Interior Design September 2024

SEPTEMBER 2024

a whole new view

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Art Direction Studio Klass

Graphic Design Nicola–Matteo Munari

Photo Alberto Strada

COLUMNS, Thunder

CONTENTS SEPTEMBER 2024

VOLUME 95 NUMBER 8

09.24

ON THE COVER At the 21,500-square-foot office of Shanghai Transaction Succeed, a financial services company, One House Design employed resin-based artificial stone for flooring and columns, curves and cutouts, yielding a seamless co­he­ sion that together nods to a digital future and manmade handcraft. Photography: Qingyan Zhu.

features 108 JEWEL BOX

by Peter Webster

Translucent onyx rain screens temper Sydney’s intense sunshine, casting a golden glow over the interiors of a harborside residence by Fearon Hay and Penny Hay. 116 IN THE PINK

by Elizabeth Fazzare

Scent is elusive but not in the hands of OMA, which captured the decadeslong cultural impact of Miss Dior perfume in a blush blockbuster of an exhibition at Tokyo’s Roppongi Museum.

134 BRIGHT LIGHTS, BIG CITY

by Annie Block and Helene Oberman

From TriBeCa to Gowanus, the Hudson Valley to suburban Trenton, this year’s NYCxDesign Awards expanded to the Greater New York area, drawing hundreds of project submissions.

152 PARALLEL UNIVERSE

by Lauren Gallow

Work and play, analog and digital, real and illusory— all coexist in a futuristic fantasia of an office by One House Design for Shanghai Transaction Succeed, a financial services company.

126 UPWARD AND ONWARD

by Diana Budds

160 EVERYTHING IS ILLUMINATED Nieto Sobejano Arquitectos

by Rebecca Dalzell

transforms a baroque German edifice and wartime reminder into Archiv der Avantgarden–Egidio Marzona, a center that celebrates modern avantgarde art—and the city of Dresden.

From lighting to wayfinding to dining options, INC Architecture & Design has updated the rink level at Rockefeller Center in New York to be a more open and democratic experience.

CHRIS COOPER

134

FLOORING | RUGS | WALL TEXTILES | UPHOLSTERY | WINDOW COVERINGS

chilewichAD.com Flooring, Wall Textiles: MOIRÉ, Zephyr

Original design from the ground up.

09.24

CONTENTS SEPTEMBER 2024

VOLUME 95 NUMBER 8

city living 55 GROUND UP

by Lisa Di Venuta 61 MATCH MADE IN HEAVEN

by Karine Monié 67 COMING UP ROSES

by Jen Renzi

In metropolitan locales from Madrid to Moscow, strategically redesigned residences transcend their historical trappings and spatial limitations to tout the bright side of urban habitation.

departments 23 HEADLINERS 29 DESIGNWIRE

by Annie Block 34 BLIPS

by Annie Block 36 PINUPS

by Rebecca Thienes 40 BOOKS

by Wilson Barlow 42 SHOPTALK edited by Georgina McWhirter 47 CREATIVE VOICES Just Desserts

by Peter Webster

Inspired by éclairs, donuts, and other sweet treats, Studio Yellowdot’s ceramics, lighting, and furniture are as colorful and tempting as a candy store.

103 CENTERFOLD Twists and Turns

by Athena Waligore

Wangen Tower, a collaborative effort between two University of Stuttgart research institutes, pioneers a humble building material into a soaring, staggering landmark in southern Germany.

168 CONTACTS 175 INTERVENTION

by Wilson Barlow 61

READ MCKENDREE/JBSA; STYLING: KATJA GREEFF

83 MARKET edited by Rebecca Thienes text by Lisa Di Venuta and Georgina McWhirter

D.154.2 ARMCHAIR GIO PONTI

The Workshop /APD collection | Fabrics and rugs by Perennials | sutherlandfurniture.com

editor in chief chief content officer

Cindy Allen, hon. IIDA MANAGING DIRECTOR

DESIGN DIRECTOR

Helene E. Oberman

Karla Lima

EXECUTIVE EDITOR

CREATIVE SERVICES

Annie Block

Marino Zullich

SENIOR EDITOR

PRINT OPERATIONS MANAGER

Georgina McWhirter MARKET DIRECTOR

Rebecca Thienes ASSOCIATE EDITOR

Wilson Barlow ASSISTANT EDITOR

Lisa Di Venuta EDITOR AT LARGE

Elena Kornbluth

Olivia Padilla SENIOR PREPRESS AND IMAGING SPECIALIST

Igor Tsiperson

digital SENIOR WEB EDITOR

Carlene Olsen WEB EDITOR

Michelle Yee

CONTRIBUTING EDITORS

Stanley Abercrombie Raul Barreneche Mairi Beautyman Edie Cohen Rebecca Dalzell Jesse Dorris Laura Fisher Kaiser Craig Kellogg Jane Margolies Murray Moss Jen Renzi Peter Webster Larry Weinberg

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CONTRIBUTING PHOTOGRAPHERS

Benny Chan/Fotoworks Jimmy Cohrssen Art Gray Eric Laignel Michelle Litvin Garrett Rowland CHIEF EXECUTIVE OFFICER

Erica Holborn CHIEF OPERATING OFFICER

Michael Shavalier CHIEF DESIGN OFFICER

Cindy Allen SANDOW was founded by visionary entrepreneur Adam I. Sandow in 2003, with the goal of reinventing the traditional publishing model. Today, SANDOW powers the design, materials, and luxury industries through innovative content, tools, and integrated solutions. Its diverse portfolio of assets includes Luxe Interiors + Design, Interior Design, Metropolis, and DesignTV by SANDOW; ThinkLab, a research and strategy firm; and content services brands, including The Agency by SANDOW, a full-scale digital marketing agency; The Studio by SANDOW, a video production studio; and SURROUND, a podcast network and production studio.

SANDOW is a key supporter and strategic partner to NYCxDESIGN, a not-for-profit organization committed to empowering and promoting the city’s diverse creative community. In 2019, Adam Sandow launched Material Bank, the world’s largest marketplace for searching, sampling, and specifying architecture, design, and construction materials.

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We make specifying metals for interior spaces, well, a layup. interim publisher Carol Cisco marketing + events

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Metal designs from Chemetal might be the best way to bring the luxury and energy of metal into interior spaces. Besides an impressive collection, our materials are lighter, more affordable and easier to fabricate (plus we do custom). Here: Chemetal #927, on arches. What else is a layup? Ordering free samples at chemetal.com.

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A MORE SUSTAINABLE INTERIOR DESIGN As part of the SANDOW carbon impact initiative, all publications, including INTERIOR DESIGN and METROPOLIS, are printed using soy-based inks, which are biobased and derived from renewable sources. This continues Sandow Design Group’s ongoing efforts to address the environmental impact of its operations and media plat­forms. We have a partnership with Keilhauer to offset all estimated carbon emissions for the printing and distribution of every print copy of INTERIOR DESIGN in 2024 with verified carbon credits, including the one you hold in your hands.

This magazine is recyclable. Please recycle when you’re done with it. We’re all in this together.

Introducing Boards, a new way to design.

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e d i t o r ’s welcome

living for the city Splash! I think I’d like to do a backflip this time around. You know: summertime, outdoor pools, Paris Olympics, and all that. Well, no…not really, silly.

Unlike in the last issue, I would rather get to the content pronto, because I’ve seldom seen our work turn out to be so, so useful! There is no better, no more polished word to describe its impact. We fanned out with the uber-mission to focus the brightest lens on city design, and the resulting effort, these very pages, is nothing less than glorious…sayz moi, of course!

(You are welcome, however, to insert your own superlative once you get through our stories, and I’m betting good money you will!). No matter your station in the trade—young gun, middle-of-the-way warrior, seasoned battle ax pushing the envelope, or simply a passing-by fan—our multitude of projects offer you countless ideas and oodles of inspiration.

Take a gander at these urban delights.

From superchic, a renovated Harlem house, to super-groovy (and curvy, too), the Louis Armstrong Center in Long Island City, our ever-expanding NYCxDesign Awards continues to exude high praise while also showcasing how the city (and design) never sleeps! In our features section, we get tickled “pink” over OMA’s Tokyo exhibition for Miss Dior perfume, whose many shades of pretty in pink derive from the fragrance bottles themselves.

And from New York to Madrid to Prague, our City Living special section proves that a very small urban footprint can make a very big impact (check out the clever pivoting oak doors in lieu of drywall at an 820-square-foot Moscow pad).

Yet what amazes me and allays all my concerns is the perfectly dis­ cernible continuity with every one of our previous city-themed issues.

Design is sorting out the huge lifestyle crisis we recently experienced and putting it to good, constructive use. And being useful is what matters, after all—regarding design, our service, and ourselves.

Stay cool, xoxo

Follow me on

Instagram

thecindygram

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“We embrace the evolution of typologies—by designing both defined and undefined spaces, they can change”

OMA “In the Pink,” page 116

headliners

partner: Shohei Shigematsu. firm site: New York. firm size: 70 architects. current projects: New Museum expansion in New York; The ReefLine underwater sculpture park in Miami Beach; Discovery Partners Institute headquarters in Chicago. honors: Mainichi Design Award; SARA NY Design Award; Buffalo Business First Golden Brick Award. challenge: Shigematsu has thrived in downturns, being born after the 1973 oil crisis, starting university after 1991’s economic bubble burst, and becoming OMA partner after the 2008 collapse. appetite: He’s interested in food as a medium for shaping life, relationships, and environments. oma.com

COURTESY OF DIOR

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Nieto Sobejano Arquitectos “Upward and Onward,” page 126 founder: Fuensanta Nieto. founder: Enrique Sobejano. firm sites: Madrid; Berlin. firm size: 42 architects and designers. current projects: Museo Pontevedra in Spain; Museum of Fine Arts Château de L’Hermine in Vannes, France; Dallas Museum of Arts reno­ vation and expansion. honors: The Ministry of Culture’s Medalla de Oro al Mérito en las Bellas Artes; Alvar Aalto Medal; AIA Honorary Fellowship. studying: Nieto and Sobejano both attended the Universidad Politécnica de Madrid and Columbia University Graduate School of Architecture, Planning and Preservation. exhibiting: Their firm’s work has been shown at the Biennale di Venezia in Italy and the Museum of Modern Art in New York. nietosobejano.com

Fearon Hay “Jewel Box,” page 108 director:

Jeff Fearon. director:

Tim Hay, AIA/ Australian Institute of Architects. firm sites:

Auckland, New Zealand; Los Angeles. firm size: 16 architects and designers. current projects: Residences in Sydney; Patagonia, Argentina;

and Santa Barbara, California. honors: World Architecture Festival Award; Architizer Best Firms in New Zealand Award. dudes: Fearon and Hay established their firm in 1998. dames: Fearon has collaborated with his wife Sophie on cocktail jewelry, and Hay with his sister Penny on a guest cottage for their parents’ estate on Great Barrier Island. fearonhay.com

One House Design

Penny Hay

“Parallel Universe,” page 152 founder, chief designer: Lei Fang. firm site: Shanghai. firm size: 50 architects and designers. current projects: A residence in Shaoxing, China; residential sales centers and model apartments in eastern China. honors: Interior Design Best of Year Award; MUSE Design Award; Titan Property Award.

“Jewel Box,” page 108 founder: Penny Hay. firm site: Auckland, New Zealand. firm size: Three designers. current projects: Residences in Palm Beach, Australia, and Malibu, California. honors: NZIA Auckland Architecture Award; New Zealand Architecture Medal.

foundation: Fang launched One House in 2009. inspiration: His studio occupies a building by the late Italian architect Vittorio Gregotti. onehousesh.com 24

INTERIOR DESIGN

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then: Before establishing her interiors firm in 2004, Hay was a practicing architect. now: A mother of two, she starts her mornings with Vedic meditation, which puts her in the best state of being for the day ahead. pennyhay.com

TOP LEFT: ANASTASIA MUNA

h e a d l i n e rs

INC Architecture & Design “Everything Is Illuminated,” page 160

CHRISTOPHER GARCIA VALLE

founding partner, creative and managing director: Adam Rolston, AIA. founding partner, development and construction director: Drew Stuart, AIA. firm site: New York. firm size: 50 architects and designers. current projects: Manifest barbershop/café/retail outpost in Washington; Gulf Tower hotel

and residences in Pittsburgh; Velvære wellness and residential community in Park City, Utah. honors: Interior Design Best of Year Awards; NYCxDesign Award.

past: Rolston, Stuart, and cofounding partner Gabriel Benroth met at Tsao & McKown. present: They founded INC, an acronym for iucunditas necessarius creo, latin for joy utility creation, in 2006. inc.nyc SEPT.24

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Colors for connection 6 new nature inspired colors.

Parchment

Storm

Meadow

Saffron

Elderberry

Twilight

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design wıre

edited by Annie Block

His Instagram bio contains one word: unclassifiable. But we call Andrés Reisinger, the Argentine artist who works mostly in the digital realm, an Interior Design Best of Year Award winner. He earned it for Hortensia, which originated from his 3-D rendering of a chair that looked like a big, blush hydrangea and went viral in 2021; Moooi and textile designer Júlia Esqué helped Reisinger put the piece into production, dressing it in 20,000 laser-cut polyester petals.

He utilized that same material, hundreds of yards of it, to manifest Unreal, his very real but temporary architectural installation created for Hourglass, the luxury beauty brand, to celebrate the launch of its Unreal liquid blush.

Reisinger has cloaked buildings in Miami, Madrid, and Jeddah, Saudi Arabia, with his dreamlike pink drapes through his Take Over series, which also began as a virtual exercise. But Unreal marks his first three-dimensional project in New York, where it overtook an empty storefront on a NoLIta corner for a weekend pop-up and even featured one of his Hortensia chairs inside. Next up for Reisinger, Elastic–Take Over comes to Amsterdam in October.

drape and the city ROCÍO LAMASTRA

Artist and designer Andrés Reisinger sheathed a New York storefront in 850 yards of polyester for Unreal, a three-day pop-up last July commissioned by cosmetics brand Hourglass.

