Interior Design September 2019

SEPTEMBER 2019

new york groove

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CONTENTS SEPTEMBER 2019

VOLUME 90 NUMBER 13

ON THE COVER Never-before-seen images capture the glory of Eero Saarinen's TWA Flight Center in Queens, reincarnated by Beyer Blinder Belle Archi­tects & Planners, INC Archi­ tecture & Design, Lubrano Ciavarra Architects, and Stone­ hill Taylor as the TWA Hotel. Photography: Eric Laignel.

091.9

FEATURES 192 DESIGN THROUGH

DISCOVERY

by Joseph Giovannini

Schiller Projects turned to the hard data produced by intensive onsite research when planning headquarters for Boies Schiller Flexner, a law firm in Hudson Yards.

200 HOMETOWN ADVANTAGE

by Anthony Iannacci

Excerpted from New York Design at Home, four residences of and by local designers are artful fusions of personality and place.

210 THE MEDIUM IS

THE MESSAGE

by Craig Kellogg

Graphics and history rule at Poster House, a Chelsea museum by LTL Architects.

218 COME FLY WITH ME

by Joseph Giovannini

Beyer Blinder Belle, INC, Lubrano Ciavarra, and Stonehill Taylor propel Eero Saarinen’s TWA Flight Center in Queens into a 21stcentury hotel with jet-age glamour.

234 ELEMENTAL LIVING

by Jane Margolies

Jackson Park’s residential towers in Long Island City are skyhigh, but Clodagh’s interiors are downto-earth.

244 WEST SIDE STORIES

by Georgina McWhirter

Peruse a visual narrative of the culture and commerce giants defining Hudson Yards.

ERIC LAIGNEL

218

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os erik jorgensen verpan carl hansen vitra kartell bensen herman miller knoll artek artifort foscarini moooi and more!

VOLUME 90 NUMBER 13

city living 95 THE TOP BRASS

by Michael Lassell 103 ALL IN THE FAMILY

by Ted Loos

nycxdesign awards 123 FABRIC OF THE CITY

by Wilson Barlow

special real estate section 137 POWERGRID

by Mike Zimmerman, Sam Probber, and

Wilson Barlow

departments 29 HEADLINERS 35 DESIGNWIRE

by Annie Block 41 CROSSLINES

by Marisa Bartolucci Art of All Stripes

Darren Walker and Lisa Kim have decked out the Ford Foundation Center for Social Justice in Midtown with contemporary works that are meaningful to—and representative of—everyone.

49 HOTSHOTS

by Georgina McWhirter 52 PINUPS/

MATERIAL BANK

by Wilson Barlow 57 MARKET

by Rebecca Thienes,

Mark McMenamin,

Wilson Barlow, and

Colleen Curry

166 DESIGN INSIDER

by Joseph Giovannini Urban Cowboy

A new Frank Lloyd Wright biography shows how, despite loathing New York, the scandal-beset Prairie architect used the city to transform himself from a marginalized figure into an American icon.

187 CENTERFOLD

by Colleen Curry Coral Arrangement

A school of sculptures in the Seaport District by Wade and Leta is a marine life-Memphis mash-up.

256 BOOKS

by Stanley Abercrombie 258 CONTACTS 263 INTERVENTION

by Wilson Barlow

CONNIE ZHOU

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CONTENTS SEPTEMBER 2019

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123

™

Design + Performance is a trademark, and Sunbrella is a registered trademark of Glen Raven, Inc. ®

Engineered to meet the industry’s toughest standards in spaces with the most strict performance requirements.

SU N B R E L L ACO N T R AC T.CO M /S T R U C T U R E Pattern exclusively available from HBF Textiles

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Moodier than a teenager without WiFi. Chemetal is moving. Moving to Mood, 7 new metal designs for interior spaces. It’s the absence of pattern, and the presence of luxurious neutral moods. Here: #622 Moon Patrol. See them all at chemetal.com, no matter what mood you’re in.

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Michael Shavalier

SANDOW was founded by visionary entrepreneur Adam Sandow in 2003 with the goal of building a truly innovative media company that would reinvent the traditional publishing model. Today, SANDOW is a fully integrated solutions platform that includes leading content, tools, and services, powering innovation for the design and luxury industries. Its diverse portfolio of media assets includes Interior Design, Luxe Interiors + Design, Galerie, and NewBeauty.

Materials Innovation brands include global materials consultancy Material Connexion, game-changing material sampling and logistics platform Material Bank, and materials reclamation program Sample Loop. SANDOW brands also include research and strategy firm ThinkLab. In 2019, SANDOW was selected by the New York Economic Development Council of New York to become the official operator of NYCxDESIGN Week, beginning in 2020.

Photo Michel Gibert, for advertising purposes only. Architecten de vylder vinck taillieu. 1Conditions apply, contact store for details. 2Program available on select items, subject to availability.

French Art de Vivre

Girasol. Dining table, designed by Patrick de Glo de Besses.

Zig Zag. Sideboard, designed by Fabrice Berrux.

Lagona. Chairs, designed by Marconato & Zappa.

Cosmos. Rug, designed by Coco Hellein.

Merlin. Mirror, designed by Alnoor.

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2 0 1 9 C O L L EC T I O N

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e d i t o r ’s welcome

new york

groove

It appears the old saying may you live in interesting times rings especially true today—and everywhere.

In the U.S., yes, but worldwide, too. My intent is not to dwell on macro-geopolitics but to instead take aim at something truly vexing: the lack of grasp on our common surroundings. Where basic assumptions derived from observation are concerned, we seem not to catch a single, solitary break; we never get it right. Because these days, e-v-e-r-y-t-h-i-n-g is so freaking complicated, so labyrinthine, such a serious challenge. At times it feels like we are in an intellectual endurance competition, and at others a conceptual sprinting contest. You know what?

Bollocks to that! This issue’s mission: to match, rather than subvert, your understanding of what is clear, tried, and true. When you think New York City, do you think everything BIG? NYC as fabulous and glamorous?

Do you consider the city to be a culture + business + work + hospitality juggernaut?

Or a heady mix of all the above? Well, I happen to have, right inside, a wellrounded and exceedingly qualified yes to all your expectations about New York... and then some!

Three cheers for the gladiator school conservation masterpiece that is Eero Saarinen’s TWA terminal, which took an army of design and architecture firms—a huge shout-out to you all!—to convert into a hospitality commission and fabulous entertainment destination. On to a slew of Hudson Yards projects that give a playby-play of how New York always adds an X to XXL. There’s our third-annual PowerGrid, featuring the who’s-who doing the what’s-up all over the city. Plus, we make a few stopovers, from a ginormous resi-development in Long Island City with interiors and amenities by Clodagh to a more personal survey of designers’ own abodes. Yes siree, this New York issue—my 19th (wow!) annual dedication to our beloved hometown—is a scrumptious, nourishing, self-rewarding tour of what our glorious town self-evidently is: Design Central!

ERIC LAIGNEL

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thecindygram SEPT.19

idx190901_edit.indd 25

INTERIOR DESIGN

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Clarus was proud to partner with Material Bank, utilizing the new Clarus Flex Mobile system to create the signature Smart Swatch board. The custom interactive sample display premiered at the new Material Bank Lab at NeoCon 2019.

Clodagh Design “Elemental Living,” page 234

principal: Clodagh. design director: Nancie Min. firm site: New York. firm size: 25 architects and designers. current projects: Miraval Berkshires resort in Lenox, Massachusetts; Avery San Francisco residential tower; Six Senses Douro Valley Villas resort in Samodães, Portugal. honors: Interior Design Best of Year Awards; Global Wellness Summit Leader in Sustainability Award. role model: Author Alain de Botton for his compassion and humor. pictures: Clodagh’s first solo exhibition “Ephemera” at Cheryl Hazan Gallery in TriBeCa showcased her photography from 10 years of travels. words: Min is learning Portuguese. clodagh.com

h e a d l i n e rs

“We incorporate all the elements and address all the senses to create what we call ‘wellness by design’”

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Lubrano Ciavarra Architects “Come Fly with Me,” page 218 partner: Anne Marie Lubrano, AIA. partner: Lea Ciavarra, AIA. firm site: New York. firm size: 12 architects and designers. current projects: Grand Concourse Academy Charter School and New York Gauchos Gym and Museum in Bronx, New York; Floating Homes by Continental Realty in Baltimore. honors: NYCxDesign Award; AIA BQDA Design Merit Award role model: Late architect John Averitt for his choreography of light and proportion that complements the dance and theater performed in such projects as the Baryshnikov Arts Center. students: Lubrano and Ciavarra met while earning master’s in architecture from Syracuse University (Lubrano ultimately graduated from the Harvard GSD). founders: They launched LCA in 1999 and just celebrated the firm’s 20th anniversary. lcnyc.com

Beyer Blinder Belle Architects & Planners “Come Fly with Me,” page 218 partner, director of historic preservation: Richard Southwick, FAIA. firm site: New York. firm size: 104 architects and designers. current projects: Renovations of the Frick Collection, Hispanic Society Museum & Library, and Morgan Library & Museum, all in New York. honors: Docomomo Modernism in America Award; Lucy G. Moses Preservation Award. role model: Founding partner John H. Beyer for being a pioneer in the creative adaptive reuse of large civic buildings. near: Southwick has been involved with the restoration of the most historic building at each of the New York’s three metropolitan area airports. afar: He recently hiked the mountains of Vietnam, near the Chinese border. beyerblinderbelle.com

Stonehill Taylor “Come Fly with Me,” page 218 principal: Michael Suomi, AIA. senior interiors associate: Sara Duffy. firm site: New York. firm size: 78 architects and designers. current projects: Renaissance New York Chelsea hotel and Conrad New York Midtown hotel in New York. honors: NYCxDesign Award. role model: Eero Saarinen, whose work, epitomized by the TWA Flight Center, challenged and pushed forward the world of architecture and design. midwest: Suomi grew up on the shores of Lake Superior in Michigan. metropolitan: Duffy is a born-and-bred New Yorker. stonehilltaylor.com

h e a d l i n e rs INC Architecture & Design “Come Fly with Me,” page 218 partner, creative director: Adam Rolston, AIA. partner, field director: Drew Stuart, AIA. partner, studio director: Gabriel Benroth, AIA. firm site: New York. firm size: 36 architects and designers. current projects: The Vandewater residential condominium in New York; Edition Hotel in Nashville; Momofuku Noodle Bar in Los Angeles. honors: Interior Design Best of Year Awards; NYCxDesign Awards. role model: Calvin Tsao because he can design his way out of a Gordian knot without breaking a sweat. three: The INC principals have been working together for 20 years. two: The firm practices pay equity for men and women. all: There are twice as many plants as people in the office. inc.nyc

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Crush™ PANEL @2011modularArts, Inc. Photo by Steve Hall, Hall +Merrick Photography. Designer: Eastlake Studio.

Schiller Projects “Design Through Discovery,” page 192 principle: Aaron Schiller. firm site: New York. firm size: 10 architects and designers. current projects: Offices in New York; residential compound on Martha’s Vineyard, Massachusetts. honors: NYCxDesign Award. role model: Eero Saarinen for his inventiveness, original approach, office of incredible talent, and clear mastery of the context he designed within. campaign promise: Schiller worked for almost two years on the field activation side of President Barack Obama’s 2008 campaign. incumbent practice: A lot of the voter-engagement tools he learned now form the bedrock beneath the firm’s data analytics approach to design. schillerprojects.com

h e a d l i n e rs

Ventanas™ PANEL style: lime spritz™ ©2019 modularArts, Inc.

Apollo™ BLOCK ©2011 modularArts, Inc. U.S. Patent 8,375,665

LTL Architects “The Medium Is the Message,” page 210

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principal: Marc Tsurumaki, AIA. principal: Paul Lewis, FAIA. principal: David J. Lewis, AIA. firm site: New York. firm size: 13 architects. current projects: New York University’s Waverly Building Departments of Chemistry and Biology; Brownsville Library in Brooklyn, New York; Carnegie Mellon University Fifth and Clyde Residence Hall in Pittsburgh. honors: Interior Design Best of Year Awards; NYCxDesign Awards; AIA Honor Awards. role model: “Our office contains myriad mono­g raphs and historical architectural references, so this shifts continuously based on the design problem at hand and the book drawn from the shelf.” students: Tsurumaki met Paul Lewis at the Princeton University School of Architecture. teachers: They and David J. Lewis are architecture professors at Columbia University, Princeton, and the Parsons School of Design, respectively. ltlarchitects.com

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design wire edited by Annie Block

It was May 1982 when 200 truckloads of dirt were brought to a vacant lot. Volunteers dug hundreds of furrows and sowed thousands of seeds. An irrigation system was set up and the field was maintained for months. In August, a crop yielding more than 1,000 pounds of golden wheat was harvested. Kansas or Oklahoma? Far from it. This took place in what’s today called Battery Park, and it was the vision of Agnes Denes, the now 88-year-old conceptual artist who lives in SoHo, just a few blocks north of that landmark environmental installation nearly 40 years ago. Come October 9, she’ll be at Hudson Yards, where her retrospective “Agnes Denes: Absolutes and Intermediates” appears at the Shed. The exhibition features over 150 of her works, including three new ones commissioned by the Shed, including A Forest for New York. Ongoing since 2014, it’s Denes’s proposal to turn another landfill, this time 120 acres in Far Rockaway, Queens, into a lush public park by planting 100,000 trees.

lady of the island

COURTESY OF AGNES DENES AND LESLIE TONKONOW ARTWORKS + PROJECTS

An image of Wheatfield–A Confrontation, 1982, 2 acres of wheat planted and harvested by Agnes Denes on the Battery Park landfill, commissioned by Public Art Fund, is appearing in her retrospective at the Shed in Hudson Yards, October 9 to January 19.

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Broooklynites en route to the F and G subways at Smith-9th Street may have an extra spring in their step. It could be the influence of a new mural—smile-inducing not only aesthetically but also philosophically. “When I create a public work, I think of the audience as collaborators, so I try to offer a positive sentiment,” creator Scott Albrecht says. Called Holding Onto What Will Come, it’s a “reminder for optimism in trying times.” If those collaborators look closely enough at the artwork, they may decipher the title’s letters, which the artist has abstracted and arranged into a staggered grid, his signature style, a byproduct of studying graphic design at the Art Institute of Philadelphia. The nearly quarter

walk this way

From left: Holding Onto What Will Come is Scott Albrecht’s 10-by-46-foot permanent installation in exterior house paint on Court and 9th Streets in Carroll Gardens. The mural’s eight colors, pulled from Albrecht’s larger palette of custom hues and tones to maintain a consistent language across all his works.

interiordesign.net/scottalbrecht19 for more works by the artist

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SCOTT ALBRECHT

block–long installation is Albrecht’s first permanent one in New York City—a real thrill for him since he also lives in the neighborhood in which it’s located. For those who can’t make it there, he’s preparing woodworks and works on paper for his solo show next July at Hashimoto Contemporary on the Lower East Side.

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forever in stone He was best known as the sunglass-wearing creative director of Chanel.

But the late Karl Lagerfeld’s creativity extended beyond fashion to illustration, photography, and design. You can witness the latter in “Architectures,” an exhibition of his sculptural furniture on view at Carpenters Workshop Gallery in Midtown through December 21. The 20 pieces in the show—ranging from ashtrays and lamps to tables and a fountain—are all rendered in either black or white marble, evoking a contemporary architecture with Greek origins, and sculpted, faceted, and polished in Italy. They were conceived by Lagerfeld and carried out by Culture in Architecture founder Aline Asmar d’Amman, who also designed the exhibition both here and at CWG in Paris last October, the opening of which Mr. Lagerfeld attended. Each piece is available as a limited edition of eight in either marble color, plus four artist proofs.

interiordesign.net/karllagerfeld19 for more furniture images

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c r o s s lines The Ford Foundation Center for Social Justice’s president and gallery director standing before Odili Donald Odita’s FreeForm mural on the center’s second floor.

PAUL GODWIN

Darren Walker and Lisa Kim have decked out the Ford Foundation Center for Social Justice in Midtown with contemporary works that are meaningful to— and representative of—everyone

art of all stripes

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c r o s s lines

Since its 1936 launch, the Ford Foundation has been a trail­ blazer in promoting human rights, equity, and justice, grow­ ing ever more global in purview and wide-ranging in impact over the decades. When it opened the doors of its Kevin Roche John Dinkeloo and Associates–designed Midtown head­ quarters in 1967, the 12-story tower of glass, granite, and weathering steel, centered on a soaring atrium planted with lush greenery, was nothing short of groundbreaking, in­spir­ ing a new paradigm in architectural urban space. That’s why around 2013, when the City of New York told current foun­ da­tion president Darren Walker that the landmarked build­ing had to be brought up to code by 2019, he greeted the news as an opportunity to re-imagine the building and mission for a new century, rather than as a costly, if necessary, nuisance.

Gensler was charged with leading the upgrade, which re­ quired installing all new systems and meeting ADA require­ ments, which Walker asked the firm to exceed. Sustainability was forefront, with legacy furnishings and fittings refurbished wherever possible in pursuit of LEED Platinum certification.

Warrenlike work spaces were transformed into airy, nonhierarchical realms with atrium views for all. An adjoining exterior wall that obstructed the interior garden from the street was removed, and, right inside, former private office space was replaced by a welcome lounge with a coffee bar and “mission wall.”

Gallery director Lisa Kim, a former director of New York’s Percent for Art program and private collections manager/ director of exhibitions and operations for Larry Gagosian, was hired to direct the building’s new Ford Foundation Gallery, which has rotating exhibitions open to the public, and assemble a permanent collection of contemporary art expressive of the entity’s calling throughout the dozen floors. Her bold choices humanize an interior that still evokes the corporate cool of the site’s mid-century roots. Kim and Walker discuss how art came to take center stage in what’s now the inclusive and eminently inviting Ford Foundation Center for Social Justice.

ROBIN KLEHR AVIA; MADELINE BURKE-VIGELAND; ED WOOD; LYDIA GOULD; AMBROSE ALIAGA-KELLY; JOHNATHAN SANDLER; JOHN BRICKER; BEVIN SAVAGE-YAMAZAKI; JONAS GABBAI; KAREN PEDRAZZI; THOMAS TURNER; MEGHAN MAGEE; KRIS GREGERSON; ANTHONY HARRIS; IAN KORN; DAVID BRIEFEL; LISSA KRUEGER; CRAIG BYERS; ANDREA PLENTER; KEVIN CARLIN; JOCELYN MASTROIANNI; CORINA BENATUIL; JOSE TROCONIS.

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GARRETT ROWLAND

GENSLER PROJECT TEAM

Opposite, from top: The entry’s Kehinde Wiley por­ trait of Wanda Crichlow.

“Perilous Bodies,” the in­ augural exhibition at the Ford Foundation Gallery. An 11th-floor wall emblazoned with “Dignity for All.” Right: The Genslerrestored 12-story atrium.

Did the foundation always collect art?

Darren Walker: Yes, but it was composed primarily of 17th-, 18th-, and 19th-century works

by European artists.

There were few women represented, and no people of color, which seemed odd to me for a foundation committed to social justice.

GARRETT ROWLAND

How did you rectify the situation?

DW: I believe that the arts and humanities help build empathy.

And, in order to have more justice in society, we need more empathy in society. But we could not use any grant dollars to attain new works.

Consulting with board chair at the time Irene Hirano Inouye, who was the founding CEO of the Japanese American Na­tional Museum and former chair of the American Alliance of Museums board, we came up with the idea of a deaccession, selling art to buy art. We then presented to the board a new art collection and gallery together as being essential to the re-imagining of the build­ing and they agreed.

And the gallery is totally accessible. There’s no $20 barrier.

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c r o s s lines Clockwise from top left: Existing but reconditioned Charles and Ray Eames auditorium seating. The atrium’s new eucalyptus trees and ferns. The foundation’s mission statement, appearing forward and backward to reflect different perspectives, in the welcome lounge.

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How did the graphics program develop?

DW: Gensler was inte­ gral. Darren and I worked closely with John Bricker and Andrea Plenter from the firm, and they really understood the purpose of the art program and how best to integrate that purpose into a brand that permeates the built environment.

They took in­spiration from the build­ing and leveraged the past

CLOCKWISE FROM TOP LEFT: GARRETT ROWLAND (2); ROBERT DEITCHLER/COURTESY OF GENSLER (2)

What criteria did you use for choosing the artwork?

