Interior Design October 2022 by Interior Design Magazine

OCTOBER 2022

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CONTENTS OCTOBER 2022

VOLUME 93 NUMBER 12

ON THE COVER For the renovation of 1740 Broadway, a 1950 office building in Midtown, INC Architecture & Design con ceived a custom switchback stairway fabricated by M Cohen and Sons with balustrades of steel plates that have been water-jet cut and treated to an Art Moderneesque patina, earning the firm a NYCxDesign Award in the staircase category. Photography: Joshua McHugh.

10.22

features 92 LITTLE ITALY by Jane Margolies

Verona Carpenter Architects transforms a SoHo loft into a stunning home for a Milanese curator and collector. 100 A WORK OF ART by Dan Howarth

For 53, a new restaurant adjoining the MoMA in Midtown, ICrave’s palette tastefully blends Asian, custom, and contemporary sensibilities. 108 STRONG PORTFOLIO by Rebecca Dalzell

LSM brings its expertise in modernizing 1960’s office-tower interiors to a financial firm’s multilevel workplace in Midtown.

116 EASY LIVING by Peter Webster

Five amenities-rich residential developments showcase New York apartment-building design at its coolest. 128 NETWORK NEWS by Michael Lassell

For the Chelsea headquarters of Guidepoint, which links global companies with subjectmatter experts, Neal Beckstedt Studio creates an office that privileges interaction. 136 OPEN FOR BUSINESS by Annie Block and Helene Oberman

From libraries and shops to offices and restaurants, the annual NYCxDesign Awards— and the hundreds of entries from every borough—prove that the Big Apple is back and beautiful.

ERIC LAIGNEL

CONTENTS OCTOBER 2022

VOLUME 93 NUMBER 12

city living 45 EAST SIDE STORY by Edie Cohen 53 METRO MODERN

by Peter Webster

In Manhattan and Brooklyn, bold and contemporary rule the residential roost.

departments 17 HEADLINERS 23 DESIGNWIRE by Annie Block, Edie Cohen, and Georgina McWhirter 30 BLIPS by Annie Block 32 PINUPS by Lisa Di Venuta 39 CREATIVE VOICES The Wonder Factory by Monica Khemsurov

From their Brooklyn studio, the copartners of Chiaozza dream up fantastical, nature-inspired works— small and large, artistic and functional— that delight and awe.

87 CENTERFOLD By the Book by Nicholas Tamarin

Integrated Conservation Resources and Todd Longstaffe-Gowan’s restoration of the Morgan Library & Museum’s facade and garden in Murray Hill is letter perfect. 154 BOOKS by Stanley Abercrombie 156 CONTACTS 159 INTERVENTION by Wilson Barlow

THOMAS LOOF; STYLING: MIEKE TEN HAVE

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67 MARKET edited by Rebecca Thienes text by Wilson Barlow, Lisa Di Venuta, Georgina McWhirter, and Rebecca Thienes

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e d i t o r ’s welcome

new york… once again! Would you believe that I have, to date, sent 21 of these babies to press? This New York issue right in front of me—all set and rearing to go—will make my tidy number 22. And the 22nd volume in the year 2022 fits famously well with my bad case of numerology… my personal brand of silly, in case you were wondering. Yep, with me, it’s all personal. Even though I try as hard as convention requires, I never really succeed at being just a professional in this biz; I have to pour all of myself in it. I suppose it goes with the design zealot makeup. Yet there are great benefits to making everything personal: self-reward, awareness, and growth, to name a quick few. To my point, however, mixing professional and personal lives can, and more often than not does, lead to breakthroughs, mini miracles, or at least good insights. Take my extra-special Sunday event yesterday, a trip to the local Walgreens. The happily accomplished mission was to receive the B4/B5 Omicron strains–specific booster shot, courtesy of the good folks at Moderna. Now that bankable protection is widely available, are we actually—once again—on?! My little trip yesterday truly does, in fact, mean that without a) ignoring what’s going on, b) endangering others, and/or c) being a bloody chancer, I can finally catch a cab, sneak out for a cup of java, and dine leisurely uptown or downtown with little worry. I can once again catch a show on or off Broadway, frequent MoMA or the Met, and safely visit one of the countless NYCxDesign Award–earning projects seen in this issue. How about doing some laps at the local Bronx YMCA by Marvel Architects (Social Impact category winner), shopping for some kids’ frocks at Roller Rabbit in Carnegie Hill by Jansonscuro (Retail), and then eating aplenty at the Jacx&Co. in Long Island City by INC Architecture & Design (Food Hall)?! All that fun minus the oppressive, omnipresent dark cloud of the past two years, that is. Immensely more important yet is that all my fellow New Yorkers can now enjoy this, and sundries, safely too. And personally, I intend to join them pronto, with my uniquely individual celebration: a trip to the office. See ya soon!

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OCT.22

INTERIOR DESIGN

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headliners “Every project is an exploration in understanding how physical space can be a choreography of light and movement”

ICrave “A Work of Art,” page 100 founder, ceo: Lionel Ohayon. firm sites: New York; Miami. firm size : 45 architects and designers. current projects: TSX Broadway entertainment-and-retail complex in New York; Moore Building in Miami; MSG Sphere in Las Vegas. honors: Interior Design Best of Year Awards; IIDA Healthcare Design Award. cones: Ohayon’s first job was selling ice cream from a Dickie Dee tricycle. skates: For its 2002 launch party, he made ICrave’s NY studio a roller disco. icrave.com

OCT .22

INTERIOR DESIGN

Neal Beckstedt Studio “Network News,” page 128 principal: Neal Beckstedt. firm site: New York. firm size: 10 architects and designers. current projects: Houses in the Hamptons, New York, and Evergreen, Colorado. midwest: Beckstedt grew up on a farm in rural Ohio. east end: He loves getting away to his weekend house in Sag Harbor. nbeckstedtstudio.com

LSM “Strong Portfolio,” page 108 founding partner:

Debra Lehman Smith. partner:

Terese Wilson. senior director :

Donnie Morphy.

h e a d l i n e rs

firm sites: Washington; New York;

London. firm size: 50 architects and

designers.

Verona Carpenter Architects “Little Italy,” page 92 principal: Irina Verona, AIA. firm site: New York. firm size: 10 architects and designers. current projects: Renovations of Briarwood–Queens Public Library and SUNY Farmingdale Dewey Hall in New York and Prospect House events center at Princeton University in New Jersey. honors: NYCxDesign Award; NYC DDC Project Excellence selectee; Design Trust for Public Space Restorative City RFP winner. two: Verona met co-principal Jennifer Carpenter while earning their master’s at the Columbia University Graduate School of Architecture, Planning and Preservation. five: In addition to English, she is fluent in Italian, Spanish, French, and Romanian. veronacarpenter.com 18

INTERIOR DESIGN

OCT.22

marketing center and Brookfield Properties headquarters in New York; K&L Gates offices in Boston and San Francisco; Covington & Burling office in London. honors: Interior Design Best of Year Awards; IIDA National, Honor, and Global Excellence Awards. milestone: Last year, Lehman Smith’s firm celebrated its 30th anniversary. community: Wilson’s on the Georgetown Business Improvement District board. galaxy: Morphy is a member of his local astronomy and astrophotography club. lsm.com

TOP: NICK GLIMENAKIS; CENTER LEFT: DAVID PERRY; BOTTOM: TRAVIS HUGGETT

current projects: Lever House

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design wire edited by Annie Block

CLOCKWISE FROM TOP: WHITNEY MUSEUM OF AMERICAN ART, NEW YORK; JOSEPHINE N. HOPPER BEQUEST P.2016.11. © 2022 HEIRS OF JOSEPHINE N. HOPPER/LICENSED BY ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; WHITNEY MUSEUM OF AMERICAN ART, NEW YORK; JOSEPHINE N. HOPPER BEQUEST 70.1098 © 2022 HEIRS OF JOSEPHINE N. HOPPER/LICENSED BY ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; WHITNEY MUSEUM OF AMERICAN ART, NEW YORK; JOSEPHINE N. HOPPER BEQUEST 70.1184. © 2022 HEIRS OF JOSEPHINE N. HOPPER/LICENSED BY ARTISTS RIGHTS SOCIETY (ARS), NEW YORK

New York State of Mind Although Edward Hopper was born outside the city, in Nyack in 1882, he eventually moved to Manhattan in 1908. Five years later, and for the following five decades until his death in 1967, he lived and worked in a top-floor apartment at 3 Washington Square North, about a 20-minute walk from where the Whitney Museum of American Art stands today. Which makes it a fitting site for “Edward Hopper’s New York,” the institution’s

fall exhibition charting the artist’s enduring fascination with the city through more than 200 paintings, prints, sketches, and archival materials, as well as rarely seen watercolors of his home by his painter wife, Josephine Verstille Nivison. As for Hopper’s works, iconic ones, like Automat and Early Sunday Morning, are joined by such lesser-known compositions as City Roofs. Additionally noteworthy is the timelessness, and timeliness, of the exhibit, Hopper’s strokes capturing, and foreseeing, the repeating cycles of demolition and construction in New York—its ability, and hope, to reinvent itself again and again. Clockwise from top: “Edward Hopper’s New York,” at the Whitney Museum of American Art in the Meatpacking District, October 19 through March 5, 2023, features City Roofs, his 1932 oil on canvas, among some 200 other works. Manhattan Bridge, a 1926 watercolor and graphite pencil on paper, and Queensborough Bridge, a 1913 oil on canvas. OCT.22

INTERIOR DESIGN

d e s i g n w ire

at ease, soldier Governors Island, just a 5-minute ferry ride from downtown Manhattan, has been hotting up ever since the longtime military base opened to the public in 2005—offering concerts, yoga classes, immersive art installations, even glamping. The latest enterprise to join the fun on the car-free isle is Italy’s QC Terme, which recently opened QC NY, its first spa outside Europe. Located in one of the Victorian-era red-brick military barracks and designed by local firm Robert D. Henry Architects, with QC’s in-house team handling interiors, the waterfront day facility offers a host of amenities for stressed-out locals and visitors alike. Inside, they can enjoy an aperitivo from the bar after making use of the many saunas, scented steam rooms, water therapies, infrared beds, and free body scrubs and face masks. Outside, they can soak up direct views of the lower Manhattan skyline and the Brooklyn Bridge from the lush relaxation area, its pair of heated infinity pools open year-round.

Clockwise from top left: At QC NY, a day spa on Governors Island by QC Terme and Robert D. Henry Architects, wooden cutouts of the Manhattan skyline decorate the walls of an aspen-lined sauna. An outdoor relaxation area with Marco Lavit’s Hut bed by Ethimo overlooking the city’s southern tip. The heated pools with in-water loungers, backed by the former military-barrack building containing the treatment rooms. Canadian hemlock wrapping another sauna, all four manufactured by Effegibi.

