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    Studio Empathy and Praxes design library at Korean Cultural Center New York

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    Traditional Korean architecture influenced the layout and shelving design in the library at the Korean Cultural Center New York, designed by Studio Empathy and Praxes.

    Changhaak Choi of Studio Empathy and Jiyoung Kim from Praxes worked together to complete the 1,600-square-foot (149-square-metre) library, located on the third floor of the Korean Cultural Center New York’s new venue in Midtown Manhattan.
    The library is arranged to from a central courtyard formed by bookshelvesThe space houses a collection of over 10,000 books, periodicals, government publications, and multimedia resources in both Korean and English.
    It acts as a resource for research on Korea, introduces Korean writers to the New York audience, and provides educational materials for young Korean-Americans and those interested in Korean culture.
    The shelves are fabricated from plywood elements and joined to resemble traditional Korean architectural details”This new library aspires to be a cultural hub, promoting information exchange and enhancing mutual understanding of Korea among the Korean-American community and the broader New York population,” said Choi.

    “The design seamlessly blends archaic forms with a minimalistic and contemporary aesthetic, which incites a biophilic space.”
    The central space is populated with cube-shaped stools for visitors to sit and readTo enable easy circulation, the bookshelves were arranged in a rectangular plan with a pathway around the perimeter and a courtyard in the centre, with openings to allow movement between the two.
    The layout is akin to a traditional Korean han-ok house, which is similarly organised in a loop around a central space.
    The shelves sit away from the building’s glass walls so that visitors can circulate around the perimeterHere, the “courtyard” serves as the reading area and includes cube-shaped wooden stools upon which visitors can sit.
    “This design enables visitors to continuously explore the diverse scenery of book stacks and enjoy views of the rooftop garden through glass walls, seamlessly integrating indoor and outdoor elements,” Choi said.
    The library’s children’s section is housed within a lower storage moduleThe bookshelves were also modelled on the typical post-and-lintel assembly and joining techniques found in han-ok homes.
    They were fabricated as modular units using thin plywood panels, slats and metal components to be efficient and cost-effective.

    Studio Hinge creates library spaces beneath tree-like wooden columns

    Along the tops and sides of the storage modules, a wooden lattice is coloured in five bold hues to enliven the design.
    “This design resonates with the vibrant book spines, creating a dynamic visual contrast with the monochromatic, bright wood shelves, and light grey stone floor,” said Choi.
    Wooden latticework is also installed across the ceiling and behind the reception deskThe aim is for the library to become a community hub for Korean-Americans and others New Yorkers, and host events like book launches and other group activities.
    “This project showcases how cultural heritage can be preserved and celebrated through thoughtful and contemporary design, creating a unique and enriching environment for all visitors,” said Choi.
    The tops and sides of the shelves are coloured in five bold huesPlayful shelving solutions have become a hallmark of contemporary library designs around the world.
    At a space in São Paulo, MAB3 and Zénite created forest of books where shelves encircle tree-like columns, while Studio Hinge took an arboreally informed approach to storage at a library in Mumbai.
    The photography is by Michael Moran and Changhaak Choi.

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      Neri Oxman launches New York practice in Foster + Partners-designed studio

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      Designer Neri Oxman has unveiled a studio in Midtown Manhattan designed with architecture studio Foster + Partners that houses a production workshop and wet lab.

      Oxman unveiled the lab for her studio, Oxman, in a building originally designed by American architect Albert Kahn as a car manufacturing plant and renovated by Rafael Viñoly Architects to house shops and offices.
      Neri Oxman has unveiled a studio designed with British architecture studio Foster + PartnersOxman’s team worked with Foster + Partners to design a two-storey studio on the 9th and 10th floors of the building.
      The 36,000-square-foot space (3,345 square metres) is characterised by white-painted walls and columns, and is largely open – most of the dividing walls are glass. The lower floor features design offices, a library, kitchen and lounge, while the upper floor holds the wet lab and production studio.
      “Every detail of this project has been developed in conjunction with Neri and her team, reflecting Oxman’s holistic approach that spans scales and disciplines,” said Foster + Partners founder Norman Foster.