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urban studies Although Ellie Vergura earned her bachelor’s in studio art from Agnes Scott College down south, it was an art history professor’s lecture on Chicago architecture that really impacted her future: She ended up moving there upon graduation in 2019. Two years later, she was com-

d e s i g n w ire Clockwise from top: Eiffel Tower, Tuileries Garden I, and Duomo III, all oils on canvas or wood panel, appear in “Ardor,” Ellie Vergura’s 16-piece solo exhibition at Jackson Junge Gallery in Chicago through September 22.

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COURTESY OF ELLIE VERGURA

missioned for a 50-by-60-inch lobby artwork at the Tribune Tower, the office-to-residential conversion of the former headquarters of the city’s leading newspaper.

Now 27, Vergura is celebrating her first solo exhibition at Jackson Junge Gallery in Wicker Park. Why such success at so young an age, you might ask? She’s found a way to combine her interests into “timeless” oil paintings that combine impressionism and abstractionism, emitting the romanticized aesthetic of a pencil sketch or vintage postcard. Subjects range from Milan’s Duomo and the Eiffel Tower in Paris to tourists on a London street. The dreamy effect is achieved, Vergura explains, with “a neutral palette, which has an eternal feel.” Fittingly, she’s titled her show “Ardor,” as “the work reflects my passion for architecture and the cities that inspire me.”

f ur n i t u re

lig h t in g

outdo o r

134 Ma d is o n Av e Ne w Yo r k d d cny c . c o m

a c c e sso r ie s

syste m s

kitchens

Panorama by Studio Sabine Marcelis, occupying the outdoor plaza at the High Museum of Art in Atlanta through December 1, consists of a quartet of nearly 11-foot-tall columns in clear and laminated mirrored glass with a color layer and an internal motor that makes them rotate, a new dimension to Sabine Marcelis’s work.

d e s i g n w ire

view master Georgia’s capital is certainly earning it’s Hotlanta nickname these days—and not because of the high summer temperatures. During the Atlanta Design Festival, in its 17th year, running from September 28 to October 6, the Atlanta Art Fair debuts for the first time, reflecting the city’s growing status as a major creative destination.

The current piazza exhibition at the High Museum of Art is further proof. Panorama is an ombretinted, interactive installation of four glass pillars by Studio Sabine Marcelis, the celebrated Dutch firm that carries on the High’s initiative of showcasing international artists (Tanya Aguiñiga, Jaime Hayon, and Yuri Suzuki are among past contributors); it also represents the first commission by a major U.S. institution for Sabine Marcelis, who toggles between installation, spatial, and product design—and her first kinetic one. The monolithic rectangles not only reflect but also rotate, constantly changing the perspective for anyone who walks around and between them. Like all her work, Panorama continues Marcelis’s use of light and glass to manipulate space, as she is “forever in search of magical moments in materiality and manufacturing processes to create unexpected experiences.”

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FROM TOP: FREDRIK BRAUER; COURTESY OF STUDIO SABINE MARCELIS (2)

SABINE MARCELIS

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When we last wrote about the artist, he was exhibiting a series of wall-hung round portals at the Sonoma Valley Museum of Art that changed color as day shifted to night.

Now, he’s completed Tri-Hex-Circ, a twisting, torquing tower that rises 50 feet, a permanent public-art installation commissioned by the city of Scottsdale. Occupying an ordinary traffic roundabout, surrounded by an Arizona Tile showroom and a Goodwill, this sculpture’s appearance also morphs with the passage of time, the gaps between its 32 bands of painted steel increasing, allowing the desert air, sun, and sky to pass through, creating constant light and shadow play. “I love interacting with spaces that don’t typically identify as traditional art locations,” says Smith, a former architect. As for his piece’s title, that refers to its transformation from a circle at the base to a hex­a­gon to a triangle on top. —Annie Block

bl ips

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LANCE GERBER

Phillip K. Smith III has gone vertical…

p i n ups by Rebecca Thienes

circle ’round Curvaceous statement pieces sporting electric hues straddle the line between art and functional design

COURTESY OF ABNER HENRY

Memphis Milano styling and the work of Michele De Lucchi informed Sasha Bikoff’s Gloria side chair, repping playful primary paint colors and custom built of maple and red oak by multigenerational, to-the-trade Amish maker Abner Henry in Fredericksburg, Ohio. abnerhenry.com

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Ph: T. Pagani

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The outline of Brussels-based artist Adrián Cruz’s Rotonda Alcova lamp, handcrafted by Italian artisans, derives from architectural plans of Renaissance-era Palladian villas: The bulb balances atop plates of crystal resin in shades of blue and turquoise, which anchor into a vivid lilac base— a color combo exclusive to Alcova.

DAN ROCHA PHOTOGRAPHY

adriancruzelements.com; shop.alcova.xyz

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by Wilson Barlow b o o k s edited

Elevated: Art on the High Line

By Cecilia Alemani New York and London: Monacelli, $60 256 pages, 350 color illustrations It’s hard to believe it has been a quarter century since a group of New York citizen activists started Friends of the High Line, a nonprofit aimed at converting a nearly 1½ mile stretch of raised railroad tracks on the west side into a public promenade. We all know the outcome: Completed by James Corner Field Operations, Diller Scofidio + Renfro, and Piet Oudolf, the High Line has become one of the city’s—and world’s—most celebrated parks, drawing some 8 million tourists and locals a year. As it’s situated along the far reaches of Chelsea, the down­town neighborhood that’s arguably the heart of the contemporary art world, site-specific sculptures, murals, and live performances have been a part of the High Line’s DNA since its beginning. This book tells that story.

Overseen by the book’s author, Cecilia Alemani, the Donald R. Mullen, Jr. director and chief curator of High Line Art, who’s also been the artistic director of the Venice Biennale, the program features rotating commissions by international artists along the park’s 22 blocks—and even beyond them. Note Nina Beier’s Women & Children foliage-ensconced fountain from 2023 and Lily van der Stokker’s Thank You Darling painted onto a building on 22nd Street, up until November, as is Curtain Call, the giant bowing ballerina by Karon Davis.

But the main stage is the Plinth, a dedicated space for gathering and large-scale installations that can be seen from 10th Avenue. Located on the Spur, an extension of the High Line that opened in 2019, it debuted with Simone Leigh’s towering bronze bust Brick House (also featured in the October 2020 issue of this very magazine). Pamela Rosenkranz’s polymer and steel Old Tree occupies the site now—and the book’s cover. Dinosaur, a 16-foot aluminum pigeon by Iván Argote, lands on the Plinth in October.

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“At investment firm Cohen & Steers, we focused on amenities that enhance physical and mental well-being. The inclusion of tech-free rooms to recharge, central staircases that encourage more active work patterns throughout the day, and settings with access to daylight and views support each employee’s personhood and productivity. Freedom of choice, with employees being able to select workspaces according to preference, is crucial in attracting staff back to the office.”

—Santanna Cowan, TPG Architecture

“The workplace is not only a place in which to do your life’s work but also one where you have a second family who cares for you. Building those relationships can be as simple as scheduling a day where leadership hangs out with staff, cooking or sharing a meal and having discussions about what’s happening in the world outside the office.”

—Primo Orpilla, Studio O+A

s h o p talk How have you attracted staff back to the office in a recent commercial project?

“In redesigning the Community Transit Hardeson Road & Service Operations Building, we prioritized employee experience, with amenities like sleep rooms to recharge throughout the day.”

—Bethanne Mikkelsen, Ankrom Moisan

“We repositioned the roof deck at a Tishman Speyer property in Los Angeles as a place for tenants to connect during their workday, immersing them in a lush outdoor landscape.”

“In a recent project, we found even small touches like an oven for baking cookies or an entry closet for coats helped bring the comforts of home into an environment that better supports employees’ work.”

—Jennifer Janus, Pophouse

“Robot-operated barista cafés, specialtybeverage bars, or guest-chef cooking classes are now the status quo. For a large law firm, we developed a speakeasy wine bar where attorneys can celebrate case closings and host team happy hours and clients. We’re also adapting programs to support individual growth and personal interests, integrating creative outlets like podcast suites and maker spaces.”

—Tara Roscoe, HOK

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INTERIOR DESIGN SEPT.24

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collection MOOOI | GREENHOUSE pattern GATHERING WINDOW

c r e at i v e voices

just desserts Inspired by éclairs, donuts, and other sweet treats, Studio Yellowdot’s ceramics, lighting, and furniture are as colorful and tempting as a candy store

Like Hansel and Gretel discovering the gingerbread house, visitors at last September’s Maison&Objet trade show in Paris were enchanted by Turkish workshop Gorbon Ceramics’ booth, which looked good enough to eat. On display was Patisserie—a Laduréeworthy collection of ceramic tiles and objects by Studio Yellowdot, inspired by donuts, éclairs, and other delectable baked goods. The studio’s founders, husband-and-wife team Bodin Hon and Dilara Kan Hon, are keen home chefs who often come up with food-related ideas, such as jelly lamps, eggshell screens, and seedpod cabinets, while channeling cultural, artisanal, and technological influences from their respective backgrounds.

Born and educated in Istanbul, Kan Hon studied interior design at Marmara University as a way of harnessing strong artistic impulses before exploring more conceptual approaches in a master’s program at Milan’s Istituto Europeo di Design. She complemented the discipline of academia with time spent in the more instinct-driven environment of handcraft ateliers. “I worked in a puppet studio, for instance,” she recalls, “which gave me a lot of inspiration and freedom.” Intriguingly, her husband’s family is in the toy manufacturing business, and he shares her sense of play. A Chinese American born in Los Angeles and raised in Hong Kong and New Zealand, Hon studied bioengineering at Rice University in Houston, where he also worked at NASA’s Lyndon B. Johnson Space Center developing next-generation space toilets. Attracted by the creative possibilities of industrial design, he enrolled at IED, where he met Kan Hon. The couple launched Yellowdot in 2017, its cheery name a tribute to the sun’s lifegiving energy. Specializing in product, lighting, furniture, and spatial design, the atelier and creative consultancy has studios in Hong Kong and Istanbul. We talked to the founders about their working methods, recent projects, and upcoming plans.

FROM TOP: OZAN GÜR; ALI GÜLS˛ENER

From top: Biscuits, logo-embossed color chips conceived for Turkish tile manu­fac­ turer Gorbon Ceramics by Studio Yellowdot, an atelier and creative consultancy encom­ pas­sing products, lighting, furniture, and spaces. Yellowdot’s married founders, Dilara Kan Hon and Bodin Hon, who split their time between the firm’s locations in Hong Kong and Istanbul.

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An early piece, the Jelly table lamp, is like a cake stand serving up a treat. How did that evolve?

DKH: One day we were making jello and realized we could use the same silicone mold for resin, which we’d been experimenting with. We ended up with solid “jellies” that we needed to find a use for.

A lamp was the answer. When you touch the metal base, the light dims.

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CLOCKWISE FROM TOP LEFT: VOLKAN DOGAR; ALI GÜLS˛ENER (2); OZAN GÜR (2)

What are your individual perspec­ tives on design, and how do you combine them?

Bodin Hon: I’m more technical, asking if something is feasible. And I like to invent things, so there’s technology as well. I look at new materials and mechanisms to create different types of surprises.

Dilara Kan Hon: Coming from an art background, I’m interested in spontaneity and being aware of what I’m feeling: I feel like this is the right color, I feel like this is the form we should use. From the start, Bodin would say, “Prove it,” something nobody had really demanded of me before. It was a big challenge, but it taught us both how to discuss our ideas, how to put them together.

BH: We start with sketches or some material, followed by plenty of backand-forth critiquing until we’re both happy. In the beginning, we did many self-driven projects that could sit around for months until we found the right solution. With clients, we have to be quicker.

You also use resin with recycled eggshells for the Hatch pendant fixture. Tell us about that.

BH: We discovered that used eggshells, washed and set in resin, form a thin, strong, lightweight matrix. The material is translucent, which gave us the idea of developing it into a pendant light. It takes three or four hours to handcraft the circular diffuser, putting the right size eggshells in piece by piece, kind of like baking a pizza.

Eggs of another sort inspired the cylindrical Ova Pink cabinet, right?

DKH: I wanted to create something that symbolized my origins, the seeds from which I grew. There’s a traditional handwoven fabric called kutnu from Gaziantep, a town I used to visit as a child.

Then, in a Hong Kong park, I saw the

bright-pink egg clusters of an apple snail, and I merged them with my cultural seeds in the cabinet, which is covered with 540 handsewn kutnu balls. It’s about 67 inches tall—bigger than me!

How did you come up with the Checkered bench’s attentiongrabbing pattern?

BH: The American Hardwood Export Council commissioned “future heirlooms” from seven emerging Turkish designers.

There were three woods to choose from; we took cherry and maple. Games like backgammon and chess are very popular here, so we turned a checkerboard into a piece of furniture assembled from CNC-cut solid-wood blocks. There’s a custom set of chessmen, too, so people can enjoy impromptu matches.

cOpposite, r e atclockwise i v e voices from top left: Made from solid

OZAN GÜR

blocks of American cherry and maple, the 2023 Checkered bench, accompanied by a custom chess set. The designers showing pendant fixtures from Hatch, a 2021 series incor­ porating discarded eggshells, resin, and brass. Named after the gelatin dessert, the 2019 Jelly table lamp combining hand-cast resin, chrome-polished stainless steel, and glass.

From the 2023 Patisserie collection for Gorbon, the Biscotto stool inspired by the Italian cookie, featuring a dry-pressed ceramic top, slip-cast ceramic legs, and brass feet. Éclair dry-pressed ceramic relief tiles, part of Patisserie.

From top: Hand-glazing Donut tiles from the same series.

Conventional flat tiles linking the 3-D relief elements.

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c r e at i v e voices

Where did the idea for your Patisserie tile for Gorbon Ceramics come from?

DKH: The brief was to present a new collection at Maison&Objet. It was our first time working with ceramic, so visiting the factory with its giant kilns, clay mixing machines, and racks of hot ceramics was special. It was like being in a big bakery where everything looked colorful and yummy. Right there we thought, Why not treat the project as making baked goods for a pastry shop in Paris? In the end, we created a whole confectionery store, all from ceramic.

What’s next?

DKH: We’re working more with eggshell and developing some furniture pieces. Also, we’re designing our wonderful new apartment in a beautiful historic area of Istanbul.

—Peter Webster

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CLOCKWISE FROM TOP LEFT: OZAN GÜR; COURTESY OF STUDIO YELLOWDOT; ALI GÜLS˛ENER (2)

Clockwise from top left: Complementing the tile, Icing Éclair, a 2024 limited-edition series of decorative objects hand-finished using cheflike frosting techniques. Sketches of Ova Orange from a 2022 collection of three plywood cabinets upholstered with seedpods made of kutnu, a traditional silk-and-cotton textile from Gaziantep, Turkey. Ova Pink, a version of the cabinet covered in balls evoking the egg clusters of apple snails. Fitted with smoothly rotating tops, Mill­stone side tables from 2022 showcasing yellow, jade, and blackand-white Turkish marbles.

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Lutron’s Athena System Fosters Collaboration and Community in BlackRock’s NYC Headquarters In 2019, BlackRock decided to consolidate its three NYC offices into one global headquarters.

From day one, BlackRock, architecture firm NBBJ, and lighting design firm One Lux Studio were guided by the principle ‘We Are One BlackRock’. They turned to Lutron for a smarter and more adaptable lighting-control solution than anything they’d previously used.

The cloud-connected Lutron Athena system proved to be the right fit. In addition to fixturelevel control of the lighting with the Athena wireless node, BlackRock wanted the ability to make ongoing, real-time adjustments to shade position and light temperature/intensity to embrace daylight while mitigating glare and reducing thermal gain.

“Our business needs have already evolved, and the lighting control component has been seamless,” notes Barry Novick. “We just reprogrammed the wireless switch on the walls and the fixtures. This project has changed the norm for what to expect from a lighting control system. It sets the bar higher.”

FROM TOP: CONNIE ZHOU; ERIC LAIGNEL (2)

“Bringing in daylight and allowing it to penetrate all the way into the floors was very important,” says BlackRock technology strategist Barry Novick. “We have no perimeter offices on the general work floor, so everyone gets to enjoy natural light. We call it democratizing daylight.”

“The best light is the light you don’t even realize is there. Light is an emotion — the emotion of the people and their sense of comfort within the space.”

Olivier Perrigueur VP Commercial Architectural Business Lutron Electronics

Read the full case study lutron.com/blackrock Photographer: Connie Zhou

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cit y living

ground up firm: stelljes design site: brooklyn

Three levels of a new four-story town house in Williamsburg are linked by a custom C-shape stair with treads, risers, and handrail in stained white oak.

ERIC LAIGNEL

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When designer Cece Stelljes and her husband, developer Yuval Berger, purchased an early 20th–century Williamsburg house in 2014, they’d been renting a smaller residence in nearby Greenpoint, just had their third son, and hoped to renovate the new home to live in with their young family. But, “It turned out to be a teardown,” recalls Stelljes, who at the time was co-owner of Revamp, which fittingly had just won an Interior Design Best of Year Award for a West Village town house project. By 2020, Stelljes had launched Stelljes Design, collaborated on residential-development properties with Berger, and, finally, broke ground on that Williamsburg site. “It was the first time I’d design a town house from scratch,” she says.

You’d never know it from the result. Encompassing a 1,000-square-foot garden apartment, plus a 2,800-square-foot triplex with three bedrooms, an open-plan parlor level with gen­ erous kitchen, a home office, and enviable outdoor space, the new home has major curb appeal: white brick, black cornices, a pitched roof, and an entry courtyard with a newly planted honey locust tree.

Inside is equally eye-catching. Although Stelljes, now design director at Jeffrey Beers International, has been a Brooklynite since 2001, the interiors have a decidedly global air, with influences ranging from France to Brazil. In fact, the centerpiece, a sculptural C-shape stair, evokes the work of Oscar Niemeyer, whom Stelljes had studied while earning her master’s at Pratt Institute (it was a Queens-based fabricator, however, who pulled off the connector). High ceilings, oak herringbone flooring, and a

Clockwise from top left: Across from the balustrade, con­ structed on-site of wood framing, gypsum board, and drywall compound, an aperture fitted with frosted glass affords the adjacent bathroom light and privacy. The open-plan parlor level terminates at one end with the living area, where a vintage floor lamp, Spun brass side table, and quartzitesurround fireplace flank an off-the-shelf cocktail table and seating. Artwork there is similarly accessible, the Basquiatesque wall piece purchased for $20 in Seattle, the concentric wood item from Etsy. Faced in painted brick, the 3,800-squarefoot town house contains a separate garden-level apartment and a setback top floor to allow for a terrace off the home office. White oak meets Calacatta Monet marble in the kitchen, with Morghen Studio’s Shiva pendant fixture.

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ERIC LAIGNEL

c i t y living

ERIC LAIGNEL

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black-stone fireplace nod to Haussmann typology.

“My dream aesthetic is to take a gorgeous old Parisian apartment, add modern furniture and color. . .marry tradition with today—I got to explore that idea with this building,” Stelljes notes.

In the end, though, the walls remained white.

That’s because the family never moved in. Even though furnished with her own vintage gems, family-friendly pieces from Anthropolgie, CB2, and IKEA, and eclectic artwork—some by the designer herself—Stelljes and Berger decided to rent the property, as their boys, now a tween and teens, are firmly ensconced in their local schools.

But they may eventually call it home. “It is spacious,” she concludes, “so it’s very enticing.”

—Lisa Di Venuta

c i t y living

Clockwise from top left: Under a skylight, the hand­rail is a single continuous piece of oak. A painting by Stelljes Design founder Cece Stelljes hangs in the main bedroom. A vintage desk and Turkish rug appoint the home office, which can double as a guest bedroom. One of the two ad­ ditional bed­rooms is furnished for young children.

FROM FRONT GRAND STAIRS: CUSTOM STAIR, CUSTOM HANDRAIL (STAIRWAY). VELUX: SKYLIGHT. BENCH­ MADE MODERN: SOFA (LIVING AREA). LAWSON-FENNING: SIDE TABLE. SAFAVIEH: RUG. SPOONFLOWER: THROW PILLOWS. BIG APPLE FIREPLACE: FIREPLACE. MARBLE-LITE: MANTLE, FIREPLACE SURROUND (LIV­I NG AREA), COUNTERTOPS (KITCHEN). ANTHROPOLOGIE: CHAIR, COCKTAIL TABLE (LIVING AREA), DAYBED (OFFICE).

IKEA: BENCH (LIVING AREA), BEDS (BEDROOMS). JUSTICE DESIGN GROUP: SCONCE (LIVING AREA). CB2: CRE­ DENZA (LIVING AREA), CHAIR (OFFICE), TABLE LAMP (KIDS’ BEDROOM). THROUGH ETSY: WOOD ART (LIVING AREA), VINTAGE RUG (OFFICE). THROUGH SALON DESIGN: CHANDELIER (KITCHEN). SCHWINN HARD­WARE; SUPERFRONT: HARDWARE. KALLISTA: SINK FITTINGS. BERTAZZONI: RANGE. VENT-A-HOOD: HOOD. LOSTINE: TABLE LAMPS (MAIN BEDROOM). ROMO: PILLOWS. ETHNICRAFT: SIDE TABLES (MAIN BEDROOM, OFFICE).

ROOM). THROUGHOUT PELLA: WINDOWS. S&B CAST STONE: WINDOW TRIM. KINGS BUILDING MATERIAL: FACADE BRICK. EDON COMPOSITES: CORNICES. BENJAMIN MOORE & CO.: PAINT. ARJUNE DESIGN STUDIO: ARCHITECT OF RECORD. STRUCTURAL ENGINEERING INTEGRATED: STRUCTURAL ENGINEER. ADAL ENGINEER­ ING: MEP. NEW ANTIQUITY: MILLWORK. PROFESSIONAL CONSTRUCTION GROUP: GENERAL CONTRACTOR.

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ERIC LAIGNEL

THROUGH REPOP: DESK (OFFICE). WEST ELM: FLOOR LAMP. STRING FURNITURE: SHELVING UNIT (KIDS’ BED­

Photo Andrea Ferrari | Styling Studiopepe | Ad García Cumini

Portraits of me.

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c i t yliving firm: lucy harris studio site: manhattan

match made in heaven In the main bedroom of a Hudson Yards pied-à-terre, a custom wool-mohair tapestry

by Liam Lee hangs atop nature-themed Bien Fait wallcovering.

READ MCKENDREE/JBSA; STYLING: KATJA GREEFF

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Perched directly over the High Line, offering full-height views of the surrounding Hudson Yards neighborhood, this 1,500-square-foot pied-à-terre was transformed from a blank developer-issued new-build into a fully bespoke vision. The interior design, by Lucy Harris, founder of her eponymous studio, was conceived to make the owners feel at home when they’re not in their primary residence in Utah. The client couple was not yet engaged when the project started; by the end of the yearplus-long process, they were married. “Our install date was planned to coordinate with the wedding reception, so the clients could host brunch for family and friends in the newly decorated apartment,” Harris recalls. “Making the reveal come together was especially exciting and romantic.”

The design intent was to provide solace from the hustle-bustle below, Harris says, “and a sensory experience at once stimulating and soothing.” Abundant curved shapes and calming tones throughout the two-bedroom, three-bath residence help achieve that goal. Ochre finds a home in the open-plan communal space, arranged into kitchen, dining, and lounging zones suited to both entertaining and everyday living. Sinuous pieces like a fiberglass-base bench by Asa Pingree and a sofa upholstered in teddy mohair make the space so cozy it feels like a hug. “The clients requested that all seating be both beautiful and ‘nap-able,’” Harris explains.

Notes of contrast energize the serene backdrop. The private areas feature a vivid palette, segueing from deep indigo in the main bedroom, adorned with a felted merino wool–on-mohair wall hanging by artist Liam Lee, to the vibrant study with emerald-green custom millwork that coordinates with Piero Fornasetti’s classic Malachite wallpaper. “This apartment is a true balance of textures, materials, and colors—a real mix of details with a bold expression,” Harris says.

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READ MCKENDREE/JBSA; STYLING: KATJA GREEFF

c i t y living

Clockwise from top left: Grant Featherston’s powder-coated steel Scape chairs pull up to a Barber & Osgerby Tobi-Ishi table with matte-lacquer finish in the dining area, illuminated by Omer Arbel’s 84.6 glass-globe suspension light. Piero Fornasetti’s Malachite wallcovering and a Cosmic Yolk wool rug designed by Aelfie Oudghiri and artist Ohni create pattern play in the study, with a custom daybed and desk plus a vintage velvet-clad Hans Brattrud Scandia Junior chair. In the living area, a mohair-upholstered sofa joins alpaca-covered ottomans and a limestone-base Concho cocktail table by Daniel Morrison.

A Bower Studios Melt mirror with white oak supports hangs above the foyer’s walnut-base Ripple bench by Kristi Bender and Wendy Schwartz, upholstered in Rule of Three’s hand-painted cotton twill.

READ MCKENDREE/JBSA; STYLING: KATJA GREEFF

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The project turned out to be a love story on many levels, with the clients not only committing to each other but also doubling down on design—and the city. The wife was so inspired by the process, Harris notes, that she pivoted from her law career to matriculate at the Parsons School of Design nearby. —Karine Monié FROM FRONT LIAM LEE THROUGH PATRICK PARRISH: TAPESTRY (MAIN BEDROOM). PATTERN COLLECTIVE: WALLCOVERING. LULU AND GEORGIA: BENCH. B&B ITALIA: TABLE (DINING AREA), ARMCHAIRS (LIVING AREA). GESTALT: CHAIRS (DINING AREA). BOCCI THROUGH DDC: PENDANT FIXTURES. GRAZIA & CO. THROUGH GESTALT: STOOLS (KITCHEN). COLE & SON: WALLPAPER (STUDY). WO & WÉ: WALL LAMP. TIBOR: DAYBED FABRIC. THROUGH CHAIRISH: VINTAGE CHAIR. AELFIE: CUSTOM RUG. PIERRE FREY: CHAIR FABRIC (STUDY), SOFA FABRIC (LIVING AREA). LIGHTOLOGY: DESK LAMP. PIERRE AUGUSTIN ROSE THROUGH STUDIO TWENTYSEVEN: SOFA (LIVING AREA). LOVE HOUSE: OTTOMANS. HOLLAND & SHERRY INTERIORS: OTTOMAN FABRIC. YUCCA STUFF: COCKTAIL TABLE. USM: CUSTOM CREDENZA. COIL + DRIFT THROUGH TRNK: FLOOR LAMP. JOSEPH CARINI CARPETS: CUSTOM RUG. CORAGGIO: DRAPERY FABRIC. CUFF STUDIO: BENCH (FOYER). ALT FOR LIVING: BENCH FABRIC. BOWER STUDIOS: MIRROR. BREUCKELEN BERBER: RUG. RADNOR MADE: BED, SIDE TABLE (MAIN BEDROOM). THE CITIZENRY: RUG. STUDIO FORD: QUILT. APPARATUS: PENDANT FIX­ TURE. ASA PINGREE: CUSTOM BENCH. EGG COLLECTIVE: ROUND TABLE. AUDO COPENHAGEN THROUGH DWR: SQUARE TABLE. THE FUTURE PERFECT: SCULPTURE, PEDESTAL. CB2: BED (GUEST BEDROOM). BLU DOT: NIGHTSTAND. LOSTINE: SCONCE. KUFRI: WALLCOVERING. ZAK+FOX: DRAPERY FABRIC. THROUGHOUT SCDA ARCHITECTS: ARCHITECT OF RECORD. GMG GROUP: GENERAL CONTRACTOR.

