As restaurants try to drum up alternative revenue and traditional retail outlets continue to feel the squeeze from online shopping, Roman and Williams Buildings and Interiors has brought the best of both worlds at their new flagship store in SoHo. The 7,000-square-foot design store, café, and flower shop, neé Roman and Williams Guild, is a showcase of Roman and Williams’ work. Here, diners can lick the plate clean and then buy it. Roman and Williams is well known for their work at the Standard Highline and ACE Hotels as well as high-end residential projects. Expanding into a consumer-facing brick-and-mortar space in an expensive Manhattan neighborhood seemed like a natural progression. The 44-seat La Mercerie café within the Guild is built out with pieces from Roman and Williams' new Founding Collection, and everything is for sale. The café’s light interior palette of blonde wood and pastel blues, described by Roman and Williams as “watery-blue cast, pale-gray floors and an indigo enameled kitchen” matches the exterior of the landmarked building. But walk to the back of the restaurant and through the arched threshold, and those muted colors are replaced by deeper hues of blue and a more rustic tone in the back showroom. This is where interested customers can pick up pieces in a more traditional design setting, with a heavy emphasis on wood, leathers, and fabrics. The Guild also houses a flower shop helmed by local botanist Emily Thompson, and her arrangements can be found throughout the entirety of 53 Howard Street.
Posts tagged with "Interior Design":
Digital magazine Sight Unseen has paired 13 celebrities from film, fashion, and art with 13 interior and furniture designers to create one-of-a-kind objects for this year’s New York Design Week (NYCxDESIGN). Each of the items are available for sale, with the proceeds going to benefit a charity of the pair’s choosing. The collaboration is part of Sight Unseen’s fifth annual OFFSITE fair, which will be spread out across 13 separate venues across downtown Manhattan between May 17 and May 20. The collection, dubbed Field Studies, will anchor the fair’s central hub at 201 Mulberry Street. “The idea was to connect creatives across disciplinary boundaries so they could search for commonalities in their practices and discover what unexpected ideas might result,” said Sight Unseen in a statement. Contemporary design studio Bower and actor Seth Rogan have created a massive mirror inspired by “shared influences — midcentury furniture, street art, and the colors of 1980s pop culture.” The six-foot-tall mirror is actually composed of glass strips positioned on top of a gradient painting, lending the illusion of a three-dimensional globe. Artist and designer Christopher Stuart and artist Julia Dault have produced a circular, backlit sconce that seemingly “peels” away from the wall it’s attached to, revealing a soft glow at the corner. Designer Fernando Mastrangelo and actor Boyd Holbrook have created a set of planters carved from massive lumps of coal, in reference to Holbrook’s father, a Kentucky coal miner. Creative consulting and interior design firm Wall for Apricots and actor Jason Schwartzman have designed a postmodern pastel pink-and-gold piano with matching stool. The team wrapped a classic 1970s Hohner Clavinet Pianet keyboard inside of a plywood console table to completely disguise the instrument within. Furniture and lighting designer Kelly Wearstler and fashion blogger Aimee Song have put together a shaggy sitting stool made from dyed goat hair, with brass legs ending in plunger-like red marble feet. Designer Harry Nuriev and artist Liam Gillick have fabricated a series of rectangular floor lamps that integrate stainless steel with the glass panels that Gillick is known for. Furniture studio Ladies & Gentlemen Studio and fashion designers Kaarem have encased custom Kaarem fabric swatches in resin to create a series of vases. Architect Drew Seskunas of The Principals and musician Angel Olsen have built a machine that translates sound waves into wax forms. The resultant shapes were then used to cast unique aluminum candlesticks. Rafael de Cárdenas of Architecture at Large and fashion stylist Mel Ottenberg have translated the ribbed structural details of furniture into three quilts, each made of luxury materials like merino and suede. Designer Oliver Haslegrave of Home Studios and stylist Natasha Royt have reinterpreted the suit stand for the modern age, including stratifying different types of marble into the cubic base. Interior designer Kelly Behun and fashion designer Narciso Rodriguez have put together a sculptural, asymmetric lounge chair that forces its occupant into an unfamiliar situation where they need to rebalance themselves. Glass designer Thaddeus Wolfe and chef Ignacio Mattos have designed a hand-blown glass cake stand that resembles a hunk of ice. The glass is embedded with concave lenses, which appear to minimize whatever’s placed inside the case. Painter Andrew Kuo provided an artwork and furniture maker Tyler Hays of BDDW took the opportunity to turn it into a puzzle. The pieces and lettering within are obscured by Kuo’s design for an added level of difficulty. All 13 pieces are available for sale here.
