looked after the home.
From an early age, Gerald took to design. On the weekends, he would hike through the nearby Adirondack foothills, sketching trees and birds along the way; later, he would collect glass shards from a local window maker to build crystalline towers at the garage workbench his father made for him, next to his own.
He joined the U.S. Army after high school and received architecture training in Denver. After being honorably discharged, he enrolled at Rensselaer Polytechnic Institute in upstate New York. He later transferred to Pratt Institute, in Brooklyn, which had recently started an interior design program.
Mr. Luss graduated with a degree in interior design in 1949. Unlike many of his classmates, who aspired to join a large design firm in a junior role, he sought a smaller company where he could immediately become a lead designer.
One such firm, Designs for Business, was led by a Pratt graduate, who gave him a two-week tryout. Within a few years, he was vice president.
After 17 years with Designs for Business, Mr. Luss started his own firm. At first, he ran it with a colleague, Eli Kaplan; he was later the sole principal.
His first marriage, to Rhoda Kassof, ended in divorce. His second wife, Ann Langhof, died of cancer in 1975. He married Susan Sechler in 2004.
Along with her, he is survived by three children from his second marriage, Jay Luss, Jil Gans and Gay Dallek; and three grandchildren. A son from his first marriage, Jan Luss, died in 1996.
Starting in the mid-1980s, Mr. Luss took an interest in designing clocks, inspired by the idea that the 24-hour daily cycle is a common denominator across the world’s cultures.
He built dozens of clocks by hand, many of which filled his home in the Dakota, the storied apartment building along Central Park West.
Some of those clocks were featured in a 2021 art exhibition at the Luss House, alongside contemporary works by more than a half-dozen other artists.
When a writer working for the exhibition asked him what he thought, seeing his home filled with the work of so many others, he replied, “It’s never looked this good.”
