Interior Design January 2023

JANUARY 2023

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THE FORSI COLLECTION

At the height of innovation. The Forsi collection has a unique height crafted to inhabit the space between the informal lounge and formal conference environments, resulting in the perfect meeting.

Designed by EOOS. Made by Keilhauer.

CONTENTS JANUARY 2023

VOLUME 93 NUMBER 16

ON THE COVER An enfilade of abstracted moon gates turns a broad passage­ way into a space-time tunnel at Guangzhou Airport Sunac Center, C&C Design Co.’s 44,000-square-foot exhibit and sales facility for a transit-oriented development associated with the international airport in China, and the winner of Interior Design’s Best of Year Award in the residental sales center category. Photography: Courtesy of C&C Design Co.

01.23

best of year 14 ENVIRONMENTAL IMPACT

54 DOMESTIC CHAIN HOTEL

16 SOCIAL IMPACT

56 INTERNATIONAL CHAIN HOTEL

18 BEAUTY/SPA 19 HEALTH/WELLNESS 20 HEALTHCARE 22 BUDGET

58 LARGE RESORT 60 DOMESTIC HOTEL RESTORATION

24 EXHIBITION

62 INTERNATIONAL HOTEL RESTORATION

25 INSTALLATION

64 BOUTIQUE HOTEL

26 MUSEUM

66 ICONIC

28 ENTERTAINMENT

68 SMALL CORPORATE OFFICE

30 FACADE 32 GOVERNMENT/ INSTITUTIONAL 33 TRANSPORTATION 34 HIGHER EDUCATION 36 EARLY EDUCATION 38 LIBRARY 40 OUTDOOR 42 COFFEE/TEA 44 COUNTER SERVICE 46 BAR/LOUNGE 48 DOMESTIC FINE DINING

ONE THOUSAND DEGREES IMAGE

49 INTERNATIONAL FINE DINING

69 MEDIUM CORPORATE OFFICE 70 LARGE CORPORATE OFFICE 72 EXTRA-LARGE CORPORATE OFFICE 74 OFFICE TRANSFORMATION 76 CREATIVE OFFICE 77 SPORTS OFFICE 78 SMALL TECH OFFICE 79 TECH OFFICE INTERIOR 80 LARGE TECH OFFICE

50 CASUAL DINING 52 HOTEL DINING

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CONTENTS JANUARY 2023

VOLUME 93 NUMBER 16

best of year 82 FIRM’S OWN OFFICE DOMESTIC 84 FIRM’S OWN OFFICE INTERNATIONAL 86 COWORKING OFFICE 88 COMMERCIAL CAFETERIA 90 SMALL COMMERCIAL LOBBY 91 LARGE COMMERCIAL LOBBY

114 SENIOR LIVING 116 MULTIUNIT RESIDENTIAL 117 INFILL HOUSING 118 MODEL HOME 120 RESIDENTIAL SALES CENTER 122 DOMESTIC STAIRCASE 123 INTERNATIONAL STAIRCASE 124 FASHION RETAIL

92 RESIDENTIAL LOBBY

126 COSMETICS RETAIL

94 BEACH HOUSE

128 MIXED RETAIL

96 SMALL COUNTRY HOUSE

129 ACCESSORIES RETAIL

97 MEDIUM COUNTRY HOUSE 98 LARGE COUNTRY HOUSE 100 SMALL CITY HOUSE 102 LARGE CITY HOUSE 104 CITY HOUSE ARCHITECTURE 106 SMALL APARTMENT 107 LARGE APARTMENT 108 RESIDENTIAL LANDSCAPE

130 MIXED SHOWROOM 131 SHOWROOM 132 ENVIRONMENTAL BRANDING/GRAPHICS 133 COLLATERAL BRANDING/GRAPHICS 134 ON THE BOARDS SINGLEFAMILY & MULTIUNIT RESIDENTIAL 135 ON THE BOARDS COMMERCIAL 136 SHINING MOMENT 139 SMALL RESORT

110 RESIDENTIAL TRANSFORMATION 112 KITCHEN

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our annual showcase of projects that top the stack

JAN.23

INTERIOR DESIGN

13

EINAR ASLAKSEN

“The project proves that production can be sustainable and profitable”

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JAN.23

big–bjarke ingels group Plus, Magnor, Norway Furniture manufacturer Vestre is committed to sustainability.

The 70-year-old Norwegian company makes outdoor seating and tables from local materials like FSC-certified pine and produces them with 100 percent renewable energy. The Plus, Vestre’s 75,000-square-foot factory and visitor center— designed by BIG and constructed of recycled steel, low-carbon concrete, and charred larch cladding—demonstrates what environmentally friendly fabrication looks like. Built to Passivhaus Institute standards, the Plus generates 50 percent less greenhouse gases than a conventional factory. “The project proves that production can be sustainable and profitable,” partner-incharge Bjarke Ingels says.

Located in a 300-acre forest near the Swedish border, the building is made up of four production wings that intersect at a circular public courtyard with glass walls, spiral soil-andconcrete flooring, and a single maple tree. A painted steel stair curves up to the second-floor visitor center and a rooftop terrace with views of the structure’s solar-array and rainwatercollection systems. Large windows give employees views of the woods from the factory floor, and visitors outside can watch furniture being assembled. “The radical transparency invites them to enjoy the whole creation process,” Ingels adds. They’re also free to hike around the park, camp overnight, and enjoy the great outdoors the Plus strives to protect. —Rebecca Dalzell PROJECT TEAM: BJARKE INGELS; DAVID ZAHLE; OLE ELKJAER-LARSEN; VIKTORIA MILLENTRUP; EVA SEO-ANDERSEN; TOMMY BJØRNSTRUP; GIULIA FRITTOLI; ULLA HORNSYLD; ARIANA RIBAS; MARCEL GÖTZ; ANNE KATRINE SANDSTRØM; CAMILLE INÈS SOPHIE BREUIL.

EINAR ASLAKSEN

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environmental impact

JAN.23

INTERIOR DESIGN

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be stofyear social impact

hwkn architecture and david rubin land collective Grand Junction Plaza, Westfield, Indiana

A flood-prone creek that runs through the city’s center was given a climateconscious upgrade by Philadelphia’s David Rubin Land Collective, which restored the waterway to its natural state and added a park with such new community facilities as an ice rink. It also includes three pavilions by HWKN. The New York studio conceived the concrete-floored volumes—a collaboration with Indianapolis firm Ratio Architects and Toronto-based Bruce Mau Design, which spearheaded signage—as a stone block that had been “split” apart into chunks, the resulting jaggedy extrusions crafted of limestone from the same quarry that clads the Empire State Building. The first pavilion to come to fruition is a skate-rental counter with a locker room and café, boast­ ing full-height glass walls that draw in the revitalized environs. —Jen Renzi PROJECT TEAM: MATTHIAS HOLLWICH; ROBERT MAY; CAITLIN SWAIM; NICKIE HUANG; DANIEL SELENSKY; KATE SCOTT; VALENTINA MELE; IGNAS KALINAUSKAS; AMY KESSLER; AXELLE ZEMOULI; BRIAN RICHTER (HWKN ARCHITECTURE); DAVID A. RUBIN; DAVID ELLIOT;

ALAN KARCHMER

BRIAN STARESNICK; LINDSEY TABOR (DAVID RUBIN LAND COLLECTIVE).

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JAN.23

Textile: Color Works Red Gray

AT T H E M U S E U M C O L L E C T I O N

by S i na Pea rso n

MomentumTextilesAndWalls.com

matrix design

Oritim, Shenzhen, China

The up-and-coming Chinese firm’s latest project is Oritim, the chicest of spas bathed in soothing taupe micro-cement.

The story begins at the entry, where a backlit row of wheat blades inset into the wall telegraphs the interrelationship of beauty and nature. Throughout, a ceiling of mirror-polished stainless steel is the standout move, culminating in the waiting area. There, it reflects LED channels in the floor and walls as an infinite portal, like a passage to the center of the universe. To top it all off, medical equipment like micro-needles and radiofrequency lasers are refashioned into contemporary geometric artworks by BananaJam Art Space, a local collective. —Georgina McWhirter

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JAN.23

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SHI XIANG WAN HE

PROJECT TEAM: WANG GUAN; LIU JIANHUI; WANG ZHAOBAO.

beauty/spa

camber studio Crye Precision employee fitness center, Brooklyn, New York An abandoned shipbuilding facility in the Brooklyn Navy Yard is now the headquarters for Crye, a maker of military gear. Two floors of offices and sewing rooms line the sides of the 87,000-square-foot building, and a 470- foot-long hall is used for storage. Camber principal Wes Rozen was hired to design the workplace’s fitness center for the company’s 240 employees. The only available space was on top of two rooms in the center of the hall, which is where Rozen installed a sculptural, origamilike structure of black prefinished plywood. The wood references the garment manufacturing happening at Crye; a repeating diamond motif, engraved with a CNC router, gestures to stitches, measurements, and sewing patterns. The intervention also serves as the programmatic element for the gym: There’s a yoga studio on one side, a fitness center with a climbing wall on the other, and, in between, a tunnel over the bridge that connects to the site’s mezzanine. —Rebecca Dalzell

be stofyear health/wellness

PROJECT TEAM: WES ROZEN; ZACH MULITAUAOPELE; SEAN MILLER; JULIA DIPIETRO; JAMES COLEMAN; BEN MOSCA; CHRISTOPHER WHITE.

JOHN MUGGENBORG

JAN.23

INTERIOR DESIGN

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healthcare

zgf University of California, San Francisco, Nancy Friend Pritzker Psychiatry Building

For centuries, architecture has reinforced the stigma of mental illness. Dreary treatment facilities with sterile interiors and small windows can look more like prisons than hospitals. This bright, 173,000-square-foot research and treatment center—home to UCSF’s Department of Psychiatry and Behavioral Sciences—by ZGF turns the institutional typology on its head. With large windows and whiteoak floors, the biophilic design reflects the fact that access to daylight and nature shortens hospital stays and improves patient outcomes. The building also aims to promote transparency and normalize mental healthcare, encouraging more people to seek help. “The space is meant to signal to patients that they are safe, they are welcome, and that they matter,” associate principal Mirjana Munetic says.

Visitors enter into a five-story atrium that draws the eye up to the skylight, where painted metal baffles filter daylight to the ground floor. The walkways around the atrium have 6-foot-high glass guardrails that enhance the sense of openness while also providing protection for patients. Waiting rooms, traditionally hidden, are adjacent to the atrium, sending a message that behavioral health patients should be visible. With a rooftop garden and an extensive art program— including landscape photographs by Richard Misrach—the resulting environment is calm, with a sense of hope. —Rebecca Dalzell JACOB DUNN; JASON ESSEL; GAVIN FLISAKOWSKI; KELLY GEISTER; JONAH HAWK; JULIE JENSON; KENTON MCSWEEN; MELISSA MORTON; MIRJANA MUNETIC; SOLVEI NEIGER; FRAN ORONA; COLLEEN PRIEST; DOUG SAMS; LIZ THATCHER; ALLISON TITUS DE BOER; OWEN TURNBULL; JAN WILLEMSE.

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BRUCE DAMONTE

PROJECT TEAM: KIMBERLY BANDY; AMELIA BERNHARDT; JUSTIN BROOKS; LYNETTE BURROWES;

“The project promotes transparency and normalizes mental healthcare, encouraging more people to seek help”

BRUCE DAMONTE

JAN.23

INTERIOR DESIGN

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rivian Rivian Delivery Center, Normal, Illinois Located at the electric vehicle maker’s manufacturing plant—an erstwhile Mitsubishi factory—is a playful 4,900-square-foot delivery center where customers go to receive their new cars. In keeping with the brand’s adventurous spirit, Rivian’s in-house team, spearheaded by former Studio O+A design director Denise Cherry, converted a repair workshop and its gravel yard into a skylit indoor-outdoor social hub and experiential center vivified by a colorful 50-footlong exterior mural by Joe Swec. Inside and out, custom communal tables made of hickory invite employees and customers to relax. There, they can indulge in complimentary vegan chili served from the pull-out camp kitchen of the company’s R1T truck.

—Lisa Di Venuta PROJECT TEAM: MICHELLE WATSON; HANNAH WOO; DENISE CHERRY;

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INTERIOR DESIGN

JAN.23

JASPER SANIDAD

LIZ GUERRERO; ARICA WOLFE; OLIVER HUTTON; NINA MASUDA.

VERTIGO NOVA collection by CONSTANCE GUISSET for PETITE FRTITURE. For United States and Canada us.petitefriture.com

olson kundig Bob Dylan Center, Tulsa, Oklahoma It was 2017 when Olson Kundig won the comp­ etition to design the facility that would house the 100,000-item archive for and interactive exhibits related to the enigmatic Bob Dylan. For principal Alan Maskin, the musician’s mystique presented an opportunity to take an unconventional narrative approach—one inspired by Rashomon, the Akira Kurosawa film—to the $10 million project. The center occupies an 11,000-square-foot, two-story former paper warehouse—and it’s far from a trad­ itional museum presenting a static history of Dylan’s life. A diverse team, including filmmaker Jennifer Lebeau and fellow musician Elvis Costello, informs what Maskin calls a “cubist portrait” of the artist. That portrait begins in the lobby, where a lenticular wall displays names of donors on one side and, on the other, a 1986 image of Dylan by filmmaker Lisa Law. A grid of 50 additional photo­ graphs from 1966, also by Law, have been enlarged and printed on magnetic sheets to fill the stairwell.

—Rebecca Dalzell PROJECT TEAM: ALAN MASKIN; STEPHEN YAMADA-HEIDNER; MARLENE CHEN; HOLLY SIMON; RYAN BOTTS; BRIAN HAVENER; KAREN DUAN; AIYM ZHUMASHEVA.

