Interior Design December 2023/January 2024

DEC. 2023/ JAN. 2024

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CONTENTS DEC. ‘23/JAN. ‘24

VOLUME 94 NUMBER 12

ON THE COVER The Novo Land Sales Gallery in Hong Kong by Virginia Lung, Ajax Law, and their One Plus Partnership team is the winner of the Interior Design Best of Year Award in the residental sales center category. Photography: Studio Ciao and Ajax Law.

best of year 20 ENVIRONMENTAL IMPACT

52 SMALL CASUAL DINING

22 SOCIAL IMPACT

53 LARGE CASUAL DINING

24 BUDGET 25 BEAUTY/SPA 26 FITNESS 28 HEALTHCARE 29 CLINIC 30 ENTERTAINMENT 31 FACADE 32 INSTALLATION 33 PRODUCT EXHIBITION

55 HOTEL DINING 56 DOMESTIC CHAIN HOTEL 57 INTERNATIONAL CHAIN HOTEL 58 INTERNATIONAL RESORT 60 DOMESTIC RESORT 61 BOUTIQUE HOTEL 62 DOMESTIC HOTEL TRANSFORMATION

35 INTERNATIONAL MUSEUM

63 INTERNATIONAL HOTEL TRANSFORMATION

38 LIBRARY

64 SMALL CORPORATE OFFICE

39 COMMERCIAL LANDSCAPE

65 MEDIUM CORPORATE OFFICE

40 DOMESTIC SMALL HIGHER EDUCATION

66 LARGE CORPORATE OFFICE

41 INTERNATIONAL SMALL HIGHER EDUCATION

68 DOMESTIC EXTRA-LARGE CORPORATE OFFICE

COURTESY OF BANYAN TREE ALULA

42 MEDIUM HIGHER EDUCATION

70 INTERNATIONAL EXTRA-LARGE CORPORATE OFFICE

43 LARGE HIGHER EDUCATION

72 SMALL CREATIVE OFFICE

44 EARLY EDUCATION

73 LARGE CREATIVE OFFICE

45 KIDS ZONE 46 TRANSPORTATION 48 COFFEE/TEA

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54 FINE DINING

34 DOMESTIC MUSEUM

36 INSTITUTIONAL

12.23

74 SMALL TECH OFFICE 75 LARGE TECH OFFICE

49 COUNTER SERVICE

76 OFFICE TRANSFORMATION

50 BAR/LOUNGE

78 FIRM’S OWN OFFICE

58

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01.24

CONTENTS DEC. ‘23/JAN. ‘24

VOLUME 94 NUMBER 12

best of year

79 COWORKING OFFICE 80 LARGE COMMERCIAL LOBBY/AMENITY SPACE 82 SMALL COMMERCIAL LOBBY/AMENITY SPACE 83 COMMERCIAL CAFETERIA 84 LARGE RESIDENTIAL LOBBY/AMENITY SPACE 85 SMALL RESIDENTIAL LOBBY/AMENITY SPACE 86 SMALL BEACH HOUSE 87 YACHT 88 LARGE BEACH HOUSE 90 SMALL COUNTRY HOUSE

106 DOMESTIC MULTIUNIT RESIDENTIAL 107 INTERNATIONAL MULTIUNIT RESIDENTIAL 108 SENIOR LIVING 109 RESIDENTIAL SALES CENTER 110 RESIDENTIAL STAIRCASE 111 COMMERCIAL STAIRCASE 112 DOMESTIC FASHION RETAIL 113 INTERNATIONAL FASHION RETAIL 114 BEAUTY RETAIL 115 SHOPPING MALL 116 RETAIL 118 INTERNATIONAL SHOWROOM

92 MEDIUM COUNTRY HOUSE

119 DOMESTIC SHOWROOM

93 LARGE COUNTRY HOUSE

120 VEHICLE SHOWROOM

94 SMALL CITY HOUSE

122 ON THE BOARDS SINGLE-FAMILY & MULTIUNIT RESIDENTIAL

95 MEDIUM CITY HOUSE 96 LARGE CITY HOUSE 98 SMALL APARTMENT 99 LARGE APARTMENT 100 SMALL RESIDENTIAL TRANSFORMATION 101 RESIDENTIAL LANDSCAPE

123 ON THE BOARDS COMMERCIAL 124 ENVIRONMENTAL BRANDING 125 COLLATERAL BRANDING/GRAPHICS 203 SHINING MOMENT

102 MEDIUM RESIDENTIAL TRANSFORMATION 86

104 KITCHEN/BATH 105 PUBLIC RESTROOM

special section SC1 HALL OF FAME SUPPLEMENT

CHRIS COOPER

Interior Design (ISSN 0020-5508), Dec/Jan 2024, Vol. 94, No. 12. Interior Design is published 12 times per year, monthly except combined issues in July/ August and December/January with seasonal issues for Spring and Fall by the SANDOW Design Group, LLC, 3651 FAU Boule­vard, Boca Raton, FL 33431. Periodicals postage paid at Boca Raton, FL, and additional mailing offices. POSTMASTER: Send all UAA to CFS; NON-POSTAL AND MILITARY FACILITIES: Send address corrections to Interior Design, PO Box 808, Lincolnshire, IL 60069-0808. Subscription department: (800) 900-0804 or email: interiordesign@ omeda.com. Sub­scriptions: 1 year: $69.95 USA, $99.99 in Canada and Mexico, $199.99 in all other countries. Copyright © 2023 by SANDOW Design Group, LLC. All rights reserved. Printed in the USA. Material in this publication may not be reproduced in any form without permission from the publisher.

Interior Design is not responsible for the return of any unsolicited manuscripts or photographs.

103 LARGE RESIDENTIAL TRANSFORMATION

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20 23 our annual compilation of the top projects in every sector

be stofyear

environmental impact

studio o+a and lever architecture Adidas East Village Expansion, Portland, Oregon Sustainability is embedded in the sporty scheme for the apparel company’s expanded North American headquarters. Green roofs, adaptable layouts, and repurposed or renewable materials reduce the carbon footprint while expressing the brand’s values. In the two new buildings by Lever, totaling nearly 300,000 square feet, structures of precast concrete, glulam beams, and CLT panels create warm, spacious interiors that Interior Design Hall of Famer Primo Orpilla and his O+A team devised to evoke athletic stadiums, with an eye toward the planet. Reclaimed basketball court flooring, for instance, became a conference table; fabric-wrapped acoustic panels are made of excess textiles from Adidas products. Elsewhere, dining tables are crafted of wood from trees felled during construction, and art installations incorporate recycledcontent yarn. Among O+A’s environmental graphics are a staircase’s chevron stripes derived from sneaker sole patterns. —Rebecca Dalzell PROJECT TEAMS: PRIMO ORPILLA; LISA BIERINGER; MINDI WEICHMAN; ELIZABETH VEREKER; CHASE LUNT; LAUREN PERICH; SEAN HOUGHTON; ALEX POKAS; LAUREN HARRISON; MARBEL PADILLA; KAYLEN PARKER; CHELSEA HEDRICK; SARAH HOTCHIN (STUDIO O+A).

THOMAS ROBINSON; DOUG SHEETS; DANNON CANTERBURY; CHRIS GROSSE; GEORGE-MICHAEL RUSCH; KATIE O’CONNELL;

GARRETT ROWLAND

KEVIN LEE; ALEXA CANO (LEVER ARCHITECTURE).

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“Innovative materials sourcing and construction techniques point to new paths for sustainability and energy efficiency”

GARRETT ROWLAND

DEC/JAN.24

INTERIOR DESIGN

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be stofyear social impact

ra-da Most animal shelters are filled with cages and kennels. But cats and dogs can tend to decline when contained in such conditions. RA-DA decided there had to be a better way. The result, one of several projects in the firm’s animal care–facility portfolio and its second for the nonprofit Best Friends Animal Society, which is working toward no-kill by 2025, is what founder/principal Rania Alomar is calling the “shelter of the future.” Encompassing 20,000 square feet and evoking the old barns scattered on fields in this predominantly rural area, the facility is divided into a medical wing and a community-focused wing. The latter has creatively conceived areas for animals to roam and for fun pet-fostering events so that they are rehomed quickly. Doggie yoga classes or knitting with kittens, anyone? —Jane Sarney PROJECT TEAM: RANIA ALOMAR.

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INTERIOR INTERIOR DESIGN DESIGN JAN.23 DEC/JAN.24

RALF STRATHMANN

Pet Resource Center, Bentonville, Arkansas

bhdm design Hotel Avante, Mountain View, California The terroir of Santa Clara Valley is imbued throughout the newly refreshed, 91-key hotel in the heart of the region. Everywhere, from the lobby, corridors, and gym to the elevators—totalling 36,000 square feet—plus the exterior and pool, are suffused in subtle hues of sage, rosemary, and juniper, while materials are authentically at home in the agriculture-rich location. See the lobby lounge’s pieced-leather wall by Peter Glassford and BHDM’s custom cerused-oak rocking chairs in guest rooms, where headboard walls are emblazoned with abstract vinyl wallcovering by Michael Hildebrand. It’s modern organic, with a millennial twist—all for an incredible $55 per square foot. —Georgina McWhirter

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INTERIOR DESIGN

DEC/JAN.24

ADAM KANE MACCHIA

PROJECT TEAM: DAN MAZZARINI; SHEILA CAHILL; SHERIDAN MARKHAM.

gluckman tang architects and edg interior architecture + design Mii amo, Sedona, Arizona One of the country’s first destination spas when it opened in 2001, Gluckman Tang decided then to put Mii amo’s concept entirely in the service of one goal: highlighting Sedona’s beauty. When GTA returned last year to renovate the project, it partnered with EDG to increase guest rooms from 16 to 22 and expand the spa and fitness building—all the while hewing closely to the spirit of the existing building, meaning being as spare and reductive as possible.

The property standout is perhaps the central living room: a former indoor pool retrofitted with an onyx-framed, dusky rose–upholstered conversation pit and a moon-shape wall cutout illuminated from behind by shifting natural light. The circle, after all, symbolizes completeness and wholeness.

—Monica Khemsurov

be stofyear be stofyear beauty/spa

DOUGLAS FRIEDMAN

PROJECT TEAMS: DANA TANG; GREG YANG; MARK SHAHLAMIAN; ELENA ENGLISH; ASTGHIK DANIELYAN; GRANT SCOTT; RICHARD TOBIAS (GLUCKMAN TANG ARCHITECTS). JENNIFER JOHANSON; JANE MC GOLDRICK; CECILY WATSON; CHRISTINE ANNEKEN; KATIE EVERIDGE; JULIE COMPAGNO; PIETER STOUGAARD (EDG INTERIOR ARCHITECTURE + DESIGN).

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DIRK WEIBLEN

be stofyear fitness

“The use of color, geometry, and playfulness elevates the often-homogenous workout space”

lukstudio BeInfinity, Wuhan, China Tetris and color psychology informed the concept for this gym and social club, which brings together professional sports, fitness training, and recreational gathering under one roof. On the top floor of a shopping mall, the site was originally a cavernous 24 feet high. But Lukstudio devised two-story, blocklike structures to be built within it; they not only tame the volume but also enlarge the floor area to nearly 38,000 square feet.

Metal-grid banisters and ceiling panels delineate rooms, painted different shades depending on the sport. Batting cages, for instance, are a focusing blue. Red, associated with strength and dominance, defines the weight room. White semicircle balconies offer places to pause between exercise regimes and vistas of the central hall, where members gather for group classes and activities. —Rebecca Dalzell PROJECT TEAM: CHRISTINA LUK; ANGEL WANG; KATE DENG; MUNYEE NG; YOKO YOU; WEIFENG YU; VIVI DU; ZOEY ZHOU; HAIBIN CHAO; COCA GAO.

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gensler

be stofyear healthcare

Acibadem Healthcare Group, Istanbul Originally brought on to devise the client’s corporate headquarters, Gensler’s scope ultimately encompassed the interiors for three buildings: the HQ, plus Acibadem Ataşehir Hospital and Children’s Pavilion. The main hospital is vast, including 298 beds, 86 polyclinics, and 10 operating rooms across 700,000 square feet. But the overall tone is calm, particularly in the lobby where soft lighting and curved lines combine with such multisensory elements as classical piano music and a lavender scent. Beyond the Turkish marble reception desk and monumental digital artwork, tulip-shape columns frame views of an outdoor garden, all yielding a serene entry setting. Outpatient clinic rooms feature consultation areas conceived to accommodate practitioner, patient, and loved one.

Playful is the prescription for the pavilion, where a fiberglass hot-air balloon and patterned oak paneling depicting a family of deer delight. —Jane Sarney PROJECT TEAM: EJ LEE; JU HYUN LEE; JIM CRISPINO; ERIC BRILL; JACOB BOUSSO;

be stofyear

COURTESY OF ACIBADEM

OLMAN ALVAREZ; SOFIA KLUEVER.

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be stofyear clinic

karv one design Starry Ophthalmic Hospital, Tai Yuan, China To bring a dose of calm to the worrying process of having a procedure done at a hospital eye clinic, Karv One instituted a warm, simple palette that eschews sterility. Natural-wood paneling and curvilinear white-plaster soffits form the basis of the interiors, and are combined with cosseting, rounded seating and the soothing salve of greenery. Bright, sunny zones at the window wall are reserved for public waiting areas. Elsewhere across the 13,300 square feet, the Kelvin temperature is primarily low and gentle, taking into account the light sensitivity of post-operative patients. It’s a way to ensure recuperating feels just that little bit more comfortable. —Georgina McWhirter PROJECT TEAM: KYLE CHAN; JIMMY HO.

COURTESY OF KARV ONE DESIGN

DEC/JAN.24

INTERIOR DESIGN

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be stofyear entertainment

one plus partnership Wushang Dream Mall International Cinema, Wuhan, China

Taking cues from an aerial view of a cityscape, OPP designed a 90,000-square-

foot cinema as a dark, marble-clad metropolis. Orthogonal stone forms in mottled hues—from ruddy brown to deepest gray—function as seating areas, space dividers, and ticket counters in the lobby. For the ceiling, the design team replicated the natural stone pattern onto lightweight metal panels, extending the variegated, textural palette skyward. The same technique is applied to the project’s upholstered auditorium seating. Finally, concealed LEDs cast directional light and shadows for an immersive noir-meets-brutalist experience. —Lisa Di Venuta

CLOCKWISE FROM TOP RIGHT: JIANGNAN PHOTOGRAPHY; JONATHAN LEIJONHUFVUD (2)

PROJECT TEAM: AJAX LAW LING KIT; VIRGINIA LUNG WAI KI.

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INTERIOR DESIGN

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be stofyear

facade

rdh architects Scott Street Signal Tower Generator, Toronto Designed in 1930 by Canadian Pacific Railway chief building engineer John Wilson Orrock, the Scott Street signal tower’s square form, arched Italianate windows, and hipped roof make it a significant piece of heritage infrastructure. The defunct edifice served as inspiration for RDHA when the firm was commissioned to design a new emergency generator facility located next door. Conceived as a contemporary urban object that honors its venerable neighbor, the 3,600-square-foot steel-frame structure encloses the electrical generating plant behind a naturally ventilating skin. The latter comprises a shimmering expanse of polished aluminum panels that can be opened and shut to allow for passive airflow– cooling of the equipment when needed. Arranged in three tiers corresponding to datum lines on the historic tower, the dynamic facade is also a subtly reflective surface that mirrors its older companion both figuratively and literally, but in unmistakably modern form. —Peter Webster PROJECT TEAM: TYLER SHARP; BOB GOYECHE; ROB BOYKO; PATRICK LIU; MARCO TAVALIGNI; IAN HUFF; ELIZABETH ANTCZAK; JOHN BETTIO.

TOM ARBAN

DEC/JAN.24

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be stofyear

installation

reddymade “Look Here,” National Building Museum, Washington

The New York architecture and design studio was inspired by ancient Japanese magic mirrors—polished-bronze surfaces that reveal hidden images when illuminated—for the large-scale public artwork that occupied 5,100 square feet of the museum’s Great Hall during the summer. Comprising a constellation of highly reflective, aluminum-clad forms suspended above a curved ramp culminating in a pillow-strewn observation platform, the installation offered visitors a kaleidoscope of changing perspectives on the vast colonnaded space as mirrored in the shiny prismatic fractals overhead.

By visually deconstructing and reassembling the monumental 19th-century Renaissance Revival atrium, the dazzling work suggested how the way we experience the built environment shapes our understanding of the world and our constantly shifting place in it. —Peter Webster

CHRIS COE

PROJECT TEAM: SUCHI REDDY; HITARTH NANDI; SUHA SAMARA.

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INTERIOR DESIGN DEC/JAN.24

Alice and the White Rabbit would feel right at home in “Wonderland of Light and Shadow,” Pone’s mind-bending booth for the paint company at the annual design fair, the largest such event in Asia. The 3,300-square-foot structure comprised a mazelike arrangement of ceilingless spaces above which hung a monumental grid of inverted pyramids, their form inspired by the shape of a character in Nippon’s Chinese name. An interactive lighting column descended from the tip of each upside-down frustrum, illuminating the surrounding walls and sculptural installations, which were painted to evoke the course of a day, from the dusky pink of sunrise through noon’s intense orange to the soft blues and violets of twilight—a magic journey between dream and reality. —Peter Webster PROJECT TEAM: GOLDEN HO; MING LUENG.

pone architecture Nippon Paint, Guangzhou Design Week, China

be stofyear product exhibition

COURTESY OF PONE ARCHITECTURE

DEC/JAN.24

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be stofyear

domestic museum

studio gang

Overhauling a confusing warren of seven buildings added in a disorganized fashion to the institution since its opening in 1937 involved multiple interventions, from an addition to sensitive renovations, totaling 133,000 square feet. The key to unlocking the puzzle was a new circulation spine that weaves north to south through the site. It’s topped with a standout pleated concrete roof plane, its underside composed of 6,000 individually suspended plywood-slat “vertebrae.” One side of the spine terminates in a glass-wrapped lounge elevated on stilts, with a plaza beneath.