INTERIOR DESIGN

OCT.22

CLOCKWISE FROM TOP: DASHA BROOK (2); RICCARDO PIAZZA/COURTESY OF QC NY (2)

—Georgina McWhirter

d e s i g n w ire When TikTok touched down on American shores, i.e. Los Angeles, in 2019, it laid claim to the world’s most downloaded app. The same holds true this year, which is also when the company expanded to Manhattan, staking out 150,000 square feet for 1,000 employees across the five top floors of the 58-story H&M tower—fittingly steps from Broadway and its myriad dance numbers. Now, as then, the Gensler project was led by design director and senior associate Chris Mitchell, who translated some of the West Coast tropes to suit the soul of the city. The play of the neon elevator lobbies of L.A. have been re-envisioned with LED panels in colors and images representing pizza, yellow cabs, and the Statue of Liberty. In the café, LED tubes abstract the subway map, while, behind the servery counter, climbing ropes reference “Spider Man successfully scaling tall buildings,” Mitchell says, adding that, “The boardroom is a circular space in a square building,” its otherworldly oculus subtly recalling James Turrell’s work. And everywhere, including from multiple balconies, are views stretching from the Empire State Building to the Freedom Tower. —Edie Cohen

BENNY CHAN/FOTOWORKS

meme dream

Clockwise from top left: In an elevator vestibule at TikTok’s Midtown office by Gensler, 12-inch-square next-gen LED panels are arranged to reflect the energy of its Times Square location. A corridor’s taxi-hued epoxy flooring and paint. LED tubes in subway-line colors and Steelcase furnishings in the café. A built-in banquette encircling the boardroom. 26

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The stoop is an architectural detail adapted from Dutch styles to cope with flooding. As the outdoor stairway proliferated, it began contributing to neighborhood socialization. Which is exactly what Rockwell Group intended with its pro-bono project, Stoop NYC in Jackson Heights, Queens. Its third partnership with the New York City Department of Transportation, after pandemic-response initiatives DineOut and Open Stage, Stoop translates the classic form into a freestanding piece of furniture that provides seating and storage (lightweight custom cubes can stow beneath the steps) and encourages community activities and even local pride, thanks to Deborah Wasserman’s neighborhoodinspired graphics. The project was initialy conceived for the city’s Open Streets program, but Rockwell Group is offering its drawings and fabrication overview free of charge for groups wishing to create their own Stoop, at rockwellgroup.com. —Annie Block

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OCT.22

TOP, BOTTOM: KAMILA HARRIS (2); CENTER: ROCKWELL GROUP

A city staple since the 1800’s…

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p i n ups text by Lisa Di Venuta

urban edge A TriBeCa showroom spotlights Berlin-based OUT’s multipurpose piece, its complex facets sculpted and sanded by hand

COURTESY OF OUT

Fels stool/side table, 18 inches high, in sustainably forested ash lacquered Luminous Red, as well as other woods and colors, by OUT, through Stillfried Wien. stillfried.com

INTERIOR DESIGN

OCT.22

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Metal master Mark Malecki welds thousands of “strands” into functional furniture for a Greenwich Village showroom Hairy side table, 19 inches square, in steel powder-coated Orange or Yellow, suitable for outdoor use, with custom colors and sizes available, by Mark Malecki, through Love House. lovehouseny.com

INTERIOR DESIGN

OCT.22

FROM TOP: COURTESY OF LOVE HOUSE; PETER FAVINGER

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Marenco sofa design Mario Marenco Chicago 213 W Institute Place - Chicago, IL 60610 - Cincinnati 1401 Elm Street - Cincinnati, OH 45202 - New York 55 Great Jones Street - New York, NY 10011 Los Angles 8770 Beverly Blvd. - West Hollywood - Los Angeles, CA 90048 - San Francisco 3085 Sacramento Street - San Francisco, CA 94115 Miami Design District 3621 NE 1st Ct - Miami, FL 33137 - Dallas 1019 Dragon Street - Dallas, TX 75207 - Atlanta 349 Peachtree Hills Ave Suite B2, Atlanta, GA 30305 - Vancouver 1672 1st Ave, Vancouver, BC V6J 1G1 - Toronto 24 Mercer Street, Suite 100, Toronto, ON M5V 0C4 - Montreal 4396 Laurent Blvd, Montreal, Quebec H2W 1Z5 -

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From their Brooklyn studio, the copartners of Chiaozza dream up fantastical, nature-inspired works— small and large, artistic and functional—that delight and awe

the wonder factory

In 2011, less than a year after they met at Chinatown karaoke bar Winnie’s and started dating, Terri Chiao and Adam Frezza had a career-defining experience: Chiao, an architect and alum of 2x4 and OMA, was working on a tiny scale model of a treehouse, and asked Frezza, a fine artist, to help her fill it with foliage. Together, they fashioned a miniature garden full of wild, neon-colored paper plants (which eventually inspired a life-size version at Wave Hill garden in the Bronx). The project helped them realize they worked well together, so they decided to cofound a studio, smushing their last names together to christen it Chiaozza. Since then, they’ve had a daughter as well as expanded their Brooklyn-based practice to encompass rugs for IKEA, window displays for Hermès, and a stucco forest at Coachella, the latter around the same time they produced Zen Garden, their 5-yearlong installation at Industry City in Sunset Park. Recently, they completed a second outdoor exhibition at Industry City, were commissioned by Google to create pieces for the company’s Pier 57 campus in Chelsea, and released a set of wall hooks with fellow Brooklyn brand Areaware (with another functional object in the works). Yet all their creations are still inspired by plants, or, more accurately, a brightly colored fantasy version of the natural world, as filtered through their especially fertile imaginations. “Physical reality is not the only reality,” Chiao says. “There’s also the internal emotional landscape. Our work is a quest to visualize that.” We sat down with her and Frezza to learn more. Chiaozza cofounders Adam Frezza and Terri Chiao in their Bushwick, Brooklyn, studio resting on unpainted recycled paper pulp sculptures for Scumble Lumps, their second longterm public installation currently on view at Industry City in Sunset Park, with their 10 wooden wall works, also unpainted, for Google’s Pier 57 office in Chelsea behind them.

c r e at i v e voices

JOE KRAMM

OCT.22

INTERIOR DESIGN

AF: But even if our work causes someone to change their pace, look up from their phone, or distract them from what they were thinking, that’s also a huge compliment, especially in a place as dense as New York. TC: Or when a child hugs one of our sculptures, which happens some times. It speaks to the emotional connection art can have with people. Which recent New York project is particularly exciting? AF: Our Floating Wooden Wall Works series for the café at Google Pier 57. They were inspired by maps and wayfinding symbols that loosely reference the building’s history as a former marine and aviation terminal. We like imagining Googlers eating lunch with these charms on the wall acting as little encouragements to daydream.

As a New York–based couple, what’s it like to experience your art on public view there? Terri Chiao: It’s been amazing to contribute to the emotional and cultural landscape of a city that’s already so layered with history, architecture, and culture. And since New York is so global, having our work on view in places like Industry City and Central Park speaks to locals as well as those passing through, connecting us, and helping us have a conversation, with the whole world.

You also make tabletop sculptures and standard-size paintings. Why do you work in different scales? TC: Our projects often start small. For example, our Lump Nubbins, small sculptures of recycled paper pulp, act like sketches or tests for our ideas. The process is like a stream of consciousness that we harness to create interesting forms. The work flows directly from our hearts and minds, and there aren’t many restraints. At a larger scale, there are more practical considerations—and hands—involved. For Coachella, we made Sharpie drawings, then a 3-D designer, a team of builders, and our own painters and sculptors brought the forms to life. Whether the artwork fits in your palm or towers above you, though, the goal is to create a feeling of immersion, where the viewer can mentally, spiritually, or physically enter another place, where anything feels possible.

isolated there, especially since some people don’t feel comfortable even walking into a gallery. Outdoors, there’s more potential for a flow of these ideas, with the viewer seeing it more freely and carrying it farther. Scumble Lumps at Industry City is designed to be touched and climbed. Is human interaction important to your work? TC: A lot of public art you’re not supposed to touch. But when we’re out in national parks, or even Central Park, there are rocks to climb and so many ways to interact with nature. We want our work to have that same invitation—to lay on it, dream, and expand your mind.

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What’s next? TC: More interventions in nature, and I’d like to experiment with outdoor materials like mushrooms or tree sap. I’m also interested in doing more work with bare stone; I love shapes before I love color, and with interactive work, paint is a challenge anyway, because it wears away. I want to use materials that can just be materials, and the piece’s form—and its relationship to space, and to the person who’s viewing it or touching it—is what makes it powerful. As humans, we respond to bright colors and contrast, the way bees and hummingbirds respond to flowers. Colors create joy and curiosity and prompt touch. The next step for us is to make things that will last outdoors not for months or years but decades. —Monica Khemsurov

FROM TOP: COURTESY OF CHIAOZZA; COURTESY OF INDUSTRY CITY; TOMMY LUNDBERG; CHARLES BENTON

What appeals to you about exhibiting outdoors in general? Adam Frezza: Placing our work against the neutral backdrop of an urban environment creates a surreal feeling, because it has such high-key color and whimsical shapes and patterns. It lets us create a moment of awe for someone that they can carry with them throughout their day. We love exhibiting in an art gallery, but the concepts are

FROM TOP: CHARLES BENTON; COURTESY OF CHIAOZZA (2)

Clockwise from opposite top: Plant-inspired sculptures in “Shape and Structure: Gemels,” a summer solo exhibition at Casa Romantica gallery in San Clemente, California. The acrylic on poplar Scope in Paradise Sky at Google. A site-specific mural at Casa Romantica. Lumpy Notes, a 2021 public installation of seven sculptures at Northeastern University in Boston that’s been extended indefinitely. Google’s Ess in Seafoam Green. Chiaozza Garden at the 2017 Coachella Valley Music and Arts Festival in California. Zen Garden, Chiaozza’s first long-term installation at an Industry City plaza.

OCT.22

INTERIOR DESIGN

OLIVER

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cit y living firm: studio db site: east village

MATTHEW WILLIAMS

In the living room of a two-story, two-bedroom apartment, a custom sectional faces a Reinaldo Sanguino artwork and the fireplace’s new mantelpiece of Arabescato violet marble.

east side story OCT.22

INTERIOR DESIGN

c i t y living

Clockwise from top left: The stair way’s handrail and newels are freshly painted. A concrete desk and a vin tage Poul Henningsen chair furnish the library, papered in a pattern by Superflower Studio. In the dining area, velvet on the Kateryna Sokolva chairs coordinates with an oil paint ing by Caroline Larsen.

MATTHEW WILLIAMS

Opposite, clockwise from top: Another custom sofa outfits the family room, its coffee table by Bower Studios, which introduced Studio DB to this client. Fort Standard’s dining table combines fumed and clear oak. A custom daybed appoints the livingroom alcove.

INTERIOR DESIGN

OCT.22

Designer Britt Zunino was born in Albuquerque, New Mexico, her architect husband Damian in the West Village. But they’re now both bona fide New Yorkers with four kids, a Union Square loft, and a Flatiron District–based firm, Studio DB, founded in 2007. The pandemic notwithstanding, the practice is plenty robust. On the boards are some 20 projects including ones in Florida and Italy. Newly completed and closer to home are the top two floors of a circa 1900 Greek Revival town house for another young Manhattan couple. In the East Village, the residence is near where the clients had been living but miles away in scope. From a tiny apartment, they came to this spacious condo comprising 3,200 square feet. “The property was bigger than anything they had ever owned,” Britt Zunino begins. But it needed work. The site was “was full of dark and heavy millwork, and they didn’t want to do a lot of construction,” Damian Zunino adds. Fortunately, all four shared a singular vision: airy and contemporary with limited pops of color. Studio DB’s initial approach entailed applying coats of light paint, refinishing the oak flooring, and adding “targeted gestures,” in the form of unexpected wallpaper and knockout furnishings imparting individuality to each room. Entry is on the lower level, which is the private zone. Newly serene, the primary bedroom has whitewashed woodwork and a pleated cotton pendant fixture overlooking a bedframe and ribbed wool rug, both in creamy colorways. Also here is a guest bedroom, an office, and a music room. The winding stair, its spindles and handrail freshly painted ebony for contrast, leads to the upstairs public zone composed of a living room and a library, separated by pocket doors, and a contiguous family room, dining area, and kitchen-cum-sunroom leading to a terrace. The surprising wow is the library. “I’ve been wanting to use that wallpaper for a while,” Britt Zunino says of the peony pattern, which “is modern and fresh but appropriate for a town house, even if

MATTHEW WILLIAMS

OCT.22

INTERIOR DESIGN

the palette is pleasingly off.” Subtler but still happily surprising is the powder room’s paper, its figures cavorting on a blush ground. The clients nixed a formal dining room, Studio DB instead installing a banquette that curves around a striking two-tone oak table and supplementing it with a pair of identical chairs, one upholstered in plum velvet, the other in mustard. Other spaces read more subdued. In the living room, the Zuninos scaled up the fireplace mantel with marble and paired it with a generous ivory sectional. Nearby, they transformed an alcove into a beckoning reading spot, removing existing desks and inserting a built-in daybed. Another daybed, provocatively called Cleopatra and designed by Dick Cordemeijer in the 1950’s, resides in the family room.

c i t y living From top: Existing dark millwork was painted in the main bedroom. An Allied Maker sconce joins Maison C. wallpaper in the powder room. In the sunroom leading to the terrace, the floor tile and steel-framed French doors were existing, but the Sika Design bar cart is new.

