Tag Archives: Terrazzo

Perkins + Will Blurs Work-Leisure Lines for Madison Marquette’s Washington, D.C. Headquarters

PROJECT NAME Madison Marquette
LOCATION Washington
FIRM Perkins + Will
SQ. FT. 17,800 SQF

Escorting several visitors through real-estate developer Madison Marquette’s new headquarters at the Wharf in Washington, D.C., chief development and asset management officer Peter Cole opens a closet door.

“Everybody squeeze in,” he commands. Inside is a counter with a white lacquered backsplash, which slides open seconds later to reveal a conference room. “In lengthy meetings, people wonder, Are we ever going to eat?” Cole explains. “Then they turn around and they’re like, Where did that buffet come from?”

In a corridor of the Madison Marquette headquarters, a storytelling wall slices up a photomural of the Wharf, one of the real-estate developer’s projects. Photography by Eric Laignel.


Two of the visitors, Perkins + Will design principal Ken Wilson and senior associate Haley Nelson, have seen the trick many times. They designed it, after all, to convey hospitality as a theme for a developer whose many mixed-use projects, including the 3.2-million-square-foot Wharf itself, purposefully blur the traditional lines between living, work, and leisure.

Bertjan Pot and Marcel Wander’s pendant fixture hangs above a Bassam Fellows sofa in the lounge. Photography by Eric Laignel.


Most of the 17,800-square-foot workplace operates on the show-don’t-tell principle, borrowing odd angles for phone rooms, embedding device chargers in terrazzo counters, and combining textures and finishes befitting a luxury hotel.

The company’s name appears hardly anywhere. The primary branding element is down a hallway leading to a conference area. On one side, a wall of glazing admits daylight and views of the Potomac River.

The storytelling wall’s fins are aluminum. Photography by Eric Laignel.


The eye is drawn, however, to the interior wall, where a series of 6-inch-wide, floor-to-ceiling aluminum fins—each imprinted with a slice of a photomural of the Wharf, rendered in bokeh effect—forms a lenticular installation: Approached from the right, the abstract image appears to be a daytime scene; from the left, it’s evening. Between the fins, a millwork display presents a photo series telling the company’s story through iconic projects from New Jersey to California.

Reception’s desk is backed by a lacquered logo wall, both custom. Photography by Eric Laignel.

“The images are held in place magnetically and can be switched out to reflect specific services,” Wilson says. Those include development, leasing, and management for 330 assets in 24 states and a $6.2 billion investment portfolio. Which means, Wilson says, that the most important design consideration was to create a space “that still looks good with boxes of pizza everywhere.”

Keep scrolling to view more images of the project >

Images of signature Madison Marquette projects are displayed between the fins. Photography by Eric Laignel.
Jeremy Pyles globe pendants illuminate the lounge’s custom terrazzo-topped island. Photography by Eric Laignel.
Claudia and Harry Washington lounge chairs stand near the communal walnut table in the café. Photography by Eric Laignel.
Ash-veneered storage and a custom quartz desktop define a collaborative work space. Photography by Eric Laignel.
Shared areas are separated from workstations and offices by a partition. Photography by Eric Laignel.
Millwork in the same veneer pairs with ceramic tile in a restroom. Photography by Eric Laignel.