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READ MCKENDREE/JBSA; STYLING: KATJA GREEFF

Clockwise from top left: Furnishing the main bedroom are Adam Rogers’s Mae bed with cane headboard, a walnut Triad table by Elizabeth Roberts, and an Apparatus pendant in brass, agate, and leather. A second seating vignette in the living area features Mario Bellini’s chenille-covered Camaleonda armchairs and a custom Asa Pingree Monarch bench with fiberglass base. Clay-coated wallcovering with a pattern based on an Alexander Girard illustration and Zak+Fox’s Tail of Heaven linen window treatment fabric cocoon the guest bedroom. The main bathroom’s marbletopped stained-oak vanity is original to the apartment.

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c i t y living

coming up roses

In metropolitan locales from Madrid to Moscow, strategically redesigned residences transcend their historical trappings and spatial limitations to tout the bright side of urban habitation

Turn the page for a Malfinio-designed Prague loft, where MDF panels painted by artist Klára Spišková and corduroy-covered Michel Ducaroy Togo sofas accent the living area.

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Malfinio location Prague standout A Czech Functionalist–style tenement apartment was liberated from layers of anachronistic modifications to reveal its inherent light-andopenness, a quality preserved by grouping support functions (kitchen, baths, closets) behind an enfilade of operable MDF panels decorated with watercolor-y flourishes. The configuration keeps the L-shape space otherwise free-flowing, a tabula rasa for choose-your-own-adventure living that adapts to needs; for instance, the workout corner with gymnastics rings could later become a kid’s play spot. The sleeping area is partitioned via ceiling-hung linen curtains hand-painted with tones that complement etched-aluminum and stainless-steel details throughout. malfinio.cz

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BOYSPLAYNICE

square feet 1,453

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RAFAEL GAMO

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c i t y living

Productora location New York square feet 850

RAFAEL GAMO

standout Floor-to-ceiling shelving powder-coated lemony RAL 1012 takes on epic proportions and myriad functions at the ground-floor SoHo loft. The steel unit’s depth was exploited by interspersing it with clerestories, nooks, and millwork so it could multitask as divider, storage, and sleeping mezzanine. Other features like terrazzo bathroom tile, a stainless-steel kitchen countertop, and wire-glass interior windows convey a more utilitarian character befitting the 1868 building, which is also home to an historic artist’s cooperative. productora-df.com.mx

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Allaround Lab location Barcelona, Spain square feet 700 standout This studio inside a century-old building in the Eixample district, known for its Antoni Gaudí edifices, is a conceptual exercise that posits home as “infrastructure defined by its potential for use,” notes the local firm, which sought to distill the essence of habitation into its basest con­stituent activities: cooking, sleeping/living, ablutions.

Thus, the 1910 apartment’s original rabbit warren of rooms was converted into an unprogrammed open layout—adjustable via sliding panels from a one- to a two-bedroom—centering on a white-box kitchen marked by a swath of ceramic tile that looks like a flying carpet launching into midair. allaroundlab.com

JOSÉ HEVIA

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SKNPYL location Moscow square feet 820 standout In lieu of solid walls, two rows of pivoting oak doors separate this apartment into zones for sleeping, lounging, and mealtime, which can be combined into one single sweep of space—a configuration that maximizes daylight from the living area’s bay window nook, sheathed in tile inspired by those cladding the public areas of the 1952 landmarked building.

A flower-shaped epoxy-resin aperture funnels light from the living area into the windowless bathroom behind, while custom furniture channels the vibe of a mid-century Soviet academic flat. sknypl.com

VARVARA TOPLENNIKOVA

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c i t y living

Studio Zooco location Madrid standout This semidetached house with deep 40-foot floor plate begged for an influx of daylight and better connection between its four levels, achieved via a skylit cutaway above the stairwell that acts as a lantern and a serene, reductive palette of pale oak millwork and white-painted walls. The same wood was used for functional elements in every room, from storage enclosures and the hearth to a slatted screen by the entry and a built-in breakfast nook. zooco.es

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IMAGEN SUBLIMINAL

bedrooms Three

BRIO ELEGANZA

v a n i ty i n c l ou d a n d n a tu ra l w a l n u t f a u c e t, tu b f i l l e r & s h ow e r f i x tu re s i n b ru s h e d g ol d

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Butterfly Studio location Kraków, Poland square feet 861

MOOD AUTHORS; STYLING: ELIZA MROZINSKA

standout The quirky mise-en-scène of a creative couple’s cozy quarters reflects their yen for Wes Anderson films by way of nostalgia-tinged pastel hues—deployed in strategic color-blocking to establish roomswithin-rooms and hide elements like dropped ceilings. The décor balances fun touches, like the carefully styled (and stylized) acces­ sories, with cleverly functional ones, such as a built-in cat-litter box and a kitchen island with retractable screen for projecting movies.

The homeowners have a love of terrazzo, too, hence its recurrence throughout. @butterflystudiodesign —Jen Renzi

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HANDCAST BRONZE HARDWARE | 12 FINISH OPTIONS ROCKYMOUNTAINHARDWARE.COM 888.788.2013

40TH ANNIVERSARY CELEBRATION

Honoring significant contribution to the field of interior design, architecture and the design industry

2024 INDUCTEES David Galullo Rapt Studio Holly Hunt House of Hunt Adam Rolston, Drew Stuart & Gabriel Benroth INC Architecture & Design SPECIAL TRIBUTE

Jeffrey Beers Jeffrey Beers International ANNIVERSARY HONOR

DIFFA (also celebrating 40 years)

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Embrace life with joy as a form of resistance. That’s the sage motto of artists Lilia Corona and Rodrigo Lobato. The pair’s exuberant Landslides and Birds collection, produced by their Platalea Studio based in Mexico City, contemplates transience and motion, as connoted by the titular nouns. The offerings, steeped in Mexican folklore and imagery, range from a sculpture of ducks on a rainbow (too sweet!) to a floral rug—or “textile sculpture,” as they call it—of hand-tufted and -carved wool on cotton in juicy yellow, pink, and green shades. Corona and Lobato aim to explore mystical landscapes, family traditions, and belief systems, all with warmth and levity. We deem them ones to watch. plataleastudio.com

platalea studio

market

edited by Rebecca Thienes text by Lisa Di Venuta and Georgina McWhirter SEPT.24

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2

4

43 3

Ferruccio Laviani for Illulian

1

2

product The Getting By. standout The contemporary painter’s brushwork has the instinctual spontaneity of a flock of birds in flight, the fluid and rhythmic motifs transliterated from acrylic, ink, and graphite on canvas to a wool-and-silk rug. knotsrugs.co.uk 84

Malene Barnett for Ruggable

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product Symi. standout Gestural strokes in opposing colors intersect, overlap, and separate to create gaps through which the floor can be glimpsed in the Milan-based architect’s wool rug woven in Nepal. illulian.com

Athena Calderone for Beni

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product Ruggable x Malene Barnett Collection. standout The women-led rug brand teamed with the Black Artists + Designers Guild founder on rugs that honor aspects of African heritage, from Malian mudcloth to Nuba body art. ruggable.com

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product Metropolis. standout The Insta-darling turned design juggernaut channels her New York apartment’s art deco detailing into ornamental rectilinear shapes applied to the manufacturer’s debut low-pile knotted rugs. Eye swoon! benirugs.com

PORTRAIT 1: ANDREA BASILE

Brian Coleman for Knots Rugs

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m a r k e t s c a p e flooring

Barbara Ghidoni, Marco Donati, and Michele Pasini for Battilossi

Brigette Romanek for Loloi

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product Celsius. standout The Storage Milano founders’ four designs, each in a dis­ tinct weaving methodology, show­ case iterations of a single pattern— see the ethereal ebb and flow of this Tibetan wool stunner, shown in the Night Lawn colorway. battilossi.com

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Nikodem Szpunar for Moooi

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product Knox. standout As cozy as a knitted sweater, the interior designer’s checkerboard pattern blends wool, polyester, and cotton fibers and is GoodWeave–certified, ensuring adherence to the highest ethical standards. loloirugs.com

Phoebe Sung and Peter Buer of Cold Picnic

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product Big Scale. standout For the Shape collection, the Warsaw-based abstract painter treats polyamide carpet as his canvas, generously scaling up his bold brushstrokes in blue ink, gold, green, or red wine colorways. moooi.com

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product Embrace. standout Stemming from the Brooklyn-based partners' family art session in the countryside, the anthro­pomorphic series includes a New Zealand wool rug outlined with a playful arm motif, as if embraced by a nurturing hug. coldpicnic.com SEPT.24

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marc phillips decorative rugs The stars were in alignment when Interior Design Hall of Famer Clodagh met Marc Phillips. The mononymous design guru and the esteemed rug connoisseur could tell they were on the same wavelength. So began a meeting of minds that resulted in a collection based on and named after the five elements shared across Chinese, Japanese, Buddhist, Greek, and Babylonian cultures: wood, metal, fire, earth, and water. Measuring 9 by 12 feet and hand-knotted of allo, wool, and silk, the variegated rugs, in multiple colorways, are subtly textured and patterned in loose accordance with their elements. Clodagh recommends specifying them to evoke specific energies that will fine-tune the balance and harmony of a space: Water for calm and abundance, Wood for growth and vitality, Metal for clarity and precision, Fire for passion and high energy, and Earth for stability and nourishment. marcphillipsrugs.com CLODAGH

WOOD

WATER

METAL

“Our aesthetics are truly meant for each other”

EARTH

m a r k e t flooring

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MODULNOVA KITCHEN | LIVING | BATH | OUTDOOR For dealership opportunities: 1-917-607-2432 modulnova.com

“It is a dialogue between six female artists and myself, channeling their profound visions into tangible, contemporary expression”

m a r k e t flooring

Rug tufting as a DIY craft is having an extended moment, and Philadelphiabased Tuft the World, founded in 2018

by Tiernan Alexander and Tim Eads, is the ultimate one-stop shop for designers to source the instructions, materials, and tools needed to make their own fiber projects. TTW Editions is the label that designates the entity’s professional collaborations with designers—like a recent collection by Tom Lerental, founder of New York studio Tomma Bloom. She contributed a made-to-order rug series that pays homage to trailblazing female artists Mary Cassatt, Helen Frankenthaler, Frida Kahlo, Hilma af Klint, Lee Krasner, and Agnes Martin. Frida, pictured, remixes the titular Mexican painter’s floral symbology and bold coloration through Lerental’s own lens, in cut-pile New Zealand wool. tommabloom.com; ttweditions.com

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wall+covering

Colour Glaze™... a touch of luxury

A Colour & Design Inc. Company

colouranddesign.com | 501.372.3550

m a r k e t furniture

“The aim was to create small yet precious objects that would interact with their surroundings by reflecting them” EDUARDO VILLALÓN, ALBERTO SÁNCHEZ

saba italia

Three’s a crowd? Not in the case of Tres, a table in two sizes from Alberto Sánchez and Eduardo Villalón, founders of MUT Design, based in Valencia, Spain, and Lisbon, Portugal.

The round-cornered triangular top and bottom sandwich three cylindrical pillars, all in thin metal plate, to create a sophisticated contemporary silhouette. The name corresponds to both the tripartite structure and the trio of softly iridescent mother-of-pearl finishes: Opal Shell, Spring Shell, and Honey Shell.

ALECIO FERRARI

sabaitalia.com

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Array

Enveloping light Array is an exploration of thread and its potential to create lightweight and dynamic sculptures of light.

Discover

pinch

m a r k e t furniture

The London-based studio (and store) created by married founders Russell Pinch and Oona Bannon excels in casually elevated English classics. This year, Pinch is 20 years old, and, to celebrate the milestone anniversary, the brand is unveiling a wide-ranging collection at the Jacqueline Sullivan Gallery in New York. Among the items on show, starting September 18, is Colton, an oak-and-leather dining chair with round finials, a new size of the Soren globe pendant fixture, the elliptical Rodan oak dining table, and the Garagh sofa series with its modern twist on rolled arms, expanded with a chaise lounge and an armchair. Not to mention a gold-leaf sconce, bronze candelabra, faceted plaster-base table lamp, explorations in blown glass, and much more. pinchdesign.com

SOREN, RODAN

“The pop-up showcases Pinch's expansion beyond its revered cabinetry”

GARAGH

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COLTON

206.788.4210 modulararts.com OONA BANNON, RUSSELL PINCH

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BLACK IS THE NEW BLACK

semihandmade

PAPER WHITE FRAME

“We worked with small woodshops around the U.S. to bring these designs to life” The company, which started as a one-man woodshop dubbed Handmade, switched up to become (as its new moniker suggests) a maker of craft-forward add-ons to big-box-store products. Gracing IKEA kitchen cabinetry with custom fronts was just the start. Now, with Semihandmade Cabinet, specifiers have the option to add American-made plywood cabinet boxes, too. The first designer collaboration for the range is with interiors megastar Leanne Ford, working in conjunction with small woodshops around the U.S., and encompasses a tight edit of traditional and modern profiles: Shaker, Slab, and Frame. All fronts are available in either an aged white-oak finish, achieved by applying a specially formulated nonyellowing whitewash stain, or painted a warm, creamy hue based on Ford’s favorite shade of white: Shoji by SherwinWilliams. semihandmade.com

m a r k e t kitchen&bath

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PAPER WHITE FRAME

WHITEWASH OAK SHAKER

CLOCKWISE FROM LEFT: SARAH BARLOW; ERIN ASH KELLY (3)

LEANNE FORD

S E P T E M B E R 1 2-24 FALL INTO LIGNE ROSET

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m a r k e t scape

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kitchen&bath

Lori Weitzner for Artistic Tile

John Löfgren and Jonas Pettersson for Very Simple Kitchen

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product Lola. standout Crafted entirely in-house in Secaucus, New Jersey, the marble tile, which reinterprets an arabesque refracted into a mesmerizing palimp­ sest, recalls the Weitzner Design founder's luxurious handmade tex­ tiles and wallcoverings. artistictile.com 96

Daniel Germani for Cosentino

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product Very Simple: Accessories. standout Swedish studio Form Us With Love conceived a powdercoated or raw aluminum kitchen rail system that makes the perfect perch for accompanying accoutrements like utensil holders, hooks, a lamp, and more. verysimplekitchen.com

Paolo Trevisan and Francisco Barboza for Florense

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product Adia. standout The architect and kitchen expert’s new Pietra Edition range of Dekton surfacing takes inspiration from various Mediterranean stones, like Ceppo di Gré and Roman limestone, including this pleasing creamy-toned pattern. cosentino.com

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product Arco. standout The Brazilian brand intro­ duces a kitchen by Italian industrialdesign studio Pininfarina, best known for high-end automotive creations, that hides a fun surprise: a secret cocktail bar that rises from a circular module at one end of the island. florense.com

PERFECTING OUTDOOR LIVING F O R O V E R A C E N T U RY

Intro d uci ng R eed - an i r o n lo u nge collection me ti culo us ly d e s i gned and crafted i n the US A .

