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Rapt Studio Transforms Mid-Century Marina Del Rey Complex into an Airy Tech Hub

PROJECT NAME MDR Truss
LOCATION Marina Del Rey
FIRM Rapt Studio
SQ. FT. 130,000 SQF

Leveling the single-story smattering of 1950s garages and factories was one option. Renovating, repurposing, and enlarging them was another. The former would provide a blank slate, the latter more of a challenge—but more character. Rapt Studio CEO and chief creative officer David Galullo, prolific designer of workplaces for such companies as Google, Twitter, and PayPal, opted to retain all but one of the six brick and concrete-block structures for the Marina Del Rey, California, campus now called MDR Truss. Today, it’s home to Zefr digital advertising, the Bouqs Co., an online farm-to-table flower delivery service, and real estate developer the Bradmore Group, the client that hired Rapt for the 130,000-square-foot project. So enamored with the result, president and CEO David Bohn decided to move the company into one of the buildings.

A site-specific installation by Settlers LA hangs in the Rapt Studio–designed headquarters of Zefr, a digital advertising company in Marina del Rey, California. Photography by Eric Laignel.

 

“David was looking to take advantage of what was here before,” begins Galullo, just off the plane from Milan, where Rapt showcased its debut Salone del Mobile installation Tell Me More. “He and his team understood that these little industrial buildings could actually add up to something pretty.” Rapt was tasked with creating the master plan for MDR Truss: Initial meetings with the client illustrated how the 3-acre site would be used, where cars could park, and how Rapt would work with the landscape architect to plant low-water and native species and create pedestrian pathways, among other essential changes. Bradmore was so impressed with the concept that the initial budget was increased. Ultimately, Rapt added a second floor to one building, de­cks to two of them, cleaned and re-painted all exterior masonry, and relocated entryways and exits and inserted roll-up glass garage doors for more light and better flow in nearly all the buildings. Additional outdoor spaces such as fire pits and a lawn for employee pets even “feel a bit resort,” Galullo notes.

Watch now: “Tell Me More,” Rapt Studio’s Installation at Salone del Mobile

The company occupies four buildings at MDF Truss, an office complex master-planned by Rapt. Photography by Eric Laignel.

 

Rapt was then hired again by Bradmore for its interiors and by Zefr for its offices, which occupy 40,000 square feet across four buildings. “We were morphing the exterior design based on what the interiors needed,” Galullo explains. Because all six buildings were leased prior to the completion of construction, the firm was able to deeply customize the design.

Reception’s white oak desk is backed by a Carrara marble panel, all custom. Photography by Eric Laignel

Creating an upgraded space for Zefr meant pushing a company with a start-up mentality—it was founded in 2008 and focuses on YouTube content targeting—into a more sophisticated space. “The idea was like Hey, we still want to be scrappy, but let’s have moments where we remind people that we’re heading in the right direction,” Galullo says. “For us, a brand is about the organization’s attitude, personality, and culture.” The result is a mixture of refined custom sectionals and walnut tables with furnishings from the hipper end of mass retailers and unpretentious, locally focused artwork. “It doesn’t feel like a dorm room, more like your second apartment,” Galullo adds, glancing down from the deck off one of the building’s newly added second floor at the rack of staffers’ sandy surfboards and the Zefr-branded skateboard ramp.

Hans Hornemann’s sofa faces leather butterfly chairs in a meeting area. Photography by Eric Laignel.

 

In Zefr’s main building, Rapt took advantage of the 16-foot ceiling with site-specific installations. One is at the entry: a cascade of white ribbons designed by art fabrication company Settlers LA that’s akin to an enor­mous ocean whitecap but that Galullo de­scribes as “kind of flowy.” Neptune Glassworks, another area artisan, pitched its canopy of handblown  glass orbs to Rapt and it ended up above the café, where occa­sional blue walls further nod to sea and sky.

The satin ribbons range from 3 to 30 feet long. Photography by Eric Laignel.

