[New] The Ritz-Carlton NoMad

New York

A stellar line-up of designers join forces to create a new landmark in Manhattan, marking a new direction for Marriott’s classic luxury brand.

The 106th Ritz Carlton is part of the brand’s new direction. It’s an evolution, not a revolution. “The Ritz-Carlton New York NoMad is a terrific proof point of our future vision,” explains Donna McNamara, Vice President and Global Brand Leader for Ritz-Carlton of the efforts to meet the needs of a changing luxury consumer in a thoroughly modern way. It is a view shared by Dayssi Olarte de Kanavos, President of real estate developer Flag Luxury Group, which now has five Ritz-Carlton hotels in its portfolio. “Eight years ago, we set out to create the next generation of Ritz-Carlton in North America to attract a younger and more affluent customer,” she posts on LinkedIn of the new property in this neighbourhood north of Madison Square Gardens.

The structure itself, a slender tower of 38 storeys, is an all-new construction by Rafael Viñoly Architects. A gleaming façade looks southwest over several fortuitously low-rise Manhattan blocks. Viñoly has made the most of this. The tower sits on a podium and with the guestrooms only starting on the eighth floor, they offer striking views of the city.

Its position on a corner of Broadway, the boulevard that slices diagonally across the island’s rigorous midtown grid, also results in a uniquely shaped plot. The L-shaped podium creates a plaza, providing some welcome distance between the hotel’s reception, lounge and bar and the bustling pavement. The Broadway corner element meanwhile engages directly with both streets and is home to a vibrant restaurant, attracting a strong local following. The set back of the tower on the podium generates space for Madison Terrace, offering

Empire State Building views that can be utilised by the adjacent events spaces. The podium is also home to Bazaar, a fine-dining restaurant, and spa with polished shellac walls matching beautiful stone floors.

Above are 219 guestrooms and 31 suites, plus sixteen one- and two-bedroom penthouse residences. Then comes a rooftop bar with a small open terrace. Further up, high columns support mechanical rooms that mimic those on intermediate levels at the base of the tower. The upshot is an uncommon lightness of structure.

Guestrooms feature large picture windows framing a city of lights, stretching southwest between the Hudson and East Rivers. Some rooms have sunrise views of the Empire State Building and further away the Chrysler Building. Cleverly, this vista is available to all through a cheeky horizontal slot window in the lift lobbies. Add in the nearby Flatiron building and guests have the landmarks of mid-Manhattan tourist guides. But it is from the flower district a block away on 28th Street, choked with buckets of cut flowers and plants, that the hotel draws its design narrative. “It feels exactly right for the location,” quips McNamara, referencing other hotels in the portfolio in Mexico City, Amman and the Maldives as recent examples of the brand’s design evolution.

The lobby vestibule here in New York City is a jungle gangway of ferns and greenery to lift the spirits, with a small and discreet flower trolley beside the concierge stand set against more erudite botanical leitmotifs. Stepping past the petal-like Cirrus crystal screens designed by Yabu Pushelberg

Envisioned by Lázaro Rosa-Violán Studio, the lobby lounge features an organic-shaped chandelier by Canadian designer Randall Zieber, beyond which is a jungle-like bar and manufactured by Lasvit, large artworks by Ross Bleckner and Donald Baechler bring waterlily canvases into a lounge area. Above and representative of falling petals are light fittings by Canadian designer Randall Zieber.

Beyond this is the bar, another jungle of green hangs from the ceiling, where it is joined by a capacious organic-shaped chandelier also by Zieber. This whole lounge area was designed by Lázaro Rosa-Violán Studio and adjacent to the bar is the firm’s tour de force – a huge light fitting formed of lamella-like fins that floats lightly on the ceiling. The blooming analogy continues with a colourful mosaic pixelated floor pattern of oversized flowers.

Other public areas are given their own expression and see an A-list roster of designers involved. On the ground floor, Rockwell Group leads the way at Zaytinya, a restaurant accessible from the lobby or its own separate street entrance. Spanish Chef José Andrés is responsible for all aspects of the hotel’s F&B, and his mezze menu is a joy to behold, its small sharing plates like the pops of blues in the design. “We have put the influence of the Mediterranean menu into the interior design,” explains Angeline Yang, Associate and Senior Interior Designer at Rockwell Group, pointing to countless examples. Columnar effects are reminders of Greece, as symbolic as the uplit olive trees reigning over a central banquette seating arrangement upholstered in a collage of four different blue fabrics. Custom-made blue-black porcelain tiles by Imagine Tile are “inspired by a Gio Ponti design that mimics an olive within an olive leaf”, advances Yang. Clusters of fabric chandeliers are painted with archaeological, livestock and foliage imagery. These illustrations were developed internally by Rockwell Graphics and then handpainted by Alpha Workshop, a non-profit organisation just a few blocks away, dedicated to helping those with disabilities via art education and employment. The soft curves of these interior elements, white oak and macramé wall hangings, offset the angularity of the building.