The roof graduates down as it reaches the opposite side, ending at Park Grill, the museum’s restaurant. —Georgina McWhirter 34

INTERIOR DESIGN

DEC/JAN.24

IWAN BAAN

Arkansas Museum of Fine Art, Little Rock

be stofyear international museum

neri&hu design and research office Qujiang Museum of Fine Arts extension, Xi’an, China The crowning glory of an innovative, mixed-use museum addition for retail, hospitality, and events programming is a lanternlike structure anchoring the east entry. Clad in red travertine slabs, the cylindrical edifice features evenly spaced portals that usher daylight down into the walkway wrapping the cylinder’s base, while, up top, a hollowed-out, bowl-shape amphitheater with stepped seating encircles a lightwell that descends straight through the core. It’s a new community beacon—and another home run from the firm led by Interior Design Hall of Fame members Lyndon Neri and Rossana Hu. —Georgina McWhirter ZHU RUNZI

PROJECT TEAM: LYNDON NERI; ROSSANA HU; ZHAO LEI; IVY FENG; WENBO DA; JOY HAN; TIAN HUA; BELLA WU.

DEC/JAN.24

INTERIOR DESIGN

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SCOTT FRANCES

“The facade is local stone, connecting the embassy

be stofyear institutional

ennead architects Embassy of the United States, Ankara, Turkey

to its context”

Balancing openness and security is tricky business.

But it is managed with the dexterity of a diplomat at a new 265,600-square-foot U.S. embassy compound in the Middle East. Internal courtyards reference Turkey’s architectural traditions, and also provide secure outdoor spaces for staff to gather. Gridded screens of high-performance concrete based on established regional precedents surround the main courtyard, abetting solar control and privacy. Interiors are just as eloquent, with a monumental lobby highlighting local Marmara marble, native woods, and locally made ceramics. —Georgina McWhirter PROJECT TEAM: RICHARD OLCOTT; KEVIN MCCLURKAN; KATE MANN; FELICIA BERGER; CHRISTOPHER HALLORAN; STEFAN ABEL; KRISTEN ALEXANDER; PETER BROUGHTON; KORI CAMACHO; EDWARD CHANG; MAGGIE CHECO; DARLA ELSBERND; ERKAN EMRE; DALIA HAMATI; WANLIKA KAEWKAMCHAND; JANICE LEONG; RYAN LEWANDOWSKI; SANDRA MARCATILI; STEPH MAUER; AMY MIELKE; DONA OROZOVA; LYNETTE SALAS; SUZANNE TROIANO; MARGARET TYRPA.

SCOTT FRANCES

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INTERIOR DESIGN

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This is the first phase in the transformation of the five-story building, a brutalist icon by John Andrew that opened in 1972. Five decades later, the facility reflected an outdated approach to library programming, further compromised by piecemeal interventions over the years. In partnership with Cornerstone Architecture, P&W focused on 80,000 square feet of interior spaces: reimagining the great hall, which was dominated by a service desk and single-use computer stations; consolidating staff areas, which were inefficiently distributed; upgrading building systems; and right-sizing the collections footprint to maximize study space. Now, a dynamic, daylit learning commons reconnects the great hall to the previously enclosed mezzanine, while new study and socializing spaces, enriched by exhibition and display elements, support 21st-century learning. New flooring, sculptural lighting, textured millwork, and fresh furnishings enhance the building’s 20th-century character while making the interior lighter, brighter, and more inviting. —Peter Webster PROJECT TEAM: JON LOEWEN; MARTHA DEL JUNCO; ALAN MORTSCH; CAREY SMITH; KIMBERLY LOI.

perkins&will D.B. Weldon Library, Western University, London, Canada

SCOTT NORSWORTHY

be stofyear library

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commercial landscape

hoerr schaudt The Meadow at the Old Post Office, Chicago Thanks to an adaptive reuse initiative, the monumental art deco structure that was once the center of the city’s postal system now has the capacity to house 16,000 office workers, thanks to a massive renovation by Gensler. A key offering the now mixed-use property lacked pre-renovation was outdoor space, so developer 601W decided to take advantage of the sprawling 3 ½-acre rooftop, calling on Hoerr Schaudt to create an alfresco amenity. Footpaths meander around major structural beams where the roof is strongest; everywhere else, perennials and grasses are planted in a custom ultralightweight soil mix. The garden—one of the nation’s largest private green roofs—brings a vibrant natural beauty to the building and helps it meet sustainability goals to boot. —Wilson Barlow

DAVE BURK

DEC/JAN.24

INTERIOR DESIGN

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john friedman alice kimm architects Associated Students Bike Shop, University of California, Santa Barbara Bike-repair shops are often rough-and-tumble places, so UCSB initially balked when the student union proposed putting one in front of the admissions building—the school’s literal and metaphorical front door. But the administration came around when it saw the architects’ proposal. The 3,000-squarefoot white-stucco structure not only provides a bright and airy, wood-paneled interior with an open area for individual repair stations but also includes a walk-up service window and welcoming outdoor social-gathering spaces right at the campus entrance. The pavilion’s circular-drum roof references bike wheels, as does the forecourt’s massive, spoked pergola that, like a giant parasol, shades a monumental concrete bench outfitted with tall steel-plate backrests bearing the university’s branding. The result is an eye-catching graphic sculpture that doubles as an irresistible selfie wall. —Peter Webster PROJECT TEAM: ALICE KIMM; JOHN FRIEDMAN; GORDON AU; MICHAEL ROYER; TYLER JOHNSON; EVAN CHANG; ADELFRID RAMIREZ.

BENNY CHAN/FOTOWORKS

be stofyear domestic small higher education

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INTERIOR DESIGN

DEC/JAN.24

be stofyear international small higher education

hq architects and hwkn architecture Arts Center Building, Jerusalem Academy of Music & Dance Right from its harlequinesque exterior—a monochrome skin of diamond-shape slabs of Jerusalem stone that’s both firmly contextualizing and freshly inventive—courtesy of New York–based HWKN, this 27,000-square-foot, three-story addition to the Israeli performing arts school confidently mixes aesthetic daring with design practicality. (That skin offers great thermal insulation.) Along with a recital hall and various teaching rooms, practice studios, and performance spaces, Tel Aviv–based HQA’s interior layout includes a central atrium dominated by an exposed concrete stair that crisscrosses the void like the monumental bridges and catwalks in a Piranesi drawing. Festooned with hanging fabric strips that help control acoustics, the atrium also serves as a community hub where students and faculty from different disciplines can interact socially and creatively. —Peter Webster PROJECT TEAMS: EREZ ELLA; AYELET KAMAR-EREZ; MARTIN NEIMAN; RANY MAHAMEED; KESHET ROSENBLUM; SMADAR EFRATI; IDO AZIZ; ISAM QAYMARI; OMER GURA; GAL KELMAN; LIAT HALBERSBERG; OFER BILIK; PHILIP STIEBLER; DANA LIEBER (HQ ARCHITECTS). MATTHIAS HOLLWICH; ROBERT MAY; MARC KUSHNER; KATE SCOTT; ADAM HOSTETLER; EGBERT MILES CHU; VICTOR BARBALATO; BRAD ENGELSMAN; ALBERTO HERZOG; SJ KWON; TODD SHAPIRO (HWKN ARCHITECTURE).

DOR KEDMI

DEC/JAN.24

INTERIOR DESIGN

41

co architects and tsk architects Kirk Kerkorian Medical Education Building, University of Nevada, Las Vegas This new five-story, 130,000-square-foot building—programming, planning, and interiors

by CO, shell and core by TSK—is the flagship facility at the school of medicine, named for the late businessman-philanthropist and founded less than a decade ago. The interior is dominated by the forum, a four-story gathering space for quotidian student activities and special events, its role as a social nexus defined by reclaimed white-oak stadium seating surrounded by a curvaceous GFRG envelope. Thomas Heatherwick’s whimsical Spun chairs face glass doors opening onto the main terrace, while other characterful spaces—the entry’s curved display wall and integrated bench celebrating Kerkorian, for example, or the thirdfloor’s double-height learning resource center furnished with colorful sofas and ottomans— juxtapose the classrooms and learning studios distributed throughout. —Peter Webster

PROJECT TEAMS: SCOTT KELSEY; ARNOLD SWANBORN; PHILLIP WHITE; GABRIEL LAMPE; JESSICA KNOWLDEN; LILIT TEGELECIAN; SIMIN CHU; DAVID HWANG; SUSSAN MOVASSAGH; JULIE ADLER (CO ARCHITECTS). WINDOM KIMSEY; MIKE PURTILL; ROBERT HERSH

be stofyear medium higher education 42

INTERIOR DESIGN

DEC/JAN.24

BILL TIMMERMAN

(TSK ARCHITECTS).

be stofyear large higher education

kpmb architects Boston University Center for Computing & Data Sciences When KPMB won the competition for the university building, it was with a human-centered concept that meets the needs of the students and staff who would use it—whether engineers or artists— and the surrounding community. Alternating between glass and aluminum sections cladding the 19-story tower are reddish-brown louvers, the color referencing the local brick row houses. For the 345,000-square-foot interior, the five-level atrium centers on a black steel butterfly stair, a ribbon of movement visible to passersby that helps connect occupants. Also contributing to connection are various lounges, many furnished with BU–red custom ottomans.

Joining all the scarlet is green: With 31 geothermic wells providing heating and cooling, being set 3 feet above the Charles River Dam for flood resilience, triple-glazed windows, and a facade solarshading system, the project is one of the city’s—and New England’s— most environmentally responsible buildings. —Rebecca Dalzell PROJECT TEAM: BRUCE KUWABARA; MARIANNE MC KENNA; LUIGI LAROCCA; PAULO ROCHA; LUCY TIMBERS; DAVID SMYTHE; KAEL OPIE; TYLER LOEWEN; MELISSA NG; MATT KRIVOSUDSKY; TYLER HALL; AMIN MONSEFI; VICTOR GARZON; SAMANTHA HART; NICHOLAS WONG; OLIVIA DI FILICE; JASON CHANG; FOTINI PITOGLOU; CAROLYN LEE; KAYLEY MULLINGS; ARMINÉ TADEVOSYAN.

TOM ARBAN

DEC/JAN.24

INTERIOR DESIGN

43

be stofyear early education

ewingcole The country’s oldest Quaker school boasts a brand-new building to house its robust K-12 athletic program—one that also switch-hits as the heart of its academic campus via a vibrant lobby/common space complete with a nutrition bar, store, student lounge, and study areas. A second-floor classroom with glass wall permitting views of the buzzy space below, plus a soaring geomtric feature wall pairing oak veneer and acoustic panels combine to make the most of the airy doubleheight volume. Nestling half of the facility’s 87,000 square feet below-grade, meanwhile, minimized its impact on the landscape and the environment, reducing energy use and solar heat gain to boot. —Jen Renzi 44

INTERIOR DESIGN

DEC/JAN.24

TODD MASON

The Graham Athletics & Wellness Center, Philadelphia

be stofyear kids zone

pal design group ECNU Xiping Bilingual School Kindergarten, Xiamen, China Learning feels like an adventure at this indoor-outdoor kindergarten. With porthole windows, igloolike nooks, and mini balconies, the mod, nearly 200,000-square-foot school invites exploration from its pint-size attendees. There’s hardly a right angle in sight: Curving walls and arched entrances create a natural flow between rooms, and sunny halls circle a central courtyard. The PAL team considered the wide-eyed perspective of the end user, conceiving spaces that would have excited the designers as children, like an art studio that resembles an illuminated cave. A palette of whites and greens, both man­made and natural, keeps the mood fresh: Lush vegetation frames the entrance and plants hang from overhead fixtures. They’re reminders of growth in nature—and the budding students. —Rebecca Dalzell

CHEN YANMING

PROJECT TEAM: JOEY HO; TOMMY KONG; JOSLYN LAM; DANIEL LEUNG.

DEC/JAN.24

INTERIOR DESIGN

45

be stofyear transportation

vantree design Shenzhen Metro Line 16, Shenzhen, China

Transit riders on a recently opened subway line got a whole lot more than a new way to get from point A to point B. Working with the Guangshou Academy of Fine Arts on the 300,000-square-foot project, Vantree incorporated an abstracted representation of the landscape, neighborhood character, or cultural characteristics of the aboveground locale at each station. In one, a rocky creek bed inspired the bronze-toned faceted crystals that appear to tumble across the ceiling composed of white triangular panels. In another, a wandering dragon motif incorporates ceiling elements that evoke the animal’s scales. In yet another, a circular sunken plaza ringed by columns is a riff on a Hakka saying about green lotus trees swaying around a house.

—Jane Sarney PROJECT TEAMS: MINXI CAI; JUNJIE LI; GUANBAO YE; SHANGZHAO YANG; XIAOFENG LI; XINGCHEN SONG; DONGMING SHEN; DEJUN LI; JIAJUN YIN; ZHUOHUI HU; QINSHUANG YANG; DAMIAN CHAN; LIU TAO; SONGJUN CHEN; JINGE LI, WEIJUN SU (VANTREE DESIGN). MUCHUAN XU (GUANGZHOU

DISHENG MAO

ACADEMY OF FINE ARTS).

46

INTERIOR DESIGN

DEC/JAN.24

kris lin international design Art Toy Café, Cangzhou, China Trendy designer toys are a multibillion-dollar market in this country. Among them is ROBBi, a rabbitlike collectible inspired by the lunar rover Yutu, named for a mythic bunny that lives on the moon. This futuristic, 35,000-square-foot café invites Gen Zers to imagine themselves as explorers like ROBBi. Drawing on space capsules, KLID envisioned an interstellar living room where patrons order at the sleek white-marble bar, take selfies on the sofa beside a life-size ROBBi, and drift off under a grid of bright lights. Polished stainless-steel chairs by Toni Grilo and custom tables resembling Saturn complete the caffeinated science-fiction vibe. —Rebecca Dalzell

be stofyear coffee/tea 48

INTERIOR DESIGN

DEC/JAN.24

MING CHEN/KLID

PROJECT TEAM: KRIS LIN.

sivak+partners

be stofyear counter service

Tanu Gelaterie, Odesa, Ukraine

A mélange of rococo architecture and modern chrome makes for a tasteful pairing at this gelato shop in the Black Sea city completed just before the war began. The Kyiv-based firm, inspired by the shop’s name (Ukrainian for I’m melting), and the icy dessert itself, installed wavy metal cladding that cascades along walls below the existing ornate plaster ceiling, concealing mechanicals. A slew of vintage filament bulbs line one such partition, while silvery curtains drape behind. To finish, the design team chose lilac neon-look signage, filling the 800-square-foot space with a dose of sweet color. —Lisa Di Venuta PROJECT TEAM: DMITRY SIVAK; IVANNA GAIDARZHY; YULIIA STOROZHEVA; ANGELINA STELMAKH.

YEVHEN KARIEV

DEC/JAN.24

INTERIOR DESIGN

49

be stofyear bar/lounge

matrix design Le Bar, Nanchang, China The suprematist art movement, an early 20th–century style associated with manipulating basic shapes and colors to channel pure emotion, inspired the trippy geometric forms of this 2,000square-foot watering hole. Matrix used different hues of light to distinguish each space, from the edgy VIP room to the warm and inviting central bar. The effect is accentuated by glass partitions that diffuse floor- and ceiling-mounted LEDs into a soft, ethereal gradient, lending the entire space an energetic yet dreamy quality.

Additional accents include textured wall paint and antique brass fixtures. It’s the layering of these simple elements that creates a bold effect. —Wilson Barlow

XINRAN ZHOU AND JIAYI HU

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

50

INTERIOR DESIGN

DEC/JAN.24

INFINITE POSSIBILITIES

Starphire Ultra-Clear® glass is the purest, most versatile canvas for your glass designs.

With unmatched clarity and a signature azure blue edge, the possibilities for brilliant interiors are limitless. starphireglass.com

cl3 architects limited Xia, Hong Kong

be stofyear small casual dining

The 80-seat teahouse reflects its location in the Hong Kong Palace Museum, which exhibits artifacts from Beijing’s Forbidden City. CL3’s thoughtful and contemporary concept takes inspiration from the 18th-century emperor Qianlong’s tours to southern China, imagining a village where the entourage might have stopped overnight. Traditional wooden roof structures, a blue-painted ceiling, and a suspended circle evoke a moonlit landscape for the nearly 2,000-square-foot space. On the walls hang reproductions of a Qing Dynasty scroll and green ceramic tiles UV-printed with text describing the emperor’s journey.

The subtle palette is based on mineral colors used in Chinese ink paintings. —Rebecca Dalzell

NIRUT BENJABANPOT/CL3 ARCHITECTS LIMITED

PROJECT TEAM: WILLIAM LIM; JEFFREY CHEN; NIRUT BENJABANPOT.

52

INTERIOR DESIGN

DEC/JAN.24

be stofyear large casual dining

hdc design Chuan Hsi Pa Tzu, Chengdu, China Hot pot eateries abound in Sichuan province. This one, though part of a decade-old operation, appears spanking new thanks to a rebranding and redesign aimed at cultivating a youthful clientele while creating a setting steeped in Chinese cultural roots. Bamboo references turn up indoors and out as awnings and screens, albeit crafted of lightweight metal and metal mesh (rather than wood and fabric) to comply with fire codes. Sleek and minimalist timber furnishings populate the 5,000 square feet of open and private dining areas, where abundant greenery, nodding to rural landscaping, and an enclosed grill establish an emotional connection to—and new way to experience—a time-honored favorite. —Edie Cohen

CHUAN HE

PROJECT TEAM: JIAJUN TANG; RENE LIU; DANA; YUQING HE.