Sources: From Top: Geiger: Chairs (Lounge). HBF Textiles: Chair Fabric. Vitra: Side Tables. Flos: Floor Lamp. Arzu Studio Hope: Rug. Moooi: Pendant Fixture. GSky: Plant Wall. Davis: Coffee Table (Lounge), Sofa (Café). Niche: Globe Pendant Fixtures (Lounge, Café). Herman Miller: Sofa, Barstools (Lounge), Dining Chairs (Café), Work-Stations, Task Chair, Stools (Office Area). Luum: Wall Covering (Reception, Office Area). 3M: Dichroic Film (Reception). Heath Ceramics: Backsplash (Lounge). Terrazzo & Marble Supply Companies: Island Solid-Surfacing. Kohler Co.: Sink, Sink Fittings. Restoration Hardware: Communal Table (Café). Bernhardt: Lounge Chairs, Wood Side Table. Maharam: Chair Fabric, Rug. Blu Dot: Coffee Table. Spinneybeck: Sofa Upholstery. Arktura: Ceiling Baffles. Formica: Custom Millwork (Office Area, Restroom). Transwall: Storefront System (Office Area). USG: Acoustical Ceiling Tile. McGrory Glass: Partition Markerboard. Clarus: Markerboard (Offices). Design Within Reach: Bench (Restroom). Electric Mirror: Mirror. Toto: Sink Fittings. Mockett: Cabinetry Hardware. American Standard: Toilet. Kohler Co.: Towel Bars. Crossville: Floor Tile. Architectural Ceramics: Wall Tile. Carnegie Fabrics: Wall Covering. Throughout: Focal Point: Recessed Fixtures. reSAWN Timber Co.: Wood Flooring. Shaw Contract Group: Carpet. Architectural Veneers International: Custom Veneer. DuPont: Solid-Surfacing. Benjamin Moore & Co.: Paint. Patricia Kazinski: Lighting Consultant. GHT Limited Consulting Engineers: MEP. Columbia Woodworking: Woodwork. James G. Davis Construction Corporation: General Contractor.

> See more from the May 2019 issue of Interior Design

Patricia Urquiola and BMW Look to the Skies for Showroom Inspiration

Patricia Urquiola with BMW’s Adrian van Hooydonk. Photography courtesy of BMW.

BMW Group tapped Interior Design Hall of Fame member Patricia Urquiola to collaborate with Senior Vice President Adrian van Hooydonk on a showroom for the company’s latest flagship cars at the BMW Welt in Munich. The cars are displayed at the combined exhibition, museum, and event venue on 3,466 square feet of flooring made from terrazzo using cutting-edge 3D-printing technology.

Photography courtesy of BMW.

Inspiration for the design was taken from photographs of the BMW Concept M8 Gran Coupe—which was painted in an exclusive shimmering green shade that evokes the northern lights—on a frozen lake. That imagery was translated into a sparkling terrazzo with swirling lines that represent both the cracks in the lake’s surface and the iconic shape of the aurora.

Enter the 2019 HiP Awards by May 3
Photography courtesy of BMW.

The relationship between Urquiola and van Hooydonk dates back many years, driven by a shared interpretation of luxury and performance. The showroom also has a lounge area featuring original works from Urquiola.

Photography courtesy of BMW.

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Northern Spain’s Ancient Vaulted Cellars Inspire Intriguing New Wine Shop by Zooco Studio

PROJECT NAME De Vinos y Viandas
LOCATION Valladolid
FIRM Zooco Estudio
SQ. FT. 430 SQF

Valladolid, a large Spanish city about a two-hour drive northwest of Madrid, sits at the confluence of two rivers surrounded by five distinct wine-growing regions. It’s a prospective destination for oenophiles who favor such eminent Denominaciónes de Origen as Toro, Rueda, and Ribera del Duero, the last a recent Wine Enthusiast “region of the year,” thanks to its famed dark Tempranillo grapes.

Although Valladolid is no tourist haven—it’s a hard-working metropolis with a buzzing economy—it is known for its mucha marcha,or ebullient nightlife, provided by busy cafés and tapas bars, great restaurants, and appealing stores, an intriguing new wine shop among them. Set behind a modern facade on a motley streetscape a few steps from the city’s Old Town, De Vinos y Viandas is Zooco Estudio’s contemporary homage to the region’s famed underground wine bodegas—an imaginative update of the ancient vaulted cellars, built by Benedictine monks, that populate the rolling hills of northwest Spain.

Catas, or tastings, take place at a custom table of lacquered MDF mounted to a structural column. Photography by Imagen Subliminal.

