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      R for Repair London exhibition features “sympathetic” repairs to sentimental objects

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      A rattan cast created to protect the damaged wing of a toy puffin and a fractured plate held together with steel staples feature in R for Repair, an exhibition of repaired objects presented at the V&A museum as part of London Design Festival.

      Curated by Jane Withers and Hans Tan, the exhibition is the second edition of R for Repair, and follows the first iteration of the show that was held in Singapore last year.
      R for Repair is on display at the V&A in LondonThe show presented at London’s V&A museum includes 10 damaged objects repaired by 10 different designers from Singapore or the UK. They are displayed alongside three repaired objects from the original exhibition.
      Responding to an open call, members of the public were invited to contribute sentimental but broken objects to the project. Designers chosen by Withers and Tan then repaired the objects in various creative ways.
      Ng Si Ying repaired a toy puffin by creating a rattan cast for its wingDesigner Ng Si Ying created a cast and belt out of rattan and thread for Graham Secrets, a toy puffin owned by UK-based Oli Stratford, which was a gift from the owner’s parents on his 30th birthday.

      Originally made by Danish silversmith and designer Kay Bojesen in 1954, the object was damaged by Stratford’s cat. Ying created a cast for the puffin’s wing in Singapore using an intricate weaving technique.
      Rio Kobayashi used Japanese joinery to adapt an antique sewing chest”We wanted to pair designers who would be sympathetic to the owner’s emotional attachment and what are often quite moving stories behind the objects and why the owners treasure them, but might also have an unexpected take on the object and add new layers of meaning, enriching this evolving narrative of ownership,” Withers told Dezeen.
      “We also looked for designers who might bring interesting techniques and unexpected experimentation to the repairs.”
      The chest now has space to display drawings and paintingsAnother object repaired for the 2022 edition of the exhibition is an 18th-century antique sewing chest owned by Eleanor Suggett Stephens in the UK, which she inherited from her grandmother.
      Suggett Stephens discovered that the chest contained previously unseen sketches and watercolour paintings by her grandmother, who wanted to be an artist but never achieved her dream.
      Other objects include a repaired doll’s house by StudiomamaLondon-based designer Rio Kobayashi used traditional Japanese joinery techniques to raise the furniture’s feet, and also created a large tabletop designed to display and celebrate the secret artwork.
      Kobayashi used walnut, ash, cherry, sapele, paint and glass to repair the chest, which Suggett Stephens said “represents that creative dream which never happened for [my grandma] and reminds me how fortunate I am to have a career in the arts.”
      Studio Dam put a broken plate back together with staplesOther objects in the exhibition include a porcelain dinner plate that broke down the middle and was repaired with steel staples and epoxy glue by Studio Dam in Singapore.
      British owners Karen Birkin and screenwriter Andrew Birkin, brother of actor Jane Birkin, submitted the plate for repair with an entirely open brief. Andrew Birkin quipped that Studio Dam could make a spaceship out of it.

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      In response, the multidisciplinary studio took visual cues from Stanley Kubrick’s film 2001: A Space Odyssey, which Andrew Birkin worked on early in his career.
      Studio Dam was informed by juci, a traditional Chinese porcelain repair technique that involves the use of metal staples.
      At the V&A, the objects are presented on bright yellow boxes”On one hand, the primary motivation was to bring creativity to repair through design,” explained Tan, discussing the exhibition.
      “At the same time, we thought having designers and objects from two countries would add a dimension to the project as a design and cultural exchange.”
      Tzen Chia playfully repaired a glass bottle for an anonymous ownerWithers also added that the exhibition intends to celebrate the process of repair and encourage the idea of giving possessions a second life.
      “I think it is important to broaden the discussion around repair and explore the psychological as well as functional dimension,” concluded Withers.
      “To understand why we keep things and how that can inform the design of products. How can things be designed with repair in mind so they improve with age?”
      As London Design Festival kicks off in the capital, see other installations that are part of the event, such as a collection of rotating stone chairs by Sabine Marcelis.
      The photography is by Zuketa Film Production. 
      R for Repair is on display at the V&A in London from 17 September to 2 November. 
      London Design Festival 2022 takes place from 17-25 September 2022. See our London Design Festival 2022 guide on Dezeen Events Guide for information about the many other exhibitions, installations and talks taking place throughout the week.