DEC/JAN.24

INTERIOR DESIGN

53

be stofyear fine dining

pitsou kedem architects Like the subtle Mediterranean-fusion cuisine it serves, the 2,700-square-foot restaurant reveals itself gradually. Ushered down an arched corridor, arriving guests get intermittent glimpses of the kitchen and 40-seat dining area—a single, continuous space—through a gridlike oak screen inspired by the wood-latticework partitions in traditional Islamic architecture. The same grid clads the dining-area ceiling and external wall, anchoring a palette of natural materials that includes more oak for furniture and paneling; polished concrete for flooring and as a finish on various built-ins; and granite, both rough and smooth, for a series of massive islands—flexible elements that can be used as food-preparation surfaces, waiter stations, or, topped with an oak slab, a dining counter, further integrating the seamless cooking-serving-eating experience. —Peter Webster PROJECT TEAM: AVITAL SHENHAV-SHANI.

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INTERIOR DESIGN

DEC/JAN.24

AMIT GERON

Hiba Restaurant, Tel Aviv, Israel

be stofyear hotel dining

inc architecture & design Le Clou, Vesper, and Upstairs, The Morrow Hotel, Washington Part of Hilton’s Curio Collection, this new hotel engaged the New York–based studio for its F&B spaces: Le Clou, a first-floor restaurant; Vesper, an 11thfloor cocktail lounge; and Upstairs, the rooftop bar—more than 19,000 square feet in total. The first, a modern take on the traditional French brasserie, features an open plan with both the kitchen and wine storage on show. Custom furniture is joined by leather banquettes and circular ceiling fixtures in a goldtone setting for a luxe but contemporary feel. A midnight-blue palette, centered around plush-velvet lounge chairs and a bar clad in backlit onyx, establishes a sophisticated clubby vibe at Vesper.

Taking its cues from the subtle spectrum of a sky at twilight, the penthouse bar frames unobstructed views of the Capitol dome with a wash of soft colors redolent of the magic hour.

—Peter Webster PROJECT TEAM: ADAM ROLSTON; DREW STUART; GABRIEL BENROTH; TYLER KLECK; MEGAN MCGING; MARISSA ZANE.

ERIC LAIGNEL

DEC/JAN.24

INTERIOR DESIGN

55

be stofyear

domestic chain hotel

markzeff and stantec Virgin Hotels New York City The location and parent brand of this hotel, in a new 38-story tower by Stantec, have their own distinct identities. Thus, for Interior Design Hall of Famer Mark Zeff and team, the goal for the interior was blending the energy of the urban environment with the chain’s irreverent decor, including its signature bold red. The color can be found on a central metal stair and the lounge furniture upholstery; elsewhere, custom textile patterns and artworks pay homage to New York’s history and diversity. Food and beverage options throughout the 227,000 square feet give guests a chance to mingle day and night, while the 463 rooms offer full-height windows through which they can take in the cityscape. —Wilson Barlow PROJECT TEAMS: MARK ZEFF; STACIE MEADOR; PRIYA PANSE (MARKZEFF). BRIAN MC FARLAND; RICHARDO BERMUDEZ

ERIC LAIGNEL

(STANTEC).

56

INTERIOR DESIGN

DEC/JAN.24

neri&hu design and research The Shàng by Artyzen, Shanghai Lyndon Neri and Rossana Hu’s investigations into Far Eastern and occidental history informed this 76,000-square-foot hotel, the debut of a new brand by Artyzen Hospitality Group. The 210 diminutive guest rooms—a quirk of the existing building—recall cabinets of curiosity: Panels hidden in the white-oak and concrete grids covering walls and ceiling can be activated to reveal such functions as a closet or lavatory, and beds invisibly integrate drawers. Compact custom furniture, mean­while, references designs in Le Corbusier’s Cabanon House on the Côte d’Azur. The double-height lobby, conceived as a lantern, is bedecked in oak screens with perforated patterning alluding to leafy shadows cast on city streets, while glass-shade lamps in the lounge behind the central stair recall 1930’s banker versions. —Edie Cohen PROJECT TEAM: LYNDON NERI; ROSSANA HU; JACQUELINE MIN; PHIL WANG; ALFIE HUANG; ROVI QU; AMANDA CHEN; YANRU YANG; NIANSHAN ZHANG; NICOLAS FARDET; WANRU LEE; HAIOU XIN; JULY HUANG; LUNA HONG; CANCAN HUANG.

ZHU RUNZI

be stofyear

international chain hotel DEC/JAN.24

INTERIOR DESIGN

57

be stofyear international resort

COURTESY OF BANYAN TREE ALULA

“Custom furnishings express a sense of nomadic culture inspired by the Ashar Valley’s Nabataean people”

58

INTERIOR DESIGN

DEC/JAN.24

aw2 architecture & interiors Banyan Tree AlUla, Al-’Ula, Saudi Arabia Human habitation of the Ashar Valley, its fertile desert soil and abundant water making it an oasis in the most literal sense, traces back to the Bronze Age. For this new resort there, the French studio designed 47 villas on approximately 2 ½ acres that each consist of a simple platform structure covered by a canvas tent, their colors selected to blend into the surrounding sandstone. This “light touch” approach is intended to make guests feel one with the landscape, while interior spaces, which range from 800 to 2,500 square feet, are lavishly decorated with traditional Arabian handcrafts. —Wilson Barlow PROJECT TEAM: REDA AMALOU; STÉPHANIE LEDOUX.

COURTESY OF BANYAN TREE ALULA

DEC/JAN.24

INTERIOR DESIGN

59

be stofyear domestic resort

nicolehollis and walker warner architects Kona Village, a Rosewood Resort, Kailua-Kona, Hawaii

After a tsunami destroyed this beloved Big Island hideaway in 2011, the San Francisco–based firms, and frequent collaborators, had the formidable task of formulating its next iteration. They chose to honor the memories of the old resort while rethinking the design to better reflect the island’s heritage and meet modern sustainability standards. That approach accounts for the selection of traditional-looking materials that are durable, sustainable, and nod to the locale: recycled plastic thatch for the roofs, aged red cedar evocative of coconut-tree wood for exterior siding, walls and ceilings of Douglas fir treated to resemble driftwood. Furniture and finishes throughout the 150 guest structures evoke the feel of an upscale residence, while more than 200 artworks—nearly all by Hawaiians—evoke the island culture, among them Kaili Chun’s installation of pe’a, or canoe sails, that hangs from the vaulted ceiling of the main restaurant. —Rebecca Dalzell PROJECT TEAMS: NICOLE HOLLIS; BRANDON ASBURY; MARISSA ALLEN; RILEY DEAN; PAMELA JEWELL; ABIGAIL STOPPER; LEO FELIX; SETH HUXEL; EVELYN KIING; DANI SERRANO; JOYCE HADA; JOYCE CHOI; DAHEAN LEE; OLGA ZOLOTUHIN;

DOUGLAS FRIEDMAN

DAVIS LIU (NICOLEHOLLIS). GREG WARNER (WALKER WARNER ARCHITECTS).

60

INTERIOR DESIGN

DEC/JAN.24

be stofyear boutique hotel

rottet studio and inc architecture & design The Morrow Hotel, Washington This 150,000-square-foot property aims to bring much-needed optimism to D.C., thanks to Interior Design Hall of Famer Lauren Rottet and her team, which handled the guest rooms and meeting spaces, and INC, which oversaw F&B and public areas. Blending neoclassical, modern, and organic styles, the concept draws on the location—a new development in the formerly industrial NoMa neighborhood—and the passage of time throughout the day. Public spaces transition from light and airy to dark and moody. In the lobby, green ribbed-glass panels frame the lounge and fluted white-oak millwork wraps columns; in the bar, the latter reappears with a deep blue stain, similar to the shade of wainscotting in guest rooms, which also feature watercoloresque wallcovering. Custom furnishings, pure geometries, and such elemental materials as burnished brass and travertine create a timeless refinement. —Rebecca Dalzell PROJECT TEAMS: LAUREN ROTTET; DAVID DAVIS; JAMES CULL;

ERIC LAIGNEL

CHRIS EVANS; ASHLEY LU; CHRISTIAN HINZE; FELIPE COSIO; SOPHIE BRASFIELD; STACY RAPA; LORI FIRPO (ROTTET STUDIO).

ADAM ROLSTON; DREW STUART; GABRIEL BENROTH; TYLER KLECK; MEGAN M C GING; MARISSA ZANE (INC ARCHITECTURE & DESIGN).

DEC/JAN.24

INTERIOR DESIGN

61

be stofyear domestic hotel transformation

lissoni & partners Hotel AKA Alexandria, Virginia The Interior Design Hall of Fame member, a master of all genres, adds yet another to his portfolio: his debut U.S. hotel. Located in charming Old Town, just minutes from downtown D.C., the project melds Italian élan with regional historicism. The architect’s New York studio touched every aspect of the property, from the existing facade, updated with new glazing and chic anthracite paint, to the surrounding landscape, now totally transformed—not to mention design of all public and private interiors encompassing 150,790 square feet. Lissoni’s signature move is the dramatic darkened-steel staircase connecting reception and terrace. Strictly unique, though, is the hotel’s galleryesque vibe. Adorning the lobby are artworks specially mounted on custom screens, which serve as a cocooning backdrop to contemporary furnishings from such upscale Italian sources as Porro, Living Divani, and Kartell. —Edie Cohen

JEFFREY TOTARO

PROJECT TEAM: PIERO LISSONI; STEFANO GIUSSANI; CHRISTINE NAPOLI; STEPHANIE RIEGER; TANIA ZANEBONI; ROBERTO BERTICELLI; GIACOMO LATTANZIO.

After a tasteful intervention, an 18th-century Catalonian palace is ready for its next chapter. El Equipo honored the existing baroque architecture, refreshed by Isern Associats, and took additional inspiration from the local vernacular of the historic Barri Vell quarter, with its hidden cul-de-sacs, porticoes, and stone ramparts. Throughout its 18,000 square feet, complete with a spa grotto, the property’s vaulted ceilings and arched niches meet a moody palette of stone, clay, moss, and navy. Layered in are eclectic furnishings from all eras, alongside contemporary paintings, murals, and sculptures by area artists, imbuing a welcoming duality of easygoing comfort and refined luxury. —Lisa Di Venuta PROJECT TEAM: OLIVER FRANZ SCHMIDT; NATALI CANAS DEL POZO; LUCAS ECHEVESTE LACY; DANIEL TRUJILLO; RICARDO FABREGAT.

el equipo creativo Palau Fugit Hotel, Girona, Spain

SALVA LOPEZ

be stofyear international hotel transformation DEC/JAN.24

INTERIOR DESIGN

63

be stofyear

small corporate office

partners by design Husch Blackwell, Clayton, Missouri

TOM HARRIS

More hospitality chic than staid corporate, the au courant law-firm office establishes itself as an industry front-runner from the outset. It’s not just the colored ceiling soffit, curved furniture, multitude of potted plants, or considered detail of the marble and reeded-wood desk in reception.

Characterful decorative elements abound throughout the nearly 12,000 square feet, including velvety drapes in confab rooms, fiber art in lounges, and custom totems in corridors. Manufacturers specified are a who’s who of the trade: Arte, Designtex, Fireclay, Weitzner. Topping it all off (literally) is a penthouse amenity level that opens to an outdoor deck. —Georgina McWhirter

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INTERIOR DESIGN

DEC/JAN.24

gensler Boston Consulting Group, Washington Steps away from the White House, the global consulting firm’s new 90,000-square-foot campus promotes a humanistic approach via a clever breakdown of inviting focus rooms, semiprivate hubs, and collaboration zones, all equipped with hybrid work–friendly cameras and montitors. The organic, curvilinear layout spans two floors, with glossy ceilings to reflect light and maximize the sense of space. Other features, such as dimensional panels and millwork fins inspired by fluted columns, nod to the city’s Greek Revival vernacular. Freshening the palette are living and preserved plants (encountered at least every 20 feet) that foster connectivity to nature, as do the touches of green throughout. —Lisa Di Venuta PROJECT TEAM: FRANCISCO GONZALES; JOHN M C KINNEY; STEPHANIE CLEMENTS; CHRISTIAN AMOLSCH; OSAMU OSAWA; FOSTER KUTNER; AIMEE MESSINA; YUKIKO TAKAHASHI; STEVEN JOSWICK; SAMANTHA PONTIUS; FRANNY GOTTSCH; DAVID BERNHARDT; ABBY YOUNG; ANDREW KOENINGS.

be stofyear medium corporate office

HALKIN MASON

DEC/JAN.24

INTERIOR DESIGN

65

be stofyear

large corporate office

ippolito fleitz group–identity architects

Ritter Sport’s square chocolate bars and colorblocked packaging are instantly recognizable by many. Lesser-known are the family-run confectioner’s core ingredients: diversity, authenticity, and tradition mixed with modernity. Interior Design Hall of Famers Peter Ippolito and Gunter Fleitz’s firm incorporated all these aspects into the client’s 40,000-square-foot headquarters, which includes a cocoa workshop, three cafés, and 130 desks. Extending the distinctive Ritter branding, glass partitions are laminated in vivid films that match the candy-bar wrappers, square cushions and tables appoint common areas, and grids appear everywhere—from wall tiles to an illuminated ceiling panel. The lively concept creates a motivating work environment where employees from all departments can meet and make sweet talk. —Rebecca Dalzell PROJECT TEAM: JONATHAN SIEGLE; ARSEN ALIVERDIIEV; TIMO FLOTT; ANNA THEODOSSIADOU; DOMINIK SCHÄFER; PETER IPPOLITO; SABINE BRAUN; MARIO RODRIGUEZ; ISABEL POHLE.

66

INTERIOR DESIGN

DEC/JAN.24

PHILIP KOTTLORZ

Ritter Sport, Waldenbuch, Germany

“We transferred the brand’s famous color-blocking concept into spatial design”

PHILIP KOTTLORZ

DEC/JAN.24

INTERIOR DESIGN

67

be stofyear domestic extra-large corporate office

nbbj BlackRock, New York The Hudson Yards headquarters brings the asset manager’s 4,000 New York–based employees together for the first time in its 35-year history. Previously dispersed across multiple offices, teams are now united in a wood-paneled, daylight-filled workplace that promotes well-being throughout its 970,000 square feet. At the heart is a windowed interconnecting stair that rises through the site’s 15 stories and encourages people to move. Color psychology informs the palette, while crafted, locally inspired touches—a hand-painted mural of Central Park, custom fabric by Manhattan textile artist and Interior Design Hall of Famer Suzanne Tick—convey the client’s attention to detail. Additionally, the scheme considers the current and future needs of employees, with a reconfigurable 400-seat auditorium, flexible open-plan work environments, and high-ceilinged, column-free spaces that foster interaction. —Rebecca Dalzell PROJECT TEAM: JONATHAN WARD; SUZANNE CARLSON; JESSICA TEJEDA-MAYNARD; SU TING CHEN; COLLEEN BARRY; ZOE GAVIL; MIREILLE ROFAIL.

68

INTERIOR DESIGN

DEC/JAN.24

CONNIE ZHOU

JOHN GUNN; SURAJ BHATIA; CAROLINA CASTERELLA;

LIVINGDIVANI.IT + 39 031 630954

EXTRASOFT PIERO LISSONI

AREA MANAGER NORTH AMERICA SHAWN KELLY T. +1 917 291 0235 SHAWN.KELLY@LIVINGDIVANI.IT

ERIC LAIGNEL

saguez & partners Boston Consulting Group, Paris For years, the modernist 1964 building at 75 Avenue de la Grande Armée housed the French automotive manufacturer PSA Peugeot Citroën, which left in 2017. Saguez restored existing details while also transforming 250,000 square feet of the interiors into a serene, biophilic headquarters for BCG that maximizes sunlight for 1,200 employees. Part of the triple-height former car showroom has become a cathedral-like lobby, café, and coworking space, with greenery creating semiprivate groves along windows, that’s open to the public; elsewhere on the ground level is the business center featuring a 180-seat auditorium.

Upstairs, closed offices convert into meeting rooms, library alcoves offer places to focus, and a large rooftop terrace boasts panoramic city views. Speaking of nature, during construction, 394 metric tons of CO2 emissions were avoided thanks to the reuse of 81 metric tons of materials. —Rebecca Dalzell PROJECT TEAM: PIERRE-OLIVIER-PIGEOT; JEAN-PHILIPPE CORDINA; CLAIRE CIESLAK; CHRISTELLE PERSON; LAURENT BRUDNER; JEFF BAZILE; GAELLE COEN; MARINE BELKEBIR.

be stofyear international extra-large corporate office

“The former car showroom has become a designated spot to gather employees, meet customers, and recruit future talent”

ERIC LAIGNEL

DEC/JAN.24

INTERIOR DESIGN

71

be stofyear small creative office

architecture plus information Publicis Groupe, New York

MAGDA BIERNAT

Capture creativity in an unconventional way. That was the charge presented to Interior Design Hall of Famers Brad Zizmor and Dag Folger’s team by the French advertising/marketing giant, itself engaged in harnessing that elusive commodity. Rooted in investigative research, the scheme for the 30,000-square-foot workplace for Le Truc, a new internal collective, is based on a clubhouse feeling, eschewing organizational structures of agency, department, and client typical of these offices. Instead, the interior is a compilation of diverse—and color-blocked—environments encouraging collaboration across disciplines as well as an organic spatial procession. Step into a pink tech-free meeting area, a dark moody nook, a library, or a state-of-the art production facility, each its own sensory experience. Meanwhile, workstations are, by design and necessity, sparse. —Edie Cohen

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INTERIOR DESIGN

DEC/JAN.24

ba collective 1550 Euclid Street, Los Angeles Fresh air, sunshine, and an exterior program were among directives for the 37,000-square-foot development by Hall of Famer Hagy Belzberg’s studio that caters to tech and creative industries. The challenge was its massive, cubelike proportions.