Galullo calls Rapt “transdiscipli­nary, which is like equal measure on every discipline coming together to form something new.” In the case of Zefr, that meant curating an art and furniture offering “that’s an interesting and eclectic blend,” he says. “The last thing we want is for the office to feel like it was decorated to be perfect. People spend a lot of time here, so we focused on the spaces where people are going to hang.” So, for Zefr’s myriad lounge, meeting, and break-out areas, there’s always a duo of lounge chairs, plus a sofa, coffee table, and rug—a homey configuration that differentiates them from the rows of workstations.

A sofa by Harrison and Nicholas Condos furnishes a deck off a new second floor. Photography by Eric Laignel.

 

The approach also meant eschewing corner offices (although there are private phone rooms in the core of each building as well as traditional conference rooms). One corner did surprise Galullo, however. It’s that outdoor deck space he created off a building’s new second floor. “I was worried it might feel like a cage because we wrapped it into the structure,” he recalls. “But it turned out to be an unexpected nugget.”

The company logo is painted onto the plywood skateboard ramp. Photography by Eric Laignel.

“When we set out on this project, we had to tell the story of both Zefr and the site’s history,” Galullo concludes. “It couldn’t just be about maximizing the number of parking spaces, although we did wrestle with that for quite some time.” In a locale where car culture still rules, that’s saying something.

Keep scrolling to view more images of the project >

Neptune Glassworks’s instal­lation in handblown glass and steel wire enlivens the café. Photography by Eric Laignel.
A corridor’s printed canvas echoes the community’s seaside location. Photography by Eric Laignel.
A pair of Busk + Hertzog lounge chairs compose a break-out area. Photography by Eric Laignel.
Most of the buildings in the 3-acre MDF Truss complex date to the 1950s. Photography by Eric Laignel.
Hee Welling chairs surround a Studio Hopkins table in a con­ference room. Photography by Eric Laignel.
Custom workstations in an office area also by Studio Hopkins. Photography by Eric Laignel.
Jason Miller pendant fixtures and tables by Charles and Ray Eames outfit the café booths. Photography by Eric Laignel.

Project Team: Sam Farhang (Creative Director); Kristen Woods; Derrick Prodigalidad; Krisada Surichamorn; Glenn Yoo; John Stempniak; Gigi Allen; Andrew Ashey; Scott Johnson; Michael Maciocia; Sasha Agapov; Alex Adamson; Semone Kessler; Rosela Barraza; Daniela Covarrubias; Justin Chen: Rapt Studio. EPT Design: Landscape Architect. Structural Focus: Structural Engineer. KPFF: Civil Engineer. E Engineers: Electrical Engineer. Tarantino Construction: General Contractor.

Product Sources: From top: Muuto: Chairs (Lounge). CB2: Table. Louis Poulsen: Pendant Fixtures. Grand Rapids Chair Co.: Stools. Restora­tion Hardware: Sofas (Lounge, Deck), Coffee Tables (Meeting Area, Deck, Break-Out Area). AM Cabinets: Custom Desk (Reception). Ladies & Gentlemen Studio: Pendant Fixture. Stoneland: Custom Panel. Framebridge: Custom Wall. Normann Copenhagen: Sofa (Meeting Area). Industry West: Chairs (Meet­ing Area), Café Chairs (Reception), Chairs (Café, Break-Out Area, Meeting Room). Herman Miller: Task Chair (Reception), Tables (Café Booths). Alexander & Willis: Custom Sofa (Reception), Custom Tables (Café). Source International: Chair (Meeting Room). Fab­ricut: Drapery. Flat Vernacular: Wallpaper (Café). Apparatus: Sconces. Softline: Lounge Chairs (Break-Out Area). Hay: Chairs (Conference Room). FabriSPAN: Ceiling Panels. OCL: Pendant Fixtures. Ege: Carpet. Pair: Table (Conference Room), Custom Workstations (Office Area). SitOn­It: Task Chairs (Office Area). Modulyss: Carpet. Roll & Hill: Pendant Fixtures (Café Booths). AM Cabinets: Custom Banquettes. Holly Hunt: Banquette Fabric. Sherwin-Williams Company: Paint. Throughout: West Elm: Rugs. Pfeifer Studio: Side Tables. Bp Glass Garage Doors: Cus­tom Garage Doors. Assa Abloy: Door Pulls. Lumenwerx: Linear Fixtures. Senso: Pendant Fix­tures. Wac Lighting: Track Lighting.