The renovation took place mid-pandemic, with all its logistical and supply-chain challenges. “So, we sourced vintage and local products where we could,” notes Britt Zunino, sounding like a true resourceful New Yorker. —Edie Cohen FROM FRONT BENI RUGS: RUG (LIVING ROOM). BAS STONE NYC: MANTEL STONE. SUPERFLOWER STUDIO: WALLPAPER (LIBRARY). STUDIO LIGHT COOKIE THROUGH ETSY: PENDANT FIXTURE. THROUGH 1STDIBS: CHAIR. ABC CARPET & HOME: RUG. CB2: DESK. ALLIED MAKER: PENDANT FIXTURE (DINING AREA), SCONCE (POWDER ROOM). DESIGNTEX: BANQUETTE FABRIC (DINING AREA). FORT STANDARD: TABLE. NOOM HOME: CHAIRS. ARMADILLO: RUGS (FAMILY ROOM, BEDROOM). MAHARAM: SOFA FABRIC (FAMILY ROOM). LUNA TEXTILES: PILLOWS. BOWER STUDIOS: COFFEE TABLE. CB2: SIDE TABLES (LIVING ROOM), MIRROR (POWDER ROOM). PERENNIALS: DAYBED FABRIC (LIVING ROOM). WEST ELM: BED (BEDROOM). THE SOCIALITE

UPHOLSTER: CUSTOM FURNITURE WORKSHOP. BENJAMIN MOORE & CO.; FARROW & BALL: PAINT. DIMASTERY: LANDSCAPING CONSULTANT. MABR CONSTRUCTION: GENERAL CONTRACTOR.

INTERIOR DESIGN

OCT.22

MATTHEW WILLIAMS

FAMILY: PENDANT FIXTURE. MAISON C.: WALLPAPER (POWDER ROOM). THROUGH 2MODERN: BAR CART (SUNROOM). THROUGHOUT MASTER’S

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ARCHETYPE

c i t y living

metro modern WILLIE ELLIS

In Manhattan and Brooklyn, bold and contemporary rule the residential roost See page 62 for this Brooklyn Heights penthouse by The New Design Project, where a stainless-steel donut mirror by Zieta hangs over a custom fireplace faced in Noir St. Laurent marble. OCT.22

INTERIOR DESIGN

MATT DUTILE

c i t y living

INTERIOR DESIGN

OCT.22

AMMOR Architecture project Four-bedroom triplex. site Gramercy Park. standout Through a gut renovation that rationalized the circulation and layout of the three-level apartment, architects Goil Amornvivat and Thomas Morbitzer not only found space for two more bedrooms but also created a light and airy family home featuring rift-sawn oak built-ins— including ample storage, desking, and an open-tread stair—and a primary bedroom suite with its own terrace.

MATT DUTILE

OCT.22

INTERIOR DESIGN

c i t y living

Only If Architecture project Two-bedroom town house. standout Sitting on a lot less than 14 feet wide, the three-level residence, dubbed the Narrow House, comprises two lateral walls and glazed end facades enclosing an open volume in which co-principals Karolina Czeczek and Adam Frampton use a split-level section to create distinct spaces—the exception being a central plywood volume containing two bathrooms, closets, and pocket doors for privacy.

INTERIOR DESIGN

OCT.22

IWAN BAAN

site Bedford Stuyvesant.

ENHANCING LIVES THROUGH DESIGN

YOTA

K I TC H E N S

B AT H S

C LO S E T S

INTERIOR DOORS

FLAGSHIP STORES: LOS ANGELES 310.657.5497 . NEW YORK 212.980.6026 . MIAMI 786.662.3850 . HOLLYWOOD, FL 954.923.9860 Chic Design Group COSTA MESA, CA 657.232.0001 . EBL Interiors NAPLES, FL 239.431.5003 For Dealership Opportunities: Sales@MandiCasa.com MandiCasa.com | a LUXITALY Group Inc. brand

Worrell Yeung

site Upper West Side. standout By removing walls and reconfiguring the layout, co-principals Max Worrell and Jejon Yeung modernized the prewar classic six, transforming it into a more open, light-filled home in which clean, minimalist spaces boasting new oak flooring are populated with built-ins, a mix of Scandinavian and American furniture, and restored historical details that preserve the residence’s original charm without compro mising its 21st-century spirit.

BROOKE HOLM

c i t y living

project Three-bedroom apartment.

INTERIOR DESIGN

OCT.22

FITS IN. AND STANDS OUT.

Sleek lines, soft curves, and minimalist principles come together to create a curated family of chairs that are sure to turn heads. With its award-winning design and elevated style, Melete is a beautiful addition to any workplace.

c i t y living

Sara Story Design project Three-bedroom apartment. site Madison Square Park.

THOMAS LOOF; STYLING: MIEKE TEN HAVE

standout From the moody indigo entry hall framing a large Chuck Close self-portrait, vibrant color and show-stopping contemporary art establish a dialog that’s repeated throughout the designer’s concept for this aerie, reaching its peak in the living room, where an Yves Klein blue cocktail table and pink Osvaldo Borsani armchairs are juxtaposed with vivid works by Chun Kwang Young, Frank Thiel, and others.

INTERIOR DESIGN

OCT.22

The New Design Project

site Brooklyn Heights. standout Faced with a new-build condomi nium apartment and no distinctive architec tural features, creative director Fanny Abbes infused the blank canvas with character by adding traditional elements, such as a custom marble fireplace, crown moldings, and pat terned wallpaper, which she balanced with a more modern vibe generated by up-to-theminute furniture, finishes, and works of art. —Peter Webster

WILLIE ELLIS

c i t y living

project Four-bedroom penthouse.

INTERIOR DESIGN

OCT.22

f ur n i t u re

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

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anodetonyc

Explore the heartbeat of New York with NYCxDESIGN’s annual Ode to NYC poster collection, returning December 2022. View last year’s edition at nycxdesign.org.

NYCxDESIGN is a non-profit organization. Thanks to the supporters of Ode, we’re able to create more equitable opportunities in design and foster a diverse next generation to become New York City’s designers of tomorrow.

The experts at Ferguson Bath, Kitchen & Lighting Gallery are here to help create a home that’s as extraordinary as you are. Any project, any style, any dream—bring your inspiration to Ferguson Bath, Kitchen & Lighting Gallery. Visit build.com/ferguson to schedule your personalized showroom experience today.

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

rockymountainhardware.com

read all about it Inspired by the work of Japanese sculptor Isamu Noguchi, the Reader side tables from Natalie Shook’s Red Hook, Brooklyn, studio Piscina make a narrative of empty space, with voids destined for books. The base, formed from a single slab of burnished, unglazed clay with figurative carvings and cutouts, is topped with a round of sapele (blackened ash, bleached maple, and white oak are also available). Knobby wooden tenons on the underside of the top slot into the ceramic base to join the two materials. “As an artist, I’m driven by a specific moment in painting when color fields or brushstrokes come so close to one another, the finite space between them becomes electrified,” Shook says. “Designing furniture, I’m inspired to recreate that moment, and developed these to achieve a similar visceral charge.” piscinapiscina.com

READER

new york

market JASON LECRAS

edited by Rebecca Thienes text by Wilson Barlow, Lisa Di Venuta, Georgina McWhirter, and Rebecca Thienes

OCT.22

INTERIOR DESIGN

“We’re honoring over 40 years of our design heritage” m a r k e t new york

Irish Gold When Brian and Rosie McGuigan fled war-torn Northern Ireland for Copenhagen in the 1970’s, designing and building furniture was merely a pastime, the couple working at a burger joint to pay the bills. But when they returned in 1979, they launched Orior, a family-run furnishVERT ings company (son Ciaran McGuigan is creative director) named after a street in Newry, their hometown. Today, Orior has opened a 2,500square-foot global flagship in SoHo, with Connemara marble floor tiles at the entry and a quartet of oak-trimmed archways delineating zones. Vignettes feature funky pieces from the spring ’22 collection, like the walnut Brea side table, a whimsical riff on ’80’s-era waterbeds with rounded edges and a channeled-leather drawer front. Nearby, op art rugs by the McGuigans’ daughter, Katie Ann, juxtapose Corca, a retro side table with a tubular cast-bronze base and a translucent top, in Irish crystal, of course. oriorfurniture.com 68

INTERIOR DESIGN

OCT.22

CLOCKWISE FROM BOTTOM: SIMON WATSON (2); COURTESY OF ORIOR

HEX

CORCA

CLOCKWISE FROM BOTTOM LEFT: SIMON WATSON (2); COURTESY OF ORIOR (2)

BREA

INTERIOR DESIGN

OCT.22

new york

skin care “The works play not only with saturation, gradients, and depth but also personal narrative”

QUINCY ELLIS

m a r k e t collection new york 70

INTERIOR DESIGN

OCT.22

What color is nude anyway? It’s a question Quincy Ellis of Facture Studio, based in Greenpoint, Brooklyn, asked with “Tone,” his solo summer exhibition at Tuleste Factory, a Chelsea gallery founded by sisters Satu and Celeste Greenberg. On one level, the circular pieces are color studies, with gently blurred gradients of saturation and hue. But on a deeper level, they explore the idea that skin tones, like colors themselves, are many, varied, and multiple. Indeed, all the shades in the Tone Halo series are taken from Ellis’s own skin, showing the breadth and variety that can be present on a single body. His eight wall objects are 6 feet in diameter and made from aluminum and wood surfaced with resin polished to a smoothas-glass finish. facturestudio.com

COURTESY OF TULESTE FACTORY

TONE HALO

Calum Lounge — Comfort design Simon Pengelly 2022

www.desalto.it

East Cost — Mrs Suzanne Cornell Ph +1 305 793 3342 — suzanne@cornellmunzer.com West Coast — Mrs Hyuna Park Ph +1 323 381 8117 — hyunapark50@icloud.com

NICK OZEMBA, FELICIA HUNG, SOPHIE LOU JACOBSEN

m a r k e t collection

new york

great minds FAZZO

“Marrying Sophie’s aesthetic with our more minimal approach has created our most expressive work to date” 72