Zooco, which is derived from the name of a Spanish liqueur and pronounced “though-co,” is a 10-person firm led by partners Miguel Crespo Picot, Javier Guzmán Benito, and Sixto Martín Martínez. It’s best known for creative restaurant design, such as the zenlike La Maruca Santander in Madrid. This time, the team took archetypal forms and elements from traditional Spanish oenology, distilled them down to a few essential architectural gestures, and conjured an evocative retail interior. The stone vaulting of subterranean cuevas, or caves, the roundness of oak barrels and glass bottles, and even the structural cross-bracing of cask and wine racks are all recalled by the store’s main abstracted component: a series of room-spanning arches and closely spaced ribs, made of low-cost varnished MDF, that traverse the length of the 430-square-foot space. “The concept’s common thread is circumference,” Martín Martínez explains. “We imagined a geometry that expresses the world of wine, and that became our guiding principle for the project.”

Working with a recently vacated storefront, as featureless as it was diminutive, Zooco used its system of arches and ribs—18 in all—to define the long, narrow space both vertically and horizontally. On the walls between each set of ribs, columns of stacked wine bottles, cradled in orderly MDF shelving, rise from floor to ceiling. The vertical rows are interrupted by a waist-level horizontal band of illuminated niches for the display of upright bottles. Another interruption to the regimental system comes in the form of wavy, acrylic mirrors, some of them semicircular, inserted in strategic places on the walls and ceiling. To the architects, introducing reflective surfaces seemed a natural way to open up and enliven the interior, according to Crespo Picot. “Since the space is very small, we first proposed mirrors as a spatial multiplier,” he says. “We added the rippled-water effect later to complete the notion of barrels, as if the circles contained some kind of liquid.”

Wavy acrylic mirrors nod to liquid while making the 430-square-foot space appear bigger. Photography by Imagen Subliminal.

The shop’s name, De Vinos y Viandas, which literally translates to of wines and foods, indicates that additional items other than the 1,000 or so bottles lining its walls are available for sale. At the center of the space, in a circular opening beneath an arch, a refrigerated vitrine displays cheeses, chorizos, and other sausages. They can be sampled, and wine tasted, at a black semicircular folding table mounted on an adjacent column. In the storefront, next to the entry, a wooden bar-height counter cantilevered below a horizontal bifold window allows customers to enjoy a glass of wine in the open air, connecting to passersby in the cobblestone street in true Castilian fashion.

Seen from the sidewalk, the little vinoteca’s dark, polished terrazzo flooring adds to its moody, cellarlike vibe. Together with the arches and mirrored surfaces, they engender a sense of expectation—that there are new discoveries to be made, new experiences to be had, new vintages to be found in its welcoming depths. As Guzmán Benito puts it, the materials and forms create “an atmospheric world of reflections.” But it’s a world that’s as practical as it is poetic. Those cleverly integrated racks not only allow staff and customers easy access to the wine but also hold the prone bottles at exactly the correct angle for short-term storage. That the rib shelving also suggests classical order—articulated base, fluted shaft, necking, and entablature—epitomizes the way Zooco transforms the metaphorical into the functional.

When open, the storefront’s bifold window becomes a bar-height counter overlooking the street. Photography by Imagen Subliminal.

But more than creating a great neighborhood wine boutique, Zooco has elevated it into a potential stop on every informed oenophile’s international pilgrimage. Without ever being overly literal—there are no photographs of favored vineyards on the walls, no bouquet of Rioja pumped into the air—De Vinos y Viandas turns Spanish wine tourism into an intimate, truly modern experience. Valladolid might well prepare itself for an influx.

Project Team: María Larriba; Beatriz Villahoz; Beatriz Cavia; Teresa Castillo; Jorge Alonso; Aitor Martínez: Zooco Estudio. Ebanistería Kiko: Woodwork. Nimbo Proyectos: General Contractor.

Product Sources: Grupo MCI: Spotlights. &Tradition: Pendant fixtures. Grupo Comersa: Custom vitrine. Metacrilato Madrid: Custom mirrors. Terrazos La Ontanilla: Floor tile. Cortizo: Custom storefront.

