Interior Design October 2021 by Interior Design Magazine

OCTOBER 2021

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Mah Jong. Modular sofa with elements, designed by Hans Hopfer. Upholstered in , Constellation collection. Stained wooden bases, Alezan finish. In-store interior design & 3D modeling services.1 Quick Ship program available.2

This year, Roche Bobois is celebrating the 50th anniversary of the Mah Jong sofa, designed in 1971 by Hans Hopfer. To celebrate this milestone, the Mah Jong is dressed in new designer fabrics and set on elegant platforms that enhance its silhouette and comfort. True to the Mah Jong’s original identity, this new design makes the piece more modern than ever.

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CONTENTS OCTOBER 2021

VOLUME 92 NUMBER 12

10.21

ON THE COVER Furniture by Nada Debs gathers on a custom rug in the St. Pierre limestone–sheathed entry hall of the Permanent Mission of the United Arab Emirates to the United Nations, a Midtown project by Skidmore, Owings & Merrill. Photography: Dave Burk/Skidmore, Owings & Merrill

features 104 SMOOTH SAILING by Jen Renzi

With its nautically inspired interiors for Dock 72, Fogarty Finger helps the Brooklyn Navy Yard chart a new course.

126 THE GOTHAM SUITE by Peter Webster

Thanks to a quintet of new and renovated hotels, the Big Apple’s never-ending symphony modulates to a fresh, upbeat key.

112 A TALE OF TWO CITIES 138 GRAND SLAM by Edie Cohen by Katie Gerfen

In a TriBeCa apartment, Enze Architects weaves a stylish narrative starring Milan and Manhattan.

118 DIPLOMATIC MOVES by Joseph Giovannini

Architectural harmony reigns in Midtown East at the Permanent Mission of the United Arab Emirates to the United Nations by Skidmore, Owings & Merrill.

Studios Architecture’s Major League Baseball headquarters in Midtown forges a new era for the sport. 146 POINT OF RETURN by Helene Oberman and Annie Block

With hundreds of entries from every borough, the annual NYCxDesign Awards confirms that the city is back, stronger and better-looking than before.

CONNIE ZHOU

146

A sign of what’s to come has arrived. Introducing

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10.21

CONTENTS OCTOBER 2021

VOLUME 92 NUMBER 12

city living 53 LIGHT READING by Stephen Treffinger 61 URBAN ZEN by Annie Block

In Manhattan and Brooklyn, home means cool, calm, and collected.

departments 29 DESIGNWIRE by Annie Block and Peter Webster 40 PINUPS by Wilson Barlow 47 CREATIVE VOICES A Hybrid World by Eric Mutrie

Amidst new pandemic realities, Brooklyn architect Alexandra Barker is helping New Yorkers to endure, pivot, and adapt. 71 MARKET by Rebecca Thienes, Georgina McWhirter, and Nicholas Tamarin 99 CENTERFOLD Tough Love by Georgina McWhirter

NYCxDESIGN’s annual poster campaign is back with a mix of the gritty and the pretty, just like Gotham itself. 162 BOOKS by Stanley Abercrombie 163 CONTACTS 167 INTERVENTION by Wilson Barlow

29 27

NICHOLAS KNIGHT/COURTESY OF CLAUDIA WIESER, MARIANNE BOESKY GALLERY NEW YORK AND ASPEN, JESSICA SILVERMAN, SAN FRANCISCO, AND PUBLIC ART FUND, NY

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e d i t o r ’s welcome

hugs from the biggest apple We all heart NYC! And what better way to celebrate our beloved New York than, say, jetting to one of our favorite Italian destinations, like Milan, for the Salone? Or to the Windy City for NeoCon? Yes, friends and design fans, it’s our “all the New York you could want” issue; at the same time, we are on the move again, covering the industry’s official “social” reawakening at those annual design fairs—rescheduled, ex pressly for us, this fall! These quick jaunts are quite befitting. Being the gateway to design everywhere is quintessential New York, after all. And I of all people should know. I have been shipping this NY puppy to press, through thick and thin, for many a year now. Whether in roaring-good times or downright calamities, our crop of made– for–New York design is always bountiful, prodigious…even irrepressible. So, a celebration in transit suits us just fine, because the Big Apple will keep on giving its best. And in a way, perhaps, it’s the city that says, “No matter what, it’s going to be OK.” Without further ado then, let me introduce the cast of characters we are presenting in our own New York design show. We kick it off by celebrating all the boroughs—from edge to shining edge— with our sixth annual NYCxDESIGN Awards (and check out the Edge at Hudson Yards, which won the Shining Moment and Outdoor categories!). Studios Architecture knocks it out of the park with its new Midtown headquarters for Major League Baseball, where the firm used materials riffing on the sport, but in a new and super-chic way. And we just had to share a crop of renovated hotels across the city— from Meatpacking to SoHo, Brooklyn to Roosevelt Island (phew!)—that will make all of us want to pack our bags and visit…now! It’s my city—our beloved city—and it’s all about design, so let’s give it the standing ovation it deserves. xoxo

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Enze Architects “A Tale of Two Cities,” page 112 founder, ceo, chief architect: Natalia Enze. firm site: Milan. firm size: 30 architects and designers. current projects: Grand Hotel Excelsior in Viareggio, Italy; a hospitality project on R.O.C.S. Island in Bali; a residence on Fisher Island in Florida. honors: NYCxDesign Award. brush: Painting is one of Enze’s hobbies. water: She also enjoys scuba diving. enzearchitects.com

OCT.21

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Fogarty Finger “Smooth Sailing,” page 104 director: Alexandra Cuber, AIA. associate director: Candace Rimes. firm sites: New York; Boston; Atlanta. firm size: 103 architects and designers. current projects: Platt Street Hotel, Sage Amenity Clubs, and GM Building, all in New York; 141 Willoughby in Brooklyn.

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“Grand Slam,” page 138 managing principal: Joshua Rider, AIA. associate: Jordan Evans. firm headquarters: New York. firm size: 260 architects and designers. current projects: FTI Consulting, Rockefeller Foundation headquarters, and

Redeemer Presbyterian Church, all in New York. honors: Interior Design Best of Year Award; NYCxDesign Award;

CoreNet Corporate Real Estate Award for Excellence. road: Rider enjoyed motorcycle riding before becoming a father. air: Evans’s next trip is a Serengeti safari. studios.com 24

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OCT.21

Studios Architecture

TOP, FROM LEFT: ANDREA FELDMAN; BOHAN HOHNJEC

sea: Cuber has been traveling to Costa Rica for her new obsession: surfing. south: Rimes has relocated to Atlanta to open a new FF office. fogartyfinger.com

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Skidmore, Owings & Merrill “Diplomatic Moves,” page 118 design partner: Chris Cooper, FAIA. firm sites: New York; Chicago; San Francisco. firm size: 1,200 architects and designers. current projects: 175 Park Avenue and 250 Water Street mixed-use high-rises and the Lever House renovation, all in New York. honors: National Building Museum Honor Award. in class: Cooper met his wife, interior designer Jennifer Hanlin, when they were both students at the Harvard University Graduate School of Design. at home: He is currently converting their Cobble Hill, Brooklyn, brown stone into a passive house. som.com 26

INTERIOR DESIGN

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design wire by Annie Block and Peter Webster

For some, it seems like yesterday when retailers and restaurants throughout Manhattan boarded up their storefronts in anticipa tion of the demonstrations sur rounding police brutality and the contentious presidential election. While pandemic chal lenges persist, New York has somewhat stabilized, even felt occasionally optimistic, since the turbulent summer and fall of 2020, and that’s partly due to the Plywood Protection Project, an initiative by Worthless Studios, a nonprofit dedicated to support ing artists’ fabrication needs and producing public art. Founder Neil Hamamoto, a conceptual artist himself who has a mechanical engineering degree from Stanford University and installations planned for Google’s new Pier 57 offices, got the idea driving around SoHo, where he saw wood on the streets ready for disposal. “It just sort of clicked that all these businesses were paying so much money to protect their windows, but what was going to happen to the material when they reopened?” he told The New York Times last spring. (A single plywood board had risen to more than $90, up from about $25.) Worthless collected over 200 discarded boards, then the Plywood Protection Project launched a call for proposals, of which five winners were awarded studio space, tools, and a stipend. More than 200 artists applied, and in May, one sculpture was installed in each of the bor oughs. Behin Ha Design Studio’s Be Heard, a large-scale megaphone form at Thomas Pain Park, required over 30 boards. Although nearly 13 feet high, Tanda Francis used fewer for her Queensbridge Park sculpture, a black column carved with women’s faces inspired by Mama Wata, an African goddess “with a cleansing spirit for this world on fire.”

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RockIt Black, by Tanda Francis, stands 12½ feet tall in Queensbridge Park, made of polished concrete, aluminum mirror, and painted plywood repurposed from boarded-up storefronts. It’s one of five citywide installations in the Plywood Protection Project, a program by the arts nonprofit Worthless Studios that’s on view until November 1.

OCT.21

INTERIOR DESIGN

Clockwise from bottom: The Rimowa luggage store in SoHo, a collaboration between MA-MA and Mass Studio, includes a new passport-photo booth enclosed in a mirrorpolished stainless-steel column at the end of a 12½-foot-long custom display table. Custom shelving is polycarbonate and brushed aluminum. A vintage Rimowa suitcase is emblazoned with travel stickers. The storefront window installation enlivens the early 1900’s building .

d e s i g n w ire

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Ready to start traveling again? Now you can get your shots—the kind that go in passports, not in arms—where you buy your suitcases, thanks to a new photo booth at the Rimowa flagship store in SoHo. The German luxury luggage manufacturer soft-opened its swank New York outpost in July 2020, when most of its customers had put globetrotting plans on hold. But with the gradual return of wanderlust, the store is making passport renewal less painful with a tiny self-service headshot studio that includes comfortable seating, shadow-free lighting, and a smoothly automated user experience. Hidden within a mirrored column, the complimentary facility integrates seamlessly into the 800-square-foot boutique’s sleek terrazzo-floored interior, the work of two firms—MA-MA in New York and Mass Studio in Los Angeles—founded and led by three sisters: Sanam Salek and Laylee Salek on the East Coast and Safura Salek on the West. The siblings have incorporated neutral, industrial materials such as brushed aluminum, white solid surfacing, and grooved polycarbonate panels that evoke Rimowa’s signature pieces. Even the floating window display—in passerby-stopping red—conceptualizes the 200 parts that go into building the resilient suitcase. It all says: Get packing!

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OCT.21

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act one The life and work of Claudia Wieser seems to revolve around words starting with the letter B. She’s based in Berlin. She apprenticed as a blacksmith at Bergmeister Kunstshmiede before earning her master’s in painting. Her pieces today, Modernist-inspired geometric constructions, reference Bauhaus architecture and design. And her debut public art installation is currently on view at Brooklyn Bridge Park. Called Rehearsal, it’s composed of five largescale sculptures meant to be interacted with, as both a meeting place and a theatrical set recalling ancient Roman forums where people exchanged ideas. The structures range from 7 to 13 feet tall and are clad in over 1,500 clay tiles that Wieser hand-painted to echo the patterns of the neighborhood’s red-brick buildings and Belgian-block paving stones. “A strong influence was the music room from the 1931 Exhibition House by Mies van der Rohe, furnished with an all-over tile painting by Wassily Kandinsky,” she notes of her development as an artist. Select surfaces have different treatments: Some are fronted by polished stainless steel, which reflects visitors’ movement, while others host photographs of New York City taken either by Wieser during past trips or tourists in the 1980’s and ’90’s, along with images of historic sculptures. The artist has clearly brought her A game to DUMBO.