INTERIOR DESIGN

OCT.22

FLORA CALLA

TOP RIGHT, CENTER RIGHT: WILLIAM JESS LAIRD

A successful collaboration integrates each partner’s voice to bring forth a new language. So it is with Flora, a 20-piece lighting series by French-American designer Sophie Lou Jacobsen and Gowanus, Brookly, studio In Common With. An aesthetic nod to Jacobsen’s recent line of glass objects can be glimpsed in Flora’s pendant fixtures, chandeliers, table lamps, and sconces, alongside the more minimalist point of view of In Common With cofounders Felicia Hung and Nick Ozemba. Informed by traditional Venetian glassmaking techniques, the trio used handblown, mold-blown, and slumped-glass methods. Applied geometric dots and fins add a sense of play, while rich hues like Tobacco and Poppy Red join sophisticated pastels. Standouts include Fazzo, created via the 2nd-century process of fazzoletto, whereby gravity pulls spinning molten glass downward to form a flirty shade. Fazzoletto, after all, is Italian for handkerchief. incommonwith.com

Expormim —— (212) 204-8572 usa@expormim.com www.expormim.com

Lapala hand-woven chair. Lievore Altherr Molina & Atrivm dining table. Manel Molina —— Photographer: Meritxell Arjalaguer ©

2 4

m a r k e t s c a p e new york Danny Giannella, Jeffrey Renz, and Tammer Hijazi of Bower Studios

product Portal. standout The recent RISD grad and current Brooklynite debuts a screen of hand-carved ash and steel with stained-glass inlays inspired by the windows and castiron gates of Cathédrale SainteCroix d’Orléans. gingergordon.com 74

INTERIOR DESIGN

OCT.22

product Blind. standout Available with colored or clear glass, this multipaned mirror by the Greenpoint-based trio gives the optical illusion of gazing through an open window partially obscured by blinds. bower-studios.com

Pat Kim for DWR

product Hew. standout Could Red Hook be Brooklyn’s center of design? Possibly. Witness the Van Dyke Street–based designer’s off-kilter side table—a DWR exclusive and best-seller—that now comes in terrazzo. dwr.com

Mark and Maggie de la Vega of De La Vega Designs

product Drum. standout Congratulations are in order: One of a slew of new pieces from another Red Hook studio, this side table, available in an array of translucent cast acrylics including Amber, celebrates the duo’s 10th anniversary. dlvdesigns.com

PRODUCT 1: JONATHAN HOKKLO

Ginger Gordon for Hello Human

6 8

Jean and Oliver Pelle for Pelle

Aimée Wilder of Shadow Wilding

product Nana Lure. standout Cast-cotton paper, leather, and patinated steel, sculpted and hand-painted in the couple’s Brooklyn studio, form an LED-lit botanical illustration of a banana leaf come to life as a pendant fixture. pelledesigns.com

David Weeks for Roll & Hill

product Reflection. standout Limited-edition silkscreened canvases, 4 feet wide and up to 67 inches tall, mark the Williamsburg-based textile designer’s fine art debut exploring tessellation, color theory, and more. shadowwildling.com

Gordon Harrison Hull for Eskayel

product Boden. standout The collaboration between the Brooklyn design studio and the Manhattan maker-manufacturer yields a brushed-brass table lamp with a refined aluminum shade that rotates a useful 330 degrees.

product Vol de Nuit. standout Wallpaper or linen fabric in five colorways, including Multi, showcase the New York–based creative director’s “lo-fi magic” artwork featuring a mélange of characters, places, and text.

rollandhill.com

eskayel.com OCT.22

INTERIOR DESIGN

“The wallpaper experts step out of their chosen field, transposing their poetic universe to furniture” m a r k e t collection new york

among the clouds

TASSARA

The perches may look soft and inviting—and indeed they are. But Tassara, the debut furniture line by Rachel and Nick Cope of Red Hook–born now TriBeCa-based Calico Wallpaper for Pierre Frey, is inspired by hard tile, specifically, the mosaic paths found in the Italian village the collection was named after. The rough edges of stone tiles and pavers are translated into the asymmetric, organic shapes defining the couple’s sofa, armchair, cushioned bench, and oak coffee table. Hand-turned oak legs meet heavy linen canvas upholstery tinted in faded pastels. The Copes often channel mesmeric skies, galaxies, and sunsets in their soft-focus watercolor or marbled wallpapers, so it’s only fitting their furniture has the same gentle touch. pierrefrey.com

INTERIOR DESIGN

OCT.22

Learn More

Linq Chair by jonathan prestwich Inform Table by davis design team

new york m a r k e t

collection

“They represent our two studios’ shared vision: to translate handmade pieces to larger-scale production”

COLOR FIELD

a painterly approach

In 2018, José Noé Suro of Cerámica Suro, a leading ceramics workshop in Mexico, was visiting New York when he stumbled upon a line gathered outside a factory building. It led him into a pottery sale, where he met ceramicist and photographer Helen Levi. Talks of a collaboration between the Guadalajara maker and Queens-based

New York native began shortly thereafter. The resulting satin-glazed earthenware series consists of two tile groupings. Handpainted 3 ½-square-inch Color Field is like mini abstract-art canvases, while the solid Corduroy, in 3 ½- or 4 ½-square sizes, recalls its namesake fabric. Proof of the tiles’ desirability? Peach Color Fields have just been installed at the latest outpost of womanowned brewery Talea Beer Co. in Williamsburg. helenlevi.com 78

INTERIOR DESIGN

OCT.22

HELEN LEVI, JOSÉ NOÉ SURO

CORDUROY

Dining

FSCTM-C135991

THE RETURN OF TRADITION

Carl Hansen & Søn celebrates Hans J. Wegner’s impressive design legacy with the reintroduction of the CH24 Wishbone Chair and CH327 table in oiled teak. Wegner often used the tropical hardwood in the 1950s and it now makes a welcome return to his furniture collection. The FSC™-certified wood displays subtle color variations that deepen over time and perfectly frame the soft silhouette of each design.

Find an authorized dealer near you at CARLHANSEN.COM

Flagship Store, New York 152 Wooster St, New York

Flagship Store, San Francisco 111 Rhode Island St #3, San Francisco

Hans J. Wegner

From 1949

m a r k e t new york

“This showroom demonstrates our desire to be an active player in one of the most dynamic design communities anywhere”

ANKARA GOOGIE

BUKOWSKI

Welcome to Gotham Founded by Jeffrey Smith in Chicago in 2007, Haute Living has just opened up shop in Chelsea. A prominent dealer of modern and contemporary furnishings, the 7,000-square-foot showroom retails brands from all over the globe, from Sweden’s Massproductions to New Zealand’s Resident. “We’re always on the lookout for the next best thing,” Smith says. One can find Matiére Grise’s faceted Ankara dining table, Baxter’s retro Googie modular sconces, La Manufacture’s Champignon ottoman, and Tacchini’s Sesann sofa, a reissue of a 1970’s design by Gianfranco Frattini. There are also pieces exclusive to Haute, including the mid century–inspired Bukowski chair by Brooklyn’s Steven Bukowski for New Works. haute-living.com CHAMPIGNON

SESANN

INTERIOR DESIGN

OCT.22

TAGWALL

Architectural Glass Wall Systems www.tagwall.com

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We will have a dropbox for new, unwrapped pajamas and books for children from infants to age 18. Please bring your gift and help us support this worthy organization. Bring 2 or more pajamas and/or books for VID access to our unique back room.

ISA

INTERNATIONAL 1976 - 2022

MADRID SERIES WWW.HAVASEAT.COM | 1.800.881.3928

Honoring significant contribution to the field of interior design and architecture

2022 inductees Yves Béhar fuseproject Claudy Jongstra Studio Claudy Jongstra Will Meyer and Gray Davis Meyer Davis Mavis Wiggins TPG Architecture

12.7.2022 6:30 PM The Glasshouse NYC

by the book

Integrated Conservation Resources and Todd Longstaffe-Gowan’s restoration of the Morgan Library & Museum’s facade and garden in Murray Hill is letter perfect

1. A wood maquette by Integrated Conser vation Resources president Glenn Boornazian and Todd Longstaffe-Gowan Landscape De sign’s namesake founder shows the planned interventions to the facade and garden of Charles McKim’s 1906 neoclassical Morgan Library & Museum in Murray Hill, originally built to house financier J. Pierpont Morgan’s private rare books collection before its con version to public use in 1924. 2. A watercolor by Todd Longstaffe-Gowan illustrates blue stone pathways laid in patterns derived from the library’s Renaissance-inspired floors, and pebble mosaics created by a Sicilian artisan with stones from the Ionian Sea and volcanic ash from Mount Etna. 3. A conservationist works on a set of bronze-on-wood doors from 1900 that were derived from Lorenzo Ghiberti’s portal to the Baptistery in Florence, Italy, and depict the life of Christ. 4. Contrac tors install a 15th-century wellhead in what is believed to be its original location on the grounds. 5. A previously inaccessible 3rdcentury Roman sarcophagus purchased by Morgan in 1913 is now the garden’s centerpiece.

c enter fold FROM TOP: COURTESY OF MORGAN LIBRARY & MUSEUM; COURTESY OF TODD LONGSTAFFE-GOWAN LANDSCAPE DESIGN; COURTESY OF SANDENWOLFF (3)

“Our philosophy was to use conservation methods that are physically and aesthetically compatible with the original materials” —Glenn Boornazian

$13 32 Architects, designers, landscapers, arborists, engineers, and masons led by Glenn Boornazian and Todd Longstaffe-Gowan

SIX YEAR PROJECT

3 4

MILLION BUDGET

116

YEARS WITHOUT A

PREVIOUS RESTORATION

OCT.22

INTERIOR DESIGN

c e n t e r fold

1. Open to the public for the first time, from June to October, the Morgan Library & Museum’s garden sits behind a rehabilitated bronze fence and features new beds of periwinkles, geraniums, anemones, asters, foxgloves, and viburnum, all chosen for their low height to not distract from McKim’s architecture. 2. The sarcophagus fronting Renzo Piano Building Workshop’s 2006 addition stands illuminated thanks to Linnaea Tillett Lighting Design Associates. 3. The restoration included repairing and cleaning the original limestone facade, which is landmarked, and a pair of marble lionesses by Edward Clark Potter, based on live models he sketched at the Bronx Zoo in 1903.

INTERIOR DESIGN

OCT.22

3 2

BRETT BEYER/MORGAN LIBRARY & MUSEUM

INTERIOR DESIGN

OCT.22 .22

View the entire SurfaceSet® 2022 gallery at www.formica.com/surfaceset

8684-58 Birchbark

Feast on the energy of the city

oct22

ERIC LAIGNEL

OCT.22 INTERIOR DESIGN

Little Italy Verona Carpenter Architects transforms a SoHo loft into a stunning home for a Milanese curator and collector text: jane margolies photography: eric laignel

INTERIOR DESIGN

OCT.22

INTERIOR DESIGN

Laura Mattioli, an art scholar, curator, and collector, found her SoHo loft, and the one two floors up that now houses the Center for Italian Modern Art, on a tip from a friend back in 2011. A native of Milan, Mattioli had been looking for a place in Manhattan where she could open the foundation to spread the word about the modern and contemporary art of her homeland, but she needed a large, open space on one level that she could easily move works in and out of for exhibitions. Her friend had heard about a handsome cast-iron building on Broome Street with full-floor apartments that were about to come on the market. Mattioli immediately booked a flight to New York and within days she had nabbed two of them—one for CIMA and one for herself. “Usually lofts are long and narrow with light only on the two shorter sides,” she says. That’s because the buildings typically stand shoulder to shoulder. Her building, however, which dates to 1873, has a single-story Con Edison utility structure next door, so the apartments from the second floor up also have sunlight streaming in all along the eastern side. Then, too, the ceilings are high, and the layouts offer one vast space overlooking the street and well-proportioned rooms off a wide hallway toward the back. And, the location couldn’t be beat: SoHo, a 19th-century dry goods district, was colonized in the 1970’s by painters and sculptors who turned old industrial spaces into live-work lofts, leading to an explosion of galleries in the area. Although perhaps better known today as a shopping destination, the neighborhood is still home to many creators and arts organizations. Finding an architect proved trickier than finding the space, however. The first two Mattioli hired were more interested in making a statement. But she wanted the architecture to take a back seat to the art—some inherited from her collecting father, some purchased herself. Then she discovered Irina Verona, co-principal of Verona Carpenter Architects, who understood Mattioli’s point of view. “We like the approach of ‘light architecture’ that respects the surroundings and what happens

“Much of the that would

INTERIOR DESIGN

OCT.22

renovation revolved around creating a quiet background allow the client’s prized possessions to stand out”

Previous spread: Even though the ceiling was dropped a few inches in the living/dining area of this SoHo loft renovated by Verona Carpenter Architects for an art collector/ curator, it can still easily accommodate a pair of 10-foot-tall statues by Williamsburgbased sculptor Barry X Ball. Left: Cast-iron columns dating to the 19th century frame the living area’s Giorgio Soressi sectional sofa and gas fireplace. Top: Arne Jacobsen chairs line the dining table by Piergiorgio and Michele Cazzaniga. Bottom, from left: The client lives on the building’s second floor and owns and runs the Center for Italian Modern Art, on the fourth floor, that space also by Verona Carpenter Architects. Behind the statue, the built-in blackenedsteel bench under the street-facing windows is only 1 foot deep. OCT.22

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Top: In the living area, a Marco Zanuso chair pairs with a Gio Ponti table. Center: The kitchen, previously open to the living/dining area, was enclosed and outfitted with new cabinetry, countertops, and appliances. Bottom: In the powder room off the entry foyer, Piero Fornasetti wallpaper, mimicking malachite, joins a solid-surfacing vanity, custom mirror, and an antique sconce. Opposite top: The existing oak flooring was resealed and refinished but the oak and blackened-steel staircase leading to a mezzanine is new. Opposite bottom: A Fornasetti mural inspired the wallpaper in the guest bedroom, while its bathroom’s wallpaper is modeled on an Andy Warhol screen print of Marilyn Monroe multiples.

in it,” she says, speaking of the work she and co-principal Jennifer Carpenter have been doing together since founding their firm in 2017, after Verona had taken on Mattioli’s project. Verona first completed the center, which opened in 2013. Then came Mattioli’s 4,500-square-foot apartment, which, because it was to be a home, would be “more personal,” the architect notes. But otherwise, the priorities remained largely the same—“quiet architecture for a lot of amazing pieces,” referring to both Mattioli’s art and furniture, much of it mid-century. She left the two-bedroom, two-and-a-half-bath layout largely unchanged but switched up the primary bathroom and a walk-in closet for better flow and to create space for a new staircase to a storage and mechanical mezzanine (another new stair leads to a small sleeping area). Verona also added a terrace—a maneuver that required obtaining approval from the city’s Landmark Preservation Commission because SoHo is an official historic district in which changes are strictly controlled. Much of the renovation revolved around creating a quiet background that would allow Mattioli’s prized possessions to stand out, namely statues on a scale one usually only sees in museums and furniture by the likes of Franco Albini and Finn Juhl. Take the ceiling, which originally had a massive beam running the length of the apartment. To eliminate that distraction, Verona dropped it a couple inches, leaving, however, crisp coffered frames around the intricate capitals atop the original fluted columns. Track lighting was recessed. Cast-iron radiators were replaced with new fin-tube units running beneath the windows on the street-side wall; integrated in the design is a narrow, built-in bench of blackened steel that barely registers when one enters the space. Italian-made doors are flush and frameless, without visible hardware. Existing oak flooring was refinished for a less yellow, more neutral appearance. One exception to the quiet-backdrop rule: bold wallpaper based on famous works of (mostly Italian) art. In the guest bedroom, clouds borrowed from a Piero Fornasetti mural float over closet doors. In the study, Andy Warhol’s reinterpretation

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of Leonardo da Vinci’s The Last Supper—a work that resonates with Mattioli because da Vinci’s mural is in Milan—emblazons a large swath of wall. The three-dimensional, one-of-a-kind art in the public areas is even more riveting. Sculptures by New Yorker Barry X Ball—two standing 10 feet high and one of them inspired by Michelangelo’s Pietà Rondanini, also in Milan—occupy one end of the open living/dining area. On the other side of the space, furniture by Gio Ponti, Alvar Alto, and Marco Zanuso hold their own near the fireplace. In the newly enclosed kitchen, tribal masks from Mozambique and Mali stand on a counter, inches from the olive oil. High on a wall in the hallway, rough granite blocks wrapped in steel cables are hung, daringly, over an 18th-century sideboard of intricate inlaid wood from Mattioli’s childhood home. The artwork, by Giovanni Anselmo, weighs a ton, literally, and Verona was responsible for ensuring that it would stay put. Throughout the apartment she added plywood on one or both sides of the wall studs to ensure art could be hung securely. For the wall hosting a 1-ton piece, she had the studs reinforced with metal as well as additional wood. Then, to be safe, the art was also bolted right through the wall. PROJECT TEAM ANA MARIA REYES; HAKAN WESTERGREN: VERONA CARPENTER ARCHITECTS. JIM CONTI LIGHTING DESIGN: LIGHTING CONSULTANT. NORTHEAST CONTRACTING GROUP: TERRACE CONTRACTOR. OLD STRUCTURES ENGINEERING: TERRACE STRUCTURAL ENGINEER. CHARLES G. MICHEL ENGINEERING: MEP. THINK CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT DWR: SECTIONAL (LIVING AREA), CHAIRS (DINING AREA, KITCHEN), SOFA (STUDY), TABLE (TERRACE). MDF ITALIA: TABLE (DINING AREA). CASSINA: CHAIR (LIVING AREA). VALCUCINE ITALIA: CABINETS, COUNTERTOPS (KITCHEN). WOLF: COOKTOP. FRANKE: SINK. FRITZ HANSEN: TABLE. PORCELANOSA: CUSTOM VANITY (POWDER ROOM). HANSGROHE: SINK FITTINGS. KRAVET: WALLPAPER (POWDER ROOM, GUEST BEDROOM). VALSAN: TOWEL BAR (BATHROOM). FLAVOR PAPER: WALLPAPER (BATHROOM, STUDY). THROUGH 1STDIBS: BOOKCASES, SOFA (ALCOVE). WYETH: NESTING TABLES (STUDY), BENCH (PRIMARY BEDROOM). VITSOE: SHELVES (STUDY). ARTEMIDE: LAMP (PRIMARY BEDROOM). BREAKWATER BAY: SCONCES (TERRACE). NUIMAGE: AWNING. THROUGHOUT LUALDI: DOORS. HALO: TRACK FIXTURES. ELEMENT LIGHTING: RECESSED FIXTURES. BENJAMIN MOORE & CO.: PAINT.

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Left: Off the loft’s main hallway, Franco Albini bookcases define an alcove. Top: In the study, wallpaper depicting a reinterpretation of Leonardo da Vinci’s The Last Supper coor dinates with shelving by Dieter Rams. Bottom, from left: A walnut bed, 1950’s Hans Wegner bench, and Tolomeo lamp furnish the primary bedroom. The new terrace’s retractable awning stretches over an aluminum table by Matthew Hilton.

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a work of art

For 53, a new restaurant adjoining the MoMA in Midtown, ICrave’s palette tastefully blends Asian, custom, and contemporary sensibilities

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text: dan howarth photography: eric laignel

A successful restaurant in New York must be “yummy,” according to Lionel Ohayon. The designer isn’t simply referring to the food, however. Rather, it’s the entire experience that comes from carefully combining lighting, acoustics, materiality, layout, visual impact, and a sense of discovery, together compelling diners to return time and again. “What are yummy rooms?” he asks rhetorically. “They’re the enduring restaurants that have lasted forever, and people just know that they want to spend time in them. It’s so much to do with the entire package.” That’s exactly what ICrave, where Ohayon is founder and CEO, intended for 53, an already buzzy Midtown restaurant developed by Altamarea Group and helmed by Singaporean chef Akmal Anuar. Its prime location is nestled at the base of Ateliers Jean Nouvel’s 53 West 53, a much-publicized residential tower that rises 82 stories into the Manhattan skyline as a series of carbon-gray shards, and accommodates part of the recent expansion of the adjoining Museum of Modern Art. The restaurant’s 11,000 square feet are divided across two spaces: the street-level bistro and the subterranean main dining room. Jean Nouvel’s angular beams enable wide column-free expanses, while allowing for the creation of a sequence of intimate dining areas “framed to feel like part of the building,” Ohayon notes. However, given the proximity to a worldfamous contemporary art museum, the ICrave team decided to approach the project not as interior design, but as sculpture or a painting. ICrave, in the words of Ohayon, is a studio of “big moves,” and, at 53, this manifests in some three dozen giant curving fins that span the full width of the restaurant. Emerging from the street-level ceiling, they cascade down in front of the bistro, swoop underneath it, and finally wrap around the ceiling plane of the main dining

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Previous spread: Looking in from the sidewalk at 53, a two-level Asian-fusion restaurant in Mid town by ICrave, dozens of fins edged in aluminum, the powder-coat colors lifted from the NineDragon Wall reliefs found in Chinese imperial palaces, cascade from street level to the subterranean dining room. Opposite top: The project is nestled at the base of Ateliers Jean Nouvel’s 53 West 53 residential tower, beneath the Museum of Modern Art’s new David Geffen Wing. Opposite bottom: At street level is the more casual bistro and bar, framed by a tunnel that results from the fins, with walnut flooring and custom furnishings. Top: An arched walnut portal leads guests from the stairway down to the main dining room. Bottom: A custom rippled-glass installation backs the bistro’s bar.

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room. Each fin is edged in a bright stripe, the nine nearly neon colors lifted from the Nine-Dragon Wall reliefs found in Chinese imperial palaces. The hues also nod to the varied Asian cultures and cuisines represented in the menu and the modern art on display in the museum galleries nearby. (The restaurant will also feature a rotating selection of fine art in partnership with the Friedrich Petzel Gallery.) Glossy black on one side and sepia-toned on the other, the fin installation has a lenticular quality when moving through the restaurant or walking by on the sidewalk. Ohayon describes it as both a loom and a veil, its colored threads drawing glances from passersby through the glazing and down to an aerial diorama of tables, banquettes, and chairs on ink-wash carpet, the latter three in subtle smokey grays that echo Nouvel’s steel construction. “With hospitality projects in New York, you’re creating a piece of the landscape of the city for the people who live in it and memories for those who visit,” the designer says. The idea for the sculptural architectural gesture stemmed from the Chinese artistic principle of xieyi, which refers to works created with broad, expressive strokes, and it represents the chi, or energy, that flows through 53. In contrast, the principle of gongbi, that’s all about realism and fine detail, guided choices for the decor that ties the environment together. A keen eye will notice the colors from the fin edges replicated in the precious stones used as chopstick rests, for example. Lighting, completed in collaboration with Licht, ICrave’s in-house studio, was fundamental in achieving the “yummy” atmosphere Ohayon desired. Along with coves around the perimeters of the main dining room, slender cylindrical pendant fixtures scale with the changing ceiling height, circular sconces softly illuminate the ecru suedelike walls, and an ethereal tangle of small LEDs forms a twinkling cloud above the bar. All emit 2,600 Kelvins and, assisted by rechargeable table lights sourced from Japan, cast a warm “cinematic” glow onto diners’ faces. Materials with natural and unprocessed finishes were chosen for their honesty, like stone bar counters, white oak paneling, leather banquette upholstery, and wool rugs. Deliberately conflicting warm and cool tones further adds to the duality of hard and soft, grand and humble emphasized throughout. After more than 20 years since founding his firm, Ohayon realized the magnitude of this project and decided to lead the design himself, a process he describes as creatively cathartic and rewarding in putting his stamp on the city today. “It was an opportunity for me to explore what I thought New York

The blades, which are Masonite and plywood painted glossy black on one side and a sepia tone on the other, for a lenticular effect, animate the main dining room, its end wall paneled in acoustic oak.