See more from the April issue of Interior Design

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Continue reading Northern Spain’s Ancient Vaulted Cellars Inspire Intriguing New Wine Shop by Zooco Studio


Designer Jean-Louis Deniot stripped a South Beach penthouse to the bare cement for a striking home with Art Deco nods.

I had an impression of Miami long before I ever visited. I grew up in Paris and loved hearing about the South Beach scene: Gianni Versace and his mansion, Madonna hanging out at the clubs.


When I first arrived here 10 years ago, I expected to find a sexy paradise with pastel-colored Art Deco buildings and convertibles cruising along the beach. And a lot of Miami Beach was exactly like that. But on that trip, I also discovered another side to the city at Vizcaya, the Renaissance-style estate built by the industrialist James Deering in 1916.

miami real estate
Simon Upton

Designer Jean-Louis Deniot relaxes in the living room of a Miami Beach penthouse that he extensively renovated and designed. In the entry corridor, the wall panels are in polished brass, and the floor ball lights are custom.

Wandering through the villa and its gardens, I found that there was a link between European taste and American culture that was surprising to see in the midst of such an easygoing and cool vacation spot.

Simon Upton
Simon Upton

In the living room, the sofa from Deniot’s collection for Baker is in a Martyn Thompson Studio fabric, the 1930s Jindrich Halabala chairs are in a JAB Anstoetz fabric, the vintage cocktail table is by Paul Frankl, and the gold side table is by Hervé Van der Straeten; the 1920s bronze-and-alabaster chandelier once hung in the Villa Kerylos in France, the indoor-outdoor rug is by Galerie Diurne, the artwork is by Franz Kline, and the shelf holds a Roger Desserprit sculpture (center) and a French 1940s lamp.

Since then, Miami has become one of my regular destinations (I mostly divide my time between Paris, where my firm is located, New York, and Los Angeles). I am currently renovating a house here, and I have several client projects in the area, including the interiors of the Elysee Miami, a 57-story luxury condo tower that is being designed by Arquitectonica.

miami real estate
Simon Upton

The master bath’s walls, vanity, and flooring are in a coordinating marble from Marble of the World, the R.W. Atlas fittings are from Waterworks, and the Jonathan Browning sconces are from Andrew Kornat Designs.

I renovated this striking penthouse for a tech entrepreneur from Los Angeles. I had noticed the apartment — in the 1995 La Tour building—from the street even before it was for sale. Through the massive glass windows, you could see into the living room, with its 20-foot ceiling; it had the look of an artist’s studio, which I thought was appropriate for the home of Art Basel Miami Beach. Its location in the Mid-Beach area known as Millionaire’s Row, between the Faena and Soho Beach House hotels, is ideal. When the penthouse went on the market, I convinced my client to buy it.

miami real estate
Simon Upton

In the master bedroom, the headboard in an Aldeco pattern and standing lamp are both custom; the coverlet is in a Kirkby Design fabric. The armchair is 17th-century Spanish, the mirror is by R&Y Augousti, and the carpet is by Toulemonde Bochart. Deniot lined a wall in distressed stacked bricks and commissioned a hand-painted mural with a spiral motif to make the ceiling appear higher.

On our first visit, we found the place done up like a Spanish castle: tapestries, terra-cotta walls, fountains, columns, and a massive wrought-iron candelabra. I am not kidding. My client was living in a painted-concrete loft in L.A.; I told him I could peel off the drywall here and create a similar kind of Brutalist look.

miami real estate
Simon Upton

The entry’s French 1940s bronze-and-marble console is from Gallery Yves Gastou, and the artwork is by Stephenie Bergman.

One of my inspirations was the Brancusi atelier in Paris. In photographs of the studio, a monochromatic blue canvas is surrounded by sculptures, some on rough-hewn pedestals. Miami’s Art Deco scene was another influence; I gravitated toward the style of Gerrit Rietveld, a Dutch designer of the period, whose work was geometric and avant-garde. In the living room, the walls were stripped to the bare concrete, which was never meant to be visible.

miami real estate
Simon Upton

In the breakfast area, a custom table is framed by midcentury chairs in a Romo velvet; a custom glass-and-bronze bar cabinet is topped with a 1980s cement vase, a French 1940s carafe, and a 19th-century Nigerian helmet; the pendant is by FontanaArte.