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      Neri&Hu creates “nomadic” office interiors for Shanghai media company

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      Chinese architecture studio Neri&Hu has designed a flexible office space in Shanghai for the changing needs of media company Red+Plus Studio’s employees.

      The Shanghai-based studio stripped back the 529-square-metre space, located on the second floor of a factory building within a former industrial campus, by removing numerous layers of previous renovations.
      The concrete structure is exposed in the office’s central spaceThe concrete structure of the building was left exposed throughout with a number of columns breaking up a large multi-use space at the centre of the office.
      Large steps within this space can be used as seating for presentations with a hidden projector placed in the roof.
      The existing skylights were used to light the desksTwo stainless-steel structures enclose meeting rooms alongside this main space, while private offices are arranged alongside it.

      A room with stainless-steel desks, which is lit by six pre-existing skylights in the sloping roof, stretches along one edge of the room.
      “With the strength of the building’s original character revealed, any additions to the space were carefully applied in layers that allow what is behind to coexist, inhabiting the liminal space between past and present,” explained the studio.
      A hidden projector can be lowered to create a screening roomThe studio used “nomad” as the design concept, based on the client’s request for flexible working spaces.
      Spaces were designed so that they can serve multiple functions, with several sliding doors created to provide flexibility and allow the company to alter the workspace dependent on future needs.

      Neri&Hu embody ethos of “reflective nostalgia” with own architecture studio in Shanghai

      “Much like the itinerant populations that move between cities to offer specialized services, the people working for and with this agency needed their spaces to transform according to various scenarios,” said the studio.
      Stainless steel and frosted glass were widely used throughout the space to contrast the concrete structure and reflect the changing usage. Galvanized steel and mesh were selected as they will change colour over time.
      Various office rooms are placed at the edge of the main spaceNeri&Hu’s other recent projects include a courtyard house in Singapore and a guesthouse wrapped in metal mesh in Shenzhen.
      The photography is by Zhu Runzi.
      Project credits:
      Partners-in-charge: Lyndon Neri, Rossana HuAssociate: Siyu ChenDesign team: Jerry Guo, Kenneth Qiao, Jinghan Li, Ath Supornchai, Kany Liu, Greg WuFF&E design and procurement: Design RepublicContractor: Shanghai Idea Mechanics Interior Designers Contractors

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      Play Architecture tops restaurant in India with undulating tiled roof

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      A wavy, tiled roof formed by intersecting catenary vaults shelters this lakeside restaurant, designed by Bangalore-based Play Architecture for the Deva Dhare Resort in Karnataka, India.

      Perched above a narrow stream on recycled steel stilts the structure, which has been shortlisted in the hospitality building category of Dezeen awards 2022, provides both internal and external dining areas for the 10-acre resort.
      The Deva Dhare Restaurant is topped with a vaulted tiled roofNestled in the forests of Sakleshpur with expansive views of the Western Ghats mountain range, Play Architecture sought to create a form that would “weave and integrate seamlessly” into the landscape, making use of local materials and labour.
      “The dining space is located on an extremely ecologically sensitive zone, where one needs to touch the ground gently,” explained the studio.
      “The design approach is bottom-up, where the construction process and choice of materials address the local climate, ground conditions, flora and available local labour.”

      The restaurant sits over a small stream in a Sakleshpur forestTo create a column-free interior, a dramatic, unreinforced catenary vaulted roof spanning 16 metres was created, using five layers of 15-millimetre clay tiles typical to the area.
      This roof sits atop a granite and steel deck slab, supported by the structure of thin, green-painted steel columns beneath and accessed via two stone staircases at either side.