> See more from the May 2019 issue of Interior Design

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Inside Legendary Model Kate Moss’s London Home

A collaboration with English wallpaper house de Gournay—just unveiled in her London home—proves Kate Moss’s design sense extends well beyond the wardrobe.

 

Continue reading Inside Legendary Model Kate Moss’s London Home

Inside Legendary Model Kate Moss’s London Home

A collaboration with English wallpaper house de Gournay—just unveiled in her London home—proves Kate Moss’s design sense extends well beyond the wardrobe

Kate Moss isn’t exactly famous for being a morning person, so the fact that the master bath in her London home is inspired by dusk is rather fitting. “It’s my favorite time of day,” coos the legendary model and night owl, slinking about the grisaille-enveloped space in a short silk kimono. “Picture a summer night when it goes silvery-blue from the light of the moon,” she continues.

Nearly three decades in front of a ­camera lens have given Moss a rich photographic library—which comes in handy with respect to more than just her iconic way of putting clothes together. Her interior-design style is equally innate. Eclectic, too: “I love mixing old and new things, all different eras.” While she collaborates on her homes with interior designer Katie Grove—incidentally, her ­former personal assistant—she cops to being very hands-on.

“I don’t want to say I’m a control freak, but I’m a control freak,” Moss says, erupting into a raspy laugh. When it comes to social media, though, she admits to being somewhat clueless. “Thank God I’ve got a teenage daughter—she keeps me up to speed, or I wouldn’t know anything!”

 

An artist at work on one of the hand-painted panels.

 

Kate Moss in her London entry hall, where the walls are dressed in the Daybreak version of the pattern in Light silk wall covering.

To capture the mood of “a solarized Man Ray picture,” as she describes it, Moss teamed up with bespoke-wallpaper house de Gournay to create a silver-tinted ­anemone pattern (according to Greek mythology, the flower is thought to ­symbolize luck). The result of an intimate design process, Anemones in Light depicts cascading blooms overlapping shards of solar radiance, and will become part of de Gournay’s permanent collection. “I’ve always loved what they do. It’s like vintage jewelry—it’s special,” she says, adding that a powder room in her country house is done in their Badminton design, incorporating jaybirds to mimic the chirping variety that inhabit her garden there.

I wanted that kind of film noir feel in here.

The new paper provides the perfect backdrop for the glamorously appointed master bath. Centered in the space is a claw-foot tub, set beneath a vintage crystal chandelier from James Worrall and placed opposite a carved stone hearth. You can just imagine it burning with a fire in the winter while Moss soaks in a hot bath filled with her ­signature blend of Santa Maria Novella carnation oil and magnesium flakes, which she says “take the edge off.” Elsewhere, there’s a mirrored vanity lined with antique ­perfume bottles and a wall of framed black-and-white ­photographs, including a diamond-dust Elvis, Elizabeth Taylor, David Bowie, and a triptych of Moss with Alexander McQueen (the late designer was a close friend). Embroidered silver curtains made from saris are draped at the windows. “So no one can see into the bathroom, thank goodness,” Moss notes, adding that parties have been known to spill over to this part of the house.

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Bureau V Has Created a Road Map for Young Architects to Follow

When it comes to being creative, eclectic, and ambitious, there is perhaps no architecture firm more exciting than Manhattan-based Bureau V. The 10-year-old company is the type of success story one can’t help but root for—combining a small amount of luck with an intense amount of grit, dedication, and far-reaching creativity.

Continue reading Bureau V Has Created a Road Map for Young Architects to Follow

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