Top: Lighting, including gold-plated pendant fixtures that scale with the ceiling height as it rises from 10 to 27 feet, was completed in collaboration with Licht, ICrave’s in-house team. Bottom: Studio Toer chandeliers hang before a fabric mural by Rareculture. Opposite top: Rounded forms dominate a dining room seating nook, where table, banquette, and sconce are all custom and a tactile microfiber covers the wall. Opposite bottom: Above the room’s leather-upholstered seating, the ceiling recess hosts a mural by Candice Kaye Design.

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was, and what I thought it needed right now,” he says. “In general, there has been a Brooklyn-ification of Manhattan. Everything looks like fabricated history. It’s beautiful, but it’s just not what we were looking for here, which needed to be an expression of its location next to the MoMA, and to add an exuberance with mature restraint attached to it.” This maturity, which comes from ICrave’s beginnings and long-standing experience in hospitality design, then its later expansion across more sectors, including healthcare, has enabled the studio to complete a restaurant interior that celebrates its cuisine without pastiche, understands and capitalizes on the importance of its context, and is ultimately just as yummy as the mango pudding on the menu. PROJECT TEAM MICHELLE SCHRANK; RENEE JOOSTEN; GREG MERKEL; JANE YI; AMIT DISHON HOFFMAN; BINGJIE DUAN; RUDI PHAM; GISBEL VIDELA: ICRAVE. ANTHONY MRKIC ARCHITECT: ARCHITECT OF RECORD. PENTAGRAM: GRAPHICS CONSULTANT. ROSINI ENGINEERING: MEP. FERRANTE MANUFACTURING COMPANY: WOODWORK. MUNNWORKS: CUSTOM FURNITURE WORKSHOP. CERTIFIED CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT CERTIFIED SIGNS: CUSTOM SIGNAGE (EXTERIOR). DEMAR LEATHER: RED SEATING UPHOLSTERY (BISTRO). MOOOI: CHANDE LIERS (DINING ROOM). CLIPSO: STRETCHED BAR FABRIC. ARCA: BAR STONE. POTOCCO: STOOLS, CHAIRS. THINKGLASS: CUSTOM INSTAL LATION (BAR). EL TORRENT: CUSTOM SCONCES (DINING ROOM). HEMERA: PENDANT FIXTURES. ULTRASUEDE: WALL COVERING. ELEMENTS OF ARCHITECTURE: MIRROR. THROUGHOUT DESIGN COMMUNICATIONS: CUSTOM FINS. SOUNDPLY: PANELING. AMBIENTEC: TABLE LAMPS. FORT STREET STUDIO: CUSTOM RUGS. TIGER LEATHER: SEATING UPHOLSTERY.

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strong portfolio LSM brings its expertise in modernizing 1960’s office-tower interiors to a financial firm’s multilevel workplace in Midtown text: rebecca dalzell photography: eric laignel OCT.22

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Mid-century office towers are fixtures of the New York skyline. From the MetLife Building to Black Rock, they make up much of the commercial real estate in Midtown but are woefully out of date and ripe for demolition. (Even Skidmore, Owings & Merrill’s 270 Park Avenue has met the wrecking ball.) Low ceilings and large floor plates make for dark interiors, while frequent columns and clunky mechanical systems constrict layouts. Yet for Donnie Morphy, senior director at LSM, these 60-year-old buildings have their charm. “They have great expressions of steel and strong organizational templates,” he says. “There are a lot of things you can’t get rid of, but there’s also a lot you can react to and embrace.” He knows this first-hand. Recently, LSM did just that at the ’60’s office space of a financial firm, creatively updating the interiors so they rival those in any skyscraper of today. The client engaged LSM to conceive a workplace and a conference center across several levels of an International Style building. The goal was to promote interaction among staffers and give them a light, bright environment— both of which would be difficult given the 50,000- to 100,000-square-foot floor plates. LSM was familiar with the challenges of mid-century structures, having transformed offices in the Seagram Building and Lever House. Led by Interior Design Hall of Fame member Debra Lehman Smith and James McLeish, the firm has shown that with a clever use of material and volume, older buildings can become an asset for clients. “Simplicity is deceptive. Our design for this project embraces the complexity of simplicity,” Lehman Smith says. LSM conceived a plan that encourages employees to move around, connect, and collaborate. The client envisioned various hubs spread across the office, forcing people to take different routes throughout the day and meet colleagues from other teams. At one such intersection, for instance,

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Previous spread: In reception of a financial firm’s Midtown office by LSM, a 14-foot-long sofa and a marble-topped table, both custom, join a pair of leather-covered Charlotte Perriand LC7 chairs, surrounded by walls and flooring of Italian marble. Opposite top: The custom reception desk faced in Lasa Fiore marble stands across from Florence Knoll benches and an Eero Saarinen side table. Opposite bottom: The curved theme is carried out in the glass balustrades and guardrails of the conference center’s stair. Top, from left: Paul Smith bowls stand on a custom credenza along the perimeter of the conference center. Pleated Lasa Fiore covers walls in the elevator lobby and throughout the conference center, while flooring is Lasa Nuvolato. Bottom: A three-story volume was carved out of the middle of the conference center.

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Top: From reception, the sightline stretches 100 feet across the floor to a perimeter window. Center: Flooring in a break-out area, with a custom leather-upholstered sofa, is Lasa Classico marble. Bottom: Eames Aluminum Group chairs around a custom table and Cradle-to-Cradle Silver–certified carpet furnish a conference room. Opposite: Leather-covered paneling envelops a meeting room, where a Vico Magistretti Atollo lamp tops a custom credenza, its mirror cladding reflecting Mies van der Rohe’s Brno chairs.

a terrace—furnished with Richard Schultz’s 1966 table and chairs—meets a pantry with seating by Space Copenhagen and Foster + Partners. The client also sought circulation at the perimeter, rather than private offices, so employees could have access to natural light and take in views of the city as they walked to get coffee. Though lined with banded windows, the perimeter could feel cramped, with 8-foot ceilings, baseboard heaters, and steel columns every 20 feet. So LSM covered the columns in mirror, a technique the firm has used in new-builds like 55 Hudson Yards. “The idea was that you could demateri alize the perimeter and make it feel like a new curtain wall,” Morphy notes. Adds partner Terese Wilson, “It reflected the exterior and the light and made everything feel brighter.” The team also carved out the drywall between the ceiling beams, going to the underside of the slab to gain over 2 feet of height. They brought the same technique to the conference center, heightening the ceiling wherever possible to create more breathing room and add alcoves illuminated by LEDs. All of LSM’s interventions came back to the same directive from the client: light, bright, and voluminous. “The biggest effort was trying to get natural light all the way to the core and expressing volume within the rigid framework,” Morphy continues. In the conference center, the heart of the space, “We carved out a three-story cube to create a dynamic and forward-thinking first impression appropriate for this client,” Lehman Smith says. The void visually connects the upper and lower floors and helps visitors get oriented. From reception, which is located in the middle of the floor, they can see 100 feet across to a perimeter window. Glass walls, balustrades, and smoke baffles ensure maximum transparency. Marble, a creamy, subtly veined variety from Italy, extends to flooring and walls, further brightening the conference center. At first, the stone appears stark, but upon closer inspection, a pleated pattern on the walls becomes apparent. “Not only did we carve the space architecturally but we 112

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“LSM employs curves throughout to soften the building’s structure and 90-degree angles”

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Top, from left: Outdoor furniture by Richard Schultz and custom ipe benches appoint the landscaped terrace. In the perimeter circulation corridor, the ceiling was recessed, adding over 2 feet of height, and the columns clad in mirror. Bottom: LEDs illuminate the coves along the office’s marble staircase. Opposite top: Jaime Hayon Aleta stools line the custom bar-height counter in a pantry, which doubles as flex work space. Opposite bottom: Intersections, like a corner pantry with the skylit stair, enable employee interaction.

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also carved and sculpted the stone wall to give it scale and texture,” Morphy explains. “The level of detail increases as you get closer.” Instead of an office filled with contemporary art, the walls themselves become sculpture, as does the curved reception desk faced in the same pleated marble. LSM employs such curves throughout to soften the building’s structure and 90-degree angles. Meeting rooms and stairwells are rounded, as are furnishings, like reception’s Charlotte Perriand LC7 chairs, marble-topped coffee table, and long ecru sofa. The conference center’s feature stair widens at the top and bottom to form “an elegant curvature that pulls you up,” Morphy says. It’s one of the many subtle touches that gradually reveal themselves to the visitor. “As you walk through, you see layers of detail that create the whole,” Wilson says. As Manhattan reckons with a glut of empty offices and companies increasingly favor new construction, LSM proves there may be life in these old buildings yet. PROJECT TEAM JAMES MC LEISH; MARIO DEGISI; MARK ANDRE; NATHAN STRIETER; NILAY AKBAS; SOFIA ZAVALA; ZIBO ZHOU: LSM. FISHER MARANTZ STONE: LIGHTING CONSULTANT. OJB LANDSCAPE ARCHITECTURE: LANDSCAPE ARCHITECT. THORNTON TOMASETTI: STRUCTURAL ENGINEER. JB&B: MEP. ISLAND ARCHITECTURAL WOODWORK: MILLWORK. M C GRORY GLASS: GLASSWORK. COMMODORE CONSTRUCTION: METALWORK. UNIFOR: CUSTOM FURNITURE WORKSHOP. STRUCTURETONE: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT CASSINA: CHAIRS (RECEPTION). SVEND NIELSEN: CUSTOM DESK. KNOLL: BENCHES (RECEPTION), SIDE TABLES (RECEPTION, CONFERENCE CENTER), CHAIRS (MEETING ROOM), FURNITURE (TERRACE). WALTERS: CUSTOM STAIR (CONFERENCE CENTER). STELTON: BOWLS (CONFERENCE CENTER). HERMAN MILLER: CHAIRS (CONFERENCE ROOM). TARKETT: CARPET (CONFERENCE ROOM, MEETING ROOM). OLUCE: LAMP (MEETING ROOM). WAUSAU TILES: PAVERS (TERRACE). MILLIKEN: CARPET (HALL). TILE BAR: FLOOR TILE (PANTRY). VICCARBE: STOOLS. ULTRALEATHER: STOOL UPHOLSTERY. THROUGHOUT CAMPOLONGHI: MARBLE SUPPLIER. SPINNEYBECK: LEATHER UPHOLSTERY, PANELING.

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easy living Five amenities-rich residential developments showcase New York apartment-building design at its coolest text: peter webster

See page 126 for the West Residence Club in Hell’s Kitchen, the first Manhattan condominium project by the Dutch firm Concrete. Photography: Ewout Huibers/courtesy of Concrete.