Lisa Kim: There were natural links. We named some of our conven­ ing spaces after social justice leaders. So, for the Mandela room, there are works connected to Nelson Mandela, such as Mandela, a collage by Philip Kumah. It wasn’t so much about being ob­ vious as much as being emotive of the values of these leaders and ex­ pressive of our values.

We were also sensi­ tive to where art was in­ stalled and who would interact with it. Darren wanted Hank Willis Thomas’s I Am A Man in the lobby. It’s hung with an actual flyer that one of the sanitation work­ ers on strike was hold­ ing. The actual poster and a photograph by Richard Copley of the sanitation march were installed together next to the security desk on the way to the gallery.

That piece embodies the mission of the foun­ dation. So, too, does Kehinde Wiley’s portrait of Wanda Crichlow in the entry, which offers the most grand wel­ come. That’s the power of what an art collection can do and its relation­ ship to who we are.

Get Samples Next Day at materialbank.com Leather Shown: Mont Blanc Kelly Green

In which way?

LK: We’re not bringing in household names.

This is not a celebrity gallery. This is about the content, about artists pushing for social change. And the artists are cross-generation and cross-geographic.

That dialogue is really important.

Clockwise from top left: One of the nine meeting rooms named after social justice leaders. The gallery where “Utopian Imagination” opens on September 17. The atrium’s restored weathering-steel frame. An Alex Harsley photo­graph of Muhammad Ali outside president Darren Walker’s office.

DW: Art has provided oxygen for the center.

It has given new life, more meaning, and more urgency to our work. It’s so vital and enriching to be in the building. Art and social justice go hand in hand.

—Marisa Bartolucci

but also built off how the brand should be expressed today.

c r o s s lines

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Your second exhibition just closed. What has the response to the gallery been like?

LK: Incredible. We didn’t know who would come because we’re not in an art district, plus we’re inside the building and we don’t advertise.

Yet we’re tracking over 100 people a day. We’re hoping for the same response when “Utopian Imagination” opens later this month. What’s been satisfying for me is that people come into this art space and they see something different than in a commercial gallery, and it’s much more intimate than going to a museum show.

FROM TOP: COURTESY OF GENSLER; GARRETT ROWLAND; TOM SIBLEY; GARRETT ROWLAND

How so?

DW: Their strategy was what they called a ‘bold whisper,’ bringing the brand to life in a largescale manner, but quietly. They created branding that is independent of, but complements, the art program.

It’s a powerful ally in our fight for social justice.

MINOTTI.COM

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MADE YOU LOOK. Indoor and outdoor lighting, ceiling fans and accessories.

Built on quality, service and unbelievably good looks.

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EFFORTLESSLY ELEGANT.

HOT shots Gerald Bodziak and Emily Abruzzo founded Abruzzo Bodziak Architects in 2009 after stints at Gwathmey Siegel Architects and Deborah Berke Partners, respectively.

orderly fashion firm: abruzzo bodziak architects project: maharishi

COURTESY OF ABRUZZO BODZIAK ARCHITECTS

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founded in London in 1994 and is now experiencing a comeback. Blechman turned to husband-and-wife architects Emily Abruzzo and Gerald Bodziak, partners of the namesake studio they launched a decade ago, to convert the 1,300-square-foot former bookstore into one befitting the environmentally sound, fair trade–produced utilitarian clothing—think upscale cargo pants and hoodies—it would be showcasing.

Like Manhattan itself, Abruzzo Bodziak conceived the front of the double-height store as a grid, flanking it with wooden frames outfitted with rods and shelves, organizing the space into a series of rhythmic bays. It’s a “building within a building,” Bodziak says—a contemporary intervention in a historic shell.

Toward the back, the firm inserted a mezzanine reached by a staircase, its balustrade of white perforated steel inspired by armory storage fronts.

The couple then coated nearly everything else, including the bench seating, cash wrap, and existing pine floor— “polyurethane-ed to an inch of its life,” Abruzzo notes—in a matte fatigues green. Furthering the theme, lengths of

custom waxed Japanese cotton, color-matched with the paint, and referencing canvas armytruck enclosures, were installed at the top of each display bay. Sales associates looking to change up the look of the store or for storage can unroll the fabric half or all the way down over a bay or two, securing the panels with snapclose nylon straps. When the panels are up, rear mirrors reflect the reverse of clothes, say an embroidered dragon on the back of this season’s bomber jacket.

Blechman is essentially an expert in camouflage—he wrote a 944-page book on the subject. So Abruzzo and Bodziak searched for a detail that would reference the pattern without being too literal. They found it in the pine plywood lining the bays and mezzanine, selecting a species with just the right knots and grain.

—Georgina McWhirter

THROUGHOUT LEVELCRAFT: CUSTOM BENCH, CUSTOM CASH WRAP. CURTAINS FOR YOU: CUSTOM DISPLAY PANELS. CONTECH LIGHTING: TRACK LIGHTING. ABBOT PAINT & VARNISH: PAINT. STAR SNAPS NYC: STRAPS. DOT DASH: LIGHT­ ING CONSULTANT. A DEGREE OF FREE­ DOM: STRUCTURAL ENGINEER. DEVON TURNBULL: DESIGN CONSULTANT. K2: GENERAL CONTRACTOR.

On the ground floor of a landmarked TriBeCa building, a certain slice of the L-shape floor plate has had many iterations since its 1867 construction: architect’s office, sneaker shop, bookstore. The latest is the U.S. flagship of Maharishi, the first stateside store for Hardy Blechman’s militaryinspired label, which he 50

INTERIOR DESIGN

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NAHO KUBOTA

hot shots

“We like to work with few ingredients, it brings cohesion”

CLOCKWISE FROM BOTTOM LEFT: NAHO KUBOTA (2); COURTESY OF ABRUZZO BODZIAK ARCHITECTS

Clockwise from left: At Maharishi in TriBeCa, merchandisedisplay bays of painted glue-laminated timber and plywood were inserted into the landmarked 1867 shell, but the pressedtin ceiling is original. The existing pine-strip floor was sanded and treated to a similar custom paint. Viewed through the pine plywood–lined display bays, a new steel staircase leads to the mezzanine addition. Panels of custom Japanese cotton can roll down over each bay. Painted plywood forms the custom bench.

Emily Abruzzo and Gerald Bodziak a few of their favorite things: Supplier: McMaster-Carr, which sells everything from raw metals to utilitarian furniture.

Photographer: Candida Höfer, especially her library images.

Book: Architecture in the Shoin Style: Japanese Feudal Residences by Fumio Hashimoto, it’s a great resource.

Installation artist: Taryn Simon, particularly her A Cold Hole, where participants jump into icy water.

Textiles: They are an under-used architectural material.

Collaborator: James Buckhouse—his work across aesthetic genres is an art in itself. @abruzzobodziak

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PI N ups

material bank

text by Wilson Barlow

party like it’s 1969

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Ghislaine Viñas’s deep dive into a vintage wallpaper archive inspired the groovy color combos in her Material Bank board 1. Bright Grid textile in cotton,

(Available at press time)

Visit materialbank.com for more information.

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RIGHT: PAUL GODWIN

polyester, and nylon in Spring by Scholten & Baijings, through Maharam.

2. Glazed Red clay tile in Lemon Cream by Fireclay Tile.

3. Glazed White clay tile in Serpentine

by Fireclay Tile.

4. Bright Angle textile in cotton, polyester, and nylon in Evergreen by Scholten & Baijings, through Maharam.

5. Bright Angle textile in cotton, polyester, and nylon in Neon by Scholten & Baijings, through Maharam.

6. Perforated Aluminum sheet powdercoated White Sand by Móz Designs.

7. Axel II textile in vinyl with nylon thread in Persimmon by Wolf-Gordon.

8. Glazed Red clay tile in Vintage Leather by Fireclay Tile.

9. Glazed White clay tile in Mesolite

by Fireclay Tile.

10. Arc Angle textile in polyester and nylon-polyester stitching in Theia by Luum.

PHOTOGRAPHY: BEN RAHN/A-FRAME INC.

MULTIPLE CUSTOM FEATURES FOR COLLABORATIVE WORKSPACE PROJECT: CAPITAL ONE CORPORATE OFFICE, TORONTO, ON DESIGN: IBI GROUP // GENERAL CONTRACTOR: GOVAN BROWN BUILT BY: EVENTSCAPE // SEE MORE AT EVENTSCAPE.COM

TORONTO // NEW YORK // DETROIT

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1. Tilt Station Mosaic tile in ceramic in White Crackle

by Walker Zanger.

2. Aurora textile in linenpolyester in Spectrum by Old World Weavers, through ScalamandrĂŠ.

3. Charm textile in linen, viscose, and polyester in Prince by Pollack.

4. Tilt Station Mosaic tile, see above.

5. Mikado textile in cottonpolyester in Pink by Alexander Girard, through Maharam.

6. Charm textile in linen, viscose, and polyester in Luck by Pollack.

7. Lalan carpet in woolviscose in Dove by Stark.

8. Tilt Station Mosaic tile, see above.

6 7

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(Available at press time)

Visit materialbank.com for more information.

material bank PI N 54

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ups

For her mid century– modern beach house project with a pop art vibe, the Kerri Rosenthal Interiors namesake founder filled her Material Bank board with retroinspired samples

FROM LEFT: PAUL GODWIN; JULIA DAGS

love shack

Designtex + Anni Albers Mountainous designtex.com Adapted from an original work by Anni Albers, “Mountainous I�, 1978. Produced under license from the Josef and Anni Albers Foundation.

Reefs

SLIP AWAY

Inspired by the infinite variety of underwater worlds where no reef is like the other, Reefs creates lounge areas with screens that optimize acoustics and offer visual privacy.

Configure Reefs modular benches into collaborative meeting areas, relaxing spaces or quiet island units

Design: Jessica Engelhardt

for focus work.

dauphin.com

Rubber, PVC, steel. Designer Ara Thorose is a fan of such tough materials. But he re­veals a gentler side with Soft Cylinders, the inaugural collection from his Soft Limits brand. “Each chair is one line exploring movement,” Thorose explains. That’s evi­ dent in the cantilever of 5M, which merges five curving elements that rise up to nestle the lower back, encouraging upright sitting.

“The cylinders are about the circumference of an adult’s thigh,” Thorose says of the steel framework, which is padded with two foam layers, one firm and one cushiony, and then covered in a single swath of worsted merino wool fabric—another of Thorose’s creations—in six colors including Midnight. softlimits.studio

belle curve

edited by Rebecca Thienes text by Mark McMenamin, Rebecca Thienes, Wilson Barlow, and Colleen Curry

market special seating section

5M

SOL EREZ

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it’s all in the details We zoom in on some atypical perches

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1. Bridge bench in leather and Canaletto walnut

by M2Atelier.

2. C Channel chairs in perforated, zinc-plated steel

and leather hide by XYZ Integrated Architecture. chair in iroko and waterproof Batyline Eden polyester for Calma.

4. Guto Indio da Costa’s chaise longue in jequitiba and imbuia by San German.

5. Fernweh Woodworking’s Sling lounge chairs in leather and walnut or ash by Coriander Designs.

6. Beanie sofa in wool, filled with organic latex and lentil beans by NEA Studio.

See page 70 for sources.

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ee

2: BAKUR TVRINELI

3. Joe Doucet and Andreu Carulla’s Marea lounge

m a r k e t seating

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musical chairs Blame it on the bossa nova. More than a decade ago, Brazilian furniture designer Jader Almeida translated the rhythms of his country’s inimitable samba-jazz fusion into Bossa, a chair for Sollos. The solid-wood trapezoidal back and slender legs are deftly balanced by rattan intricately woven across the back and seat. This year, when Almeida exhibited at NYCxDesign with Raiz Project, a collective of compatriot designers, he showcased a new edition of Bossa in solid ash, in a Natural, Medium, or Dark finish. sollos.ind.br

“It’s timeless—a thoughtful balance between past, present, and future”

BOSSA

m a r k e t seating 60

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Exposure 4 from Apperception a collection by Steve LaVoie in partnership with Astek Studio

M A R K E T M I C R O seating

manufacturer Joey Zeledón Studio. product Coat Check. standout A household staple transforms a chair into more than just a seat.

It’s a natural tendency to hang your coat over the back of a chair. But what if a chair offered an actual hanger? Or 72 of them? That’s the thought behind designer Joey Zeledón’s limited-edition, Kickstarter– funded Coat Check chair. Standard Container Store plastic hangers stack onto the custom tubular-steel frame developed with a Pennsylvania manufacturer. “The frame had to be the right width so they could slide off and back on easily,” Zeledón says of the removable hangers, “but not so narrow that they wouldn’t stay put to form a comfortable seat and back.” Available for pre-order, the frame comes in polished steel or six powder-coats and the hangers in 12 colors. joeyzeledon.com

hang onto this

STUDIO US

“I’m obsessed with reframing mundane objects in new ways”

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carnegiefabrics.com/upholstery

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Adam Court of Okha

Espen Voll and Torbjørn Anderssen for Hem

Roberto and Ludovica Palomba for Poltrona Frau

Jasper Overgaard and Christian Dyrman of Overgaard & Dyrman

product Volt. standout A chair of contrasts by the company creative director, its plush cotton-velvet seat and back upholstery juxtaposes with an oak frame that nods to timber scaffolding. okha.com

product Kumo. standout A modular sofa by the Anderssen & Voll partners takes on a new colorway: red-hot Sera Canyon in wool-polyamide, a collaboration with textile brand Rohi. hem.com

product Get Back. standout The Palomba Serafini Associati architects and spouses borrowed the name of their elegantly informal leather-wrapped sofa from the title of a Beatles song. poltronafrau.com

product Circle. standout Round’s the theme for the made-to-order dining chair by the design-studio founders, from the leather-upholstered seat and back to the leather-wrapped tubular brass frame. oandd.dk

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M A R K E T S C A P E seating

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PORTRAIT 6: JAMES CHAMPION

Leah Ring of Another Human

Sebastian Wrong of Established & Sons

Bobby Berk for A.R.T. Furniture

Cory Grosser for Bernhardt Design

product Bordon. standout Part of the company founder’s ET collection inspired by the narrative of a misfit group of aliens, the oversize asymmetrical chair is covered in solution-dyed acrylic velvet.

Through 1stDibs. 1stdibs.com

product Lucio. standout Slashes in the lounger’s polyester upholstery by its headrest and seat back are the company founder’s reference to the paintings of artist and founder of Spatialism Lucio Fontana. etablishedandsons.com

product Olafur. standout The design guru of the Fab Five starring in Netflix’s Queer Eye, the multi-hyphenate returns to furniture design with a binge watching–worthy sofa upholstered in velvet. arthomefurnishings.com

product Astra. standout The Cory Grosser + Associates founder’s piece for the manufacturer features a cut-out in its curved back, making the tidy tub chair striking from every angle, well suited to open plans. bernhardt.com

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COOPERAGE

m a r k e t collection seating

“There’s such a broad range of possibilities, I’m always prototyping new ideas”

TOMBSTONE

taking shape “Chairs have always been a passion of mine.” So states Gregory Buntain, founder of design-build studio Fort Standard.

“They are such expressive objects.” Take his Cooperage line. The armchair and stool as well as table nod to the cooper’s age-old trade of barrel-making, contrasting white oak with oak that’s been torrefied, a process of roasting the wood until it darkens. Similarly referential is Tombstone, a chair he originally designed in 2013 as an experiment in minimal seating—consisting of just three simple planes—that’s now officially in production, available in multiple stones, white oak, or various domestic hardwoods. fortstandard.com 66

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A R C H I T E X- L J H . C O M

SOME LIKE IT MOD COLLECTION F E AT U R I N G / L U C Y I N T H E S K Y I N F LO W E R S

for Gebrüder T 1819 product 214 Two-Tone. standout Studio Besau Marguerre applies a subtle two-tone stain to the ash frame of Michael Thonet’s 1859 bentwood-and-cane classic, further emphasizing the chair’s minimalist construction. gebruedert1819.com

Eva Marguerre and Marcel Besau

another time around A trio of sinuous seats have roots in the past

Nicole Hollis for McGuire product Melek. standout The Nicolehollis principal puts her spin on the iconic peacock chair from the 1970’s by staining the rattan frame in her signature black in a matte finish and naming it after the Yezidi sect’s Melek Taus angel. mcguirefurniture.com

Gabriel Abraham

of Atelier de Troupe product Coda. standout Founder and artistic director of the Insta-hot brand blends a circuitous polished-chrome frame with a leather sling for an art deco–revival chair that’s handmade today in Los Angeles. atelierdetroupe.com

M A R K E T seating

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m a r k e t sources

it’s all in the details 1. M2Atelier, m2atelier.com.

2. XYZ Integrated Architecture, xyz.com.ge.

3. Calma, calmaoutdoor.com.

4. San German, sangerman.com.br.

5. Coriander Designs, corianderdesigns.com.

6. NEA Studio, neastudio.com.

LIVELY PATTERNS Kuvio Dimensional Wall Tile by Lumicor | www.lumicor.com

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INTERIOR DESIGN

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Vol. 02

Future State

Seven Predictions Shaping the Future of Work

This is Future State. Year Two.

Vancouver Denver Miami Detroit

Future State Vol. 02

Predicting the Future of Work For designers, it’s not about what’s now, it’s about what’s next. How is work evolving? How do we solve new problems for new generations? How do we design spaces, products, environments, and even attitudes to help people do their best work and live their most fulfilling lives?

Herman Miller invited 80 up-and-coming designers across the US and Canada to four workshops to learn more about their thoughts on the future of workplace design, the evolving role of designers, what keeps them up at night, and which nuts they’re desperate to crack.

changing role designers are playing in it. The rate of change over the past five years has been more than we’ve seen in the last few decades—and things aren’t slowing down. At Herman Miller, we want to understand what designers think the environments they’re creating might look like five or 10 or 20 years from now.

Here’s a look at our Future Staters’ top seven predictions.

We call this group Future Staters. Within this folio, you’ll find a collection of their predictions, bluesky ideas, anxieties, and crazy bets. You’ll learn about the changing world of work as well and the

02

How will people in the f

What process e take place to supp their bes

How does that where work 03

Future State Vol. 02

work differently future?

evolutions will port people doing st work?

alter the place k happens?

04

People

01. Dueling With Duality Ever feel like you’re toggling between work you and life you and that something’s got to give? The tensions of life-work integration came up again and again across the four cities where we met with our Future Staters.

The paradigm shift they see coming is not just about working less or working from home more.

It’s about being fully present, whatever you’re doing. They envision a future where people, and the organizations they work for, will develop better boundaries between the two worlds to encourage deeper, more meaningful engagement with both. You’ll disconnect from

05

tech, confident that work will go on without you for a few minutes, maybe even a few days—and vice versa when you’re in the office.

You’ll stop bowing to the master of multitasking and focus on the single task at hand. The most important collaboration with your boss won’t be the big client presentation, it will be designing the perfect work-life continuum for you. You’ll rely on individual analytics to understand when you’re at your best and seek out the work cultures that embrace how you’re built. You’ll integrate your two equally important worlds into one where you are fully present at work and fully engaged at home.

Future State Vol. 02

People

02. Longing for Belonging Fewer and fewer people spend the week at corporate HQs these days. And though logging on from the living room is a boon to your midweek laundry routine, what’s lost?

Future Staters were ambivalent about what some have called the demise of the office. In an age where the digital can start to replace many aspects of physical presence, how quickly do you start to feel disconnected from other people?

The designers we talked with predicted you can only benefit from pajama productivity for so long, and that, in time, you’ll be drawn back to the inperson, human connections you inherently crave.

Technology and tools are designed to make remote workers feel more connected to their teams, but there was a prevailing sense that something has

been lost as we become more reliant on email, Slack, and our companies’ outdated Intranet message boards. The Future Staters didn’t seem to think a lengthy commute would be so bad if the workplace could heighten one’s sense of comradery and trust.

They see the workplace as a magnet that attracts and focuses energy in a world where a by-product of improving communications technology has a natural tendency to grow the divide between us.

Herman Miller’s own research on this subject tells us that more than one-third of workers feel that the most important aspect of their workplace was a feeling of belonging. Our Future State participants agree: they’re pushing designs that promote coworker face time (the non-iPhone variety) in spaces that accelerate authentic connection.