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      “The form shows how the forces flow through the structure, and the resistance of the form allows large spans to be built with small thicknesses, saving on materials and labour,” said the studio.
      “More over, the focus of this research was to stay away from sophisticated software solutions and find geometric, logical means and hands-on methods, empowering unskilled labour to apply the idea on a day-to-day basis.”
      Four glass-covered openings under the wavy roof offer views of the surroundingsFour arched openings at either side of the restaurant are filled with full-height glazing framed with black steel, providing views out in every direction.
      To the east and west, glass doors provide access out onto two terraces for overlooking the lake and stream, and to the north a short corridor leads to a standalone bathroom block.
      The curved roof is formed of intersecting catenary vaultsThe granite slabs of the platform have been left exposed throughout, creating a continuity between the interior and exterior, and some have been replaced with glass to provide views of the stream below.
      “The project is a simple, straightforward demonstration of the strength of an idea…with a sincere effort to express the material and construction tectonics truthfully,” said the practice.
      Other projects shortlisted in the hospitality building category of Dezeen awards 2022 include a copper-clad shelter for a teahouse in China by Neri&Hu Design and Research Office, and a boutique hotel in Mexico by Alberto Kalach topped by barrel vault roofs.
      The photography is by Bharath Ramamrutham.

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      Vermilion Zhou Design Group opts for rich hues in revamp of Haidilao hotpot restaurant

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      Shades of blue and green feature throughout this hotpot restaurant in Shenzhen, which has been updated by Chinese studio Vermilion Zhou Design Group.

      Haidilao, which was established in 1994, is the biggest hotpot restaurant chain in China, with overseas branches in cities such as London, New York and Sydney.
      When its Shenzhen location was in need of a revamp, Vermilion Zhou Design Group was brought in to lead on the design.
      Sky-blue seating lies at the centre of the restaurantFrom the outset, the Shanghai-based studio knew it wanted to avoid the red and black colour scheme that has previously been used in Haidilao restaurants.
      The space has instead been decked out in shades of blue and green that are meant to nod to the chain’s use of natural, fresh ingredients.

      At the periphery of the floor plan are jade-green dining cabinsAt the heart of the restaurant is a bank of sky-blue dining chairs accompanied by tables with flecked, terrazzo-style countertops.
      Bands of shiny brass panelling have been suspended from the ceiling overhead, inset with LED ticker boards that project interactive messages to diners.
      A large LED screen has also been integrated into Haidilao’s facade; it displays moving silhouettes of different people, hinting at the buzzing activity of the restaurant’s interior.
      Tables have terrazzo-style countertopsAround the periphery of the main dining room is a sequence of high-backed, jade-green booths that form intimate “cabins” where small groups can enjoy their meals.
      There are also a number of cosy nooks designed to accommodate solo diners.
      Jade-coloured fixtures and furnishings also appear in the private dining roomTowards the rear of Haidilao there is a drinks counter and a private dining room that can be hired out for special occasions. Tall pivoting doors help close the space off from the rest of the floor plan.
      In keeping with the rest of the restaurant, it features jade-coloured walls and brass-edged furnishings.
      In the bathrooms, terrazzo washbasins meet scalloped wallsVermilion Zhou Design Group has created a small manicure bar within the restaurant’s entryway – not only is it meant to lure in more passersby, but it also gives prospective diners a fun way to kill time while waiting for a table.
      The bar has been rendered blush-pink, boldly deviating from the restaurant’s colour scheme, and has a scallop feature wall.
      Scalloped surfaces go on to appear in the customer bathrooms, which have been finished with oblong mirrors and terrazzo-like washbasins.
      A pink nail manicure bar has been created in Haidilao’s entrywayThere are a number of visually striking hotpot restaurants across China.
      Examples include Jin Sheng Long in Qinhuangdao, where diners sit among thick stucco partitions, and Xinhua Nufang in Chengdu, which perches on the edge of a lotus pond.
      The photography is by Vincent Wu.
      Project credits:
      Creative director: Kuang Ming (Ray) ChouConcept design: Ting Ho, Ming ShiInterior design: Garvin Hong, Xudong Wang, Yuqin Chou, Dandan Guo, Jing Wu, Zihao Yao, Yuxuan Li, Changsong LiLighting design: Vera Chu, Chia Huang LiaoFF&E design: Ping Xue, Ruiping HeVideo: Ming Shi

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      Johnston Marklee installs villas inside industrial LA building for Holly Hunt Showroom

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      Architecture studio Johnston Marklee has installed a pair of villas inside an industrial building in Hollywood to create display spaces for design brand Holly Hunt.