MATTHEW MILLMAN

be stofyear exhibition

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INTERIOR DESIGN

JAN.23

kenzo digital Summit One Vanderbilt, New York

COURTESY OF SUMMIT ONE VANDERBILT

be stofyear installation

The tippy-top of Midtown’s buzziest new skyscraper, developed by SL Green Realty Corp., is a 65,000-square-foot playground that immerses visitors in views extending 80 miles. Glass-box balconies and elevators project out beyond Kohn Pedersen Fox’s base building envelope, levitating 90-odd stories above Madison Avenue; an open-air terrace allows enjoyment of fare from the adjacent Snøhetta-designed café; and the

three-level atrium’s experiential installation by Kenzo Digital utilizes 30,375 square feet of mirrors to create the effect of infinite space—an illusion amplified by floating reflective orbs, an animated cumulus-scape, and Clouds, a floor piece by Yayoi Kusama. After dark, the vibe shifts completely, courtesy of a light-and-sound show. Heavenly! —Jen Renzi JAN.23

INTERIOR DESIGN

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museum

fentress architects, machado silvetti, and esrawe + cadena Denver Art Museum Martin Building A comprehensive four-year overhaul of the museum’s multibuilding campus included the renovation and expansion of the original structure by Gio Ponti—the architect’s only completed project in the U.S.—built with Denver’s James Sudler Associates in 1971. Piercing one corner of the quirky 24-sided edifice is the new Anna and John J. Sie Welcome Center; its spaceshiplike form, enfolded in a rippled facade of curved glass panels, was conceived by Fentress Architects and Machado Silvetti to tie together the campus’s stylistically disparate structures.

The glassy pod provides greatly enhanced community, dining, and event space as well as entrée to the 35,000-square-foot, two-level Bartlit Learning and Engagement Center, a facility that helps the institution better fulfill its inclusive ethos. An extruded-ellipse staircase inspired by Ponti’s original tubular entrance entices visitors down to the lower-level Morgridge Creative Hub, a hands-on maker space that invites museum-goers to engage with the creative process—and to interact with the environment itself. A collaborative team from Esrawe Studio and Cadena Concept Design devised colorful graphics and custom modular furnishings (reconfigurable work surfaces, mobile activity carts) that enable end-users to work independently, in groups, or on the move. The scheme, envisioned with much input from museum staff, embodies and invokes principles of adaptability, spontaneity, participation...and joyousness.

—Jen Renzi PROJECT TEAM: IGNACIO CADENA; HÉCTOR ESRAWE; LAURA VELA; JAVIER GARCÍA-RIVERA; DANIELA MENDOZA; JAN MULLER; FERNANDO CARNALLA; SOFÍA CASTILLO; ANA LEDINCH; PABLO AVILA; ANDREA AUERBACH; ROCÍO SERNA; HAYDE ALVAREZ; NATÁN AYALA; ALAN FRANK; LOBSANTH ORTEGA; YAIR UGARTE; LUPITA GODINEZ;

“The goal was to evolve the visitor experience while honoring and preserving the historic architecture of Gio Ponti’s original museum design from the 1970’s”

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INTERIOR DESIGN

JAN.23

ESRAWE + CADENA

EMANUEL MIRAMONTES (ESRAWE + CADENA).

RICHARD BARNES

JAN.23

INTERIOR DESIGN

27

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entertainment

one plus partnership limited For their latest eye-popping multiplex, and their third Best of Year Award in this category, cinema-design mavens Ajax Law and Virginia Lung riffed on the theater’s name, filling the lobby with an abstract interpretation of the sky. Custom aluminum-alloy arcs in different sizes evoke clouds floating overhead, some touching the floor or curving into a bench. The One Plus co-design directors worked with the client to adjust the location of HVAC units and raise the ceiling to the concrete slab, up to 16 feet high. This allowed them to layer the arcs without making the site feel cramped. “It’s for visitors to experience a weightless feeling, as if they’re walking inside clouds,” Lung says.

The theme extends throughout the 60,000-square-foot complex. Arcs appear in the shape of the terrazzo ticket and coffee counters and the LED strips bending above the seats in the 10 theaters, which include an IMAX. The all-white women’s restroom is an airy cocoon of solid surfacing and terrazzo, with a backlit banquette that curves behind a pair of freestanding cylindrical sinks. The cohesive visual identity is typical of One Plus, whose projects are inventive and distinct yet recognizably its own. Here, Law and Lung have created a surprising new experience in the predictable confines of a mall. —Rebecca Dalzell PROJECT TEAM: AJAX LAW; VIRGINIA LUNG.

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INTERIOR DESIGN

JAN.23

JONATHAN LEIJONHUFVUD

Cinesky Cinema Phase 3, Shenzhen, China

“Law and Lung riffed on the theater’s name, filling the lobby with an abstract interpretation of the sky”

JONATHAN LEIJONHUFVUD

JAN.23

INTERIOR DESIGN

29

be stofyear facade

david hotson architect St. Sarkis Armenian Orthodox Church, Carrollton, Texas The victims of the 1915 Armenian genocide are remembered in the highly detailed, printed porcelain rainscreen panels by Fiandre that clad the entry to the new Texan church. Perspective unfolds the story. From a distance, a large Armenian cross can be glimpsed; drawing nearer, the cross is revealed to be composed of smaller traditional botanical motifs. Viewed closer still, the image dissolves into a grid of circular icons, 1 centimeterin diameter, each unique and representing one of the 1.5 million individuals killed over a century ago.

David Hotson and team wrote a computer script to generate the differing icon patterns and distribute them by density to form the multilayered design, which powerfully conveys the scale of loss. —Georgina McWhirter

DROR BALDINGER

PROJECT TEAM: DAVID HOTSON; STEPAN TERZYAN; MIKE KONOW; ANI SAHAKYAN; BENJAMIN ELMER; CESAR ELIAS QUINTERO, CHEUK KEI HUI, ROME CAO.

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INTERIOR DESIGN

JAN.23

FANS YOU CAN CONTROL WITH YOUR PHONE OR TABLET. THAT’S SMART. Use your phone or tablet and the Bond home app to control light and speed for your fans from your smart device while at home or away.

Find more smart products at craftmade.com.

M AD E YOU LOO K

be stofyear government/institutional

roar A huge custom ottoman in the shape of a teddy bear is not the sort of thing often found in a government agency office. But it is at this 38,000-square-foot workplace

by Roar founder and creative director Pallavi Dean that sets policy in matters concerning the welfare of women and children in the U.A.E. Dean and her team threw feminine curves into the layout—notably seen in the lounge’s ceiling cutout and the furniture throughout, such as reception’s womblike amber Morph loveseat by Tanju Özelgin—along with nods to the region’s vernacular architecture, like breezeblock screens and arches. And the “paws” of that teddy bear, in the office’s nursery for the children of staff and visitors, are upholstered in traditional Emirati weaving done by Bedouin women. —Jane Margolies PROJECT TEAM: PALLAVI DEAN; TAMARA TAAMNEH; ANNA DE FLORIAN; ANA CARRERAS; NADEEM ASHARAF.

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JAN.23

CHRIS GOLDSTRAW

Supreme Council for Motherhood & Childhood, Abu Dhabi, U.A.E.

be stofyear transportation

autoban Galataport Istanbul Cruise Terminal Istanbul is on a mission to revitalize its ancient commercial port district of Karaköy into a worldclass cruise destination. It was up to hometown firm Autoban to conceive a cutting-edge, 3-millionsquare-foot terminal capable of serving 1.5 million passengers. To keep the waterfront open, the team took the radical step of burying the terminal underground: As a cruise ship docks into the port, a gangway rises to meet its doors and subsequently transports the passengers below. To make up for the lack of natural light, spaces are open and airy, with silvery artificial illumination throughout. The motif of repeating arches comes from another subterranean part of the city’s history: its ancient underground cisterns. —Wilson Barlow PROJECT TEAM: SEYHAN OZDEMIR SARPER; SEFER CAGLAR; BILAL AYDIN; BUGRA BILGEN; SILA SIVA; ELIF GURTAS.

ALI BEKMAN

JAN.23

INTERIOR DESIGN

33

“With its prominent location on Hewitt Quadrangle, the new luminous facade celebrates the internal energies of the center”

robert a.m. stern architects and l’observatoire international

FRANCIS DZIKOWSKI/OTTO

Schwarzman Center, Yale University, New Haven, Connecticut

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JAN.23

A long journey sometimes brings us back to our beginnings. Robert A.M. Stern, who graduated from the Yale School of Architecture in 1965, has returned to his alma mater many times, both as a dean and for numerous architectural projects as founding principal of RAMSA. Most recently, his firm transformed the university’s iconic Commons and adjoining Memorial Hall—components of Carrère & Hastings’s 1910 Bicentennial Buildings—into the Schwarzman Center, a 123,000-square-foot social hub for the university’s undergraduate, graduate, and professional students. The makeover retains and restores the historic interior architectural features, such as the original brickwork and decoratively painted wood trusses in the Commons dining hall, where eight oversize chandeliers have been refurbished and rehung on motorized winches from the 66-foot-high ceiling.

Service areas below the hall were reclaimed to create additional facilities including a casual dining space with colorful banquettes, cork flooring, an undulating walnut ceiling, and a stage for performances. The new underground spaces are accessed by a sweeping stair descending from the plaza in front of the limestone buildings, their facades illuminated with recessed LEDs that emphasize the quality of the beaux-arts architecture. The superb lighting design is

by L’Observatoire International, whose state-of-the-art work here and throughout the center’s interiors adds immeasurably to the successful integration of the buildings’ venerable past with their vibrant present. —Athena Waligore PROJECT TEAM: ROBERT A. M. STERN; MELISSA DELVECCHIO; GRAHAM S. WYATT; JENNIFER L. STONE; KURT GLAUBER; KEN FRANK; MARIANNA MONFELD; SHAWN MC CORMICK (ROBERT A.M. STERN ARCHITECTS); HERVÉ DESCOTTES; WEI JIEN; ANNA MUSLIMOVA; LEAH XANDORA; MAYUMI YASUDA; WEN Y. LIN; YASMIN GIACOMAN (L’OBSERVATOIRE INTERNATIONAL).

be stofyear higher education

FRANCIS DZIKOWSKI/OTTO

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“The school brought education to the region’s daughters as well as sustainable design and jobs for local craftsmen”

diana kellogg architects Rajkumari Ratnavati Girls’ School, Jaisalmer, India

early education

VINAY PANJWANI

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Last year, many girls from rural areas around Jaisalmer, a city in the northern Indian state of Rajasthan, attended school for the first time. It was in this 10-classroom structure by the Diana Kellogg Architects namesake founder and her team: an oval sandstone building in the Thar Desert that brought not only education to the region’s daughters but also sustainable design and jobs for local craftsmen. A small army of artisans and day laborers constructed the 8,900-square-foot school in just 10 months.

Working without electricity or heavy machinery, they hand-carved solid sandstone blocks and aligned them using only a simple water level. Inside, sandstone washbasins, teak desks, and woven charpai seating were made locally by hand; nearly all the materials come from Jaisalmer. Kellogg’s design factors in the extreme weather conditions of the desert, where temperatures range from 40 to 120 degrees. It centers around a courtyard, which she plans to shade with large sail-like canvas awnings. Though there is no air-conditioning, passive solar techniques and lime-plaster coating on interior walls help keep classrooms cool. The mosaic-tiled roof, screened by traditional jali-style latticework parapets that provide cross ventilation and protection from sandstorms, serves multiple purposes: It can be an outdoor learning space on a breezy day, a stage for performances, or a play area.

The school serves more than 400 Hindu and Muslim girls in kindergarten through the 10th grade who would otherwise receive little education. —Rebecca Dalzell PROJECT TEAM: DIANA KELLOGG; BASIA KUZIEMSKI; ARYA NAIR; SURYA KUMAR.

VINAY PANJWANI

JAN.23

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c&c design co.

Starry Sky Town, Heyuan, China There’s something spiritual about libraries. C&C Design Co. understood that when incorporating a branch of the Heyuan public library into this 21,500-square-foot mixed-use building that’s both a community center and a realestate sales office. The library occupies a domed rotunda, a sublime double-height space encircled by sculptural arches. Behind them, a broad staircase winds past book-lined walls to reach a more intimate balcony level. Woodveneered shelves and wood-look tile flooring add warmth to the otherwise monastic palette of white textured paint and marblelike artificial stone. At the dome’s apex, an oculus not only allows natural light to enter during the day but also plays the role of the moon at night when a heavenly constellation is projected onto the surrounding ceiling.

The otherworldly spirit extends to adjacent public areas in the four-level complex. The reception hall is an all-white expanse of flowing lines, curving forms, and ethereal glass walls. Above it, dark colors, mirrored surfaces, and dramatic lighting turn the lounge into a moody, intergalactic space, a suitable venue, the C&C designers say, “for group meetings like reading clubs.” But nowhere is the connection to the celestial sphere stronger than on the rooftop, which hosts an outdoor swimming pool flanked by sun loungers—a blissful place to soak up solar rays while immersed in a library book.

—Athena Waligore

COURTESY OF C&C DESIGN CO.

PROJECT TEAM: PENG ZHENG; XIE ZEKUN; XIE ZISHAN; ZHENG JINXUAN; WU YONGLONG. PROJECT TEAM: DAN MAZZARINI; JENNIFER ROSENTHAL.

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library

“This is not a purely spiritual or aesthetic space, it also has a social welfare function”

COURTESY OF C&C DESIGN CO.

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INTERIOR DESIGN

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“It’s a prototype for turning infrastructure upgrades into rich, new community experiences”

david rubin land collective and hwkn architecture

Prior to its recent rehabilitation, Cool Creek was, on most days, a low-key waterway confined to a V-shape concrete channel that ran through the heart of Westfield, a municipality on the outskirts of Indianapolis. But during torrential downpours, which are becoming increasingly common due to climate change, the rivulet swelled to more voluminous—and dangerous—proportions, often flooding the surrounding area. One such event prompted an infrastructure upgrade that restored the creek to its original free-form path, with newly stabilized banks, and added a surrounding park with abundant community amenities including a meadow, a playground, and an outdoor amphitheater. There’s even an ice rink, where skates can be checked out and street shoes stashed in a HWKN-designed glass-and-stone pavilion (see the Social Impact category winner). Located at the nexus of five biking and hiking trails, the 8-plus-acre project was spearheaded by David Rubin Land Collective.

Principal David A. Rubin and team built footbridges, planted native species, and landscaped the terrain with stone elements that serve to bolster the creek bank, slow down rushing stormwater, and create delightful opportunities for sitting, climbing, playing, and stepping right down into the creek itself. Cool! —Jen Renzi

Grand Junction Plaza, Westfield, Indiana PROJECT TEAM: DAVID A. RUBIN; DAVID ELLIOT; BRIAN STARESNICK; LINDSEY TABOR (DAVID RUBIN LAND COLLECTIVE); MATTHIAS HOLLWICH; ROBERT MAY; CAITLIN SWAIM; NICKIE HUANG; DANIEL SELENSKY; KATE SCOTT; VALENTINA MELE; IGNAS KALINAUSKAS; AMY KESSLER; AXELLE ZEMOULI;

be stofyear outdoor

ALAN KARCHMER

BRIAN RICHTER (HWKN ARCHITECTURE).