At rooftop bar Nubelez, Martin Brudnizki Design Studio has maximised the views of the city using varying seating heights and low shelving behind the bar

The eye-catcher of Zaytinya, meaning olive oil in Turkish, is the bar. A spray of bluegreen glass discs arcs up and over the counter with its beautifully chiselled front. The twotone modules are hand-blown with a subtle bubble-effect by West Coast fabricators, Savoy, and reference the protective Evil Eye. They are reflected in the enamelled finish of the lava stone countertop by Pyrolave of France in a bespoke blue colour. At the joint between the shades of each disc is a lighting element that allows for a noticeable diurnal change.

Up top, Martin Brudnizki Design Studio has maximised the 270-degree view from the Nubeluz bar that runs the full length of the building. “The view is the king,” explains Associate Luke Garcia, motioning to the furniture arrangement orientated towards the full-length windows. Each window is topped with faux, ruched, relaxed Roman blinds. Selected seating heights ensure all guests get the view, while low and open shelving behind the bar means that those sat at the backlit onyx stone bar do not miss out. Aside from the gold effect, colour tones are limited to red and teal, except for in the step-up private booths. Here are plush, deep-red velvet upholstery and a woven, peacock feather wallcovering which, like the blinds, help with acoustics. All seatcoverings are dressed in red tones but in four different fabrics including leather and mohair. This detailed layering, as well as the use of rounded shapes – including the circular brass chandeliers by Bluebird Lighting from California – juxtapose the modernity of the architecture too. That and the endearing 1950s-style pink dresses worn by the waitresses, bring a happy vibe to this proper bar with its grown-up cocktails. Truly a star in the sky.

In between these two is Bazaar, yet to open at the time of review but set to be part of Andrés portfolio, which includes nearly 30 restaurants and four Michelin stars. Designed also by Lázaro Rosa-Violán Studio, Bazaar follows the firm’s sophisticated, layered and atmospheric style. Upholstery and drapes at the high windows are in warm colour tones with ornamentation, patterning and texture at the fore.

Guestrooms are suave spaces with the crisp modernity of a limited colour and materials palette of brown-grey tones seen in leather, wood, stone and lustrous metals. The focal point is that view again. The sophisticated interiors by Cristian Pinedo at Sussurus International, described as the project’s Chief Creative Officer by Olarte de Kanavos, are a worthy match.

Pinedo plays subtly with the flower association through “beauty but also contrast, asymmetrical yet balanced and harmonious compositions”. The bed set-up is a perfect example. “A daring asymmetrical composition with the artwork completely to one side, leaving the centre empty for the petals of the pendant lamp, ready to be blown away with the breeze,” describes Pinedo. Hanging from high ceilings are interlinked hoops of light, Pinedo’s petals. A canopy installation by Extra Ordinario includes two cleverly hidden adjustable pin lights to spotlight artworks. A mirror screen meanwhile stretches around a corner, its branchy geometry rooting it to the background, balancing the unfinished flower of Ross Bleckner’s artwork across the Maya Romanoff wood wallcovering.

The leather headboards were produced in Italy and are totally integrated, including recessed reading lamps. Adjacent are Pinedo’s rocky nightstands. Massif and made from dark Nero Marquina marble, they appear to float but in fact rest on recessed reflective black bases. Their mitred edges are a delight of precision, crafted by Indonesian manufacturer Saniharto. Matching this solidity and lightness are solid stone basins, at a pleasing above-average height, within four-piece bathrooms lined with lighter and darker marble terrazzo.

In a city of world-renowned landmark buildings, Viñoly’s architecture now stands out amongst them. The evolving, locally centred design concept realised at The Ritz-Carlton New York NoMad by a taskforce of visionary designers has the chance to do the same in a city of luxury hotels.

EXPRESS CHECK-OUT

Owner: Flag Luxury Group

Operator: Marriott International, The Ritz-Carlton Hotel Company

Architecture: Rafael Viñoly Architects

Interior Design: Lázaro Rosa-Violán, Rockwell Group, Martin Brudnizki

Design Studio, Susurrus International www.ritzcarlton.com

SCAN ME!

Working in close collaboration with the professional team, BECK are delighted to have been the main contractor on NoMad London. To find out more, please contact Vanessa Budd: