The small town of Healdsburg, named after its founder Harmon Heald, might have established itself in California’s verdant Sonoma County nearly 250 years ago, but it feels perfectly in tune with the times. Surrounded by vintners such as VML Winery and Jordan Winery, the town boasts an attractive central square bordered by three-Michelin-star restaurant Single Thread, gourmet bakeries and ice cream shops, and a pair of Piazza Hospitality hotels—Hotel Healdsburg and H2Hotel—designed by David Baker Architects.
Now comes a third: the Harmon Guest House, whose 39 rooms form pods around a glassed-in central courtyard and have patios or balconies facing the town or trees. “The site is narrow,” says DBA associate Brett Randall Jones, “so we made a unique room type, with an open bathroom that guests walk through to enter the main space of the room. The ceiling height, floor-to-ceiling windows, and generous depth make the rooms feel expansive.”
Harmon Guest House’s rooms are furnished with custom pieces and mid-century classics in palettes drawn from the landscape. “The window seats in each room turned out to be the perfect cozy spot for lounging,” says associate/interiors lead Julie de Jesus. “The custom daybed and pillows, the pendant, the windows with slats, and the table and chairs work to create this perfect space within the room.”
And just in case visitors desire more perfect spaces, the town’s only public rooftop bar can be found upstairs, with intoxicating views of nearby Fitch Mountain.
With NYCxDESIGN and Brooklyn Designs at the Brooklyn Navy Yards about to get underway, we’ve rounded up the most recent projects in New York City’s buzziest borough, including warm cafés and reading rooms, fresh offices, and light-filled apartments.
L&R distributes more cosmetics than any other American company—25 brands and 8,000 SKUs in all. Its new corporate headquarters in Brooklyn’s Industry City circulates something else: a wide variety of staff, each with their own spatial needs, within what StudiosC principal Stephen Conte calls “an industrial blank canvas.” Read more about the office
Brooklyn’s Navy Yard is among the most fashionable new areas in the borough, but until Lafayette 148 decided to leave its seven-floor SoHo digs and venture across the water, there wasn’t a fashion brand that called the historic concrete warehouse home. Gensler made sure the 68,000-square-foot headquarters, comprised of 15 different departments and large community work cafes, was as rousing as the exterior landscapes. Read more about the showroom
The archetypical Brooklyn brownstone is a study in verticality, with a few stories of narrow corridors and dark rooms piled atop each other. However, when the local Idan Naor Workshop got the chance to reprogram a gem from the 1920s into a 5-unit apartment building, they decided on a different direction: horizontal. This 2,350-square-foot apartment jettisons the piles of hallways and instead utilizes a gallery to connect public areas to the three bedrooms, while ample natural light floods the expansive open plan. Read more about the brownstone
This retail environment at Gray Matters brings customers into a product-inspired wonderland. Riffing on the brand’s Mildred Egg mule, Bower Studios chose table bases that are ovoids of painted resin composite. See all five stores
When thinking of comfortable and relaxing spaces for a mother to pump or otherwise care for an infant, the office is likely ranked dead last. Audrey Gelman and Lauren Kassan, cofounders of the women’s co-working space, The Wing, want to change that. Gelman and Kassan have mobilized The Wing’s internal design team to bring secure, private spaces for working moms into the close-knit community of offices in DUMBO, starting with office buildings under Two Trees Management. Read more about the rooms
New York relies on coffee shops almost as much as municipal services. Now the two are merging—architecturally, at least—thanks to Stumptown Coffee Roasters’ first Brooklyn café, housed in an 1860’s former firehouse in leafy Cobble Hill. Jessica Helgerson Interior Design re-envisioned, along with the help of Structure NYC, the 1,875-square-foot space, most recently an indoor archery studio. Read more about the café
A 6,200-square-foot row house on Grand Street in Clinton Hill, Brooklyn is the newest of Common’s coliving spaces. Built in 1901, Common restored the five-floor home to function for 23 people. Rather than keeping with the two-family tradition, Common densified the historic mansion in order to make the most of the much-desired square footage that Brooklyn has to offer. Read more about the house
When Devoción‘s first location opened in Williamsburg, Brooklynites delighted at the roastery’s oasis-like design and authentic Colombian brews. The beloved coffeehouse has returned for round two with a 1,700-square-foot space near the borough’s bustling downtown corridor. Greek-American firm LOT Office for Architecture spearheaded interiors that honor local traditions and mother nature in equal measure. Read more about the café