ALAN KARCHMER

JAN.23

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phoebe says wow architects Fifteen Steps Workshop, Taipei, Taiwan Taipei’s coffee culture is competitive, so the owner of Fifteen Steps Workshop, an 860-square-foot roastery and bar in the city’s bustling Xinyi district, asked architects Phoebe Wen and Shihhwa Hung to give his small establishment a brand-boosting makeover. Their design emphasizes the storefront’s relationship to the street corner by carving out an open semicircular space for a quick-service standing bar, the front steps serving as a casual perch on which to sit and sip. Behind the nook’s translucent polycarbonate walls are three white-onwhite spaces—the brewing station with an additional take-out window on the side street; the roastery in the back; and a multipurpose room for private events—all defined by steel-framed paneling in the same milky material, with equally snowy ceramic-tile flooring. Jolts of sunny yellow caffeinate the interiors, saving them from feeling cold or clinical. —Jesse Dorris PROJECT TEAM: PHOEBE WEN; SHIHHWA HUNG; TING-JU CHEN; YI-XIAN DUNG.

HEY! CHEESE

be stofyear coffee/tea

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Capri Executive + Solid Conference Table

bluarch architecture + interiors + lighting SLDR Burger Bar, New York

PROJECT TEAM: ANTONIO DI ORONZO; MASASHI KOBAYASHI.

OLEG MARCH

be stofyear counter service

Catering to digital natives who favor bite-size content and bite-size burgers, SLDR, by New York studio Bluarch, entices patrons with a fresh take on the retro diner. Anchoring the elongated 2,000-square-foot joint is vibrant steel framing that incorporates a high-top counter and overhead lighting. Its safety-orange powder coat is bright enough to be seen from the sidewalk and complements the glossy teal ceramic tile cladding the service counter opposite. As for the rest, walls and the ceiling are finished with hand-applied plaster, the latter in 1970’sesque concentric shapes of bold red, orange, and yellow. Come for the sliders, stay for the vibes. —Lisa Di Venuta

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AMELIA

www.ERGinternational.com/amelia.php

be stofyear bar/lounge

CHEN HAO

“The buildings are based on the concept of the circle and the square, which represent heaven and earth in Chinese philosophy”

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neri&hu design and research office Chuan Malt Whisky Distillery, Emeishan, China Mount Emei, one of the sacred Buddhist mountains of China, is home to the country’s oldest temple. The area was placed on the UNESCO World Heritage List in 1996. So when the French beverage company Pernod Ricard tapped Shanghai-based Neri&Hu to design a whiskey distillery in a foothill there, Interior Design Hall of Fame members Lyndon Neri and Rossana Hu and their colleagues had to figure out how to build on hallowed ground. Their response was not a single, hulking structure but rather a series of smaller buildings totaling nearly 80,000 square feet tucked respectfully into the Sichuan Province landscape.

The two buildings oriented to visitors are based on the concept of the circle and the square, which represent heaven and earth in Chinese philosophy. The cylindrical tasting building—a domed rotunda clad in concrete bricks—is partially submerged in the ground. Its upper portion is encircled by three concentric rings echoing the silhouette of Mount Emei, seen in the distance.

Inside, tasting rooms filled with oak barrels ring the rotunda and water cascades from a skylight onto a bowl-shape copper vessel, creating a soothing sound.

The structure encompassing a restaurant and bar has a squared footprint and an open-air courtyard, where an angular reflecting pool fills with water after it’s cascaded down a wide staircase. The reception area’s conversation pit features custom upholstered benches for relaxing and taking in the view. —Jane Margolies PROJECT TEAM: LYNDON NERI; ROSSANA HU; NELLIE YANG; UTSAV JAIN; SIYU CHEN; FENG WANG; GUO PENG; JOSH MURPHY; FERGUS DAVIS; ALEXANDRA HEIJINK; VIVIAN BAO; YOTA TAKAIRA; ROSIE TSENG; NICOLAS FARDET; YIN SHENG; LILI CHENG; JULY HUANG; LUNA HONG; HAIOU XIN.

JAN.23

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icrave 53, New York

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PROJECT TEAM: LIONEL OHAYON; MICHELLE SCHRANK; RENEE JOOSTEN; GREG MERKEL; JANE YI; AMIT DISHON HOFFMAN; BINGJIE DUAN; RUDI PHAM; GISBEL VIDELA.

ERIC LAIGNEL

domestic fine dining

For this two-level, 11,000-square-foot restaurant adjoining the MoMA in New York, ICrave tastefully blends Asian, custom, and contemporary sensibilities. Given 53’s proximity to a world-famous museum, the firm approached the project not as interior design, but as sculpture, which resulted in dozens of large Masonite fins that cascade from the street-level bistro to the subterranean dining room, where they wrap around the ceiling plane. The fins, which have a lenticular quality when moving through the restaurant or walking by on the sidewalk, are edged in powder-coated aluminum, the nine, nearly neon colors lifted from the Nine-Dragon Wall reliefs found in Chinese imperial palaces. The hues also nod to the varied Asian cultures and cuisines represented in the menu and the modern art in the adjoining museum galleries. —Dan Howarth

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biger club design Biiird Yakitori, Shenzhen, China

be stofyear international fine dining

PROJECT TEAM: CHEUK CHUN YUNG; HUANG YUAN.

After knocking through two shopping-mall stores in Shenzhen to create a 3,000-square-foot site for Japanese restaurant Biiird Yakitori, the young cofounders of bigER Club, Cheuk Chun Yung and Huang Yuan, were expecting to find ample open space. Instead, what they saw was a column smack dab in the middle of the room. To mastermind the best flow with the greatest number of bar seats, they wrapped a U-shape countertop around a red-brick form shaped like a towering tornado. Inside the flared-masonry intervention is the kitchen and the aforementioned awkward column, while the outer perimeter, between bar and brick, becomes circulation for servers. —Georgina McWhirter

WU SIMING

JAN.23

INTERIOR DESIGN

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be stofyear casual dining “The space arises from the interplay of nature and culture”

ippolito fleitz group Spring Feast Chaohu, Hefei, China A 15th-century description of the nearby Bantang hot springs inspired the fluid shapes of this 95-seat restaurant in eastern China by Interior Design Hall of Fame members and Ippolito Fleitz co-managing partners Peter Ippolito and Gunter Fleitz. The historical text noted that there were two separate springs, one hot and one cold, whose waters merged as they flowed down a mountain. The team conceived of a three-story plan that takes visitors on a similar route. Entering the wavy 15,000-square-foot building on the top floor, guests can take one of two paths that branch off and then converge at the dining room on the lower level. There, bands of gray or white concrete course across the floor, separating walkways and seating areas, and tropical plants surround tables. Curved niches and undulating ceilings up to 46 feet high echo the caves that are the source of the spring water. The organic forms—constructed of reinforced concrete and steel—make it an otherworldly place to dine on dishes like spring water eggs with truffles. “The space arises from the interplay of nature and culture,” Ippolito says. A floor-to-ceiling window with views of the lush surroundings reinforces the restaurant’s connection to the outdoors.

—Rebecca Dalzell PROJECT TEAM: RUTH CALIMLIM; KENNY CHOU; HALIL DOGAN; PETER IPPOLITO; DORA LATKOCZY;

ONE THOUSAND DEGREES IMAGE

FRANK WANG; YU YAN; DIRK ZSCHUNKE.

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ONE THOUSAND DEGREES IMAGE

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“Everything we create, we do for emotion”

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hotel dining

yod group Terra, Lviv, Ukraine

PROJECT TEAM: VOLODYMYR NEPIYVODA; DMYTRO BONESKO; ANASTASIYA POKATILO; MAKSYM NETREBA; SERHIY ANDRIYENKO; ANDRIY ZAVSEGOLOV; OLEKSANDR KRAVCHUK; MIKHAYLO POPOVYCH.

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YEVHENII AVRAMENKO

Despite the Russian invasion, Ukrainian designers continue to create unique and vibrant gathering spaces like the new Emily Hotel by Kyiv-based YOD Group. Located near Lviv, a city in the western part of the country that has been spared the worst of the war, the property greets guests with a soaring gesture of strength in the form of a dried sycamore tree—roots, trunk, branches, and all—suspended overhead in the five-story lobby. The spectacular installation is prelude to more natureinspired wonders in Terra, the hotel’s 12,400-square-foot restaurant, where YOD evokes the region’s bucolic scenery, including green mountains dotted with shepherds’ fires and peaceful lakes fringed with rustling reeds. “We aimed to extract colors, textures, and impressions from the landscape to translate them into the interior,” the designers explain. “It’s like being on a tour around Western Ukraine.” Throughout, internally lit columns wrapped in custom bricks of bottlegreen glass echo the rhythm and hue of nearby hills. The largest column encloses 3,500 bottles of wine on shelves accessed by a spiral staircase, while waiter stations encircle other columns sheathed in terra-cotta tile, a nod to traditional ceramic-clad stoves. One wall is covered with 2,000 coppertinted glass shingles, each of which is swivel-mounted so diners can adjust its angle, creating new, shifting patterns— an interactive dynamic that recalls the movement of waves on the water or grasses in the wind. —Athena Waligore

YEVHENII AVRAMENKO

JAN.23

INTERIOR DESIGN

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rottet studio Four Seasons Hotel Chicago

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PROJECT TEAM: RICHARD RIVEIRE; LAUREN ROTTET; HAROUT DEDEYAN; OMID GOLZAR; THERESA LEE.

ERIC LAIGNEL

be stofyear domestic chain hotel

When Four Seasons Hotels opened a Chicago property in 1989, its chocolateand-rosewood palette telegraphed luxury. But three decades later, the interiors were badly in need of a comprehensive revamp. Enter Rottet Studio, helmed by Interior Design Hall of Fame member Lauren Rottet. Having previously spearheaded Four Seasons projects in Bogotá and Houston, she, principal Richard Riveire, and team had a head start understanding the brand’s needs. Here, the firm was charged with updating 23,000 square feet of public areas across the two lowest levels and a 2,700-square-foot suite on the 46th floor. In the lobby, walls were demolished to create a welcoming open space, existing flooring was replaced with more contemporary slabs of gray and white marble, and a shimmering installation of gold-tinted aluminum was hung from the ceiling. Nearby, event spaces and a restaurant were also made over, the latter incorporating a wall-spanning screen backlit by LEDs. One floor up, more walls were removed to create an expansive ballroom for over 1,100 guests, but an adjacent lounge with plush silvery sofas is more intimate. In the spacious presidential suite high above, pale woods and neutral tones ensure the opulence remains softspoken. Throughout the hotel, artwork sourced by local consultant Shashi Caudill is evocative but never upstages a setting that privileges comfort, which these days is a synonym for luxury. —Athena Waligore

“The redesigned lobby encourages guests to linger longer for socializing, live entertainment, and food and beverage offerings”

ERIC LAIGNEL ERIC LAIGNEL

JAN.23

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be stofyear international chain hotel

otto studio 25hours Hotel Piazza San Paolino, Florence, Italy The 171-key property is the first in Italy for 25hours, a hospitality brand based in Hamburg, Germany.

Interior Design Hall of Fame member and Otto Studio founder and chief designer Paola Navone embraced both the paradisal and the infernal when she drew on Dante Alighieri’s epic poem, La Divina Commedia, as inspiration for the interiors of the hotel, situated in the 14th-century poet’s native city and made in collaboration with local firm Genius Loci Architettura. The Companion bar, for instance, alludes to the Inferno, with crimson tufted-leather upholstery and dark indigo walls. In the nearby sound room, Navone and her team created a fantastic garden with an effusion of green plastic watering hoses. The guest rooms that are dubbed Paradiso are sweetness and light: Floors are creamy resin, azure accents allude to the heavens, and Alexander Calder-esque mobiles suggest the solar system. In reception, old, painted suitcases sourced throughout Europe have been arranged in teetering piles, suggesting the ultimate travel nightmare: a lost-luggage office in hell. —Edie Cohen PROJECT TEAM: PAOLA NAVONE; CRISTINA PETTENUZZO; GIAN PAOLO VENIER; CAMILLA ESCOBAR; DOMENICO DIEGO; FABIO MURADORE;

LAURA FANTACUZZI AND MAXIME GALATI-FOURCADE

PETRA DI BER; MARCO OLGIATI; MARTINA FAGIANI; MAGDALENA BOBER; BEATRICE BELLASSI; TATIANA KHNYZHOVA; ALESSIA RAFFAELLI.

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be stofyear large resort

cheng chung design Banyan Tree Nanjing Garden Expo, China At eastern China’s Tangshan Mountain, once a paradise of vegetation and wildlife, mining for ores destroyed the local ecology and resulted in a man-made chasm devoid of life that’s been abandoned for a century. But recently the quarry has been revitalized in an unexpected way: through the creation of the Banyan Tree Nanjing Garden Expo, a luxury hotel with interiors by Cheng Chung Design founder Joe Cheng and team. Although contemporary in appearance, with pale stone cladding and glass walls, the five-story building is shaped as if it has been carved out of the mountainside—the work of China Architecture Design & Research Group. Stepping down from the access road, its light-toned tiers follow the hewn contours of the quarry, with 115 guest rooms stretching out from the main public areas like roots clinging to the rock face. Topped with landscaped gardens, these accommodation bands begin a series of planted terraces that descend down to the valley floor, where they connect to paths and bridges across newly restored parkland.

For the more than 375,000 square feet of interiors, CCD drew references from nature.

Rough textures, cavernous hollows, striated surfaces, and interplays of light and dark add to an atmosphere that’s both primordial and modern. A cliff of mosaiced carved-walnut panels, for example, undulates behind the sculptural bar, like something you’d find traversing a steep canyon, while in the spa, a cloistered subterranean center that includes a skylit pool and a geothermal wellspring, a crystal artwork represents the local Tangshan hot springs. The guest room palette was lifted directly from the views of the exposed rock face outside. Dusky shades of black, brown, and gray create a moody yet tranquil ambiance. Hints of green, Cheng notes, represent “the vitality of new life, a fusion with nature.”

—Dan Howarth

“Rough textures, cavernous hollows, and striated surfaces reference nature” 58

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TING WANG

PROJECT TEAM: JOE CHENG; KEN HU; ARRON OUYANG.