People

06

Process

03. The End of Employees Today, people embrace the Amazon mindset: give me what I need, the second I need it. It’s an era of just-in-time products and services, and while that’s all well and good for paper towels and prestige TV, what could it mean for the workplace?

Future Staters predict that this accelerating need for speed, coupled with a steep rise in the number of freelancers in the coming years could create a new way to staff companies. They imagine an open-source strategy for recruiting top talent and deploying it on a project-by-project basis. Today, companies are premised on a group of full-time employees and the occasional consultant. Imagine a world where that distribution is flipped. Now, companies are built and rebuilt project-by-project, day-by-day, by handpicking from a large pool of consultants. As each project changes, so does your team. This post- employee model lets you 07

expedite processes, get to market quicker, design better and faster, and innovate productively, all by harnessing the industry’s top talent for the specific task at hand.

“Imagine an opensource strategy for recruiting top talent and deploying it on a project-byproject basis.”

Future State Vol. 02

- Future Staters

Process

04. Capturing All of the Feels Picture this: Your client is out to dinner and she loves the atmosphere. Her endorphins kick in and a program on her smart watch shoots the app on your computer a note. Call it a social-emotional Fitbit or an environmentally aware wearable— Future Staters dream of a device that could show you and your design team exactly how your client responds to the music, furniture, lighting, and general vibe of a space.

been able to put into words, into tangible design inspiration. Between the watch and the app, you’re getting direct responses to the stimuli in the space, and the information you need to act on it. Welcome to a brave new era of client feedback.

Once the data loads, it populates a Pinterest page, makes product suggestions, and translates a good feeling, one that the client might not have even

Process

08

Process

05. Is Tech Friend or Foe? Today, if you’re a designer working on a 10-story workplace, you might find yourself in a meeting with the client, furniture dealer, and contractor.

What happens when the client needs you to valueengineer 10 stories into eight and cut half a million dollars from the furniture budget? Today, you might think, “that’s impossible. We don’t have time, you don’t have the budget, there’s too much to coordinate!”

Future Staters dream that the impossibility of these morale- and budget-crippling client requests might soon be a thing of the past thanks to robots, holograms, and an assortment of

09

Jetsons-inspired tech. Across our four events, we heard about robot contractors, next-level modeling software, and automated on-demand furniture manufacturing. Despite some of the anxiety the designers tapped into when it comes to our personal relationships with tech (see Predictions 1 and 2)—when it came to the promise of AI, big data, and robotics to the process of design, the group tended toward techno-optimism. It’s a fascinating tension, one to which we’ll be paying close attention.

Future State Vol. 02

Process

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Place

06. Sensify Ever feel like you’re constantly adjusting your headspace to your workspace? Today, you hack your office so it better meets your needs (and ask for forgiveness later), but what if tomorrow you not only get to influence, but control, a uniquely designed space based on the needs of the moment?

Future Staters imagine a new kind of office design, one in which four tech-enhanced white walls transform your space into whatever you want it to be. Spotify, but for space.

Today, you’re working alone, and want a space that inspires you. You program Sensify to a view of the mountains, and the scene projects on the walls. Tomorrow, you’re with your boss, and you need a little more polish. You reprogram Sensify to display that customer research you’ve been compiling onto the walls alongside some perfectly cohesive digital art and your space

11

looks like you’re ready for that raise she’s been promising. With Sensify, your private office or huddle room or project space is a blank canvas just waiting for you to cover it with precisely what you need to succeed.

“Imagine a new kind of office design, one in which four tech-enhanced white walls transform your space.”

Future State Vol. 02

- Future Staters

Place

07. After the Office It’s great to work from anywhere, but anywhere doesn’t always have the best Wi-Fi, or a quiet place to take a phone call, or the tech you need to collaborate with partners across the globe.

Future Staters see a chance to meet the needs of an increasingly distributed workforce with an increasingly distributed workplace. Welcome to the decentralized office.

Gone is the master workplace, and in its place is a series of nodes, the ultimate triumph of the network over the hub-and-spoke approach, not to mention the sprawling corporate campus.

One idea that stood out is applying the ‘city bike’ concept to the workplace. Future Staters envision

a world where the benefits of being at global HQ can be found anywhere. You’re on the train and have a meeting at 10:00. No problem, just jump off and log in from a nearby Work Pod. Sign in and use the room for an hour and hit up that nearby ‘gram-worthy matcha bar immediately following.

Next meeting needs a TV screen so you can copresent with a virtual team, but even the office outpost is out of the way. There’s a work café your company subscribes to one block over; host the meeting, and you’re off to get to your next appointment across town. Now imagine Work Pods suffused with Sensify, because the Danishdesign-meets-Moroccan-riad vibe of your local WeWork just isn’t for everyone.

Place

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In the future, process and place must serve people.

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Future State Vol. 02

What’s Next?

These seven bold predictions were just a handful of the Future Staters’ exciting ideas and aheadof-the-curve prognostications. Some feel close— we’d happily take that better work-life integration tomorrow—and others much further out. What’s most inspiring, however, is seeing these 80 young designers look into their crystal balls to see the big problems lurking around the corner. Better still, to see them put their heads together and start to flick at big solutions.

As the Future State program gears up for Year Three, we’re as committed to looking back as we are to looking forward. We’ll be assessing the predictions from the first two years of Future State and using some of them to inform how we meet the market.

We’re excited to keep the conversation going, to keep searching for the next big ideas, and to keep learning from you.

Future State 2019 Participants Aida Lora, Alex Marschman, Alexa Bustamante, Alexis Moore, Alina Chelaidite, Amanda Curtis, Amber Kingsnorth, Anna Wex, Ashley Roller, Asya Gevorkyan, Ayla Calverly, Ben Vogels, Brittany Walker, Cally Dalton, Cameron Elder, Colleen Georges, Dima Daimi, Elizabeth Barnes, Florence Langenegger, Isabel Collazos, Jennifer Lock, Jessi Mesalic, Jessica Weldon, Jieun Cho, Jissette Jimenez, Juan Mejia, Kamilah Bermudez, Kathleen Mcguiness, Laura Saler, Leah Romero, Lisette Boosooboy, Macy Koochek, Maria Rivera, Maria Sanchez, Mary Eskin, Molly Anderson, Natalie Minott, Natalie Russel, Nisha Prasad, Rhiannon Roberson, Robin Bailey, Sabrina Silva, Sherry Anderson, Steven Burgos, Sunny Reed, Sylive Gagnon, Tonya Watts, Traci Sweeney, Valentina Zerpa, Veronica Burch, William Dahl, Yamile Fernandez For more information, please visit hermanmiller.com or call 888 443 4357 and

are among the registered trademarks of Herman Miller, Inc., and its subsidiaries.

Printed in the USA. Please recycle. © 2019 Herman Miller, Inc., Zeeland, Michigan O.MS1941 All rights reserved.

RESERVE A TABLE For ticket sales and information, contact Fiore Barbini at fbarbini@iida.org or visit www.iida.org

Fall 2019 SAN FRANCISCO

LOS ANGELES

DALLAS

TORONTO

CHICAGO

Speaker: Heather McGee Distinguished Senior Fellow and Former President, Demos; Expert in Racial Healing

Speaker: Majora Carter Real Estate Developer

Speaker: Terri Trespicio Award-Winning Writer, Speaker, and Brand Advisor

Speaker: To be announced

Speaker: Terri Trespicio Award-Winning Writer, Speaker, and Brand Advisor

Honoree: Collin Burry, FIIDA Principal Gensler

Honoree: Humble Design

Honoree: Vicki VanStavern Owner and Founder VanStavern Design Group

Honoree: To be announced

Honoree: Diane Schroeder Mitchell Cohen Interior Design Leaders

September 6, 2019 Four Seasons San Francisco 757 Market Street San Francisco, CA

September 12, 2019 JW Marriott Los Angeles L.A. LIVE 900 W. Olympic Boulevard Los Angeles, CA

September 27, 2019 Renaissance Dallas 2222 N. Stemmons Freeway Dallas, TX

November 15, 2019 The Omni King Edward Hotel 37 King Street East Toronto, ON

December 13, 2019 Radisson Blu Chicago 221 N. Columbus Drive Chicago, IL

ATLANTA | CHICAGO | DALLAS | HOUSTON | LOS ANGELES | NEW YORK | SAN FRANCISCO | TORONTO

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cityliving A 050 showerhead by Teit Weylandt serves the bathroom of a studio apartment.

the top brass firm: messana o’rorke site: west village

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the way it was when the original tenants moved in last century. But Messana and Toby O’Rorke saw the potential right away. Since founding their firm in 1996, the architects have been refining an essentialism that pro­vides visual stimulation through compelling materials and meticulous construction.

“We’ve been working with the idea of living with spacedefining volumes that you move through and contain all the storage you might need,” Messana continues. But they’d never done a volume to sleep in. “Rethinking the classic four-poster,” O’Rorke notes, they devised a 7-foot cube containing a queen-size bed with cabinetry underneath. The outside of the hinged box, which floats 96

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ERIC LAIGNEL

Even luxury can come in small packages. Take this 430-square-foot studio in the West Village. Although it’s situated inside a standard white-brick co-op from the late 1950’s, its location and penthouse views that stretch to the Hudson River compensate for the building’s lack of curb appeal. But everything in the apartment had to go. So in walked Messana O’Rorke.

“The kitchen had been renovated at some point,” Brian Messana says, “by which I mean new Home Depot cabi­netry had been installed.” And the bathroom was just

living

Clockwise from above: In the living area, a 65-inch TV c i ty is embedded in custom panels of engineered fumed European oak, which conceal storage. The queen-size bed is contained in a cube of unlacquered brass that will patina over time. Lined in dyed Italian cowhide, the volume hinges open on three sides. Poul Kjærholm chairs and an Antonio Citterio sofa gather before the Carrara marble–appointed kitchenette.

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c i t y living

From top: The same marble outfits the bathroom. White oak floor­ boards that are 9-inch-wide run through the apartment.

nubuck Poul Kjærholm lounge chairs and the Antonio Citterio sofa upholstered in cashmere-wool really stand out. This maybe micro-living, but it makes a big impact.

—Michael Lassell

FROM FRONT VOLA THROUGH AF NEW YORK: SHOWER FITTINGS, SINK FIT­T INGS (BATHROOM). FRITZ HANSEN THROUGH SUITE NY: COCKTAIL TABLE, CHAIRS (LIVING AREA). ARONSON’S: CUSTOM RUG. MAXALTO: SOFA. SAM­SUNG: TV. AREAWARE: PIGGY BANK (HALL). KYLE BUNTING: CUSTOM PANEL UPHOLSTERY (SLEEPING AREA). B&B ITALIA: PILLOWS. AREA: BEDDING. TOTO: TOILET (BATHROOM). GEBERIT: TOILET FLUSH. THROUGHOUT LV WOOD: CUSTOM CABINETRY, CUSTOM WALL PANELING, CUSTOM FLOORING. STONE SOURCE: MARBLE. ZEROLUX LIGHTING DESIGN: LIGHTING CONSUL­TANT. SOUND & VISION: AUDIOVISUAL CONSULTANT. M.A. RUBIANO: MEP. UC GROUP: WOODWORK, GENERAL CONTRACTOR.

ERIC LAIGNEL

free of the surrounding walls and stands at one end of the living area, is clad in unlacquered brass panels, the inside cloaked in gray-dyed cowhide. “It’s tactile,” Messana explains, “warm and enclosing.”

The remainder of the studio’s exquisite palette is composed almost entirely of oak and Italian marble.

The former appears fronting the walls of storage that flank the whole space and as wide floor planks throughout. Except in the bathroom, where Carrara marble forms the envelope and the extra-long vanity (and brass reappears in the sink and shower fittings). The stone makes a second showing as the backsplash in the living area’s kitchenette, which can be hidden away by bifold doors once meal prep has finished. That’s when the

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Silicon Bronze High Polished

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hospitality

C I T Y living

firm: atelier ace

site: lower east side

ADRIEN GAUT

all in the family In the lobby of Sister City hotel, vintage furniture including a Rodolfo Bonetto armchair and Joe Colombo side chairs cluster on custom terrazzo flooring.

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s­ ign,” and says that it’s the logical conclusion of the Japanese-Scandinavian inspired “less, but better” movement.

She adds, “It lives at the intersection of simplicity and beauty, inspired by design that’s purposeful, minimal, and authentically crafted.”

Much of the work in the century-old

“music” based on the weather? Original, hand-stamped Isamu Noguchi lanterns? All starting at $150 a night?

Now we’re talking unique, and that’s the vibe at Sister City, the 80,000square-foot property on the Bowery from Atelier Ace, the creative agency that launched the game-changing Ace Hotel in Seattle in 1999 that’s grown to a chainlet of nine sites worldwide.

Kelly Sawdon, chief brand officer and partner at Atelier Ace/Ace Hotel Group, calls the ethos of the new spinoff brand’s first location “mindful de-

tenement building, formerly used by the Salvation Army and expanded by Ace Hotel Group from 10 to 14 floors, is custom, from the terrazzo vanities and handy valets in rooms—which range from a tidy 120 square feet to 200—to the built-in furnishings, which are also on display in the rooftop bar, Last Light, and the ground-level restaurant, Floret.

Vintage furniture is peppered in for just the right amount of personality.

Forward-thinking touches include communal corridor pantries with refillable water stations and truly

ADRIEN GAUT

A trendy 200-room hotel on the Lower East Side isn’t so unusual. And neither is it being fitted with gleaming cherrywood details. Classy and tasteful, check and check. But tranquil inroom services in partnership with the Headspace guided-meditation app?

A lobby sound installation that creates

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Clockwise from top left: Among the six room types, all featuring custom cherrywood millwork, is the Bunk. Vanities, also custom, are terrazzo. The somewhat hidden Freeman Alley leads to the back entrance, accessed through a painted steel gate. Patricia Urquiola stools line the bar at Last Light. Wire maps handmade by Paul Smotrys in Industry City, Brooklyn, appear in the lobby and throughout the hotel.

ADRIEN GAUT

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Clockwise from top left: Clad in glass block and brick, four stories were added to the century-old tenement building formerly occupied by the Salvation Army.

Instead of closets, guest rooms offer custom valets that were fabricated in Italy. A custom birch screen separates the lobby from the restaurant, Floret.

Additional storage space is provided under the custom bed in the form of open shelves.

self-service, mobile check-in kiosks.

But likely people will be talking the most about the Lobby Score concept, a collaboration with composer Julianna Barwick that came to life with Microsoft’s AI technology. “We were listening to Brian Eno’s Ambient 1: Music for Airports and were inspired by the site-specific songs,” Sawdon says. “Then we wondered what ‘music for hotels’ could sound like.” Now guests will hear an electronic version of the snow, pigeons, and anything else that’s captured by the next-generation camera up on the roof. —Ted Loos

TOM BUNK BED (GUEST ROOM). RICH BRILLIANT WILLING: CUSTOM SCONCES. CONTARDI: MIRROR. SIGNATURE PLUMBING: SINK FITTINGS. GLENGERY: BRICK (EXTERIOR). MOROSO: BARSTOOLS (BAR). LINE STUDIO DETROIT: CUSTOM BAR COUNTER. OMNIA GROUP: BAR TILE. LITE BRITE: CUSTOM LINEAR FIXTURES. ALLIED MAKER THROUGH MANHATTAN LIGHTS: PENDANT FIXTURES. EXQUISITE SURFACES: WALL TILE. MANDY LI: CUSTOM BENCHES (BAR), CUSTOM SOFA (LOBBY). GAUGE NYC: CUSTOM WIRE MAP (LOBBY).

COWTAN & TOUT: WALL COVERING (GUEST ROOM).

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living

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ADRIEN GAUT

hospitality c i t y

FROM FRONT WAUSAU TILE: CUSTOM FLOOR TILE

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What a Viu

Welcome to the bathroom of tomorrow.

The idea: Soft, organic inner forms meet geometric, precise outer contours. A fusion of different materials –ceramics, wood, metal, glass. The purpose: Perfection from every angle, technology for maximum comfort. The result: Viu. Design by sieger design, realized by Duravit. What a Viu! Boston Frank Webb Home 617-933-0666, Chicago Studio 41 773-395-2900, Dallas Expressions Home Gallery 972-432-4972, Los Angeles Snyder Diamond 310-450-1000, Miami Decorator’s Plumbing 305-576-0022, New York Grande Central Showrooms of NY 212-588-1997, San Francisco Excel Plumbing Supply 415-863-8889, Seattle Keller Supply 206-270-4724. www.duravit.us

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TRANSCERAMICA 36 East 31st St., 2nd Fl. (between Park and Madison Ave.) transceramica.com/nyc

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ELEGANCE IN HARDWARE 860 Lexington Ave. (between 64th and 65th St) eleganceinhardware.com

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ELGOT 1296 3rd Ave. (between 74th and 75th St) elgot.com

AJ MADISON 3605 13th Ave. Brooklyn, NY 11218 ajmadison.com FERGUSON BATH, KITCHEN, & LIGHTING GALLERY 145 Bridge Park Dr Ste H Brooklyn, NY 11201 ferguson.com APPLIANCE WORLD 414 New York Ave. Huntington, NY 11743 applianceworld.com ALBANO APPLIANCES 83 Westchester Ave. Pound Ridge, NY 10576 albanoappliance.com

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n y c x d e s i g n awards We stitched together the Big Apple’s best projects and products for our annual NYCxDesign Awards

fabric of the city

text: wilson barlow

IWAN BAAN

institutional, Rockwell Group and Diller Scofidio + Renfro, the Shed, Hudson Yards.

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n y c x d e s i g n awards

1. small retail, Tacklebox Architecture, Claus Porto New York, NoLIta. 2. corporate office, Gensler, Confidential, Times Square. 3. sales

center/model apartment, Gabellini Sheppard Associates, XI Visionaries Gallery, West Village. 4. architectural installation/pop-up, Focus Lighting and Portico Group and WCS Exhibition + Graphic Arts Department and ESKW/Architects and Ned Kahn, Ocean Wonders: Sharks!, Coney Island.

CLOCKWISE FROM TOP LEFT: ERIC PETSCHEK; CONNIE ZHOU/GENSLER; NIKOLAS KOENIG; RYAN FISCHER/FOCUS LIGHTING

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1. higher education, MdeAS Architects, Alumni Auditorium and Schaefer Awards Gallery, Columbia University Irving Medical Center, Washington Heights. 2. exhibition/installation, Studio Joseph, The Senses: Design Beyond Vision, Carnegie Hill. 3. firm’s own office, INC Architecture & Design, Hudson Square. 4. large retail,

Gachot Studios, Glossier Flagship, Little Italy.

3 CLOCKWISE FROM TOP LEFT: PAVEL BENDOV; THOMAS LOOF/SCOTT RUDD; ERIC LAIGNEL; JASON SCHMIDT

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INC Architecture & Design, Momofuku Noodle Bar, Midtown.

5. on the boards, SHoP Architects, 111 West 57th Street, Midtown. 6. residential lobby/amenity space, Slade Architecture, Eagle Lofts, Long Island City. 7. kitchen + bath, CO Adaptive Architecture, Macon Street Passive House, Bedford–Stuyvesant.

6 5

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CLOCKWISE FROM TOP LEFT: THOMAS MINIERI/JEREMY FRECHETTE; ERIC LAIGNEL/GENSLER; ERIC LAIGNEL (2); HAYES DAVIDSON; TOM SIBLEY; PETER DRESSEL

1. commercial lobby/amenity space, Studios Architecture, 4 Times Square Amenity Floor. 2. graphics and branding, Gensler, AKC Museum of the Dog, Midtown. 3. bar/lounge, West Chin Architects, 18th Room, Chelsea. 4. restaurant,

PHOTO ANDREA FERRARI | STYLING STUDIOPEPE | AD GARCIA CUMINI

Maxima 2.2 Design R&D Cesar

CESAR FLAGSHIP STORE NEW YORK Tel. 212 505 2000 info@cesarnyc.com www.cesarnyc.com STORES usa@cesar.it Boston | Chicago | Denver | Edwards | Los Angeles Malibù | Miami | Minneapolis | New Jersey San Francisco | San Juan | Washington DC Montreal | Toronto | Vancouver

cesar.it

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1. primary/secondary education, Architecture Research

Office, Tate Library, Ethical Culture Fieldston School, Bronx.