NICHOLAS KNIGHT/COURTESY OF CLAUDIA WIESER, MARIANNE BOESKY GALLERY NEW YORK AND ASPEN, JESSICA SILVERMAN, SAN FRANCISCO, AND PUBLIC ART FUND, NY

Clockwise from bottom: Rehearsal, by Claudia Wieser for Public Art Fund, is made of thousands of 4-inch- and 6-inch-square Agrob Buchtal clay tiles that Wieser individually hand-glazed, either matte or glossy, in her Berlin studio, as well as polished stainless-steel panels. The five-piece interactive installation is located at DUMBO’s Main Street Park at Brooklyn Bridge Park, by Washington and Plymouth Streets, through April 17, 2022. A photograph of an ancient sculpture of a Greek charioteer is overlaid by an ’80’s New York image that Weiser found online, all printed on adhesive vinyl.

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OCT.21

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Over the past 18 months, life as we know it has moved to an ever-fluctuating model. Shops shift their inventory between indoors and out, students shuffle between learning at school and at home, and social gatherings are as likely to occur in parks as in places of residence. For Brooklyn-based architect Alexandra Barker, who is also the assistant chair person of the graduate architecture and urban design program at Pratt Institute, these changes have made for fruitful—and not entirely unfamiliar—design challenges. Her firm, Barker Associates Architecture Office, has long embraced hybrid thinking, overlapping different scales and disciplines to develop flexible solutions that address multiple needs simultaneously. Take, for instance, the cat staircase she thoughtfully incorporated in a Brooklyn row house’s built-in bookcase. With her ongoing community work, Barker considers an even broader range of experiences. “The pandemic has made me more aware of my surroundings, and how small things can have a big impact,” she says. City Kids, a recently completed

a hybrid world Amidst new pandemic realities, Brooklyn architect Alexandra Barker is helping New Yorkers to endure, pivot, and adapt

Williamsburg preschool with COVIDfriendly ventilation and a warm, domestic feel, is playfully scaled down to toddler proportions, yet also comfortably accom modates older students for after-school programming. Meanwhile, as part of Design Advocates, a collective dedicated to pro-bono initiatives, Barker is helping Washington Heights businesses to embrace pandemic-savvy outdoor retail strategies and working on open-air learning spaces for Concourse House, a transitional housing shelter in the Bronx. Evidently, Barker’s knack for operating at the intersection of various ideas is exactly the approach that 2021 calls for. She tells us more.

LESLEY UNRUH

Alexandra Barker, FAIA, founder and principal of Barker Associates Architecture Office, and assistant chairperson of the graduate architecture and urban design program at Pratt Institute, in a Fifth Avenue penthouse she designed.

c r e at i v e voices OCT.21

INTERIOR DESIGN

How does City Kids rethink preschools for the COVID era? Alexandra Barker: When construction paused at the beginning of the pandemic, we made some changes to address needs that were becoming clear: adding operable windows, increasing circulation flow, and finding ways to either contain or expand connections between rooms. Those adjustments have been integral to keeping the school open.

How did you arrive at the idea for the doubleheight lobby space, which visually links the preschool to the after-school community spaces upstairs? AB: It’s sort of an indoor-outdoor experience. I thought of it like an Italian piazza, with multiple apertures looking into a central courtyard and borrowing its light. The ceiling—painted a dark blue-green, with glowing white pendant fixtures— is like an artificial sky.

You’re also working with Design Advocates to improve real streetscapes in Washington Heights. What’s your approach there? AB: Design Advocates was started by architect Michael Chen and other friends of mine to help communities that are urgently looking for ways to adapt to the pandemic. I collaborated with several members on a proposal for Sisters Uptown Bookstore, a minority woman–owned business that has some ad hoc bookshelves outside for browsers but wants something more formalized and built-in. We decided to add lively outdoor seating, too, because community residents like to hang out there. It’s so much more than a bookstore—the shop hosts events, classes, and speakers—and this proposal reflects that social component.

CLOCKWISE FROM TOP LEFT: COURTESY OF BARKER ASSOCIATES ARCHITECTURE OFFICE (3); FRANCIS DZIKOWSKI/OTTO

The half-height walls and other low elements seem designed with a toddler’s perspective in mind. AB: At 5 feet, 4 inches tall, I’m sensitive to things that are not the right height for me and always thinking about where a space becomes problematic because

of the scale. Anytime something is conceived to work specifically for a certain population, it turns the design into more of a background element by helping people do their job. In this case, the job is learning and gaining confidence.

INTERIOR DESIGN

OCT.21

CLOCKWISE FROM TOP LEFT: FRANCIS DZIKOWSKI/OTTO; LESLEY UNRUH (2)

For another Design Advocates project, you’re working with Concourse House—a transitional housing facility for mothers with young children in the Bronx—introducing garden pavilions. What’s their function? AB: A lot of the children there don’t have ways to deal with homeschooling during shutdowns, so we’re trying to expand the use of outdoor spaces for workshops and social gatherings. They’re interiorscaled outdoor rooms for the residents that will turn what is now just some fenced-in grass into a totally different landscape. What drives you to pursue these community outreach projects? AB: It’s interesting to think about the needs of different populations. With public projects, you can’t know every single person who will experience a space, but hopefully there’s something in the design that will resonate. It’s great to see people being a part of the discussion process, so that they feel ownership over having helped to make something happen. —Eric Mutrie

Clockwise from opposite top left: A rendering of the proposed redesigned facade for Sisters Uptown Bookstore in Washington Heights, which adds a built-in bookshelf for outdoor browsing. Its proposed outdoor seating. An outdoor-classroom pavilion proposal for Bronx transitional housing shelter Concourse House. The double-height entryway of City Kids preschool in Williamsburg, its ceiling painted to evoke the night sky. A pegboard feature wall serving a toddler’s perspective at the Maple Street School in Prospect Lefferts Gardens, a collaboration with 4|MATIV. Oval apertures throughout City Kids, borrowing daylight and piquing curiosity. Kid-friendly stepped bench seating.

c r e at i v e voices

OCT.21

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light reading firm: studiosc site: greenpoint, brooklyn Beneath a duplex’s glazed catwalk, the custom cabinetry in the kitchen is white oak. OCT.21

INTERIOR DESIGN

GARRETT ROWLAND

Clockwise from top left: Lindsey Adelman’s Branching Bubbles chandelier presides over Samuel Accoceberry Studio’s Rough dining table and Nigel Coates Bodystuhl chairs. The island top, shelving, and backsplash are Cararra marble. An Isamu Noguchi table stands before Matthew Hilton’s sofa in the living area. Above engineered oak flooring and white oak paneling, nooks for books and objets were cut out of the plaster. In the den on the second level, the sofa is by Vico Magistretti.

INTERIOR DESIGN

OCT.21

With a client wish to “stand out without standing out,” architect Stephen Conte didn’t flinch. Rather, the Pratt Institute alumnus and StudioSC founder welcomed the challenge of the koanlike request—the request coming from a couple for their Brooklyn duplex. Further, the clients were looking to avoid a generic space highlighted by a few paintings, photographs, and colorful objets. Their desire was that the home itself, as well as its furniture and lighting, be an artistic statement. Expecting their first child during the process, they had purchased two stacked units in a condominium building in Greenpoint, where Conte’s studio is located, to be combined into a single 2,100-square-foot residence. The ensuing gut renovation involved reimagining the kitchen and smoothing out myriad bumps and soffits in the walls and ceilings for a unified, clean appearance throughout. Even lighting access panels were made seamless, hidden within the plasterboard of the ceilings. The serene and airy result demarcates between public and private life: Entry is through a small foyer gently illuminated by Michael Anastassiades pendant globes that opens into the kitchen, dining, and living area downstairs, while the family area—den/study, two bedrooms that share a bathroom, primary suite—is upstairs. A glass catwalk linking the rooms above overlooks the double-height space below. Sidestepping easy wow moments and obvious pops of color to create interest, Conte instead relied on subtlety, craftsmanship, and finishes. “People come in and, rather than be overwhelmed, they slowly begin to notice the details.” Examples can be found in the kitchen, where Conte had the half-round handles and pulls made from the same solid white oak as the cabinetry, yielding a rhythmic expanse of matching horizontals and verticals. He then installed a steel plate under the island counter so its white marble top could cantilever out 2 feet. The original counter had big

c i t y living

GARRETT ROWLAND

OCT.21

INTERIOR DESIGN

square legs that hampered seating options; the upgraded, floating surface not only allows for more stools, namely sculptural black ones by Castor Design, but is also more streamlined. “It created a really nice gesture there,” Conte notes. Shelving is also marble, up-lit by LED strips, creating another weightless, open moment. And the kitchen’s oak continues into the eating and living areas via an oval dining table and paneling behind the cream-colored sofa. Overall, the palette is calm. The slightly varying shades of wood in the flooring, millwork, and furnishings give warmth and texture yet remain cohesive. But there are minimal moments of intense color in the private zone, such as the den’s couch upholstered in a rich emerald and the tobacco leather of the primary suite’s bed. Coupled with the hues of the artworks nearby, however, these become another way of expressing equilibrium. —Stephen Treffinger

c i t y living

FROM FRONT FLOS: PENDANT GLOBES (ENTRY). LIEBHERR: CUSTOM REFRIGERATOR (KITCHEN). LODES THROUGH LIGHTOLOGY: CEILING FIX TURES. THROUGH MATTER: STOOLS. BERTAZZONI: COOKTOP. ABC STONE: MARBLE. FRANKE: SINK. HANSGROHE: SINK FITTINGS. GEBRÜDER THONET VIENNA: CHAIRS (DINING AREA). THROUGH THE FUTURE PERFECT: CHANDELIER, TABLE (DINING AREA), SOFA, SIDE TABLE (LIVING AREA), TABLE, LAMP (DEN). THROUGH DESIGN WITHIN REACH: TABLE (LIVING AREA), CONSOLE (DEN). CASSINA: SOFA, SIDE TABLES, CHAIR (DEN), BED (BEDROOM). KVADRAT: RUG (DEN). BOWER STUDIOS: MIRROR (BEDROOM). APPARATUS STUDIO: PENDANT FIXTURES, SCONCES. JARDAN: SIDE TABLES. THROUGHOUT JANIK FURNITURE SPECIALISTS: WOODWORK. JJS MANAGEMENT: GENERAL CONTRACTOR.

GARRETT ROWLAND

Clockwise from top left: The living and dining area’s ceiling is 19 feet. Apparatus Studio’s Median sconces and a Capsule mirror by Bower Studios furnish the primary suite’s vanity area. Its L50 Cab Night bed is by Mario Bellini.

INTERIOR DESIGN

OCT.21

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c i t y living

urban zen In Manhattan and Brooklyn, home means cool, calm, and collected

See page 62 for this West Harlem penthouse by Re-a.d, outfitted in limewash walls, Luca Nichetto seating, and Achille and Pier Giacomo Castiglioni’s Snoopy lamp.

CHRIS MOTTALINI

OCT.21

INTERIOR DESIGN

CHRIS MOTTALINI

c i t y living

INTERIOR DESIGN

OCT.21

Re-a.d project Two-bedroom penthouse. site West Harlem. standout Conceived as globe-trotting video director Loïc Maes’s aerie to recharge both creatively and physically, the apartment is tonal and textural, cohesive and uncluttered, with limewash or Moroccan tadelakt–finished walls, ample cove lighting, larch-oak millwork, and streamlined contem porary furnishings providing subtle dimensionality.