      The LA-based studio collaborated with Holly Hunt’s executive creative director Jo Annah Kornak to create the showroom on North Highland Avenue.
      A vaulted villa is one of two volumes installed inside Holly Hunt’s LA showroomLed by Johnston Marklee partner Sharon Johnston, the project involved the overhaul of a two-storey, 1940s building into a flagship location for the brand to showcase its furniture and home products.
      Holly Hunt’s design aesthetic and the city’s “characteristic industrial grit” were combined through the use of rich finishes and raw surfaces.
      Furniture from the brand’s Vladimir Kagan and Holly Hunt Studio collections are displayed in the north villaTwo villas were created inside the showroom to present the designs in residential-scale spaces, surrounded by a “promenade” that shows off the building’s tall ceilings and exposed concrete beams.

      “The raw concrete shell frames an interior street,” said Johnston.
      “A double-height promenade space around the villas, together with the villa interiors, creates an atmosphere and experiential narrative for the display of elegant domestic furniture for house and garden.”
      The second villa includes interior vignettes on the lower levelThe villa to the north features a vaulted ceiling and wall niches and is used to display the brand’s Vladimir Kagan and Holly Hunt Studio collections.
      At the other end of the building, a two-level structure is arranged around a large circular atrium at the centre.
      A circular atrium is located at the centre of the second villaThe lower floor comprises a series of interior vignettes, while rooms upstairs house a library of textiles, leather, trim and rugs, along with wallcoverings from a variety of affiliate brands.
      “The visitors’ journey through the spaces reflects a spatial dialogue between exterior and interior, linked through richly finished in-between spaces,” Johnston said.
      A taller space named the promenade surrounds the building’s interiorLight-grey oak flooring runs through both villas, while terrazzo, concrete walls and hand-troweled plaster are all executed in a matte finish in the promenade.
      Bronze details also feature throughout the showroom, including the entry vestibules, stairwell and lighting gallery.

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      Although most of the interior is decorated in neutral tones, a 24-foot (7.3-metre), mustard-coloured sofa follows a curved corner of the building.
      “We approached the interior architecture in the same way that we would design a new product, being very thoughtful with our use of scale, proportion and materials,” said Kornak.
      The concrete of the 1940s industrial building is left exposed”We were very intentional about incorporating elements that celebrate LA’s signature urban aesthetic, like the original exposed concrete walls, beams, and other details throughout the space,” she added.
      Holly Hunt was set up in 1983 by its eponymous founder in Chicago.
      The brand previously operated two spaces within LA’s Pacific Design Center, but has scaled down to just the sixth-floor showroom now that the North Highland Avenue flagship has opened.
      Matte finishes and bronze details are used throughout the showroomJohnston and partner Mark Lee established their studio in 1998, and have since completed many private residential projects in Southern California – including the Vault House and Knoll’s West Hollywood showroom – as well as around the world.
      Lee is also chair of the Department of Architecture at Harvard Graduate School of Design.
      The photography is by The Ingalls.

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      Hariri Pontarini rethinks cold medical interiors at Barlo MS Centre

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      Canadian architecture studio Hariri Pontarini has completed a clinic in Toronto for multiple sclerosis patients that features warm wood tones and spaces designed to feel like “first-class airplane lounges”.

      The Barlo MS Centre is Canada’s largest clinic dedicated to those with MS, a complex autoimmune disease that affects the central nervous system.
      The BARLO MS Centre was designed with atypical colours, materials, textures and lightingNamed after its two biggest donors, the Barford and Love families, the centre occupies the top two floors of a new 17-storey tower at St Michael’s Hospital in Downtown Toronto.
      The 30,000-square-foot (2,790-square-metre) facility was designed by local studio Hariri Pontarini Architects, which aimed to rethink sterile-looking healthcare spaces and focus on patient wellbeing through the use of atypical colours, materials, textures and lighting.
      The clinic’s two storeys are connected by a staircase that rises through an atrium”Canadians are particularly prone to MS for reasons that are unclear,” said the studio.