      “Both levels of the new studio have their own distinctive characters and contain a range of highly adaptable workspaces and labs, which enhance creativity and will become an epicenter of world-leading research.”
      The studio is located in a building designed by Louis Kahn and renovated by Rafael Viñoly ArchitectsOxman said that the design of the studio was meant to be open, flexible and technical to enable collaboration between the designers, scientists, architects and other employees who work there.
      She said that the space was meant to facilitate the actualisation of her The Krebs Cycle of Creativity – a rendition of German-British scientist Hans Krebs’ diagram depicting stages of energy generation in organisms.
      It is two storeys and contains a wet lab and central glass staircase”The dream for this building, this lab was to embody the diagram,” said Oxman.
      “The lab looks clean and nice on the inside, but inside, packed in the ceiling and in the ground, are conduits that are embedded for insert allowing access to data, to power, to gasses that feed the workstations – there’s 70 miles worth of Ethernet and an optical cable for cloud computing.”
      It is characterised by white-painted walls, glass dividers and wooden furnitureThe entrance space for the studio is a central atrium lit from above by panel lights in the ceiling that conceal the complex mechanical systems, including over 100 miles of colour-coded cabling to enable high-speed data.
      One side of the first floor holds the design studio where rows of custom-produced wooden desks run perpendicular to the floor-to-ceiling glass windows that overlook the high-rises of Hell’s Kitchen. A garden terrace with walkways and plants runs outside the windows.
      Conduits in the walls allow for access to data, power and gasses according to OxmanOpposite the windows run a series of private offices, completely lined in glass, with vitrines featuring samples of Oxman’s work, serving as visible dividers between each wood-backed space.
      On the other side of the first level, past a central stair, is a long conference table used for displaying work and models, and behind that a series of enclosed spaces for respite.
      It is meant to foster collaboration between employeesThe floating staircase was custom-designed for the space and has a single stringer at the top of the space and interlocking glass panels.
      The second storey holds a production workshop with robotic arms and 3D printers to fabricate shoes made from polyhydroxyalkanoates (PHAs) – plastic-like molecules derived from bacteria.
      The interior is largely openAcross an atrium is a wet lab with custom Krion benches. Opposite the windows are a series of “capsules” that are heavily mechanized and can be used to simulate natural environments.
      According to Oxman, the studio is currently working on three primary areas: urban design and architecture, product design and molecular biology.
      The space was meant to facilitate the actualisation of The Krebs Cycle of CreativityOne of the biology products is a device called ALEF, which uses sensors to monitor biodiversity by training it to intake biogenic volatile organic compounds – described as “smells” – to provide data about environments.
      “From a biodiversity chamber designed to study and heal a struggling ecosystem to a ‘scent computer’ designed to concoct a functionalized fragrance with no harm to the environment, we seek to advance our understanding of the natural world while offering alternatives to methods of designing molecular goods that rely on monocropping,” said Oxman.
      “In fact, one of the most ecologically biodiverse environments in New York City currently thrives in our lab.”

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      The opening of the studio corresponds with the announcement of this endeavor, as well as the bioplastic shoes and a series of modelling systems for urban design based on what Oxman calls “ecological programming” – AI-driven modelling programs used to make planning decisions to optimise for nonhuman, as well as human, life.
      “The Lab’s organizational ‘parti sketch’ perfectly mirrors the organizational and operational logic of the company, enabling tight physical and visual connectivity across zones dedicated to hardware, software, and wetware design,” said Oxman. “In other words, one can design, build, and deploy a bioreactor in a matter of hours.”
      “We are a design and innovation company,” she said. “We operate across scales, across disciplines and application domains, to target and to heal three broken industries.”
      The opening corresponds with a biology product called ALEFOxman, who is a former tenured professor at MIT and led The Mediated Matter Research Group, is known for her experiments in novel materials for construction such as melanin and silk.
      Earlier this year Oxman was caught up in an academic plagiarism row with Business Insider reporting that her dissertation was “marred by plagiarism”. She responded to allegations in a statement on X, formerly Twitter, saying she “omitted quotation marks for certain work that I used”.
      The photography is by Nicholas Calcott
      Project credits: 
      Collaborators: Foster + Partners, Adamson Associates Architects, Sciame HomesConsultants: Benchmark Woodworking, Cosentini Associates, Front Inc., Hollander Design, Jacobs Associates, Pentagram, Percival Scientific, Inc., Persak & Wurmfeld, Shen Milsom & Wilke, LLC, Silman, Spiralis, Syzygy 3, Inc., Tillotson & Associates, TKO Project Management

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      Marmol Radziner creates club space in modernist Park Avenue skyscraper

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      The third floor of the iconic Lever House skyscraper in Midtown Manhattan has been renovated by architecture firm Marmol Radziner to complement the building’s original modernist design.