TING WANG

kelly wearstler and omgivning Downtown L.A. Proper

be stofyear

THE INGALLS

domestic hotel restoration

The fourth Proper hotel by Wearstler, in downtown Los Angeles, started out in 1926 as the Commercial Club, designed in the California Renaissance Revival style by Curlett & Beelman, and then became a YWCA in 1965. Both she and Omgivning director of hospitality projects Morgan Sykes Jaybush were keen to keep the historic building’s original architectural details and surround them with a multicultural visual feast of vintage finds, custom pieces, and commissioned art. An example of the latter is right at the entry: Painter Abel Macias, whose bold colors draw upon his Mexican heritage, spent months on scaffolding covering the walls and the vaulted ceiling with his fantastical mural of flora and fauna. Of the 147 guest rooms, 10 are suites, including the Proper Pool suite, a 2,800-square-foot extravaganza Wearstler and Omgivning built around the former YWCA’s indoor pool, now smack in the middle of the living room and overlooked by a ceramic mural by local sculptor Ben Medansky. —Edie Cohen

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Join the Jet Set Experience the luxury of Soleil de Mer, our Axminster collection of custom rugs & broadloom inspired by the French Riviera. Joie de vivre!

EXPLORE THE COLLECTION ON SHAWCONTRACT.COM

be stofyear international hotel restoration

meyer davis W Rome

PROJECT TEAM: WILL MEYER; GRAY DAVIS; ZOE PINFOLD; STEPHANIE SCHREIBER.

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ERIC LAIGNEL

Co-principals and brand-new Interior Design Hall of Fame members Will Meyer and Gray Davis, along with senior associate Zoe Pinfold and local architecture firm Lombardini22, have transformed a pair of 1889 buildings into a cinematic interpretation of the Eternal City. The narrative begins with a knockout reception and lobby—a Costanza Alvarez de Castro mural backdropping polished stainless-steel kiosks in the former, graphic blackand-white Italian marble flooring anchoring the latter—and culminates in 162 guest rooms, including a duplex suite with more statuary marble.

Throughout are some 200 custom designs, all made by Italian companies. —Edie Cohen

MEGA SHADE MEGA COOL

OCEAN MASTER MEGA MAX CLASSIC

TUUCI.COM

belzberg architects Xoma, Mexico City Mexico City’s Roma Norte neighborhood possesses an eclectic mix of early-1900’s buildings in styles ranging from neoclassical to art nouveau. Now a decidedly modernist structure has sailed onto the scene: Xoma, an apartment-style hotel by Belzberg Architects that calls to mind a ship with the wind at its back, thanks to perforated screens that appear to billow from the sevenstory structure. The property is the latest in a series of buildings with sculptural facade treatments that the Los Angeles firm founded by Interior Design Hall of Fame member Hagy Belzberg has designed in CDMX. Elsewhere, he and his team conjured up facades in aluminum strips or perforated carbon steel.

For Xoma, a collaboration with developer Grupo Anima, they turned to more traditional masonry. Concrete

be stofyear

boutique hotel

PROJECT TEAM: HAGY BELZBERG; BROCK DESMIT; JENNIFER WU; JESSICA HONG; JOSH HANLEY; DAVID CHEUNG; ADRIAN CORTEZ; MINGYUE HU; KRIS LEESE; AARON LESHTZ; CORIE SAXMAN; FILIPA LIMA VALENTE; KATELYN MIERSMA; MELISSA YIP.

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BRUCE DAMONTE

blocks, handcrafted with central openings, were fabricated on-site and connected by integrated C-shape steel plates. The permeable membranes, tapered at the street level, expand as they rise.

Sweeping forms appear on the interior, too. In the lobby, asymmetrical plaster ceilings arch over a brassplated reception desk and floors of veined Tunisian marble. Arrayed around a central atrium, the 14 guest suites—one- and two-bedrooms with full kitchens—lead onto balconies partially enclosed by the facade screen, which provides privacy while allowing fresh air to circulate and natural light to filter in. —Jane Margolies

“It calls to mind a ship with the wind at its back, thanks to perforated concrete screens that appear to billow from the sevenstory structure”

BRUCE DAMONTE

JAN.23

INTERIOR DESIGN

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be stofyear iconic

stonehill taylor How do you take the Algonquin Hotel, a designated landmark that’s over a century old, and make it relevant for today? It helps that Stonehill Taylor principal Sara Duffy grew up in New York, occasionally dining at the 181room property with her parents. To renovate 7,000 square feet on the first two floors, she began with research into the history of the hotel, built in 1902 by architect Goldwin Starrett. This included reading about the storied Algonquin Round Table—a group of actors and journalists such as Harpo Marx and Dorothy Parker, her New Yorker office a block away—who gathered there daily. Stonehill Taylor reimagined the rope stanchions that once kept prying guest eyes away from the table as light fixtures. Custom ceiling fixtures in the lobby reference fictional New Yorker character Eustace Tilly. And artifacts— vintage Christmas ornaments, books by Round Table authors, typewriters— were unearthed and placed around the space. —Stephen Treffinger PROJECT TEAM: SARA DUFFY; NORA NENTCHEVA; LAUREN GORGANO; MAYUKO SHIBATA.

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ERIC LAIGNEL

Algonquin Hotel, New York

Crescent™ mid-century modern...

A Colour & Design Inc. Company

denovowall.com | 501.372.3550

be stofyear small corporate office

kris lin international design Zhuhai Zhonghai International Center, Guangdong, China This 10,000-square-foot, floor-through workplace boasts 360-degree scenic views of Guangdong’s stately Qianshan River. Inspired by the course of the river, and nicknamed the “stream office,” KLID’s concept for the project emphasizes fluidity, with curved contours delineating private workstations and flex space. Dark carpet, pale hardwood, glass, and stainless steel juxtapose light and depth throughout. The standout move is an ultra-modern spiral partition that emerges from the bar countertop in the atrium, facilitating impromptu employee confabs and drawing sight lines across the futuristic open office. “Compared with linear block shapes,” design director Kris Lin notes, “curved forms have the emotional power of flow, tension, fusion, and freedom.” —Lisa Di Venuta

KAI SHI & MING CHEN/KLID

PROJECT TEAM: KRIS LIN; ANDA YANG.

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pophouse Rock Ventures and the Rock Family of Companies, Detroit Led by founder and creative director Jennifer Gilbert, Pophouse prides itself on a data-driven approach. For the 50,000-square-foot headquarters of this client, its portfolio composed of such companies as Quicken Loans, Dictionary.com, and the Cleveland Cavaliers, she and her colleagues fleshed out a scheme that incorporates multiple circular spaces, including a massive spiral stair in the airy atrium, based in part on research suggesting that such spaces spur creativity. It also, of course, connects the lower and upper levels as well as the multiple teams housed there, creating serendip­ itous opportunities for people who don’t normally work together to come into contact. Its rift-cut white oak treads and risers are anchored by a Faile mosaic-tile installation incorporating words like “hope” and “dream”— ones important to the ethos of the companies and Detroit itself. A lounge’s triptych by late local painter Charles McGee underscores the Detroit-proud theme, while the rounded auditorium has been fitted with a benching system composed of Eames Molded Plywood Dining Chairs—minus their chrome legs—from Michigan’s Herman Miller. —Jane Margolies PROJECT TEAM: JENNIFER GILBERT; CHRISSY FEHAN; JORDAN WILLS; SARAH DAVIS; MONICA PACE; LAUREN BURNHEIMER; BRANDON BARTEL; NICOLE PELTON; MAKYLE WELKE; ALESSANDRO PAGURA.

be stofyear medium corporate office

JOHN D’ANGELO

JAN.23

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“Softly curved slab openings were configured slightly differently on each floor, adding dynamism”

gensler

be stofyear large corporate office 70

INTERIOR DESIGN

JAN.23

ANDRES GARCIA LACHNER

BAC Honduras, Tegucigalpa

The scattered workplaces that the Central American financial services firm BAC Credomatic previously occupied in the Honduran capital were outdated, with dark colors, closed offices, tightly packed cubicles, and labyrinthine circulation. When the firm decided to consolidate everyone in 140,000-square-foot, seven-story headquarters, the Gensler Costa Rica team was called in to create a light, bright, energetic office that would foster company culture and cross-department collaboration.

The firm centered the project on an atrium spanning all seven floors. Softly curved slab openings were configured slightly differently on each floor, adding dynamism to the overall space; glass railings contribute to the expansive feeling. At the base of the atrium, wide stadium stairs of brushed oiled oak with rounded edges double as seating for company-wide meetings. The narrower staircase climbing through the atrium is another smooth-edged sculptural form in the same warm wood.

Each level has a landing consisting of a lounge and an adjacent coffee bar. Their seating takes simple forms and upholstery in solid colors including burgundy to “mirror the brand identity,” Gensler principal, design director, and global workplace consumer goods practice area leader Francesca Poma-Murialdo says. Nearby meeting rooms have glass walls on the atrium side so employees gathered in them can see colleagues going up and down the stairs, and vice versa, all of it contributing to a communal hive of activity. —Jane Margolies PROJECT TEAM: CHRISTINE DURMAN; FRANCESCA POMA-MURIALDO; SONIA MATHESON; REBECA BRENES; CLAUDIO JIMINEZ; OLMAN ALVAREZ; ESTEBAN ROJAS; JOSE GEI; VERONICA MATA; SOFIA KLUEVER; ADRIAN VALERIO; GABRIEL LOPEZ.

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m moser associates Dyson, Singapore

The century-old St James Power Station was Singapore’s first municipal electrical provider.

Its legacy of innovation continues into a new era now that Dyson has reinvented the national monument into dramatic global headquarters. At its heart is the stunning four-story former Turbine Hall. Inspired by the quadrangles of academic campuses, the 140,000-square-foot space serves as a circulation hub connecting all departments, an inner employee sanctum embracing nature, and a community space. Concrete flooring and blackened metal link to the past, while technical materials like polycarbonate, metal mesh, and mirrored cladding are more of the moment. A focal metal staircase references both the existing complex and Dyson’s heritage in the form of a turbine that also resembles the silhouette of a drill bit. —Nicholas Tamarin PROJECT TEAM: KAHN YOON; ADDY WALCOTT; KEVIN HUBBARD; VERONICA VIJAYANTI; BHAVNA SINGHAL; ANISHA KUMAR; SIMON PADDISON; SUNG LEE; IVAN MAK; ANDREA CARRION; JULIA TAN; AMANDA TAN; ANTHONY ONG; SAMUEL TSANG.

be stofyear

FINBARR FALLON

extra-large corporate office

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HANDCAST BRONZE HARDWARE | 12 FINISHES | MADE TO ORDER IN THE USA |

rockymountainhardware.com

ford environments and ghafari associates Ford Experience Center, Dearborn, Michigan

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PROJECT TEAM: JENNIFER KOLSTAD; JULIA CALABRESE; RACHAEL SMITH; CHRIS SMALL; DON ZVOCH (FORD ENVIRONMENTS); ANDREW COTTRELL; MICHAEL KREBS; BRITTNEE SHAW; ANGELA CWAYNA; JOSEPH KIM; DELBERT DEE; JUSTIN FINKBEINER; STEPHANIE HRIT; JENNIFER HATHEWAY; KATY RUPP; STEVE LIAN; YUQI PAN; BRUCE COBURN; JUSTINE LIM; KARAN PANCHAL; ALI ZORKOT; CHRISTOPHER OLECH; RYAN RAYMOND; CYNTHIA HARMAN-JONES; KRISTINA ALDER (GHAFARI ASSOCIATES).

GARRETT ROWLAND

office transformation

Although Ford Motor Company technologies like self-driving vehicles are focused on the future, the main events facility at its Dearborn headquarters was a dark concrete structure from 1998. Ford Environments global design and brand director Jennifer Kolstad and Ghafari Associates transformed the 95,000-square-foot building into the Ford Experience Center, or FXC. They re-skinned the facade with electrochromic glass that brings in ample light but can also tint for shade.

In the central forum—an oval shape, like the Ford logo—polished terrazzo flooring and oak stadium seating form a backdrop for a high-tech, production-ready space that, at the touch of a button, can host cocktail parties or launch events, and where cars rotate on a turntable in the floor. A sculpted ceiling of acoustical plaster conceals lighting and mechanical systems, with cuts that mirror the lines in the terrazzo floor. Deconstructed ovals pattern area rugs, and upholstery is often in the brand’s deep blue. A highlight of the DEI-focused art program is a large-scale tile work in reception by Detroit artist Tiff Massey that’s inspired by traditional American quilts. —Rebecca Dalzell

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DECONSTRUCTED FORM Explore the geometry of space. The next generation of our Deconstructed® platform, Deconstructed Form explores textural structure through the use of shape. In multiple constructions from luxe large scale pattern to organic geometric textures, each style creates a distinctive design with sleek arcs or intersecting angles. Designed for a moment. A backdrop. A focal point.

Designed to tell a story. © 2022 Shaw, a Berkshire Hathaway Company

PATC R A F T.C O M | @ PATC R A F T F LLO O O R S | 8 0 0 . 2 4 1.

1.4014

pophouse Rocket Mortgage, Detroit

PROJECT TEAM: ANNA OKERHJELM; CHRISSY FEHAN; SOPHIA GRDINA; SAVANNAH RAUS-WUTH; BRANDON BARTEL; NICOLE PELTON; MAKYLE WELKE; ANTHONY MORASSO.

JOHN D’ANGELO

be stofyear creative office

This 30,000-square-foot workplace for the Rocket Mortgage marketing team in Detroit was concieved by Pophouse to deliver world-class strategic solutions for the mortgage-lending giant. But communication and connection became even more important than initially imagined as the project was halted by the pandemic. Allowing for different work styles with a hybrid team presence became top-of-mind for the designers. The team quickly shifted layouts, materiality, paths of travel, signage, and wayfinding to accommodate for an unknown future with both safety and wellness at the project’s forefront. Historic marketplaces, often open-air structures supported by arches that co­nn­ect the structure and, inherently, the community, were an integral architectural reference. Now, they’re reflected within each entry point, light fixture, and custom millwork detail to visually promote community within the Rocket Mortgage staffers. —Nicholas Tamarin

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skylab architecture Serena Williams Building, Beaverton, Oregon

be stofyear sports office

Good design sense must run in the family. Tennis star Venus Williams is also the owner of a full-service interiors firm, V Starr, and now her sister Serena has an entire building bearing her name. The newest structure at Nike World Headquarters is also the largest, measuring 1 million square feet (in tennis terms, its footprint is equivalent to 140 full-size courts), including 200,000 square feet for researchand-design labs. It’s filled with references to the longtime endorser’s storied career, from the East Compton Hills Country Club Tennis Court (a reference to the community court where the Williams sisters first practiced), to a recurring motif of white roses. That’s Serena Williams’s favorite flower—perhaps because it’s the one given to winners at Wimbledon. —Wilson Barlow PROJECT TEAM: JEFF KOVEL; BRENT GRUBB; SUSAN BARNES; ROBIN WILCOX; NITA POSADA; REIKO IRAGASHI; EDDIE PARAZA GARZON; LOUISE FOSTER.