      “This hospital’s mission is nothing less than to transform MS care and become the world’s leading MS centre through research and clinical treatment.”
      Circular consultation rooms are partially clad in walnutTaking cues from the hospitality industry, the team aimed to create a “comfortable and welcoming environment” by filling the spaces with daylight and offering views of the skyline.
      The two floors are connected by a double-height atrium, topped with an oculus that allows more natural light in from above.
      The wavy panels conceal the rooms from the main circulation corridorA staircase rises up through the atrium, curving towards the top with a glass balustrade to follow the shape of the opening.
      Downstairs, the atrium connects to a lounge at the corner of the building and a reception area anchored by a curved white counter.
      Infusion pods are given privacy by pale wood screensA wide corridor leads past a series of cylindrical consultation rooms that are partially glazed, but screened where they face the circulation area by wavy walnut panels.
      On the other side of the floor plan, smaller and more open consultation booths named infusion pods are still offered privacy with curved pale wood screens.
      Different varieties of wood give the interiors a warm tone”The infusion pods where patients may sit for up to eight hours are modelled to resemble a first-class airplane lounge and provide complete control over their environment,” the Hariri Pontarini team said.
      Various light-toned woods are used for wall panels and balustrades, as well as thin slats that extend across the ceilings.
      The atrium connects to a lounge and waiting areaAll spaces were designed with durability and accessibility in mind, considering that some MS patients have vision and cognitive loss, fatigue and impaired coordination.
      Bronze-coloured handrails were installed along the majority of walls and partitions, while anti-slip porcelain tiles cover the floors to aid patient mobility.

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      The centre also includes a gym, a mock apartment adapted for MS patients, and rooms for meetings, research and administration.
      Together, it provides patients with a space to see a dedicated healthcare team in one location and clinicians the state-of-the-art resources to offer the best possible treatment.
      An oculus above the atrium brings daylight into the centre of the buildingHariri Pontarini Architects was founded by Siamak Hariri and David Pontarini in 1994.
      One of the studio’s most recognisable buildings is the Bahá’í temple in Chile, featuring torqued wings made of steel and glass, while its work closer to home includes the glass-wrapped Tom Patterson Theatre in Stratford, Ontario.
      Handrails are provided throughout the clinic to aid patient mobilityThe Bar MS Centre is one of five projects shortlisted in the Leisure and Wellness Interior category of the Dezeen Awards 2022, along with a Shenzhen cinema and a spa in the Maldives.
      See the full Interiors shortlist and vote now for your favourites.
      The photography is by A-Frame.

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      Ten beautiful brutalist interiors with a surprisingly welcoming feel

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      For our latest lookbook, we’ve collected 10 brutalist interiors from the UK to Brazil and Indonesia that show how textiles, plants and colours can be used to soften monolithic concrete spaces and create a cosy atmosphere.

      Brutalism as an architectural style often makes use of concrete to create large, sculptural buildings. These interiors in brutalist buildings feature plenty of concrete and hard angles but still manage to feel both warm and welcoming.
      Colourful tiling, wooden details and tactile textiles as well as an abundance of green plants were used to create inviting living rooms, bathrooms and even workspaces in these brutalist buildings, which include the Barbican in London and Riverside Tower in Antwerp.
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring granite kitchens, terrazzo eateries and atriums that brighten up residential spaces.
      Photo is by Tommaso RivaA Brutalist Tropical Home, Indonesia, by Patisandhika and Dan Mitchell