As if the ice cream wasn’t draw enough. Jackie Cuscuna and Brian Smith, founders of Ample Hills Creamery, have just opened the largest ice-cream factory in all of New York City—and have included an interactive museum, like a cherry on top. A brick building, part of the former Beard Street Warehouses complex in Red Hook, contains 12,500 square feet of production space, plus 2,000 more for exhibits, party areas, and of course a retail shop by Danielle Galland Interior Design. Read more about the factory
EDIT Napoli, a new fair created to support and promote independent design and craft, launches on June 6th in Naples, Italy. Focused on the rise of the designer-maker figure, the debut will feature 60 exhibitors—among them well-known and emerging designers as well as established producers and manufacturers—who all have one thing in common: they favor quality over quantity and have a practice rooted in making. Interior Design spoke to the two women behind the project, Domitilla Dardi and Emilia Petrucelli, about the city of Naples, the event, and alternatives to globalized, standardized products.
Interior Design: What does Naples represent to you compared to other Italian or international cities?
Domitilla Dardi: It is the only truly international Italian city. It was the capital of Italy before Rome was and has an urban structure that brings to mind both the great European metropolises of Paris or Madrid with their wide ‘boulevards’ and the small Italian art towns. And then it also has the port and the sea. Naples is one of the Mediterranean capitals and its geographical situation makes it perfect as a crossroads for exchange and cultural encounters. It is no coincidence that it has always been the only Italian city, along with Venice, that is a real reference point for international contemporary art. They are both gateway cities between East and West.
ID: What was it about the city that inspired you to create this event?
Emilia Petruccelli: As a city, Naples never leaves people indifferent. There is too much sameness and standardization in the world and I believe that we need more cities like Naples, where you can breathe and cultivate difference and independent ideas. The people who will come to EDIT Napoli are looking for something different, something unexplored.
ID: When did you get the idea for EDIT Napoli?
DD: Emilia came to me two years ago with two very clear ideas: that we should launch a new fair and we should do it in Naples. Together we understood that instead of focusing on sectors like collectible design and design galleries—which already have endless venues and events—we should focus on the world of small batch production, craftsmanship, and the designer-maker. Today this figure is more relevant than ever. We need products that have an identity.
EP: We wanted to create something that was curated, but where people could still be surprised. An event with purpose and clear economic intentions. I believe that independent design has to do business in order to survive.
ID: Why was it important, in your opinion, to launch EDIT Napoli?
EP: Because the retail world is moving and changing fast, from the internet to the commercial and industrial strategies of flagship brands. It needs to innovate and to do so it needs specific places in which it can reflect this change and address it. EDIT Napoli proposes being that place.
DD: Because a fair dedicated to this market segment didn’t exist. We have done a lot of research in the run-up to the event, but the fair won’t be about prototypes or concepts; it will be about real products for the real world.
ID: Who do you want to reach, convince, convert with EDIT Napoli?
EP: We aim to reach and connect international buyers, architects, designers, shop owners, interior designers, all the different strands of the design world basically. The ambition of EDIT Napoli is to become an international reference point for authored design, which thanks to the push of the fair we hope will experience sustainable growth within a few years.
ID: Is there a large community of makers, artisans and designers in Naples and the surrounding area?
DD: There is a large community of artisans throughout Italy and in all Mediterranean countries. It is a historical fact that where industry did not have the right socio-economic conditions to take off, craft continued to thrive. But today craft uses updated tools and advanced technologies. There is still much to do to make this sector more widely known and more accessible and this is what we are aiming to do. We want to be a sounding board for the sort of design that can be a genuine alternative to globalized and standardized products.