2. healthcare, Stephen Yablon Architecture, Chelsea District Health Center. 3. large apartment, SheltonMindel, 56 Leonard, TriBeCa. 4. coworking space, Convene, Club 75, Midtown.

5. shining moment, SHoP Architects and Ken Smith Workshop, Pier 35, Lower East Side. 6. showroom, GI Design Studio,

Fiandre, NoMad.

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CLOCKWISE FROM TOP LEFT: JAMES EWING; MICHAEL MORAN/OTTO (2); BILYANA DIMITROVA; COURTESY OF SHOP ARCHITECTS; ARIEL CAMILO

n y c x d e s i g n awards

ARCHITECTURAL TEXTURES COLLECTION

me m os am p l e s . c o m

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n y c x d e s i g n awards

1. health + wellness, Heitler Houstoun Architects, Clean Market, Turtle Bay. 2. building exterior, ODA New York, 10 Jay, Dumbo. 3. city house, TBD Architecture & Design Studio, Fort Greene. 4. multi-unit residential building, Whitehall Interiors, 91 Leonard, TriBeCa. 5. hotel, Yabu Pushelberg, Times Square Edition. 6. sweet treats, Suzumori Architecture, Pâtisserie Fouet, Greenwich Village. 7. counter

interiordesign.net/nycxdesign19 for the full list of project and product winners and honorees 6 5

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4

CLOCKWISE FROM TOP LEFT: DOROTHY HONG; PAVEL BENDOV; MATTHEW WILLIAMS; COURTESY OF TOLL BROTHERS CITY LIVING; NIKOLAS KOENIG; CHENG LIN; JULIAN FAULHABER

service, Büro Ole Scheeren, Stage, Meatpacking District.

roomandboard.com/businessinteriors 800.952.9155

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A sound perspective

TUBULAR

CHANGE YOUR PERSPECTIVE ON ACOUSTIC TILE AT TURF.DESIGN 844.TURF.OMG

powe rgrid Our third annual report on the status of New York real estate

rarefied air Kohn Pedersen Fox project One Vanderbilt, Midtown. square feet 1,750,000. developer Hines and SL Green.

COURTESY OF KOHN PEDERSEN FOX

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INTERIOR DESIGN

137

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It’s often game-changing to see how the development business is going in one of the most lucrative real estate markets in the world.

We organized our third annual PowerGrid survey in New York and its metro area to give a snapshot, albeit one with some depth of field, today and in the coming year.

We solicited key data from 56 firms that examines project development over the past 12 months in the five boroughs. We also asked about on-the-boards projects going forward. Even though this is only our third go-round, we’re already seeing some trends—and will no doubt illuminate more as we accumulate more years of data (yes, numbers can also be fun).

Bottom line: Our top firms reported 579 jobs completed at a total of 64 million square feet.

Multi-family residential projects continued to dominate. Of the top completed jobs at each firm, 46 percent fell into that category, but when you add in lobbies/amenity spaces and other residential types, that total rose to 54 percent.

The most lucrative area after residential is mixed-use (16 percent of jobs). Hospitality, academic, retail, and institutional projects all account for single-digit percentages.

Compare those totals to last year and residential work dropped about 5 percent, hospitality fell slightly, while mixed-use rose.

What do city firms expect going forward? On-the-board numbers are ambitious and optimistic, with 1,050 jobs totaling more than 218 million square feet. Among the largest jobs for each firm, 41 percent

MAGDA BIERNAT

POWE R G RI D

Skidmore, Owings & Merrill project Cheryl and Philip Milstein Teaching and Learning Center, Morningside Heights. square feet 128,000. developer Barnard College.

remain residential, but mixed-use is set to double to 31 percent.

Where will all this work take place? As with last year’s numbers, the outer boroughs rack up some impressive volume stats, but Manhattan is still where the big money is. According to building permit data from August 2018 through this August, the city issued nearly 7,200 permits, a 20 percent gain over last year’s survey. Nine out of 10 went for outer-borough jobs: two-thirds were for Brooklyn (2,659) and Queens (2,312), with Staten Island (920) and the Bronx (514) rounding out the field.

How about Manhattan? 756 permits went to the island, but the rest of the data tells the real story: Those permits cover 71 million square feet and $12.4 billion in work. You have to combine Brooklyn (54.7 million/$8.8 billion) and Queens (36.8 million/$5.7 billion) to beat that. Meanwhile, the Bronx (16 million/$2.4 billion) and Staten Island (6.6 million/ $1 billion) take what they can get.

Another perspective: Every square foot of work in Manhattan is worth $18 more than a square foot in the outer boroughs.

We’re also curious about who’s doing the most interesting work and what Big Apple firms think of their peers, so we asked about current hot projects, people, and firms in the industry. Here’s what we found. —Mike Zimmerman

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POWE R G RI D

*Square footage is from only 1 on-the-boards project

140

INTERIOR DESIGN

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RANK FIRM

PROJECTS COMPLETED

SQUARE FEET

ON-THEBOARDS PROJECTS

ON-THEBOARDS SQUARE FEET

TOTAL COMBINED SQ. FT. IN NYC 28,847,651

1

HILL WEST ARCHITECTS hillwest.com

12

4,124,852

52

24,722,799

2

SKIDMORE, OWINGS & MERRILL som.com

9

4,462,227

27

22,966,854

27,429,081

3

GENSLER gensler.com

34

4,769,945

59

22,322,831

27,092,776

4

PERKINS EASTMAN perkinseastman.com

48

7,250,000

167

16,500,000

23,750,000

5

KOHN PEDERSEN FOX kpf.com

7

5,800,378

18

15,078,127

20,878,505

6

COOPER ROBERTSON cooperrobertson.com

0

0

2

19,700,00

19,700,000

7

FXCOLLABORATIVE fxcollaborative.com

16

960,000

65

18,127,000

19,087,000

8

ODA NEW YORK oda-architecture.com

8

3,201,488

18

8,982,740

12,184,228

9

WHITEHALL INTERIORS whitehallinteriorsnyc.com

6

2,045,182

29

9,166,361

11,211,543

10

ROTTET STUDIO rottetstudio.com

208

5,000,000

100

5,000,000

10,000,000

11

COOKFOX ARCHITECTS cookfox.com

7

1,630,000

30

8,055,000

9,685,000

12

CETRARUDDY ARCHITECTURE cetraruddy.com

3

659,442

22

5,044,351

5,703,793

13

DXA STUDIO dxastudio.com

5

224,500

50

5,050,000

5,274,500

14

STONEHILL TAYLOR stonehilltaylor.com/

13

691,894

63

4,383,877

5,075,771

15

DURUKAN DESIGN durukandesign.com

13

1,179,000

27

3,847,000

5,026,000

16

SHOP ARCHITECTS shoparc.com

5

2,287,000

6

2,058,115

4,345,115

17

INC ARCHITECTURE & DESIGN inc.nyc

9

643,587

29

3,171,078

3,814,665

18

RICHARD MEIER & PARTNERS ARCHITECTS* richardmeier.com

6

3,770,000

8

527,981*

3,770,000

19

CORGAN corgan.com

6

478,600

13

3,188,139

3,666,739

20

WOODS BAGOT woodsbagot.com

3

523,000

9

2,923,000

3,446,000

21

DAVIS BRODY BOND davisbrody.com

2

518,000

6

2,841,000

3,359,000

22

ROCKWELL GROUP rockwellgroup.com

3

969,930

2

2,202,007

3,171,937

23

ISMAEL LEYVA ARCHTIECTS ilarch.com

14

1,396,500

11

1,524,500

2,921,000

24

FOGARTY FINGER ARCHITECTURE fogartyfinger.com

1

251,000

12

2,625,000

2,876,000

25

LEMAY + ESCOBAR lemayescobar.com

4

588,287

12

2,095,400

2,683,687

26

BKSK ARCHITECTS bksk.com

11

423,000

20

2,187,277

2,610,277

27

GABELLINI SHEPPARD ASSOCIATES gabellinisheppard.com

1

31,000

7

2,500,000

2,531,000

28

NPZ STYLE + DÉCOR npzdesign.com

1

2,000,000

1

300,000

2,300,000

29

MOJO STUMER ASSOCIATES mojostumer.com

1

87,500

6

2,120,000

2,207,500

30

NBBJ nbbj.com

4

857,000

6

1,323,600

2,180,600

31

PARIS FORINO parisforino.com

3

404,522

11

1,698,283

2,102,805

32

ROBERT A.M. STERN ARCHITECTS ramsa.com

3

532,404

7

1,319,570

1,851,974

33

CHAMPALIMAUD champalimauddesign.com

4

410,199

6

1,138,940

1,549,139

34

LUBRANO CIAVARRA ARCHITECTS lcnyc.com

2

442,000

2

775,099

1,217,099

35

JEFFREY BEERS INTERNATIONAL jeffreybeers.com

1

600,000

2

570,000

1,170,000

36

STUDIOSC studiosc.net

32

885,732

30

248,279

1,134,011

37

BONETTI KOZERSKI ARCHITECTURE bonettikozerski.com

6

300,000

10

800,000

1,100,000

38

MESHBERG GROUP meshberggroup.com

11

334,000

11

753,000

1,087,000

39

JRS ARCHITECT jrsarchitect.com

12

325,000

15

530,000

855,000

40

MURPHY BURNHAM & BUTTRICK mbbarch.com

4

115,845

25

704,193

820,038

41

STUDIO SOFIELD studiosofield.com

2

708,500

0

0

708,500

42

WORKSHOP/APD workshopapd.com

2

366,788

7

334,216

701,004

43

MARMOL RADZINER marmol-radziner.com

2

492,000

4

104,000

596,000

44

ARCHITECTURE IN FORMATION aifny.com

0

0

8

591,690

591,690 500,000

45

SHELTONMINDEL sheltonmindel.com

2

150,000

5

350,000

46

GROVES & CO. grovesandco.com

3

300,000

2

190,000

490,000

47

ANDRE KIKOSKI ARCHITECT akarch.com

9

145,000

7

200,000

345,000

48

BG STUDIO INTERNATIONAL bgstudio

2

121,111

2

150,000

271,111

49

YABU PUSHELBERG yabupushelberg.com

4

250,000

2

20,000

270,000

50

TRA STUDIO trastudio.com

4

68,900

5

199,600

268,500

51

BHDM DESIGN bhdmdesign.com

1

11,000

1

250,000

261,000

52

ICRAVE icrave.com

1

35,000

6

195,500

230,500

53

JANSON GOLDSTEIN jansongoldstein.com

6

200,000

1

5,000

205,000

54

KRAVITZ DESIGN kravitzdesign.com

1

1,205

3

156,304

157,509

55

PEMBROOKE & IVES pembrookeandives.com

1

20,000

1

38,000

58,000

56

LUKSTUDIO lukstudiodesign.com

1

14,686

0

0

14,686

knolltextiles.com

Wall

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top 20 largest projects FIRM

SQUARE FEET

TYPE

DEVELOPER

1 HUDSON YARDS

KOHN PEDERSEN FOX

13,370,000

MIXED-USE

RELATED/OXFORD PROPERTIES GROUP

2 BELL WORKS

NPZ STYLE + DÉCOR

2,000,000

MIXED-USE

SOMERSET DEVELOPMENT

3 111 MURRAY

HILL WEST ARCHITECTS

1,179,437

MULTI-FAMILY

FISHER BROTHERS

4 EMPIRE OUTLETS

SHOP ARCHITECTS

1,150,000

RETAIL

BFC PARTNERS

5 35 HUDSON YARDS

SKIDMORE, OWINGS & MERRILL

1,055,000

MIXED-USE

RELATED

PROJECT

6 DENIZEN

ODA NEW YORK

1,000,000

MULTI-FAMILY

ALL YEAR MANAGEMENT

7 THE FIFTH AVENUE*

MOJO STUMER ASSOCIATES

875,000

MIXED-USE

TAHL PROPP EQUITIES

8 ONE UNITED NATIONS PARK

RICHARD MEIER & PARTNERS ARCHITECTS 827,200

MULTI-FAMILY

SOLOW BUILDING COMPANY

9 420 KENT

ODA NEW YORK

800,788

MULTI-FAMILY

SPITZER ENTERPRISES

10 15 HUDSON YARDS

ROCKWELL GROUP

800,000

LOBBY/AMENITY SPACE RELATED

11 ONE SOHO SQUARE

GENSLER

768,000

COMMERCIAL/OFFICE

STELLAR MANAGEMENT

12

CITY TECH**

PERKINS EASTMAN

625,000

ACADEMIC

CITY TECH

12 VYV**

PERKINS EASTMAN

625,000

MULTI-FAMILY

BROOKFIELD PROPERTIES

13 ONE WEST END

JEFFREY BEERS INTERNATIONAL

600,000

MULTI-FAMILY

ELAD GROUP/SILVERSTEIN PROPERTY

14 RHEINGOLD BUSHWICK

DURUKAN DESIGN/ODA NEW YORK

471,000

MULTI-FAMILY

RABSKY GROUP

15 ARO

CETRARUDDY ARCHITECTURE

468,300

MULTI-FAMILY

ALGIN MANAGEMENT CO.

16 JEROME L. GREENE SCIENCE CENTER

DAVIS BRODY BOND 458,000 ACADEMIC

MANHATTANVILLE DEVELOPMENT

17 QUAY TOWER CONDOMINIUMS

MARMOL RADZINER

RAL COMPANIES/OLIVER’S REALTY GROUP

450,000

MULTI-FAMILY

18 THREE WATERLINE SQUARE

GROVES & CO.

435,000

MULTI-FAMILY

GID DEVELOPMENT GROUP

19 ASBURY OCEAN CLUB**

BONETTI KOZERSKI ARCHITECTURE

400,000

HOSPITALITY

ISTAR

19 111 WEST 57TH STREET ** STUDIO SOFIELD I 400,000 OTHER

JDS DEVELOPMENT GROUP/ PROPERTY MANAGEMENT GROUP

19 GRAMERCY SQUARE**

WOODS BAGOT

MULTI-FAMILY

CABGRAM DEVELOPERS

20 TWA HOTEL

INC ARCHITECTURE & DESIGN/ 392,000 LUBRANO CIAVARRA ARCHITECTS/STONEHILL TAYLOR

HOSPITALITY

MCR/MORSE DEVELOPMENT

400,000

*one of two buildings **tie

powe r g ri d

ALAN SCHINDLER

CetraRuddy Architecture project Oskar, Hell’s Kitchen. square feet 183,000. developer Moinian Group.

142

INTERIOR DESIGN

SEPT.19

Gensler project One SoHo Square. square feet 768,000. developer Stellar Management.

MARIA MARETTI/GENSLER

powe r g ri d

144

INTERIOR DESIGN

SEPT.19

Gabellini Sheppard Associates project 152 Elizabeth Street, SoHo. square feet 31,000. developer Sumaida + Khurana.

POWE R G RI D Durukan Design and ODA New York project Rheingold Bushwick. square feet 471,000. developer Rabsky Group.

completed project types by % of work multi-family 48%

mixed-use 16% hospitality 9% education 9%

FROM TOP: PAUL WARCHOL; GARRETT ROWLAND

multi-family lobby/amenity spaces 6% office 4% retail 3%

civic/cultural 1% other 4%

146

INTERIOR DESIGN

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D E S I G N S I N S P I R E D B Y N AT U R E A N D E N G I N E E R E D TO M E E T I T S R E S I L I E N C E

C E L E B R AT I N G T W O D E C A D E S O F S U P E R I O R S H A D E

DESIGN ENGINEERING I N N OVAT I O N E X P LO R AT I O N

FXCollaborative project 3 Hudson Boulevard, Hudson Yards. square feet 1,800,000. developer Boston Properties and Moinian Group.

largest on-the-boards projects PROJECT

FIRM

SQUARE FEET

TYPE

DEVELOPER

RIVERTON

COOPER ROBERTSON

18,200,000

MIXED-USE

NORTH AMERICAN PROPERTIES

2 BELL WORKS

NPZ STYLE + DÉCOR

2,000,000

MIXED-USE

SOMERSET DEVELOPMENT

3 5POINTZ TOWERS

MOJO STUMER ASSOCIATES

1,944,696

MULTI-FAMILY

CAPELLI ORGANIZATION

4

3 HUDSON BOULEVARD**

FXCOLLABORATIVE

1,800,000

COMMERCIAL/OFFICE

BOSTON PROPERTIES/MOINIAN GROUP

4 HUDSON PIERS*

PERKINS EASTMAN

1,800,000

MIXED-USE

N/A

5 ONE VANDERBILT

KOHN PEDERSEN FOX

1,750,000

MIXED-USE

HINES/SL GREEN

6 THE WALDORF ASTORIA

SKIDMORE, OWINGS & MERRILL

1,670,000

OTHER

ANBANG INSURANCE GROUP

WATERLINE SQUARE*

7

CHAMPALIMAUD/KOHN PEDERSEN FOX/ 1,650,194 MIXED-USE GID DEVELOPMENT GROUP RICHARD MEIER AND PARTNERS ARCHITECTS/ ROCKWELL GROUP/YABU PUSHELBERG

8 99 HUDSON PERKINS EASTMAN 1,400,000 MULTI-FAMILY BUILDING CHINA OVERSEAS AMERICA 9 ST. JOHN’S TERMINAL

COOKFOX ARCHITECTS

1,300,000

COMMERCIAL/OFFICE

OXFORD PROPERTIES GROUP

9 TOWER FIFTH

GENSLER

1,300,000

MIXED-USE

MACKLOWE PROPERTIES

10 JFK INTERNATIONAL AIRPORT JETBLUE TERMINAL 6

CORGAN

1,200,000

TRANSPORTATION

JFK MILLENNIUM PARTNERS

powe r g ri d 148

INTERIOR DESIGN

SEPT.19

*towers one and two **tie

COURTESY OF FXCOLLABORATIVE

1

THE NEW MISSONI HOME COLLECTION A CELEBRATION OF COLOR AND PATTERN BEGINS

FOR INFORMATION

NEW YORK SHOWROOM

LA SHOWROOM

bolon@mi-studios.com 212.252.2049

27 West 24th St., Suite 601 New York, NY

8745 Washington Blvd.

Culver City, CA

on-the-boards projects with largest interiors PROJECT

FIRM

1 WATERLINE SQUARE*

CHAMPALIMAUD/ ROCKWELL GROP/YABU PUSHELBERG

2 99 HUDSON PERKINS EASTMAN

SQUARE FEET

TYPE

DEVELOPER

1,500,000 MULTI-FAMILY GID DEVELOPMENT GROUP 1,400,000

MULTI-FAMILY

CHINA OVERSEAS AMERICA

1,200,000

MIXED-USE

SOMERSET DEVELOPMENT

4 LAGUARDIA AIRPORT CORGAN DELTA AIR LINES TERMINAL C

1,189,600

TRANSPORTATION

DELTA AIR LINES

5 SKYLINE TOWER

1,179,437

MULTI-FAMILY

UNITED CONSTRUCTION AND DEVELOPMENT

3 BELL WORKS

NPZ STYLE + DÉCOR

WHITEHALL INTERIORS

6 DAVID H. KOCH CENTER PERKINS EASTMAN/ICRAVE FOR CANCER CARE

760,000

HEALTHCARE

MEMORIAL SLOAN KETTERING

7 181 MERCER

DAVIS BRODY BOND

735,000

ACADEMIC

NEW YORK UNIVERSITY

8 TAINO TOWERS

LUBRANO CIAVARRA ARCHITECTS

687,779

MIXED-USE

MULTI-FAMILY MANAGEMENT SERVICES

9 PLG

WHITEHALL INTERIORS

643,446

MULTI-FAMILY

MOINIAN GROUP/123 LINDEN HOLDINGS

10 PARK & SHORE

WOODS BAGOT

600,000

MULTI-FAMILY

STRATEGIC CAPITAL

*towers one and two

ODA New York

powe rg ri d

COURTESY OF DARC STUDIO

project Beth Rivkah School, Crown Heights. square feet 250,000. developer Associated Beth Rivkah School.

150

INTERIOR DESIGN

SEPT.19

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The High Line Collection Hexie 65671 Rio Performance Fabric

Jeffrey Beers International

POWE R G RI D

project One West End, Hell’s Kitchen. square feet 600,000. developer Elad Group and Silverstein Property.