      Designer Dan Mitchell worked with architecture studio Patisandhika to create this brutalist home in Bali, which features a double-height living room filled with books, records and green plants.
      The house has a split-level design that was modelled on modernist architect Ray Kappe’s Kappe Residence. Inside, colourful objects, textiles and furniture draw on the work of Clifford Still, Ellsworth Kelly and the Bauhaus movement to make the house feel homely.
      Find out more about A Brutalist Tropical Home ›
      Photo is by Niveditaa GuptaHouse of Concrete Experiments, India, by Samira Rathod
      As the name suggests, House of Concrete Experiments features sculptural concrete walls. Warm wood detailing offsets the grey hues, while the concrete floor has been inlaid with black stones to create an interesting pattern.
      Large windows and geometric skylights help make the room feel bright and inviting.
      Find out more about House of Concrete Experiments ›
      Photo is by Olmo PeetersRiverside Tower Apartment, Belgium, by Studio Okami Architecten
      Studio Okami Architecten stripped the walls of this flat in Antwerp’s Riverside Tower to let its original structure take centre stage.
      Colourful details such as a turquoise table and baby-blue spiral staircase and a playful, sculptural lamp make the home feel contemporary, while plenty of green plants give more life to the otherwise grey interior.
      Find out more about Riverside Tower Apartment ›
      Photo is by PhotographixBeton Brut, India, by The Grid Architects
      Designed as a “neo-brutalist” house, Beton Brut in India has a number of dramatic features, including a skylit atrium that extends through the home.
      The Grid Architects described the home as “typified by bare concrete, geometric shapes, a monochrome palette and a monolithic appearance”. Wooden flooring and furniture and plenty of textiles soften the house’s brutalist interior and potentially stern appearance.
      Find out more about Beton Brut ›
      Photo is by Anton GorlenkoBarbican flat, UK, by Takero Shimakazi Architects
      This flat in the Shakespeare Tower of London’s brutalist Barbican estate was overhauled by Takero Shimakazi Architects in a nod to the client’s strong ties to Japan.
      Details such as gridded timber panels and timber joinery were added throughout the flat, which also features Japan-informed details including an area lined with tatami mats.
      Find out more about the Barbican flat ›
      Photo is by Joana FrançaConcrete home, Brazil, by Debaixo do Bloco Arquitetura
      Debaixo do Bloco’s design for this sculptural house in Brazil is divided into three sections to provide a clear distinction between the various programmes.
      Inside, the interior has a mid-century modern feel, with gleaming wood parquet flooring and a glass PH table lamp by Danish designer Louis Poulsen decorating a side table.
      Find out more about the concrete home ›
      Photo is by Lorenzo ZandriSmithson Tower office, UK, by ConForm
      The brutalist Smithson Tower in Mayfair is the location for this “homely” office designed by ConForm Architects. The studio split the space into eight zones defined by the strong structural grid of the existing building, and added low-level joinery.
      The result is a design that softens the stark office spaces and makes the rooms feel more intimate.
      Find out more about the Smithson Tower office ›
      Photo is courtesy of The StandardThe Standard London, UK, by Shawn Hausman
      Designer Shawn Hausman created the colour-drenched interior of hotel The Standard in London, which is located in a brutalist building, to contrast “the greyness of London”.
      “I would say with this property we were a bit more colourful than usual, and I think part of that is acting in contrast to the brutalist building that the hotel’s in,” explained Hausman.
      In the bathrooms, stripy pink-and-black tiled walls and pops of pale mint green give the room a fun, playful feel.
      Find out more about The Standard London ›
      Photo is by Casey DunnPreston Hollow, US, by Specht Architects
      The long corrugated concrete volumes of Preston Hollow in Dallas were designed to reference brutalist Texan architecture from the 1950s and 60s, but the house was built to wrap around courtyards, creating a lively, open impression.
      Inside the low-slung buildings, mid-century modern-style furniture nods to the home’s architectural references but the interior is brought up-to-date with the addition of modern art.
      Find out more about Preston Hollow ›
      Photo is by Gilbert McCarragherBarbican apartment, UK, by John Pawson
      British architect John Pawson created this flat in London’s Barbican building using his signature minimalist aesthetic.
      The flat, which overlooks central London and has a small concrete balcony, has been kept almost empty with just a smattering of furnishings and pale wooden surfaces. Three artworks, a Buddha sculpture and a grandfather clock are the only decorative elements in the space.
      Find out more about the Barbican apartment ›
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring granite kitchens, terrazzo eateries and atriums that brighten up residential spaces.