CHRIS MOTTALINI

OCT.21

INTERIOR DESIGN

Studio Nato

project Four-bedroom brownstone. site Park Slope. standout In a young couple’s three-story home (with additional garden-level rental), late 1800’s Italianate meets pop-arty Mediterranean via arched sapele entry doors, restored historical moldings and fireplace plasterwork, painted pastel wainscotting, a vibrant custom rug, and expressive artwork.

HANNA GRANKVIST

c i t y living

INTERIOR DESIGN

OCT.21

BELMONT TERRY CREWS

c i t y living

Archi-Tectonics project Four-bedroom town house. site SoHo.

FROM LEFT: EVAN JOSEPH (2); ARCHI-TECTONICS (2)

standout Although four levels were added to create an eight-story residence, the project represents a sustainable approach to city living, reducing its environmental footprint and energy costs, thanks to an operable lattice envelope of steel and Trespa slats that decreases or increases heat inside based on the season and brings light or privacy to the interiors, where restored brickwork and beams date to the early 1900’s.

INTERIOR DESIGN

OCT.21

Steelcase Karman ™

steelcase.com/karmanchair

Kushner Studios Architecture + Design project Four-bedroom town house, plus one-bedroom guest house. site Greenwich Village. standout With a foundation dating to 1848, and structures to 1928, this restoration, renovation, and expansion project is eight years in the making, yielding a 24foot living room with a 300 round–capacity cordwood stack to serve the home’s nine woodburning fireplaces; flooring and millwork of red oak hand-harvested from felled Upstate New York trees; an elevator and roof terrace; and an 83-foot rock climbing wall. —Annie Block

INTERIOR DESIGN

OCT.21

COURTESY OF KUSHNER STUDIOS ARCHITECTURE + DESIGN

c i t y living

Introducing the exclusive collections by

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MELODY The Me l od y Col l e c ti o n’s repeating inverted arches surrounding a c r i sp whi te l i ght d e l i ver a sense of art deco glam to this timeless c onte m p or a r y c ol l e c ti on . T he Melody collection features an integrated LE D S c onc e t hat is dimmable and ADA compliant. F i nd m or e p r od uc ts to take your breath away at www.c raft made .c om.

MADE YOU LO OK

a new era

FROM LEFT: CHRIS MOTTALINI/STYLING: NOEMI BONAZZI; JOSEPH DE LEO (2)

Pent-up creativity launched many new ventures in 2020. Case in point: Manhattan firm Blue Green Works, helmed by creative director Peter B. Staples (previously of Apparatus Studio and The Future Perfect) with partners James McAvey and Dan Persechini. For the trio’s inaugural lighting series, Palm, the beachy yet modernist Pines hamlet on Long Island’s Fire Island acted as muse. “We were thinking about places of escape and refuge and things that make us happy: palm trees, beachgrass, flower arrangements,” Staples says. The flared floor lamp, pendant fixture, and sconce combine LEDs, steel or brass metalwork, and handrolled, kiln-slumped glass available in six shades, including Light Amber, Pigeon Grey, and Lily Pad Green. bluegreenworks.com

new york

PALM

market edited by Rebecca Thienes text by Georgina McWhirter, Nicholas Tamarin, and Rebecca Thienes OCT.21

INTERIOR DESIGN

m a r k e t s c a p e new york

Nick Ozemba and Felicia Hung of In Common With

Arielle Assouline-Lichten of Slash Objects

Danny Kaplan of Danny Kaplan Studio

Simone Bodmer-Turner of Simone Bodmer-Turner Studio

product Ceramic Disc Orb Surface Mount Plug-In. standout The Gowanus-based duo’s ceramic sconce can be slipcast in Green, Tan, White, Black, or Terracotta pigments and specified as a renter-friendly plug-in with 10 feet of cord. incommonwith.com

product Adri. standout The outdoor-ready chair, in repurposed marble cutoffs and recycled rubber, was made in response to a challenge on TV show Ellen’s Next Great Designer, on which the Greenpoint studio founder appeared. slashobjects.com

products Wing and Linus. standout A sculptural side table and vessel are part of the ceramicist’s explorations in wheelthrown and hand-built clay, both wood-fired in Upstate New York and finished with rich glazes.

product Chair I. standout “I have reverence for the form of a chair and the infinitesimal shapes it has taken throughout time,” says the ceramicist of her stoneware clay seat, conceived in her Brooklyn Navy Yard studio. Through Matter.

dannykaplanstudio.com

mattermatters.com

INTERIOR DESIGN

OCT.21

PORTRAIT 4: NEIGE THEBAULT

PORTRAIT 8: DANIEL KUKLA/COURTESY OF FRIEDMAN BENDA AND DANIEL ARSHAM

Kouros Maghsoudi of Kouros Maghsoudi

Stephen Tashjian for Maharam

Zoe Cohen and Levi Shaw-Faber of Wiggle Room

Daniel Arsham for Daniel Arsham Studio

product Behsheen. standout Made of 3-D printed cornbased plastic on an upcycled metal armature, the New York-based Iranian-American’s chair is part of a collection inspired by Persian traditions and postmodern forms.

product Rhapsody in Blue. standout This digital collage is assembled from the cityscape paintings of artist provocateur, puppeteer, and drag queen Tabboo!, a stalwart of New York’s underground scene in the 1980’s.

product Dining Table. standout Grown out of a need for a table in their South Brooklyn apartment, the founders’ Baltic birch table is topped in pastel laminate, measures 50 or 60 inches long, and is manufactured in Connecticut.

product Bamm-Bamm. standout Debuting at a September exhibition at Friedman Benda in Chelsea, the bench is part of the Brooklyn-based artist and Snarkitecture co-founder’s Flintstones-themed collection in stone, resin, and birch.

kourosmaghsoudi.design

maharam.com

wiggleroom.furniture

danielarsham.com OCT.21

INTERIOR DESIGN

“It’s a nomadic idea that stretches your mind” m a r k e t collection new york

PARADISE

INTERIOR DESIGN

OCT.21

branching out Lindsey Adelman was experiencing wanderlust even before the pandemic hit. In fact, she explained the origins of Lindsey Adelman Studio’s latest collection, Paradise, over FaceTime amid the palm trees of Anguilla, where she was on vacation with her family. “Before COVID hit, I had written down the idea that the freedom to explore is the ultimate luxury,” says the industrial designer, who has a NoHo showroom. “But it became very valuable when we were locked down.” That means the line’s textured glass, brass chains, and visual references to sun-drenched Moroccan afternoons and the tattered textiles of Mongolian yurts can travel throughout an interior in spontaneous ways, with cord covers hand-crocheted by Taryn Urushido that have multiple mounting points, from walls to ceilings. lindseyadelman.com

CLOCKWISE FROM SKETCH: COURTESY OF LINDSEY ADELMAN STUDIO; NIGEL FOX (4)

LINDSEY ADELMAN

TAGWALL

Architectural Glass Wall Systems www.tagwall.com

HOWARD

Space Copenhagen introduces Howard, a lighting collection for Gubi that expands on co-founders Peter Bundgaard Rützou and Signe Bindslev Henriksen’s pieces for 11 Howard—the refined SoHo hotel designed in 2016 by Interior Design Hall of Fame member Anda Andrei PETER BUNDGAARD RÜTZOU, SIGNE BINDSLEV HENRIKSEN in collaboration with the Danish duo. “I loved Space Copenhagen’s concept for 11 Howard, so I encouraged them to expand it to include a chandelier and pendants,” creative director Jacob Gubi says. “The result is typical of the firm’s work—calm but charismatic with an emphasis on tactile materiality.” The beetlelike sconce is fabricated from deep-drawn brass with a gunmetal treatment. The pendant fixtures, in three sizes, have the same deep patina on the exterior, contrasted with a bright brushed-brass interior. (The shades can also be specified in bone china for an ambient versus directional glow.) A handful of multiprong chandeliers round out the line. gubi.com

m a r k e t collection

new york

bright addition

COURTESY OF GUBI

“We were inspired by our fascination with the city’s industrial beauty”

INTERIOR DESIGN

OCT.21

f ur n i t u re

lig h t in g

o utdo o r

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

a c c e sso r ie s

syste m s

DHALA

LUCA NICHETTO KITE, NOIR

east to west Where the Manhattan neighborhoods of SoHo, TriBeCa, and Chinatown converge, Shanghai-based brand Stellar Works introduces its first permanent U.S. location. Spread over 4,000 square feet of an Italianate building on Canal Street, the space by New York architecture firm INC_A is a chance to see new work and installations with brand collaborators. Brooklyn-based Calico Wallpaper makes an appearance via Sam Baron’s Noir Type II wallcovering of bold brushstrokes. Kite is a compact armchair in various seat depths and back heights by Nendo. Luca Nichetto’s Space Invaders is a playful Murano glass collection that includes the Dhala LED floor and table lamps with glazed ceramic bases. stellarworks.com

“Following this year of isolation, we’re excited to establish a physical presence at the center of the American design industry” new york m a r k e t

INTERIOR DESIGN

OCT.21

A L E K S A N D R A G AC A C O L L E C T I O N

Rombu designed in collaboration with Aleksandra Gaca

me m osamp les . c o m

m a r k e t new york

DAN

AMBROSIANO

“It integrates imaginative design in an exciting lifestyle environment”

overnight sensation

MAGGIOLINA

INTERIOR DESIGN

OCT.21

COURTESY OF ZANOTTA

The latest addition to residentialinspired retail, Zanotta House New York, is from one of the city’s most seasoned practitioners of statement spaces: Interior Design Hall of Fame member Adam Tihany. His Tihany Design transformed Taylor Swift’s former West Village rental, a landmarked 1912 carriage house on Cornelia Street, into a doubleheight gallerylike space overlooking an indoor private pool (of which only 22 exist in New York). The first floor is home to loungey vignettes featuring new Zanotta standouts, such as Mist-O’s minimalist Ambrosiano table and the crisp Dan chair by Patrick Norguet, as well as Marco Zanuso’s velvety Maggiolina lounge chair from the 1940’s. Floor two features a kitchen for hosting events and a pair of bedroom suites for select overnight guests. zanotta.it

Patera Oval

New Patera Oval By Øivind Slaatto Design to Shape Light louispoulsen.com

Design to Shape Light louispoulsen.com

“We’re continuing the legacy of American heritage furniture with a new sense of energy”

TAPER

LEXINGTON

MOONRISE

wood spirit

JASON MILLER KARL ZAHN

LARA BOHINC

The recent purchase of heritage wood-furniture company Alexis Manufacturing has led Brooklynbased lighting brand Roll & Hill to broaden its scope. “We’re looking to reestablish the sense of excitement and possibility that American furniture, specifically from western Michigan, used to conjure,” founder Jason Miller says. The foray includes Karl Zahn’s Taper, a refinement of the pragmatic milking stool atop lathe-turned teardrop legs, and Miller’s Lexington, a table inspired by Gothic architecture. Cody Companie of Campagna draws on his background in cabinetmaking for his Sit, Set chair, its arched back bisected by a horizontal plane that segues from side table to seat with a leather pad and back again. Post Company’s Chamber table and lighting by Lara Bohinc are on offer, too, the latter’s training in metalwork and jewelry evident in her Moonrise sconce, based on lunar phases, in a matte black or brushed brass finish. rollandhill.com

m a r k e t collection new york

CODY COMPANIE

CHAMBER

POST COMPANY

INTERIOR DESIGN

OCT.21

SIT, SET

INTRODUCING

KnollTextiles introduces a thoughtfully curated selection of in-stock pillows— from high-performance and indoor/outdoor options to exquisite Knoll Luxe designs. 3 sizes | 16 fabrics | 1 to 3-day shipping knolltextiles.com/pillows

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Learn more at info.thinklab.design/b2b-playbook

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ARTISTIC TILE artistictile.com

MOSA mosa.com/en-us 7

ARTISTIC TILE, A&D BUILDING

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TOWN & COUNTRY

7746 230 5th Ave. #1714 (between 26th and 27th St.) mosa.com/en-us

ARTISTIC TILE, FLATIRON

38 W 21st St. (between 5th and 6th Ave.) artistictile.com

SIMON’S HARDWARE & BATH 421 Third Ave.