JOEL BITTERMAN

JAN.23

INTERIOR DESIGN

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aidlin darling design and susan marinello interiors Prow, Expedia Group, Seattle For tech company Expedia, which includes Expedia.com along with Vrbo and Orbitz, travel is a way of life. So when Aidlin Darling Design and Susan Marinello Interiors won the bid for a new sheltered environment on its 40-acre Seattle campus for staff to work and gather, it was also to be a place for them to retreat—sort of an on-site “offsite.” Aidlin Darling responded with a 3,700-square-foot, flight-inspired building called the Prow that celebrates the surrounding landscape in both form and function. Its single story gracefully merges into the ziggurat-shape grass terraces, while its aluminum and Douglas fir roof, also planted, resembles a floating wing, rising 26 feet on one end and cantilevering 50 feet. Douglas fir reappears inside, which feels more cozy woodland cabin than workplace, thanks to Susan Marinello and team, who selected such furnishings as a 20-person conference table custom-built from a pair of book-matched black walnut slabs by George Nakashima Woodworkers, the company founded by the famed late Seattle furniture designer. —Lauren Gallow PROJECT TEAM: JOSHUA AIDLIN; DAVID DARLING; ADAM ROUSE; RYAN HUGHES; LUIS SABATAR MUSA; LAING CHUNG; KENT CHIANG; TONY SCHONHARDT (AIDLIN DARLING DESIGN); SUSAN MARINELLO; LOUISA CHANG; DENA MAMMANO (SUSAN MARINELLO INTERIORS).

ADAM ROUSE

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CLOCKWISE FROM BOTTOM LEFT: DONAL MURPHY/COURTESY OF IA INTERIOR ARCHITECTS (2); RUTH MARIA MURPHY/COURTESY OF IA INTERIOR ARCHITECTS (2)

ia interior architects Dropbox Dublin

be stofyear tech office interior Reflecting Dropbox’s shift to a “virtual first” culture, there are no individual workstations at its Dublin outpost. Rather, the entire 18,000 square feet are devoted to collaboration— team-based activities, meetings, and socializing. All furniture is mobile and the space is, too, courtesy of reconfigurable zones such as training rooms that can be sized using movable partitions, a café with adjacent all-hands area that can be separated (or connected) by way of sliding glass panels, and a lounge area divisible by acoustic drapes. IA’s neutral color and materials palette brings a biophilic touch: Note the organically shaped brass-clad reception desk, ash-veneered millwork, and a hall’s meandering line of LEDs that doubles as wayfinding, creating a sense of discovery. —Jen Renzi PROJECT TEAM: GERRY TRIYADI; MANUEL NAVARRO; ROSIE PAWSEY; JORDAN JONES; CORNELIA MURPHY.

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gensler LinkedIn, Omaha, Nebraska Nebraska is not necessarily known as a destination for cutting-edge design and culture. However, for the 200,000-squarefoot, five-story Omaha office of LinkedIn, the professional networking giant with nearly a billion users, the interiors and branding teams at Gensler San Francisco tapped into the deep-seated tradition of innovation and dynamism that has historically defined the Midwestern metropolis as well as the region’s connection to agriculture and craft. Civic storytelling begins in the twostory atrium lobby with a stair backed by a double-height wall of whitewashed brick, a traditional building material in Nebraska.

In reception, a 5-foot-square LinkedIn logo

is set within a textured feature wall patterned with what appears to be wheat stalks. Canteens feature felt-lined canopies to control acoustics, so employees can eat or work there. With health and wellness also factored into the scheme, materials and finishes are no or low VOC, wood is either reclaimed or FSC–certified, and bold graphics and treads integrated with motivational phrases encourage staff to take stairs instead of the elevator. —Lauren Gallow PROJECT TEAM: RANDY HOWDER; KELLY DUBISAR; LAURA RICHARDSON; MARISSA EVERLING; BENJAMIN VELA; CHAD SPURLIN; CHAD WYMAN; GAIL NAPELL; NOVA PUNONGBAYAN (INTERIORS); JANICE CAVALIERE; JENNIFER HAMILTON; TIFFANY RICARDO; MARIE ACHTERHOF; MIRIAM DIAZ; VICTORIA CHAU;

be stofyear large tech office

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JASON O’REAR

JARROD HOLT (BRANDING).

ISABEL LEONARD Multiple Grammy Award Winning Vocalist & Arts Advocate DRESS IN: B IL L IE O MBR E BLU E

CHICAGO NEW JERSEY

B R ING ING ART TO

LIFE

NJ SL A B GA LLERY

DA LL A S

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844-302-9366

NASHVILLE

SAN FRANCISCO A RT IST ICT ILE .COM

be stofyear

firm’s own office domestic

skidmore, owings & merrill New York SOM is known for skyline-defining feats of architecture and engineering. That includes the building in which its own downtown Manhattan office is located: 7 World Trade Center. The two-level, 80,000-square-foot workplace is a showcase of the mega-firm’s commitment to designing tranquil, sustainable, and wellness-focused spaces. “Radical reduction” is the philosophy followed, which involves the responsible use of resources and pruning of inessential surface treatments (see the concrete slabs as flooring). Even the connecting stair, built entirely of cross-laminated timber—the only structural material that doesn’t emit carbon in its production—is itself an experiment in structural and environmental design. —Georgina McWhirter PROJECT TEAM: CHRIS COOPER; KENNETH LEWIS; LAURA ETTELMAN; COLIN KOOP; OJAY OBINANI; BRIAN KAPLAN; GARY KU; JACKIE MORAN; CHARLES HARRIS; MARTI GOTTSCH; SARAH HATCH; TAKUMA JOHNSON; CYNTHIA MIRBACH; ANISA MOHAMMED; VALERIE TANG; PREETAM BISWAS; BONGHWAN KIM; STANLEY KING.

DAVE BURK/SOM

.

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Social Canvas Intimations of the artist’s studio: from our collaboration with ArtLifting, an organization that champions artists impacted by housing insecurity or disabilities, Social Canvas modular carpet conveys the expressive freedom of paintings by artist Charlie French.

Each time you specify Social Canvas we’re donating to Susan G. Komen through our Specify for a Cure program. mohawkgroup.com

one house design Shanghai

firm’s own office international

PROJECT TEAM: LEI FANG; WENDY LI; XU LEI; LIU CANGTIAN; SYCIEN SUN; MICHELLE LI.

ZHU HAI

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Founded by Lei Fang in 2009, multidisciplinary firm One House Design has built up a diverse project portfolio that includes offices, residential developments, model apartments, homes, and a full complement of hospitality-inflected restraurants and gallery-esque retail environments—all rather genre-bending. Think loft apartments that look like luxury hotels, sales centers that could be mistaken for a concept store… you get the drift. The studio’s own headquarters joyfully obfuscates its true purpose in a similar manner. Step into the moody, obsidian-drenched reception, with its scultural spiral stair, and you might think you’ve arrived at an art gallery or some minimalist corporate retreat complex and, actually, you would not be that far from the truth. In addition to providing private and communal workspaces for dozens of staffers, the 25,000-square-foot bilevel aerie, in a building by late Italian postmodernist Vittorio Gregotti, doubles as an event space and an exhibition hub to showcase One House’s own furniture pieces and more conceptual investigations. A salon area populated with cubical timber stools can be adjoined to or partitioned off from the adjacent meeting zone (by way of sliding doors), and confabs can trickle into the neighboring wood-paneled dining zone, furnished with a mix of bar, table, and lounge seating. While expansive windows and multiple terraces throughout provide a strong connection to nature, the interior architecture’s play of solids and voids, long sight lines and filtered views toys with one’s sense of perception. Design trickery aside, it’s a super functional and flexible space that suits the times—and the firm’s future, Fang says, “providing sufficient space for the team’s growth and helping us adapt to new challenges faced by our developing industry.” —Jen Renzi

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“We created a comfortable, dynamic, and convenient work environment that inspires design empowerment”

FROM TOP: ZHANG JING; ZHU HAI

JAN.23

INTERIOR DESIGN

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be stofyear coworking office

wit design & research Fintech II & III, Beijing Having previously designed a workplace and a restaurant in this 11-story office development, WIT returned to create two additional coworking facilities: Fintech II, a triangular, two-story basement space overlooking a sunken atrium courtyard, also of WIT’s design; and Fintech III, a smaller, more conventional office on the fourth floor—a total of 15,000 square feet in all. Sophisticated parametric modeling software was used extensively to conceive both projects, not only to achieve such striking forms as the gracefully curving staircase that links Fintech II’s levels or the complex geometries of Fintech III’s multifaceted folded ceiling but also to ensure the limited square footage was used with maximum efficiency.

—Peter Webster PROJECT TEAM: ZHENHUA LUO; GONGPU ZHAO; QIANXUAN NIU; YANLI ZHANG; WENYI CHEN.

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ONE THOUSAND DEGREE VISUAL

RUI TAO; CHANGXIN TIAN; LIN YANG;

Lumens.com Under The Bell Pendant Lamp by Iskos-Berlin for Muuto RS3 Max Foosball Table by RS Barcelona

be stofyear commercial cafeteria

studios architecture

No matter which of the NBA’s 30 rival teams you root for, they all share one thing in common: Manhattan head­ quarters, freshly renovated by Studios Architecture in time for the association’s 75th anniversary last season.

When not glued to their screens—computer or supersize game monitors—employees get to meet and eat in this 7,300-square-foot cafeteria, which is defined by a servery and an event space and together create an arenalike experience. The first centers on Stern’s Deli, named after former NBA commissioner David Stern, and is surrounded by pizza, sandwich, and other food stations reminiscent of stadium concession stands. The double-height latter features bleachers in maple (the wood often used for basketball courts), under which the Triple Double coffee bar is tucked. —Edie Cohen PROJECT TEAM: DAVID BURNS; TOMAS QUIJADA; ADRIELLE SLAUGH; MARIA PERCOCO; ZACH BARK; MEGAN PRYZWARA; KURT WAYNE; JEFF LUSTIG; JEAN CHANDLER; LUIZ ZILBERKNOP; LOREN HESLEP; PAULINA CAMUS; RAFAEL AYALA.

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GARRETT ROWLAND

National Basketball Association Headquarters, New York

BRING YOUR VISION TO US The experts at Ferguson Bath, Kitchen & Lighting Gallery are here to help create a home that’s as extraordinary as you are.

Any project, any style, any dream—bring your inspiration to Ferguson Bath, Kitchen & Lighting Gallery. Visit fergusonshowrooms.com to discover more and find your nearest showroom.

©2022 Ferguson Enterprises LLC 1122 4355139

Château

be stofyear small commercial lobby

gensler We all multitask. Increasingly, so do building lobbies: Nowadays, activated spaces with hospitality-style amenities add value and can help attract tenants. Ergo Gensler’s renovation in this 2003 office building, where the lobby experience has been extended to include a fitness center in the back and a conference lounge on the floor above, 17,000 square feet in all. The entrance now features a sculptural street canopy that continues inside, its multifaceted semiorganic form achieved with WoodSkin, a technology that gives rigid laminate the flexibility of a textile. “Its warmth draws people into the building,” principal and design director Mariela Buendia-Corrochano explains. In reception, the eye-catching element touches down to create a bench and cocoon a seating area before flowing into the elevator lobby and on to the gym beyond. —Edie Cohen PROJECT TEAM: STEPHEN RAMOS; MARIELA BUENDIA-CORROCHANO; KIMBERLY SULLIVAN; MICHELLE DENYER; CLAIRE NAVIN; QINGZHOU YAN.

JAMES JOHN JETEL

4300 Wilson, Arlington, Virginia

be stofyear large commercial lobby

fernanda marques arquitetura Brazilian Financial Center, São Paulo

Following Perkin&Will’s 2017 redevelopment of this iconic 1970’s building on Avenida Paulista, the city’s main commercial thoroughfare, Fernanda Marques’s firm won a competition to redesign its lobby. Inspired by the geometries and dynamism of the surrounding business district, she and her team created a vast, 18,400-square-foot, triple-height volume that brings the street’s order and energy indoors. The ceiling and upper levels are screened behind bronzed metal framework that evokes the urban grid, while lushly planted hanging gardens on each side of the space nod to São Paulo’s subtropical climate. Materials are quietly luxurious—white granite flooring, marble-look porcelain slab wallcovering, matte gold–finished metal detailing—without being showy. Linking the three levels, a pair of cantilevered steel staircases with oak-lined balustrades are curvy, sculptural presences that create a powerful sense of movement. But the city’s flowing rhythms are most fully expressed in the custom installation that floats overhead—an ethereal tracery of glowing LED tubing that channels a neon-light sculpture Lucio Fontana made for the Ninth Milan Triennial in 1951.

—Peter Webster PROJECT TEAM: FERNANDA MARQUES; PATRÍCIA NOWAKI GENTILE; ANNA PAOLA PUGLIESE; AGNALDO CAVALINI; MARIA DE OLIVEIRA; FRANCIS RANGEL; ANNA DITTA; FERNANDO SHIGUEO.

FERNANDO GUERRA

JAN.23

INTERIOR DESIGN

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residential lobby

edmonds + lee architects Miro, San Jose, California To borrow from Dionne Warwick, Miro—a pair of mixed-use towers by architects Steinberg Hart—will help you find the way to San Jose: At 28 stories each, they’re the tallest structures in the city’s skyline. Along with 630 residential units, the development includes a plethora of amenities and two lobbies, one for each high-rise, by San Francisco-based Edmonds + Lee. The latter spaces, which span 5,300 square feet in all, are a study in contrasts—one is dark, the other light—though both use wood slats on walls and ceilings to create spatial definition and polished marble in reception areas to produce a sense of quietly substantial luxury.

The sophisticated material choices are coupled with an equally urbane mastery of proportion and light, giving both lobbies an unmistakable aura of secure arrival— just the state of mind the lady was looking for in her song.