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      Denniston Architects converts 1920s skyscraper into Aman New York hotel

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      Denniston Architects has converted New York City’s Crown Building in the heart of bustling Midtown into a space for the Aman Resorts luxury hotel group.

      Aman New York hotel opened in August 2022 in a beaux-arts building at 57th Street and Fifth Avenue completed in 1921 by Warren & Wetmore – the architecture studio behind Grand Central Station.
      Fabric umbrellas cover the Aman New York’s outdoor terrace bar, which enjoys views of ManhattanJean-Michel Gathy and his studio Denniston Architects, which is frequently tapped for Aman locations, restored and converted the 25-storey tower to create 82 suites and 22 residences.
      To create a feeling of quiet and relaxation in the middle of New York City, elements like glass soundproofing were combined with a muted, minimalist colour and material palette throughout the building.
      The hotel is designed to capitalise on its location at the corner of 57th Street and Fifth AvenueGold details were also added throughout as a nod to its ornamental spire.

      “Every detail of the design effortlessly contributes to Aman New York’s aura of rarefied calm,” said Aman Resorts.
      A circular fire pit sits within a square reflecting pool on the garden terraceOak, walnut and cinnamon woods are used for finishes, floors, doors and custom furnishings, while bronze, brass, and stainless and blackened steel add warmth.
      Japanese influences are found in elements including textured stone floors laid in a pattern reminiscent of woven rattan baskets.
      Suites feature pivoting doors that allow guests to open and close off their spacesEach suite features a large mural inspired by the 15th-century Japanese artwork Pine Trees by Hasegawa Tōhaku.
      Pairs of pivoting louvre doors with backlit rice-paper panels can be angled by guests to open up or contain the spaces within their rooms.
      A minimalist colour and material palette is used throughout the hotelThese doors envelop the bathrooms, which are fitted with free-standing oval bathtubs, marble rain showers and twin vanities.
      All of the guest rooms and residences also have a working fireplace to help occupants feel cosy.
      The pivoting doors wrap around the suite bathrooms, which include freestanding tubsHotel guest amenities include a 20-metre swimming pool on the 10th floor, a fitness centre, and a 650-square-metre outdoor terrace that can be covered with a retractable glass roof.
      An atrium on level 14 hosts a series of giant paper and bamboo sculptures by Peter Gentenaar that float between four stone columns.
      Double vanities are also provided in the bathroomsOf the two restaurants within the building, Italian-influenced Arva is arranged around a central open kitchen and surrounded by floor-to-ceiling wine cabinets.
      Meanwhile, Nama serves traditional Japanese cuisine and features a hinoki wood counter for omakase-style dining, as well as staggered ceilings and pendant lights influenced by the work of American architect Frank Lloyd Wright.
      Asian influences seen in the decor and artwork nod to the Aman brand’s rootsThe Aman Spa is open to the public and is spread over three storeys and 2,300 square metres.
      “Active spaces including the pool and fitness centre feature light timbers and grey tones, while passive spaces where treatments are enjoyed at the very core of the building are more nurturing, with curves and warmer hues,” said the Aman Resorts team.

      Yabu Pushelberg designs The Times Square Edition as “ultimate counterpoint to its surroundings”

      Founded by Indonesian hotelier Adrian Zecha in 1988, the Swiss-headquartered company operates 34 properties in 20 countries.
      All are known for offering privacy and seclusion, and each is designed as a unique experience that pays homage to its location.
      The Aman Spa is open to the public and includes a retail spaceOthers in the portfolio include Amanyangyun near Shanghai, which was created by moving an area of threatened historic houses and forest 800 kilometres, and Aman Kyoto, named Hotel of the Year at the AHEAD Asia 2021 awards.
      The Aman New York joins myriad hotels in Midtown Manhattan, with high-end options including the Edition Times Square, and more affordable alternatives like the AC Hotel and Moxy Times Square.

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