Ins p i red by tall, th i n, ye t r e s i li e nt r eeds foun d i n natu r e , i t lo oks as go o d i ns i d e as i t does out.

R eed i s avai lable i n 1 9 f i ni s h e s and over 140 cur ated fab ri cs . Fi nd R eed and o th e r American made collections at woodard -f urniture.com

élitis Yolande Batteau, the founder and artistic director of Brooklyn surface-design studio Callidus Guild, operates a practice that easefully straddles fine art and product design. Her handmade wallcoverings are rich in materiality, often employing esoteric finishes, and she has become renowned for commissions from the likes of Interior Design Hall of Famer Peter Marino for his Louis Vuitton and Chanel projects. Now, French interiors brand Élitis, lauded for its own exquisite fabrics and wallpapers, teams with Batteau to debut two vinyl wallcoverings. Combed Plaster evokes a patchwork of this-way-and-that raked plaster applications. The blurred watercolor effect of Abstract Floral scales up an 18th-century flower motif that originally appeared in hand-loomed silk, here painstakingly recreated via hand-painting. Both nod to the past while being entirely au courant. elitis.fr

ABSTRACT FLORAL

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YOLANDE BATTEAU COMBED PLASTER

“Working with ancient materials and coaxing them to behave in new ways has been my life’s work—and joy”

m a r k e t wallcovering

ISA

48

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FONTANA SERIES WWW.HAVASEAT.COM | 1 .800.881 .3928

m a r k e t wallcovering

“The modular system of individual planks forms an uninterrupted composition celebrating the continuous curves of Erwin Hauer”

spinneybeck The late Austrian-born American sculptor and Interior Design Hall of Fame member Erwin Hauer is considered a founding father of modular constructivism. His geometric yet organically sinuous architectural screens and sculptures are composed of structured modules that repeat in intricate patterns—in some cases, infinitely (well, in theory, at least). Spinneybeck’s Design 406, a collaboration with Erwin Hauer Studio, debuts wall panels in that same vein, carved of Douglas fir, maple, sapele, walnut, or white oak, with the option to add color via paint. For a softer look, specify the version vacuumformed with leather. The system ships in planks that adjoin to form a stunning uninterrupted composition—a quintessential modernist work of one’s own. spinneybeck.com

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an inspirational carpet collection

Make Space.

Since 2021 Intersection Space has led the way in innovative post + beam applications for built environments.

Creating space to improve interaction. Work spaces that incorporate designated meeting areas.

Re-imagine how you think about space.

c

205.941.1942 info@coronagroupinc.com • coronagroupinc.com

c enter fold “Its distinctive form is a contemporary architectural expression of a traditional construction material”

CLOCKWISE FROM TOP LEFT: COURTESY OF ICD/ITKE/INTCDC UNIVERSITY OF STUTTGART (2); CHRISTOPH MORLOK/COURTESY OF LGS WANGEN IM ALLGÄU; BIEDENKAPP STAHLBAU/COURTESY OF ICD/ITKE/INTCDC UNIVERSITY OF STUTTGART; COURTESY OF ICD/ITKE/INTCDC UNIVERSITY OF STUTTGART (2); AARON WAGNER/COURTESY OF ICD/ITKE/INTCDC UNIVERSITY OF STUTTGART

twists and turns Wangen Tower, a collaborative effort between two University of Stuttgart research institutes, pioneers a humble building material into a soaring, staggering landmark in southern Germany

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1. The concept for Wangen Tower, a super-tall observation structure in Wangen im Allgäu, Germany, commissioned by the city, arose from research into renewable, locally sourced, regionally manufactured timber architecture led by University of Stuttgart professors Jan Knippers of the Institute of Building Structures and Structural Design and Achim Menges of the Institute for Computational Design and Construction. 2. Wangen’s torqued, 12-sided shape was created from a dozen CLT modules.

3. Inspired by the way in which humidity triggers spruce cone scales to open and close, similar principles were applied to carefully warp layered timber components to match a computationally predetermined curvature, a process driven by the wood’s characteristic shrinkage as it is sapped of moisture during kiln drying. 4. and 5. In a Swiss production facility, the curved timber layers were inspected after the self-shaping process, before being glued into CLT modules and milled. 6. On-site, the preassembled modules were hoisted into place. 7. Inside the tower is a spiral staircase, segments of which were inserted via crane through the top before being capped by a glass-paneled viewing platform.

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researchers, engineers, and makers led by University of Stuttgart professors Jan Knippers and Achim Menges

75 FEET HIGH TWELVE

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CLT modules

113 STAIR TREADS

ONE 400,000+ year of design and fabrication

VISITORS

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1 1. Opened to the public last spring, the observation platform has a circumference of 70 feet, accommodating 85 visitors at a time. 2. To reach it, they climb a cork­screw staircase of treads and risers made from hot-dipped galvanized steel. 3. The CLT components consist of locally sourced spruce treated with a water-repellent finish. 4. Reached by foot or bike, the tower, sited on a nature reserve, affords 360-degree views of the Argen valley and river, Wangen’s medieval town, and, in the distance, the Bavarian Alps. —Athena Waligore

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ROLAND HALBE/COURTESY OF ICD/ITKE/INTCDC UNIVERSITY OF STUTTGART

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M6812 Metallic Gilt

View the 2024 DecoMetal ® Collection Gallery www.formica.com/decometal

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Step into an urban wonderland

ERIC LAIGNEL

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Translucent onyx rain screens temper Sydney’s intense sunshine, casting a golden glow over the interiors of a harborside residence by Fearon Hay and Penny Hay

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jewel box

text: peter webster photography: rory gardiner/living inside

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“The house enjoys peerless views of Sydney Harbour and the city”

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Previous spread: In Sydney, rain screens of translucent onyx clad three sides of a ground-up three-level harborside residence by Fearon Hay with interiors by Penny Hay. Opposite top: Pairs of Vincent van Duysen’s Paul sofas and Rodolfo Dordoni’s Andersen daybeds join a custom cocktail table in the formal sitting room. Opposite bottom: The 10,800-square-foot structure nestles among the mature trees and established plantings of the site’s previous house.

Top, from left: Overlooked by a Peter Stichbury oil on canvas, a custom oak grand piano sits next to the social kitchen. Its customized Piero Lissoni island is faced in Ceppo di Gré, a natural stone that also composes most interior and exterior flooring on the garden level. Bottom: The house is bifurcated by a sequestered courtyard flanked by generous circulation spaces, here furnished with Room Studio’s Triple bench in reclaimed oak.

Living in Sydney means waking most mornings to a harbor city bathed in brilliant sunshine under cloudless blue skies. As glorious as the daylight is, it can also be intense and unrelenting—a natural phenomenon to be savored and managed, both a gift and a challenge. A recent project by New Zealand architects Fearon Hay—a 10,800-square-foot, three-level residence on Sydney Harbour’s Rose Bay—balances these needs with virtuosic ease, celebrating the outdoor lifestyle while offering sheltered relief from harsher environmental realities.

“The brief was to replace an existing house on a sloped site crowded by neighbors,” says firm director Jeff Fearon, who along with codirector Tim Hay, led the project. “We retained a lot of established trees and heavy vegetation, especially around the perimeter, so that the new house sits in a mature garden.” That effort provides privacy from adjoining properties while creating a lushly planted, gently descending pathway from the street to the dwelling, which nestles discreetly amidst the greenery as if it has always been there.

Comprising two stories above an expansive basement, the substantial post-tensioned concrete and steel-beam structure pairs a reassuring sense of solidity with a disarming feeling of lightness. This effect is largely due to a series of rain screens that sheathe three sides of the house. “Early on, we thought about how to make the skin robust but with a delicacy to it,” Hay explains. A solution suggested itself on-site when a sample of stone cladding, held up to the tree-dappled light, turned translucent, giving the material a subtle, layered, yet dynamic quality the architects knew they could use. Hence the gridded screens, thin panels of onyx mounted in frames of blackened stainless steel, that cover the back and sides of the building, transforming the fiercest sunlight into a warm, soft glow illuminating the interior.

The clients, a couple in the hospitality industry with adolescent children, needed a flexible residence that functioned as an intimate family home but could also accommodate large, diverse gatherings of 100 people or more. “The process of understanding the extent of those variations of occupation were quite critical in the planning,” Hay acknowledges. On the ground floor, where most of the living and entertaining takes place, Fearon Hay

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eschewed a completely open plan. But rather than defining the main spaces—formal sitting and dining rooms plus a media lounge and a social kitchen—as individual cells with doorways, the architects used materials, glazing, and other contained elements to demarcate specific areas.

A large, sequestered courtyard bifurcates the east-facing rear of the house, bringing light and greenery into the center of the plan.

“Getting morning sunbeams in the kitchen was critical,” Fearon notes. Balancing the garden side’s sense of serene remove, a broad open terrace runs the full length of the west facade, pro­viding outdoor living space along with a gobsmacking panorama of the city and harbor. Newly excavated in the sandstone bedrock, the basement contains a guest apartment, wine room, gym, utility spaces, and garage, while four bedrooms and an office occupy the top floor.

A spiral staircase and an elevator connect the three levels.

Light animates the onyx panels that shield the house, but another type of stone—Ceppo di Gré, a bluish-gray sedimentary rock with a terrazzolike pattern—paves the courtyard, terrace, and most of the ground floor, instilling a mood of monumental calm while further connecting indoors and out. Designer Penny Hay, whose eponymous studio oversaw the interiors (her second project with the clients), used the same stone to clad the kitchen island and several architecturally scaled elements throughout the house. “In choosing materials,” she says, “we really consider how they make people feel special and inspired, how they help navigate the spaces, and how they elevate the day-to-day experience of living in the home.”

Top: In the dining room, a Niamh Barry light sculpture hangs above a custom table surrounded by Chi Wing Lo’s Ode chairs. Center: Antonio Citterio’s Vulcano sofas and a low-slung custom coffee table anchor the terrace, while Paola Lenti’s Sciara table and Ami chairs allow for outdoor dining. Bottom: The media lounge opens onto the courtyard, which hosts Camille Henrot’s bronze, Story of a Substitute.

Opposite: A glass partition hung with wool curtains separates the sitting room from the kitchen, where Jaime Hayon’s Vuleta banquette, Jean-Marie Massaud’s Archibald chairs, and a custom oak table define the breakfast area.

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Opposite top: The translucency of the facade screens is fully apparent in the second-floor guest bedroom, where plaster surfaces the ceiling and walls, as it does throughout. Opposite bottom: A swimming pool adjoins the terrace, also Ceppo di Gré.

Top, from left: Vincenzo de Cotiis’s DC1826B mirror hangs above the powder room’s custom sink. A block of Ceppo acts as a hefty balustrade in an upstairs oak-floored corridor overlooking the double-height entry. Bottom: Extensive glazing allows the courtyard to share the terrace’s enviable view.

To counter the hardness of the glass, steel, and stone, she introduced a number of softer, more tactile elements, including velvet-upholstered sofas and daybeds in the sitting room; a curvy velvet-covered banquette in the breakfast area; and a set of plush chairs on the dining terrace.

Not to mention the custom grand piano, a sculptural form in striking honey-colored oak that, unexpectedly, sits next to the kitchen island. “It took a lot of back and forth with the suppliers to get the wood right,” reports Hay, who is Tim Hay’s sister. “It certainly wasn’t a piece meant to be locked away in a room somewhere.”

Stained oak-plank flooring replaces stone to help define three ground-level spaces—the sitting, dining, and media rooms—complemented by plaster ceilings that are darker than those in the surrounding areas, producing a subtle change in mood. There are theatrical touches, too, such as a gleaming polished-bronze light sculpture by Niamh Barry above the custom dining table, a slab of Blue Roma marble with distinctive veining that echoes the mottled onyx panels shading the fully glazed side wall. A similar wall fronts one end of the high-ceilinged powder room, which is outfitted with a massive Ceppo sink and a free-form bronze-framed mirror. “The space has a beautiful quality, even though it has no view,” Fearon notes. “While you don’t see the street and trees outside, the diffused light creates a sense of movement behind the onyx, giving a kind of layering and depth to the interior.” Which sums up the project’s multifaceted program nicely.