(between 29th and 30th St.) simonsny.com

ANN SACKS, NEW YORK 58TH

204 E. 58th St. (between 2nd and 3rd Ave.) annsacks.com

ROCKY MOUNTAIN HARDWARE rockymountainhardware.com 3

BRASS CENTER

248 E. 58th St. (between 2nd and 3rd Ave.) thebrasscenter.com 6

SIMON’S HARDWARE & BATH 421 Third Ave.

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150 E. 58th St. 8th Fl. (between Lexington and 3rd Ave.) snaidero-usa.com

GRANDE CENTRAL ON 56TH

141 E. 56th St. (between Lexington and 3rd Ave.) centralplumbingspec.com

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TILEBAR NYC SHOWROOM

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c enter fold

tough love NYCxDESIGN’s annual poster campaign is back with a mix of the gritty and the pretty, just like Gotham itself Liz Collins, Stitched Together.

COURTESY OF LIZ COLLINS AND NYCXDESIGN

OCT.21

INTERIOR DESIGN

c e n t e r fold Milton Glaser’s 1976 heart-symbol twist on the official state slogan, “I Love New York,” is inarguably iconic in an era when that designation is bandied about too often. Last year, in the nadir of the pandemic, NYCxDESIGN—the nonprofit committed to empowering and promoting the city’s diverse design community—launched “An Ode to NYC,” a poster campaign with the same uplifting spirit. Designers boroughwide, including Interior Design Hall of Fame member Karim Rashid, created visual love letters to New York, which were then displayed around town for all to enjoy. This year, the campaign is back, with Our Future City as the theme. “Designers were asked to envision a city united in building a better future for our streets, people, and culture,” NYCxDESIGN program director Valerie Hoffman explains. For most of October, the 18-by-24-inch posters by 17 designers will be displayed in 15 showrooms—the New York Design Center, the Shade Store, Fabricut, Artistic Tile, Tile Bar, Caesarstone, Cosentino, Pindler, Sherle Wagner, Design Within Reach, Kohler Co., the A&D Building, Herman Miller, Room & Board, and Eventscape Long Island City—as well as in select restaurants, retail stores, and cultural institutions. Posters can also be purchased at the Poster House in Chelsea or online at shop.posterhouse.org. Proceeds benefit Silicon Harlem, a local nonprofit committed to ensuring digital equity across the five boroughs. —Georgina McWhirter

Left: Paula Scher, Without Traffic.

COURTESY OF PAULA SCHER AND NYCXDESIGN

Opposite, clockwise from top left: Ghetto Gastro with New Studio, Black Power Kitchen. Sloan Leo, The Future is Community. Debbie Millman, I NYF. PAU Studio, It’s Not Your Car… But It Is Your Boogie. Ifeoma Ebo, Black Spaces Matter. Karim Rashid, Our NYC. Amaurys Grullon, Beautiful Future. Suchi Reddy, Resilient, Diverse, New York. Julian Alexander, Home.

100

INTERIOR DESIGN

OCT.21

COURTESY OF THE ARTISTS AND NYCXDESIGN

101

INTERIOR DESIGN

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EVERFORM SOLID SURFACE View the entire collection at www.formica.com

oct21

Stand tall, New York

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smooth sailing

text: jen renzi photography: connie zhou

With its nautically inspired interiors for Dock 72, Fogarty Finger helps the Brooklyn Navy Yard chart a new course OCT.21

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Across the East River from the Lower East Side, the Brooklyn-side shoreline zigzags inward to form Wallabout Bay. This funky stretch of waterfront, once home to Lenape tribespeople and early Dutch settlers, began its modern life as an innovation hub in 1801, when President Adams designated it one of the country’s first Navy yards; during its World War II heyday, it operated six dry docks and employed 70,000 workers. More recently, the since-decommissioned site has been reborn as a hotbed of tech companies and creatives, the home address of healthcare incubators, furniture startups, small-batch juice purveyors, cutting-edge military-gear makers, film sound stages, and the country’s largest rooftop soil farm. Until now, the majority of redevelopment in the Brooklyn Navy Yard has entailed adaptive reuse of its industrial warehouses. Enter Dock 72, the first ground-up commercial office building to be erected right on the waterfront (and, in fact, one of the largest such structures to be built in the city’s outer boroughs in many decades). The 16-story volume, with base building design by S9 Architecture, sits prowlike on a skinny pier sandwiched between two former dry docks and culminating in a new ferry terminal. In 2015, as construction documents were being drawn up, codevelopers Boston Properties and Rudin Management tapped Fogarty Finger to start conceptualizing interior architecture—from FF&E to art curation—for the entry-level lobby and commissary, second-floor fitness center, and penthouse-level conference center, totaling some 60,000 square feet of amenities. WeWork had 106

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Previous spread: A custom neon rendition of a Plimsoll Line, a marking used on ship hulls, signals the entry of Dock 72, a new commercial building at the Brooklyn Navy Yard with interior architecture by Fogarty Finger. Above: Capped by a wood-slat drop ceiling, the 170-foot-long, terrazzo-floored lobby corridor, with a Dan Funderburgh mural and custom benches, doubles as a lounge. Opposite top: Blackened-steel metalwork and engineered cedar paneling inset with acoustic felt distinguish an elevator lobby. Opposite center: Bryce Wymer’s mural anchors another lobby vignette. Opposite bottom: Farther down the corridor, a custom steel screen joins Andrew Neyer’s Astro pendant globes and Sputnik stools by Mattias Ljunggren.

already signed on as anchor tenant and the Brooklyn Navy Yard Development Corporation was naturally involved, too, meaning there were many stakeholders to please—and to align. “Those many players had so many different opinions, which is so New York, right?” says Fogarty Finger director Alexandra Cuber, who led the project with associate director Candace Rimes. “From that delightfully tangled knot of ideas and individual preferences, we had to come up with a strong concept that had enough nuance and depth that everyone could see themselves in it and find a piece they’d contributed to.” Ultimately, the design team sought to channel both the can-do spirit of the 300acre industrial park and what Cuber calls its “nautical messaging”: the unique sunbleached, rust-tinged palette and omnipresent visual language of ship details and graphics. As a guiding narrative, she and Rimes homed in on the Plimsoll Line, a technical symbol on every ship’s hull that denotes the proper immersion level given its load and the density of the water it’s traveling through. FF commissioned a rendering of Plimsoll markings in yellow neon, which now glows beaconlike at the Dock 72 entry—setting the stage for the subsequent journey. It’s quite a journey indeed from the front door to reception at the far end of the building, accessed via a 170-foot-long corridor with a glass wall directing eyeballs to the active adjacent dock. “To make that lengthy pathway an enjoyable process required breaking it up into ‘rooms’ that could be occupied and experienced,” Cuber explains. Changes in ancillary seating (from low- to high-back) and flooring (dark- to light-gray terrazzo) demarcate a series of vignettes along this promenade. So do blackened-steel screens and portals that cast a spirited shadow play and reflect the linearity of ship cables, sails, and razzle-dazzle camouflage. In addition to subdividing space, the steel portals also frame wall murals by area artists who were given free rein to devise compositions that spoke to the context, but assigned a specific color palette reflecting a different type of water from the Plimsoll Line. Bryce Wymer’s depiction of ship-wrangling in a tropical storm pays homage to women who worked in the yard during wartime; an abstract color field by Kristin Texeira, who has a studio in the complex, is painted in summer-water hues. The murals reflect another guiding principal of the project: a commitment to locally made design. All art and much of the custom furniture were produced in or near the Navy Yard. “We were passionate about finding the right partners and 108

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Opposite top: A glass-enclosed fitness studio has white oak flooring. Opposite bottom: A Bower Studios mirror, Souda’s Sass table, and Paul Smith’s Big Stripe upholstery on the built-in bench furnish a meeting room. Top, from left: Each elevator cab showcases a different Navy Yard photograph by Harrison Boyce. Guests check in at a blackened-steel reception desk in the lobby. Bottom: Custom concrete floor tiles, Utility stools by Neri&Hu, and Brendan Ravenhill Double Church pendant fixtures outfit the bar in the conference center.

a diverse group of collaborators,” Rimes notes. “It pushed us to go the extra mile: We walked all around Crown Heights, Bushwick, Greenpoint, and throughout the Navy Yard to find who can make what or submit an idea.” Amenities feature a veritable roll call—er, ship’s manifest—of Big Apple talent. For the ground-floor café, Concrete Collaborative crafted tiles in custom colorways derived from photographs of the yard. Dan Funderburgh contributed a lobby mural as well as a nautical-print wallpaper for the second-floor lounge and juice bar. IceStone fabricated recycled-glass table bases in the lobby. And elevator cabs function as intimate viewing rooms for large-scale Navy Yard photographs by Harrison Boyce. The 16th-floor conference center, with a subdividable 200-capacity town hall space, plus various lounge and meeting areas, is no exception to the city-made mandate, with shapely mirrors by Bower Studios and stacked-stone tables by Souda. What’s different up here is a shift in vibe and materiality, from the pre dominant white-oak millwork of the lower levels to warmer walnut tones and a darker palette. “The colors become saturated and inky, as if they’ve been soaked in water,” Rimes says. “It’s like being on the deck of a vintage yacht.” A perfect launching point for next-gen captains of industry.

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PROJECT TEAM ROBERT FINGER; TIN MIN FONG; GARRETT ROCK; ALLIE MATHISON; TAYLOR FLEMING; EVITA FANOU; JACOB LASKOWSKI; CARL LAFFAN; CHRIS WORTON: FOGARTY FINGER. PERKINS EASTMAN: ARCHITECT OF RECORD. ONE LUX STUDIO: LIGHTING CONSULTANT. LET THERE BE NEON: CUSTOM GRAPHICS. OVE ARUO & PARTNERS: STRUCTURAL ENGINEER. COSENTINI ASSOCIATES: MEP. LANGAN: CIVIL ENGINEER. ARMADA; CAPITOL WOODWORK; ZSD: WOODWORK. ARGOSY DESIGNS; GKD METAL FABRICS: METALWORK. CONCRETE WORKS EAST: CONCRETE WORK. GILBANE; HUNTER ROBERTS: GENERAL CONTRACTORS. PRODUCT SOURCES FROM FRONT LAMPISTE: CUSTOM DOME FIXTURES (LOBBY). ANDREW NYER: PENDANT GLOBES (HALL, CAFÉ). OLUCE: TABLE LAMP (HALL). HBF: TRIPOD TABLES. MAHARAM: BENCH FABRIC (HALL), BANQUETTE FABRIC (MEETING ROOM). FILZFELT: FELT (ELEVATOR LOBBY). HAY: CHAIRS (HALL, CAFÉ). LA CIVIDINA: WHITE TABLES, WIRE TABLES (HALL). JOHANSON: STOOLS. ANANDA: FLOORING (STUDIO). NORMANN COPENH AGEN: CHAIRS (MEETING ROOM). BOWER STUDIOS: MIRROR. SOUDA: TABLE (MEETING ROOM), SIDE TABLE (LOUNGE). VELIS: CAB (ELEVATOR). LF ILLUMINATIONS: CYLINDER FIXTURES (RECEPTION). ACOLYTE: PENDANT FIXTURES. CLÉ TILE: FLOOR TILE (BAR). BRENDAN RAVENHILL STUDIO: PENDANT FIXT URES. STELLAR WORKS: STOOLS. MILLIKEN: CARPET TILE (LOUNGE). SATTLER: PENDANT RINGS. ARPER: CHAIRS, SOFAS, OTTOMANS. GARSNAS: BARREL CHAIRS. CASALGRANDE PADANA; NEMO TILE: FLOOR TILE (LOCKER ROOM). HOLLMAN: CUSTOM LOCKERS. BARN LIGHT ORIGINALS: PENDANT FIXT URES. GOTHAM LIGHTING: CAN FIXTURES. MISSANA: CHAIRS (HALL). CONCRETE COLLABORATIVE: FLOOR TILE (CAFÉ). THROUGHOUT ZONCA TERRAZZO: TERRAZZO FLOORING. HUDSON COMPANY: WOOD FLOOR ING. CEILINGS PLUS: CUSTOM SLAT CEILINGS. TRESPA: PANELING. TAGWALL: STOREFRONT SYSTEMS.