“On-the-boards numbers are ambitious and optimistic, with 1,050 jobs totaling more than 218 million square feet”

multi-family 41% mixed-use 31% academic 4% office 4% multi-family lobby/amenity spaces 4% transportation 4% hospitality 4% retail 3% institutional (museums, libraries, government) 1% other 3%

on-the-boards by project type 152

INTERIOR DESIGN

SEPT.19

ERIC LAIGNEL

healthcare 1%

Nora Lounge Chair and Ottoman

© 2019 Design Within Reach, Inc.

Designed by Norm Architects for Design Within Reach

A DIVISION OF DESIGN WITHIN REACH

1.800.591.6965 DWRCONTRACT.COM

POWE R G RI D

SHoP Architects project 9 DeKalb Avenue, Downtown Brooklyn. square feet 735,000. developer JDS Development Group.

most influential real estate firm (1) Corcoran Group (2) Douglas Elliman Real Estate (3) Compass

most admired projects (1) Hudson Yards (2) 130 William (3) 152 Elizabeth Street

most admired developers (1) Related (2) HFZ Capital Group; Witkoff

(tie)

most influential real estate brokers

favorite construction companies

(1) Fredrik Eklund/Douglas Elliman Real Estate

(1) Sciame Construction

(2) Deborah Kern/Corcoran Group

(2) Hunter Roberts Construction Group

(3) Leonard Steinberg/Compass

(3) Tishman Speyer

154

INTERIOR DESIGN

SEPT.19

COURTESY OF SHOP ARCHITECTS

(3) Brookfield Properties

Hey there, Havn Designed by Busk + Hertzog

A place to rest, recharge or simply reclaim your focus, the crafted lounge invites a private moment within a public space.

studiotk.com

POWE R G RI D

INC Architecture & Design project 121 East 22nd Street, Gramercy Park. square feet 245,000. developer Toll Brothers City Living.

Ismael Leyva Architects

184,974,512 121,935

total square feet in metro area

total residential units

Estimates according to the New York City Department of Buildings based on total number of active permits as of 09/07/2018.

156

INTERIOR DESIGN

SEPT.19

FROM TOP: ANNIE SCHLECHTER; COURTESY OF URBAN DEVELOPMENT PARTNERS

project The Greenpoint, Brooklyn. square feet 780,000. developer Mack Real Estate Group.

SPACE REIMAGINED.

PHOTOGRAPHY BY: TOM SIBLEY

DISCOVER A WORLD OF SPACE DESIGN SOLUTIONS

Showroom + Acoustic Design Lab Architectural Walls. Unparalleled Options.

201.329.6226 | www.modernfoldstyles.com

NPZ Style + Décor

total sq. ft. of permitted projects per borough *in millions

158

manhattan

70.87

brooklyn

54.73

queens

36.79

bronx

15.98

staten island

6.60

INTERIOR DESIGN

SEPT.19

POWE R G RI D Rockwell Group project Waterline Club, Upper West Side. square feet 100,000. developer GID Development Group.

FROM TOP: KATE TESTA; NOE & ASSOCIATES/BOUNDARY

project Bell Works, Holmdel, New Jersey. square feet 2,000,000. developer Somerset Development.

info@estiluzusa.com

www.estiluzusa.com

330 West 38th St. Suite 710 New York, NY 10018 USA

T +1 (646) 454 1285

ASANA by Oiko Design

50th Anniversary

count of permits per borough

POWE R G RI D bronx 514 manhattan 756 staten island 920

queens 2,312

CookFox Architects project One South First, Williamsburg, Brooklyn. square feet 480,000. developer Two Trees Management.

160

INTERIOR DESIGN

SEPT.19

COURTESY OF COOKFOX ARCHITECTS

brooklyn 2,659

Corgan project Delta Air Lines Terminal C,

LaGuardia Airport.

square feet 1,189,600. developer Delta Air Lines.

powe rg ri d

sum of estimated project sizes by type multi-family

112.0

workplace

32.0

hospitality

12.5

single family

8.0

education

6.1

storage

5.6

other

2.6

commercial

2.5

healthcare

1.9

industrial

1.2

religious

0.3

cultural

0.1

Jason Goldstein project Neiman Marcus, Hudson Yards. square feet 188,000. developer Related.

162

INTERIOR DESIGN

SEPT.19

FROM TOP: COURTESY OF CORGAN; SCOTT FRANCES

*in millions of square feet

TAGWALL

INFINITE POSSIBILITIES Discover the possibilities today at tagwallny.com

321 West 44th Street, Suite 200 New York, NY 10036 212.354.9255

Champalimaud project One Waterline Square, Upper West Side. square feet 500,000. developer GID Development Group.

powe rg r i d

sum of estimated project costs per borough *in billions bronx $2.45

staten island $1.37

brooklyn $7.16 queens $4.77

methodology The survey was conducted with participating firms in July and August, 2019, and augmented by publicly available information. The survey requested information on firms’ development projects completed in the past 18 months and current on-the-boards development projects, within New York, New Jersey, Long Island, and Westchester County only. The overall ranking, based on all applicable information available at the time, as interpreted by Interior Design, is an evaluation of the top firms based on their total square footage of development projects completed in the past 18 months combined with ones the firms are currently work­ing on.

The data was compiled and analyzed by Interior Design and ThinkLab. 164

INTERIOR DESIGN

SEPT.19

COURTESY OF CHAMPALIMAUD

manhattan $8.44

urban cowboy

NEW YORK WORLD-TELEGRAM & SUN NEWSPAPER PHOTOGRAPH COLLECTION, PRINTS & PHOTOGRAPHS DIVISION, LIBRARY OF CONGRESS

A new Frank Lloyd Wright biography shows how, despite loathing New York, the scandal-beset Prairie architect used the city to transform himself from a marginalized figure into an American icon

166

INTERIOR DESIGN

SEPT.19

d e s i g n insider

FROM LEFT: THE FRANK LLOYD WRIGHT FOUNDATION ARCHIVES; COURTESY OF NEWSPAPERS.COM

After more than a decade of scandal and misfortune that encompassed murder, arson, adultery, divorce, bankruptcy, and arrest—all indiscriminately sensationalized by an often scurrilous tabloid press—Frank Lloyd Wright’s private life had chased him into a personal and professional wilderness. But the wilderness in which the architect wandered between 1925 and 1932 included New York City.

And, according to a new book, the extended sojourns he spent in the metropolis during those years saved him.

Of the many Wright biographies, Anthony Alofsin’s Wright and New York: The Making of America's Architect is unusual in focusing on the period in which the wellknown, though not yet famous Midwesterner— broke, nearly broken, and vulnerable—started again from scratch. The Prairie master, who had based his career on organic design, pieced his life and practice back together in the least organic environ-

ment in America, against the improbable cacophony of the urbanism he had always deplored. Unexpectedly, New York proved curative and gestational—a crucible that helped Wright forge a second act to his career, one that would establish his relevance in a century in which he was not born and in which he had lost professional traction.

In December 1925, the nearly 60-year-old Wright, his future wife, and newborn baby— homeless thanks to a devastating fire at

Taliesin, their Wisconsin residence—found refuge at the house of a relative in Queens. For the next several weeks, the architect steeped himself in the anonymity of Gotham’s crowds and the anomie of its streets. Gradually, like an amphibious creature stepping onto land, he tested the terrain, emerging from his shell of disdain and suspicion to make deeper forays into Manhattan, proving a curious and willing if reluctant explorer of what he considered dystopia. This island of towers was the antithesis of the sprawling Taliesin homestead that had nurtured his soul, the enemy incarnate of the organic architecture at the core of his vision.

Perhaps Wright considered himself a solitary genius, born full-grown on the Western plains, but the inconvenient truth was that he learned from New Yorkers. He en-

joyed their camaraderie, and discovered that besides trading in money, they traded in ideas, which grew and prospered in the city’s transactional cultural marketplace. Much to his benefit, Wright drank deeply at the trough of urbanity, particularly while living in Greenwich Village for five months from December 1926, his second and longest stay in the city.

He conversed with Manhattan’s intelligentsia who tested, nurtured, and matured his ideas— and subsequently transmitted them through the media: Wit-about-town Alexander Woollcott profiled him in The New Yorker; Architecture Forum and Architectural Record took up his cause; architectural historian Henry-Russell Hitchcock and urban theorist Lewis Mumford, at different times, championed him; and the charismatic Reverend William Norman Guthrie not only acted as private guide in the city’s social and intellectual labyrinth but also commissioned two designs from Wright—a vast and visionary Modern Cathedral and an apartment tower for the grounds of St. Mark’s Church in-theBowery—both unbuilt but both crucial to his future development.

As the Prairie architect acceded to the city he at first resisted, he farmed it, exploiting its position as the capital of American

Clockwise from opposite: In 1953, Frank Lloyd Wright standing with a model of the Price Tower in Oklahoma, based on a residential skyscraper designed in 1929 for St. Mark’s Church in-theBowery. His plan drawing for the Modern Cathedral, designed in 1926 but never built. A typically sensationalized article on Wright’s domestic troubles from the Helena Daily Independent, October 2, 1926. Wright and New York: The Making of America’s Architect, by Anthony Alofsin, released in May by Yale University Press.

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publishing. With few viable architecture projects and a sketchy income, Wright established himself as a theorist, journalist, and author who actually made a living from writing. Along with his Autobiography—begun in 1926 and first published in 1932, the longest and most important endeavor of his writing career— Wright produced more than 100 manuscripts

and criticized the city and faced the gathering headwinds of European Modernism, he developed and refined his theories about building a Jeffersonian society through architecture. This culminated in The Disappearing City, a 1932 book in which he proposed reconstructing the entire country with a ruralizing vision sharply at odds, paradoxically, with the metropo-

defiant proof that he was a leading 20th-century Modernist, though not in the boxy International Style that came to dominate the surrounding postwar Manhattan cityscape.

Hounded by the yellow press, Wright had come to New York as a sinning 58-year-old and embarked on a kind of second adolescence from which he emerged into a

resurrected his career but also mythologized himself, metamorphosing from pariah to patriarch. New York gave the architect opportunities that transformed a vulnerable, humbled figure into a Mount Rushmore– scale icon, an enduring American monument that Wright himself chiseled and shaped through his own prose.

during the period, including articles for Liberty, a mass weekly; Architecutral Record; one for The New Republic that was ultimately rejected; and several for World Unity Magazine, where he reviewed Le Corbusier's Towards a New Architecture.

The writing was remunerative and formative.

As Wright scrutinized

lis that had sustained him. It was a prelude to more than two highly productive decades of innovative design, including the Usonian houses, Fallingwater, and the Solomon R. Guggenheim Museum, which celebrates its 60th anniversary this year and, as Wright's only major New York building, stands in

second professional adulthood. Freudian analysts profess that a person can defeat neurosis by breaking down a troubled personality and constructing another. Wright went through an equivalent transfiguration on the couch of the city.

The collateral benefit of his polemical writings was that Wright not only

Clockwise from top left: An unbuilt design for a pavilion at New York’s Belmont Race Track, 1956. Wright’s graphic design for Book One of his Autobiography, 1931. St. Mark’s Church in-the-Bowery, 131 East 10th Street. Assistants and students installing a model of the St. Mark’s tower at an exhibition in Amsterdam, May 1931.

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CLOCKWISE FROM TOP LEFT: CAROL M. HIGHSMITH ARCHIVE, PRINTS & PHOTOGRAPHS DIVISION, LIBRARY OF CONGRESS; THE FRANK LLOYD WRIGHT FOUNDATION ARCHIVES; ARNOLD MOSES, HISTORIC AMERICAN BUILDINGS SURVEY, PRINTS & PHOTOGRAPHS DIVISION, LIBRARY OF CONGRESS; THE FRANK LLOYD WRIGHT FOUNDATION ARCHIVES

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“Our sculptures drifted and swayed as if being gently pushed by an underwater current” —Leta Sobierajski

coral arrangement A school of sculptures in the Seaport District by Wade and Leta was a marine life-Memphis mash-up 1

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artists and fabricators led by Wade Jeffree and Leta Sobierajski

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1. An Adobe Illustrator sketch shows the scale of the eight forms composing Sea Sculptures, a temporary installation by Wade and Leta at Pier 17. 2. Co-founder Wade Jeffree applies waterproof latex paint to the plywood shapes, which were CNC-cut to resemble algae and seaweed. 3. Jeffree and wife and co-founder Leta Sobierajski pose in their East Williamsburg studio with pieces of the installation prior to its assembly on-site. 4. Outside their Brooklyn studio, sculptures are put on a truck for transport to the Seaport District. 5. Developed in Rhino with collaborating engineer and fabricator Blacktable Studio, the plywood pieces interlocked via notches to withstand the up to 70-mph winds in the waterfront neighborhood.

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interiordesign.net/wadeandleta19 for a video of the sculptures being installed

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COURTESY OF WADE AND LETA

c e n t e r fold Part of the Seaport District’s Summer by the Sea art series, Sea Sculptures was intended to weather like the century-old ships docked at nearby Pier 16.

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ALL IN THE MIX

sept19 New York design rises to new heights

ERIC LAIGNEL

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design through discovery Schiller Projects turned to the hard data produced by intensive onsite research when planning headquarters for Boies Schiller Flexner, a law firm in Hudson Yards text: joseph giovannini photography: eric laignel

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A modernist architect might begin a design with a concept, simple enough to draw on a restaurant napkin. A structuralist might import a typology, everything understood in advance.

A text-driven architect might initiate a project with a theory.

But for Aaron Schiller, principal of the integrated architecture, design, branding, and strategy consultancy, Schiller Projects, the process always starts with data.

Asked to design the New York headquarters for Boies Schiller Flexner, a high-profile international law practice relocating from Midtown to Hudson Yards, the first thing Schiller and his team did was to descend on the firm’s existing offices and, like sociologists with iPads and notebooks in hand, observe work patterns, chart logistics, conduct interviews, and weigh expectations. The architects and designers—who spent weeks with a data strategist compiling and analyzing the research before picking up pencils and starting to sketch—found that the floor plan, a conventionally laid-out legacy design, had little to do with the ways the lawyers actually worked.

For Schiller Projects, designing the headquarters, which occupy three floors of a new tower by KPF, was a matter not of style but of leveraging hard-won data. They had learned that the classic law-office configuration—a reception area leading to conference rooms and partner lairs at the perim-

eter, with associates and paralegals pooled near the core— did not acknowledge the facts of Boies Schiller Flexner’s working day. The truth was the lawyers gathered informally, often spontaneously, in small groups for on-thespot pick-up meetings. Sometimes they needed private sound-isolated rooms, like telephone booths, for calls; or a break-out space to be alone with a brief in a chair; or the use of a small conference lounge.

The research revealed that the best floor plan for the client broke down into an array of small rooms, lounges, and individuated work spaces interspersed with glass-enclosed offices and larger conference rooms. The final layout did

Previous spread: At law firm Boise Schiller Flexner’s three-level headquarters in Hudson Yards by Schiller Projects, a bridge across the double-height reception area serves as a lounge overhung by The Ribbons, a custom ceiling installation.

Opposite top: The coffee bar features diner-style booths and a freestanding solid-surfacing brew bar. Opposite bottom: The reception area juxtaposes rectilinear architecture with the sculptural forms of the front desk, floating stairs, and the installation.

Right: LEDs with diffuser lenses illuminate the oil-rubbed bronze handrails of the free-floating custom staircase that connects the three levels.

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not simply translate the social hierarchy of a law firm into a map of its power structure but facilitated interaction across such lines. “There are no corner offices,” says Schiller, who is related to one of law firm’s name partners.

What the office needed were diverse, equally distributed spaces in an open, flexible, and dynamic plan that encouraged communication and collaboration. There are 22 pop-in/pop-out work pods, 24 private phone rooms, and 12 conference rooms configured in a porous spatial matrix. As Schiller puts it, “We designed the program as a sponge intended to absorb the totality of the actions of the whole office.”

With its pancake organization, a high-rise office building stratifies people. To break the vertical separation of the 81,000-square-foot headquarters and mix its occupants into a fluid community, Schiller Projects connected the three levels with a stack of generously proportioned curving stairs set in an open well. The reception area—a double-height volume on the middle level—works like a piazza, centering the offices. The free-floating stairs spiral past conference rooms with glass walls (outfitted with shades) whose transparency enhances the lawyer-tolawyer and lawyer-to-client interface. The stairs also give easy access to the 4,000-square-foot café on the lowest level with a privileged corner position and views of the

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surrounding Hudson Yards. A freestanding sculptural espresso bar on the other side of the stairs boasts its own full-time barista.

Associates, assistants, and paralegals are positioned at the perimeter in small groups of two or four. Pale wood cabinetry separates the work spaces, which are outfitted with sit-stand white-oak desks. On each level, a corridor with plastered-concrete walls rings the core, linking all sides of the floor plate; partners’ offices, ensconced behind glass partitions, line the interior side of the loop.

The glazing allows natural light from the perimeter to penetrate to the center.

Within all the rationality, Schiller Projects adds a measure of unpredictability with The Ribbons, a custom ceiling sculpture made of thousands of beaded strands falling in catenary curves. The installation, which hangs like an inverted mountain range, peaks down, starts above the reception desk and moves through the open areas and corridors, connecting spaces that are already visually porous. The work was fabricated in Long Island City, where it hung in a trial run before being flat-packed in small boxes for shipment to Hudson Yards.

Except for the fluid silhouette of this sculpture and the curves of the spiraling stairs, Schiller Projects does not design and celebrate form. Rather, they reify their

Left: A small glass-fronted conference room, one of many in various sizes throughout the office, adjoins a pantry, bar, and break-out area. Right, from top: In the library, Gregory Buntain’s custom table and chairs join custom cabinetry and Eoos lounge chairs. Custom aluminum louvers define a terrazzo-floored corner of the café, with an Anderssen & Voll sofa.

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research in a straightforward material palette of white oak and glass rendered in simple orthogonal configurations.

This makes for light, elegant, unpretentious spaces with many custom elements—all the casework, for example— whose highly crafted nature is often disguised because the off-site fabrication frequently involved digital machinery.

But unlike High Tech designers of the 1970’s who forged an aesthetic that celebrated machined components, Schiller Projects does not fetishize the computer into a cyber style.

Only corridor touch-screens for reserving spaces telegraphs the digital intelligence behind the design.

Once upon a time, the offices of prestigious white-shoe law firms like Boies Schiller Flexner came expensively paneled and coded with class messages. Its new headquarters signals intelligence instead—the progressive design thrums with the message that the office itself is progressive.

PROJECT TEAM COLIN CLELAND; ALEXANDER ZLOTNICKI; EERO PUURUNEN: SCHILLER PROJECTS. SPACESMITH: ARCHITECT OF RECORD. HDLC ARCHITECTURAL LIGHTING: LIGHTING CONSULTANT. SILMAN: STRUCTURAL ENGINEER. AMA ENGINEER: MEP. LONGMAN LINDSEY: ACOUSTICAL CONSULTANT. MILLER BLAKER: WOODWORK. STRUCTURE TONE: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT DE LA ESPADA: SOFAS (BRIDGE LOUNGE, RECEPTION).

KEILHAUER: COFFEE TABLES (BRIDGE LOUNGE), LOUNGE CHAIRS (LIBRARY), CHAIRS (CONFERENCE ROOM). JONATHAN NESCI: CUSTOM COFFEE TABLES (RECEPTION). VITRA: ARMCHAIRS. DU PONT: FRONT DESK (RECEPTION), BAR

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(COFFEE BAR), COUNTERTOP (PANTRY). MAHARAM: BOOTH UPHOLSTERY (COFFEE BAR). GUBI: STOOLS. LOUIS POULSEN: PENDANT FIXTURES. SURFACETECH: TABLE (SMALL CONFERENCE ROOM). MILLER BLAKER: CUSTOM BAR (PANTRY). GUBI: BARSTOOLS. B.LUX: PENDANT FIXTURES. NEVINS: TABLE (PANTRY BACKGROUND). HIGHTOWER: CHAIRS. FORT STANDARD: CUSTOM TABLE, CUSTOM CHAIRS (LIBRARY). LOUIS POULSEN PATERA: PENDANT FIXTURES. MUUTO: SOFA (CAFÉ LOUNGE). FORTINA: LOUVERS. TUOHY: CUSTOM DESKING, CUSTOM CASEGOODS (WORK POD). DATESWEISER: TABLE (CONFERENCE ROOM). STARFIRE: PENDANT FIXTURE. CARNEGIE FABRICS: CURTAINS. THROUGHOUT ARMSTRONG: CEILING TILE. ARMOURCOAT: CONCRETE PLASTER. UAP: RIBBON SCULPTURE. JUNO LIGHTING GROUP: SCULPTURE LIGHTING. CALIPER STUDIO: STAIRCASES. NANIMARQUINA: CUSTOM RUGS. IOC: GLASS PARTITION SYSTEM. SHAW CONTRACT: CARPET TILE. ZONCA TERRAZZO AND MOSAIC: FLOORING.