PROJECT TEAM PIERS KAY; VANESSA MORRISON; GORDON GALLAGHER: FEARON HAY. VANESSA MC NAUGHT: PENNY HAY. STUDIO CD: ART CONSULTANT. PAUL BANGAY: LANDSCAPE CONSULTANT. ELECTROLIGHT: LIGHTING CONSULTANT. ARCADIS; VAN DER MEER; WSP: STRUCTURAL ENGINEERS. BUILDCOM AUSTRALIA: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT MOLTENI&C: SOFAS (SITTING ROOM). MINOTTI: DAYBEDS. ROOMS STUDIO: TRIPLE BENCH (ENTRY GALLERY). STAUER: CUSTOM PIANO. BOFFI: CABINETRY (KITCHEN). PAOLA LENTI: DINING TABLE, CHAIRS (TERRACE). FLEXFORM: SOFAS (TERRACE, MEDIA LOUNGE). MICHAEL ANASTASSIADES: FLOOR LAMP (MEDIA LOUNGE). NIAMH BARRY: PENDANT FIXTURE (DINING ROOM). GIORGETTI: CHAIRS. WITTMANN: BANQUETTE (BREAKFAST AREA). POLTRONA FRAU: CHAIRS. HENRY WILSON: TABLE LAMP. LINEN SOCIETY: BEDDING (BEDROOM). THROUGH CARPENTERS WORKSHOP GALLERY: MIRROR (POWDER ROOM). THROUGHOUT FABINOX: CUSTOM FACADE SCREENS. EURO NATURAL STONE: ONYX. ECO OUTDOOR: CEPPO DI GRÉ STONE.

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in the pink

Scent is elusive but not in the hands of OMA, which captured the decades-long cultural impact of Miss Dior perfume in a blush blockbuster of an exhibition at Tokyo’s Roppongi Museum text: elizabeth fazzare photography: daici ano/courtesy of dior

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Formulating a physical space for an ephemeral subject requires creative conceptual thinking. “We’re visualizing the invisible to some degree,” explains OMA partner Shohei Shigematsu, the architect who recently completed his first exhibition design for a scent, Miss Dior, the iconic perfume by Christian Dior that launched in 1947, nearly simultaneously with the French fashion house, making it integral to the brand’s identity. It’s a relationship that has been celebrated since 2013, with Miss Dior exhibitions over the past decade appearing in Paris, Shanghai, and Beijing, among other locations. Now, timed with a newly updated scent and campaign featuring actress Natalie Portman, Tokyo is part of the tour with “Miss Dior: Stories of a Miss” at the Roppongi Museum this summer, and for it, Shigematsu tapped into the rich history to create a nearly 10,000square-foot experience that allowed visitors an in-depth look at the perfume’s influence, past and present.

Having previously collaborated with Dior on scenography for three retrospective exhibitions about the house—including “Christian Dior: Designer of Dreams,” which opened at the Museum of Contemporary Art Tokyo last year and focused on the connections between Dior and Japan—Shigematsu, who’s Japanese-born and New York-based, saw this commission as an opportunity to “zoom in” on a very specific, but less tangible, piece of the brand’s oeuvre. After researching the scent-making process, that intangibility became a benefit. “We found the technique of making a perfume, building up layered notes to choreograph people’s senses, similar to the narrative of architectural design,” the architect recalls.

However, unlike a building—or couture, for that matter—a fragrance has no relatable human-scale. “That was the hint at a direction to play with,” he says, “the sense of scale, color, smell.”

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Previous spread: For “Miss Dior: Story of a Miss,” a 9,150-square-foot, nine-room July exhibition at the Roppongi Museum in Tokyo

by OMA that surveyed the 77-year history of the House of Dior scent, the dominant color derives from the pinks found in iterations of the perfume’s tinted formula and bottle designs.

Opposite top: The museum entry featured windows tinted with vinyl film. Opposite bottom: In the Miss Dior: The Birth of Ready-to-Wear gallery, the perfume’s logo from 1967, when Dior’s ready-to-wear line debuted, was abstracted into an all-over wall pattern.

Top: In the domed Miss Dior by Eva Jospin gallery, tapestries by the French artist sur­ rounded the recently launched Miss Dior Parfum, which comes in Jospin’s embroidered limited-edition mini trunk. Bottom: Amid aluminum Dibond flooring and paneling, washi paper stretched over metal structures created the disk-covered ceiling and knolly plinths in the Miss Dior Dream gallery show­ casing Christian Dior couture, unique Miss Dior bottles, and commissioned artworks.

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Top, from left: Carpeting and partitions of cotton-flocked fiberglass molded to look draperylike define Dior Illustrated, most like a traditional gallery, displaying 20 prints of original Dior illustrations by René Gruau and Mats Gustafson. The entry’s 3D-printed fiberglass bottle stood nearly 8 feet tall and rotated. Curators paired a Dior dress from 2023 with Rainbow by emerging Japanese painter Etsu Egami. Bottom: Evoking petals in the Fields of Flowers gallery, layers of georgette hung from the ceiling, unveiling five stamenlike scent atomizers.

Thus, “Tokyo’s Miss Dior: Stories of a Miss” encompassed nine galleries, each a unique environment highlighting a facet of Miss Dior, from its bouquet fragrance (called Fields of Flowers) to the commissioned artworks (Dior Illustrated) and fashions (Miss Dior Dream) that launched in tandem with its editions over the house’s 77-year history. Most of the zones were marked by shades of pink, drawn either from OMA’s research into the iterations of the blush-tinted Miss Dior perfume formula and bottle designs or such elements of its ephemera as the ready-to-wear collection’s graphic logo from the 1960’s. “By enveloping or flooding the rooms with pink hues, we sought to convey the vibrant and surreal aura of the Miss Dior identity,” Shigematsu continues.

The spaces varied in size: The first was vast and unforgivably magenta, hosting an oversize, 3D-printed Miss Dior bottle rotating inside a vitrine; the next was quiet and pristine, a domed space with walls upholstered in embroidered tapestries and printed fabrics by French artist Eva Jospin, a Dior collaborator whose limited-edition fragrance trunk was centered on a pedestal.

Fields of Flowers brought the museumgoer within the petals of a blossom, a fantasy created by installing layers of gauzy white and pink fabric overhead and along the walls. These curtains parted to unveil five stamenlike atomizers that filled the room with the fragrance’s signature jasmine, rose, tuberose and orange blossom top notes. The fabric could also be projected upon, adding a digital element to the environment.

Leading the visitor in nonlinear movement through nonchronological rooms that expand and contract, and some—like Dior Illustrated’s sinuous, pinkcarpeted gallery of fashion prints by historic and current Dior illustrators René Gruau and Mats Gustafson—that literally twist and turn, added to the fantastical feel. As did the gallery-by-gallery shifts in scale of Shigematsu’s visualizations.

In the Stories of a Miss gallery, he and his team enlarged the perfume bottle’s signature ribbon into an LED-lit pathway, while elsewhere, life-size displays of limited-edition bottles, couture garments, and contemporary artworks by talents like Haruka Kojin, Sabine Marcelis, and Brigitte Niedermair grounded the show in time.

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Mannequins donning ready-to-wear from the ’60’s stood atop acrylic boxes also printed with abstracted versions of the original logo.

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“There’s something exciting about the sense of expression and liberation in creating a non-ordinary world”

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configuration, and scale. It’s a kind of abstract landscape.”

In addition to capturing the “aura” of Dior and its fragrance, this tendency toward the surreal is purposeful storytelling. Both the experience-based visitor looking for photographable moments and the true aficionado who wants to dive deeply into the content could find a path through the show, its macro focus on a singular product allowing Dior to tell many tangential tales about its history. And with a penchant for craft, and a desire to highlight the quality of their own, fashion houses at large are keen for architects to design such highly detailed, immersive spaces that present new materials or methods, their patronage creating association with the cutting-edge.

It’s a far cry from the white box displays that have dominated exhibit design over the last 10 years, adds Shigematsu, who has also conceived recent exhibitions for Louis Vuitton, Prada, and the Metropolitan Museum of Art’s Costume Institute.

“Fashion labels are using this kind of show to imprint their brand but also destabilize it,” the architect says, who goes on to explain the commission’s personal advantages. “For me, there’s something exciting about the sense of expression and liberation in creating a non-ordinary world. I’m training a different muscle in my brain—I’m sure it will have some effect on the future architecture I make.”

Call it the smell of success.

PROJECT TEAM CHRISTY CHENG; JAN CASIMIR; BAIYANG KONG; TIMOTHY HO; FRANCESCA PARMIGGIANI; CHRISTINE DOPPLE: OMA. NPU CORPORATION: PRODUCTION. ANAMORPHÉE: GRAPHIC DESIGN. BRANCO INC.; JIN CRAFT CORPORATION; STUDIO 97: EXHIBIT FABRICATION. TAKENAKA CORPORATION: AUDIOVISUAL. RENO ISAAC: SOUND. PRODUCT SOURCES FROM FRONT STUDIO JOSPIN: TAPESTRIES, FABRIC (MISS DIOR BY EVA JOSPIN GALLERY). SANKYO KAMITEN: WASHI PAPER (MISS DIOR DREAM GALLERY).

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Opposite top: A 7-foot-tall, plastic version of the Bobby bottle, first designed in 1952 and named for Christian Dior’s dog, then re­ launched as a special edition in 2022, was backlit by custom pink LEDs in the mirrored final gallery. Opposite bottom: The Stories of a Miss gallery introduces the signature bow on every Miss Dior bottle neck as a design concept.

Top: A vinyl print of a Japanese woodblockstyle floral emblazoned the large planter box at the entrance to the Roppongi Museum.

Bottom: An LED-lit alum­inum “ribbon” wrapped the pathway through the Stories of a Miss gallery, with eight double-sided vitrines displaying artifacts related to the history of the perfume.

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upward and onward Nieto Sobejano Arquitectos transforms a baroque German edifice and wartime reminder into Archiv der Avantgarden–Egidio Marzona, a center that celebrates modern avant-garde art—and the city of Dresden text: diana budds photography: roland halbe

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Previous spread: On the ground floor of the Archiv der Avantgarden–Egidio Marzona, an 18th-century former guard house in Dresden, Germany, turned exhibition and research facility of such movements as Futurism, Dadaism, Constructivism, and Surrealism, Nieto Sobejano Arquitectos employed board-formed concrete for the dropped ceiling, actually the base of the climate-controlled archive, and the spiral staircase leading up to the mezzanine study center and staff offices and down to the restaurant.

Left: The study center’s custom workstations and bookshelves are by Heine Lenz Zizka, which also designed the ADA’s offices. Right, from top: The 1732 structure encompasses nearly 30,000 square feet, its exterior untouched save for new clay roof tiles. Formafantasma created a reusable system of partitions, vitrines, and textile panels for the exhibition spaces.

Opposite: The building features an open-plan exhibition space on the ground level and a three-story, climate-controlled archive that appears to hover above it, the contrast between openness and enclosure a metaphor for its public and private areas. Flooring is epoxy.

Invisible Cities, the 1972 book, is a popular read among architects, particularly Fuensanta Nieto and Enrique Sobejano. But for their competition entry to design Archiv der Avantgarden–Egidio Marzona, a new museum of 20th-century avantgarde art inside an existing Dresden, Germany, structure, the Nieto Sobejano Arquitectos founders referenced a lesser-known work by Italian author Italo Calvino, Six Memos for the Next Millennium, in which he wrote, “We would be unable to appreciate the lightness of language if we could not appreciate language that has some weight to it.” That musing on opposing forces and the necessary balance between them became the metaphor not only for Nieto Sobejano’s winning ADA bid but also the resulting, thoroughly reimagined building.

Occupying an 18th-century former guard house, known locally as the Blockhaus, for the wooden structure that previously occupied the site, the ADA is part exhibition space, part research center—the basis of its collection, more than 1 million objects, donated by collector Marzona—and part gift to residents of Dresden, which is still undergoing reconstruction from the World War II bombings that leveled it. In fact, the Blockhaus was completely gutted in a 1945 air raid.

Nieto and Sobejano, who established their firm in Madrid in 1985, are known for using architecture to channel history and memory and masters of adaptive reuse. At the ADA, they’ve advanced their approach by focusing “only on an essential idea that is capable of transforming into a dense and complex interior,” Nieto begins. The core challenge was how to insert a modern museum into a building with a protected facade that couldn’t be touched. The constraint turned out to be creatively invigorating. “Perhaps the most important lesson is to restrain the desire to leave an unnecessary mark on the exterior and focus the project on its interior through a clear generative idea,” she adds.

Calvino’s theory on the duality of lightness and weight comes into focus as visitors pass through the facade’s restored double-height stone arches into an extremely minimalist interior of mostly board-formed concrete, its 30,000 square feet composed of an open-plan gallery on the ground level and a three-story cube containing the climate-controlled archive seemingly levitating overhead; Nieto Sobejano suspended the cube from a structure hidden in the walls and roof. “It’s like an umbrella hangs from above,” Sobejano notes. “The modern movement during the 20th century said architecture should be very sincere,” he continues. “If you have a column, show the column. But sometimes it’s better to hide it and create 128

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an illusion.” A sculptural spiral staircase leads to a study center and staff offices upstairs and a restaurant on the lower level.

The result embodies the sought-after paradox: a baroque shell with a pareddown interior, a gravity-defying concrete form with no apparent support structure, and an exhibition space that can morph to accommodate what’s needed that day, from art displays to movie screenings. The effect is sublime. It serves as a visual allegory for the ADA’s collection of paintings, books, drawings, manuscripts, and objects from such movements as Surrealism and Dada, Arte Povera and the Bauhaus that represented sharp breaks from the past.

“Projects that are transformations, modifications, extensions, refurbishments, and adaptations of existing buildings become interesting architectural questions,” Sobejano states. “It’s not only a stylistic or sustainability question. It’s also how to establish a dialogue between the existing and the new.” While this is a common 130

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challenge with adaptive reuse projects writ large, at the ADA, it became “very contradictory,” Sobejano adds, “because the 20th-century avant-garde was meant to be a transgression of everything that existed before. . . The weight of history, as opposed to the blindness, let’s call it, of the avant-garde, had to be expressed in the architecture.”

The interplay of lightness and weight, enclosure and openness also stemmed from how ADA director Rudolf Fischer envisioned the project fitting in with the cultural landscape of Dresden. While the U.S. treats museums as temples to fine art, Germany views them as communal living rooms where people can come to socialize and stay as long as they’d like. Fischer wanted the architecture to telegraph that idea with an inviting and accessible ground floor. “We tried to create a magic space that captures the emotions of people who visit,” Fischer notes.

“The building is nice, but it’s beautiful with people inside.” But, the archive

Left: Natural and artificial light stream through the space between the archive cube and main structure. Top: The exhibitions, which rotate the more than 1 million objects in the museum’s collection, including drawings and paintings by Joseph Beuys and Marcel Duchamp, and will be joined by temporary exhibits, are accessible enough for everyday visitors yet rigorous enough for experts. Bottom: When viewed from the bottom up through its center, the spiral staircase appears as a pinhole.

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and research center, the latter featuring custom workstations and shelving units

by German design firm Heine Lenz Zizka, are by appointment only, and visually enclosing them communicates this relationship to the public, too. “It’s an interesting exercise between the private and the public,” Sobejano says.

That the collection looms overhead is a reminder of the archive and its importance to the museum. It’s also an intervention to address the effects of climate change.

The Blockhaus is on the banks of the Elbe River, which has been prone to flooding; one in 2013 damaged the building so severely, its electrical system was destroyed.

Suspending the collection well above ground level to protect against potential water damage is as much practical as it is poetic. Sensitivity to sustainability extends to the exhibition design as well, with Fischer commissioning ecologically focused, Italian studio Formafantasma to conceive a reusable system of vitrines, gallery walls, and textile panels.

The ADA also represents a new chapter for Dresden. Most of the post-war development happened just outside the historic core, creating a new downtown. But in the past two decades, the city has focused its attention on restoring old buildings, bringing people back to its medieval heart. During the 1980’s, when Dresden was part of the German Democratic Republic, the Blockhaus was renovated into a diplomatic space that represented German-Soviet friendship. After unification, it became an office building. Now, the ADA serves not only as a conceptual and physical bridge between the old and new Dresden for locals but also a cultural draw for anyone interested in exploring its collection and its profound container.

PROJECT TEAM PATRICIA GRANDE; JOHANNES HANF; KIRSTIE SMEATON; ROMAN BENDER; CLEMENS AHLGRIMM; LUCIA ANDREU; ANNA-LENA BERGER; MICHAŁ CIESIELSKI; LORNA HUGHES; VISSIA PORTIOLI; SEBASTIAN SAURE; INA SPECHT; KATHI WEBER; CLAUDIA WULF; JEAN-BENOIT HOUYET; ANASTASIA SVIRSKI: NIETO SOBEJANO ARQUITECTOS. STUDIO HELEN STELTHOVE: GRAPHICS. WETZEL & VON SEHT: STRUCTURAL ENGINEER. BRENDEL INGENIEURE DRESDEN: MEP. BERGER BETON; HENTSCHKE BAU: CONCRETE WORK. FB-TECHNIK SCHELER: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT CREATON: ROOF TILE (EXTERIOR). GRAICHEN BAU- UND MÖBELWERKSTÄTTEN: CUSTOM SHELVING (STUDY CENTER). THROUGHOUT ERCO: TRACK SPOTLIGHTS. RHEODUR: FLOORING. UNITEX: ACOUSTIC CLADDING. THORANDT METALLBAU: CUSTOM DOORS. TISCHLEREI WAICSEK: CUSTOM WINDOWS.

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Opposite top: The gallery spaces are flexible enough to screen films, which are projected directly onto the concrete wall.

Opposite bottom: Although the exhib­ itions are open to the public, visits to the study center are by appointment.

This page: The hybrid nature of the ADA was inspired by the Lina Bo Bardi– designed Museum of Modern Art of Bahia in Brazil.

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SMALL CREATIVE OFFICE,

Architecture Plus Information, Le Truc, Hudson Square; photography: Magda Biernat.

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bright lights, big city From TriBeCa to Gowanus, the Hudson Valley to suburban Trenton, this year’s NYCxDesign Awards expanded to the Greater New York area, drawing hundreds of project submissions text: helene oberman and annie block

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1. RETAIL, Sugarhouse, Cult Gaia flagship, SoHo; photography: Jacob Snavely.

2. SOCIAL IMPACT, Isometric Studio, Cloud Swing at Grounds for Sculpture,

Hamilton Township, NJ; photography: Isometric Studio.

3. ENTERTAINMENT, Caples Jefferson Architects, Louis Armstrong Center, Long Island City; photography: Nic Lehoux.

4. CASUAL DINING, Format Architecture Office, Café Mars, Gowanus; photography: Nick Glimenakis.

5. POP-UP, MG2, Sorel, Williamsburg; photography: courtesy of Sorel.

6. HOTEL, MarkZeff and Stantec, Virgin Hotels New York, NoMad; photography: Eric Laignel.

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1. SMALL CORPORATE OFFICE, Corgan and SpacesOf, private investment company, Meatpacking District. 2. LARGE CORPORATE OFFICE, Architecture + Information, Fubo, Midtown. 3. COWORKING OFFICE, Andrew Franz Architect, Chelsea. 4. TECH OFFICE, Young Projects, Galaxy Digital, Battery Park City.

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1.WEEKEND HOUSE TRANSFORMATION, Lang Architecture,

Hudson Valley; photography: Jonathan Hokklo .

2. RESIDENTIAL LOBBY + AMENITY SPACE, RRP and Steven Harris Architects,

109 East 79, Upper East Side; photography: Scott Frances.

3. SUPPORTIVE HOUSING, Curtis + Ginsberg Architecture, Help One Buildings A+B, East New York; photography: Inessa Binenbaum.

4. COMMERCIAL LOBBY, Skidmore, Owings & Merrill, One and Two Manhattan West; photography: Dave Burk/courtesy of SOM. 5. KITCHEN + BATH, CetraRuddy Architecture, Upper West Side; photography: Michael Weinstein.

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GRAPHICS + BRANDING, GHD Partners and Gensler, Google New York headquarters, Hudson Square; photography: Nico Raddatz.

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1. WEEKEND HOUSE, Workshop/APD, East Hampton;

photography: Read McKendree.

2. CITY APARTMENT TRANSFORMATION,

Timothy Godbold, TriBeCa; photography: David Mitchell.

3. CITY HOUSE TRANSFORMATION, GRT Architects,

Harlem; photography: Jason Schmidt.

4. INSTALLATION, AR Studio, One, ArtPort Kingston, the Catskills; photography: Amanda Russo Rubman.

5. SMALL APARTMENT, Crina Arghirescu Architecture, TriBeCa; photography: Chris Mottalini.

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1. BUILDING FACADE, Bjarke Ingels Group, The Spiral, Midtown; photography: Laurian Ghinitoiu.

2. CITY HOUSE, Ghislaine Viñas, TriBeCa; photography: Garrett Rowland.

3. COMMERCIAL AMENITY SPACE, Skidmore, Owings & Merrill, Mutual of America building, Midtown; photography: Magda Biernat.

4. SHOWROOM, Kasthall flagship, SoHo; photography: Marco Petrini.

5. LARGE APARTMENT, Michael K. Chen Architecture, NoMad; photography: Brooke Holm.

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1. LARGE CREATIVE OFFICE, HLW, Charter Communications

headquarters, Stamford, CT; photography: Chris Cooper.

2. STAIRCASE, The Turrett Collaborative and Purvi Padia

Design, West Village duplex; photography: Adam Kane Macchia.

3. FINE DINING TRANSFORMATION, Two Point Zero, Moono, NoMad; photography: Kyungjun Lee. 4. EDUCATION, Eleven of Eleven Architecture, Escuela Comunitaria del Bronx; photography: Frank Oudeman.

5. FINE DINING, Rockwell Group, Metropolis by Marcus Samuelsson at the Perelman Performing Arts Center, Financial District; photography: Adrian Gaut.

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SHINING MOMENT, Lubrano Ciavarra Architects and HOK, Atrium Business & Conference Center,

Terminal B, LaGuardia Airport, Flushing; photography: Evan Joseph.

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1. ICONIC RETAIL, Foster + Partners and Office for Visual Interaction, Apple

Fifth Avenue flagship, Midtown; photography: Office for Visual Interaction.

2. BAR + LOUNGE, Heitler Houstoun Architects, Lawn Club, South Street

Seaport; photography: courtesy of Lawn Club.

3. ICONIC HOTEL, Champalimaud Design, Troutbeck, Hudson Valley; photography: Nicole Franzen.

4. ICONIC OFFICE, SheltonMindel Architects, Ralph Lauren headquarters, Midtown; photography: Dan Cornish.

5. ICONIC LOBBY, Alexander Gorlin Architects and NPZ Studio+, Bell Works, Holmdel, NJ; photography: courtesy of Bell Works.

6. OUTDOOR SPACE, Shimoda Design Group, Montroy DeMarco Architects, and HMWhite, Morgan North, Chelsea; photography: Joe Thomas.

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parallel universe Work and play, analog and digital, real and illusory—all coexist in a futuristic fantasia of an office by One House Design for Shanghai Transaction Succeed, a financial services company

text: lauren gallow photography: qingyan zhu

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Lately, it feels like we cannot escape discussions about the future of work. Where will it take place? Who will do it? And what tools will we use? Many of these conversations position technology at the center, musing over the role of the metaverse and artificial intelligence, so it’s no surprise that workplaces are beginning to find design inspiration in this futuristic, digital world. Take the latest such project to come out of One House Design, a Shanghai firm helmed by founder and chief designer Lei Fang.

On the banks of Shanghai’s Huangpu River, overlooking the city’s Yuejie Expo Park, the new office of financial investment company Shanghai Transaction Succeed combines technological sleekness with artfully abstract interventions, yielding a space that feels plucked from the metaverse, or perhaps Star Wars, of which the client is enamored. “Technology, future, and diversity were the key words of our concept,” Fang begins. “Our goal was to construct a wonderfilled encounter between people and space, work and life.”

One House is well versed in creating marvel-inspiring environments.

The multidisciplinary studio’s portfolio spans residential, restaurant, and retail projects in addition to offices—in fact, Fang’s own won an Interior Design Best of Year Award for its obsidian-drenched, gallerylike setting—all rather genre-bending. Here, the third project Fang has completed for this client (he’s also designed its office in Lingang, the area known as Shanghai’s Silicon Valley, along with the owner’s home), he has honed his approach for the brand, expressing the STS ethos and aesthetic through a minimalist color and materials palette and a restrained formal language.

The 21,500 square feet occupy the top floor of a four-story building, enjoying 360-degree views of the Shanghai cityscape and river.

Throughout the workspace, which hosts 15 employees and a mix of private meeting rooms and offices alongside open-plan desks and leisure areas, including music and banquet rooms and a fitness area, Fang has zeroed in on the idea of an encounter between worlds. Throughout, a repeated language of curved walls, reflective surfaces, and monochromatic colors makes the office feel like 154

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Previous spread: On the 21,500-square-foot top floor of a four-story building in Yuejie Expo Park, One House Design has created an office for financial investment company Shanghai Transaction Succeed with a futuristic sci-fi feel inspired by the client’s affinity for Star Wars films.

Opposite left: The entrance sets up the language of curves, reflective surfaces, and a monochromatic palette. Opposite right, from top: The curved walls throughout were inspired by the letter D, which is found in the company’s logo. In reception, the custom stainless-steel desk contrasts with an accent wall in artificial stone, a material used throughout.

Top: Adjacent to reception is a double-height open space used as a gallery for awards and client products, its columns, also artificial stone, hand-shaped and polished, its ceiling made of mirror-finished stainless. Bottom: The music room, a breakout space featuring a Darth Vader motif emerging from behind mirrored glass, is wrapped in LED strip–embedded aluminum panels.

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Top: A glass-enclosed gallery volume rotates examples of the core products STS invests in, primarily equipment used in the renewable-energy industry, joined by PET strips in the company’s trademark blue, screen-printed with phrases evoking its futureforward ethos. Bottom, from left: Lining the walk­ way off reception, window openings also take the form of an abstracted D. Embossed wallcovering meets wood parquet flooring and custom upholstered seating in an office. Right: The leather and stainless chairs by the gallery are also custom.

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a futuristic portal—a liminal space between the present and the unknown, between this world and a more streamlined one to come. “The organic forms and undulating silhouettes create a fluidity that mimics a wormhole,” he explains.

Upon entering, the reception area immediately transports visitors and staff to a gleaming, high-tech environment. A high-shine, stainless-steel desk emerges from a concave, dark-gray curved accent wall, with window openings set off by built-in interior walls that establish a visual divider between the office and the world beyond. “We wanted to break the form of the conventional workplace,” Fang notes.

While the floor plate is rectangular, and enclosed spaces retain their traditional rectilinear plans, at the heart is an exhibition showcase that indeed breaks the mold. Enclosed in two stacked, opensquare frames within an oversize glass cylinder, the gallerylike volume houses rotating examples

of the core products the company invests in, mostly raw materials for the renewable energy industry. “The idea was to present a realm within a realm,” Fang says.

The aesthetic qualities within this artful box spill out to inform the rest of the project. The curvature of the glass partitions is mimicked in the curving walls and dividers populating the office, and the blue of the screen-printed phrases wrapping the installation is repeated in select furnishings and statement walls throughout, the color extracted from the company logo.

The inspiration for the curves also came from the company’s branding, as the logo incorporates the shape of the letter D. Fang used variations of the letter to inform the partitions, window openings, and furniture selections. “D is also in line with Dao, which is consistent with STS’s brand values,” Fang says, referencing the East Asian philosophical

Left: Curved walls complemented by flat surfaces of stainless and mirrored glass evoke the feeling of moving through a high-tech portal. Right, from top: The mirrored ceilingscape extends to the office’s banquet room with teppanyaki bar. The conference room is accessed by a small set of stairs, encircled by an outdoor terrace.

Opposite: Translucent film covers a 15-foot-diameter light box, while flooring is artificial stone.

tradition emphasizing that the natural order of the universe must be lived and experienced, rather than intellectualized.

Here, we uncover the core tension that distinguishes this workplace design: the collision between existing in a physical versus a digital, intellectually manufactured world. While the concept may conjure the look and feel of the metaverse, where shapes are abstracted and details blur, this seamlessness was created through a close attention to craft.