The solution was off-centered voids and a shared central courtyard dividing two double-height blocks of office space, all of which has access to outdoors through terraces and a side yard. Stylistically, curves abound, as seen in the fluidity of the spiraling central staircase. In the lobby, there’s room to hang 21 bicycles on wall racks hidden between fins of white oak, each mechanism mounted at a slightly different height from its neighbor to create a subtle wave effect. —Wilson Barlow PROJECT TEAM: HAGY BELZBERG; BARRY GARTIN; KRISTOFER LEESE; CHRIS ARNTZEN; ELIZABETH PYATT; GLEN GINTER; ANDREA CADIOLI; SHEN LI; MINAH KIM.

be stofyear large creative office

BRUCE DAMONTE

DEC/JAN.24

INTERIOR DESIGN

73

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small tech office

young projects Galaxy Digital, New York Futuristic interiors are fitting for a blockchain technology company named for the stars. The elevator lobby sets the tone with a custom digital ceiling displaying a scrolling animation of the office mission. It leads to a space-agey reception lounge, where plush pink sofas by Mario Bellini meet textural cast-plaster panels clad walls and Yukari Hotta’s bulbous ceramic sculptures. Loosely organized, the plan for the 36,000-square-foot workspace encourages autonomy, creativity, and inter-team collaboration. A gradient carpet demarcates different zones and guides circulation. At the café, bronze drop-link curtains contribute to a moody, sophisticated ambiance, inviting employees to pop in for meetings or downtime. It all adds up to the physical manifestation of the leaders’ love of science fiction. —Rebecca Dalzell PROJECT TEAM: BRYAN YOUNG; MALLORY SHURE; UDOIWOD UDOIWOD; BILLY HUTTON; CALEB EHLY; ISABELLA CALIDONIO;

NAHO KUBOTA

DANIEL GARCIA; BENJAMIN SMITHERS; JOANNE YAU.

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bjarke ingels group, heatherwick studio, and studios architecture Google Bay View, Mountain View, California For its first purpose-built campus—a 1.1 million-square-foot, three-building complex accommodating 4,000 employees on a 42-acre site—the search-engine giant assigned the architecture to BIG and Heatherwick, with Studios overseeing interiors. The two main structures—600,000 and 400,000 square feet respectively— house offices under vast, tentlike domes. In each, the workspace spans two floors, with desk and team zones on the upper level, and conference rooms, cafés, kitchenettes, and other amenities below. The floor plates are organized into humanly scaled neighborhoods around a series of indoor courtyards that link both levels while acting as wayfinding elements and encouraging physical movement. The campus incorporates biophilic principles, including greenery, natural light, and views outside from every desk in support of the health and well-being of those inside the buildings—important considerations since, as contemporary research has shown, happy, healthy people are more productive. —Peter Webster PROJECT TEAMS: BJARKE INGELS; BEAT SCHENK; DANIEL SUNDLIN; LEON ROST; THOMAS CHRISTOFFERSEN (BJARKE INGELS GROUP).

THOMAS HEATHERWICK; ELIOT POSTMA; SARAH GILL; CHRISTOPHER MC ANNENY; KYRIAKOS CHATZIPARASKEVAS (HEATHERWICK STUDIO).

DAVID SABALVARO; THOMAS YEE; KATE GREENBERG; BILLY SCHREIBER; RYAN LAMB; SEAN WINCHESTER (STUDIOS ARCHITECTURE).

be stofyear large tech office

IWAN BAAN

DEC/JAN.24

INTERIOR DESIGN

75

hga American Swedish Institute, Minneapolis

Renovations of historic properties often yield surprises. In the case of a 1908 carriage house built for horses and linked to a mansion from the same era, both of which were donated in 1929 by Swan Turnblad and now contain the ASI—a place to experience Swedish culture and that serves immigrants of all backgrounds—peeling back layers of earlier modifications yielded such original details as textured floor pavers and a turntable used for rotating Turnblad’s car after he grad­ uated from a horse. Some of these were incorporated into the 7,000square-foot offices, which were given the warmth of a Nordic home with custom millwork painted a color inspired by the existing patinated copper on the building’s exterior. —Jane Sarney PROJECT TEAM: NANCY BLANKFARD; REBECCA KRULL KRALING; MICHELLE HAMMER; ANDY WEYENBERG; GINNY LACKOVIC; JUSTIN BICE; CHRYSANTHI STOCKWELL;

be stofyear office transformation

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ANDREA RUGG

ELIZABETH MANNING; KEVIN KAUFMAN.

Learn More

Mudra Chair by Stefan Diez Vida Table by Hanne Willmann

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nc design & architecture Hong Kong

PROJECT TEAM: NELSON CHOW.

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COMMON STUDIO

There is much talk lately about devising offices with residential touches, so that those who grew accustomed to remote work feel at home. This workplace excels in that notion, in a highly sophisticated manner. Rattan Pierre Jeanneret chairs, a plush velvet sofa by Norm Architects, travertine tables, and artwork scattered about would all suit a residential setting. Finishes add to the living-room vibe: There’s abundant millwork, half columns conceal metal window frames, and the glossy ceiling reflects light, making the 1,600square-foot design studio feel larger than it is. And forget ordinary cubicles: Workstations are tucked behind curved enclosures, hiding clutter and providing a sense of shelter. —Jane Sarney

be stofyear coworking

designagency and loescher meachem architects NeueHouse Venice Beach, Los Angeles The fourth location of the private members’ club interprets the brand’s cosmopolitan style in a relaxed beach setting steps from the boardwalk. Across 23,000 square feet encompassing a 1920’s brick building and a newly annexed warehouse, shared desking weaves with meeting rooms and lounges, podcast and broadcast studios, and a wellness pod. Materials are luxe, as in the quartzite staircase leading to the second-floor’s circular copper fireplace. Art is similarly blue chip: See David Hockney’s 4 Blue Stools in the conference room. It’s the new era of work, where productivity and play intertwine with aplomb.

—Georgina McWhirter PROJECT TEAM: ANWAR MEKHAYECH; JOELLE BRAHIM; SANAZ MORTAZAVI; STANLEY LIN (DESIGNAGENCY).

YOSHIHIRO MAKINO

DEC/JAN.24

INTERIOR DESIGN

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gensler and arcadis Capital One Block A, Tysons, Virginia The master plan for Capital One’s corporate campus initially called for one building on the Block A site. But Gensler proposed something different: two towers connected by a glass atrium. Encompassing floors 12 to 23, the 14,600-square-foot “sky lobby” now forms the buzzing heart of the bank’s headquarters. American black walnut frames and warms up the lofty space. Crisscrossing bridges house hospitalityesque lounge and conference areas by Arcadis. Two artist installations really make the project soar. Stretching across seven floors is Waves of Elevation, JD Deardourff’s swirling, multicolored mural depicting a topographical map of the Potomac River watershed, while Anne Patterson’s Ascendant Light, a steel cable–suspended installation of 55-foot-long satin ribbons, shimmers in blues and yellows, looks different from every angle, and gently sways as it spans six stories.

—Rebecca Dalzell PROJECT TEAMS: CLAY JACKSON; DEREK WARR; KARL SMELTZER; JARED KRIEGER; JEFF BARBER; THERESA SHEILS (GENSLER). KIM HEARTWELL; NEAL HUDSON;

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INTERIOR DESIGN

DEC/JAN.24

GARRETT ROWLAND

KATE HERMAN; MICHAEL HORTON; KIM JENNINGS (ARCADIS).

“The atrium presents a unified gallery for the client’s high-frequency energy”

GARRETT ROWLAND

atelier cho thompson Leather Factory, Boston

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small commercial lobby/amenity space

Owned by women, ACT has studios in San Francisco and New Haven, Connecticut. The latter oversaw the reimagining of 8,000 square feet of shared spaces in this 1899 multi-tenant building, which originally housed a shoe factory. The scope entailed renovating sections of five floors, including the lobby, into areas supporting socializing and cross-pollinating. Removing decades worth of carpet and vinyl tile in the lobby revealed terrazzo flooring requiring only patching. Exterior ornamentation was brought inside, translated to a fluted focal wall CNC-cut with arches, some fitted with padded leather, a nod to shoemaking, to function as backs for a built-in banquette. The reception desk is similarly grooved but at a different scale, so it reads more hospitality than security.

Polished-brass company-directory signage echoes the metal of the building’s 19th-century mail chute, while walls of original brick enclose the fifth-floor collaboration space. —Edie Cohen PROJECT TEAM: MING THOMPSON; KEITH APPLEBY; MARIE CORRIVEAU; CELIA POIRIER.

CLOCKWISE FROM BOTTOM RIGHT: SAMARA VISE; JARED KUZIA (3)

PROJECT TEAM: AVITAL SHENHAV-SHANI.

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valerio dewalt train Refreshed, Redwood City, California Part library, part coffee bar, this 4,300-square-foot company café celebrates the thirst for knowledge. VDT transformed an existing clerestory on the top floor of a mid-rise office building into a bookworm’s fantasy, replete with reading nooks, double-height maple shelves, and an old-fashioned card catalog. An installation overhead depicts a literal whirlwind of ideas: Sheets of U.S. patent drawings and scientific articles swirl upward as if caught in a breeze. Pops of color energize the muted palette. Coffee mugs perch along a wall lined with blue pencils and handmade ceramic vessels in a gradation of warm tones back the serving area. Fostering collaboration and discovery, the interactive concept, completed with in-house experiential graphics team Media-Objectives, encourages employees to keep learning. —Rebecca Dalzell

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PROJECT TEAM: WILLIAM TURNER; PRIYA BHAT; MILES STEMPER; AMANDA JURMU; RAFAEL BARONTINI.

commercial cafeteria

MARCO ZECCHIN

DEC/JAN.24

INTERIOR DESIGN

83

be stofyear large residential lobby/amenity space

marmol radziner and oma Eagle + West, Brooklyn, New York

PROJECT TEAMS: RON RADZINER; ERIKA MONTES; LEO MARMOL; ASHLEY NATH; AISTA SOBOUTI; MATT JACKSON; MORGANE MANOHA; ABBY RUTHERFORD; MARTINA ROTH (MARMOL RADZINER). JASON LONG; YUSEF ALI DENNIS; CHRISTINE YOON (OMA).

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SCOTT FRANCES

Perched on the Greenpoint waterfront, the ground-up, 860,700-square-foot high-end rental complex features architecture by OMA and public and amenity spaces by Marmol Radziner (Beyer Blinder Belle handled apartment interiors).

The lobbies serving the two towers were inspired by their dynamic Jengalike profiles, Interior Design Hall of Famer Ron Radziner says, referring to the notched white-oak entry to an elevator bank, cobblestone flooring, and marble, breccia, and limestone cladding walls and desk. Furnishings there and in the great room and A frame– trussed reservable room mix aspirational with approachable, from pieces by De Sede, Joe Colombo, Sabine Marcelis, Patricia Urquiola, and Edward van Vliet to ones by local studios Allied Maker and Adam Otlewski. —Elizabeth Fazzare

mars culture and munoz + albin architecture & planning Brava, Houston

The 46-story apartment building has something most contemporary towers lack: a sense of place. A slim dynamic rectangle, Munoz + Albin rotated the structure 45 degrees to maximize views for the 373 rental units, its LED-edged glazed facade resembling a sail. Interiors, by MaRS, focus on the history of the location, which was once owned by The Houston Chronicle, thus tip a hat to both the physical newspaper and the stories within it. In the lobby, for instance, a custom fluorescent-tube fixture spells out Libertas perfundet omnia luce, Latin for Freedom will flood all things with light, referring to freedom of the press. Gently undulating plaster walls evoke newspaper folds in the leasing lounge. And in a penthouse lounge nook, wallcovering is woven from recycled newspaper. —Rebecca Dalzell PROJECT TEAMS: KELIE MAYFIELD; ERICK RAGNI; RACHEL GRADY; DANIELA GONZALEZ; LINNEA WINGO; ZOE PITTMAN; ALISHA GAUBERT (MARS CULTURE). JORGE MUNOZ; ENRIQUE ALBIN; JEFF SCHMIDT; TAYLOR CURRELL; RICHARD RODGERS; MICHAEL COX (MUNOZ + ALBIN ARCHITECTURE & PLANNING).

be stofyear small residential lobby/amenity space

ERIC LAIGNEL

DEC/JAN.24

INTERIOR DESIGN

85

be stofyear small beach house

roger ferris + partners Sagaponack, New York

CHRIS COOPER

The archetypal Long Island beach house is a grand, shingled affair—which basically describes this compound’s main structure and complementary 1,500-square-foot surf “shack.” But a new guesthouse in the property’s idyllic mise-en-scène strikes another note entirely. The cantilevered L-shape monolith, encompassing three levels (one below-grade), is clad in glossy rose-toned metal paneling that dialogues with the adjacent pool’s same-hued solid-surface surround. The interior of the structure, though a compact 1,400 square feet, contains a kitchenette on the ground level and sleeping quarters in the second-floor cantilever. A basement-level open-plan space serves as a gallery and painting studio, illuminated by a mirror-enclosed light well. As for the pale pink coloration, it was chosen to reflect the sky’s tones at dawn and dusk. —Edie Cohen

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INTERIOR DESIGN

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jouin manku Kenshoˉ Can a 246-foot-long, four-level super yacht that accommodates up to 12 guests and 23 crew members feel intimate? Under the purview of the Paris-based studio, led by Sanjit Manku and Hall of Famer Patrick Jouin, it can indeed. Collaborating with Azure Yacht Design and Archineers.Berlin on its first-ever private vessel, the firm adopted a soft palette for the 10,000-square-foot interiors, favoring teak, silk, and leather. Inspirations were appropriately nautical: Rug and ceilingscape patterns, for instance, were drawn from hydrographic maps. Other motifs nod to the Far East, including Asian-inflected backlit walls and guest cabin bedheads upholstered in gingko-patterned silk. As for the main bathroom's tub, it’s more local in origin: The Admiral Yachts shipyard, where the vessel was built, is close to the famous Carrara quarries, where two slabs were chosen for sculpting into an exquisitely shapely form. —Ian Phillips PROJECT TEAM: SANJIT MANKU; PATRICK JOUIN; JACQUES GOUBIN; BÉNÉDICTE BONNEFOI; DIMITRI MALKO; MARGAUX LAFUENTE; JULIEN LIZÉ; ARNAUD DESVIGNES; FANNY PEUROU; BRUNO PIMPANINI; AXEL DE CLERMONT TONNERRE; VINCENT DECHELETTE.

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ERIC LAIGNEL

DEC/JAN.24

INTERIOR DESIGN

87

CLOCKWISE FROM TOP LEFT: ERIC PETSCHEK (3); SCOTT FRANCES (2)

“Architect and designer have created an innovative home that reimagines oceanfront living”

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be stofyear large beach house

steven harris architects and rees roberts & partners Bridgehampton, New York At the hands of Interior Design Hall of Fame members Steven Harris and Lucien Rees Roberts, this project is way more than the sum of its parts. The 13,800-square-foot, glass-and-brick residence, perched on a lushly landscaped property overlooking the Atlantic Ocean, is all clean lines and rectilinear forms in the tradition of mid-century modernism the clients admire. But the addition of a knife-edge pool and its sculpted-plaster pavilion—capped by a reflecting-pool roof in the shape of a boomerang, another mid-century reference—nails the composition. Inside the main house, sculptural forms meet sweeping green and blue vistas, and high art blends with everyday life.

Curving furniture and a spiral staircase soften the hard edges of its angular architecture and harmonize with that of the organic pavilion. Flooring of textured Grigio Olivo stone unites the courtyard, interior, and pavilion deck, creating the impression of a continuous beachlike expanse underfoot. —Jane Sarney PROJECT TEAMS: STEVEN HARRIS; ABIR AHMAD; ANDREA LEUNG (STEVEN HARRIS ARCHITECTS). LUCIEN REES ROBERTS; DEBORAH HANCOCK; JACLYN CIRASOLA; JANE JACOBS; DAVID KELLY; REGINA CASSORLA (REES ROBERTS & PARTNERS).

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INTERIOR DESIGN

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be stofyear small country house

studio paolo ferrari Lake Rosseau, Muskoka, Canada Located near Georgian Bay in a rocky landscape that has inspired many Canadian painters, this two-level, 2,200-square-foot retreat is deliberately simple—a pitched roof above an upper-level great room with bedrooms below—so as not to compete with the natural setting. The ruggedness outside is reflected in the extensive use of granite inside for carved sinks in a bathroom, the double-sided fireplace in the living area, and a large unfinished block that serves as the kitchen island. The other dominant interior material is Douglas fir, either whitewashed or limed, which covers the ceilings, walls, and floors. The Toronto-based studio also uses the blond timber for all the custom millwork and built-in furniture, including the principal bed—a stack of chunky slabs that combines the headboard, nightstands, and mattress platform into a single sculptural unit. —Peter Webster

JOEL ESPOSITO

PROJECT TEAM: PHOEBE WEN; SHIHHWA HUNG; TING-JU CHEN; YI-XIAN DUNG.

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CEILINGLIGHT? CHANDEFAN? ...FANDELIER, THAT’S IT. Our amazing Reserve collection has a new addition to the family with a 5 light, 5 blade fandelier. This unique design is perfect when you can’t decide on a fan or a chandelier. This Wi-Fi enabled smart fandelier comes in two finishes and includes a remote control.

Find Reserve and other collections at craftmade.com.

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be stofyear medium country house

aidlin darling design Northern California Despite such modern bona fides as flat planes, pared-down palettes, and open-to-the-outdoors living spaces, this primary dwelling and guesthouse, together totaling nearly 8,000 square feet, have agrarian roots and exemplify sustainability and longevity—which also happen to be guiding principles of Interior Design Hall of Fame members David Darling and Joshua Aidlin’s studio. Sited on a working farm with challenging topography, the main residence is constructed on the pads of its predecessor, minimizing disruption to the landscape. Stone, concrete, and other hardy materials buffer against heat and fire danger. Abundant glazing, some of it operable, abets influx of daylight and framing of views. Perhaps the greatest measure of success?

Fruit and vegetables harvested year-round are guided through the central courtyard en route to the kitchen or storage. —Edie Cohen

ADAM ROUSE

PROJECT TEAM: DAVID DARLING; CHERIE LAU; MICHAEL PIERRY; PETER LARSEN; ADAM ROUSE; CHIP HUBERT; MIN CHOE; SARAH KIA; TORY WOLCOTT; BAPTISTE BOGET.