Opposite top: Comprising thousands of strings of blackened gunmetal beads, The Ribbons installation threads its way through many of the public spaces and corridors on the top floor. Opposite bottom: Like all the work pods scattered throughout, this one is outfitted with custom desking and casegoods.

Right: An aluminum and acrylic pendant fixture presides over a custom table and Eoos chairs in the main conference room.

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hometown advantage Four residences of and by New York–based designers are artful fusions of personality and place

text: anthony iannacci photography: noe dewitt

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Designers’ own homes are often laboratories where they are free to take risks and experiment. These spaces set trends and often host objects, furnishings, and finishes that are not yet valued or appreciated by the general public. Unlike the residences they create for clients, their homes tend to be more layered— more concentrated expressions of the individual designer’s style, interests, and identity.

In the following abodes by Juniper Tedhams, Massimiliano Locatelli, David Mann, and Zack McKown and Calvin Tsao, the space itself—with its assets and flaws, history and cultural position, architectural pedigree or lack thereof—replaces the client in the designer’s professional practice. The end result is a comingling of their identities as designers with that of the spaces they inhabit. Focusing on New York, one of the most complex and difficult real estate markets in the country and home to a vast array of design practitioners, provides a particularly interesting test sample. These creative environments are where architects and designers are exploring and reimagining the notions of space, luxury, and comfort.

Images and excerpted text from New York Design at Home, published in 2019, appear courtesy of Abrams.

For the duplex apartment of Tsao & McKown founders Calvin Tsao and Zack McKown, see page 208.

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“The space was designed to appear as though it naturally evolved over time”

juniper tedhams The New York– and Los Angeles–based designer’s Italianate town house in Chelsea had previously been used as single-room occupancy housing. Shared bathrooms and kitchenettes on every floor and acoustic-tile drop ceilings obscured much of its 1901 splendor. But peel­ing back the layers uncovered intact original details including moldings, fire­ places, and overmantel mirrors. Tedhams’s work here would be more about taking away than adding.

She strove to make the elegant, intentionally showy parlor floor and the onceutilitarian garden level feel like part of the same home.

Upstairs, Tedhams underplayed the ornate decorative moldings and arches by adding a uniform coat of white paint. She also installed cattleyard bricks as flooring in the lounge area and bathroom. To brighten the darker lower floor, she applied a skim coat of plaster with marble dust and joint compound, sealing it with a troweled beeswax finish that confers a reflective but not-too-shiny quality.

Tedhams kept the furnishings—many of her own design—to a minimum in order to focus attention on the backgrounds, allowing the few vintage items and artworks to be fully appreciated…and the space itself to breathe. junipertedhams.com

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Opposite: Vintage Pierre Jeanneret chairs surround a steel kitchen table of Juniper Tedhams’s own design.

Top, from left: Cattle-yard bricks sourced in the U.K. pave the bathroom. The bedroom’s custom walnut bed was in­ spired by both Donald Judd’s daybed and English Knole sofas. Bottom, from left: A ceiling mural by Dean Barger Studios animates the living room. A custom walnut “shelter bed” establishes a guest sleeping area in the lower-level lounge.

massimiliano locatelli The grand structure from 1907 that hosts the Milanese designer’s lower Manhattan abode was designed to house offices. While most such lofts offer long spaces devoid of architectural detail, with windows only at the two narrow ends, this one boasts three exposures and three massive street-facing windows—not to mention simple yet elegant cove moldings, plaster ceilings and walls, and the ghost of a beautifully tiled corridor.

The Locatelli Partners founder’s arrangement of rooms pairs the flexibility of a loft with the comfort of a more traditional apartment: A large, open space spans the window wall, a private bedroom suite is situated in the back, and glass-and-steel partitions encase the kitchen. The result is a home that can host up to 150 people and still feel intimate and livable.

Top: Massimiliano Locatelli’s living room is furnished with a sofa by Franco Albini and Antonio Piva, live-edge coffee tables by George Nakashima, and Osvaldo Borsani arm­ chairs. Center: Paint color inspired by riverboats accents the kitchen. Bottom: Locatelli designed the table and dining chairs, while the painting is by Alexander May. Opposite: The Gio Ponti bed is from the Parco dei Principi hotel in Sorrento, Italy.

Locatelli’s homeland inspired many design choices. Green accents in the kitchen recall Riva motorboats; Garda, Italy’s largest lake, is the name Locatelli gave the tables he designed, which are produced in various materials and meander through the space. When combined, the assemblage takes on the shape of the lake; used individually, the tables provide the space with sought-after adaptability. locatellipartners.com 204

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“Capitalizing on the loft’s history, the design celebrates what originally drew creative individuals to the area”

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“The intention was more about elevating the space than transforming it”

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Opposite top, from left: In David Mann’s living/dining room, a Yun Hyong-keun triptych hangs above a felt bench

by Dana Barnes. Hovering over a custom dining table in unpolished brass is a Studio Drift chandelier composed of bronze electrical circuits and dandelion seeds. Opposite bottom: The living room’s Finn Juhl sofas flank a pair of Yongjin Han sculptures in Korean figured granite.

Top: A Matthew Solomon lamp stands on the Manndesigned bedside cabinet. Bottom: Library walls plus its Dieter Rams shelves mimic the relentless grid of the adjacent building.

david mann

After living in Greenwich Village for nearly 35 years, architect David Mann and his partner, Fritz Karch, a shop owner, author, and stylist, migrated uptown. The United Nations Plaza building was originally designed as offices for Alcoa, but it was converted into apartments before construction was complete in 1966. One would have expected this change of use to produce awkward layouts, but instead, the apartment was beautifully laid out and thoughtfully planned, with great light and spectacular views.

Despite nearly 50 years of wear and some bad decorative decisions by the previous owners, the bones were in excellent condition. In particular, original wood flooring that had been preserved under carpeting became a point of departure for Mann’s scheme. The MR Architecture + Decor founding partner emphasized the clean, modernist lines and accentuated the apartment’s horizontal quality with low-slung furnish­ ings and a black-and-white color palette. He also added a layer of Sheetrock to the living room and gallery so that the walls could float above the floor, thus eliminating the necessity of a baseboard. With these interventions, Mann transformed the space to match his fantasy of what it should have always been. mrarch.com

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Top: Abundant storage lines the walls of Zack Mckown and Calvin Tsao’s kitchen, with a stainless-steel island.

Center: The duplex has three bedrooms. Bottom: Palladium-leaf cabinets distinguish the living room, its floor lamp a converted gondolier’s lantern.

Opposite: A sculptural stairway separates the living/ dining area from the kitchen.

zack mckown and calvin tsao Appreciation of light drove the design of the duplex on the Upper West Side that the Tsao & McKown cofounders share with their partner David Poma. The architects moved in and started to think about how they would occupy the home before any renovation started, which allowed them to observe conditions at different hours of the day. Ultimately, they removed the wall between the dining and living rooms and repositioned and opened up the stairs to admit more light into the center of the space, a gesture that also allowed for a greater sense of connection between floors.

In the living room, palladium-leaf cabinets mimic the proportions of the windows and reflect morning sunshine. The kitchen is distinguished from the living space via a slightly lower ceiling and warmer taupe-gray paint.

Ingeniously, a pantry is tucked behind a wall of storage that runs the main level’s length.

The apartment’s stark yet welcoming quality encourages a reading of all the furnishings and objects through a lens of display: Venetian gondoliers’ lanterns, French Masonic stools, Javanese fabrics, and an antique Sicilian cross not only remind the homeowners of their experiences but also invite visitors to look for the connections between them. tsao-mckown.com 208

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“The apartment’s clean, minimalist spaces stand in stark contrast to the art deco exuberance of the Emery Roth–designed building”

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the medium is the message Graphics and history rule at Poster House, a Chelsea museum by LTL Architects

text: craig kellogg photography: michael moran/otto SEPT.19

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Before Apple Stores, equipped with Genius Bars, New Yorkers used to trundle their sluggish iMacs and the occasional twitchy mouse to Tekserve, the repair shop and authorized Apple retailer in Chelsea. Paul Lewis, one of the two L’s in LTL Architects, recalls splurging on a desktop there in the 1990’s “when a monitor cost $1,000.” After Tekserve eventually got liquidated, he, identical twin David J. Lewis, and Marc Tsurumaki, as principal in charge, signed on to completely refit the space as Poster House, a niche museum for commercial illustration and political art, from billboards to broadsides.

Viewed from today’s digital vantage point, Tsurumaki allows, “You might think posters are increasingly irrelevant.” But their history merits exploration.

Throughout the 20th century, especially before TV, posters were state-of-the-art. Call them the IRL forerunners of Instagram.

The first museum of its kind in the U.S., Poster House was established by a group of anony­ mous donors, along with an advisory board that includes Cooper Hewitt curator Ellen Lupton and Pentagram partner Paula Scher. The types of posters showcased here—not to be confused with limited-edition prints or anything else produced primarily for decoration purposes—unapologetically cross political, cultural, and socio­ economic lines. Start with the bikini-clad Farrah Fawcett cheesecake poster in the gift shop. Then contrast that with the impassioned placards from the 2017 nationwide Women’s Marches, the subject of an exhibition opening October 17.

All this takes place in 14,000 square feet split between the ground level and basement of a building constructed for a cloak company at the turn of the 20th century. The double-height ground level, with its colossal cast-iron Corinthian columns, tunnels all the way through the block, which suits a museum perfectly.

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Previous spread: LTL Architects used a display counter and bleacher seating, both veneered in rift-sawn white oak, to demarcate the gift shop at Poster House, a museum in Chelsea.

Opposite top: Clay plaster, surfacing a canopy and wall, was tinted to match the concrete floor. Opposite bottom: Dieter Rams designed the gift shop’s shelving system. Above: A custom poster backdrops the café’s prep area.

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(Indeed, the Museum of Modern Art has the same sort of throughblock arrangement, with entries from two sides.) LTL organized the Poster House floor plan using a circulation route that Tsurumaki terms a “cross street” to connect the two entries. A street metaphor is especially apt, he explains: “The natural habitat for a poster is the street.” The outdoors is not the best habitat for a work on paper, unfortunately. Because the main circulation route necessarily opens to the weather at both ends, LTL protected the galleries behind glass doors. An intervention inside the neoclassical architectural shell, this vaporproof, climate-controlled oasis is “like a ship built in a bottle,” David J. Lewis says.

The galleries hug one wall of the ground level. To make a delineation between that side and the amenities opposite, flooring in the galleries and directly outside them is concrete in contrast to the original oak elsewhere. Think of a “sidewalk” for that internal “street.” (Or, as David J. Lewis notes, of the concrete floors in Chelsea art galleries.) Overhead, a thrusting angled canopy seemingly shelters the “sidewalk,” terminating precisely at its edge. When concrete proved unfeasible for the awning and its supporting wall, LTL surfaced them in clay plaster tinted gray to match. Blackened-steel strips, separating the plaster wall panels, are drilled with holes for hanging hooks, should curators wish to mount temporary displays there.

Opposite: Descending to the base­ ment, a staircase combines rift-sawn white oak with chemically blackened steel.

Left: A green-screen photo alcove lets visitors slip their own image into historic posters. Right, from top: Cutouts in the canopy frame restored 1901 cast-iron columns lit

by LED strips. Because the street level at the main entrance is approximately 2 feet lower than that at the rear entry, the nearly 200-foot-long circulation route between them slopes to bridge the difference.

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Before any of this could be installed, LTL gutted what remained of Tekserve, dispelling any lingering nerdy vibes. Out came the dated shop fittings and the wonky mezzanines. Then the oak floorboards got sanded, and the exposed brick was repaired as minimally as possible. “We loved the rawness,” Paul Lewis says.

Virtually all the columns’ acanthus capitals remain in view, even when that required making cutouts in the canopy. Visible beyond the canopy, the ceiling’s vaults were re-painted white. Stretched along the beams between vaults, tensioned LED strips provide ambient illumination. During the planning stage for this sweeping overhaul, meticulous measuring revealed an urban anomaly: There is a sub­ stantial difference in the street levels at the front and rear doors. This made the floor slant, a defect that LTL ultimately left alone, especially since a slope is ideal for universal accessibility. “Then we perversely decided to introduce other slopes and angles elsewhere,” Tsurumaki says with a laugh.

This proved a mind-bender many times over, particularly for the woodworkers who built a series of related oak elements. Starting with a dramatically cantilevered display counter for the gift shop, they continue in the form of bleachers, the ticket desk tucked behind them, the café’s banquette and serving counter, and finally built-in benches for a lounge to welcome school groups. The same wood joins folded panels of blackened steel for the staircase that leads down to a children’s exhibit, a multimedia gallery, and staff offices.

Tsurumaki also points out an oak bench for people waiting to try an interactive attraction strategically positioned to catch the eyes of passersby, through one of the front windows. It’s a green-screen alcove that allows visitors to insert themselves into iconic posters. Just picture your girlfriend, her bicep flexed like World War II’s Rosie the Riveter, appearing right next to Rosie beneath her famous exhortation, “We Can Do It!” Combining the graphic arts with the technological legacy of Tekserve’s eggheads, the result is a poster perfectly up-to-date for the selfie age.

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PROJECT TEAM MICHAEL SCHISSEL; ANNA KNOELL; JILLIAN BLAKEY; JENNY HONG; SONIA FLAMBERGE: LTL ARCHITECTS. PENTAGRAM: GRAPHICS CONSULTANT. LUMEN ARCHITECTURE: LIGHTING CONSULTANT. CONDUIT PROJECTS: EXHIBIT DESIGNER. SILMAN: STRUCTURAL ENGINEER. POLISE CONSULTING ENGINEERS: MEP. TATCO INSTALLATIONS: WOODWORK. VEYKO: METALWORK. RICHTER + RATNER BUILDERS: CONSTRUCTION MANAGER. PRODUCT SOURCES FROM FRONT VITSŒ: SHELVING (GIFT SHOP). HIGHTOWER: CHAIRS (CAFÉ). NEVINS: TABLES. OPTIC ARTS: COUNTER LINEAR FIXTURE (CAFÉ), LINEAR FIXTURE (GALLERY). DEX-O-TEX: FLOORING (ALCOVE).

Q-TRAN: LEDS (COLUMN). LSI: TRACK LIGHTING (GALLERY). PPG VITRO: GLASS (EXTERIOR). ROCK­ WOOD: DOOR PULLS. ECOSENSE: LIGHT FIXTURES. CASEWERKS: GLASS PANELS (LOUNGE). THROUGH­ OUT FLOS: SPOTLIGHTS. ACOLYTE: LINEAR FIXTURES. PURE EDGE LIGHTINGS: LINEAR FIXTURE HARDWARE. KAWNEER: CUSTOM WINDOWS, CUSTOM DOORS. CLAYWORKS: PLASTER. ANEMOSTAT: HVAC DIFFUSERS. BONA: WOOD FLOOR SEALANT. PROSOCO: CONCRETE FLOOR SEALANT. ISOLATEK: COLUMN PAINT. BENJAMIN MOORE & CO.: PAINT.

Opposite: “Alphonse Mucha: Art Nouveau/Nouvelle Femme,” which inaugurated the main gallery, paid tribute to his muse Sarah Bernhardt.

Top: Anodized aluminum frames the new front windows and doors, all custom.

Bottom: A lounge features a vitrine to display billboards.

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come fly with me

Beyer Blinder Belle, INC, Lubrano Ciavarra, and Stonehill Taylor propel Eero Saarinen’s TWA Flight Center in Queens into a 21st-century hotel with jet-age glamour

text: joseph giovannini photography: eric laignel

You expect Don Draper to appear any minute at the check-in counter. He would then head past the chili pepper–red sunken lounge to a room in the hotel, which you can see through the soaring glass wall. The raptorlike TWA Flight Center—a terminal for Trans World Airlines, designed by Eero Saarinen, built in 1962, and mothballed in 2002—is finally

back, transformed into the lobby, restaurant, and ballroom of the new TWA Hotel at John F. Kennedy International Airport in Queens.

The voices of Frank Sinatra and the Beatles float in, establishing the period and mood; hotel staff are uniformed like TWA flight attendants; an elegant Lincoln Continental convertible, circa 1962, the model that looks

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like a floating barge, is parked at the entrance.

But the hotel delivers the punch line sitting on a piece of recreated tarmac between the iconic terminal and the two new hotel wings: The Connie, a 1958 Lockheed Constellation— the four-propeller airliner commissioned by TWA’s owner, Howard Hughes, that was the state of the art in transcontinental travel immediately before the jet age—still attracts passengers, though now they climb aboard just for cocktails.

Looking like a magnificent eagle touching ground, Saarinen’s terminal was one of the aspirational monuments of its time—a segmented concrete-shell structure whose daring construction technology served a sophisticated artistic idea, the “upward soaring quality of line,” as Saarinen put it, defying the “form follows function” dictate of the day: “The structural and rational cannot always take precedent when another form proves more beautiful.”

Function followed beauty at Saarinen’s terminal. Curving form and space subtly thrilled passengers to the idea of flight. As a young man, Saarinen studied sculpture, and he was, as his childhood friend Florence Knoll once told me, “at home in the curvilinear world.”

Perhaps straight-lined Miesian rationalism was the dominant postwar architectural style, but there was also an organic subtext to the times: Isamu Noguchi’s freeform table and sofa; kidney-shape pools; biomorphic sculpture, painting, and landscape design. Saarinen brought those fluid geometries into the floor plan and restaurant mezzanines at the flight center, extending compound curves from the roof into spaces where people walked.

Ahead of its time architecturally, prescient given today’s digital extravaganzas, this symbol of dynamic progress could not keep up with aeronautical advances, and within a short decade of its inauguration, the terminal was obsolete. The 80-seat Constellation gave way to the much larger Boeing 707 and eventually to the 747—the first Jumbo Jet— overwhelm­ing the capacity of the terminal, which was finally vacated in 2002.

Shuttered by the Port Authority of New York and New Jersey, the flight center—whose interior and exterior were listed on the National Register of Historic Places in 2005—was stabilized in a decade-long series of restoration efforts led by Richard Southwick, director of historic preservation at Beyer Blinder Belle Architects & Planners. In 2015, Southwick began a second phase of restoration, after hotelier Tyler Morse, CEO of MCR and Morse Development, won the RFP to redevelop the terminal as the key structure in a new $265million hotel and events center. The latter allowed the hotel to achieve a critical mass

Previous spread: Restored by Beyer Blinder Belle Architects & Planners, Eero Saarinen’s 1962 TWA Flight Center at John F. Kennedy International Airport in Queens serves as the lobby of the TWA Hotel, its guest rooms housed in twin buildings by Lubrano Ciavarra Architects, which also devised the project’s master plan.

Opposite top: The flight center’s original sunken lounge has been restored to its full ’60’s glory. Opposite bottom: It sits in front of the hotel’s two seven-story buildings, the Hughes and the Saarinen Wings, which contain a total of 512 rooms.

Top: The concrete form of the flight center is echoed in the curved aluminum-and-glass facade of the hotel’s Saarinen Wing behind it. Bottom: An under-mezzanine corridor off the lobby, once a part of baggage claim, is now the reception area.

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“Project drawings and sample boards found in Saarinen’s archives at Yale helped in

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recreating the original materials and color palettes”

Saarinen’s Tulip tables and stools dot the sunken lounge, which overlooks the Connie, a Lockheed Constellation airliner that now serves as a cocktail bar.