      Marmol Radziner completed the interiors for the Lever Club within the office tower at 390 Park Avenue, which was designed by Skidmore, Owings & Merrill in the International style and completed in 1952.
      The entrance to Lever Club is lined with green marble flooring and soapstone wall panelsSOM finished restoring the building last year, after it was purchased by developers Brookfield Properties and WatermanClark in 2020, and Marmol Radziner worked on updating its communal spaces that had fallen into disrepair.
      “Lever House is a globally renowned architectural marvel, symbolising the era’s shift to modern skyscrapers,” said Marmol Radziner.
      The green hues used through the interior nod to the colour of the building’s curtain wall facade”Recognised with the prestigious Twenty-five Year Award from the American Institute of Architects (AIA), the building remains an icon of architectural excellence,” the studio added.

      Originally a cafeteria and repurposed several times over the years, the third floor now serves as a lounge, bar and dining space that continues onto a terrace projecting from the tower’s elevated base.
      The club’s layout revolves around “a series of paneled volumes”Design cues were taken from SOM partner Gordon Bunshaft’s own residence, and other modernist masters, to create an interior that feels in keeping with the building’s history and architecture.
      “From the beginning, we felt that the design of Lever Club should feel like a sympathetic insertion within the iconic curtain wall of the building,” said Marmol Radziner partner Ron Radziner.
      The bar is bookended by rosewood volumes and backed by a screen from John Lewis GlassThe club is entered via a lobby area where floors and walls are covered in panels of green marble and soapstone, contrasted by a simple cuboid reception desk made from wood.
      Inside, the layout revolves around “a series of paneled volumes set within the glass perimeter, taking advantage of the views and access to the most superbly sited outdoor terrace in the city”, according to Radziner
      The dining area overlooks an expansive terrace on top of the building’s elevated baseThe marble flooring, which echoes the green hues of the building’s pioneering facade, extends into the lounge area where tone-matched carpet demarcates soft seating areas.
      Many of the armchairs and sofas are upholstered in a complementary green hue, while chocolate-coloured leather is used to cover other seating options such as bar stool and banquettes.
      The curved banquettes are wrapped in chocolate-brown leather”The furnishings, largely bespoke, respond to and soften the hard edges of the architecture with plush texture and rich tones most often seen in a residential setting,” Radziner said.
      Rosewood tables match the large vertical elements that bookend the bar, which is backed by a John Lewis Glass patterned screen.

      SOM completes restoration of New York’s historic Lever House

      Aluminium also appears as table bases and chair frames that echo the slender window mullions.
      “It was important to us that the design respond intelligently and reverently to the building while also creating a real sense of comfort, warmth, and luxury,” Radziner said.
      Aluminium chair frames echo the slender window mullionsThis isn’t the first time that Marmol Radziner has created interiors for a SOM-designed skyscraper – the firm was also behind the penthouse at Fifteen Fifty in San Francisco, which was temporarily turned into a collectible design gallery in 2021.
      Earlier this year, Marmol Radziner completed California’s tallest residential skyscraper in Downtown Los Angeles.
      Lever Club can be used by the building’s tenants during the day and at nightLever House is one of several Manhattan office towers from the mid to late 20th century to have been retrofitted in recent years, aiming to attract new tenants.
      Among them are the postmodern AT&T Building by Philip Johnson, which was rebranded as 550 Madison after it was overhauled by Snøhetta and its lobby was transformed by Gensler.
      The photography is by Scott Frances.

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      Martin Brudnizki designs Gilded Age-interiors for The Fifth Avenue Hotel in New York

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      Martin Brudnizki Design Studio has designed the interiors for a 1907 Renaissance-style palazzo building in New York, which has been turned into a luxury boutique hotel by architecture studio Perkins Eastman.

      The Fifth Avenue Hotel sits on the site of what was once one of the last mansions of The Gilded Age.
      Throughout the late 19th century, the home of Charlotte Goodridge at 250 Fifth Avenue hosted receptions and musical evenings as part of New York’s social season.
      Classical fixtures contrast a contemporary colour palette in the hotel’s roomsPerkins Eastman added a 24-storey glass tower, designed with PBDW Architects, to the five-storey brick and limestone building.
      This was originally designed by McKim, Mead & White as the Second National Bank in 1907, replacing Goodridge’s 19th century home.