ID: Do you hope that the event can work as an economic engine for the city?
DD: EDIT Napoli was created as something that could impact various industries in the region. A good example of this is the Made in EDIT residencies. We hosted international designers for a month so they could work with local artisans. The result won’t just be a unique piece that tells the beautiful story of this encounter, the result will be an object or collection that will be replicated, produced, and sold as part of the Made in EDIT brand. Everyone involved in the process will profit from this relationship, not just economically but also in human terms.
ID: Can you give me some examples of important and interesting crafts, materials, and manufacturers in the area that you are looking at?
DD: For Made in EDIT, we investigated the ancient Bourbon silk factories of nearby San Leucio with Amsterdam-based designers Faberhama, the leather and metal artisans of the city’s historic central districts with Lebanese designer Khaled El Mays, and the ceramicists of Minori on the Amalfi coast with NYC-based artist Reinaldo Sanguino. In the future we will focus on other manufacturing processes, too, such as coral brooches and Capodimonte porcelain, for instance.
ID: Are there any other local crafts that we should know about?
EP: We are already looking at numerous other artisans and supporting them, so they can take part in the 2020 edition. They include stonemasons, leather goods craftspeople, weavers, and cabinet-makers. But we also want to open ourselves to other craft sectors and not necessarily only local ones from the Campania region.
ID: Tell me about a particular highlight at EDIT Napoli? Something you yourselves can’t wait to see?
DD: We are excited to see the new collections. Almost all of our 60 exhibitors are bringing products that they are presenting commercially for the first time at EDIT and for this reason we have launched a dedicated award for best new product to be judged by an international jury. It will be interesting to see the ‘big names’ in design rubbing shoulders with experienced craftspeople and the most disparate typologies being presented side by side.
When Manhattanites Matt Rappoport and Beno Varela began looking for a new home in Connecticut, they had mixed feelings about making the move.
Mr. Rappoport, an attorney, was ready to leave his job at a large law firm, and Dr. Varela, a gastroenterologist, had found a practice he planned to join in Hamden, Conn. But their friends and social lives were in New York, even though Mr. Rappoport had grown up in Fairfield, Conn.
“We were moving out of the city to a neighborhood where we had no social ties, other than Matt’s family,” said Dr. Varela, 35.
“There were nerves, as a gay couple, without kids, moving to the suburbs,” said Mr. Rappoport, 31, who is now the chief executive of a finance start-up.
Matt Rappoport and Beno Varela bought and renovated a 19th-century house in Fairfield, Conn., with help from J.P. Franzen Associates Architects and RC Studio.CreditAlexandra Rowley
But they had an idea about how to calm those nerves: Find a charming house and transform it into a destination so compelling that it would lure their friends for regular visits.
“It was really important to us to create a beautiful space,” Dr. Varela said. “I wanted to feel like we could host and welcome people from the city.”
When they began hunting for a house in late 2016, they realized there was another issue: Most homes on lots with the leafy, country feeling they wanted were far too large — between 4,000 and 6,000 square feet.
“Coming from a 1,200-square-foot apartment, which was really big for the city, to a house that was 4,000 square feet seemed crazy to us,” Mr. Rappoport said.
Finally, they found a 2,500-square-foot, three-bedroom home in Fairfield, dating to the 1830s. It was far from perfect: The main entrance opened directly into the kitchen; it didn’t have the home office Mr. Rappoport needed; and an oddly placed powder room made the ground floor seem dark and chopped up. But they bought it for $937,500 in March 2017 with the intention of making some changes.
The house had originally been built a short distance away, serving as a general store in the 19th century. It was moved to its present location and converted into a home in 1929. A renovation in 2011 produced the kitchen that Mr. Rappoport and Dr. Varela liked and planned to keep.
To overhaul the rest, they turned to Jack Franzen, of J.P. Franzen Associates Architects, and Rena Cherny, an interior designer who owns RC Studio, who developed plans to reconfigure the ground floor by demolishing the powder room — which sat at one end of the living room, blocking light from two windows — and create a single, bright living-and-dining area. Then they used the footprint of the old formal dining room to create a new powder room and home office.