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“A sense of sanctuary is implicit in our interiors— Manhattan is a beautiful place, but you need to be able to shut out the noise when you come home”

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Tsao & McKown Architects project 7W57, Midtown. standout Unlike its supertall Billionaire’s Row neighbors, Hill West Architects’s condominium is a mere 20 stories high, but the serene calm of Calvin Tsao’s flowing interior spaces removes the 15 residences so completely from the city’s bustle they might as well be on the 90th floor. Oak-paneled vestibules, white-oak floors, bronze-finished kitchen cabinets, statuary marble– clad bathrooms, programmable smart-home features, and the skillful interplay of natural and artificial light all help create havens of elegant and cocooning sophistication. photography Sean Hemmerle.

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Slade Architecture project The Cove, Long Island City. standout For SLCE Architects’s new 18-story, 123-unit rental building, Hayes and James Slade’s public and amenities spaces brim with character and mindful detail. Bent stainless-steel pipes define the entry; a membrane ceiling and curved walls fronted with walnut rods give the lobby a soft, sculpted vibe; the library offers a calm zone for study or cowork; metal tubes form dynamic ceiling planes in the fitness center and game room; and more rods and other wooden elements, including benches, bring warmth to the rooftop terrace. photography Tom Sibley.

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“The priority was to choreograph a variety of interior environments that are simultaneously well-appointed and luxurious, independent and socially distanced”

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“The lounge is conceived to function as a ‘great room’ for city living, complete with seating areas and a landscaped terrace”

CetraRuddy Architecture project 212 West 72nd Street, Upper West Side. standout John Cetra and Nancy Ruddy have transformed Handel Architects’s 2010 modernist rental building—its rounded corner facade a neighborhood icon—into a state-of-the-art luxury condominium with 126 private residences. Arched forms distinguish interior public spaces, from the double-height, walnut-paneled lobby to the sumptuous resident lounge, adjacent children’s playroom with reading nooks, and fully equipped fitness center, while the landscaped roof deck offers peerless uptown vistas. photography Jason Schmitz. OCT.22

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JG Neukomm Architecture project The Landon, Midtown West. standout Architect Jean-Gabriel Neukomm drew inspiration from his own photographs of deserts in California and New Mexico when renovating the lobby and amenities areas in this 329-unit building from 1998. “I liked the images’ soft, dusky palettes, and how those could straddle color, tone, and texture,” he explains. Ergo, the inviting spaces include an expansive, double-height lounge—formerly a basketball court—with an abstract sun-motif mural and an oak-and-plaster stair leading to a newly added rooftop terrace with sweeping views. photography Scott Frances/Otto.

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“The column-free lounge was kept open but partitioned via a central overscale planter with four new trees”

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“A major focal point is the craftsmanship— bespoke interior and exterior elements create an elevated atmosphere in which every detail matters”

Concrete project The West Residence Club, Hell’s Kitchen. standout The multidisciplinary Dutch firm’s first New York residential project—a 12-story building housing 219 loftlike apartments—incorporates more than 30,000 square feet of curated amenities spaces across several levels. These include a freestanding glass-enclosed library with a fireplace, living room, and coworking table next to the lobby; a double-height fitness center with an outdoor terrace on the eighth floor; and a rooftop swimming pool and lounge area overlooking the Hudson River and city skyline. Photography Clockwise from top left: Adrian Gaut; Ewout Huibers/courtesy of Concrete (2); Adrian Gaut; Ewout Huibers/courtesy of Concrete.

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text: michael lassell photography: stephen kent johnson

network news

For the Chelsea headquarters of Guidepoint, which links global companies with subjectmatter experts, Neal Beckstedt Studio creates an office that privileges interaction

Ever since Neal Beckstedt opened his eponymous studio in 2010, he’s had the good fortune of working with creative clients like fashion designer Derek Lam and eyewear maven Robert Marc. Another is innovative entrepreneur Albert Sebag, who approached Beckstedt for help with “his office” one day in 2019. “I thought he meant his personal office,” Beckstedt says with a laugh. What Sebag actually had in mind was new headquarters for Guidepoint, the information-age business he founded in 2003. Guidepoint is a matchmaker of sorts, connecting clients, specifically global companies, in need of specialized information with the experts that can provide it. Currently, some 3,500 clients in a broad spectrum of industries—from healthcare to TMT—have at their disposal a network of 1,250,000 authorities for virtual or in-person consultations of practically any size. Almost half of the company’s 1,100 international employees would be based in the facility. What Guidepoint needed from Beckstedt, then, was an open and transparent arrangement of work spaces for clients, advisors, and full-time staff. Efficiency and versatility were stated goals. After a six-month search, Sebag and Beckstedt found the ideal site in Chelsea: the entire 38,000-squarefoot second floor of 675 Avenue of the Americas, a landmarked beaux-arts stunner built in 1900 as the Adams Dry Goods department store. “It was a bit of a mess inside,” the designer acknowledges, “but it had beautiful columns, high ceilings, and tons of light—all on one level.” That the building incorporated a central atrium also helped with the layout. “Most offices of this scale are worms’ nests of dark corridors; the atrium allowed for a completely open plan flooded with natural light.” After demolishing the many interior walls and partitions, Beckstedt went about creating a unique config uration of work zones in a controlled materials palette that invokes Gotham’s loft-conversion aesthetic. “I wanted the design to be straightforward,” he explains. “It’s about elevating mundane building materials— Previous spread: Housed in a former department store, Guidepoint’s Chelsea headquarters by Neal Beckstedt Studio features a multifunctional lobby dominated by the building’s original beaux-arts windows, which, along with the exposed brick, date to the early 20th century. Below: Custom sofas and tables join stools and chairs by Alvar Aalto. Opposite top: A felt-clad reception desk stands between an office and a conference room in the CEO suite. Opposite bottom: The color of this meeting room, outfitted with custom modular furniture, is derived from Guidepoint’s logo.

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plywood, metal mesh, stainless steel— so the environment is clean and mod ern with a streamlined element, but still warm and interesting in a way that isn’t boring or overpowering.” Beckstedt’s sense of delight helped raise visual engagement. He left much of the original brick exposed and en livened the palette of blacks, whites, grays, and beiges with shots of a hot yellow taken from Guidepoint’s logo. The designer even opted to keep a pink wall, daubed with a bit of whim sical graffiti, which had been revealed when plasterboard was stripped away during demolition. The department store’s original wood flooring still existed, but much of it was not salvageable after more than a century of renovations. The designer repaired the best-preserved parts and installed matching oak else where. The new boards were left un covered during construction, vulnerable to dings and dents, to speed up devel opment of the “patina” Beckstedt admires in the old wood. He used LEDs throughout in a variety of appli cations, suspending tubes from the ceiling to create greater intimacy in some spaces, or surface-mounting them in other areas to mark circulation pathways. He added light-reflecting sheen via bronze-tinted polycarbon ate partitions and soffits made of aluminum mesh. He also played with exposed edges, like those of the partially removed brick walls in the café, which is also used for large meetings. “To me those elements are cool,” Beckstedt says. “I mean, why design them away when they look so good?” The designer carried the raw-edge aesthetic into the furniture, opting to leave the Top, from left: The training room’s rift-cut white oak bleachers. Polycarbonate panels enclosing meeting booths. Center, from left: Noise-absorbing foam paneling in one of four podcast studios. Aluminum metal mesh, stainless steel, and terrazzo in a restroom. Bottom, from left: An office’s exposed brick wall with original graffiti found during construction. LED ceiling panels, a custom table, and Charles and Ray Eames chairs in the large conference room. Opposite: Ready for use on the training room bleachers, custom seat cushions hang on wall pegs like an art installation.

“The overall strategy was about being functional, about letting the function become the design”

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Top: Custom tables in another meeting room are stained plywood with dark-glass tops that double as dry-erase boards. Bottom: Surface-mounted LED tubes on a metal-mesh soffit demarcate a perimeter circulation corridor in the office area. Opposite: White oak flooring continues into the café, which features rough-edge brick walls, custom banquettes and tables, and more Aalto chairs and stools.

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unfinished ends of plywood tabletops visible beneath laminate tops and designing a long communal table from reclaimed oak planks. Most of Beckstedt’s custom pieces are modular, and much of the purchased FF&E is versatile, such as the adjustable-height workstations. He limited the selection of furniture, focusing on familiar mid-century pieces by the likes of Alvar Aalto, Charles and Ray Eames, and Mies van der Rohe. “It keeps things calm and consistent,” he notes. “So many offices try so hard to be interesting that they wind up with visual chaos.” Beckstedt spent a great deal of his time developing the program, accommodating as many people as Guidepoint needed into the square footage. “The overall strategy was about being functional, about letting the function become the design,” he explains. “Ornamentation wasn’t going drive it, and that informed every decision, from the layout to not replacing missing sections of the crown molding. This project is about work and the history of the building and the city.” Even the lobby, which stretches along a wall of commanding arched windows, is an interactive work space. “It’s not just a place for people to wait,” Beckstedt says. “It’s where team members can meet, use laptops, have a quick chat, or just take a break.” In theory and praxis, the genius loci at Guidepoint is connection.

PROJECT TEAM FACILITY SOLUTIONS GROUP: LIGHTING CONSULTANT. LILKER: MEP. HOLLINGER FINE CABINETRY: WOODWORK. MC NICHOLS: METALWORK. MASTER’S UPHOLSTERY: CUSTOM FURNITURE WORKSHOP. B&B CONTRACTING GROUP: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT SAVEL: SOFA FABRIC (LOBBY). CHEMETAL: COFFEE TABLE LAMINATE. VITRA: STOOLS, SIDE CHAIRS (LOBBY, CAFÉ). FITZFELT: REC EPTION DESK FELT (CEO SUITE). THROUGH MERIT: VINTAGE DESK. PATTERSON FLYNN: RUGS. EMPIRE OFFICE: CONFERENCE CHAIRS. KNOLL TEXTILES: ARMCHAIR FABRIC (CEO SUITE), CUSHION FABRIC (TRAINING ROOM). DWR: ARMCHAIRS (CEO SUITE), CHAIRS (PODCAST STUDIO, LARGE CONFERENCE ROOM). POLYGAL: ENCLOSURE SYSTEM (BOOTHS). PINTA ACOUSTIC: PANELING (PODCAST STUDIO). KOHLER: SINK FITTINGS (RESTROOM). KNOLL: WORKSTATIONS, TASK CHAIRS (OFFICE, OFFICE AREA). BERNHARDT; CAMIRA FABRICS; DESIGNTEX; FEBRIK; HBF TEXTILES; LUUM TEXTILES; MAHARAM; POLLACK: CUSHION FABRIC (TRAINING ROOM). THROUGHOUT ANN SACKS: FLOOR TILE. STARK: CARPET. LAMINART: TABLETOP LAMINATE. BARTCO; CORONET; DELRAY LIGHTING; LITELINE: LIGHTING. BENJAMIN MOORE & CO.: PAINT.