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iua ignacio urquiza arquitectos and apda La Peña, Mexico Perched on a rocky cliff, the four abodes comprising this 34,000-square-foot, 1 ½-acre compound were conceived as an extension of the adjacent nature preserve. For starters, the firms engaged in comprehensive research to assure the structures’ siting would have minimal impact on the botanic surroundings. Full-height sliding glass walls and boulders integrated into the architecture further that aim. The complex is accessed by a small cobblestone street, which leads to a central square where folks leave their cars and proceed on foot to their home, each a unique twist on the same set of modules, with interiors customized per owners’ preferences via ceramic artisans, goldsmiths, marble workers, cabinet makers, and other craftspeople who collaborated to interpret Mexico’s storied vocabulary and its future development. —Edie Cohen PROJECT TEAMS: IGNACIO URQUIZA SEOANE; MICHELA LOSTIA DI SANTA SOFIA; ANA LAURA OCHOA; ANET CARMONA; SACHA BOURGAREL (IUA IGNACIO URQUIZA ARQUITECTOS).

ANA PAULA DE ALBA (APDA).

be stofyear large country house

ONNIS LUQUE

DEC/JAN.24

INTERIOR DESIGN

93

schiller projects Brooklyn, New York Mass timber has been gaining traction as a more sustainable alternative to concrete and steel, which emit large amounts of greenhouse gases in their production. The engineered product has made headlines when used in skyscraper construction, but it has also been deployed in small-scale projects, as witnessed in this 1870’s carriage house in Clinton Hill, outfitted with a new 3,100-square-foot interior. When the building was stripped to its shell, structural beams were salvaged and milled locally for the flooring. Glue-laminated Douglas fir was utilized for the staircase and second-floor bridge. And everything was designed so that sometime in the future the parts can be removed for repurposing yet again. —Jane Sarney

be stofyear small city house

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INTERIOR DESIGN

DEC/JAN.24

FRANK FRANCES

PROJECT TEAM: AARON SCHILLER; COLIN CLELAND; ALBERTO RODRIGUEZ; SOPHIE HODGES.

be stofyear medium city house

For the Pacific Heights house in need of a gut renovation, the usual procedure was flipped: It was designer Shamir Shah who brought on architect Geddes Ulinskas to shepherd the renovation through the city’s intricate permitting process, take charge of the house’s core and shell, and work in a truly collaborative spirit.

The house, originally 4,000 square feet, dates to 1947. The project was essentially a new build that took six years to complete (thanks to COVID erupting during construction) and encompassed seismic upgrades, new framing and fenestration, a reconfigured floor plan, and a penthouse addition, increasing square footage to 6,000. “We wanted large walls for art,” Shah says, referring to the Max Neumann canvas anchoring the living room, furnished with a pair of Todd Merrill Custom Originals sofas. Overall, pale creams and grays dominate the palette, while bronze is the metal of choice.

shamir shah design and geddes ulinskas architects

—Edie Cohen

San Francisco

(GEDDES ULINSKAS ARCHITECTS).

PROJECT TEAMS: SHAMIR SHAH; NELY CUZO; OLIVIA MANZANO; CAILEN MESSERSMITH (SHAMIR SHAH DESIGN). GEDDES ULINSKAS; ALLA AGAFONOV; ROMA OLIŠAUSKAITE

MANOLO YLLERA

DEC/JAN.24

INTERIOR DESIGN

95

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burdifilek

PROJECT TEAM: PHOEBE WEN; SHIHHWA HUNG; TING-JU CHEN; YI-XIAN DUNG.

At 25,000 square feet, the house belonging to a philanthropic couple is certainly expansive. That’s partly because it has to serve not only as a family home but also as the setting for large charity events.

Hence these grand spaces warmed with ultra-luxurious materials and contemporary artwork. In the great room, for instance, walls are clad in cashmere, and multiple seating areas are anchored by a custom silk rug. Another gathering area is the airy solarium, its leafy potted trees capped by a glass ceiling allowing for additional verdant views of an exterior vinecovered wall. Green turns to creamy white at the three-story limestone staircase, which spirals around a custom 30-foot-long pendant fixture made of molded-glass cabochons. —Jane Sarney PROJECT TEAM: DIEGO BURDI; PAUL FILEK; TOM YIP; MICHAEL DEL PRIORE; JOHN SEO; ANNA NOMEROVSKY; ANNA JURKIEWICZ; DANIEL MEI.

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DOUBLESPACE

Toronto

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messana o’rorke New York The owner of a Flatiron District loft kept coming back to Messana O’Rorke. After the firm designed his original 800-square-foot apartment, the client purchased the studio next door, and the same architects combined them to create a 1,200-square-foot unit. Later, they returned yet again to install a new kitchen—from galley to one with basaltina countertops that’s open to the great room—and 9-inch-wide French oak floor planks. Throughout the process, the loft retained a warm, minimal aesthetic, a challenge since it’s in a former factory building and has an 11-foot ceiling and seven south-facing windows.

Among the interventions were adding sliding frosted-glass doors trimmed in brass between the bedroom suite and den and the living and dining area, delineating spaces but still allowing light through, and the main bathroom, now a masculine, spalike retreat covered almost entirely in travertine. —Rebecca Dalzell PROJECT TEAM: BRIAN MESSANA; TOBY O’RORKE.

small apartment

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DAVID MITCHELL

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be stofyear large apartment

workshop/apd New York For repeat clients, the architects elevated a developer-delivered penthouse duplex by instating luxury and shapeliness via an envelope of serene neutrals, sinuous elements, and top-notch materials. Take the gently curved burled-wood staircase and Venetian plaster finishes in the living room, and the main bedroom’s wall of antiqued mirror.

Furnishings include enviable classics such as seating by Vladimir Kagan, José Zanine Caldas, and Eero Saarinen. Art curated by Barbara Cartategui gives pride of place to Jaume Plensa’s stairwell-adjacent sculpture. While light and airiness pervade the 5,800-square-foot dwelling, which boasts sweeping downtown views, more saturated exceptions appear. One is the moody charcoal-gray media room, a stage for cozy evenings of at-home movies. —Edie Cohen

READ MC KENDREE

timothy godbold and sea lodge architecture Southampton, New York Timothy Godbold’s nonprofit, Hamptons 20 Century Modern, aims to preserve period dwellings throughout the area. This one has special significance: Along with partner architect Sea Lodge, Godbold transformed it into a 1,700-square-foot dream house for himself, replete with rough-finish stucco walls, built-in planters, and geometric furnishings. The designer calls it his lair, a nod to the title (and subject matter) of a favorite book showcasing great secret hideouts of movie villains. One was the cliff-top residence of the antagonist in Alfred Hitchcock’s North by Northwest, a made-up structure that sparked the designer’s very real love of mid-century architecture. Other personal fascinations that are among the hodgepodge of influences: ziggurats, science fiction, and Godbold’s own childhood home in Australia, which was by a Swedish modernist. —Wilson Barlow PROJECT TEAMS: TIMOTHY GODBOLD (TIMOTHY GODBOLD).

MATTHEW KOHNE (SEA LODGE ARCHITECTURE).

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small residential transformation 100

INTERIOR DESIGN

DEC/JAN.24

DAVID MITCHELL

PROJECT TEAM: PHOEBE WEN; SHIHHWA HUNG; TING-JU CHEN; YI-XIAN DUNG.

laguardia design group Southampton, New York

be stofyear residential landscape

It is always best when house and landscape work hand-in-hand, particularly on Long Island’s tony South Fork. That’s certainly exhibited with this 10,000-square-foot contemporary home by Blaze Makoid Architecture and Shawn Henderson Interior Design, sited on 3 acres handsomely manicured by LaGuardia. Raising the site 12 feet around the house enhanced views toward Jule Pond and the Atlantic Ocean beyond and allowed for burying drainage and sanitary systems above groundwater. The resulting sculpted landform, seeded with native grasses to create maritime rolling meadows, and accented with such indigenous plants as Northern Bayberry and Inkberry, has a walkway that winds to the front door, its planks of stone echoing the vertical fins of the facade. The linear motif continues with the Luis Barragán–inspired steel pickets of the deck railing flanking the vanishing-edge pool. —Jane Sarney PROJECT TEAM: CHRISTOPHER L AGUARDIA; DANIEL THORP; JOHN HAMILTON.

MICHAEL STAVARIDIS

DEC/JAN.24

INTERIOR DESIGN

101

esrawe studio Mexico City With its curved wooden paneling and efficient built-ins, the two-bedroom apartment in the Residencias La Loma complex might call to mind a fine yacht interior. But it was the forest, not the sea, that provided inspiration. To maximize views of trees on the western side of the home, divisions were removed, creating a 3,000-square-foot open plan. Perimeter walls were wrapped in oak veneer, as was a structural column; a low console trimmed in brass extends from both sides of the column enclosure, while Rochelle marble runs underfoot. Appliances in the minimalist kitchen all but disappear. In the guest bathroom, however, the washbasin is the focus of attention, its base of Tikal marble doubling as sculpture. —Jane Sarney PROJECT TEAM: HÉCTOR ESRAWE; ANGEL CAMPOS; JAVIER GARCÍA-RIVERA; RAÚL ARAIZA; JAIR ROCHA; VIVIANA CONTRERAS; MADIÁN ALVARADO.

FABIÁN MARTÍNEZ

be stofyear medium residential transformation

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be stofyear large residential transformation

britto charette Brookville, New York Having created an ultra-modern beach house for this same client, the Miami-based firm was tasked with giving their traditional 7,500-square-foot main residence a contemporary makeover that still respected the home’s original architectural language. The transformation included turning the basement home theater into a state-of-the-art showstopper, reinventing the ground-floor library as a coolly stylish yet intimate gathering space, and creating a stunning living room outfitted with iconic lighting fixtures, unique artworks, and collectible objets. Furniture includes a roster of cutting-edge classics such as Pierre Paulin’s sinuous Groovy lounge chairs, Mathieu Lehanneur’s sculptural Familyscape sofas, and Pierre Augustin Rose’s chunky Helios mirror.

With a subtle color palette of whites and creams accented with touches of black and gray, the overall look is that of a chic Parisian home, sophisticated but welcoming. —Peter Webster PROJECT TEAM: JAY BRITTO; DAVID CHARETTE; ARIANNA CASTRO.

RICHARD POWERS

DEC/JAN.24

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smitharc architecture + interiors and erin sander design Dallas

Floor-to-ceiling windows bring abundant light and views of mature oak trees into a 6,900-square-foot modernist abode. Those vistas are perhaps best enjoyed from the courtyard-adjacent kitchen, which has an undersea vibe courtesy of its midnight-blue plaster ceiling, and the main bathroom, featuring custom mirrors that levitate above a floating vanity. Rich Carrara marble and sultry brass predominate in both spaces, but for real luxury, the bath-adjacent “glam room” is designed for salon-style primping and pampering, with blush quartz counters, scalloped marble mosaic flooring, hand-applied laser-cut brass walls, and pastel-pink furnishings—a destination to rest and relax in while getting ready. —Wilson Barlow PROJECT TEAMS: JASON ERIK SMITH (SMITHARC ARCHITECTURE + INTERIORS). ERIN SANDER (ERIN SANDER DESIGN).

CLOCKWISE FROM BOTTOM RIGHT: JASON ERIK SMITH; NATHAN SCHRODER (3)

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uro design Shanghai In China, childcare no longer falls along strict gender lines. “Moms and sons, dads and daughters, grandparents and grandchildren all take care of each other,” Uro founder Ying Zhang explains. That’s presented a challenge when it comes to restrooms that are traditionally separated into male and female domains. This firm, to its knowledge, has created the country’s first gender-neutral public restroom, located in a shopping mall, built with kids in mind.

The faucets, for example, are mounted low to allow little ones to use the sink on their own; for even younger users, there are diaper-changing stations.

Appealing to all ages is the evergreen terrazzo wrapping the facility’s 1,615 square feet, lending a sense of nature and vitality. —Wilson Barlow PROJECT TEAM: YING ZHANG; NAN YANG; PENG MA; MINGZHI CHEN; JINZHOU WU; GUOSHENG YOU; JUN WU.

be stofyear public restroom

STUDIO Q

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be stofyear domestic multiunit residential

patrick tighe architecture Larrabee, Los Angeles The Interior Design Hall of Fame member has configured the 13 units in this new four-story building in West Hollywood around an interior courtyard that provides residents with privacy while also allowing natural light and air to flow through the apartments, each of which has a private terrace. On the streetfacing elevation, the 38,000- square-foot concrete, steel, and glass structure sports a facade-spanning brise-soleil that serves as an energy-conserving thermal barrier, among the efforts to make the project minimally dependent on fossil fuels and also give it a strong identity. A two-story concrete arbor defines the entry; inside, amenities include a ground-floor screening room, gym, and coworking space, plus a parking garage in the basement. Above it all, the rooftop boasts a photovoltaic array and a planted terrace offering panoramic views, from the Hollywood Hills to the city below. —Peter Webster

CLOCKWISE FROM TOP LEFT: CHUEN WU (2); COURTESY OF PATRICK TIGHE ARCHITECTURE

PROJECT TEAM: PATRICK TIGHE; KERVIN LAU.

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sordo madaleno The Village, Playa del Carmen, Mexico The first of an eventual 16 residential buildings across a 12-acre master plan that includes a resort, the 160,220-square-foot condominium is visually complex and dynamic, both outside and in. It all springs from a modular, Mayan-inspired “defragmented pyramid” system that facilitates construction—and nods to the region’s pre-Hispanic history. Approximately 13-foot-square structural boards make up the modules, which have been configured to produce six different apartment layouts, ranging from 900 square feet to more than 2,500, and one to four bedrooms. The concrete-framed construction yields a seemingly random array of terraces that add greenery to the exterior, harmonizing the project with its lush jungle setting. The terraces also provide space for residents to plant their own flower and vegetable gardens. —Jane Sarney PROJECT TEAM: JAVIER SORDO MADALENO BRINGAS; JAVIER SORDO MADALENO DE HARO; FERNANDO SORDO MADALENO DE HARO; LUIS HERNÁNDEZ; JAVIER PÁEZ; ALEJANDRO OLIVIER; ANTONIO URRUTIA; RAYMUNDO BALDOVINOS.

be stofyear international multiunit residential

ÓSCAR CABALLERO

DEC/JAN.24

INTERIOR DESIGN

107

vermilion zhou design group Rugao Shen Cheng Nursing Home, Nantong, China

be stofyear senior living

The great fifth-century Chinese poet and politician Toa Yuanming is famed for the tranquility, contentment, and joy he found in a long rural retirement.

His spirit infuses the 164-room elder-care facility—a transformed six-story, 115,000-square-foot building—which aims at providing a similar sense of peaceful fulfillment and secure well-being for its more than 300 residents.

Materials and colors throughout are warm and homey, with a honeyed tonal palette enlivened by a range of textures: blond wood-effect veneers for millwork and some walls; polished stone flooring in the lobby, nylon carpeting or adhesive vinyl elsewhere; and reeded-glass or ribbed felted-wool panels in public and private areas. All the furniture is custom, with the ubiquitous stackable light-frame armchairs, upholstered in sage green, a particular standout, as are the inviting sofa benches strategically located in community spaces and waiting zones. —Peter Webster PROJECT TEAM: KUANG MING (RAY) CHOU; TING HO; GARVIN HUNG; JIM WANG; CHEN HU;

JIAN QUAN WU

CHANG SONG LI; YU XUAN LI; VERA CHU; CHIA HUANG LIAO; QIKAI ZHANG.

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DEC/JAN.24

be stofyear residential sales center

one plus partnership Novo Land Sales Gallery, Hong Kong Is it a theatrical stage set? Or perhaps a contemporay art installation? Turns out, this project is neither. Instead, it’s a 12,000-square-foot center to sell apartments available at a Sun Hung Kai Properties complex. Inspired by the outdoorsy Nordic lifestyle, abstracted nature-inspired elements abound, such as orange puffball flowers that bloom on sinuous wood stems and a secret forest dotted with hanging bird feeders. Walking farther in, bicycles, washing machines, toolboxes, and vending machines purveying organic produce take the form of wooden sculptures. It’s all in service of giving prospective buyers an immersive experience that represents both the aspirational atmosphere of and the practical facilities available at Novo Land. —Georgina McWhirter

PROJECT TEAM: AVITAL SHENHAV-SHANI.

STUDIO CIAO AND AJAX LAW

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be stofyear

residential staircase

burdfilek Toronto

Spanning three levels, the Large City House category winner cried out for a spectacular staircase. Especially since its owners, avid art collectors and philanthropists, host frequent gatherings. The firm delivered via a spiraling swirl of hand-carved French limestone, its gestural fluidity an implied counterpoint to the hard stone. That’s not the only wow: A custom 30-foot-long pendant fixture by Matthew McCormick Studio compres myriad glass components, their gemlike cuts refracting light on the surrounding balustrade. The staircase’s off-center placement allows it to be viewed from multiple positions and angles as guests circle through the house or sit for a meal in the adjacent dining room, hushed with silk-padded walls. —Edie Cohen PROJECT TEAM: DIEGO BURDI; PAUL FILEK; TOM YIP; JOHN SEO; MICHAEL DEL PRIORE; DANIEL MEI.

DOUBLESPACE

PROJECT TEAM: PALLAVI DEAN; NIKITA CHELLANI.

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commercial staircase

utile and merge architects Cambridge, Massachusetts

be stofyear

“Movement” was the design concept for this 16-floor tech workspace, a notion exemplified via a series of dynamic feature staircases that encourage physicality and interaction while expressing and celebrating the flow of foot traffic between levels. Connecting three of the floors is an asymmetrically stacked ribbon of steel, its ash balustrade morphing into banquette seating at the base. The swooping form exerts a gravitational pull, inviting staffers to look over and enjoy views of the activity.

Another stair with a geometric switchback profile makes a statement in bold blue, its translucent Panelite sidewall filtering the motion of ascent and descent through to the opposite side.

—Jen Renzi PROJECT TEAMS: MIMI LOVE; CHANTEL KOCHER; CLAUDIA PORRAS; JACK CORRIVEAU; PETRA JAROLIMOVA (UTILE).

ELIZABETH WHITAKER; DIANA TOMOVA; CHRIS JOHNSON (MERGE ARCHITECTS).

CHUCK CHOI

DEC/JAN.24

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111

peter marino architect Tiffany & Co.—The Landmark, New York A redesign of the tony Fifth Avenue flagship pays homage to the storied jeweler’s legacy of luxury, with countertops detailed in such metals as silver, copper, stainless steel, and brass. Across 10 floors and 110,000 square feet, Interior Design Hall of Famer Peter Marino and team ensured no two spaces look alike, from the entry’s diamondinspired light fixture emulating a skylight to the undulating rock crystal– adorned staircase balustrade. Parquet flooring honors the 1940 building’s art deco heritage, while a bold, contemporary Apple Blossom wallpaper by Damien Hirst was customized for the bridal suite. Speaking of artists, the store doubles as a world-class gallery, too, thanks to Marino’s curation of 60 original works. —Lisa Di Venuta JAMES SWEENEY; JAYSON BELTRAN; IAN CATBAGAN; JENNIFER FITZGERALD;

be stofyear domestic fashion retail

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INTERIOR DESIGN

DEC/JAN.24

BROOKE ACKERMAN; MICHAEL TOMKO; MANDISSA WHITTINGTON; LARA ARSLANIAN; MARY M AC ARTHUR CHANDEYSSON; LAUREN MIT.

MANOLO YLLERA

PROJECT TEAM: PETER MARINO; TSUYOSHI MA; JIM CARRON; PAOLA PRETTO; DANIEL MEASE;

One Plus Partnership CTF Guangzhou Experience Shop, China For this jewelry store, the Lion’s Dance performed during Chinese New Year inspired OPP to construct approximations of the animal heads from colored metal strips that hang in a pointillist pattern from the ceiling. The jungle king is represented throughout the 6,000-square-foot boutique in other motifs, too, such as the figurative drawings embedded in the terrazzo flooring and the furry seating upholstery and fluffy display boxes that evoke the dancing lion’s mane. Contrasting color schemes of orange-red and blue-green dominate the first and second floor, respectively, chosen as Cantonese symbols of good fortune and expansive energy. —Lisa Di Venuta PROJECT TEAM: AJAX LAW LING KIT; VIRGINIA LUNG WAI KI.

be stofyear international fashion retail

JIANGNAN PHOTOGRAPHY

DEC/JAN.24

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leaping creative Florasis, Hangzhou, China The Chinese beauty brand named as a portmanteau of “flora” and “sister” sells cosmetics formulated with floral essences. Its recently opened flagship, encompassing 13,000 square feet across two floors, is a gallerylike white box lined with clear resin shelves—a nod to the traditional Chinese medicine cabinets that are typically outfitted with mulitudes of drawers of healing herbs. At the entry, a suspended distillation system art piece showcases the extraction process as sculpture.

Inspired by the delightful ancient custom of winding stream parties, where guests floated cups of rice wine downstream to one another, it showcases blooms transforming via steam and condensation into beautifying essences. —Georgina McWhirter PROJECT TEAM: ZEN ZHENG; CC CHEN; XIAOWEN CHEN; MINGDONG ZENG; JIANHUA YE; XUNFENG ZHANG; ZUOTAO LUO; ZIJUN LUO; AILIAN WANG; QIANHUI YAO; SHUTUAN LIN; YINJIE LI.

SFAP

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DEC/JAN.24

ippolito fleitz group– identity architects

be stofyear shopping mall

Dalian Huanan MixC One, China A fictional island of towering cliffs in the middle of the ocean was the conceit for the eight-story mall on the Dalian coast. Organically shaped atrium voids and sinuous catwalks draw attention to the vast scale of the 270,000-square-foot space, which houses no less than 261 individual stores. Staggered and stacked throughout the skylit atrium are giant cantilevered half-lanterns, their upwardbranching LED-lit slats resembling bird nests on high. The palette is coastal, with crisp white solid surfacing pairing with desaturated wood-film finishes that evoke the appearance of driftwood weathered by the sun. —Georgina McWhirter PROJECT TEAM: JOSE MISO; TIM LESSMANN; SILVIA WANG; CHAO XIE; JASON YANG; MAGGIE JIA; GARETH HARDY; AARON YE; CHEN DONG; OLIVIA WENG; LULU WANG; DINA HOOL; EVA PEREZ; ERKIN SAGIR.

STUDIOSZ PHOTO

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INTERIOR DESIGN

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be stofyear retail

POPO VISION

“It’s a metaphor-rich book haven that explores literary themes”

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panorama design group Reading Mi, Foshan, China In the atrium of a bustling shopping mall, there is an oasis of calm: a 27,000-square-foot conceptual bookstore from the Yoyi Book brand. Throughout, aspects of paperbacks are translated into architectural features. Take the wood slats in the double-height ceiling of the entrance hall, bent to look like an open tome. The plan then progresses through flex spaces that go beyond simply browsing and buying. Visitors might watch storytelling in the theater that doubles as a quiet reading room, engage in creative play in the children’s area, or have a bite to eat in the café. The airy store is also filled with wood and timber-effect materials. It’s like a temple to the printed word. —Wilson Barlow PROJECT TEAM: HORACE PAN; RACHEL WONG; RAINE FU.

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117

roar Jaipur Rugs, Dubai, UAE For an entirely immersive experience, the Indian company’s handknotted carpets enliven not only the floors of this 8,400-square-foot showroom but also its walls and myriad staircases. The latter are steel, covered in a gradient of colored carpeting, and lead down to a central hospitality area inspired by ancestral Rajasthani architecture.

Glamorous touches like illuminated archways and a custom table with rose-gold legs and Tundra gray marble top etched with an intricate Jaipuri pattern accentuate the artistry present in the company’s textiles.

—Wilson Barlow PROJECT TEAM: PALLAVI DEAN; NIKITA CHELLANI.

YASSER IBRAHIM

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hdr Turf Experience Center, Chicago The acoustics manufacturer wanted its first permanent showroom, a 4,370-square-foot operation located in theMART, to embody a sense of playfulness and innovation. The experiential concept is all about sound, as declared by cheeky onomatopoetic text (ping!, click!) subtly rendered in comic book–style wall graphics. Themed spaces demonstrating the brand’s acoustic solutions are color-blocked with bright hues to create a multisensory journey. Take the blue-saturated Cyan Extremes room, hosting dramatically swooping ceiling shapes that showcase the full dimensionality of Turf’s product offerings. Elsewhere is a meditation room, a zone for quiet relaxation under trippy forms inspired by the Northern Lights. —Wilson Barlow PROJECT TEAM: ELIZABETH VON LEHE; PAULA FRANSISCO; HANNAH STRAUS; CHRISTOPHER BROCKHOFT.

be stofyear domestic showroom

HALL+MERRICK+M C CAUGHERTY

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INTERIOR DESIGN

119

cityinno architecture design co.

Ji Yue & Three-Body Co-brand Store, Shanghai For the launch of the Ji Yue 01, a new Chinese electric automobile with advanced-robotics capabilities, the carmaker teamed up with the Three-Body Problem sci-fi franchise—an award-winning novel trilogy, video game, and soon-to-be Netflix series—to create a co-branded showroom embodying their joint vision of the future. Cityinno drew on one of the books’ most memorable inventions—small, unmanned, teardrop-shape spacecraft with incredible power—as a central image in the 3,000-square-foot space: Rendered in purple mirror-effect stainless steel, one of the zippy little vessels streaks overhead like a comet pointing toward tomorrow’s modes of transport. Beneath this dynamic installation, the public can explore the Ji Yue’s cyber-age technology either by using the interactive screens lining one of the super-sleek showroom’s walls or sitting in the vehicle itself. —Peter Webster PROJECT TEAM: RAY SUN; SAM HUANG; GLORIA HONG; RONA LUO.

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LLAP TEAM

vehicle showroom

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desai chia architecture and mt arquitectos Ciudad López Mateos, Mexico

be stofyear

on the boards single-family residential

For a home situated in a drought-susceptible region, the two teams envisioned an eco-friendly oasis for a family of four oriented around a courtyard that doubles as a collection point for rainwater. A standout semicircular staircase anchors the two-story, 6,000-square-foot plan, and floor-to-ceiling glazing ushers in daylight. The concrete facade will be cast in place and act as a natural thermal barrier. Interior walls will be finished with an ancient Mayan stucco technique made from a mixture of cement and boiled bark sourced from the native Yucatán chukum tree.

ofyear

on the boards be st multiunit residential

woods bagot Coming soon to South Harlem is a 155,000-squarefoot residential tower overlooking Central Park with an intricate terra-cotta facade sure to create an instantly recognizable silhouette. The seven-story podium base, containing mainly community facilities, Light Towers, Mérida, Mexico will have wavy cladding and concave and convex glazing that recalls the stacked bay windows of nearby brownstones. Above will be the apartments— up to 60 percent affordable housing catering to residents from diverse backgrounds—featuring a facade scalloped to frame large terraces and angled windows.

PROJECT TEAM: ALIREZA SHOJAKHANI; DAVID BROWN; JAMES HICKERSON; JENNIFER LEVY; MATT STEPHENSON; YASAMIN FATHI; AGNA BRAYSHAW.

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FROM TOP: DARCSTUDIO (2), COURTESY OF WOODS BAGOT (2)

New York

f05 studio La Puerta de Puente Iglesias, Jericó, Colombia

COURTESY OF F05 STUDIO

On the outskirts of Medellín, the 180,000-square foot hotel plans to honor the region’s Antioquian vernacular and Spanish colonial architecture. Rock for construction will be salvaged from local coffee farms to blend the building with the mountainous surroundings. On the rooftop, rustic stone walls punctuated with arched portals evoking ruins will surround the pool. Inside is softer: a tranquil palette and Chantilly parquet flooring juxtaposed with the utmost in contemporary amenities. —Lisa Di Venuta

be stofyear on the boards commercial DEC/JAN.24

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Adidas East Village Expansion, Portland, Oregon

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A core principle behind Adidas products is “design from the inside out.” The brand took the same approach when expanding its North American head­ quarters in the Pacific Northwest, which encompasses some 300,000 square feet across several new campus buildings by Lever Architecture. O+A, which won a national design competition for the interiors and environmental graphics, filled the spaces with nods to the company’s iconic style. Highlights include the lobby’s metal-mesh panels in Adidas Originals blue, a brightly colored repeating pattern mimicking sneaker soles that contrasts with Lever’s timber staircase, and a gym “slam wall” that sports the company’s familiar logo, making for a fun target. —Wilson Barlow PROJECT TEAM: PRIMO ORPILLA; LISA BIERINGER; MINDI WEICHMAN; ELIZABETH VEREKER; CHASE LUNT; LAUREN PERICH; SEAN HOUGHTON; ALEX POKAS; LAUREN HARRISON; MARBEL PADILLA; KAYLEN PARKER; CHELSEA HEDRICK; SARAH HOTCHIN.

DEC/JAN.24

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studio o+a

be stofyear collateral branding/graphics

jingqi fan MáLà Project, Brooklyn, New York

COURTESY OF JINGQI FAN

Sichuanese cuisine is known for its signature mix of má (numbing, or mild) and là (spicy). Together, those add up to the name of a restaurant known for its “dry pot” dish, its signature secret sauce nailing the unique flavor combination. Dry pot is no ancient recipe; it emerged in China in the 1990’s. So, MáLà ’s branding harkens back to that decade via a nostalgic color scheme and graphics, which integrate Chinese calligraphy to ground the environment in tradition. There’s even a mascot/logo named BènBèn, a playful interpretation of the mythological hero Nezha, there to guide newcomers through their first taste of má and là. —Wilson Barlow PROJECT TEAM: JINGQI FAN; GUO MING; LAUREN DOUGHTY; TOBY MORTIMER; ALEXIS JAMET; MATÍAS ENAUT; TIENMIN LIAO; GUANG XU; JONAS LUEBBERS.

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Join Us for Season 2.

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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hall of fame members Marvin B. Affrime Kalef Alaton Verda Alexander Davis Allen Anda Andrei Nada Andric Stephen Apking Pamela Babey Benjamin Baldwin Shigeru Ban Barbara Barry Florence Knoll Bassett Harry Bates Louis M.S. Beal Yves Béhar Hagy Belzberg Ward Bennett Maria Bergson Deborah Berke Bruce Bierman Peter Q. Bohlin Laura Bohn Joseph Braswell Robert Bray Don Brinkmann Tom Britt R. Scott Bromley Denise Scott Brown Mario Buatta Collin Burry Richard Carlson Arthur Casas Francois Catroux John Cetra Alexandra Champalimaud Steve Chase Tony Chi Antonio Citterio Clodagh Celeste Cooper Robert Currie Carl D’Aquino Barbara D’Arcy Gray Davis Joseph D’Urso Todd DeGarmo Neil Denari Thierry W. Despont Orlando Diaz-Azcuy Angelo Donghia

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David Rockwell Lauren Rottet Nancy J. Ruddy Rita St. Clair John F. Saladino Lawrence Scarpa Michael Schaible Craig Scott Annabelle Selldorf Peter Shelton Betty Sherrill Robert Siegel Paul Siskin Ethel Smith William Sofield Laurinda Spear Jay Spectre Andre Staffelbach Philippe Starck Robert A.M. Stern Rysia Suchecka Takashi Sugimoto Lou Switzer Rose Tarlow Michael Taylor Roger P. Thomas Matteo Thun Stanley Tigerman Patrick Tighe Adam Tihany Calvin Tsao Billie Tsien Marc Tsurumaki Patricia Urquiola Michael Vanderbyl Carleton Varney Robert Venturi Lella Vignelli Massimo Vignelli Kenneth H. Walker Margo Grant Walsh Sally Walsh Kevin Walz Marcel Wanders Isay Weinfeld Gary Wheeler Mavis Wiggins Clive Wilkinson Bunny Williams Tod Williams Trisha Wilson Vicente Wolf George Yabu Mark Zeff Brad Zizmor

special honorees Robert O. Anderson Jaime Ardiles-Arce Robin Klehr Avia Stanley Barrows George Beylerian Howard Brandston Adele Chatfield-Taylor John L. Dowling Lester Dundes Cheryl S. Durst Lidewij Edelkoort Sherman R. Emery Edward A. Feiner Karen Fisher Arnold Friedmann Alberto Paolo Gavasci Gensler Jeremiah Goodman Louis Oliver Gropp Olga Gueft Erwin Hauer Jack Hedrich Benjamin D. Holloway Philip E. Kelley Kips Bay Decorator Show House Jack Lenor Larsen Santo Loquasto Ruth K. Lynford Gene Moore Murray Moss Diantha Nype Sergio Palleroni I.M.Pei Dianne Pilgrim Paige Rense Ian Schrager Julius Shulman Barry Sternlicht Paula Wallace Tony Walton Kenneth Wampler Winterthur Museum and Gardens Andrea Woodner

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Carlos M. Martínez Flórez The creative director of Gensler’s northeast region at the firm’s New York office, where he is comanaging director; photography: Alex Kaplan.

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Top: Carlos M. Martínez Flórez, AIA, FIIDA, LEED AP; photography: courtesy of Gensler.

Center: One of the many social hubs, known as a micro-kitchens, in Motorola Mobility’s headquarters, 2014, at Chicago’s Merchandise Mart; photography: Eric Laignel. Bottom: The Kohler Communications Center, 2010, a LEED Gold–certified concrete-and-glass structure in Sheboygan, Wisconsin; photography: courtesy of Gensler.

Opposite: Maximizing inter-floor sightlines, a dynamic stair in the 2017 New York office of Boston Consulting Group spanning six stories of Kohn Pedersen Fox’s 10 Hudson Yards; photography: Garrett Rowland.

Architecture came early and naturally to Carlos Martínez, who was born in Cuba but moved to the U.S. as a toddler, settling with his family in Puerto Rico. “I always wanted to be an architect,” he says.

“My mother tells me that even as a small child I would make comments about buildings, and I was always drawing floor plans.” During a more than 40-year hybrid career, Martínez has combined traditional architecture, design, and leadership roles with substantive experience in strategy consulting, product and service innovation, and ethnographic research for clients globally. The result has been a formidable portfolio of commercial, institutional, and hospitality buildings and interiors that not only meet the highest aesthetic and functional standards but also expand the cultural and social meaning of his chosen profession. For Martínez, architecture is an engine of change.

He began his formal architectural training at 17, earning a bachelor’s from Ohio State University before enrolling in the master’s program at the University of Illinois Chicago, receiving his degree in 1984.

“I landed in the right place at the right time,” he acknowledges. “Just being in Chicago was an education, the city takes such pride in the value of architecture.”

It also gave him a first job, at Tigerman McCurry Architects, the firm of the program’s director, Stanley Tigerman, and his wife Margaret McCurry.

From the start, Martínez immersed himself in the city’s cultural life. For a time, he and partner Michael Tirrell, a communications strategist, lived in one of Mies van der Rohe’s iconic residential towers on Lake Shore Drive. Because they couldn’t have a dog there, the couple moved to an 1897 building in the

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Top: On the ceiling of a staff café at Barclays in London, 2023, botanical imagery derived from vintage Karl Blossfeldt photo­ graphy referencing the importance of nature to creative think­ ing; photography: Gareth Gardner. Center: Custom freestanding painted-steel storage boxes in one of five buildings at the Barclays campus in Glasgow, Scotland, 2023; photography: Chris Humphreys. Bottom: A vacant facility in Whippany, New Jersey, repurposed as another amenities-rich campus for Barclays, 2019; photography: Robert Deitchler.

Opposite top, from left: Combining functionality and wit, a custom terrazzo hospitality counter in a reception area on the Glasgow campus. The exterior of one of the new campus buildings, fronting the River Clyde. Opposite bottom: Groundfloor amenities encompassing community exhibition spaces, well-being facilities, and a street-food market. Photography: Chris Humphreys.