      Drawing on the history of the neighbourhood and heritage of the building, Martin Brudnizki Design Studio (MBDS) aimed to create an aesthetic for the new hotel that would embrace “Bohemian romanticism and the glamour of the gilded age,” while maintaining contemporary styling.
      Martin Brudnizki has employed colour and texture to reflect global travels”One of the biggest challenges was that we were working with both an existing and a new building at the same time, which each presented their own challenges architecturally,” studio founder Martin Brudnizki told Dezeen.
      “We worked with the architects to marry the historic narrative with the contemporary tower addition, which reflects New York today, and the concept of the modern traveller,” he said.
      A corner bedroom features yellow curtainsRooms feature a rich colour palette of garden greens, buttercup yellow and peony pink with gold accents.
      Bold patterns and textures jostle each other in a “harmonious and fun way, juxtaposing modernity with the classic finishings,” the designer said.
      The hotel’s walls host an extensive art collection”The intersection of interiors with architecture is so important. The mansion is a much more classical response to the history and details of the building, whilst the tower enthuses a more modern touch,” Brudnizki explained.
      “Both are unified by the choices of colours and certain furniture, fixtures and equipment that carry between the two sites.”

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      Bedrooms feature a global blend of references, including Pagoda-style table lamps, custom wardrobes informed by traditional Chinese cabinets, antique inlaid side tables, Murano glass chandeliers and star-like ceiling lights.
      The double-height entrance lobby features walls panelled with faceted antique mirrors, marble floors and grand arched windows – which echo throughout the hotel bedrooms as room dividers between sleeping and sitting areas.
      Rooms have been designed to have a residential feel”We loved the idea that all these great characters had once walked along the boulevard of Fifth Avenue and the fabulous parties hosted within the mansions of Fifth Avenue; the people and the conversations that took place,” said Brudnizki.
      “We wanted to create a space that felt as though its interiors had been brought together over time, pulling items from our muse’s travels and adventures from across the globe.”
      Antique glass panelling and modern mirrored artworks fill the double-height lobby”It is a truly eclectic and layered project that is intended to feel as though it has been around since the days of The Gilded Age,” the designer concluded.
      Other boutique hotels recently published on Dezeen include Christian Louboutin’s hotel Vermelho in Portugal and Trunk Hotel Yoyogi Park in Tokyo, by Keiji Ashizawa Design and Norm Architects.
      Photography is by William Abranowicz.

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      Woods Bagot lines American Australian Association HQ with oak battens

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      The American Australian Association has opened a headquarters in New York City, with interiors by architecture firm Woods Bagot designed to offer flexible spaces for events.

      The 9,450-square-foot (878 square metres) space at 600 Third Avenue is the first location in the city for the American Australian Association (AAA), a non-profit organisation dedicated to strengthening ties and collaboration between Australia and the US.
      A large, flexible space allows the AAA to host a variety of events and activitiesClose to both the United Nations and the Australian Consulate-General, the headquarters is intended to promote Australian-American relations in NYC by hosting a variety of discussions, performances, exhibitions, networking receptions and more.
      Woods Bagot – which was founded in Adelaide and has offices globally – aimed at “melding the spirit of Australia with the corporate culture of New York” with the project, according to CEO, Nik Karalis. “It’s a stylish, welcoming environment created to bring people from both countries closer together,” he added.
      Moveable dual-purpose furniture created for the space includes a workstation that doubles as a barTo accommodate such varied activities, a large events space was left open to be as flexible as possible while incorporating movable dual-purpose furniture and fittings.

      A custom mobile island acts as both a work surface and a bar, and counters along the windows can also become serving areas for food and drinks.
      The ceiling structure was left exposed, while white oak battens wrap the columnsLocated on a high floor, the space benefits from sweeping views of the skyline through unobstructed expanses of glass.
      The ceiling structure was left exposed to maximise the height in the space, while columns were wrapped in vertical white oak batten system by wood cladding manufacturer Sculptform – for which Woods Bagot created an immersive showroom in Melbourne in 2001.