Left: Markus Bischof LED pendant rings illuminate the conference center lounge, with Colina chairs and Zinta sofas by Lievore Altherr Molina. Right top: Porcelain tiles floor the men’s locker room. Right center: Back in the lobby corridor, PerezOchando’s Ara chairs cozy up to a Greg Lamarche mural. Right bottom: In the café, Hee Welling chairs pull up to custom tables.

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a tale of two cities In a TriBeCa apartment, Enze Architects weaves a stylish narrative starring Milan and Manhattan

text: edie cohen photography: courtesy of enze architects

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Natalia Enze took a circuitous route to get to New York. Regardless, it was successful. Actually, make that award-winning. The native Muscovite, who earned a PhD in architecture and design from the Moscow State University of Architecture before relocating to Milan to establish her studio, Enze Architects, now 30 strong, took home this year’s NYCxDesign prize in the small apartment category. Although a tidy 980 square feet, the one-bedroom residence on the 17th floor of a new TriBeCa tower is a multicultural minestrone, its ingredients an airy, savory blend of Italy and New York, contemporary art and furniture, detailed architecture and high design. “He’s Milanese, and we agreed the apartment should have a Milano touch,” Enze introduces the backbone of the program and the owner, a 30-something multi-hyphenate she met by referral who’s immersed in the financial and film sectors. He’s also “a guy who likes everything tailormade, his clothes and even his shoes.” The same would go for his secondary residence, a place for him to live, work, and entertain while enjoying archetypal New York views of the financial district, Hudson River, and skyline from full-height window walls and a balcony.

Previous spread: In the living area of a TriBeCa one-bedroom by Enze Architects, tinted oak millwork and flooring surround an Arco lamp by Pier Giacomo and Achille Castiglioni, Pierre Paulin’s Osaka sofa, a pair of Rosa chairs by Studio KMJ, and the EDO37 chandelier by Alberto and Paolo Sala with Federico Ferrari, yielding a global and loftlike milieu. Top: Doshi Levien’s Impossible Wood chair faces glass panels with an interstitial halogen film in the entry hall. Bottom: Archways, like this one between the living and dining areas, delineate spaces while keeping the 980-square-foot plan open. Opposite: The latter is furnished with a Superstudio Quaderna table, Apollo chairs by Bohinc Studio, a custom pendant fixture, and Egor Ostrov’s print on canvas.

The architecture came first. Completely re-vamping the interiors, Enze created the open loftlike environment that’s associated with downtown living. The entry hall, treated as a lively anteroom of its own, leads to an L-shape expanse containing the conjoined living, kitchen, and dining areas, with sliding doors accessing the balcony off the latter. On the other side of the hall are the private quarters, similarly contiguous: Adjoining the bedroom, the bathroom and walk-in closet merge as a chic and spacious dressing area. Yes, men too, especially the Milanese, can opt for wellappointed environs for prepping and primping. But here, open space means neither bland nor unarticulated. Between rooms, Enze formed arched porticoes to suggest divisions without disrupting spatial flow. “They’re in keeping with the spirit of Italy in a modern New York space,” the architect comments on the rounded apertures. Providing cohesion, on the other hand, is the abundant millwork. Produced in Italy to layer on texture, it’s tinted pale oak throughout. That goes for the entry hall’s wainscotting, the living area’s paneling, every archway’s trim, and all the flooring. In fact, these treatments, Enze notes, “were one of the starting points of the project.”

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With an envelope of classical luxe, albeit one that’s been filtered through a contemporary lens, intact, it was time to work in color via surfaces and furnishings, but in subtle yet impactful ways. One is right at the entry, where a nearly full-height glass partition sandwiches red film with a wavelike pattern. “It’s meant to suggest movement,” Enze explains of the pane’s halogen effect. Across from it stands a sinuous chair in Indian pink molded polypropylene by Nipa Doshi and Jonathan Levien. Ahead, the dining area appears, at first glance, to be mostly appointed in white, since that’s the shade of the generous eight-seat table designed in 1970 by Superstudio. But closer inspection reveals the cobalt trim on Lara Bohinc’s tubular chairs and the red, green, and pink glass globes of the tiered pendant fixture, fittingly handmade in New York. That blue reappears in the living room, which, too, at first look, reads pure Italian. That’s because standing before a wall fitted with royal-lacquered built-ins is Achille and Pier Giacomo Castiglioni’s iconic Arco floor lamp. And overhead is a triangular chandelier by Alberto and Paolo Sala and Federico Ferrari. But there are other stunners of non-Italian origin. Across from

Top: Natalia Enze designed the bed and nightstand and commissioned the wall sculpture in Carrara marble, oak, and mahogany. Bottom: She also designed the dining area sideboard, which is from her Van Gogh collection. Opposite: An enfilade of archways connects the bedroom to the bathroom and walk-in closet, where an artsy partition is formed from glass panels sandwiching colored film. PRODUCT SOURCES FROM FRONT EDIZIONI DESIGN: CHANDELIER (LIVING AREA). FLOS: LAMP. ARTEMEST: SOFA. STUDIO KMJ: CHAIRS. MOROSO: CHAIR (HALL). ZANOTTA: TABLE (DINING AREA). BOHINC STUDIO: CHAIRS. BLUE PRINT LIGHTING: CUSTOM PENDANT FIXTURE. THROUGHOUT ATELIER TAPIS ROUGE: RUGS. OLIVIERI: WOODWORK.

a curving turquoise sofa by French designer Pierre Paulin is a pair of super-groovy striped lounge chairs by Ghanian-Swiss interior architect Kurt Merki Jr. Altogether, the room feels undeniably futuristic, whether it’s nodding to the Italian art movement of the early 20th century or forward facing from today is anyone’s call. Speaking of art, the project’s showstopper is an immense female portrait in the dining area by Egor Ostrov, who’s Russian like Enze. In a sense, it’s classical: a print on canvas made from a painting in Ostrov’s Madonna series. But the Leningrad-born artist rendered it avant-garde, incorporating his now famous raster technique involving scanning technology to impart a quality of undulation. There’s actually a second portrait in this room, but it’s of a man, namely Vincent Van Gogh, and it’s fronting a sideboard. It’s from Enze’s Van Gogh collection, launched three years ago. In fact, much of the cabinetry—in the entry, kitchen, and bedroom—is by her. In the latter, she also designed the bed and commissioned a wall sculpture composition in Carrara marble, mahogany, and oak. Those strong, sturdy materials juxtapose a second colored glass panel, in the walk-in closet—this time a swirl of pink and Montepulciano maroon.

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diplomatic moves Architectural harmony reigns in Midtown East at the Permanent Mission of the United Arab Emirates to the United Nations by Skidmore, Owings & Merrill text: joseph giovannini photography: dave burk/skidmore, owings & merrill

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Established only 50 years ago, the United Arab Emirates has, within the last two decades, emerged as a rock of geopolitical stability and a cultural magnet in the Middle East. Almost as an instrument of state policy, architecture has played a role in the UAE’s development and national image. Icons such as Jean Nouvel’s Louvre Abu Dhabi, Frank Gehry’s Guggenheim Abu Dhabi, and Skidmore, Owings & Merrill’s Burj Khalifa in Dubai—at 162 stories, the tallest building in the world—symbolize the dynamism of the country. Along with its growing presence on the international cultural map, the UAE, which is about to serve again on the United Nation’s Security Council, has also emerged as a rising diplomatic force in New York. In 2014, having outgrown two floors in an office building near the UN, and needing greater presence in the city’s diplomatic milieu, the Permanent Mission of the United Arab Emirates to the UN held an invited competition to design a flagship home. The New York office of SOM won the competition for an infill building on a through-block site between Dag Hammarskjöld Plaza and East 46th Street. Besides the need for privacy and security, and a program of executive suites, offices, and lecture and reception rooms, the brief called for an aspirational design requiring architectural diplomacy: elegance without ostentation and an ethos of dignity, calm, grace, and gravity. Later, the client asked that the concept also evoke New York’s art deco landmarks as well as the Middle East’s ubiquitous palm tree, a symbol of peace and desert culture. Diplomats now enter the mission underneath a bronze canopy cantilevered from a facade composed of long, thin, Indiana limestone mullions that climb to the top of the 10-story, 75,000-square-foot building. Recalling the tapered spines of palm leaves, the gently undulating Previous spread: A coffee table and sofas by Nada Debs gather on a custom rug in the entry hall of the Permanent Mission of the United Arab Emirates to the United Nations in Midtown East by Skidmore, Owings & Merrill. Opposite top, from left: Portuguese limestone tiles clad the floor and walls of the vestibule, where custom wood work is walnut. A monumental zigzag staircase rises at the back of the double-height entry hall. Opposite bottom: Beneath Rama Mendelsohn pendant fixtures, Hans Wegner’s Elbow chairs populate a multipurpose room. Above: Debs also designed an executive office’s coffee table and marquetry-embellished sofas and armchairs.