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landmarked Astor Street District, filling the Gilded Age apartment with modern art and furnishings. “I love that tension of old architecture and new furniture,” says Martínez, who later learned that the place was once the home of László Moholy-Nagy, the onetime Bauhaus director and founder of the Institute of Design at the Illinois Institute of Technology.

Martínez went on to work for an impressive roster of Chicago firms, including the venerable Holabird & Root, architects of his own historic abode, and ISD Inc., “where,” he says, “my journey into corporate interiors started.” But a turning point in his trajectory came when he joined Doblin Inc., which was developing fresh perspectives on business and architecture. “Doblin was probably the first doing what’s called ‘innovation strategy,’” Martínez explains, “taking a multidisciplinary, research-based approach seen through an anthropological lens. The idea was that success and innovation are related to human needs and behavior, and that architecture and design are integral to it all.”

When Gensler came calling in 2001, it was another case of “the right place at the right time.” The largest firm in the world had recently established a Chicago office, and Martínez fit right in. Before long, the company moved from the Inland Steel Building, a 1957 steel-and-glass landmark by SOM, into a classic Louis Sullivan edifice from 1899. Martínez designed the new open-plan digs, which acknowledge the profession’s reliance on research by running a library down the center of the single-floor space—a deft marriage of aesthetic pleasure to intellectual context that earned the project finalist status in the 2009 Interior Design Best of Year Awards.

Several other Martínez-helmed Chicago projects have been BoY finalists, including the IBM Innovation Center in 2005 and the Wilson Sporting Goods headquarters, which featured a smashing 60-foot-long graphic wall in the lobby, in 2007. However, it was the interiors of Loft-Right—a new residential hall by Antunovich Associates at DePaul University—outfitted with mostly Charles and Ray Eames furniture, that first won him the award in 2006. His work attracted honors as early as 1998 when, while working at DEC.23

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“Success and innovation are related to human needs and behavior, and architecture and design are integral to it all”

“We have a residential sensibility about our work, which we bring to the hospitality and commercial worlds” Top: The Shirley Ryan AbilityLab, 2017, a 27-story, 1.2 million-square-foot Chicago rehabilitation facility by Gensler and HDR in association with Clive Wilkinson Architects and EGG Office; photography: Michael Moran/Otto. Bottom: At Wilson Sporting Goods’s then Chicago headquarters in 2007, a lobby wall graphic comprising 60 aluminum-composite fins printed with 1,200 sports images; photography: Christopher Barrett/Hedrich Blessing. s16

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Top, from left: Oak and burnished-brass fixtures warming the lobby of the redesigned Ridge Hotel, 2018, adjacent to Verizon’s operational headquarters, also by Gensler, in Basking Ridge, New Jersey. Dichroic glass adding color to the monochrome palette at 140, Verizon’s in-house agency named for its street number in New York, 2017. Bottom: A sculptural stair in the operational HQ, occupying a renovated 18-story building, 2018. Photography: Garrett Rowland.

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h a l l of fa m e Top: A reflective ceiling above a stair creating an M.C. Escherlike effect at an accounting firm’s 160,000-square-foot, three-floor office in Hoboken, New Jersey, 2018; photography: Chris Leonard.

Bottom: In the Gensler Chicago office, 2009, a portrait of George Washington composed of Velcro disks, allowing for the mural image to be rearranged; photography: courtesy of Gensler.

Perkins & Will, he received the AIA Interior Architecture Award for the restoration of an 1894 mansion

by Thomas & Rapp in his own historic neighborhood.

Martínez was invited to join the College of Fellows of the International Interior Design Association in 2011, and since then has garnered the annual Don Brinkmann Award, the highest recognition Gensler bestows on its own designers.

In 2015, Martínez moved East, where he is now comanaging director of Gensler’s 700-person New York office and creative director of the northeast region. He has continued to focus his prodigious talents on a wide range of projects, both in size— from a few thousand square feet to well over a million—and location, some of them in or close to his now hometown. In the Hudson Yards development, for example, a six-floor office for Boston Consulting Group gave Martínez the chance to conjure a showstopping central stair in 2017. Suburban New Jersey also beckoned, with the 2019 transformation of a vacant Whippany campus into an amenities-rich, farmhouse-inflected workplace, replete with wood planking and botanical motifs, for Barclays. That was followed by an even bigger project for the bank: a campus in Glasgow, Scotland, comprising five structures—three new-builds and two conversions— on a formerly derelict waterfront site. The complex was named Best of the Best and won the Corporate Workplace crown at this year’s British Council for Offices National Awards.

What all Martínez-led projects have in common is an extraordinary finesse in the architecture and design, an excitingly palpable sense of the new, a forthright commitment to sustainability, and an eye firmly turned toward longevity and the future.

“Today, we have incredibly difficult problems to solve—social, political, climate,” Martínez observes.

“We need to be designing in a way that helps to fix those problems.”

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“Today, we have incredibly difficult problems to solve—we need to be designing in a way that helps to fix those problems”

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Suzanne Tick text: jen renzi The weaver, textile designer, and founder/CEO of Suzanne Tick Inc. and Luum; photography: Martin Crook.

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Material innovator Suzanne Tick has the future on speed dial. She embraced sustainability before most of us knew what the word meant, developed a CEU on the post-gender society before it even happened, experimented with 3D knitting before it was a thing, and imbued the woven surfaces that surround commercial interiors with characteristics of transparency, digitalism, and illumination before we realized we needed them. Then there’s the fact that her New York–based textile brand, Luum, launched its Fabric of Space collection, with patterns based on star trails and the expanding universe, the very day the James Webb Space Telescope images of same were publicly released. “Everyone thought we were in cahoots with NASA!” she jokes.

No, Tick is not conspiring with the government’s space-research arm, but she has collaborated with a galaxy of big-name brands during her four-decade career: Tarkett, Tandus Centiva, and 3form are just a few for which she’s conceived upholstery and drapery fabrics, high-performance carpeting and broadloom, and cement-tile and LVT flooring. She has enjoyed a longstanding partnership with Skyline Design, for which she conceives etched panels that bring textile softness to hard glass, and maintains an active fine-art practice realizing tapestries, custom textiles, and experimental handweavings for such clients as the Gates Foundation and BlackRock.

Earlier in her professional life, Tick served as inhouse design lead for Knoll Textiles, Unika Vaev, and Brickel Associates, but she prefers the outsider perspective and risk-taking opportunities inherent to being an independent entrepreneur, her first taste of which was in 1995, when she colaunched Tuva

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Opposite top: Tick-designed textiles for Luum at Harvey Mudd College’s Scott A. McGregor Computer Science Center in Claremont, California, by Steinberg Hart, 2022; photography: courtesy of Steinberg Hart. Opposite bottom: Fila polyester fabric for Knoll Textiles, 2011; photography: courtesy of Knoll Textiles.

Top: Tick at the loom in the New York town house that serves as her residence, studio, and meditation center; photography: Martin Crook. Bottom, from left: Woven Neon, 2019, in neon, silicone, and aluminum, a commission for a private collection; photography: courtesy of Tick Studio. Luum’s 2013 Stitch embroidered textiles in Scale Factor, Arc Angle, Second Nature, and Navigate; photography: courtesy of Tick Studio.

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Top: Yarn components used during the design process at Tick Studio; photography: Martin Crook. Center top: Camo fabric for Knoll Textiles, 2003, designed by Stephen Sprouse under Tick’s creative direction; photography: courtesy of Suzanne Tick Inc. Center bottom: Matter, 2008, a weaving of plastic, tissue paper, wire, cardboard tubes, and sheath-core vinyl; photography: courtesy of Suzanne Tick Inc. Bottom: Obscura collection PVC-free polyester film for Skyline Design, 2021; photography: courtesy of Skyline Design.

Opposite: A 1998 prototype for a stainless-steel woven art piece; photography: Brooke Holm.

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Looms. “I need the autonomy”—a freedom she enjoys at the helm of her eponymous studio and the decade-old Luum, which recently pioneered the contract industry’s first multipurpose fabrics made entirely of postconsumer-recycled biodegradable polyester, plus other designs made from discarded garment waste.

Having ownership over product and process is Tick’s recipe for innovation—and her career driver from day one. In the early ’80’s, after earning textiledesign degrees from the University of Iowa and the Fashion Institute of Technology, she talked her way into a job working for modernist fabric master Boris Kroll—“not because of my portfolio, mind you, but rather my outgoing personality and loquaciousness.”

Tick was quickly disillusioned with the siloed production process she encountered, where design was divorced from the technical side. After months of laboring over her first pattern, she arrived one morning to discover it gone from her desk. “I thought, Wait, I don’t get to see what happens to the design next? I can’t live like that! I wanted to see the entire process so I could create the best fabrics.” Kroll ultimately moved her from the studio team to his assistant, a role that exposed her to what transpired at the mill and beyond. “I learned everything—from how to buy the fiber to how the patterns worked.”

Her approach has always been holistic and sustainable, ranging from development of raw material and structures to revamping of manufacturing methods. At Luum, for instance, “The majority of what we do is to develop new fibers and invent constructions.

That’s why our fabrics feel different.” Her handweavings also utilize novel materials—salvaged objects like dry-cleaning hangers. For a financial company commission, she’s currently warp-and-wefting two centuries’ worth of shredded ledgers; for a paint brand, she’s weaving cut-up sample discards.

Tick, a self-described “fourth-generation recycler,” comes about her salvage mindset honestly. Business at her dad’s scrap-metal yard was the main dinner table topic growing up. At the same time, her family was “very cultured and creative”—her mother was a graphic and set designer—and tapped into Eastern philosophy. “My dad had all the books: the Bhagavad Gita, a library of Ram Dass.” Also stacked on those shelves were her mom’s interiors magazines. Tick owes a lot to those glossies, which helped her home in on a vocational track when, late in her college tenure as a printmaker experimenting with etching fiber textures onto copper, she set about figuring out what the heck to do after graduation. “Flipping through them, I saw ads by Jack Lenor Larsen, Brunschwig et Fils, Scalamandré. I thought I could work for a company that makes fabrics like those— and that I had to move to New York to do it.”

Manhattan proved an energizing yet scary place at the time. “I arrived at the beginning of the AIDS epidemic. Designers we were creating custom orders for would just stop calling us back.” To handle the stress, she tried Zen meditation, but it never stuck.

“For Luum, it was about building a brand with the smallest environmental footprint and the justright amount of people and products”

“I learned so much about how to be resilient, stick to my vision and articulate it clearly, and just believe in myself”

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Top, from left: Meta Firma carpet for Tarkett; 2021, photography: courtesy of Tarkett. A commission for the Stern Chapel at Temple Emanu-El Dallas, in discarded mylar balloons and mixed media, 2016; photography: Martin Crook/courtesy of Temple Emanu-El Dallas. Center: Spectral Array polyester upholstery, from Luum’s Fabric of Space collection, 2022; photography: Tolleson. Bottom: A working session at Tick Studio with product development designer Carol Lindsey, one of her five staffers; photography: Martin Crook.

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Top, from left: Transcend digitally printed glass for Skyline Design, 2017; photo­ graphy: courtesy of Skyline Design. Luum Collective Conscious collection, 2021; photography: Tolleson. Bottom, from left: Fiber Optic Sail Cloth, a collaborative commission with Harry Allen for a private collector, 2002; photography: courtesy of Suzanne Tick Inc. Jot drapery for Knoll Textiles, 2012; photography: Brooke Holm.

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“ The work I’m doing is all about sustainability— glass fits right into that.”

—Suzanne Tick

Congratulating our brilliant creative partner of 20 years on her Hall of Fame induction.

skydesign.com/suzannetick

She gave the pursuit of higher consciousness another try seven years ago, after a period of discontent despite her many achievements, which at this point included a TEDxNavesink talk and work exhibited at international museums. A last-minute opportunity to attend an introductory Vedic workshop coincided with a weeklong staycation, her first in 30-odd years.

She found the mantra-based practice transformative, and since 2020 has been teaching it to others. It’s become a cornerstone of her studio culture that she credits with unlocking higher levels of collective creativity. “If I could get more firms to realize how incredible this practice is for design teams! Your awareness becomes open, everything becomes much clearer, you just see what needs to be done.”

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Part of de-stressing her nervous system, she continues, has involved “figuring out what I can do to be of help.” She’s doubled down on her commitment to giving back via free weaving workshops and serving on the board of The Light Inside, which teaches meditation to prison inmates and corrections officers.

Tick pays it forward to Mother Earth, too. Back in the ’90’s, she was the brains behind Resolution, the firstever solution-dyed panel fabric (and the first Knoll Textile product to sell 1 million yards); today, her studio recycles all textile waste it produces (almost a ton annually) and has been instrumental in shifting our perception of circularity via envelope-pushing product designs attuned to nature yet equally informed by technology, craft, and human ingenuity.

Top: Tick at a Vedic meditation initiator training in Rishikesh, India, 2020; photography: courtesy of Suzanne Tick Inc. Center, from left: Woven Chunky Wools weave trials for Boris Kroll, circa 1983; photography: Brooke Holm. Pom Pom nylon carpeting for Tuva Looms, 1997; photography: Darrin Haddad.

Bottom: A 2016 sculpture woven by children who attended the Pratt Summer School Program via New York youthdevelopment program Publicolor, where Tick served on the board; photography: courtesy of Publicolor.

“Meditation changes our chemistry from fight-or-flight to stay-and-play. That’s when the fun begins.” s34

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The cofounding partners of Aidlin Darling Design at the Center for Architecture + Design in San Francisco; photography: Adam Rouse.

Joshua Aidlin and David Darling

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Top, from left: An early sketch for a 2012 spa-pavilion addition to a Sonoma, California, residence; image: courtesy of Aidlin Darling Design. Joshua Aidlin, FAIA; photography: Erez Aidlin. David Darling, FAIA, IIDA; photography: Marcus Hanschen. Bottom: The entrance to Wexler’s restaurant in San Francisco, 2008, an Interior Design Best of Year Award winner; photography: Matthew Millman.

Opposite top: Capped by a 50-foot cantilevered green roof, the Prow staff retreat on Expedia Group’s Seattle campus, a 2020 collaboration with Susan Marinello Interiors. Opposite bottom: The 3,700-square-foot, single-story structure fronting Elliott Bay, at a remove from the main campus buildings. Photography: Adam Rouse.

Joshua Aidlin and David Darling met at the University of Cincinnati where they earned their bachelors’ in architecture in 1988. But when it came to founding their San Francisco firm a decade later, they called themselves designers. Since then, Aidlin Darling Design has done it all, with commissions spanning the U.S., Hong Kong, and Doha, Qatar.

The project range is equally encompassing, from private residences, restaurants, and wineries to corporate facilities, cultural centers, and sui generis spaces that defy neat categorization beyond being places of quiet contemplation. Sculptural furniture is part of ADD’s oeuvre, too.

Despite the diversity of the output—and Aidlin and Darling’s determination to eschew signature statements—experiencing a completed project unequivocally identifies it as one of theirs. The common thread that weaves through the multivarious assignments relates to a set of core principles. Ask the designers about them, however, and the conversation soon veers off in unanticipated directions.

Enter such words as “healing,” “spiritual,” “soulful.”

Concepts of community and societal and environmental responsibility loom large. As does connection to art, artists, and a tightly knit group of makers.

“We focus on attentiveness to the human body, how it occupies space and picks up sensory information,” Aidlin begins. “Design is a social act, not a commodity,” Darling continues. “It involves knowledge of history and poetry.” Project longevity is key.

An abbreviated tour of their work concretizes the abstractions. The Prow, a biophilic retreat for Expedia Group staff, nestles like an elongated bird on the company’s 40-acre Seattle campus and “brings people out of their shell to re-engage in a nurturing environment,” Aidlin reports. “It’s a call to combat the deadness of sitting in front of a computer,” Darling adds.

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Palo Alto, California, houses a collection of large meditative paintings in a rammed-earth and wood structure that integrates seamlessly into its landscaped setting.

“We’re always trying to perfect our response to a condition,” Darling acknowledges, an approach that applies equally to the firm’s residential work. For what’s accurately dubbed the Tree House, also in Palo Alto, that meant allowing existing live oaks and majestic redwoods to anchor the sustainably built dwelling, its ground-floor living areas extending into the surrounding garden, its second floor engaging with the leafy canopy. On the hospitality front, In Situ, the now-closed restaurant in the San Francisco Museum of Modern Art, was multilayered, sophisticated, but a tad rough around the edges, echoing the museum’s “mission of making art more accessible and less intimidating,” Darling observes.

The impulse toward inclusivity comes naturally to both. Born in northern Ohio, Aidlin spent his formative years on an old dairy farm his parents had converted into a family home and studio where his late father, artist Jerome Aidlin, sculpted in bronze and forged steel. Initially, the younger Aidlin rejected his s42

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creative roots in favor of athletics, specifically baseball. But, after traveling through Europe, Canada, and Mexico, he was drawn to San Francisco, where in 1995 he started a furniture studio, which eventually expanded into architecture, landscape, and interiors when he joined forces with Darling in 1998. The latter—fresh from stints in the offices of the late Charles Pfister, Stanley Saitowitz, and BraytonHughes Design Studios—was born in Sacramento but also grew up in rural Ohio. From a family of engineers, Darling knew early on he’d be an architect: “At 5, I was building houses with toothpicks and Elmer’s glue.”

Aidlin and Darling proved ideal partners; the studio prospered and, though it has resisted becoming too large, now numbers 26 employees representing nine countries. The Hall of Fame induction is among 280 local, national, and international honors, which include a 2013 National Design Award from the Cooper-Hewitt, Smithsonian Design Museum. The two principals laud each other. Darling on Aidlin: “He’s extremely analytical. He wants to know everything to attack with poetry and precision.” Aidlin on Darling: “David is the opposite. He can suspend belief and rely on intuition honed by experience.”

Above: Organized around a long reflecting pool, a 2004 vineyard estate in Sonoma, California, encompassing complex resi­ dential, operational, and landscaping programs; photo­ graphy: courtesy of Aidlin Darling Design.