A powder room was demolished to make room for a large, open living and dining area furnished with a Modern Lounge sectional sofa from Montauk Sofa, Fly SC1 chairs from &Tradition (from $3,029), a custom upholstered ottoman and a Lucia wool rug from Tibetano.CreditAlexandra Rowley
The objective was “to clean it up, but to keep the charm of it, while making better use of the spaces,” Mr. Franzen said.
“We wanted it to be cozy for entertaining, but definitely modern and fresh, while maintaining all the elements of an old home: the original windows, doors, hardware and shutters,” Ms. Cherny said. “The vibe of a country home, but with fresh furnishings.”
Achieving that took about a year and $250,000, as Ms. Cherny delicately negotiated the purchase of furniture and accessories that suited Mr. Rappoport’s preference for midcentury-modern design and Dr. Varela’s desire for softness and a touch of the traditional.
“Part of what we needed her for was to mediate between us,” Mr. Rappoport said. “To understand both of us, and find things that worked.”
Added Dr. Varela, “She was really our therapist for that entire year.”
Ms. Cherny furnished the living room with a carefully chosen mix of clean-lined, comfortable furniture, including a cushy Montauk sectional sofa, a corduroy wool Tibetano rug and a large custom-upholstered ottoman.
The dining area has harder, more angular elements, including steel-and-wood Standard chairs from Vitra, an Agnes chandelier from Roll & Hill and a slender concrete dining table from ABC Carpet & Home, as well as a moody Jenny Boot photograph that the couple bought at the New York Affordable Art Fair.
The lounge space outdoors has a Terassi sofa ($3,995) and chairs ($1,695) from Design Within Reach and Shoreline ceramic side tables from Serena & Lily ($258) arranged around a gas Kove fire table from Brown Jordan Fires ($2,636).CreditAlexandra Rowley
Beyond a Dutch door, Ms. Cherny also designed a patio with a lounging area around a firepit, and a separate outdoor dining area with a long table that can seat eight, to take advantage of the bucolic, one-acre lot.
This spring, Mr. Rappoport and Dr. Varela are rerouting the driveway, to bring guests to the proper front door of the house rather than the kitchen door. But since finishing the majority of the renovation last summer, they have been pleased to discover that their house is already having the desired effect on friends.
“They enjoy it,” Dr. Varela said. “People actually do want to get out of the city more than I thought they would.”
ICFF is North America’s platform for global design. Over 900 exhibitors from across the globe showcase what’s best and what’s next for luxury interior design to more than 38,000 design industry attendees each year in New York.
Jacob K. Javits Convention Center 655 W. 34th St. New York, NY 10001 United States
ICFF offers an unparalleled opportunity to view innovative design trends from across the globe and experience interactive, educational programming led by the industry’s leading designers and icons. Architects, interior designers, visual merchandisers, and developers visit ICFF each year for inspiration and concepts to apply in their next design project.
ICFF Talks Positioned on the show floor, ICFF Talks features design visionaries and leaders who share insight and knowledge as it relates to the interior design world
ICFF Studio In its 14th year, ICFF and Bernhardt Design bring the next crop of emerging designers to the forefront through the juried ICFF Studio competition
NYCxDESIGN Awards & Party Presented by Interior Design Magazine and ICFF, the NYCxDESIGN Awards & Party is a highlight of NYCxDESIGN, New York’s annual celebration of design that attracts hundreds of thousands of attendees and designers from across the globe
ASID AT ICFF
ASID is thrilled to showcase the impact of design at ICFF, engage with visitors, and explore the beautiful, impactful, and sometimes surprising ways that design impacts lives. We’ll also provide timely and relevant education sessions each day.
Sunday, May 19
12 – 1 p.m. Aging in Place in an Urban Environment: New Design Solutions Speakers: TBD
How do we design housing to accommodate multiple generations with different needs, incorporating cutting-edge solutions for flexibility and accessibility? Learn how multi-family and community housing in urban environments is evolving to reflect new family structures and an aging population. You’ll come away with practical ideas to help you create flexible living spaces to fit and adapt to the current trends of universal and accessible design.