CNC-milled mullions rise from a stone frieze at the base, itself milled with a row of stylized fronds. Using rock from quarries that supplied Rockefeller Center and the Empire State Building, the understated facade introduces visitors into the decorum of a building centered around the simple pleasures of the square, the cube, and symmetry. Just beyond the reception and security desks in the entry vestibule—its floor and walls surfaced in geometrically patterned Portuguese limestone—visitors step into a surprise: a two-story burst of space with a cliff of stairs that zigzag upward like a switchback version of ancient Greek propylaea. Recalling the courtyard of a traditional Emirati building, this OCT.21

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“The central spaces choreograph the visitor’s progression through the building – heeding the hospitable nature of Middle Eastern culture”

Top, from left: The stairs lead to a pre-function area that shares the entry hall’s handgilded metal-leafed plaster cove ceiling. The facade comprises limestone mullions and a frieze—both CNC-milled—evocative of palm fronds. Bottom: The Indiana limestone comes from quarries that supplied Rockefeller Center and the Empire State Building. Opposite: The entire entry hall and staircase are sheathed in slabs of St. Pierre limestone, slip-matched to align geological strata. 122

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welcoming central hall with a recessed 40-foot ceiling finished in hand-gilded metal leaf, transposes traditional Arab attitudes of hospitality to Midtown East. The simple, axially organized prism has a pharaonic architectural authority, confirmed by floors and walls uniformly clad in dark, sedimented, meticulously slipmatched St. Pierre limestone. The geometry is pure, but the room feels solid, encased, and immersive. The SOM team, led by design partner Chris Cooper, materializes abstraction: There is a there here. A tall box of dark stone nested within a larger, taller box of white Italian marble, the entry hall is the heart of the building, a core that initiates the interior’s sense of ceremonial progression. Functionally, it leads to event spaces on the second floor, but thematically it establishes a precedent for the reductive palette of rich, beautifully crafted stone and wood, mainly walnut, on the floors above, and for the symmetries and geometric simplicity throughout. On higher floors, secure elevator landings open onto reception courts—either carpeted or floored in wood-inlaid stone—surrounded by offices, meeting rooms, and work areas. “The planning is very consistent from bottom to top,” Cooper explains. “The stone heightens the sense of formality, and the formality lends itself to a sense of procession through the building.” Using no decoration or architectonic articulation of details, Cooper and his colleagues keep planes clean, edges crisp, and volumes pure. Finishes are matte rather than polished. The OCT.21

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simplicity foregrounds the natural patterns in the veins of the marbles and grains of the wood, but it also sets the stage for design at the next scale, furnishings that bring the human hand into the project. Cooper worked with a range of collaborators to integrate the decorative arts into a total, environmentally immersive scheme. Lebanese designer Nada Debs created contemporary sofas, armchairs, and tables for the entry hall and offices on the upper executive floors, the furniture’s edges subtly inflected with inlaid mother-of-pearl patterns. Rugs handwoven with natural fibers and dyes by Afghan craftswomen feature traditional complex motifs in nuanced colors; each one is unique, made to complement its dedicated space. The furnishings bring traditional cultural references into the interiors, rooting the building in the Middle East without lapsing into craft nostalgia. The rugs provide terrain for islands of furniture placed in traditional majlis seating arrangements, which emphasize the equality of the interlocutors. The overall result is harmony in a low-key visual register: The tone never lapses. Each element, whether a wall of limestone or a marble table, plays a scripted part in a visual ensemble. With the precision of a Swiss watch, the parts fit seamlessly, creating apparent simplicity out of complexity. SOM has designed an architectural model of diplomatic agreement. Opposite top, from left: In the delegates’ lounge, a custom walnut screen backdrops BassamFellows’s sectional sofa and tables and Vincent Van Duysen’s Elain armchairs. Sahara Noir marble forms the feature wall and custom table’s top in an executive meeting room with white oak flooring. Opposite bottom: In a screened reception area, leather-covered sofas face a slatted coffee table, all by Charlotte Perriand. Above: Wegner lounge chairs and sofas, Antonio Citterio coffee and side tables, and a custom rug form the seating area in an ambassador’s office, where a marble feature wall frames the custom desk and Mies van der Rohe side chairs. PROJECT TEAM TJ GOTTESDIENER; EMILY MOTTOLESE; CHARLES HARRIS; SHUBHRA SINGHAL; NATHANIEL BROUGHTON; OANA BUNEA-VELEA; XIAN CHI; NORBERT SCHLOTTER; ECE CALGUNER ERZAN; SEPIDEH KHAZAEI; JACKIE MORAN; ANGELA CAVIEZEL; LAUREN KOSSON; FIONA MC CARTHY; SARAH HATCH; CYNTHIA MIRBACH: SKIDMORE, OWINGS & MERRILL. PENTAGRAM: GRAPHICS CONSULTANT. SBLD STUDIO: LIGHTING CONSULTANT. DESIMONE CONSULTING ENGINEERS: STRUCTURAL ENGINEER. COSENTINI ASSOCIATES: MEP. PHILIP HABIB & ASSOCIATES: CIVIL ENGINEER. FOUR DAUGHTERS ARCHITECTURAL MILLWORK: WOODWORK. LASA MARMO: STONEWORK. PLAZA CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT POLYCOR: STAIR, WALLS, FLOOR (ENTRY HALL). NADA DEBS: CUSTOM SOFAS, CUSTOM LOUNGE CHAIRS, CUSTOM TABLES (ENTRY HALL, EXECUTIVE OFFICE). FBMI: CUSTOM RUG (ENTRY HALL, OFFICES). SOLANCIS: WALL TILE, FLOOR TILE (VESTIBULE). VIABIZZUNO: PENDANT FIXTURES (MULTIPURPOSE ROOM). CARL HANSEN & SØN: CHAIRS (MULTIPURPOSE ROOM), SOFAS, LOUNGE CHAIRS (AMBASSADOR’S OFFICE). MICHAEL ANASTASSIADES: FLOOR LAMP (EXECUTIVE OFFICE), PENDANT FIXTURE (MEETING ROOM). STUDIO E: CEILING FINISH (PRE-FUNCTION). BASSAMFELLOWS: SOFA, TABLES (DELEGATES’ LOUNGE). MOLTENI&C: ARM CHAIRS. MARC PHILLIPS: CUSTOM RUG. FLOS: LAMPS (DELEGATES’ LOUNGE, RECEPTION AREA, AMBASSADOR’S OFFICE). CAMPO LONGHI: FEATURE WALLS (DELEGATES’ LOUNGE, MEETING ROOM, AMBASSADOR’S OFFICE). CASSINA: SOFAS, TABLE (RECEPTION AREA). HALCON: CUSTOM TABLE (MEETING ROOM), CUSTOM DESK (AMBASSADOR’S OFFICE). KNOLL: SIDE CHAIRS (MEETING ROOM, AMBASSADOR’S OFFICE). POLLOCK: CURTAIN FABRIC (MEETING ROOM, AMBASSADOR’S OFFICE). B&B ITALIA: TABLES (AMBAS SADOR’S OFFICE). THROUGHOUT BASWA ACOUSTIC: PLASTER CEILINGS. LV WOOD: OAK FLOORING. GAMMA: CURTAIN WALL. INDIANA LIMESTONE COMPANY: FACADE STONE. EMPIRE FURNITURE: FURNITURE SUPPLIER.

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the gotham suite Thanks to a quintet of new and renovated hotels, the Big Apple’s never-ending symphony modulates to a fresh, upbeat key text: peter webster

See page 128 for the Arlo Midtown, a collaboration between Marvel Designs and Meyer Davis Studio. Photography: Chase Daniel.

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Marvel Designs and Meyer Davis Studio project Arlo Midtown. standout A ground-up 26-story building with 489 guest rooms spanning six typologies, the chainlet’s third Manhattan property offers vibrant public spaces, including a lushly planted lobby with a hanging moss installation and five food venues—a bar, lounge, coffee shop, restaurant, and rooftop watering hole under the collective name Nearly Ninth—furnished with pieces from Meyer Davis’s inaugural collection, William Gray. photography Chase Daniel.

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“Subtle details draw inspiration from the nearby Garment District—a neighborhood known for its rich history of makers”

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Snøhetta and Stonehill Taylor project Graduate Roosevelt Island. standout The first hotel on the East River island, this 18-story, 224-key property is part of the Cornell Tech campus and reflects its unique location with a witty blend of old school and New Age that encompasses residentially inflected guest rooms, gobsmacking city views, and a booklined lobby with a 12-foot-tall FlyBoy sculpture by Hebru Brantley. photography Steve Freihorn.

DECK

“The lobby was important in connecting the interior space to the exterior as part of the full campus experience”

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M.A. Bowers, Inc. project ModernHaus SoHo. standout Designer Melissa Bowers worked closely with Jack J. Sitt, director of the 114-room luxury property’s development company, drawing on his personal art collection to curate a portfolio of paintings and sculptures by George Condo, Hans Hofmann, and others that reflects the neighborhood’s modernist street cred as well as the aesthetics of the Bauhaus movement for which the boutique hotel is named. photography Nikolas Koenig.

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“It offers a minimalist perspective that allows the beauty and energy of the surrounding urban environment to take a prominent role”

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Roman and Williams and Stonehill Taylor project Ace Hotel Brooklyn. standout Brutalism gets a contemporary revamp with this 13-story precast-concrete new-build, which juxtaposes a rough-edged facade and exposed interior structure with other naturally textural elements—Douglas fir, oak, plywood, leather—to create organic public spaces inspired by the unmanicured chic of artists’ studios and 287 guest rooms that specifically evoke Cabanon, Le Corbusier’s famed seaside cabin in the South of France. photography Stephen Kent Johnson.

“From the strong and unadorned facade to the honest plywood furniture in guest rooms, we aspire to be as energetic and untamed as Brooklyn itself” 134

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Duncan & Miller and Gidich + Sepúlveda Architecture project Gansevoort Meatpacking. standout For the basement-to-rooftop renovation of the hotel group’s original flagship, president and founder Michael Achenbaum and creative director Olivier Weppe collaborated with G+SA on turning the 1,700-square-foot lobby and common areas into a showcase for cuttingedge art and design, and with D&M on giving the 186 guest rooms and suites a contemporary, loftlike glamour. photography David Mitchell.

“We’re doubling down on the Meatpacking District—with its wide streets, culinary offerings, and cultural venues, we know that this neighborhood will bounce back first”

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grand slam

Studios Architecture’s Major League Baseball headquarters in Midtown forges a new era for the sport text: katie gerfen photography: eric laignel

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“Nearly every material selection was made with a reference to the sport in mind”

When Major League Baseball commissioner Rob Manfred took office in 2015, he charted a new direction for the sport that he calls “One Baseball.” The overarching goal is to increase access to, and engagement with, America’s pastime with the hope of better developing on-field talent and better cultivating a new generation of fans. But one aspect of this unifying strategy was far more literal: bringing MLB’s different business entities under one roof in order to leverage the collaboration needed to make One Baseball a reality. The Studios Architecture team, led by managing prin cipal Joshua Rider and associate Jordan Evans, didn’t have to rattle off player stats in the interview to win the commission for the new MLB headquarters in the Wallace Harrison–designed Time & Life building in Midtown, the former home of Interior Design. “‘We don’t hire baseball fans, we hire the best people to work at baseball,’” Rider recalls the MLB reps saying. “They appreciated that this project had to do something transformational.” Armed with a portfolio full of inventive office projects and intimate knowledge of the iconic building—the firm had helped Time Inc. explore staying in the building before designing its new downtown workplace a few years prior—Studios had the perfect lineup to help realize a unified home for baseball. The 315,000-square-foot headquarters spans five floors—three in the building’s podium, one atop it with an outdoor terrace boasting views from Central Park down to One World Trade Center, and another in the tower. It accommodates 1,250 employees from the office of the commissioner and MLB Advanced Media who hold jobs as disparate as negotiating labor contracts and designing video games. The Studios team leveraged one of the building’s most chal lenging characteristics, its deep, vast floor plates, to create a hierarchy of space that puts workers first and inspires collaboration. Facilities that don’t need natural light or, in fact, require darkness—server rooms and screen-lined multimedia and broadcast studios, for example—sit in the middle of each floor, leaving the daylit perimeter for open office, circulation, and meeting areas.

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Previous spread: Baseball iconography—like this ash and powder-coated bronze feature wall outside the Home Plate cafeteria—drove the concept of Major League Baseball’s five-story headquarters in Midtown by Studios Architecture. Opposite top: Surrounded by 30 screens, one for each team, reception features Rodolfo Dordoni Freeman sofas and a Christian Woo Diptiq table on a custom rug, its scheme nodding to baseball stitching and field mowing patterns. Opposite bottom: Supergraphics of players appear throughout the interior, including this powdercoated one of Jackie Robinson. Top, from left: Seven types of ash, referencing the baseball bat, are used throughout, including in a wall depicting the MLB logo created by graphic designer Jerry Dior in 1968. A mosaic of Hall of Fame pitcher Satchel Paige composed of thousands of archival photos of Negro league players anchors a staircase. Bottom: At the coffee bar, leather benches and flecks of terra-cotta tones in the terrazzolike epoxy flooring are similarly baseball inspired and joined by Uhuru Hono stools.

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Throughout the office and public sections, walls are lined with supergraphics such as larger-than-life photo illustrations of players, representations of women and youth in baseball, and the MLB logo rendered in materials as varied as neon and wood. They celebrate the history of the game and the principles of inclusion that One Baseball aims to guide the future of the sport, but they also help define space and serve as wayfinding through the massive floor plates, which Studios parsed into smaller open office neighborhoods. After analyzing the requirements of each group of employees, Rider and Evans developed a tool kit of five workstation models, mixing and matching them to meet each department’s disparate needs. Flexible meeting areas that foster collaboration, filled with different seating configurations and enough outlets and laptop tables to accommodate any work group, connect the neighborhoods. To foster interaction across the floors, Studios developed the concourse, which serves as the project’s social hub. This three-bay hall has one triple-height space flanked by two double-height ones; running down its length is a faceted white feature wall that serves as a projection screen for highlight reels and live-streamed games. The concourse unites many office amenities, including the fifth-floor cafeteria and coffee shop, the latter offering a leather-topped bench for employees to watch whatever game is being projected on the feature wall; there are also pantries on each floor. But supergraphics and video are not the only ways that the iconography of baseball is evident here. Nearly every material selection was made with a reference to the sport in mind. Be it red lines tracing through carpets, conference room mullions, and upholstery that nod to the stitching on a baseball; leather upholstery that hints at the hues of gloves and mitts; or the seven types of ash in everything from casework to ceiling slats that owe a hat tip to the baseball bat. “We did a labored study of all of the materials in all of these wonderful things in the game, but we wanted to hit them in a subtle way,” Evans says. “The project is bold in its scale, so the materiality wanted to be a bit more discreet.” Even the facets on the concourse’s projection wall are in on it: They are an abstraction of the geometry of a baseball diamond.

Above: An exhibit wall in the auditorium’s lounge showcases the tools of the game. Opposite top, from left: Ash treads and risers in front of the up-lit photo mosaic. Gloves and mitts on display. The ash-clad reception desk in the main lobby. Opposite center, from left: Bat handles on exhibit. A stairway’s neon logo. Deconstructed baseballs. Opposite bottom, from left: A photomural depicting the Polo Grounds. Stitching detail on the reception desk’s leather top. A mural in an office area. 142

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“Before, an MLB employee might never meet a coworker. Now, face-to-face chats between different departments are the norm”

The new headquarters opened in late 2019, scant months before COVID-19 emptied Manhattan’s offices and streets. Studios helped MLB navigate the return to the workplace, and now that it is once again at capacity, the needed transformation is complete: Before, an MLB employee in one office might never meet a coworker in the other. Now, face-to-face chats between different departments, be it in a break-out space or taking in the eye-level view of the glittering Radio City Music Hall sign from the cafeteria, are the norm. As for how MLB feels about its new headquarters, “The end result is a perfect embodiment of our philosophy of One Baseball,” MLB chief communications officer Pat Courtney says. “This sport is meant for everyone, and we want each person who comes to our offices to feel a part of the game.”

PROJECT TEAM FRANK GESUALDI; NELSON TANG; LEE SEWELL; REBECCA FREDERICK: STUDIOS ARCHITECTURE. ESI DESIGN: GRAPHICS CONSULTANT. LIGHTING WORKSHOP: LIGHTING CONSULTANT. ACOUSTIC DISTINCTIONS: ACOUSTICAL CONSULTANT. DIVERSIFIED SYSTEMS: AUDIOVISUAL CONSULTANT. CLICK SPRING DESIGN: STUDIO SET DESIGNER. FLDA LIGHTING DESIGN: STUDIO LIGHTING DESIGNER. THORNTON TOMASETTI: STRUCTURAL ENGINEER. AMA CONSULTING ENGINEERS: MEP. BAUERSCHMIDT & SONS; SVEND NIELSEN LIMITED: WOODWORK. JRM CONSTRUCTION MANAGEMENT: GENERAL CONTRACTOR. STERLING PROJECT DEVELOPMENT: PROJECT MANAGER. PROJECT SOURCES FROM FRONT LITE BRITE NEON: CUSTOM SIGN (HALL). 9WOOD: CUSTOM SLAT CEILING. TAI PING CARPETS: CUSTOM RUG (RECEPTION). MINOTTI: SOFAS. THROUGH THE FUTURE PERFECT: COFFEE TABLE. VICCARBE: SIDE TABLE. OPTIC ARTS: RECESSED CEILING FIXTURES. DADO: RECEESSED WALL FIXT URE. BENSEN: CHAIRS (RECEPTION, LOUNGE), SIDE CHAIR (CONFERENCE ROOM). COOLEDGE TILE: CEILING PANELS (HALL). NEWMAT: CEILING SYSTEM. KUBIK MALTBIE: CUSTOM WALLS. CARVART: CUSTOM ELEVATOR PORTAL. ECOSENSE LIGHTING: LINEAR FIXTURES (STAIR). CMFPA: CUSTOM STAIR. UHURU: STOOLS (COFFEE BAR). WALTER KNOLL: SECTIONAL, SIDE TABLES (AUDITORIUM LOUNGE). BERNHARDT: SOFAS (LOUNGE). ARCO: TABLES. HALCON: CUSTOM WORKSTATIONS (OFFICE AREA). BISLEY: LOCKERS. THROUGH THE COMMISSION PROJECT: CUSTOM MURAL. HERMAN MILLER: CHAIRS (OFFICE AREA, CONFERENCE ROOM). ARPER: OTTOMANS (LOUNGE), SIDE TABLE (CONFERENCE ROOM). DATESWEISER: TABLE (CONFERENCE ROOM). CARNEGIE: FABRIC PANEL. EXTREMIS: TABLES (TERRACE). MAGIS: TABLES. LANDSCAPE FORMS: SEATING. THROUGHOUT DRIVE21: CUSTOM WALL GRAPHICS. LINDER GROUP: CUSTOM PERFORATED WALLS. TOPAKUSTIK: CUSTOM PERFORATED CEILINGS. AMERLUX: LIGHT FIXTURES. BENTLEY: CARPET TILE. ZONCA TERRAZZO: EPOXY FLOORING. BENJAMIN MOORE & CO.: PAINT.

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Opposite top: The perimeters of the four office floors host a variety of break-out areas, like this lounge furnished with Noé Duchaufour-Lawrance’s Cinema sofas. Opposite bottom: Bench seating is one of the five types of workstations in the office areas, where bays of lockers provide partitioning and employee storage. Top, from left: Conference room mullions continue the baseball-stitching theme throughout. Folded aluminum Picnik tables by Extremis add color to the terrace. Bottom: Game highlights are projected onto a powder-coated metal feature wall, its facets derived from the geometry of a baseball diamond.

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point of return With hundreds of entries from every borough, the annual NYCxDesign Awards confirms the city is back, stronger and better-looking than before text: helene oberman and annie block

SHINING MOMENT + OUTDOOR

Kohn Pedersen Fox Associates and Rockwell Group and LAB at Rockwell Group project Edge, Hudson Yards image Courtesy of Related Oxford

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QUEENS COMMERCIAL LOBBY + AMENITY SPACES

MdeAS Architects project The Jacx, Long Island City photography David de Armas

RESIDENTIAL LOBBY

Bromley Caldari Architects project 101 West End, Lincoln Square photography Van Sarki

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KITCHEN + BATH

Andrew Mikhael Architect project Apartment, Upper East Side photography Brad Dickson

LARGE HEALTH + WELLNESS

Perkins Eastman project Center for Community Health, New YorkPresbyterian Brooklyn Methodist Hospital, Park Slope photography Andrew Rugge/Perkins Eastman

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LARGE RETAIL

Gabellini Sheppard Associates project David Yurman, Midtown photography Paul Warchol

SMALL APARTMENT BUILDING

ODA New York project 98 Front, DUMBO photography Aaron Thompson

MODEL APARTMENT

Alloy and RR Interiors project 168 Plymouth, DUMBO photography Pavel Bendov 150

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MULTI UNIT LARGE

Convene project 225 Liberty, Financial District photography courtesy of Convene

MANHATTAN COMMERCIAL LOBBY

Kohn Pedersen Fox Associates project One Vanderbilt, Midtown photography Raimund Koch

LARGE APARTMENT

Steven Harris Architects and Rees Roberts + Partners site Midtown photography Scott Frances

SMALL SHOWROOM

RESIDENTIAL ON THE BOARDS

Asthetíque

Jean-Louis Denoit and Skidmore, Owings & Merrill

project Juniper, SoHo photography Nicole Franzen

project The Towers of the Waldorf Astoria, Midtown image Noë & Associates/The Boundary

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COMMERCIAL ON THE BOARDS

DXA Studio project The Great Bridge: Path to Equilibrium, Brooklyn Bridge image DXA Studio

RESIDENTIAL TRANSFORMATION

Michael K. Chen Architecture project Brownstone, Clinton Hill photography Alan Tansey

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FACADE + LARGE APARTMENT BUILDING

Heatherwick Studio and March and White Design project Lantern House, Chelsea photography Courtesy of Related Companies

HOSPITALITY

SHoP Architects project Essex Market, Lower East Side photography James Ewing

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LOUNGE

Rockwell Group and Skidmore, Owings, & Merrill project Ticketed waiting area, Moynihan Train Hall, Garment District photography Scott Frances

LARGE CORPORATE OFFICE

Architecture + Information project Equinox headquarters, Hudson Yards photography Magda Biernat

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CITY HOUSE

Architecture in Formation project Row house, Upper West Side photography Will Ellis

CREATIVE OFFICE

Jeffrey Beers International project Roc Nation, Chelsea photography Eric Laignel 156

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STAIRCASE

Ottra and Zimmerman Workshop Architecture + Design project Flagship, Red Hook photography John Muggenborg

OUTDOOR DINING

Body Lawson Associates and JPDesign and WXY Architecture + Urban Design project Renaissance Pavilion, Strivers’ Row, Harlem photography New Kingston Media

OUTDOOR DINING

NYC Economic Development Corporation project Design Corps, Chinatown; East Harlem; Midtown; Seaport District photography Claudia Leo

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OUTDOOR DINING

Rockwell Group project DineOut NYC, Bronx; Brooklyn; Manhattan; Queens; Staten Island photography Emily Andrews

SOCIAL + ENVIRONMENTAL IMPACT

Marble Fairbanks Architects project Greenpoint Library and Environmental Education Center photography Michael Moran

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SMALL CORPORATE OFFICE

SMALL HEALTH + WELLNESS

Gensler

BDHM Design

project Real estate investment firm, Chelsea photography James John Jetel/ courtesy of Gensler

project Real, Flatiron photography Adam Macchia

GRAPHICS + BRANDING

TECH OFFICE

Design Republic

Desai Chia Architecture and Flank Architecture

project 625 Broadway lobby, NoHo photography Frank Oudeman

project Spark Capital, SoHo photography Paul Warchol

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EXHIBITION/INSTALLATION

Sarah Sze and Amuneal

project Shorter than the Day, commissioned by LaGuardia Gateway Partners in partnership with Public Art Fund, LaGuardia Airport Terminal B, Queens photography Nicholas Knight/ courtesy of Sarah Sze, LaGuardia Gateway Partners, and Public Art Fund, NY

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Vaux-Le-Vicomte: A Private Invitation by Guillaume Picon Paris: Flammarion, distributed by Rizzoli International Publications, New York, $85 304 pages, 280 color photographs

Built between 1658 and 1661 for Nicolas Fouquet, Louis XIV’s superintendent of finances, this baroque chateau was the collab orative work of three remarkable artists: architect Louis Le Vau, muralist and interior designer Charles Le Brun, and garden designer André Le Nôtre. Standing in solitary splendor a few miles southeast of Paris, it is a perfectly symmetrical pile of creamy limestone topped by a rare oval dome and furnished richly but not ostentatiously. It rests happily on Le Nôtre’s 80 acres of suitably formal landscaping, which gave birth to what came to be known as the French garden. In his introduction to the book, fashion designer Christian Lacroix praises the whole composition for its “aristocratic pageantry, wit and elo quence beyond luxury.” After Fouquet fell out of favor with the King (becoming “The Man in the Iron Mask”) the designer trio was called to expand Versailles, where their additions included the Escalier des Ambassadeurs and the Galerie des Glaces. But the restrained elegance of the much smaller Vaux-Le-Vicomte would never be surpassed. The text of this attractive volume is by Guillaume Picon, the author of a similar “Private Invitation” to Versailles. Alexandre de Vogüé, who contributes a prelude, is a member of the family that for many gen erations has lived on the upper floor of the chateau and is responsible for the property’s fine condition. (They opened it to the public in 1968.) The numerous excellent illustrations are the work of Swedish photographer Bruno Ehrs.

Eight Homes: Clements Design by Mayer Rus New York: Rizzoli International Publications, $75 212 pages, 128 color photographs

This is a handsome introduction to handsome interiors, the first book showing the work of Clements Design, a Los Angeles firm founded by the mother-son team of Kathleen and Tommy Clements. In his felicitous introduction, Mayer Rus, who is the former editor in chief of Interior Design, notes that their choices include furniture by Alberto Giacometti, Eileen Gray, Pierre Jeanneret, and Charlotte Perriand; and art by Alexander Calder, Giorgio Morandi, Pablo Picasso, and Cy Twombly, but that these pieces are only occasional high ights in rooms of exceptionally quiet poise—“compositions of livability and comfort. . .that allow the furnishings space to breathe.” Very seldom does the design of a book show an affinity for the designs its pages present. This one does, and the effect is brilliant. Done by London’s Graphic Thought Facility, the monograph is printed on thick creamy paper within a slightly warmer linen cover. Each photo graph commands a page of its own, and there are no captions to divert us. (This deprives us of information we might want, of course, but—just this once—it feels appropriate. We are not even told the locations of the houses.) Among the interior views, we sometimes see a spread of fabric and upholstery swatches—again, with no comment. And occasionally the visual serenity is interrupted by a single page of comment, one by noted architect Howard Backen, one by furniture designer Ingrid Donat, and another by eight-time Clements Design clients Ellen DeGeneres and Portia de Rossi.

b o o k s edited by Stanley Abercrombie The Legend of Chris-Craft

“In my research on the history of private aircraft, I discovered a book that Jeffery had written on Cessna planes, and sub sequently learned that he had written on a range of subjects including this one on boatbuilder Chris-Craft, which I sought out at Strand Book Store in Union Square. Having recently completed the interiors of a Gulfstream G550 jet for a client and being in the process of restoring a Chris-Craft of my own, I've been compelled by the history of how planes and boats have evolved and inspired by the innovation introduced by fellow designers in this field, such as Raymond David M. Sullivan Founder of David M. Sullivan Loewy and Marc Newson. Both aeronautic and maritime design and engineering are informed by a strict adherence to strengthto-weight ratios for the purposes of durability and aerodynamics. As a result, each element of an aircraft or a seafaring vessel has a distinct purpose and must meet rigorous standards. As an interior designer, I inherit a context in which my work operates. I'm often tasked with repositioning the interior of an existing building, which formerly was used for a different purpose. My process always begins with studying the building’s history, construction type, and former utility. Understanding this background provides a ‘sense of place.’”

What They’re Reading... 162

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BOTTOM LEFT: COURTESY DAVID M. SULLIVAN

by Jeffrey L. Rodengen Fort Lauderdale, Florida: Write Stuff, $16 272 pages

c o n ta c ts DESIGNERS IN SPECIAL FEATURE

DESIGNER IN CREATIVE VOICES

Duncan & Miller (“The Gotham Suite,” page 126), duncanmillerdesign.net.

Barker Associates Architecture Office (“A Hybrid World,” page 47), baaostudio.com.

Gidich + Sepúlveda Architecture (“The Gotham Suite,” page 126), gsa-arch.com.

DESIGNERS IN CITY LIVING

M.A. Bowers, Inc. (“The Gotham Suite,” page 126), mabowersinc.com. Marvel Designs (“The Gotham Suite,” page 126), marveldesigns.com. Meyer Davis Studio (“The Gotham Suite,” page 126), meyerdavis.com.

Archi-Tectonics (“Urban Zen,” page 61), archi-tectonics.com. Kushner Studios Architecture + Design (“Urban Zen,” page 61), kushnerstudios.com. Re-a.d (“Urban Zen,” page 61), re-ad.com. Studio Nato (“Urban Zen,” page 61), studionato.com.

Roman and Williams (“The Gotham Suite,” page 126), romanandwilliams.com.

StudioSC (“Light Reading,” page 53), studio-sc.net.

Snøhetta (“The Gotham Suite,” page 126), snohetta.com.

PHOTOGRAPHER IN CITY LIVING

Stonehill Taylor (“The Gotham Suite,” page 126), stonehilltaylor.com.

Garrett Rowland (“Light Reading,” page 53), garrettrowland.com.

PHOTOGRAPHERS IN FEATURES

Interior Design (USPS#520-210, ISSN 0020-5508) is published 16 times a year, monthly except semimonthly in April, May, August, and October by the SANDOW Design Group. SANDOW Design Group 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 win U.S. funds): $8.95 shipped within U.S. ADDRESS ALL SUBSCRIPTION REQUESTS AND CORRESPONDENCE TO: Interior Design, P.O. Box 808, Lincolnshire, IL 60069-0808. TELEPHONE TOLL-FREE: 800-900-0804 (continental U.S. only), 847-559-7336 (all others), or email: interiordesign@omeda.com POSTMASTER: Send address changes to INTERIOR DESIGN, P.O. Box 808, Lincolnshire, IL 60069-0808. Publications Mail Agreement No. 40624074.

Eric Laignel Photography (“Grand Slam,” page 138), ericlaignel.com. Connie Zhou (“Smooth Sailing,” page 104), conniezhou.com.

NIKOLAS KOENIG

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Newport Brass The Jeter Collection combines minimalism and functionality with its uniquely shaped lever handle, two-function spray engine and pivot ball fitting for enhanced directional control within the sink. Constructed of solid brass and available in 25 finishes. t. 949.417.5207 newportbrass.com

design

annex

Vitro Architectural Glass It’s the ultimate blank slate. The design options are endless with Starphire® glass by Vitro Architectural Glass. Create brilliant elements, from decorative murals and acid-etched doors to ultra-clear stairs and shower enclosures. Starphire® glass contains 87% less green than “clear” glass. t. 1.855.887.6457 starphireglass.com

Doug Mockett & Company Y-Table Leg has a square leg look with a hollow body. Folded steel creates the outer half of a traditional square leg, then splits to connect to the outer edges of the top plate. 200 lb weight capacity. Three finishes. mockett.com

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Edition Modern

Whiting & Davis

One of Denis de la Mesiere's originals, the ALTAS chandelier features genuine alabaster and patinated gold over brass hardware. Designed and handcrafted in his atelier of Los Angeles. t. 213.748.1902 editionmodern.com

Whether luxurious opulence or industrial chic, Whiting & Davis metal mesh fabric can transform any space with unparalleled aesthetic. Shimmering and dramatic, the metal mesh creates texture and pattern unlike any other material. Feel the difference. t.800.876.MESH wdmesh.com

Andreu World

Davis Furniture Embodying the same minimalist approach to design as its complementary indoor seating line, the new Ariel Steel Collection by Mario Ferrarini includes a chair, counter and barstool which all have been constructed specifically for outdoor spaces. t. 336.889.2009 davisfurniture.com

Practical, transformable, spacesaving. AW, in collaboration with Gensler, launches Connect, a collection of convertible, mobile tables, to furnish dynamic & multipurpose spaces. The agile design responds to workplaces, educational, and other hybrid commercial settings in constant transformation with multi-use office. t. 312.464.0900 andreuworld.com

Sonoma Forge Designer Faucets and Showers

Infinity Drain Designed to disappear, Infinity Drain's Slot Linear Drain has a narrow 3/8 inch drainage gap that integrates seamlessly for a beautiful, barrier free bathroom. An easily accessible clean-out tray simplifies the process of debris removal.

Matte Black is becoming the finish of choice for everything from electronics to home décor, and it's a standard finish for Sonoma Forge. This WaterBridge Exposed Shower is absolutely luscious in Matte Black–we have 16 models to choose from! sonomaforge.com

infinitydrain.com

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A 2-WEEK VIRTUAL DESIGN FESTIVAL C E L E B R A T I N G T H O U G H T L E A D E R S H I P, THE BEST OF THE BEST IN DESIGN, AND A VISION OF THE FUTURE interiordesign.net

T U N E I N 11.29–12.10

i n t e r vention

clear message For decades, a glowing red sign reading “Watchtower” sat atop a fortresslike building near the Brooklyn Bridge, signaling it as the world headquarters of the Jehovah’s Witnesses. When the denomination relocated from Brooklyn Heights to Upstate New York, the sprawling multibuilding campus was redeveloped for commercial use and its new owners erected a 15-foot-tall LED-illuminated sign with a different message: “Welcome.” A+I was commissioned to transform 175 Pearl Street—a portion of the compound on the edge of the adjoining DUMBO neighborhood—into office space with creative and tech tenants in mind. Though in its previous life the building was largely closed to outsiders, its latest iteration is more inclusive and inviting. “It feels definitively connected to the community,” A+I co-founder and Interior Design Hall of Fame member Brad Zizmor says. In the lobby, an energetic mural titled Monday Morning by local artist Tomi Um conveys an immediate sense of place with its imagery of commuters bustling across the Brooklyn and Manhattan bridges. When conceiving the amenity spaces, A+I took advantage of the fact that the eight-story structure is located on the highest point in the area, transforming a previously unused rooftop into a terraced outdoor deck with synthetic turf and white-oak seating nooks. “It’s a wow space that didn’t break the budget,” cofounder and fellow Interior Design HoF member Dag Folger adds. On the exterior of the stair tower connecting the roof to the offices—and visible from the Brooklyn Bridge—is a floral mural by Crown Heights artist Mike Perry that spells out the universal greeting, “Hi.” —Wilson Barlow

MAGDA BIERNAT

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Crypton Fabrics Crypton Fabric

Moooi Carpets Trichroic Collection

Design Within Reach Contract Bollo Collection FilzFelt Hive

Pedrali Blume

Clarus TherMobile

Tuuci Ocean Master Max

Bernhardt Design Queue

TileBar Bond Indio

Eskayel Portico Wallpaper

DESIGNERS: Bloom – Sebastian Herkner; MIAMI - Isabelle Gilles and Yann Poncelet; Portico - Shanan Campanaro;

Colonel Miami

New products. Hundreds of brands. All in one place.

Work from Anywhere with Openest

Interior Design October 2021

Articles inside

BOOKS

CONTACTS

GRAND SLAM

DIPLOMATIC MOVES

SMOOTH SAILING

A TALE OF TWO CITIES

URBAN ZEN

HEADLINERS