The Woodstock 446 W 14th St, New York Tel: 212-633-2000 Designer: Damaris Cozza Located on 14th street in Manhattan under the High Line, The Woodstock is a recently opened 1960s-themed restaurant and bar designed by set designer Damaris Cozza that features a vivid, retro design and specializes in cocktails and Neapolitan-style pizza. The 4,000-square-foot establishment is divided into two zones: a larger dining area and a smaller-scale lounge, both painted in bright colors. Communal tables fashioned out of repurposed bowling lanes and marble-topped tables occupy the larger hall, with seating comprised of a motley mix of mid-century furniture. The lounge, clad in wood paneling, has two coffee tables surrounded by plush leather and canvas couches. To cement the lounge’s homey personality, lava lamps, antique lamps, and even a stuffed rabbit are scattered across the space. Emphasizing the restaurant’s 1960s vibes are a series of period posters and paintings, ranging from President Kennedy’s campaign ads to psychedelic prints. Of particular note, The Woodstock boasts a rotating set of twenty-four Salvador Dali artworks from owners David Sitt and James Morrissey’s personal collections, as well as a fuchsia felt pool table.
Divisive rapper Kanye West has been on a tweeting spree lately, and just dropped a series of photos from the Hidden Hills, California, house that West has been collaborating on with Belgian interior designer Axel Vervoordt. West had been taken to task earlier in the day by Twitter users after the rapper professed his love for Donald Trump (and earned a retweet from the president in the process). In response, and to prove that he wasn’t in the “sunken place,” West released a suite of photos of his and wife Kim Kardashian’s 15,000-square-foot home, currently undergoing an interior renovation.
do this look like the sunken place 😂 pic.twitter.com/ixzKnaaaSy— KANYE WEST (@kanyewest) April 25, 2018
Vervoordt’s influence can definitely be felt throughout; the designer is known for his use of light, raw materials, and a washed-out color palette to highlight a space’s structural qualities. The polished concrete floors, vaulted ceilings, and long sightlines will likely highlight West’s art once the renovation is complete (it's estimated that West and Kardashian have already spent $20 million on the project). While the team-up might seem like an odd choice, West and Vervoordt seem to have formed a bond based on art. West recently interviewed the designer for The Hollywood Reporter, and repeatedly expressed his admiration for Vervoordt’s ability to evoke emotion from a space. “It was an immediate connection,” said Vervoordt. “I could feel that you were really in love with things. Even if people think we come out of two different worlds, the act of meeting makes one another stronger. You were so spontaneous, totally true and intense. Now we're working on a house together, and I've learned from you because you have great taste. We talk about things, we change things.”
more tweets from the sunken place 😂 pic.twitter.com/nJQdQ2aVKn— KANYE WEST (@kanyewest) April 25, 2018
An exclusive tailored event focusing on innovations for Architects, Interior Designers and Specifiers. With over 500 innovative products and services showcased by manufacturers and distributors. All exhibitors go through a strict selection process with an external juding panel, ensuring the presence of high caliber innovations. FEATURES include: Keynote Speakers, Accredited Seminars, Materials Exhibit, Project Wall, ART Installation. We offer complimentary catering all day to our exhibitors and attendees, so they can focus on networking and conducting business.