Monday, May 20
12 – 1 p.m. Creating Purpose-Driven Spaces: What Does it Look Like to Leverage Design for Good? Speaker: Meena Krenek, ASID, LEED BD+C
Human emotion is uniquely tied to human behavior. An individual’s emotional connection to a space, environment, or culture can provide a strong sense of belonging. This is valuable for developing engagement within spaces we design. As designers, we have the ability to impact behaviors through our design decisions. We must be mindful of this power as we seek a deeper meaning, experience, or contribution to society with our work. It’s important to continuously understand our audience and build spaces that represent a greater purpose and relationship to the activities that happen within, inspiring users and reaching their hearts and minds. In today’s world, everything is so highly competitive and constantly evolving that when designers create purpose-driven spaces, they develop a level of captivation and engagement with the environment which sets them apart.
12 – 1 p.m. Business Skills for Creatives: What You Need to Know About Contracts and Fees Speaker: Phyllis Harbinger, ASID, NCIDQ, CID
The contract between you and your client is a legal document, and plays a critical role in setting the tone and establishing yourself as a professional. Every contract includes a section on Designer Compensation, and we’ll show you how to effectively present your fee structure to reflect the true value of your design services, giving you guidelines and tips so that you can maximize profits. Gain insight and strategies to help you establish the right price point for your creative skills, services, and design vision – ensuring business profitability and success.
“Is the new assembly line going to leave enough room for extra equipment on the factory floor?”
We make major decisions about our homes and offices by squinting at floor plans and 3D renderings. But this week, Microsoft announced an app for its VR headsets and “mixed reality” Hololens platform that could fix that. Called Microsoft Layout, it allows you to place large, holographic objects around a floor plan as you experience it virtually. In the company’s proof of concept, a designer moves machinery around a warehouse virtually–and then checks how the design would work in the real-life space thanks to HoloLens. It’s easy to imagine an architect using Layout to change the details of a proposed structure, or alter the layout of furniture, lighting, or glazing inside an existing building.
While Layout works in traditional VR, it doesn’t just drag and drop these objects inside a virtual room. You can also check them out them inside a real building at scale using the company’s Hololens headset, which mixes holograms with the real world around you. Plus, you can sync up with a colleague online, through another app called Microsoft Remote Assist, to share your literal perspective as you explore the space. It’s easy to imagine that other person moving around designs on their end, too, almost like a collaborative game of Sim City. The version of Microsoft Assist that the company is sharing this week allows interactions pretty similar to this already.
Since being announced two years ago, Microsoft’s Hololens headset has been living a quiet life, as developers have only begun to tinker on the emerging platform. But Layout is the perfect example of what could be a breakout interaction to prove the value of Hololens, and augmented/mixed reality in general, at least in the world of interior design and architecture. You could imagine a restauranteur walking through a space in New York while their interior designer showed off their proposed changes to the design from Shanghai, or a foreman syncing up with an off-site architect before making a major change to the blueprint. Once you imagine that, it’s hard to envision design heading in any other direction.
No matter what your age or generation you identify with, if you work in a creative field like design or architecture, you are part of a team. It doesn’t matter if all your team members are working under one roof or if they belong to different companies or disciplines. Design is a team sport.
Every other year the IIDA (International Interior Design Association) Indiana Chapter holds their Avant Garb Fashion Show in Indianapolis, but this is not any ordinary fashion show. Teams for the event are made up of partnerships between manufacturers and either one company or employees from multiple companies in both Fort Wayne and Indianapolis. Each team of six or less members have the goal to create a fashion garment using their manufacturers’ unique and upcycled materials, which means that there are outfits constructed out of anything from rubber base to wallcovering.