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“The structural and rational cannot always take precedent when another form proves more beautiful” —Eero Saarinen

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Opposite: INC Architecture & Design transformed part of the flight center’s former baggage-claim area into a small ballroom illuminated with custom ceiling fixtures. This page: The Connie, parked on a reconstructed expanse of tarmac, is reflected in the terminal’s soaring window, which is fitted with new heatabsorbent tempered glass.

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Top, from left: Stonehill Taylor outfitted guest rooms with custom martini bars. A flight tube that once connected the terminal to a departure satellite now leads to the hotel’s Saarinen Wing. A TWA-branded sweatshirt hangs in a guest room. Bottom: The hotel’s curtain wall of 5-inch-thick, seven-layer glass protects rooms from airport noise.

Opposite top: In a guest room, a Warren Platner side table sits between a pair of Saarinen’s classic 1948 Womb chairs. Opposite bottom: Bathroom walls are clad in vertically oriented subway tile.

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of rooms that assured its profitability, while the combined facility basically financed the restoration of the terminal as its lobby.

Though the program of arrival and departure of a terminal and hotel largely overlap, the adaptive reuse of the flight center required satisfying current needs and codes. Inside, for instance, Southwick connected the lower and upper lobbies with new ADA ramps—broad pathways enhanced by sculpted walls whose contours capture the buoyant lift of Saarinen’s design. BBB staffers researched the architect’s archives at Yale University, where they found the project drawings and even sample boards, which were helpful in recreating the original materials and color palettes. Thus Southwick was able to accurately restore the first-class mezzanine Ambassador Lounge, which Saarinen had designed with colleagues Knoll and Charles and Ray Eames.

Besides the removal of service appendages, the only major intervention in the terminal proper involved a baggage-claim area that, although original to the “period of significance” (1962 to 1970), had been heavily modified over the years. Adam Rolston, Drew Stuart, and Gabriel Benroth of INC Architecture & Design transformed the space into a small ballroom, with an expanse of upside-down umbrella ceiling fixtures bathing the room in reflected light. INC was also responsible for the new 50,000-square-foot, three-story subterranean events center, located 30 feet below the Connie’s patch of tarmac. For it,

the team emulated the strict geometries of Saarinen’s early rationalist buildings. “Mies van der Rohe influenced Saarinen who influenced us,” Rolston explains. “We pursued a strategy of layering to achieve depth and complexity.” Hence the rich stratification of woods and metals on the walls, while backlit clerestories provide illumination and a sense of openness that prevents the underground spaces from feeling claustrophobic.

Lubrano Ciavarra Architects worked with the hotelier from the beginning to develop

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Below: The event center’s main ballroom is located 30 feet below the tarmac on which the Connie sits.

Opposite top, from left: Ceiling and cove lighting keep an underground tunnel to the events center from feeling claustrophobic. Walnut paneling flanks the grand staircase that connects the event center’s three levels.

Opposite bottom, from left: In the events center lobby, a restored Saarinen marble and penny-tile circular bench, once in the flight center’s sunken lounge, sits on the poured-in-place terrazzo floor. The restoration has made the sensuous flow of Saarinen’s flight center even more evident.

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Anne Marie Lubrano and Lea Ciavarra divided the seven-story, 512-room hotel into two partial crescents—the Hughes Wing and the Saarinen Wing—each connected to the terminal lobby by the long tubes that originally led

Jamaica Bay. “Sitting there with a drink, watching the planes, is really an unprecedented experience,” Lubrano says.

Michael Suomi and Sara Duffy, respectively principal and senior interiors associate of

to plane-boarding satellites. The architects kept the twin aluminum-and-glass buildings simple, sober, and straightforward—a neutral backdrop that “celebrates and preserves the legibility of Saarinen’s flight center,” Lubrano says. “The wings’ verticality serves as a counterpoint to the horizontal dominance of their length, and is consistent with examples in Saarinen’s oeuvre,” Ciavarra adds. The firm devised curtain walls that are seven layers of glass and 5 inches thick to protect rooms from the deep boom of JFK’s ubiquitous jets. LCA also designed the roof deck atop the Hughes Wing, which features a bar and lap pool with a built-in bench overlooking the runway and

Stonehill Taylor, used details to bring Saarinen into the hotel’s interiors. They furnished the guest rooms with the architect’s seminal Tulip table and Womb chair. Staging the rooms for romance, the designers included a small builtin martini bar that appeals to everyone’s inner Don Draper. With rooms on both the terminal and runway sides of the buildings, Stonehill Taylor oriented each bed to face the view. The Saarinen building and the airport itself remain the focus of the rooms. “The goal was to bring the sexiness, allure, joy, and wonder of travelling back to JFK,” Suomi explains. “And to not screw up the Saarinen.”

Saarinen’s flight center was never just a

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“Sitting there with a drink, watching the planes,

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is really an unprecedented experience”

—Anne Marie Lubrano

Atop the Hughes Wing, Lubrano Ciavarra’s 63-foot lap pool features a beach entry, an infinity edge, and a built-in bench spanning the length. It’s lined with penny tiles reminiscent of those in the flight center and includes TWA–branded medallions water-jet cut from Italian terrazzo tiles.

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Saarinen’s flight center was never just a building to look at and use: It was an event that offered the excitement of architecture infused with the idealism of technological progress that would benefit society. The reinvention of the terminal as an immersive periodinflected experience compounds that original sensation. Saarinen conjured an anti-gravita-

PROJECT TEAM MIRIAM KELLY; OREST KRAWCIW; JOE GALL; SUSAN BOPP: CARMEN MENOCAL; STEVE M C CARTHY; KETT MURPHY; EFI ORFANOU; MICHAEL ELIZABETH ROZAS; MON­ IKA SARAC; ANDREA SFORZA: BEYER BLINDER BELLE ARCHI­ TECTS & PLANNERS. HILARY KROLL; LOUISA REVITTE; SE­JUNG KIM; AARON WHITE; JAY BILLS: INC ARCHITECTURE & DESIGN. DALE LUNAN; HEATHER DELA CRUZ; RAMONA ALBERT; JOSH BARKAN; MATT KIWIOR; DAYA ZHANG; MARIEL MORA LLORENS; TOM ARLEO; STEFANIE HUCHZERMEIER; TATIANA RODRIGUEZ: LUBRANO CIAVARRA ARCHITECTS. DEEDEE SAN­ CHEZ: CLIVE KUO; LAUREN GORGANO; STEVEN ESHELMEN: STONEHILL TAYLOR. MATHEWS NIELSEN LANDSCAPE ARCHI­ TECTS: LANDSCAPING CONSULTANTS. COOLEY MONATO STUDIO; ONE LUX STUDIO; VENTRESCA DESIGN: LIGHTING CONSUL­TANTS. ARUP: STRUCTURAL ENGINEER. JAROS BAUM & BOLLES: MEP. LANGAN: CIVIL ENGINEER. CERAMI & ASSO­C IATES: ACOU­ STICAL CONSULTANT. CONTINENTAL GLASS SYSTEMS: TILE RESTORATION. CENTRE INTERIORS WOOD­WORKING; HILL­ TOP WOODWORKING: WOODWORK. BÉTONS PRÉFABRIQUÉS DU LAC; RUTTURA & SONS; SORBARA CON­S TRUCTION CORP.: CONCRETE WORK. FRONT: CURTAIN WALL CONSULTANT. ATLANTIC AQUATIC ENGINEERING: POOL CON­SULTANT. TURNER CONSTRUCTION COMPANY: GENERAL CON­T RACTOR. PRODUCT SOURCES FROM FRONT KNOLL: ROUND SIDE TABLES, TULIP STOOLS (SUNKEN LOUNGE, CONNIE BAR), DESK CHAIR, LOUNGE CHAIRS, SIDE TABLE, COFFEE TABLE (GUEST ROOM), CHAISE LONGUES (POOL). KNOLL TEXTILES: STOOL UPHOLSTERY (SUNKEN LOUNGE), LOUNGE CHAIR UPHOLSTERY (GUEST ROOM), CUSTOM CURTAIN FABRIC, BANQUETTE UPHOLSTERY (CONNIE BAR).

SOLARI DI UDINE: INFORMATION BOARD (SUNKEN LOUNGE).

SPECTRUM LIGHTING: SPOTLIGHTS, DOWNLIGHTS. VERMONT QUARRIES CORP.: BAR COUNTERTOP. CAESARSTONE: BACK BAR COUNTERTOP (SUNKEN LOUNGE); STONE WALL (TUNNEL).

DESIGN AND DIRECT SOURCE: PENNY TILE (SUNKEN LOUNGE, SMALL BALLROOM); MOSAIC TILE (TUNNEL). AXIS LIGHTING: LINEAR COVE LIGHT (UPPER LOBBY). YKK: GLAZED ENTRY DOORS. HB LIGHTING: LINEAR PENDANT FIXTURE (UPPER LOBBY), LAMPS (GUEST ROOM). FLOS: CUSTOM PENDANT FIXTURES (BALLROOMS), ART LIGHTING (EVENTS LOBBY).

FILZFELT: RED WALL COVERING (SMALL BALLROOM). THOMAS HAYES STUDIO: BLUE BARSTOOLS (GUEST ROOM). CORTINA LEATHER: STOOL UPHOLSTERY. MOHAWK GROUP: FLOORING. ZENITH RUGS: RUGS. DUGGAL VISUAL SOLUTIONS: POSTERS. SPIN­NEYBECK: HEADBOARD UPHOLSTERY. SAMUELSON FURNI­T URE: CUSTOM BENCH, HEADBOARD, NIGHTSTANDS, DESK, BAR CART (GUEST ROOM), CUSTOM BANQUETTES, RESTORED PLANE SEATS (CONNIE BAR). MAHARAM: DESK CHAIR UPHOLSTERY (GUEST ROOM), PLANE SEAT ACCENT FABRIC (CONNIE BAR). NEMO TILE & STONE: WALL TILE (BATHROOM). EUROPEAN GRANITE & MARBLE GROUP: FLOOR TILE (BATHROOM, MAIN BALLROOM, TUNNEL, GRAND STAIR).

STONE RESOURCE: CUS­TOM VANITY (BATHROOM). MAJESTIC MIRROR: MIRROR. KOHLER CO.: SINK FITTINGS, SHOWER FITTINGS. WINGITS: TOWEL BAR. V2 LIGHTING GROUP: PENDANT FIXTURES (MAIN BALLROOM). CARNEGIE FABRICS: WALL COVERING. CONWED: STRETCHED CEILING. MUUTO: CHAIRS. FORMGLAS: CUSTOM ROUND CEILING LIGHT (TUNNEL). OPTIC ARTS: CUSTOM COVE LIGHT. ECOSENSE LIGHTING; VISUAL LIGHT­I NG TECHNOLOGIES: LINEAR COVE LIGHTS. KOROSEAL INTERIOR PRODUCTS: PANELING (STAIR).

CERAMIC TECH­N ICS: TILE, LOGO (POOL). SUNNY BROOK PRESSED CONCRETE CO.: PAVERS. PORTER CORP: TRELLIS. VALLEY FORGE FABRICS: SEAT UPHOLSTERY (CONNIE BAR).

THROUGHOUT INNOVATIVE CARPETS: CUSTOM RED CARPET.

tional building to which the new team of architects and designers has added what Rolston calls “high-performance nostalgia.” The TWA Hotel has time-machine power to transport visitors into a reverie about lives improved through beauty—it’s an authentically optimistic vision and they enter and leave the building feeling as elated as an upbeat Sinatra song.

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FABBRICA: EXTERIOR CURTAIN WALL. INTERPANE GLAS INDUS­T RIE: GLASS FACADE. BENJAMIN MOORE & CO.: PAINT. CROWN SIGN SYSTEMS: CUSTOM SIGNAGE.

Opposite top: Richard Schultz chaise longues originally designed in 1966 furnish the pool deck, which is serviced by a bar beyond. Opposite bottom: Restored airline seats outfit the Connie bar.

Top: Custom banquettes, served by Saarinen tables and stools, provide more traditional lounge spaces on the converted airplane. Bottom: Both the Connie and the flight center are emblazoned with the defunct airline’s distinctive logo and brand colors.

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elemental living Jackson Park’s residential towers in Long Island City are sky-high, but Clodagh’s interiors are down-to-earth text: jane margolies photography: eric laignel

“Terrifying.” That’s how Clodagh describes her first visit to the Long Island City site that would become the rental-apartment complex Jackson Park, the Interior Design Hall of Fame member’s latest large-scale residential project in New York.

And it certainly wasn’t for lack of experience. Since 2006, Clodagh Design has completed eight multi-family projects in the city (in addition to the hotels, spas, restaurants, and homes locally and afar her team has worked on simultaneously).

In the process, Clodagh, design director Nancie Min, and staff have become adept at selecting materials that meet developer budgets, complying with building codes, coordinating with contractors—all the things other than design that Clodagh and Min call “getting it done.” All while maintaining their own exacting green standards.

Still, nothing had quite prepared them for Jackson Park’s nearly 3-acre site in the fast-changing Queens neighborhood. In recent years, the once-industrial area has exploded with high-rise development seeking to capitalize on its easy access to Manhattan. Clodagh’s client, Tishman Speyer, had assembled the city block–size parcel and demolished the warehouses that once occupied it. To one side of the expanse, an elevated subway line loomed, trains rumbling across it; to another ran tracks for the Long Island Rail Road. Cars, trucks, and taxis trundled down streets on the remaining two sides. “It was hard to imagine anyone cooking quietly in their apartment,” Clodagh recalls.

The scale of the three crystalline glass towers that would soon rise on the site was also daunting. Designed by Mack Scogin Merrill Elam Architects, with subtle differences in the glazing that add interest while still making for a cohesive whole, the towers stand 42, 44, and 53 stories tall and house nearly 1,900 apartments.

Clodagh’s scope for this project was 120,000 square feet of public and amenity interior spaces, plus exterior spaces, the leasing office, and all the corridors and elevators of the three residential towers. The firm also consulted on the units.

But if that first site visit did anything, it was to “activate every instinct and emotion I have about design,” says Clodagh, who seeks to promote the health 236

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and happiness of the occupants of her interiors. To accomplish that, she and Min draw on modalities including biophilia and chromotherapy—along with a well-honed sense of what’s called for in certain situations. For instance, when working in glass towers with apartments in the sky, “the first thing I think of is grounding people,” Clodagh states.

Thus, the 6,000-square-foot lobby for 3 Jackson Park, the 44-floor tower and first to be built, is divided into a series of humanscaled spaces—“a necklace of experiences,” Clodagh notes—to help residents feel immediately at home after coming in off the street. What she calls “cabanas,” essentially benches inside open wooden frames suggesting enclosure without blocking sunlight, line the long promenade leading to the reception desk, each equipped with electrical outlets for those who need to charge their phones or laptops. The reception area also beckons “like a glowing lantern,” Clodagh explains, as it’s backed by a backlit feature wall that incorporates cut sheets of mica and blocks of acrylic-resin. Nearby, chairs are gathered around a gas fireplace that flickers even in summer because of Clodagh’s belief that interiors should incorporate all five of the feng shui

Previous spread: A table of a polished tree root and Louise Crandell’s corner artwork furnish a seating area in the lobby of the amenity club­ house at Jackson Park, a complex of rentalapartment towers in Long Island City with interiors by Clodagh Design.

Opposite top: In the leasing office, a custom table of reclaimed pine with an integrated well for plants stands below a John Beck pendant fixture. Opposite bottom: Sculptures by Peter O’Kennedy and David Link join a walnut-slat ceiling in a tower lobby.

Top: Reclaimed barn siding pairs with Clodagh’s own graffiti photography printed on mylar in a mailroom. Bottom: Split-face travertine adds texture to walls and columns in a lobby.

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Opposite top: Teak forms the cabanas and the platforms fitted with custom mattresses around the clubhouse’s rooftop pool. Opposite bottom: A tower lounge features a custom pendant fixture by design director Nancie Min for the Clodagh Collection.

Top, from left: The clubhouse rooftop also features an outdoor kitchen with terrazzo-clad bar. Rubber flooring flows through its 8,000square-foot gym. Bottom: A Merja Winqvist sculpture of pipe sections hangs above a custom walnut table in another tower lounge.

“It’s like going to a resort”

elements (the others being earth, water, wood, and metal).

Even the mailroom here (there are seven total in the complex) encourages residents to pause, and perhaps interact with neighbors, rather than just grab the day’s delivery en route to their apartments. Booth-style seating flanks windows, and sunlight bounces off the walls, which are covered with a metallic mylar printed with enlarged images of Clodagh’s own photographs of graffiti. (She and Min also commissioned local artists RRobots and Justin Teodoro to create graffiti-inspired murals for the leasing office and clubhouse.)

A lounge 44 floors up with sweeping views of the city is yet another gathering place, and has an adjoining children’s playroom.

Indeed, amenity spaces have multiplied in luxury residential buildings in New York since Clodagh first started working on such projects. At Jackson Park, Tishman Speyer decided that, rather than equip all three towers with gyms, swimming pools, and the like, it would build a stand-alone clubhouse that all residents could share, with the offerings kicked up a notch. “It’s like going to a resort,” Min says of the five-story, 50,000square-foot building.

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Left, from top: Justin Teodoro’s mural in the stairwell at the clubhouse. Its oak entry screen and limestone and steel fountain. The mural by Nick Kuszyk, aka RRobots, in the leasing office. Right, from top: Sections of old oil drums hang­ ing in the clubhouse game room. The indoor pool’s water-vapor fireplace. A tower’s limestone reception desk backed by a wall of mica and acrylic-resin blocks.

Opposite: Jackson Park’s four buildings are by Mack Scogin Merrill Elam Architects.

Facades are treated glass.

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From its first floor—where sliding doors covered in a collage of red, blue, and orange faux-leather panels inspired by Sean Scully artwork open up an expansive lounge to a demonstration kitchen, game room, and golf simulator—and its enormous gym on the third floor to the poolside bar on the roof, the clubhouse provides a variety of spaces so everyone can find their sweet spot. The design, too, is richly varied, with materials that are durable and low-maintenance, such as vinyl, rubber and indoor-outdoor upholstery fabric, while ensuring that the creative “vision carries through,” Min adds. That’s particularly evident by the indoor pool. She originally specified a gas fireplace to overlook it—after all, how can you have water without fire? But when that feature proved too expensive, she and her team came back to the developer with a less-expensive water-vapor version. “We really fought for that,” Min states.

All the effort seems to have paid off. “People may not know why they feel comfortable here, but they do,” Clodagh says. The apartments have rented out quickly, according to Tishman Speyer, and the developer has already hired Clodagh Design for its new 818-unit complex in Washington.

OFFICE). MAXSUN: STOOLS. JOHN BECK STEEL: CUSTOM PEN­DANT FIXTURE. RH: LOUNGE CHAIRS (LEASING OFFICE), POOL TABLE, CUE HOLDER (GAME ROOM). CAESAR­S TONE: COUNTERTOP (LEASING OFFICE, LOUNGE). MDC: WALL COVER­ ING (MAILROOM). MARELLI: SOFAS. FIL DOUX; KNOLL TEXTILES: SOFA UPHOLSTERY. LEPERE: FLOORING. SALS­BURY INDUSTRIES: MAIL­ BOXES. ROYAL BOTANIA: CHAISE LOUNGES (POOLS). CASAL­GRANDE PADANA: POOL TILE. F&R GENERAL INTERIORS: MATTRESS BASES (POOL). LIVE EDGE DESIGN: DINING TABLES (LOUNGES). QUALITY & CO.: STOOLS, DINING CHAIRS. ARCHITEX: STOOL FABRIC. SEASONAL LIVING: TABLE (OUTDOOR KITCHEN), ORANGE SIDE TABLES (INDOOR POOL). FROM THE SOURCE: CHAIRS (OUTDOOR KITCHEN). COSEN­T INO: ISLAND SOLID-SURFACING. ECORE: FLOORING (GYM). XAL USA: PENDANT FIXTURES. DEDAR: CUR­TAIN FABRIC (LOUNGE). VERELLEN: LEATHER SOFA (GAME ROOM). MAHARAM: STRIPED

PROJECT TEAM

PILLOW FABRIC. PHILLIPS COLLECTION: WALL

NEHA SHETH; ELIANA LEE; NEESHA REDDIVARI; SUH-YOUNG HWANG: CLODAGH DESIGN. MACK SCOGIN

ART. MAYA ROMANOFF: WALL COVERING. C.F.