In 1942, the industrial designer Russel Wright and his wife, Mary Small Einstein, purchased a 75-acre abandoned stone quarry in Garrison, New York, on the eastern side of the Hudson River. The wooded site has a spectacular view down to the river, and Wright lived on the property until his death in 1976. He chose a dramatic spot above and adjacent to the deep stone quarry to build a home he called Dragon Rock, and spent the rest of his life refining and redesigning the terrain. For example, he redirected a stream to fill the quarry with water, creating an idyllic swimming pond. The house itself, designed by the architect David L. Leavitt, is a straightforward midcentury-modern glass-and-wood-frame structure tucked into the steep stone hillside with an early green roof, but it is in its details, surfaces, and wall treatments that one can sense Wright’s creative genius as a designer. He found iron tools and large stones in the quarry and used them as door handles. The house has a distinctive Japanese sensibility in its handcrafted details and choice of materials. We examine nine of Wright’s handmade details in order to better understand the famous designer. The house, now called Manitoga, The Russel Wright Design Center, is open for public tours May 18 to November 12. Check visitmanitoga.org for details.
Almost every architect has horror stories about the Client from Hell, the unpleasant entity whose capriciousness or bad taste leaves the designer fuming. Arguably, though, the hardest client to design for is yourself. San Francisco’s NICOLEHOLLIS studio took on the tough task of designing an office for itself, in an old loft in the city’s South of Market (SoMa) neighborhood. Whereas it formerly ran its business in an old machine shop, the studio now operates out of a 5,000-square-foot single-floor office in a building that could command a corner in SoHo or Tribeca. The build-out, led by Hollis, takes advantage of “terrific” natural light and gorgeous views across the city to offer its designers (and visiting clients) an elegant, high-contrast office that’s both a lab for deep focus and a collaborative, social workspace. The office is a study in black, white, and light. Working with Inna Baranova, the studio director for interior architecture, and Adele Cunningham, the studio director for residential projects, Hollis crafted custom white central workstations with built-in standing desks that are both naturally lit and illuminated with FontanaArte’s Avico pendants. Although it’s often tough for light to reach the center of the floor plate in converted 19th-century factory buildings, NICOLEHOLLIS had the opposite problem—windows on all four sides. Hollis said she and her team used window treatments and UV filters on all the window panes. Conference rooms occupy prime window real estate, because clients like to soak up the views, she added. NICOLEHOLLIS carefully considered employee areas, too. Office kitchens are often drab afterthought spaces, decorated only with break-room signage and passive-aggressive Post-it notes. Hollis designed an island that encourages her staff to socialize, and there’s a large table for family style lunches. Back at work, the materials library is divided by boards charred using shou sugi ban, a Japanese technique that burns wood to preserve it. Throughout, the office is sandwiched by gray poured-concrete floors and a white concrete ceiling. “The white allows us to clear our heads and take a fresh look at our work,” Hollis said in an email. “Black is grounding and adds depth and shadow in contrast to bright light.” Hollis’s custom piece near the entrance exemplifies the NICOLEHOLLIS approach. “The reception desk is my ode to Donald Judd,” she said. “I take a lot of my cues from fine art. I love Judd’s work—its spatiality and relationship to context. The desk is also mirror polished brass and makes a strong statement about the studio’s ties to materiality and craftsmanship.” The studio works mostly in California, on residential and commercial projects, including plenty of offices. Hollis said the firm recently completed a Silicon Valley office, and it designed an office for HALL Wines, in the Napa Valley. But there’s another office project closer to home. NICOLEHOLLIS now boasts more than 50 employees, so Hollis and her team are looking to expand the space they’re in now with individual work spaces, as well as more conference rooms, materials libraries, and dining areas.
These wall coverings conjure visions of fanciful landscapes, including neutral hues, florals, abstract organic forms, and materials that emulate naturally occurring aggregates.
Airbloom Abstracta Inspired by how forms in nature change through shifting seasons, Swedish designer Stefan Borselius abstracted botany and devised floating, full-bloomed flowers. The hanging felt acoustic partitions diffuse distracting sounds and create dynamic visual spaces.
Albemarle by Paul Smith Maharam This textile is inspired by the cast-iron facade of Paul Smith’s No. 9 Albemarle Street shop in London. The store, designed with 6a Architects, is an interpretation of Georgian architecture found in the city’s Mayfair district. The same motif of interlocking ellipses that wraps the storefront is etched in three color variations on tightly woven cotton.
Déchirer XL by Patricia Urquiola Mutina Déchirer pairs the rough, tactile surface of concrete with the delicate patterns associated with ceramics. The new XL size combines textures from different materials, marrying porcelain and 80 percent recycled glass mosaic with the grout for the joints. The barely perceptible relief can be used in both floor and wall coverings and is available in three stone-hued colorways. Twisted by Docey Lewis Maya Romanoff The illustrious weaver teamed up with the Chicago-based wallcovering manufacturer to design a wallpaper made from simple materials—in a pleasantly unexpected way. The wallcovering is composed of hand-painted paper stripes that are twined and then woven on a wooden loom. It is available in eight neutral colors. Herbario Aimée Wilder Finnish artist and filmmaker Paola Suhonen pressed wild mountain flowers in a book for an entire year. These colorful compositions were reworked from the pages into an anthology of 12 whimsical wallpapers. [SPONSORED] EZ Wire Systems by Gyford Standoff Systems
Designing for friends has its advantages. More trusting than an anonymous client, a friend will often let you get away with a lot when it comes to pushing creative boundaries. This was the case when Sean Griffiths started work on the Hearn Hill House in South London. Griffiths, head of London-based Modern Architect, and once a member of the now-disbanded FAT, has been taking such opportunities to work out what exactly it means to run a post-FAT firm—experimenting with color, geometry, materials, and illusion. Despite its limited scope—a small ground-floor kitchen expansion—the project immediately faced strict building restrictions due to its location in a conservation area. The area’s restrictive code prevented the addition from wrapping around the rear to the side of the building, but did allow for extensions out from both faces separately. Rather than fighting this condition, Griffiths opted to take the code quite literally and make two glazed extensions, achieving needed natural lighting, maximizing floor space, and exploring some spatial ideas. “With this project I was aiming at a kind of realism. That partly has to do with the way planning constraints shape a project like this; there are certain structural issues and a sense of materiality,” explained Griffiths. “So in the first instance, the plan is almost completely (and absurdly) determined by planning rules. This led to structural and spatial issues that resulted in the odd placement of the column (which also made it interesting) and the use of mirrors to resolve the spatial problems in the largely predetermined plan.” In order to rationalize the kitchen’s new, slightly awkward footprint, Griffiths deployed a number material and graphic techniques. Drawing on a time-honored trick, two floor-to-ceiling mirrors double the perceived size and brightness of the room. The mirrors also produce a visual symmetry, negating the effect of the code-determined floor plan. Columns in the space are pebble-dashed, a nod to Brutalism, as well as the facade of next-door neighbor’s home, visible from the space. “The client wanted something Brutalist, but we couldn’t afford that so we pebble-dashed the column. In the UK this is thought of as a tacky finish that poor people with no taste apply to their houses and that middle-class people spend a lot of money on having removed when they buy houses covered in it.” With limited budget and space, color and pattern would have a significant impact on the project. Undeniably, the most striking feature of the room are two large designs painted on the floor, wall, and ceiling. Continuing the geometric motif of the columns, these graphics produce a forced perspective, which once again challenges the shape and size of the room. Distorted from all but one angle, when the viewer is properly positioned the shapes snap into perspectival alignment, appearing to be 3-D. For color, a rich green and a series of grays were pulled from Andreas Gursky’s photograph Rhein II, which is one of the most expensive photographs ever sold, and a favorite of the clients. With the Hearn Hill House addition, Griffiths takes the project’s challenges, legal limits, and limited budget, and turns them to his advantage. A play on representation and reality, flatness and form, the space realizes ideas far beyond its humble programming.
Co-working network The Wing has opened the doors of its DUMBO, Brooklyn location, the first outside of Manhattan, and members can expect to find the company’s signature pastel pink hues, color-coordinated bookshelves, and eclectic mix of materials in play here as well. Founded in 2016 by Audrey Gelman and Lauren Kassan, The Wing was envisioned as a series of members-only co-working and social clubs for women, and quickly hit $42 million in investments. While The Wing only opened its first office in October 2016 in the Flatiron neighborhood, the company has been eyeing a rapid expansion, especially after competing co-working company WeWork contributed to its latest funding round. “Expanding to Brooklyn was a no-brainer for The Wing,” said Gelman in a statement sent to AN. “A third of The Wing’s current members call Brooklyn home, and it is consistently one of the most requested locations. We are excited to welcome new women into The Wing’s community and continue the company’s growth.” The Brooklyn branch is housed at 1 Main Street, the neighborhood’s former tape factory and home of the notorious Clock Tower penthouse. Keeping true to the building’s industrial past, architect Alda Ly and interior designer Chiara de Rege have stripped the ground floor space to its bare bones and left the columns, beams and ductwork exposed, and poured pink concrete for a distinctive flourish. The former factory also provided space for a double-height central atrium, and the duo used the opportunity to carve out a second-level balcony space. De Rege has said that utility and beauty don’t always go hand-in-hand, but despite being completely open, The Wing DUMBO uses the seemingly-eclectic interior finishes to break up the club’s different areas. While a pink granite dining table in the atrium draws attention as a central meeting place, the green velvet of the nearby conversation pit easily separates it from the subdued palette of the rest of the space. Color was a major component of the design, and the blues, golds and pinks set the plush interiors apart from the stoic wood-and-glass aesthetic of The Wing’s competitors. The café areas are marked by their thinner, more finely detailed chairs and pedestal tables, but the color-coded library is instantly recognizable as such by the assortment of plush and rounded couches. That lending library, curated in partnership with New York’s Strand Bookstore, contains over 2,000 books by women authors, and each bookshelf swings open to reveal soundproof phone booths. The partnerships don’t stop with The Strand. All of the featured art is curated by and features solely local women artists, The Wing’s café and bar, The Perch, serves food from women-owned partners, and copies of No Man’s Land, an-house magazine launched last fall, are available throughout. A podcast room, vintage photo booth, meditation room and shower are all open for members, but The Wing has opened its reception and retail sections on the ground floor to the public. The DUMBO office might have opened on February 26th, but if you want to join, you’ll have to wait your turn; the waitlist to become a member is at 13,000 names and growing. The company's fourth location will be opening in Washington, D.C. sometime this spring.
Stop by the latest outpost of Sant Ambroeus for your morning coffee and you may not notice all of the design at play. But you’ll certainly feel it, as you enjoy an espresso, Italian-style, at the counter. Your leg will sink into the angle of the Dark Emperador marble slab, and suddenly you’ll feel anchored, calm. That’s because visitors to the Upper East Side coffee shop are in the competent hands of Bonetti/Kozerski Architecture, who used mock-ups to convince their client to place the glowing pastry case at the back and allow generous room for flow. “There’s always a leap of faith from the client, but the shorter you can make it and the more you can show the reasons, the better,” said Enrico Bonetti, the project’s principal in charge, whose firm lead the renovation of the entire building, now called the Hanley. A native of Bologna and a self-professed coffee obsessive, Bonetti looked to the brand’s heritage, “like a producer,” to create a space that would feel both fresh and within the visual language established since the first Sant Ambroeus opened in 1936. “We adjusted what they had, fine-tuned it, and tried to bring some level of quality that you don’t see, but you feel,” Bonetti said. Every element, down to a brass niche precisely proportioned to hide the requisite box of latex gloves, was carefully considered. “You don’t find places like this in Italy,” Bonetti said, settling into a coffee-colored Thonet chair. “The level of refinement is very New York.” Behind the counter, rounded tiles of Marmo Rosa di Verona were glued to the walls by “two very old installers” imported, like the stone, from Italy. The tiles’ shape mirrors the oiled American walnut tambour that clads the remaining walls, while their shade references Sant Ambroeus’s signature peachy-pink hue. Even the ceiling is painted with purpose, nearly imperceptibly, in Benjamin Moore’s Burlap, a neutral take on the color. While it’s unlikely anyone would notice the hue, the entire space glows warmly thanks to layered lighting with metallic-capped LED bulbs in simple ceiling-mounted Schoolhouse Electric fixtures as well as architectural cove lighting combined with a pair of vintage 1950s Paavo Tynell sconces and brass Alvar Aalto pendants. The same care was given to details like the matte black paint that makes the tables’ legs seemingly disappear, the wood newspaper holders sourced from Germany, and even the height of the custom leather bench, which puts sitters at eye level with those across from them. “These are not things that anybody notices, but at the end, they stay with you if not properly treated.” The team also worked with kitchen consultants Clevenger Frable Lavallee to make the space as functional for those working behind the counter as it is beautiful for those waiting in line. But, Bonetti had more than just his clients to please. “It’s mostly thinking selfishly,” the architect joked, “because I want to come back and have a really good cup of coffee.”
It takes a lot to get a walking New Yorker to look up. Entranced by a phone, or scanning the sidewalk for the fastest way forward, only an explosion, a gunshot, or a really cute puppy can grab one’s attention. So it was with surprise that this writer witnessed, on a recent summer morning, a gaggle of people surrounding a new shoe store on Broadway, in Soho. That store is Galeria Melissa NYC, and the people were staring at feminist video art on two really large screens. Inside, the boutique, by Brazilian designer Muti Randolph, is a footwear paradise in a gallery. This is not the first New York store for Melissa, nor is it the first time the brand, also from Brazil, has worked with the designer. Though Randolph’s vision guided the design of this space, Melissa’s parent company, Grendene, enlisted a local firm to make it all happen. Grendene chose Mancini Duffy for its deep roots in the city and for its retail expertise. Perhaps best known for corporate interiors for clients NBC Sports Group and A+E Networks, the firm has also redesigned one floor of Saks Fifth Avenue, and remade multiple Bloomingdales. So what’s the difference between designing for a department store versus street-level retail? Here, Mancini Duffy did almost nothing to alter the landmarked cast-iron facade, and the store is impossible to miss from the street. In the triangular vestibule, two giant LED screens reflect infinitely off of mirrored flooring. On a recent visit, the screens displayed work by artist Sam Cannon as part of The Future of Her, an in-house exhibition curated by sisters Kelsey & Rémy Bennett. Cannon’s video, a pastiche of mildly subversive candy-colored women’s bodies coated in fluid, heralds the shiny smooth plastic shoes on the main sales floor, just up a metal-lined ramp. The aesthetic is futuristic, if your vision of the future includes lots of lasers. Plastic shoes shine like wet Barbie feet, and the merch looks even more vibrant thanks to white LED ceiling lights. The ribboned overhead lighting is rigged to an MDS lacquered box, which beams out light across at least three walls of mirrors (four if you count the shoes displayed, Hall of Minerals–style, behind a two-way mirror). Melissa’s second life on social media, particularly on Instagram, played no small role in the store’s design. Thanks to online shopping, “there’s been a paradigm shift in how retail works,” said Ali Aslam, designer at Mancini Duffy. Though some decry the death of brick-and-mortar retail, the proliferation of images on the internet is transforming real-life stores into “boots-on-the-ground marketing for brands.” To do this effectively, the team employed eye-catching everything to make the space stand out in that sea of hashtags. In a nod to the structural cast iron columns that dot the main floor, shoes are set out on mini millwork-and-plaster columns, painted a shiny black. While the smaller, movable white displays are lacquer-painted medium-density fiberboard (MDF), the larger, central ones arranged around the structural columns are fabricated in Corian. Though it’s tempting to linger in the main area Instagramming, there are two more rooms to explore. Near the cashier’s desk, a lush green wall beckons from the rear of the space. The architects worked with plantwalldesign, which also did the green wall at Lincoln Center, for this project; the plants can live for decades under (carefully calibrated) light and irrigation systems. The cashier’s desk, Aslam said, exemplifies the collaboration between Randolph and Mancini Duffy. The artist rendered a piece with a long cantilevered edge that looked cool, but would be almost impossible to build. The architects worked with him from the ground up, using the firm’s in-house design lab to 3-D print a model. That model was sent to a millworker in Brazil to create a desk that was “almost to a T the exact thing we agreed on,” Aslam said. Another mini-room, kitty-corner from the cashier’s desk, contains shoes, but the main focus is an immersive video artwork by Signe Pierce, a self-described “reality artist.” The store will host four exhibits annually, a figure that handily coincides with the four best shoe-buying seasons (all of them).