—Edie Cohen

JASON O’REAR

PROJECT TEAM: VIVIAN LEE; SHELLEY FU; CHRISTINA YUE.

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Thank you to our 2022 red carpet sponsor

PHOTOGRAPH: JOE TANIS

Congratulations to the contest winner Misato Hamazaki of RIOS for this year’s design

bates masi + architects East Hampton, New York For a family estate intended to be passed down to future generations, firm principal Paul Masi designed three semi-attached buildings, one for the client couple and one each for their grown children. Tasked with providing large openings to take advantage of sweeping views while also limiting direct sunlight on the client’s significant art collection, the Interior Design Hall of Fame member gravitated to the saltbox shape, allowing the structures to feel protected from the elements in the back but wide-open in the front, where higher rooflines accommodate two stories of windows. The pavilions are arranged in an L shape, providing a sense of enclosure around the pool, and sheathed in two layers of shinglelike boards sandwiching gutters and leaders to keep water away from the weather-tight shell.

The architect relied almost entirely on five materials: cedar, for cladding; oak, for much of the 11,450-square-foot interior; limestone, for flooring, countertops, terraces, and some external walls; darkened bronze, for trim; and glass, including sliding walls that pull in the breeze and abet movement of large artworks in and out of the house. “We had to limit the palette because the house is so big,” Masi explains. “You lose the essence of it if there’s too much going on.” Interiors by fellow Hall of Famer David Kleinberg, founding principal of his namesake firm, adhere to a similarly succinct palette, mostly shades of greige—intended to defer to and be supportive of the art and architecture. —Fred A. Bernstein

“The family will grow and change, as will their art, but the home will endure as a place of appreciation for both”

MICHAEL MORAN/OTTO

PROJECT TEAM: PAUL MASI; KATHERINE DALENE WEIL; NICK DARIN, NICK BRAAKSMA; HUNG FAI TANG.

be stofyear beach house

Dune™ PANEL ©2003 modularArts, Inc. Crush™ PANEL ©2011 modularArts, Inc.

…the steps to stunning stairways

MICHAEL MORAN/OTTO

JAN.23

INTERIOR DESIGN

95

modulararts.com

206.788.4210

Made in the U.S.A.

be stofyear small country house

woods + dangaran Palm Springs, California Spanning an arroyo backdropped by the Santa Rosa and San Jacinto Mountains, the 3,800-square-foot weekend retreat perches lightly above existing boulders so as not to impact the rugged terrain. It’s that terrain that determined everything about the Miesian house, from its orientation and floor plan to its exterior materials and interior finishes. The visual language mirrors the natural landscape to create a seamless indoor-outdoor experience while also providing a sense of comfort that’s completely man-made. The rooms’ muted palette—sage greens, dusty pinks, sandy browns—blends with the desert colors, as do the tones and textures of the various woods throughout, including the custom oak dining table, walnut side tables, and teak poolside lounges. Plush furnishings complete the quiet, contemplative interiors, which glory in unobstructed views of the valley below. —Peter Webster

JOE FLETCHER

PROJECT TEAM: BRETT WOODS; JOSEPH DANGARAN.

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messana o’rorke and ankeny architecture and design Jackson, Wyoming Working with local firm Ankeny Architecture and Design, New York–based Messana O’Rorke brought its clean, modernist aesthetic to this 5,000-square-foot mountain retreat that effortlessly blends the past and present of the American West. Comprising four volumes of stained cedar and stone that are connected by glass-enclosed bridges, the home appears to be a series of independent pavilions arrayed in a line. The end walls of the central structure—a single space containing the kitchen, sitting, and dining areas—feature massive pocket doors that open onto paved terraces for free-flowing indoor-outdoor living. The interiors showcase Messana O’Rorke’s signature attention to refined details, which here include crisp, wide-plank French-oak flooring stained warm gray and cove lighting that turns a passageway’s beamed ceiling into a floating, poetic vision. —Peter Webster PROJECT TEAM: BRIAN MESSANA; TOBY O’RORKE; VIKTOR NASSLI; JUAN ESPINOSA; PIOUS ASHE; AGNES LOVE (MESSANA O’RORKE); SHAWN ANKENY (ANKNEY ARCHITECTURE AND DESIGN).

be stofyear medium country house

TUCK FAUNTLEROY

JAN.23

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“The project showcases dramatic cantilevered and intersecting forms, sweeping vistas, and warm materials, fostering harmony between the interiors and the landscape”

steven harris architects and rees roberts + partners Bedford, New York Talk about a drop-dead site. This 6,900-square-foot home perches, Fallingwaterstyle, on a rocky promontory overlooking a lake—actually a decommissioned early 20th–century quarry—bordered by a dense forest and a newly created waterfall.

Interior Design Hall of Fame members Steven Harris and Lucien Rees-Roberts, founders of their respective eponymous firms, made the most of the location with stacked glass-box volumes that intersect perpendicularly and cantilever out over the cliff. Rooms are designed to maximize views through mahogany-framed windows, while finishes and furniture were curated to connect thematically and palettewise to the structure’s surroundings. Note the double-height entrance hall, with Ceppo di gris limestone flooring, a custom mottled-brick accent wall, and a sculptural spiral staircase that corkscrews down to the lower level, partially embedded in the bedrock. Stone also features in more intimate spaces, like the primary bath, with a Cristallo marble–topped cerused-oak vanity and Perla Venata marble flooring.

The cantilever itself is given over to the living room, where floor-to-ceiling glass and an extended roof plane (planted with sedum) accentuate the floating quality. Here, a custom “smoke” resin coffee table, an Isamu Noguchi Akari light sculpture, and Franco Albini’s Tre Pezzi chair jibe with the surrounding landscape, upgraded with bluestone terraces and a free-form pool that nods to the lake. —Jen Renzi PROJECT TEAM: STEVEN HARRIS; JOHN WOELL; KEVIN BLUSEWICZ (STEVEN HARRIS ARCHITECTS); LUCIEN REES-ROBERTS; DAVID KELLY; DEBORAH HANCOCK; JACLYN CIRASOLA; REGINA CASSORLA

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JAN.23

SCOTT FRANCES

(REES ROBERTS + PARTNERS).

SCOTT FRANCES

JAN.23

INTERIOR DESIGN

99

fcstudio São Paulo Flavio Castro founded FCstudio with the conviction that architecture should be responsive to the ways people live. In the case of certain Brazilian clients, a family of four, they were looking to live—and be connected with—outside as much as possible. The architect’s solution, a 4,560square-foot, two-story structure, resembles a metal box perched on thick board-formed concrete sidewalls. The ground-floor end facades are fully glazed, a transparency that merges the indoor and outdoor living areas in the back. The second story, by contrast, is clad in folded steel lamina, except in back, where a ribbon of sliding glass windows runs across most of the rear facade. The windows, which enclose the primary bedroom, are fitted with enormous pivoting shutters that form a brise-soleil that deflects the often-intense São Paulo sun and provide privacy and quiet when closed. They’re Cor-Ten steel, a favorite material of Castro’s since it is honest, weathers well in the local climate, and harmonizes with the house’s concrete, steel, and surrounding greenery. —Marisa Bartolucci PROJECT TEAM: FLAVIO CASTRO; JOÃO FELIPE FALQUETO; ERICA MIRANDA; LEONARDO ROSA.

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ANDRE MORTATTI

small city house

100

INTERIOR DESIGN

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thank you to the 38th annual Hall of Fame sponsors Diamond sponsor

Innovation sponsor

Gold sponsors

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Tablecloth sponsor

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ST REA M T H E H A LL O F FA M E D O CU M E N TA RI ES

H OST E D AT

“Stunningly, additional outdoor space is provided on the home’s roof, a flat plane with wooden decking, a pool, and a firepit”

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studio arthur casas São Paulo

be stofyear

large city house

FERNANDO GUERRA

When clients, a young couple with two small children, came to Brazilian architect and Interior Design Hall of Fame member Arthur Casas, they had a small plot of land in São Paulo and a large list of desires. They wanted privacy from the street but as much usable outdoor space as possible. They wanted an open-plan kitchen and living area that would accommodate entertaining but also home offices for each of them. And they needed bedrooms for their children and guests as well as their own suite. Casas and his team gave them everything they asked for, and more, in a modernist 7,000-square-foot house tucked into lush greenery.

The ground floor flows out to an expansive terrace protected by the overhanging second floor. There, the facade incorporates a cobogó, a cast-concrete screen used throughout Brazil to modulate the strong sun. This custom version, cast on-site and tinted ochre, helps the upstairs rooms feel secluded while preserving views of the grounds and allowing fresh air to circulate.

Stunningly, additional outdoor space is provided on the house’s roof, a flat plane decked in wooden planks.

It features a firepit surrounded by a built-in banquette on one end, a lap pool on the other—all bordered by more verdant landscaping. —Jane Margolies PROJECT TEAM: ARTHUR CASAS; REGIANE KHRISTIAN; EDUARDO MIKOWSKI; BIZ BRAGA; FERNANDA ALTEMARI; GABRIEL LEITÃO; PEDRO BRITO.

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be stofyear city house architecture “The concept frames the remembrance garden as the sacred heart of the home”

neri&hu design and research office Singapore Three siblings were attached to their childhood home in Singapore, a colonial-style bungalow ringed by lush vegetation. They loved its deep eaves, pitched roof, and mix of Malay and Victorian details. But as adults, they had outgrown the shared space. The trio asked Neri&Hu to build a new, larger house on the same site that evoked the original design, balanced private and communal spaces, and included a small memorial garden to honor their late mother.

The design team met these requests by re­ interpreting the traditional Chinese home, or siheyuan, a typology that accommodates multiple generations under the same roof. The 12,800-square-foot, two-story structure is centered on a courtyard and remembrance garden, with communal spaces on the ground floor and private ones upstairs. The concept frames the Zenlike garden as the sacred heart of the home. The main corridor forms a circle around it, and open-air light wells and austere concrete interiors create a meditative environment. But expansive glass walls and sliding doors also connect living areas to the surrounding greenery and a swimming pool.

On the second floor, four bedrooms and balconies are housed within the steep gables of the zinc roof. Three double-height spaces allow family members to look down from the private to public zones, ensuring their daily lives are always intertwined. —Rebecca Dalzell PROJECT TEAM: LYNDON NERI; ROSSANA HU; CHRISTINE CHANG; SELA LIM; BELLA LIN; KEVIN CHIM; ALEXANDER GOH;

FABIAN ONG

HAIOU XIN; JULY HUANG.

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FABIAN ONG

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be stofyear small apartment

desai chia architecture New York This airy Greenwich Village three-bedroom lives much larger than its 2,150 square feet would suggest, thanks to strategic sight lines, artfully integrated storage, and a careful attention to artificial and natural illumination. Desai Chia co-developed a custom surface-mounted lighting system for a concreteslab ceilings, its milled-oak housing matching the apartment’s flooring and built-ins, including a cantilevered entry bench and paneling that sport branch­ like patterning. (The dining area’s cloudlike chandelier, in hand-laminated oak, is also a custom commission.) Embodying flexibility and uber functionality, the conjoined living area/study suits entertaining and overnighting alike: Timber doors slide closed to form cordoned-off guest quarters equipped with a bar, desk, and queen-size pullout. —Jen Renzi

PAUL WARCHOL

PROJECT TEAM: KATHERINE CHIA; ARJUN DESAI.

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be stofyear large apartment

pascali semerdjian arquitetos São Paulo This 4,000-square-foot residence for a Brazilian man, his American wife, and their two young daughters celebrates São Paulo’s inimitable urban style. Inside a nondescript 1990’s building, the gut renovation by Pascali Semerdjian Arquitetos centered on employing sustainability-certified indigenous wood throughout the four bedrooms and spacious public zones.

It’s in the latter that a deeply Brazilian and vividly cosmopolitan aesthetic shines. In the kitchen, a 9-foot-long table of South American freijo wood cantilevers from a monolithic concrete island—a defiance of physics that recalls São Paulo’s iconic buildings. In the dining room, Bertjan Pot pendant fixtures hang from the exposed original ceiling, complemented by walls paneled in board-formed concrete. And a multitude of seating vignettes, including one anchored by an Oscar Niemeyer chaise longue, populates the living room, making it an extremely social space. —Michael Snyder PROJECT TEAM: DOMINGOS PASCALI; SARKIS SEMERDJIAN; ANA LUISA CUNHA.

FRAN PARENTE

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atelier gratia Kaohsiung, Taiwan This 6,600-square-foot, single-family residence, nicknamed Star House, has a dual nature, at once fortresslike and porous, urban and pastoral. To create a sense of refuge in the dense and frenetic city of Kaohsiung, Atelier Gratia principal Grace Ming-En Chang’s inward-gazing structure presents to the street as a faceted concrete monolith but is in fact open and airy inside, unfolding around a central courtyard. Every room has a view of this private sanctuary through full-height glass walls, some of which slide open to provide access to decks or balconies. The courtyard’s ground-floor Zen garden—a nod to Japan, where the homeowner once lived—“employs geometry to represent an idealized version of heaven,” Chang explains.

A single, sculptural pine tree sprouts from the center of an infinity-edge reflecting pool populated with koi, and an irislined path leads to the backyard’s bamboo and fern forest.

The greenery continues on the roof, where it segues to a more wild, free-form style, “a gesture of giving back to nature,” Chang explains. A prairie of tropical grass, irrigated via recirculated rainwater, helps block the harsh sun and cools the temperature inside the home. The lawn is dotted here and there with shrubs and fragrant native flora such as rosemary, jasmine, and lantana that have fast become a haven for butterflies and birds: an oasis in the concrete jungle. —Jen Renzi PROJECT TEAM: GRACE MING-EN CHANG.

PROJECT TEAM: DAN MAZZARINI; JENNIFER ROSENTHAL.

residential landscape

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YI-HSIEN LEE/ATELIER GRATIA

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YI-HSIEN LEE/ATELIER GRATIA

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“In terms of materiality, a certain refinement has been pursued, in opposition to the crude expressiveness of the masonry”

raúl sánchez architects Barcelona, Spain Located in El Born, one of the city’s historic districts, this late 19th–century town house, dubbed BSP20, was a wreck when Raúl Sánchez was called in to renovate it in 2013. Thanks to regulatory and other delays, the makeover of the slender, four-story structure took eight years to complete, with only one thing remaining constant throughout: the client’s determination that the brick walls remain exposed and unaltered. All the floor slabs were demolished, leaving the rough masonry shell a vivid record of the building’s past. The replacement floors don’t touch the street nor the rear facades, however, leaving gaps filled by walkable glass at the front and a spiral staircase in the back that winds all the way up the 50-foot void to the roof deck.

A skylight naturally illuminates the rear wall.

The 900-square-foot interior is flexible, the only determinative factors being the kitchen and bathroom fixtures on the ground level and third floor, respectively. Wiring, plumbing, and HVAC ducting is concealed in seven stainlesssteel tubes that run the full height of the house.

All the built-in furnishings and fittings, including the stair, are custom and white, except for the kitchen cabinetry, which is clad in gleaming brass, and the cream-lacquered wood with black and brass detailing in the bathroom.

Flooring is either oak planks or colorful hydraulic tiles, their geometric patterns echoed in the aluminum paneling that fronts the new entry door—the only element of the restored street facade exempt from strict landmark regulations.

—Peter Webster PROJECT TEAM: RAÚL SÁNCHEZ; VALENTINA BARBERIO.

residential transformation

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JOSÉ HEVIA

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JOSÉ HEVIA

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be stofyear kitchen

feldman architecture Los Altos Hills, California

Aptly named, the 5,000-square-foot Round House is one of a few remaining similarly shaped homes built in California during the 1960’s.

The clients initially planned a modest remodel, but soon after moving in, the pair recognized its inefficiency—low window eaves obstructed otherwise spectacular views from its steep plot. The original central courtyard, once open to the sky, was transformed into the kitchen.

Now, a large circular skylight streams in daylight while an adjacent outdoor deck, strategically carved out at the intersection of the living room and kitchen, frames sprawling vistas of the South Bay. Siding and backsplash in shou sugi ban, Japanese-style charred cedar, seamless concrete flooring, crisp white walls, and concealed appliances do little to distract the eye from those views, while curved pocket doors assert a unified indoor-outdoor connection. —Nicholas Tamarin

ADAM ROUSE

PROJECT TEAM: STEVEN STEPT; ANJALI IYER; HUMBEEN GEO.

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be stofyear bath

grade new york New York Inside an undulating ground-up condominium tower in downtown Manhattan, the 4,600-square-foot apartment presented Grade with the opportunity to create a completely unique floor plate. That means interior architecture and detailing for the powder room walls and vanity and for the main bathroom’s vanity, shower, and millwork that all directly relate to the building’s exterior curves. Texture in the powder room was used to create the feeling of Middle Eastern and Mediterranean baths via mosaic tiling paired with warm stone and raw copper fixtures. The main bathroom skews more Zen, courtesy of a custom wooden Japanese soaking tub. Like with the powder room, Grade selected a large marble block for its fully carved double vanity and sinks. The stone, which had to be craned into the residence due to its size and weight, was selected for its beautiful imperfections (areas are visibly permeated by iron) and juxtaposition with the airier aesthetic of the millwork and tub. —Nicholas Tamarin PROJECT TEAM: THOMAS HICKEY; EDWARD YEDID; ERIK MALAVÉ; DANIELLE LEGAULT.

RICHARD POWERS

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senior living

handel architects and mawd Coterie Cathedral Hill, San Francisco

Aging is worth celebrating. That sentiment is on full display at the 260,000-square-foot, 209-unit San Francisco campus of Coterie, a senior-living community

by Handel and MAWD featuring such sterling amenities as a two-story library curated by independent bookstore McNally Jackson. Brass and silver travertine accents and 9-foot ceilings imbue a sense of casual luxury. “We took the time to research our residents—who they are and what they’re passionate about, like rich cultural experiences, lifelong learning, and social activities,” says MAWD cofounder Elliot March, whose team also customized accessible and safe items throughout, like herringbone hardwood flooring inset with custom carpet that allows for unfettered mobility through the common spaces. —Lisa Di Venuta PROJECT TEAM: GLENN RESCALVO; JOHN ISHIHARA; TRISTAN MC GUIRE; NAVEED NAMAKY (HANDEL ARCHITECTS); ELLIOT MARCH;

ADAM POTTS

LIZ GALLAGHER (MAWD).

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A new podcast from SANDOW Design Group THE PEOPLE AND STORIES BEHIND THE SPACES WE INHABIT. Unravel what it takes to bring projects to fruition—from the designer’s inspiration to the setbacks, surprises, and serendipitous events along the way.

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adjaye associates and hill west architects “Let’s not do another glass curtain-wall building,” architect Sir David Adjaye recalls when conceiving this 66-story residential tower in the Financial District. His Adjaye Associates team and Hill West instead looked to Manhattan’s rich tradition of masonry architecture. The resulting structure references the city’s historic brick warehouses through its tinted hand-cast concrete facade and rhythmic bronze arched windows. Conceived as a vertical microcity, the 242-unit luxury condominium boasts ground-floor retail along with such amenities as a new public plaza, plunge pools, and a rooftop observation deck. The upper residences are customized with loggias, which offer panoramic views of the Hudson River framed by curved portals. —Lisa Di Venuta PROJECT TEAM: DAVID ADJAYE; MARC MCQUADE; KAHILA HOGARTH; PAULA SANCHEZ (ADJAYE ASSOCIATES); DAVID WEST; MICHAEL ROSE; ZUZZETTE AGOPIAN; JENNIFER TATUM; ORLANDO RODRIGUEZ (HILL WEST ARCHITECTS).

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be stofyear multiunit residential

CLOCKWISE FROM TOP RIGHT: IVANE KATAMASHVILI; DROR BALDINGER (3)

130 William, New York

be stofyear infill housing

lorcan o’herlihy architects and disc interiors Canyon Drive, Los Angeles Addressing California’s tight housing market, especially for first-time buyers, Lorcan O’Herlihy’s solution, which won a 2017 Interior Design Best of Year Award in the on-the-boards category, now comes to fruition. Five homes, just 6 inches apart and totaling 10,000 square feet on an urban infill lot near Hollywood, achieve density while respecting the neighborhood’s residential scale. Each unit comprises a cedar-clad double garage topped by a two-story volume composed of painted-aluminum panels and storefront glazing, its individualized A-frame shape allowing for solar exposure and natural ventilation. The sidewalls bulge outward, however, maximizing the square footage of the white-painted interiors, which DISC has outfitted with custom oak cabinetry, honed marble countertops, and flooring of sustainable hardwood. —Edie Cohen PROJECT TEAM: LORCAN O’HERLIHY; BRIAN ADOLPH; NOELLE WHITE; NICK HOPSON; CHRIS GASSAWAY; CAMERON OVERY; LEO YU (LORCAN O’HERLIHY ARCHITECTS); DAVID JOHN DICK; KRISTA SCHROCK (DISC INTERIORS).

PAUL VU

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hangzhou jiading interior design co. and sino-ocean group Ocean Chunchunli, Beijing

Working with developer Sino-Ocean Group’s in-house team, the Hangzhou Jiading studio has created a two-level model apartment that channels the oldest human habitation—the cave dwelling—transformed into a smoothly sculpted space in which solid, void, and light are molded to virtuosic effect. As the designers acknowledge, they had the freedom of flowing water in mind when conceptualizing the swooping curves and seamless transitions of the 950-square-foot home’s fluid interior. But the concept is as practical as it is poetic: The dining table morphs into the base of the winding stair, which rises in a graceful arc to the TV balcony outfitted with cocooning built-in seating, while creature comforts are further catered to by the living area’s custom serpentine sofa, which epitomizes perfectly the residence’s blend of dramatic form and sybaritic function. —Peter Webster PROJECT TEAM: LOUIS LIOU; ZHUWEI CHEN; YIYING ZHOU; YANGKANG CHEN; LINJI LIU (HANGZHOU JIADING INTERIOR DESIGN CO.); FAN MENG; ZIWEI LIU; YAN ZHANG; ANRAN HE; WEI QI (SINO-OCEAN GROUP).

model home

AS YOU SEE WANG HALL

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be stofyear residential sales center

c&c design co.

Guangzhou Airport Sunac Center, China

—Peter Webster PROJECT TEAM: PENG ZHENG; XIE ZEKUN.

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C&C DESIGN CO.

Spanning three floors, this 44,000-square-foot hall provides futuristic exhibition and sales facilities for a massive transit-oriented development associated with the international airport at Guangzhou, one of China’s three largest airline hubs. The scheme integrates the residential, commercial, cultural, and government sectors, all of which are reflected in the Sunac Center’s various spaces that, once their initial function is over, will become workplaces for aviation, science, technology, and Internet businesses.

Since Guangzhou is a port city, C&C Design adopted the “ark,” in the sense of a vessel setting out on a voyage of discovery, as a guiding metaphor in conceptualizing the center. But there’s nothing antediluvian about the interiors, which have the gleaming surfaces, streamlined aesthetics, and propulsive dynamics of intergalactic spacecraft. Indeed, the second-floor reception centers on a circular desk that deliberately evokes the look and feel of a landing capsule. An enfilade of abstracted moon gates turns a broad passageway into a space-time tunnel that’s like a huge Klein bottle or wormhole into another dimension. The sense of cosmic travel is intensified by large “kites”—sculptural installations that resemble ghostly dirigibles from distant planets—suspended from the double-height ceilings of the ground-floor lobby and the second-floor urban planning hall. In the latter, presiding over an enormous model of the proposed city, the kite mirrors the alien monolith in 2001: A Space Odyssey, a benign emissary from another world pointing toward humankind’s future.

“We use cyberpunk as a means of spatial expression—aTheway to lounges inscribe lobby and at this existing hotel had good bones—the ceilings were 19 feet, the windows predictions about technology and the digital revolution”

C&C DESIGN CO.

floor-to-ceiling. But the 4,500 square feet of public spaces lacked “personality and a sense of narrative,” notes principal and creative director Dan Mazzarini, who quickly, and inexpensively ($173 per square foot to be exact), made amends.

Conceiving of a “sun, sand, surf” theme, he and his team marshalled a peachy palette along with furnishings in rounded shapes that have a “work/live/ play vibe.” Costs were kept down with off-the-shelf pieces from the likes of Arteriors, Blu Dot, Frontgate, and Restoration Hardware. Indoor/outdoor chairs resemble rattan but are made of sturdy powdercoated metal, polyamide, and acrylic.

Custom designs came into play, too, such as the cerused-oak bar screen that was inspired by South Beach lifeguard stands but functions as built-in shelving. Likewise, in the textile department, custom-printed ombre sheeting adds softness at windows and in a nook off a lobby entrance, while the underside of the rooftop lounge awning has been printed with a palm-leaf pattern. As for the lobby’s whimsical 12-foot trees mimicking local flora, they’re made of white canvas. Uplit at night, they cast dramatic frondlike shadows across the ceiling.

By day, they require no watering—just an occasional dusting. —Jane Margolies JAN.23

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hok Norfolk Southern Corporation, Atlanta For this freight rail operator’s headquarters, HOK helped consolidate thousands of employees into one streamlined, amenities-fueled workplace totaling 750,000 square feet. With base-building architecture by Pickard Chilton, the ground-up construction is composed of two office towers (10 and 17 stories tall) joined by a five-story podium, which houses the lobby, amenities, and parking. That’s where HOK created a monumental stair, the defining element of the 32-foot-high lobby and overall interior. The circular stair grew out of the idea of movement, the guiding theme of the project. Its ribbon of Corian-clad steel twists from the ground floor to the fourth, but the white-oak treads only begin on two. In the lobby—detached from the stairs for security reasons—the Corian curls to wrap the reception desk. An outdoor weathering-steel sculpture by Dee Briggs evoking tunnels and curved tracks is visible through the lobby windows, where staff and visitors can see its relationship to the stair. —Rebecca Dalzell PROJECT TEAM: TOM POLUCCI; BETSY NURSE; DANIELLE SCHMITT; KAY SARGENT; DIANA STANISIC; VIVIEN CHEN; RICHARD SAUNDERS; FRANCESCA MEOLA; WERONIKA CICHOSZ; CRYSTAL LATHAM; VALERIE ROOSMA; IRINA SAI; ERIN EZELL; EMILY PAYNE; BETHANY FOSS; CLAIRE PELLETTIERE; MATT MC INERNEY.

be stofyear ERIC LAIGNEL

domestic staircase

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staircase residential

be stofyear international staircase

lycs architecture Kano, Zhejiang, China Kano, a popular office-furniture supplier in China, is stepping up its feng shui with an interiors overhaul by LYCS Architecture. Tasked with redesigning the brand’s 7,500-square-foot headquarters, the firm took a researchbased approach. Looking to showcase Kano’s vertically integrated business—from design to manufacturing—LYCS centered the space around one bold move: a wooden spiral staircase inspired by the circular flow of the Solomon R. Guggenheim Museum in New York and the atrium of Hong Kong’s HSBC Main Building. From reception, staff and visitors can ascend the six stories, passing conference and sales rooms, R&D hubs, showrooms, and even the C-suite, gaining a holistic understanding of Kano’s business.

—Lisa Di Ventuta PROJECT TEAM: RUAN HAO; HE YULOU; ZHOU MIAO; LIANG GE; PAN YU; WANG YIRU; XIN XIN; YANG LI; ZHANG PENG; FAN JINGWEN; ZHANG LING; LI HAIFENG; HAN LITING.

WU QINGSHAN

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be stofyear fashion retail “The spaces tell a story and keep customers emotionally connected to the brand”

peter marino architect Dior Paris 30 Montaigne Back open after a two-plus-year renovation, Dior’s 50,000-square-foot, three-level boutique—which includes haute couture salons, two eateries, three gardens, and a bookable private apartment—unfolds in a spatiotemporal narrative akin to a theater set, creating what firm principal and Interior Design Hall of Fame member Peter Marino describes as a journey through the “inner essence” of the brand. “It’s not one idea through­out but, rather, walk-through spaces that tell a story, that keep the customer engaged and emotionally connected with Dior from start to finish.” The concept pays homage to Christian Dior’s love of fine art and plant life with commissioned works, many nature-themed or conveying a sense of movement: Guy Limone’s immersive collage of archival Dior photographs in a café; sliding panels combining jute and gilded gesso by Nancy Lorenz in fine jewelry; Joël Andrianomearisoa’s textile-based Ultime Saison, 2021, anchoring a mezzanine seating area. Sartorial tropes abound—note how the rotunda’s spiral staircase ripples like the train of a ballgown, backdropped by a monochromatic installation of Dior designs through the ages. A stylistic mash-up of eras comingles parquet de Versailles flooring and classic boiserie paneling with vintage furniture by the likes of Gabriella Crespi and Joaquim Tenreiro, plus more than 100 specified materials (pandemic supply-chain issues be damned, Marino notes), from white stucco and French limestone to embroidered silk. —Jen Renzi PROJECT TEAM: PETER MARINO; MARCO MARCELLINI; SASKIA DE SCHRIJVER; CHRISTIAN TSCHOEKE; ALEX MALAGELADA; COSTANTINO DI SAMBUY;

KRISTEN PELOU, COURTESY DIOR

PAOLA PRETTO; DARIO TIMOTIC; CHRIS YOON.

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KRISTEN PELOU, COURTESY DIOR

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be stofyear cosmetics retail

leaping creative Super Seed Shanghai In the crowded Chinese beauty market, Super Seed has carved out a niche by blending plant-based ingredients with those that are laboratory made. For the skin-care brand’s first bricks-and-mortar store, Super Seed asked Leaping Creative to conceive an interior that reflects its core purpose—to make products that harness the healing power of nature—as well as its tech forwardness. Design director Zen Zheng and team imagined the 3,300-square-foot shop as a “futuristic farm,” using candy colors and a mix of glossy materials—steel, terrazzo, lacquer—for a stylish sci-fi effect.

Customers step into a foyer that looks like a greenhouse in outer space, where an astronaut peers into a capsule holding luminous flowers. Inside, shoppers are encouraged to become explorers themselves. The heart of the store displays such items as hemp seed face oil on sleek steel islands, inspired by haulage carts, that sit on wheels fixed on illuminated circular tracks. Adjacent thematic rooms aim to build trust with customers and teach them about natural ingredients, such as a “laboratory” for hands-on classes. There, Leaping Creative specified tinted yellow-glass walls and stainless-steel tables topped with cartoon figurines, sending the message that the brand is both scientific and approachable. —Rebecca Dalzell ZIJUN LUO; ZHUJI LI; AILIAN WANG; JIARONG FENG; WEIZHEN TAN; ZIXIN HUANG; BAIQUAN YU; SHUOGAN ZHENG.

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YUUUUNSTUDIO

PROJECT TEAM: ZEN ZHENG; MINDONG ZENG; CHANG CHEN; ZIJUN LUO; ZHENYU YAO; HONGZHI WANG; ZHIBIN ZHU; MINDONG ZENG;

YUUUUNSTUDIO

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be stofyear mixed retail

x+living Zhongshuge, Shenzhen, China

Architect Xiang Li is fascinated by Shenzhen’s meteoric ascent to the summit of global economic prowess. The X+Living founder and chief designer sought to capture its tension between familiarity and strangeness in her concept for bookstore chain Zhongshuge’s first shop in the city. The 14,000-square-foot project’s main intervention is clearly visible: a 122-foot-long spiral staircase that’s actually a bookshelf lying on its side dominating the store’s central area. It’s formed by two red metallic ribbons sandwiching LED-lit slots for books, complete with stairwaylike balusters and handrails. As the structure corkscrews, its shelves twist and turn to surround visitors with volumes, those within easy reach filled with real books, approximately 5,000 of them, that can be pulled out and purchased. The spines that appear upside down are images printed on peel- and-stick paper. Reflective mirror-polished terrazzo flooring exaggerates the mind-tripping effects of the spiral.

—Rebecca Lo PROJECT TEAM: XIANG LI; LIJIAO REN; FENG WU; ZIYAN LUO; XUEPING JIANG; YIFAN WANG;

SHAO FENG

BAOJUN LI; YUWEN ZHAO.

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atmosphere architects KVK, Chengdu, China

be stofyear accessories retail

Ancient Mongolian rituals, spiders, and the movie Dune are listed by Nahiya Su, the cofounder and creative director of Chinese accessories label KVK (standing for Kill Via Kindness), as the influences behind its coveted collection of cutting-edge necklaces, earrings, and rings. For the brand’s 5,000-squarefoot Chengdu showroom, Atmosphere Architects was tasked with translating other big-picture concepts like “conflict,” “conscious awakening,” and “aggression” into physical space. The resulting mirrored, black-and-white grid, lit by 3-foot-square stretched fabric LED modules, is equal parts sci-fi and goth, making it the perfectly bold backdrop for KVK’s dark future aesthetic.

—Wilson Barlow PROJECT TEAM: TOMMY YU; APRIL LO; CHLOE CHEN; MAO MAO.

CHAN HE/HERE SPACE

suh architects and hlw Genesis House, New York If car-buying were ever elevated to a multicultural experience, it would be at Genesis House. The threelevel, 9,600-square-foot endeavor is part showroom (for Genesis vehicles, the luxury division of South Korea’s Hyundai Motor Group), part hospitality venue.

“We love that the project creates a conversation with New York,” Seoul-based Suh Architects principal Kyungen Kim says. HLW principal and managing director Edward Shim, Kim’s Manhattan-based counterpart, concurs: “Our intent was an immersive experience that’s traditionally Korean, yet distinctly New York.” The powerful brandethos connection begins at street level, where a metallic mesh curtain spanning the front facade drapes over new car models and a stunning installation of hinged portals hangs against a wall of weathering steel. Nearby, more than 90,000 flip-top copper discs tell the story of where the new Gen­esis introductions have recently arrived.

The second-floor tea pavilion and restaurant allude to a Korean village. —Edie Cohen

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PROJECT TEAM: EULHO SUH; KYUNGEN KIM (SUH ARCHITECTS); EDWARD SHIM (HLW).

FRANK OUDEMAN

mixed showroom

venture Compac, Gandia, Spain Stone surfaces company Compac is in the business of matter. And it’s celebrating that dynamic with a new showroom, dubbed Salon Gandia for its location in the ancient Spanish city, that showcases its product through 13,000 square feet of avant-garde sculpture, art, and functional architectural elements. Since materials are the focus, Compac’s in-house team, along with design partner Venture, tapped a rock-star lineup consisting of sculptors Rubén Fuentes Fuertes and Arik Levy and firms Coffey Architects and GG Architects to craft a stunning series of installations that display the versatility of the manufactured marble, terrazzo, and quartz. Central to the space, and to Compac’s philosophy, is a courtyard with a tree that’s meant to represent the 30,000 the company has planted so far to offset its carbon emissions.

—Wilson Barlow

COMPAC/NELOHAGEN

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saguez & partners AXA Investment Managers, Paris

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—Wilson Barlow PROJECT TEAM: MICHAEL BEZOU; JUSTINE POTIN; CHARLOTTE LE GOUVELLO; SERVANE RIGOLLOT; MARINE BELKEBIR; CHLOÉ DE QUILLACQ.

SEIGNETTE LAFONTAN

environmental branding/graphics

Nicknamed AXA Memphis after the 1980’s design movement, the 1,400-squarefoot Paris outpost for AXA Investment Managers is meant to not only spur creativity and collaboration for its portfolio of properties but also jive with its location in the 13th arrondissement, a neighborhood filled with street art. The Saguez & Partners graphic design team crafted vinyl decals that blend pop-art style with AXA’s muted corporate colors that are softer on employee eyes, and then themed each to a specific office area to assist with wayfinding. The rooftop of the neighboring building was subsequently transformed with gigantic outdoor stickers, turning the blank space into a bold benday-dot mural visible to workers looking out for inspiration.

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clé tile Cinema Collection: Mythology Fashion often influences interiors—and vice versa. For a good example, look to Clé Tile. For Mythology, Clé’s new handcrafted range of 32 unglazed cement tile colors in 47 ready-made duos and trios, founder Deborah Osburn and creative director Sarah Lonsdale collaborated with photographer Laurie Frankel, who snapped models on location around Northern California to produce a series of videos and still images. Each sartorial set, inspired by the visual storytelling of legendary Vogue stylist Grace Coddington, captures a distinctive mood, from 1920’s glamour to ’70’s disco fervor. Although the 8-inch-square tiles aren’t seen anywhere in the campaign, the line’s—and brand’s—emotion, color, and creativity are clear as day. —Georgina McWhirter PROJECT TEAM: DEBORAH OSBURN; SARAH LONSDALE.

LAURIE FRANKEL

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Spark Modern Fires would like to congratulate the 12th Annual Design Competition Grand Prize Winners Scott and Renee Davis, Davis Residence, Elger Bay, Camano Island, WA. Designers: Scott and Renee Davis Photographer: Chet Leealey

BESPOKE FIREPLACES

by Spark Modern Fires

Get inspired by our entire Circle of Winners gallery at www.sparkfires.com or 203.791.2725

modern fires

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on the boards single-family residential

david jameson architect Alta, Wyoming With a dramatically sinuous form that echoes the backdrop silhouette of the Teton Range, the 8,000square-foot house in Big Sky country, due for completion in August 2024, is conceived as a tent, albeit an ultramodern one given its blackened-zinc cladding. The structure, which comprises water-jet cut aluminum ribs joined into unitized wall panels with a vented cold cavity to help with snow control, will be prefabricated in Kansas City and shipped to the remote alpine site—a strategy that allows the shell to be erected and closed in during the summer building season. Energy efficiency will be achieved through spray-foam insulation, radiant HVAC systems, and LED lighting, while the construction typology and choice of durable materials set the sculptural edifice up for legacy usage. —Edie Cohen

be stofyear on the boards multiunit residential

pininfarina of america Light Towers, Mérida, Mexico

Located in Yucatán’s costal capital, the 122-unit condominium complex, slated to open August 2025, reinterprets the city’s history and culture through a contemporary lens. The eco-minded development is made up of a pair of towers—15 and 17 stories, respectively, connected by a five-story base—that, thanks to stacked setbacks reminiscent of Mayan pyramids, create a “green valley” of lushly planted terraces between them. This vertical open-air core blurs the line separating the built environment from nature, providing each apartment with a generous outdoor space that represents up to 75 percent of the unit’s total square footage. Further promoting the “green lifestyle” concept, amenities will include a secondfloor deck with alfresco gathering and coworking areas, plus a swimming pool. —Edie Cohen

PROJECT TEAM: SAMUELE SORDI; AMBRA GADDA; ANDRES PINEDA; NAOMI PERALTA.

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FROM TOP: PAUL WARCHOL; COURTESY OF PININFARINA OF AMERICA (2)

PROJECT TEAM: DAVID JAMESON; ALEXANDRA WONJO.

be stofyear on the boards commercial

tighe architecture Stillness, A Center for Contemplation, Joshua Tree, California Call it a spiritual oasis. Stillness, A Center for Contemplation was conceived by a longtime entrepenuer as a secular spiritual destination where artists, wellness practitioners, and the public can come together to experience presence, mindfulness, and healing. The site is an 83-acre parcel right outside of Joshua Tree National Park, encompassing 25,000 square feet contained within a desert earthwork carved out of the landscape. Interior Design Hall of Fame member Patrick Tighe channeled ancient Egyptian tombs into galleries and programmable spaces that culminate in a templelike central grand hall. It’s all a backdrop for an experiment in engaging the human spirit and expanding consciousness that’s set to debut in 2025. —Wilson Barlow PROJECT TEAM: PATRICK TIGHE; ANTONIO FOLLO; CHUWEN ONG; NICHOLAS Y. WU; SICHENG HU; JAVIER BENAVIDES; DANNY ORTEGA.

TIGHE ARCHITECTURE

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Uline

JAN.23

INTERIOR DESIGN

Over 1,700 box sizes always in stock! And with over 40,000 products also in stock, you’ll love our variety. Order by 6 PM for same day shipping. The best service, products and selection – that’s how we do business. Please call 800.295.5510 or visit uline.com

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l’observatoire international and studio cmp Hermès pavilion, Milan Design Week Rooftop water towers seem to exist far from the rarified world of Hermès.

But at Milan Design Week 2022, they inspired the ethereal light boxes that contained the luxury brand’s latest home collection, which centers on textiles. Lighting designer L’Observatoire International and architecture firm Studio CMP connected the towers’ simple functionality with the timeless beauty of an Hermès cashmere quilt or folded leather centerpiece. The four 26-foot-tall constructions, totaling 1,100 square feet inside the La Pelota event space, were made of ash frames covered in custom-dyed nonwoven fiberglass paper. The translucent material, applied piece by piece on-site, softly glowed from internal LED chandeliers and spotlights, resulting in large volumes that looked nearly weightless.

“It was like being inside a Noguchi lamp,” L’Observatoire’s Hervé Descottes observes. “The objects and structures showcased a quest for lightness,” Studio CMP’s Charlotte Macaux Perelman adds. Like paper lanterns, the structure frames were also transparent, forming geometric patterns that echoed the patchwork blankets, painted ceramics, and caned chairs on display. As they have for previous Hermès installations, the two French teams crafted luminous scenography that subtly expressed the brand’s creative vision. —Rebecca Dalzell PROJECT TEAM: HERVÉ DESCOTTES; ETIENNE GILLABERT; ELIE NESPOULOUS; GIUSEPPE BINI; FRANCESCO SECONE (L’OBSERVATOIRE INTERNATIONAL); CHARLOTTE MACAUX PERELMAN (STUDIO CMP).

“Because of their translucence, the 26-foot-high volumes looked nearly weightless”

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MAXIME VERRET/COURTESY OF HERMÈS

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shining moment

JAN.23

INTERIOR DESIGN

137

big–bjarke ingels group

Biosphere, Harads, Sweden

Nestled in a Lapland pine forest some 30 miles south of the Arctic Circle, Treehotel is a boutique property comprising just eight cabins, each conceived by a different Scandinavian architect. BIG’s contribution is a 370-square-foot folly, built of local timber, its steel-grid exoskeleton supporting 350 birdhouses of varying size and shape, creating a “spherical swarm of nests,” partner-in-charge Bjarke Ingels explains. The design supports area conservation efforts—helping to restore the local population of talltita, rödhakes, and other avian species that can be observed through the lofted interior’s picture windows and glass floor—while giving guests the feeling of being at one with nature. —Jen Renzi PROJECT TEAM: BJARKE INGELS; JOÃO ALBUQUERQUE; GEOFFREY EBERLE; ANGEL BARRENO GUTIÉRREZ; FRANCISCO ABAJO DURAN; ESZTER OLAH; RAGNA NORDSTROM; PAWEL MARJANSKI; ULF ÖHMAN.

be stofyear small resort

MATS ENGFORS FOTOGRAPHIC

JAN.23

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Work from Anywhere Haworth Collection Lud’o by Cappellini