For example, take the primary material used to form the curvilinear aspects. Fang sourced a resin-based artificial stone that, when heated, can be curved and shaped, then polished to create a seamless connection between floor, wall, and ceiling. “It allowed us to achieve a ‘one-piece’ effect,” Fang explains—a sense of fluidity that could only be found through careful, handcrafted artistry.

Additionally, while much of the work of STS takes place digitally, the workplace dedicates ample space for activities focused on personal interaction, like the music room and the lounge area adjacent to the gallery. Taken together, the office reminds us that although our lives increasingly play out in a digital landscape, the pleasures of a well-crafted physical space are best enjoyed in person.

PROJECT TEAM LI HUANG; WANG JIARUI; ZHAO BINJIE; WENDY LI; PASS PAN; CHEN YING: ONE HOUSE DESIGN. SHANGHAI KAIBO DECORATION ENGINEERING CO.: STAINLESS-STEEL WORK. YICHENG GLASS: GLASSWORK. PRODUCT SOURCES FROM FRONT MAFI: WOOD FLOORING (OFFICE). MOOOI: WALLCOVERING (OFFICE, BANQUET ROOM). THROUGHOUT BENJAMIN MOORE & CO.: PAINT.

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everything is illuminated text: rebecca dalzell photography: eric laignel

From lighting to wayfinding to dining options, INC Architecture & Design has updated the rink level at Rockefeller Center in New York to be a more open and democratic experience 160

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For nearly a century, the ice rink at Rockefeller Center has been an iconic New York City destination. But since the 1990’s, the best view of the skaters was reserved for patrons at two upscale restaurants on the lower level. Tishman Speyer, which owns the rink and 14 of the surrounding buildings, sought to change that. In 2019, the real estate company launched an invitational competition calling for a reenvisioning of the subterranean public areas, some 50,000 square feet. “Tishman said to us, ‘We want to democratize the rink,’” recalls Adam Rolston, founding partner and creative and managing Previous spread: In its renovation of the skating rink level at Rockefeller Center in New York, INC Architecture & Design brightened the vast subterranean space by exposing ceiling beams, hanging custom bronze pendant fixtures from them, and installing internal LEDs in the new GFRG coves and ribbed frosted glass wrapping the existing structural columns.

Top: New storefront windows line the public corridors, providing more accessible views of the Rink at Rockefeller Center. Bottom: Custom bronze sconces are based on postwar designs by Hans-Agne Jakobsson.

Opposite top: Bronze tambour paneling and custom fluted-bronze door pulls reference the fluted columns in the lobby of 30 Rockefeller Plaza above. Opposite bottom: INC and Gabellini Sheppard restored the site’s exterior granite courtyard.

director of INC Architecture & Design, which won the competition.

He, cofounding partner and construction and development director Drew Stuart, and their staff set about opening up the concourse, improving its circulation and designing one of its restaurants, and, overall, creating an art deco–inspired environment informed by the site’s history.

The project was part of a larger rebranding of Rock Center that aimed to serve three constituencies: the Class A workers populating the offices above and throughout the complex, tourists, and locals.

The latter has long steered clear of the area, but Tishman hoped to make it a place New Yorkers would like to go. “At the most fundamental level, it’s a public space with an important role in the civic life of the city,” Rolston continues. The mandate was to bring that spirit into the lower-level concourse, which also serves as a hub to the 47th–50th Streets–Rockefeller Center subway station, one of the city’s busiest.

Rolston has fond memories of skating at the rink as a boy and dining at the adjacent Sea Grill with his father—and then, over the years, “watching it get a little sad.” Stuart remembers rushing through the dreary, mazelike corridors in the ’90’s on his way to the F train. “There was no access to natural light,” he recalls. Beige limestone walls and low ceilings created an oppressive atmosphere, yet the partners still felt connected to it.

“We won the competition because we expressed our attachment to Rockefeller Center through our approach,” Rolston says. “We did a deep dive into its aesthetic history, details, and original ’30’s interiors, and we expressed that love and passion.” EB Kelly, Tishman senior managing director, adds: “INC’s work enhances the feeling that you’re in the most extraordinary place in New York.”

The firm began by creating a master plan with a windowed corridor around the rink, multiple paths to the subway, and space for five restaurants. The team drew on some little-known history: In the early 19th century, the land that is now Rock Center was home to 162

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Elgin Botanic Garden, the first in the city, which had a looping, U-shape plan. INC’s flowing layout loosely follows it, with curved walls and perimeter lighting leading visitors through the concourse. “Previously, all circulation funneled through the middle,” Stuart explains. “We freed up the volumes and created more ways of passage.”

As he and Rolston studied the heritage interiors throughout Rock Center, they made another interesting discovery. “When you think of the architecture there, it’s linear and vertical, very masculine,” Rolston observes. “But a lot of the interiors are curved, sensuous, and feminine.

So we thought, Let’s make an architecture of flow.” A big inspiration for the project was Radio City Music Hall, where radial light coves form a series of proscenium arches that mimics a sunrise. INC installed a half mile of GFRG coves underground that unfurl like a ribbon to provide way­finding cues and brighten corridors. Their bronze pendant fixtures— evoking the site’s original tiered fixtures by Edward F. Caldwell & Co.— follow along the way.

Exposing the ceiling also helped brighten. Previous heights were under 10 feet; today, they’re up to 16 in some areas. Crisscrossing beams

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Left, from top: The oak-paneled private dining room at 5 Acres, also by INC, is furnished with a vintage Florence Knoll credenza and Marcel Breuer’s Cesca armchairs and capped by a ceiling of wood planks reclaimed from a barn on the Illinois family farm of the res­ taurant’s chef, Greg Baxtrom. Grow lights and irrigation and drainage systems serve the main dining room’s ceiling planters, their live greenery coordinating with the hair-on-hide and leather banquette upholstery. Right top: Sinuous inlaid bronze in the terrazzo floor­ ing is art-deco inspired, nodding to Rock Center’s 1930’s origin. Right bottom, from left: INC founding partner and creative and managing director Adam Rolston collected ferns and branches outside his Upstate New York home, then photographed them to create custom wallcovering for the restroom corridor at 5 Acres. Ángel Martí & Enrique Delamo’s Book lamp tops its cerused-oak bar.

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can now be seen overhead, as can five glass-block skylights, which are installed among planters in Rockefeller Plaza. They have fountains above them, so dappled sunlight filters through the water to the floor below.

The rugged infrastructure contrasts with an otherwise polished interior. Stairs connect the concourse to 30 Rockefeller Plaza, and its glamorous deco lobby informed INC’s concept and material palette. Charcoal terrazzo flooring with inlaid bronze meets tambour

Top: Pieces from the collection belonging to Tishman Speyer, which owns much of the Rock Center complex, appear throughout the complex, including the kinetic flip-disc Time Capsule Over Manhattan by artist collective Breakfast. Center: Naro is one of four restaurants on the concourse framed by a bronze storefront. Bottom: The 48,000square-foot project is located below 30 Rock.

Opposite top: Exposing the ceiling gained some 5 feet of height, the surrounding surface coated in limewash. Opposite bottom: Unlike the four other restaurants, 5 Acres is open to the concourse, separated only by a bronze railing.

paneling of bronze or precast stone. Bronze storefronts frame four of the restaurants, but only a bronze rail demarcates the fifth, 5 Acres, the one INC designed and positioned in the center of the floor plate. This was a key aspect of the proposal from the start: a wall-less anchor restaurant befitting the concourse’s new open, hospitality-driven identity.

The hitch was that the 100-seat, farm-to-table eatery with private dining room sits under 30 Rock, and eight giant concrete columns run through it. INC’s solution was to wrap each one in frosted ribbed glass lit to show the structure’s shadow. “We call them ghost columns,” Rolston notes. Like sheer curtains, they’re of a piece with the theat­ rical quality of the whole renovation. In a clever bit of dramaturgy, Rolston and the crew furnished 5 Acres with Cesca armchairs and a vintage Florence Knoll credenza—mid-century pieces that might have populated the above offices when they first bowed. From those Marcel Breuer chairs, diners aren’t able to observe the skaters on the rink but can instead feel a part of the pulse of New York.

PROJECT TEAM GABRIEL BENROTH; NEIL SHAH; MEGAN MC GING; SEJUNG KIM; NATHAN MOHAMEDALI; JOSEPH GIAMPIETRO; AMY CAHILL: INC ARCHITECTURE & DESIGN. WATSON SALEMBIER: LANDSCAPE ARCHITECT. 2X4: CUSTOM GRAPHICS. LIGHTING WORKSHOP: LIGHTING CON­ SULTANT. ADG ENGINEERING: STRUCTURAL ENGINEER. AMA CONSULTING ENGINEERS: MEP. CIDER PRESS WOODWORKS: MILLWORK. TURNER: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT CIX DIRECT: CUSTOM TABLES (PRIVATE DINING ROOM, RESTAURANT). KNOLL: CHAIRS, CREDENZA. YORIE: FLOOR TILE. MUNROD FINE CUSTOM UPHOLSTERERS: CUSTOM BANQUETTES (RESTAURANT). TIGER LEATHER: BANQUETTE HAIR ON HIDE. KB CONTRACT: BANQUETTE LEATHER. BROOKLYN GRANGE: CUSTOM PLANTER TROUGH. KOROSEAL: CUSTOM WALLCOVERING. ZANEEN: BAR LAMP. THROUGHOUT ZONCA: CUSTOM FLOORING, CUSTOM INLAY. ARCHITECTURAL METAL FABRICATORS: CUSTOM PANELING, CUSTOM COLUMN SUR­ ROUNDS. HYDE PARK MOULDINGS: CUSTOM COVES. HOPE’S WINDOWS: CUSTOM STOREFRONT. LITEMAKERS: CUSTOM PENDANT FIXTURES, CUSTOM SCONCES. PORTOLA: LIMEWASH, PAINT.

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c o n ta c t s PHOTOGRAPHERS IN FEATURES Daici Ano (“In the Pink,” page 116), fwdinc.jp.

Rory Gardiner (“Jewel Box,” page 108), Living Inside, rory-gardiner.com.

Roland Halbe (“Upward and Onward,” page 126), rolandhalbe.eu.

Eric Laignel Photography (“Everything Is Illuminated,” page 160), ericlaignel.com.

Qingyan Zhu (“Parallel Universe,” page 152), qzhuphoto.com.

DESIGNER IN CREATIVE VOICES Studio Yellowdot (“Just Desserts,” page 47), studioyellowdot.com.

DESIGNERS IN CITY LIVING Lucy Harris Studio (“Match Made in Heaven,” page 61), lucyharrisstudio.com.

Stelljes Design (“Ground Up,” page 55), stelljesdesign.com.

Interior Design (ISSN 0020-5508), September 2024, Vol. 95, No. 8, is published monthly 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; NONPOSTAL 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 © 2024

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.

PHOTOGRAPHERS IN CITY LIVING Eric Laignel Photography (“Ground Up,” page 55), ericlaignel.com.

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Read McKendree (“Match Made in Heaven,” page 61), readmckendree.com.

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annex

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design annex design annex

Bold forms and eye-catching colors are the order of the day

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editors' picks editors' picks

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1. Doshi Levien’s Lepal armchair with solid-wood base and polyurethane-cushioned shell, available in COM, by Arper. arper.com 2. Patricia Urquiola’s Lud’O table in powder-coated metal by Cappellini. cappellini.com 3. Onda screens in beeswax-finished oak with wool curtain by Burel Factory. burelfactory.com 4. Jojiko stool with powder-coated steel-tube legs by Muista. muista.eu 5. Alain Gilles’s Gem C rug handwoven of silk and wool by Illulian. illulian.com 6. Patricia Urquiola’s Merlate collection vases in glazed ceramic by Bitossi. bitossiceramiche.it/en 7. Marco Sousa Santos’s Conic lounge chairs with plywood frames, molded foam shells, powdercoated metal legs, and Maharam or Kvadrat upholstery by Branca Lisboa. branca-lisboa.com 8. Debonademeo’s Anthos stool/tables in concrete by Pulkra. pulkra.it/en 9. Muller Van Severen’s Bridges cabinets in gloss-lacquered MDF by Barcelona Design. bdbarcelona.com 9: NACHO ALEGRE

on the cover: Gae Aulenti and Piero Castiglioni’s reissued Parola lamp in red and transparent glass with braided-fabric cable by FontanaArte for Gucci. gucci.com

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design annex

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For two decades, London’s Serpentine Pavilion, the summer installation commissioned annually to a different architect, has drawn throngs of attendees—some 1 million in recent years. So it was particularly unusual that when Minsuk Cho visited in 2005, when Álvaro Siza and Eduardo Souto de Moura had designed it, he found himself totally alone with the structure, reflecting on the nature of that particular public space. “It offered a spectrum of experiences,” the architect recalls thinking, “from quiet introspection to exhilarating collective moments.”

That was two years after Cho had founded his firm, Mass Studies, in his hometown of Seoul, South Korea. And it’s now that his Archipelagic Void is the Serpentine Pavilion 2024, providing its own range of experiences via a starlike structure with a 26-footdiameter empty space at its center. Radiating off it are five semi-enclosed structures, or “islands,” in locally sourced Douglas fir, each a different shape and hub for activity—the diversity making Cho’s creation unique from previous, which typically were one distinct atmosphere. “This is more like a cinematic montage,” he says.

There’s climbable netting in the Play Tower; a Tea House, referencing the adjacent Serpentine Gallery’s original use; and the Gallery, with an immersive sound installation by musician and fellow South Korean Jang Young-Gyu. In fact, it’s the courtyards of hanoks, traditional Korean homes, and their function as a gathering place that inspired Archipelagic Void’s open-air core.

“It’s an inversion of the usual configuration,” Cho explains—and his contribution to the shared spaces that are so essential to urban fabric.

—Wilson Barlow

ROLAND HALBE

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