But once exposed, it looked like beautiful stone, textured and vibrant, and I left it untouched. I lined the entry corridor with brass panels to reflect the light; it makes the space look bigger, and the effect is pure sunshine. The flooring is newly installed terrazzo — a nod to classic midcentury Miami.

Everything in the living room needed to be on a huge scale to balance the room’s height. The sofa is giant, the concrete head on a pedestal is massive, and the 1920s Italian terrazzo fragment of a nose and mouth on the white shelf near the ceiling is much bigger than it appears — more than two feet tall. If decorating a room is like creating a story (and to me, it always is), then this living room is a tale of the sea.

miami real estate
Simon Upton

The kitchen’s custom stainless steel cabinetry has been laser-printed with an abstract pattern, the sink fittings are by Dornbracht and Franke, the bronze pendant is custom, and the flooring is terrazzo.

I designed the cabinet in straw marquetry to hide the television set. It’s the blue of the deepest ocean, and it rests on lacquered wooden balls shaped like beach balls (the shape also references both Art Deco and Memphis design). On top of the cabinet, a row of onyx cones reminds me of shark’s teeth. The cocktail table has the form of a surfboard, and I designed the rug’s pattern to resemble sand and water.

miami real estate
Simon Upton

On the terrace facing South Beach, the Ilmari Tapiovaara rocking chair is vintage, a 1960s rattan chaise is covered in an outdoor Kravet fabric, and the marble side table is from a Paris flea market.

The ceiling in the master bedroom is just eight feet high. To make it look loftier, I commissioned an artist in Paris to paint a canvas of a storm or massive wave. We put the painting on a boat to Miami and glued it in place in the bedroom. The swirling pattern almost appears like a dome. In the master bath, which has a bird’s-eye view of the Intracoastal Waterway, I wanted the marble to look like a landscape.

I found a stone in Miami with beautiful veining — it looks very Art Deco—and covered every surface in it, along with the vanity, and even designed a matching marble waste bin.

miami real estate
Simon Upton

The living room’s midcentury chair and stool are in a Kirkby Design fabric, the custom television cabinet has doors in straw marquetry, and the marble side table and vintage cones are from a Paris flea market. The artwork above the cabinet is by Jérôme Robbe, and the French 1930s table lamp is from Teo Leo.

In this penthouse, 26 stories above the ground, you feel as if you are floating above the beach, the neighboring buildings, and even the clouds. You can see birds flying by. It’s a very poetic, serene, and some might say surrealistic way to live.

This story was originally published in the April 2018 issue of ELLE DECOR.

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Is Palm Springs’s Low-Slung Midcentury Sensibility Under Attack?

Palm Springs has cemented its reputation as a mecca for midcentury modernism fanatics, but if the latest boutique hotel boom is any indication, the California city isn’t exactly content being a time capsule. Granted, the demolition of the 1960s Spa Hotel and the subsequent plans to plonk down a 15-story, 350-room hotel/mall is rightfully driving locals to rise up in arms; but until the 510,000-square-foot project gets built out by 2026, the dessert city is finding ways to keep its mellow profile while modifying it for the times.

Continue reading Is Palm Springs’s Low-Slung Midcentury Sensibility Under Attack?

Is Palm Springs’s Low-Slung Midcentury Sensibility Under Attack?

Palm Springs has cemented its reputation as a mecca for midcentury modernism fanatics, but if the latest boutique hotel boom is any indication, the California city isn’t exactly content being a time capsule. Granted, the demolition of the 1960s Spa Hotel and the subsequent plans to plonk down a 15-story, 350-room hotel/mall is rightfully driving locals to rise up in arms; but until the 510,000-square-foot project gets built out by 2026, the dessert city is finding ways to keep its mellow profile while modifying it for the times.

Continue reading Is Palm Springs’s Low-Slung Midcentury Sensibility Under Attack?

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