Opposite top: A sculptural ceiling and custom furniture set off by the partially unfinished interior shell at In Situ, a San Francisco Museum of Modern Art restaurant, 2015. Opposite bottom: Also in Sonoma, a 2016 hilltop residence featuring retractable end walls. Photo­ graphy: Matthew Millman.

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“We focus on attentiveness to the human body, how it occupies space and picks up sensory information”

Top, from left: A 2019 house nestled amid boulders on a plateau in Palm Desert, California; photography: Adam Rouse.

Geneva Car Barn & Powerhouse community center, 2010, an adaptive reuse of the landmarked former home of San Francisco’s first electric railway; photography: Matthew Millman. Bottom: The Center for Architecture + Design, 2023, inside the city’s 1918 Hallidie Building; photography: Richard Barnes.

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Let’s crank some metal.

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Top, from left: Its upper story framed by oaks and redwoods, the aptly named Tree House, 2017, in Palo Alto, California; photography: Adam Rouse. Incorporating rammed-earth construction, the 2002 caretaker’s residence at a Sonoma vineyard; photography: JD Peterson. The living room in a 2018 San Francisco house, its concrete walls designed for an expanding art collection; photography: Matthew Millman.

Center: A conceptual sketch for the Windhover Contemplative Center, 2013, a spiritual retreat for students and faculty at Stanford University in Palo Alto; image: courtesy of Aidlin Darling Design. Bottom: The center’s primary contemplative space with Nathan Oliveira paintings; photography: Matthew Millman.

“Design is a social act, not a commodity—it involves knowledge of history and poetry”

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Left: A 1950’s San Francisco residence remodeled in 2018 with a steel-and-glass brise-soleil. Right: Bar Agricole, 2010, a former San Francisco warehouse adapted into a LEED Platinum–certified restaurant with reclaimed oak and sculptures made from warped Pyrex cylinders. Bottom: Privileging connection to the natural environment, Roseland University Prep, a 2016 public charter high school in Santa Rosa, California. Photography: Matthew Millman.

In true designer fashion, Darling admits their favorite project “is the next one.” That might be the Contemplative Sciences Center at the University of Virginia in Charlottesville, a 60,000-square-foot stone, brick, and timber structure with meditative spaces and a courtyard garden focused on student

well-being. “It’s another powerfully spiritual building,” Aidlin notes. Another “next” project may be ADD’s largest ever: the ongoing renovation of the Robert Mondavi Winery complex, which was founded in Napa, California, in 1966. At roughly 230,000 square feet, with existing mission-style structures that will be restored or gutted as well as new-builds, the collaboration with Surfacedesign is slated for completion in 2025. “We’re touching every square inch,” Darling says.

The recently completed Center for Architecture + Design and AIA San Francisco headquarters is perhaps closest to Aidlin and Darling’s hearts. The 10,000-square-foot project, which includes not only offices and meeting rooms but also a bookstore, café, and gallery, draws public appreciation of these disciplines through exhibitions, lectures, and film series.

“It’s a vehicle for raising cultural understanding and cultivating grass roots,” Darling explains. “It’s somewhat like a museum,” Aidlin continues. “We called on all our relationships with Bay Area makers.” Which characterizes ADD’s inclusive ethos to a T. S48

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h a l l of fa m e icon award

David Rockwell text: molly heintz

The founder of Rockwell Group at Nobu Downtown restaurant in New York; photography: Clemens Kois.

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“Chopin’s Ballade No. 3 in A-flat major,” David Rockwell replies when asked what he’s working on next. He is fresh off a private recital of George Gershwin’s Rhapsody in Blue, accompanied by a full orchestra (as well as notable guests Robert DeNiro, Whoopi Goldberg, and Jane Krakowski). The architect returned to classical piano lessons in 2016, picking up where he left off in childhood. In fact, at the Rockwell Group headquarters in

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Top: Spectacle, one of four books by the architect, published in 2006 by Phaidon Press.

Center: David Rockwell, FAIA; photography: Brigitte Lacombe. Bottom: A custom chandelier and an existing Dorothea Rockburne mural from 1993 at 550 Madison in New York, 2022; photography: Nikolas Koenig.

Opposite: The Johns Hopkins University Bloomberg Center in Washington, the firm’s first higher-education project, 2023; photography: Alan Karchmer/Otto.

New York, a former print room now serves as one of his practice studios. Just as Gershwin’s rhapsody has come to define the Jazz Age, the name David Rockwell has become virtually synonymous with the epitome of modern-day hospitality design. But his oeuvre extends far beyond restaurants and hotels.

It all began in 1984, when Rockwell founded the firm in Manhattan with just six other employees. The small team was soon filling the studio with mood boards for Nobu, Rosa Mexicano, and the W, along with thinking about how design could transform a young person’s stay for the Children’s Hospital at Montefiore in the Bronx. In 2002, at age 46, Rockwell was welcomed into the Interior Design Hall of Fame, one of the youngest inductees ever. Now celebrating its 40th anniversary, Rockwell Group has grown to 330 employees, who occupy four floors of the Union Square HQ along with offices in Los Angeles and Madrid, and have worked in 40 countries on more than 125 hotels and 500 restaurants as well as such hybrid hospitality endeavors as NeueHouse Hollywood, Moynihan Train Hall, and a JetBlue terminal. Across the decades, their intrepid leader has continued to accumulate accolades, including Emmy Awards for the production design of the 2010 and 2021 Academy Awards and a 2016 Tony Award for the She Loves Me sets, making him the only architect to have won both such honors. But Rockwell has never been one to rest on his laurels.

“David is always hustling. It’s something I’ve come to really cherish about him,” says Oskar Eustis, artistic director of The Public theater in New York and a repeat Rockwell client. Working with Eustis, Rockwell has designed sets for numerous productions, including four Shakespeare in the Park plays, as well as The Library restaurant at The Public. “Most people think it’s an old original library, but it’s designed from scratch,” Eustis adds, noting that Rockwell’s lifelong love of theater s54

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Top: Metropolis by Marcus Samuelsson restaurant at New York’s Perelman Performing Arts Center, 2023; photography: Adrian Gaut. Bottom: Set design for Hairspray, a 2002 Broadway musical; photography: Eric Laignel.

Opposite top: The ticketed waiting room at Moynihan Train Hall, New York, 2021; photography: Nicholas Knight/courtesy of Empire State Development and Public Art Fund, NY. Opposite bottom: The set design for the 82nd Academy Awards at the Kodak Theatre Hollywood in Los Angeles, 2010; photography: AMPAS.

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plays out in an unfolding series of researched details that suggest a backstory. Rockwell and team are currently devising the sets for another story: the revival of Doubt, opening on Broadway in February.

“He manages to see the beauty in our diversity, using food, fabric, music, art, and design as his canvas to unite us all,” says restaurateur and Food Network personality Melba Wilson. She first worked with Rockwell 30 years ago on a proposed refresh of Minton’s Playhouse jazz club. More recently, as president of the New York City Hospitality Alliance, Wilson partnered with Rockwell Group on DineOut NYC, a 2020 initiative that developed a prototype of outdoor dining to keep restaurants throughout the boroughs—including her Melba’s in Harlem—in business during the early months of the pandemic. It’s one of the latest in a series of pro-bono projects instigated by Rockwell. Others include Stoop NYC, designing the annual Citymeals on Wheels fundraising event, and serving as the chairman of DIFFA for more than two decades.

“David is the opposite of the designer who is locked in a kind of hermetic, self-referential world,” states architecture critic Paul Goldberger, who has followed Rockwell from the beginning. “He’s interested in architecture as it relates to the human experience.” Rockwell applies that human-centered approach to the design process

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“David manages to see the beauty in our diversity, using food, fabric, music, art, and design as his canvas to unite us all”—Melba Wilson

Top: DIFFA Dining by Design, 2004; photography: courtesy of Rockwell Group. Center, from left: Valet loveseat for Stellar Works, 2016; photography: courtesy of Stellar Works. Desert Lights carpet for Shaw Contract, 2019; photography: courtesy of Shaw Contract. Bottom: The new Manhattan location of Union Square Café, 2016, one of six projects for restaurateur Danny Meyer, with several more in the works; photography: Emily Andrews.

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itself, engaging consultants with critical questions and inviting them to be a part of the conversation.

He is known for bringing in unexpected creative collaborators—choreographers, for example.

A culture of collaboration is also in effect every day at all three studios. “It’s the thing I appreciate most,” says Rockwell Group partner Shawn Sullivan, who has been with the firm 26 years. Partner Greg Keffer agrees: “It’s led to our cross-disciplinary approach—and to a plurality of personalities and talents experimenting.” Keffer is the partner in charge of the Spain office, led day-today by principal Eva Longoria, a Madrid native who interned at RG New York as a student. “We’re constantly trying to break the boundary to do something even more special,” says Longoria, who adds that her studio is 80 percent female architects and designers—the same majority as RG’s executive team.

The commitment to collaboration is underpinned by curiosity, which may be Rockwell’s defining personal s58

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DOHENY ROOM, LOS ANGELES

CASA DANI, NEW YORK

CONGRATULATIONS TO MY DEAR FRIEND & PARTNER,

DAVID ROCKWELL

ON BEING AWARDED INTERIOR DESIGN’S FIRST ICON AWARD AFTER 40 YEARS OF EXCELLENCE WITH ROCKWELL GROUP. IT HAS BEEN A PLEASURE WORKING WITH YOU OVER THE YEARS ON ALL THESE AMAZING PROJECTS AND WE LOOK FORWARD TO CONTINUING TO COLLABORATE FOR MANY YEARS TO COME.

SAM NAZARIAN, FOUNDER & CEO sbe.com

KATSUYA, NEW YORK

CITIZENS NEW YORK

CITIZENS NEW YORK

Left, from top: Spotlight Metallic Shell fabric for Jim Thompson, 2012; photo­ graphy: Nikolas Koenig. Stitch wall­ covering for Maya Romanoff, 2007; photography: George Lambros.

Constellation Tri Star sconce for Lasvit, 2022; photography: courtesy of Lasvit.

Right, from top: The Public Theater’s As You Like It for Shakespeare in the Park, New York, 2017; photography: Paul Warchol. The lobby at the New York Edition hotel, 2015; photography: Nikolas Koenig.

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““His flair for the dramatic and innovative use of space are second to none, and the reason I’ve called on David so often over the years”—Michael Bloomberg

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Top: She Loves Me set design, which won a 2016 Tony Award; photography: Paul Warchol.

Bottom: JetBlue Terminal 5 at John F. Kennedy International Airport in Queens, New York, 2008; photography: Nic Lehoux.

THE CORAL PENDANT

Congratulations to the 2023 Hall of Fame Inductees 800.826.4766 | VERMONT USA | COMMERCIAL@VTFORGE.COM | HUBBARDTONFORGE.COM All Designs & Images ©1989-2023 Hubbardton Forge, LLC. All Rights Reserved. Hubbardton Forge is the registered trademark of Hubbardton Forge, LLC.

Top: Imagination Playground Blocks in cross-linked polyethylene foam, 2010; photography: Christopher Amaral. Center: Imagination Playground at Burling Slip, a 2010 project that helped revitalize downtown Manhattan after 9/11; photography: Frank Oudeman. Bottom: Pascale Girardin’s installation of ceramic slabs clipped to the lime-plaster wall of the main dining room at Nobu Downtown, 2017, the second New York location of the trailblazing Japanese-fusion restaurant first designed by Rockwell Group in 1994; photography: Eric Laignel.

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trait. “I’ve always been curious about how people come together,” notes the architect, who has also penned four books and designed furnishings for Stellar Works, Lasvit, Shaw Contract, Maya Romanoff, and Jim Thompson.

“What are the kinds of things that attract people to want to collaborate? What are the different things that make a moment work?” he muses—and encourages his team to do the same. This means that sentences around the office are more likely to end with a question mark than a full stop. It’s a way of seeing with valuable practical implications.

“His flair for the dramatic and innovative use of space are second to none, and the reason I’ve called on David so often over the years,” says former New York mayor Michael Bloomberg. He’s referring to the several projects they’ve worked on together from 2002 to today. One is the interior public spaces and restaurant at the just bowed Perelman Performing Arts Center at the World Trade Center complex. It’s a site that Rockwell became intimately familiar with just after 9/11, when he collaborated, pro bono again, on the viewing platforms that served as a kind of temporary, grassroots memorial.

Politician and architect further forged their professional relationship with Imagination Playground at Burling Slip, a 2010 children’s project initiated and developed

by RG for the New York City Department of Parks and Recreation that the Bloomberg administration advocated as part of the revitalization of lower Manhattan.

Their most recent collaboration is the Johns Hopkins University Bloomberg Center, which opened in Washington in October. It’s RG’s first higher-education project. “We brought fresh eyes to creating opportunities for connectivity and spontaneous encounters,” the architect notes. Many firms lean into a practice area where they’ve found success. But Rockwell makes a point of exploring new territory, possibly a function of his trademark curiosity. Adds Bloomberg: “David has a rare combination of imaginative creativity, technical brilliance, and deep civic-mindedness.” s64

INTERIOR DESIGN

DEC.23

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Rendering by Sarah Choudhary ‘22 (MFA2)

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Cheers to a dynamic group of 2023 Hall of Famers!

The Organized Complexity collection

by Suzanne Tick features six textiles that observes human connection in relation to nature’s dynamism. Just as nature is always engaged in problem solving, fitting form to function and returning itself to the conditions conducive to evolution for the greater good, the ways we relate to one another can be as well - solidifying nature as our ultimate operating manual. luumtextiles.com

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Shapely finds with all the right angles and curves

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editors' pick

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1. Candy PickNMix wall sconces in steel powder-coated Bubblegum Pink and Strawberry Red with opaline glass globes by Swedish Ninja. swedishninja.com 2. Isamu Noguchi’s Prismatic powder-coated sheet-aluminum side tables by Vitra through the Noguchi Museum Shop. shop.noguchi.org 3. New Beat wallpaper in Carbon by Backdrop. backdrophome.com 4. Pivot portable lamps of powder-coated iron and mirror-polished steel in Rusty Mint and Blue Silver by &Tradition. andtradition.com 5. Bruno Tarsia’s Tito cocktail tables of engineered poplar and MDF in Cipria and Silvergrey lacquer by Casamilano through Lepere. lepereinc.com 6. Atelier Axo’s Anton cabinet of lacquered MDF and wood veneer by Vero International. verointernational.com

7. Dancing Shapes woven cotton blanket in Ink by Clr Shop. clrclr.com

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Mohawk Group

Rockfon®

Denim Culture In the world of fashion, denim is democracy. An iconic fabric shared by people around the world, yet one that allows you to be you. With Denim Culture, we take a fresh look at our popular Denim collection, offering new styles and colorways that bring an individual aesthetic and universal ease to your spaces. Simple to mix, match, and personalize, this carpet tile collection is edgy but effortless, and ideal for all types of interior styles. mohawkgroup.com

Monolithic Acoustical Ceilings Flat or curved. Direct or suspended installation. Rockfon® Mono® Acoustic delivers an innovative stone wool monolithic ceiling and pairs breathtaking continual, smooth aesthetics with high sound absorption, fire protection and long-lasting durability. rockfon.com

Parador Modular ONE

MPS Acoustics

Parador Modular ONE, an Exclusive Brand Partner of Matter Surfaces Discover Parador Modular ONE flooring: Innovative, eco-conscious, versatile. Effortless installation meets lasting quality for a contemporary touch in every interior.

Re-think, re-design, reveal what a wall can be with Deco. The precise geometric pattern adds intrigue to any space, while also exposing a carefully curated secondary color. Reduce unwanted noise and echo with Deco acoustic felt walls.

mattersurfaces.com

mpsacoustics.com

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partners

Vermont Wildwoods

XtremeInterior by Tamlyn

Spalted Maple Plywood Chipotle HQ adorned with Vermont Wildwoods Spalted Maple Plywood panels done in a random match pattern. This nature-inspired design reflects sustainability and creativity, while embodying Chipotle’s ethos in a tasteful ambiance. vermontwildwoods.com

Simple but significant! XtremeInterior by Tamlyn offers a variety of aluminum trim profiles that can be finished in custom colors and detailed with LED lighting - allowing the designer to go BOLD! tamlyn.com

Turf

Moooi

With 100% recyclable PET felt using up to 60% pre-consumer recycled content, your Turf acoustic solution will meet the most intensive sustainability standards.

The Hana Chair by Simone Bonanni sold in sets of 2, combines timeless comfort and unparalleled distinction. Inspired by the unfurling of a flower, its unique design captivates with organic shapes, curved lines, and a petal-like backrest.

Versatile and customizable, the Hana Chair effortlessly blends into your home.

The chair is available in six different colors with a stackable, or non-stackable metal base in chrome or matte black. The Hana Chair can be fully upholstered to fit your style. moooi.com

turf.design

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CALICO WALLPAPER

PLAYING NOW

EXCLUSIVELY ON

moc design office W House–Whirlpool Brand Experience Center, Foshan, China Appliances never looked so good. At this 7,000-square-foot showroom, MOC, which stands for mood, observation, and creativity, put a new spin on laundry machines, turning a mundane shopping experience into an engaging one. The century-old brand sought to refresh its image and show off its state-of-the-art products; the firm responded with an intriguing interplay between a reflective interior and exterior, its eye-catching, forward-looking qualities emblematic of the client’s ethos. The two-story project occupies an origamilike building with long eaves of mirrored stainless steel. MOC extended the material and jagged geometry indoors with faceted, reflective ceilings and a prism that divides the space. Product displays, like a floor-to-ceiling wall of black washers, are striking, while bursts of yellow acrylic add warmth. It’s a virtual whirlpool of innovation. —Rebecca Dalzell PROJECT TEAM: YANG ZHENYU; LIANG NINGSEN; WU XIUWEI; YANG ZHENYU; HUANG ZHENTAO; YAN WENDING; LI RUIWEN; XIE XINYU; CHEN QIANYU.

be stofyear

shining moment

NIE XIAOCONG

PROJECT TEAM: AVITAL SHENHAV-SHANI.

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Search and sample in seconds.

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Free for design professionals. materialbank.com

Work from Anywhere LC3 by Cassina