MERRILL ELAM ARCHITECTS: DESIGN ARCHITECT. HILL WEST ARCHITECTS: ARCHITECT OF RECORD. HM

STINSON: CUSHION UPHOLSTERY (INDOOR

WHITE: LANDSCAPING CONSULTANT. SBLD STUDIO: LIGHTING CONSULTANT. AQUATECTONIC ARCHITECTS:

POOL), SOFA FABRIC, LOUNGE CHAIR FABRIC

POOL DESIGNER. WSP: STRUCTURAL ENGINEER, MEP. ALL CRAFT FABRICATORS; J SUSS INDUSTRIES; PIO­

(LOUNGE). LUMINA PRODUCTS: FIREPLACE (INDOOR POOL). MICHAEL CURRY MOSAICS: FEATURE WALL

NEER MILLWORKS; TOWNSEND DESIGN: WOODWORK. ABC STONE; NEW YORK STONE; TILE & MARBLE

(RECEPTION). STUDIO PIET BOON: BENCH (LOUNGE). PDA WOODWORKING: CUSTOM CHESS TABLES. EMECO:

COL­LECTION: STONEWORK. HUDSON MERIDIAN; TRITON COSNTRUCTION; TURNER CONSTRUCTION:

STOOLS. STICKWOOD: SLIDING DOOR WOOD. TERRAMAI: BEAMS. JANUS ET CIE: BENCHES (TERRACE). CB2:

GENERAL CONTRACTORS.

COFFEE TABLES. J SUSS INDUSTRIES: COMPUTER STATION (GAME ROOM). CHARTER FURNITURE: TASK CHAIR.

PRODUCT SOURCES

AMERICAN UPHOLSTERY DESIGN: CUSTOM SOFAS (INDOOR POOL). THROUGHOUT GLANT FABRICS; HOLLY

FROM FRONT BETTERTEX: CUSTOM SECTIONAL (CLUBHOUSE LOBBY). ANDRIANNA SHAMARIS: COFFEE

HUNT; PERENNIALS; WOLF-GORDON: FABRIC. PYROK: ACOUSTICAL PLASTER. CONCRETE COLLABORATIVE:

TABLE. TUFENKIAN: RUG. CRATE AND BARREL: BASKET. TEAK WAREHOUSE: SIDE TABLE (CLUBHOUSE

CONCRETE FLOOR TOPPING. AMOURCOAT; BENJAMIN MOORE & CO.; PORTOLA; SCUFFMASTER: PAINT. B+N

LOBBY), BENCH (LOUNGE). FIVESTAR FURNITURE: CUSTOM HIGH TABLE, CUSTOM COFFEE TABLE (LEASING

INDUSTRIES; DECOUSTICS: WOOD CEILINGS. PORCELANOSA; STONE SOURCE: TILE. PETERSEN TEGL: BRICK.

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“The clubhouse provides a variety of spaces so everyone can find their sweet spot”

Opposite top: A Piet Boon bench furnishes the clubhouse lounge, where doors clad in vinyl or polyurethane panels can slide open to the game room, golf simulator, and demon­ stration kitchen. Opposite bottom: A 45thfloor terrace offers views of the 59th Street Bridge and Manhattan beyond.

Top: Part of the Clodagh Collection, O’Kennedy’s custom pendant fixture above the game-room pool table has movable walnut rings for keep­ ing score. Bottom: Custom LED fixtures in aluminum with a powder-coated bronze finish are also part of the Clodagh Collection.

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west side stories

Peruse a visual narrative of the culture and commerce giants defining Hudson Yards text: georgina mcwhirter

See page 252 for the Equinox Hotel by Rockwell Group and Joyce Wang Studio. Photo­ graphy: courtesy of Equinox Hotels.

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AvroKO project Zodiac Room, 20 Hudson Yards. standout After shopping at Neiman Marcus, visitors can also eat there in style, immersed in a shapely environment of rounded apertures, circular screens of laser-cut brass, and an oval coffered ceiling. photography Eric Laignel.

LUCY TUPU: RUGS. TAFFARD FABRICS: FLORAL WALL COVERING. ANDREW FRANZ: PENDANT FIXTURES. ALLIED MAKER: SCONCES, CEILING FIXTURES. STEL­ LAR­WORKS THROUGH DESIGN WITHIN REACH: CHAIRS. VITRA: ARMCHAIRS. GOODSHOP MANUFAC­ TURIES: CUSTOM TABLES, CUSTOM BANQUETTES. DANIEL D E MARCO & ASSOCIATES: WOODWORK, METALWORK.

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“It’s a study in new formalism—traditional materials in nontraditional forms”

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5G Studio Collaborative and Snarkitecture project Forty Five Ten, 20 Hudson Yards. standout The New York debut of the Dallas-based department store channels the eclectic fashion it offers with such trompe l’oeils as a “fractured” glass-block storefront and a rocklike display of carved and painted high-density foam. photography Michael Moran/Otto.

CONCRETE COLLABORATIVE: CUSTOM CASH WRAP. ATLAS CONCORDE: FLOOR TILE. BARTCO; BIRCHWOOD; CONTECH; JUNIPER; LF ILLUMINATION: LEDS. SHERWIN-WILLIAMS COMPANY: PAINT. FRIENDS X FAMILY: WOODWORK. SHAWMUT DESIGN AND CONSTRUCTION: GENERAL CONTRACTOR.

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“The progressively smaller doorways reference Francesco Borromini’s forced architectural perspectives”

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Studios Architecture project Investment firm, 55 Hudson Yards. standout Art and finance merge in this 25,000-square-foot open plan via Sarah Morris’s digitally printed mural, vibrant wool wall covering, primary colored sofa upholstery, and a Donald Juddesque reception desk in hot-rolled steel. photography Bilyana Dimitrova.

HERMAN MILLER: TASK CHAIRS. STYLEX: TURQUOISE OTTOMANS. FRITZ HANSEN: SIDE TABLES. CLARUS: WHITEBOARD. MAHARAM: WALL COVERING, RECEPTION SOFA FABRIC. KNOLL: DESK, CUSTOM CONFERENCE ROOM TABLE, BLACK RECEPTION CHAIRS. VITRA: CONFERENCE CHAIRS. HAY: RECEPTION SOFAS. USAI LIGHTING: PENDANT FIXTURES. SVEND NIELSEN: CUSTOM RECEPTION DESK. SURFACE SOLUTIONS: CONCRETE FLOORING. ARMSTRONG; LINDNER: CEILING SYSTEMS. ADOTTA: STOREFRONT SYSTEM. FOUR DAUGHTERS ARCHITECTURAL WOODWORK: WOODWORK.

“As one travels around the floor, the subtle changes transport you”

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“It’s a redefinition of the luxury hotel experience

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as a seamless extension of a high-performance lifestyle” project Equinox Hotel, 33 Hudson Yards. standout Jaume Plensa’s stainless-steel sculpture stands amid a Zenlike reflecting pool on the travertine restaurant terrace at the upscale gym giant’s hospitality debut, a wellness-oriented establishment overlooking the Hudson River. photography courtesy of Equinox Hotels.

Rockwell Group and Joyce Wang Studio MINOTTI: ARMCHAIRS. DAVID SUTHERLAND: CAFÉ CHAIRS. MENU: TABLE LAMPS. STELLAR HEARTH PRODUCTS: FIREPLACE. KEN SMITH WORKSHOP: LANDSCAPE DESIGN. SKIDMORE, OWINGS & MERRILL: BUILDING ARCHITECT.

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vote for the best products | october 7−18 visit boyawards.com to cast your vote

B O O K s edited by Stanley Abercrombie New York Contemporary: Grade Architecture and Interiors

Rooms with a History: Interiors and their Inspirations

by Thomas Hickey and Edward Yedid New York: Monacelli Press, $60 256 pages, 190 color illustrations

by Ashley Hicks New York: Rizzoli International Publications, $60 256 pages, 335 color illustrations

A porphyry urn from Versailles, silvered faucets from Beaulieusur-Mer, marble pavement from the Pantheon, chunks of raw malachite, Lord Curzon’s bathtub, a Regency chimneypiece the author designed for his father (the great David Hicks, in case you didn’t know). These are just a few tasty tidbits from a lavish smorgasbord divided into a dozen courses such as History, Jewels, Layers, and Texture.

They are intermingled with newer but similarly rich Ashley Hicks interiors for himself and his clients. In many cases, were it not for the captions, it would be hard to distinguish between the historic and the recent, except that Hicks seems to have inherited his father’s bold hand with geometry and strong color, as amply demonstrated in the chapter on Color. The Flowers chapter shows real blooms as well as painted, printed, and carved ones. In Making we see things the author has crafted, such as “a coral-inspired console table that I carved from pine and gilded.” But perhaps the Faking chapter is most fun of all with a buffet of trompe-l’oeil effects, mirrors, false perspectives, marquetry, and walls of false book spines, “Rooms should always “the joy of both tricking the eye and having it tricked.” hold memories” Too much, you say? You yearn for something plain? Don’t be silly! You can’t enjoy a feast like this every day, although Hicks apparently can.

As he explains, “I spent my childhood on patterned sheets.” And as his old friend and celebrated shoe designer Christian Louboutin writes of Hicks in the foreword, “His dedication to beauty remains intact.”

What They’re Reading...

The Story of Rockefeller Center

by Margaret Bourke-White and Cosmo-Sileo Whitefish, Montana: Literary Licensing, $14 26 pages, 43 black-and-white illustrations

“We are currently working on the Rockefeller Group’s first residential tower in over four decades, Rose Hill, located in the old neighbhorhood of the same name in what’s now NoMad. The craft of intertwining art with architecture has been a profound influence on us as we designed the 45-story tower. This Amazon find, originally published as a pamphlet in 1939 and orchestrated with photography by renowned photojournalist Margaret Bourke-White, chronicles the design and construction of Rockefeller Center, the most important civic architectural ensemble in the U.S. More than any modern complex I know, it incorporates art in all forms as essential to the architecture.

Murals, glass, metalwork, and innovative graphics all add to an immersive experience. I am now collaborating with artists to create a beautiful and monumental lobby; details on the new facade reference ones on our client’s masterpiece; and we’ve focused on incorporating the grand proportions of buildings of the 20’s and 30’s into a forward-looking skyscraper.”

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John Cetra Founding principal of CetraRuddy Architecture

BOTTOM LEFT: COURTESY OF CETRARUDDY ARCHITECTURE

Few design firms name their hometown in their title, but if it’s New York, why not? Grade New York was founded in 2004 by architect Thomas Hickey, a graduate of Columbia University and a teacher at Barnard and Parsons School of Design, and Edward Yedid, a graduate of New York University, Hickey’s student at Parsons, and an employee of Noel Jeffrey.

Their work shown here is a deluxe tour of Manhattan apartments: one in Norman “We are modernists Foster’s tower in Chelsea; with a deep respect another in Herzog & de for history” Meuron’s 56 Leonard Street; a Tribeca loft in a former bookbindery; an East 57th Street penthouse; and Yedid’s own Madison Avenue duplex.

In every case, Grade New York’s touch is spare and elegant with a soft, subtle palette, Aubusson carpets, and wall panels of mahogany and suede. This quiet background welcomes dramatic and colorful art by Josef Albers, Dan Flavin, Ed Ruscha, Antoni Tàpies, Jean Dubuffet, Louise Nevelson, Fernando Botero, Kiki Smith, and Henri Matisse. Lighting is by Isamu Noguchi, Jean Royère, Frank Gehry, Ingo Maurer, and Richard Meier. Furniture choices include classics by Eero Saarinen, Hans Wegner, Warren Platner, Afra and Tobia Scarpa, Charlotte Perriand, Poul Kjærholm, George Nakashima, Christian Liaigre, et al., but these are often spiked with quirkier pieces by Piero Fornasetti and François-Xavier and Claude Lalanne or with oddball objects like an antique birthing chair. The results provide the serenity that big city living demands, but with an occasional shock of electricity: New York at its best.

Collins Square Business and Events Centre Melbourne l Carr Design Studio l Peter Clarke Photography

SCULPTING open space create WAVES add VIBRANCY

Artistic Elements • Ceilings • Outdoor Dividers • Shower Dividers • Solar Shading • Wall Coverings • Water Features • Window Treatments

800.999.2645 fabricoil.com cascadearchitectural.com

c o n ta c t s DESIGNERS IN SPECIAL FEATURE

PHOTOGRAPHERS IN CITY LIVING

AvroKO (“West Side Stories,” page 244), avroko.com.

Adrien Gaut (“All in the Family,” page 103), agaut.com.

5G Studio Collaborative (“West Side Stories,” page 244), 5gstudio.com.

Eric Laignel Photography (“The Top Brass,” page 95), ericlaignel.com.

Rockwell Group (“West Side Stories,” page 244), rockwellgroup.com.

DESIGNER IN HOTSHOTS

Snarkitecture (“West Side Stories,” page 244), snarkitecture.com.

Studios Architecture (“West Side Stories,” page 244), studios.com.

Abruzzo Bodziak Architects (“Orderly Fashion,” page 49), aba.nyc.

DESIGNER IN CENTERFOLD Wade and Leta (“Coral Arrangement,” page 187), wadeandleta.com.

Joyce Wang Studio (“West Side Stories,” page 244), joycewang.com.

PHOTOGRAPHERS IN FEATURES Eric Laignel Photography (“Design Through Discovery,” page 192; “Come Fly With Me,” page 218; “Elemental Living,” page 234), ericlaignel.com.

Michael Moran (“The Medium Is the Message,” page 210), Otto, ottoarchive.com.

Interior Design (USPS#520-210, ISSN 0020-5508) is published 18 times a year, monthly except semimonthly in March, May, June, and August, and thrice-monthly in October by Interior Design Media Group. Interior Design Media Group, 101 Park Avenue, 4th Floor, New York, NY 10178, is a division of Sandow, 3651 NW 8th Avenue, Boca Raton, FL 33431. Periodicals postage paid at New York, NY, and additional mailing offices. Subscriptions: U.S., 1 Year: $69.95; Canada and Mexico, 1 year: $99.99; all other countries: $199.99 U.S. funds. Single copies (prepaid in U.S. funds): $8.95 shipped within U.S. ADDRESS ALL SUBSCRIPTION RE­QUESTS AND CORRESPONDENCE TO: Interior Design, P.O. Box 16479, North Hollywood, CA 91615-6479. TELEPHONE TOLL-FREE: 800-900-0804 (continental U.S. only), 818-487-2014 (all others), or email: subscriptions@interiordesign.net. POSTMASTER: Send address changes to INTERIOR DESIGN, P.O. Box 16479, North Hollywood, CA 91615-6479. Publications Mail Agreement No. 40624074.

DESIGNER IN CITY LIVING Messana O’Rorke (“The Top Brass,” page 95), messanaororke.com.

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AUTHENTICALLY SPARK! See our photo gallery at www.sparkfires.com or 203.791.2725

Where family and friends gather.

modern fires

Winding Residence, Dallas, Texas Architect: smitharc architects Designer: Jason Smith, AIA, Signe Smith, AIA Photo: Stephen Karlisch

WALK RIGHT IN. OPEN TO THE PUBLIC M-F 9–5 SAT 10–3 Shop the world’s largest collection of premier boutiques for home building and renovation.

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design

annex

Phenix Green Fireplace

Derek Marshall

Two fireplaces in one, the Wittus Phenix Green built-in zero-clearance wood burning collection offers an open- or closed-door option. Designed with a high efficiency burn system, multi-ducting capability (up to six rooms), an outside air system and automatic thermostat. Please call 914.764.5679 or visit us online at wittus.com

Derek Marshall presents a dramatic chandelier with a recurved armature, with four mini Sushi art glass lights. Unequaled for a dramatic effect in a dining room or any room that demands superior styling and impeccable engineering. Thirty-nine inches overall length and seventeen inches wide, the Wave is available in many art glass colors and textures. Hand made in New Hampshire. Free glass samples.

Call us at 800.497.3891 or visit derekmarshall.com

Newport Brass | Jeter

QM DRAIN

With a minimalistic design and uniquely shaped lever handle, the Jeter collection is constructed for kitchens where aesthetics are as important as functionality.

Contact us at 949.417.5207 or visit newportbrass.com

An invitation to transform the ordinary into extraordinary. Whether designing your dream shower, or customizing your outdoor pool and patio spaces, QM Drain offers an exciting collection of center and linear drains, made with the highest quality Stainless Steel 316. Please call 954.773.9450 or visit us online at qmdrain.com

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Megacoustic

Steampunk Lives

Création Baumann has succeeded in developing a new fabric, Megacoustic, which adds a technically highly effective and aesthetically pleasing product to the versatile range of transparent acoustic fabrics. info.usa@creationbaumann.com 212.906.0106 creationbaumann.com

Inspired by the steam-powered, gear-driven machines that define the Steampunk genre, Steampunk Bay® features industrial-age precision markings, wheel assist handles, and shower trim based on an actual 1920s-era steam valve gauge.

Available in 28 artisan finishes. Handcrafted in Huntington Beach, CA. Call us at 800.822.8855 or visit us online at californiafaucets.com

Davis Furniture

ANGIE SEATING | PETER PEPPER PRODUCTS

Gingko Wire is an indoor/outdoor line constructed of solid steel rods. Available in standard Davis powder coats plus 5 new color options, Ginkgo Wire includes chairs, lounge seating, barstools, and tables. Please call 336.889.2009 or visit us online at davisfurniture.com

ANGIE is a well-rounded seating solution composed of fiberglass and polypropylene. Available in four leg, sled, and spider leg base, as well as a three-seat bench model. Optional seat pad for indoor use. Designer: Josep Lluscá. Contact us at 800.496.0204, peterpepper.com

The Art of Recycling

Whiting & Davis Metal Mesh Fabrics Manufactured in USA Since 1876 Whiting & Davis metal mesh can be used in a variety of design applications to create an atmosphere ranging from luxurious opulence to industrial chic.

Shimmering, fluid and dramatic mesh creates a simple, yet lustrous pattern of texture unlike any other material. Feel the difference. t. 800.876.MESH or please visit us online at wdmesh.com

Integrate recycling into your environment with our modular recycling bins. Slide-in panels coordinate with any design.

Single to Quad Sizes. Shown: Trash / Recycler in Jatoba Wood with Zephyr banding. Recycled plastic, slate, metal, laminate, and more panels available.

Screen wall, planters and benches also available.

Lifetime Structural Warranty. t. 305.857.0466 DeepStreamDesign.com

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T H A N K T O

O U R

Y O U

S P O N S O R S

contest

carpet

columns

awards

SEE THE 2019 WINNERS AND HONOREES AT NYCXDESIGNAWARDS.COM

safe harbor For a hospital, good design is when it helps patients forget where they are. That was the philosophy of Skolnick Architecture + Design Partnership when conceiving the public spaces for the ground-up Hassenfeld Children’s Hospital at NYU Langone Health in Kip’s Bay. Lee Skolnick and his team, along with Ennead Architects, NBBJ, and the hospital’s in-house creative staff, worked with the theme of New York is a Wonderland, tailoring elements to be lighthearted for the patients and engaging for the parents— “whimsical yet sophisticated,” he says.

Throughout the 160,000-square-foot facility are rooms referencing the Brooklyn Bridge, Grand Central Terminal, and Radio City Music Hall. But it’s in the main lobby that creativity soars and spirits are fortified. That’s where Skolnick has essentially rebuilt New York Harbor—albeit smaller and on land.

Beneath a dreamy ceiling painted sky blue with billowing clouds, the base of a nautically navy, curved banquette is faced with waves of mosaic tile in a coordinating palette. Tugboat-red vinyl upholsters the oval stools docked on the terrazzo floor, another wave there delineating the boundary between the water and Liberty Island. Then of course the harbor’s most famous sight, the Statue of Liberty, is in residence. She rises up 15 feet from another vinyl-covered bench, here star-shaped like the actual statue’s pedestal. But instead of copper and steel, this Lady Liberty is rendered in more than 80,000 kid-friendly Lego bricks.

—Wilson Barlow

MICHAEL MORAN/OTTO

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FIRE

&

ICE

The contrast of fire on ice—element on element—highlights each separation within the fractured frosted landscape.

The fire does not overwhelm the effect on the ice but dramatically transforms the scope—which takes an epic appeal.

Fire & Ice is available in 24” x 24” modular tile. jjflooring.com

scholten & baijings