In 2014, when she became The Metropolitan Museum of Art’s first curator of architecture and design, Beatrice Galilee had an inspiration: Why not invite more than a dozen architects and designers to speak at the museum on the same day—as a way of summing up a year’s worth of architectural achievements. Recently, she presented the second installment of “In Our Time: A Year of Architecture in a Day,” which featured the Pritzker Prize winner Wang Shu, from Hangzhou, China; Junya Ishigami and Go Hasegawa, both from Japan; Amanda Levete from London; and many others. Even those architects who flew thousands of miles were given just 10 minutes to speak.
Before coming to the Met, Galilee, an architectural historian, was chief curator of the 2013 Lisbon Architecture Triennale and co-curator of citywide architecture festivals in Gwangju, South Korea, and Shenzen, China, and director of The Gopher Hole, an exhibition and project space in London.
While recovering from the whirlwind event at the Met, she sat down with Fred Bernstein of AD to revisit it.
Architectural Digest: Why bring all these architects together on one day?
Beatrice Galilee: When you see one architect after another showing work that was built in the same year, it has a real impact. Seeing one lecture every few months would not have had the same effect.
AD: You asked people to come from very far away.
BG: It’s important to look at architecture globally. Also, it’s a way to represent the diversity of cultures and identities reflected in the profession. Architecture is not just the realm of the rich and famous.
But most importantly, if people come from all over the world to present their work, you see connections and parallels that you wouldn’t have discovered otherwise.
AD: What connections did you see?
BG: A lot of the architects who spoke aren’t looking to create spectacles. They’re interested in responding to specific places, to forming relationships with particular landscapes.
AD: That was certainly true of Wang Shu. He flew halfway around the world, only to introduce himself as “a very local architect.” And he showed a project, the Fuyang Cultural Complex, that almost disappears into the landscape.
BG: That building is not happening anywhere else in the world. It’s about those bricks made with those hands; its meaning is tied to that location.
AD: He said his work was inspired by the gossamer quality of Chinese landscape paintings, including some that are at the Met.
BG: It was nice that it had that connection.
AD: Shih-Fu Peng of Heneghan Peng Architects, in Dublin, showed the Palestinian Museum on the West Bank. He talked about the way it follows the abandoned agricultural terraces, taking the land from food production to cultural production.
BG: And Junya Ishigami, of Tokyo, showed a glass pavilion in a park in Holland that follows the lines of existing pathways. In some of the photos you couldn’t see the pavilion at all. I thought it was exquisite.
AD: I remember Wang Shu asking, “How can you make a huge, 400,000-square-foot building disappear in the landscape? Peng said, ”What’s best about the museum is that it almost disappears.” And Ishigami spoke about “the possibility of creating architecture as new landscape.”
BG: There’s a lot of concern about the impact on the planet. It’s not complete coincidence — I chose the architects on the program and I share that concern. In my view, architecture can’t be presented in a political, social, or environmental vacuum.
AD: Ishigami wasn’t the only Japanese architect to win over the audience.
BG: Right. Go Hasegawa showed a marble chapel in Italy, which he just completed. It was beautiful and precious and special, and I heard some people say it was the high point of the day.
AD: Marwa al-Sabouni, who works in Homs, Syria, couldn’t get a visa to attend.
BG: Marwa never expected to be able to travel to New York, so instead of paying for her flights and accommodations we gave her a budget to make a film. She showed the devastation in Homs, and her ideas, as an architect, for rebuilding that city from the rubble.
AD: Some of the buildings were more familiar. The Columbia Medical School building that Elizabeth Diller presented [the Vagelos Center] and the National Museum of African American History and Culture, which was shown by David Adjaye, have been widely published. That was also true of the new courtyard at the Victoria and Albert Museum in London, presented by Amanda Levete.
BG: To certain people they may have seemed familiar. But we had many audiences, including people with only a passing knowledge of architecture.
AD: Now that the event is over, what are you working on?
BG: There’s a lot of architecture at the Met — the period rooms, the Temple of Dendur, drawings by Vitruvius and Piranesi, photographs, films — it’s a history of architecture, but it has never been seen as an architecture collection. I’m trying to create a framework for understanding architectural history through the Met’s collection. It could become a book or an exhibition or an app — it’s too early to know.