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open for business

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text: helene oberman and annie block

From libraries and shops to offices and restaurants, our annual NYCxDesign Awards—and the hundreds of entries from every borough—prove that the Big Apple is back and beautiful

INSTITUTIONAL

WORKac project Adams Street Library, DUMBO, Brooklyn photography Bruce Damonte

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SMALL APARTMENT

Desai Chia Architecture site Greenwich Village photography Paul Warchol

SMALL OFFICE

Float Studio project Kaplan, Hecker, and Fink, NoMad photography Aaron Thompson

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ENVIRONMENTAL IMPACT

Reddymade project Google store, Chelsea photography Paul Warchol

SOCIAL IMPACT

Marvel Architects project Northeast Bronx YMCA, Edenwald photography Joshua Simpson

OCT.22

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MULTIUNIT RESIDENTIAL BUILDING

Gabellini Sheppard Associates and Álvaro Siza Vieira project 611 West 56th Street, Midtown West photography The Boundary

ON THE BOARDS

Schiller Projects project Rooftop pavilion, Chelsea image Blindspot

RETAIl

Jansonscuro project Roller Rabbit, Carnegie Hill photography Annie Schlechter

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KIDS’ ZONE

Barker Associates Architecture Office project City Kids Educational Center, Williamsburg, Brooklyn photography Francis Dzikowski/Otto

LARGE OFFICE

Gensler project Deutsche Bank Americas, Columbus Circle photography Rafael Gamo

CIVIC

Skidmore, Owings & Merrill project Permanent Mission of the United Arab Emirates to the United Nations, Midtown East photography Dave Burk/courtesy of SOM

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ENVIRONMENTAL GRAPHICS + BRANDING

Architecture + Information project 175 Pearl Street, DUMBO, Brooklyn photography Magda Biernat

EXPERIENCE CENTER

Architecture + Information project Penn District Experience Center photography Magda Biernat

OCT.22

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SMALL COMMERCIAL LOBBY/ AMENITY SPACE

Snarkitecture project 530 Broadway, SoHo photography Lipman Studio 144

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HOTEL

Roman and Williams project Ace Hotel, Boreum Hill, Brooklyn photography Stephen Kent Johnson

SHOWROOM

HLW and Suh Architects project Genesis House, Meatpacking District photography Frank Oudeman

RESIDENTIAL LOBBY/AMENITY SPACE

BKSK Architects project One Great Jones Alley, NoHo photography Christopher Payne

OCT.22

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FINE DINING

Rockwell Group project Casa Dani, Manhattan West photography Nikolas Koenig

OUTDOOR SPACE

Heatherwick Studio and MNLA project Little Island, Meatpacking District photography Timothy Schenck

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BUILDING FACADE

SHoP Architects project 111 West 57th Street, Midtown photography David Sundberg/Esto

LARGE CORPORATE OFFICE

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

OCT.22

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LARGE COMMERCIAL LOBBY/AMENITY SPACE

MdeAS Architects project 200 Park Avenue, Midtown East photography David de Armas

LARGE RESIDENTIAL TRANSFORMATION

Re-a.d Architecture Design and Megan Grehl site West Village photography Zack Dezon

SMALL RESIDENTIAL TRANSFORMATION

KITCHEN + BATH

Assorted A/D

Worrell Yeung and Colony

site Fort Greene, Brooklyn photography David Yuan

project Loft, Union Square photography Brooke Holm

SHINING MOMENT

Architecture Research Office project Dia, Chelsea photography Bill Jacobson/ courtesy of Dia Art Foundation

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STAIRCASE

INC Architecture & Design project 1740 Broadway, Midtown West photography Joshua McHugh

HEALTH + WELLNESS

Büro Koray Duman project S10 Training, West Village photography Adam Goldberg OCT.22

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FOOD HALL

INC Architecture & Design project Jacx&Co, Long Island City, Queens photography Eric Laignel

CASUAL DINING

Meyer Davis project Nearly Ninth, Arlo Hotel, Garment District photography Chase Daniel

HOTEL TRANSFORMATION

Yabu Pushelberg project Park Lane New York, Midtown photography Alice Gao

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MEDIUM-SIZE OFFICE

IA Interior Architects project Uber, Financial District photography Garrett Rowland

New York by Neighborhood by Andrew Garn New York: Universe Press, $30 234 pages, 438 color illustrations

Fifth Avenue: From Washington Square to Marcus Garvey Park by William J. Hennessey New York: Monacelli, $35 224 pages, 396 illustrations (390 color)

When planning a building in any part of a great city, most designers seek authoritative information on the site’s history and character. An unusual and lavishly illustrated book (its author is a professional photographer) that takes us to 70 locations in all five New York boroughs—five in Staten Island, seven each in the Bronx and Queens, 19 in Brooklyn, and 32 in Manhattan—is a terrific start. We learn, for example, that Brooklyn's Greenpoint was ori ginally settled by Poles, Russians, and Italians; is known for making glass, pot tery, prints, and cast iron; and has quieter streets than its adjacent neigh borhoods, and no direct subway stop. The Sailors Snug Harbor section of Staten Island, on the other hand, “offers a window into New York’s 19th-century maritime history,” with properties that once catered to aged and retired sailors but now accommodate not-for-profit art studios, two museums, and a botanical garden. While Fordham Heights in the Bronx, we are told, is a “bustling, working class shopping district” with tattoo parlors, sidewalk racks of $5 and $10 dresses, and “a smattering of layaway furniture shops,” but also the home of “the glorious terra-cotta fronted Lowe’s Paradise Theater,” now the World Changers Church International. A little gem of a read, it taught me more about New York in 35 minutes than I had learned in 35 years of living there.

This title is an homage to Fifth Avenue as the most important street in New York (with Broadway, we assume, as runner-up). The author, a pedestrian of the highest order, is architectural historian William J. Hennessey, whose previous books include Walking Broadway: Thirteen Miles of Architecture and History, also published by Monacelli. For this book, his text is in the form of six richly detailed walking tours that together take us all the way from Greenwich Village in the south to Harlem in the north. Along the way we pause to admire the Empire State Building, the New York Public Library, Rockefeller Center, St. Patrick’s Cathedral; stores such as Saks Fifth Avenue, Tiffany & Co., Cartier, Bulgari, and Bergdorf-Goodman; hotels including the St. Regis, the Peninsula, the Sherry-Netherland, and the Plaza; the iconic University, Metropolitan, Harmonie, and Knickerbocker clubs; and museums galore, from the Met, Jewish, and City of New York to the Frick and the Guggenheim. Architects whose work we admire are featured throughout, starting with Richard Morris Hunt, Stanford White, and James Renwick, moving on to Frank Lloyd Wright, and then all the way up to Rem Koolhaas.

b o o k s edited by Stanley Abercrombie

What They’re Reading...

Laurence Carr Founder of Laurence Carr

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“I travel back to Paris at least four times a year and always buy newly published books at Smith & Son on Rue de Rivoli. It’s an old habit from when I used to live in the City of Lights. One of the staff recommended this book—I love Greek mythology. Having been born and raised in France, in the world of the performing and visual arts, I have a deep respect for storytelling, history, art, and theater. This book puts a new light on an ancient story in a modern context. It explores what it means to be a hero through one’s actions and treatment of others, and the inherent flaws that come with being human. I think a lot about how the work I do as a designer affects others and the Earth. By embracing principles of circular design, we can truly create with wellness in mind—benefitting both human life and the planet—with respect for nature as our guiding light. To that end, we are currently launching season two of my EarthxTV original series, Chez Laurence, where I highlight companies and organizations in the built environment, architecture, furnishings, and design-related industries that have adopted and prioritized circular processes to reduce waste and improve their environmental impact.”

BOTTOM LEFT: KELLY MARSHALL PHOTOGRAPHY

The Song of Achilles by Madeline Miller New York: Ecco, $10 416 pages

of design Rising Giants of Design Healthcare Giants of Design Hospitality Giants of Design Sustainability Giants of Design International Giants of Design Boutique Giants of Design

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PICTURED: Workshop/APD [2022 GIANT OF DESIGN: 80] designed AutoCamp Cape Cod in Falmouth, Massachusetts.

Top 100 Giants of Design

c o n ta c t s DESIGNERS IN SPECIAL FEATURE

DESIGNERS IN CITY LIVING

CetraRuddy Architecture (“Easy Living,” page 116), cetraruddy.com.

AMMOR Architecture (“Metro Modern,” page 53), ammorllp.com.

Concrete (“Easy Living,” page 116), concreteamsterdam.nl.

Sara Story Design (“Metro Modern,” page 53), sarastorydesign.com.

JG Neukomm Architecture (“Easy Living,” page 116), jgnarch.com. Slade Architecture (“Easy Living,” page 116), sladearch.com. Tsao & McKown Architects (“Easy Living,” page 116), tsao-mckown.com.

Studio DB (“East Side Story,” page 45), studiodb.com. The New Design Project (“Metro Modern,” page 53), thenewdesignproject.com. Worrell Yeung (“Metro Modern,” page 53), worrellyeung.com.

PHOTOGRAPHER IN FEATURES

DESIGNERS IN CENTERFOLD

Stephen Kent Johnson (“Network News,” page 128), stephenkentjohnson.com.

Integrated Conservation Resources (“By the Book,” page 87), icr-icc.com.

Eric Laignel Photography (“Little Italy,” page 92; “A Work of Art,” page 100; “Strong Portfolio,” page 108), ericlaignel.com.

Todd Longstaffe-Gowan Landscape Design (“By the Book,” page 87), tlg-landscape.co.uk.

DESIGNER IN CREATIVE VOICES Chiaozza (“The Wonder Factory,” page 39), chiaozza.com.

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Only If Architecture (“Metro Modern,” page 53), only-if.com.

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Interior Design (USPS#520-210, ISSN 0020-5508) is published 16 times a year, monthly except semi monthly in April, May, August, and October by the SANDOW Design Group. SANDOW Design Group is a division of SANDOW, 3651 Fau Boulevard, Boca Raton, FL 33431. Periodicals postage paid at New York, NY, and additional mailing offices. Subscriptions: U.S., 1 Year: $69.95; Canada and Mexico, 1 year: $99.99; all other countries: $199.99 U.S. funds. Single copies (prepaid in U.S. funds): $8.95 shipped within U.S. ADDRESS ALL SUBSCRIPTION REQUESTS AND CORRESPONDENCE TO: Interior Design, P.O. Box 16479, North Hollywood, CA 91615-6479. TELEPHONE TOLL-FREE: 800-900-0804 (continental U.S. only), 818-487-2014 (all others), or email: subscriptions@interiordesign.net. POSTMASTER: Send address changes to INTERIOR DESIGN, P.O. Box 16479, North Hollywood, CA 91615-6479. Publications Mail Agreement No. 40624074.

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warp and weft When Atelier Cho Thompson began designing Interwoven, the winning submission for last winter’s annual Flatiron Plaza Holiday Design Competition, the studio had just endured 18 difficult pandemic months. So the idea of connection was crucial to co-principals Ming Thompson and Christina Cho Yoo’s concept, which is a celebration of the power of coming together in a public space—specifically one in the shadow of Daniel Burnham’s landmarked triangular Flatiron Building that lends the surrounding district its name. The installation's title has a double meaning. It not only describes the 450-square-foot form—an assemblage of crisscrossing powder-coated steel arcs and panels of colorful polypropylene netting and resin, which assumes distinctly different shapes depending on the viewing angle—but also refers to the fabric of city life. “We were inspired by America’s woven tapestry of cultures,” Thompson says. Visitors to the structure, which stood from November through January, were rewarded for coming together: When two or more people passed through it simultaneously, a synchrony of LEDs and original music played. “It’s a magical and unexpected effect,” Cho Yoo adds. There was more wizardry inside the little pavilion, which also won an NYCxDesign Award in the exhibition/installation category. A bench of post-industrial recycled cork offered visitors a moment of repose, while a wall of papers on a grid, backlit by more LEDs, allowed them to share written responses to the prompt “I dream of a world where together we can. . .” If your answer would've been to see Interwoven, as 2 million passersby did during its Manhattan run, there’s hope: Atelier Cho Thompson is relocating it to a New Haven, Connecticut, skate park in the spring. —Wilson Barlow MARTIN SECK

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Liberty Ocean

By 2050, there will be more plastic than ﬁsh in our oceans. Our growing collection of ocean chairs is reversing the damage already done. Let’s turn the tide, together. humanscale.com/OceanChairs Smart Ocean

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Interior Design October 2022

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A WORK OF ART

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STRONG PORTFOLIO

METRO MODERN

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