      Steam-bent timber tunnels through Melbourne showroom by Woods Bagot

      Similar battening lines the lobby and circulation spaces, with curved profiles creating sculptural frames around a golden bar back and over a pair of sliding doors with frosted glass panels.
      The AAA headquarters also houses offices for employees and a boardroom for private meetings.
      The white oak battens also line the lobby area, surrounding the doorway to the boardroomTo commemorate the opening of the space in June 2023, the organisation commissioned a custom artwork from the APY Art Centre Collective.
      The colourful painting was created by eight Indigenous women artists based in Adelaide and hangs in the bar area.
      Some of the battens feature curved profiles to create sculptural shapesWoods Bagot works on projects worldwide, and its current high-profile projects underway range from the Aboriginal Art and Cultures Centre in Adelaide to an extension of Seattle-Tacoma International Airport.
      Also in the US, principal Krista Ninivaggi recently completed the lobby design for the supertall Brooklyn Tower.
      The photography is by Adrian Gaut.

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      TPG Architecture creates “memorable moments” within NHL Headquarters in Manhattan

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      Bold graphics and a tall media wall are among the features in the TPG Architecture-designed home office for North America’s National Hockey League, which spans five floors in a new skyscraper.

      The project is located in One Manhattan West, a glazed, 67-storey tower designed by SOM. The building is part of an emerging mixed-use development atop railroad tracks in the city’s Far West Side district.
      Bold graphics define the office interior by TPG ArchitectureThe NHL occupies floors 23 through 27, encompassing a total of 160,000 square feet (14,864 square metres). About 600 employees work in the office.
      Local firm TPG Architecture – which has designed several NHL projects since the 1990s – aimed to create a flexible and high-functioning work environment that captures the spirit of the professional ice hockey league.
      The project intends to capture the spirit of the ice hockey league”We set out to develop a connected, tech-enabled workplace that showcases the NHL’s commitment to its players, fans and employees,” the architecture studio said.

      “The result is an inspiring office that features memorable moments throughout, immersing both staff members and their guests into the League’s culture.”
      One Manhattan West skyscraper provides the setting for the headquartersThe league was started in 1917 and consists of 32 member clubs – 25 in the US and seven in Canada. The organisation was formerly based in a tower on Sixth Avenue in Manhattan.
      The new headquarters encompasses a range of spaces, including private offices, open workspaces, meeting rooms, media suites, social areas and a cafeteria that doubles as a “town hall”. The main entry and executive suite are on the 27th level.
      Interior finishes include concrete flooring and beige carpetingTo unify the different areas, the team used a black-and-white scheme with pops of colour – a move inspired by the NHL’s logo, which consists of a monochromatic shield.
      Interior finishes include concrete flooring, beige carpeting and warm-toned wood.
      Floors are connected by a feature staircaseFloors are connected by a feature staircase lined with an 18-foot-tall (5.5-metre) media wall. Games, graphics, social media feeds and staff announcements are showcased on the wall.
      NHL memorabilia is found throughout the headquarters, including a wall with pucks signed by players, a partition made of hockey sticks, and a corridor lined with uniforms from the league’s member clubs.
      An etching of the Stanley Cup features within the buildingOne area features a freestanding glass pane with an etching of the Stanley Cup trophy.
      “This area is great for visiting players to come in and take part in media interviews and other content-capturing activities,” the team said.

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      The work zones offer plenty of opportunities for group activities, which was somewhat lacking in the league’s former headquarters.
      “We interspersed more collaborative environments to boost productivity,” the team said.
      “Huddle booths, whiteboards with tabletop seating, and informal lounge areas are found throughout the office.”
      Various other spaces are included within the headquartersOther spaces in the headquarters include a Player Safety Area, where games are monitored in real-time and video clips are created for disciplinary review. The office also has a newsroom, broadcasting studio and editing suites.
      TPG Architecture was founded in 1979 and is based in New York City. Its extensive portfolio of office projects includes the conversion of a former tobacco factory in North Carolina into an advertising agency.
      The photography is by Eric Laignel.

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      Patricia Urquiola creates lofty showroom for Moroso in Manhattan

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      Moroso has opened a new showroom in Manhattan designed by Patricia Urquiola, marking the 70th anniversary of the Italian brand.

      The 4,300 square-foot showroom (400 square metres) has a double-height space that was previously occupied by an art gallery.
      There are spaces for meetings and officesDespite its scale, Spanish designer Patricia Urquiola sought to replicate the feeling of a home, by setting up the furniture in smaller configurations that could be seen in a living room or another intimate setting.
      The space is located at 105 Madison Avenue, in central Manhattan. It replaces the brand’s previous showroom in the SoHo neighbourhood, which opened in 2007.
      The showroom is located in New York City”The new Moroso showroom in New York transcends the concept of the exhibition space,” said the Italian brand founded in 1952 by Agostino and Diana Moroso.

      “[The showroom] introduces visitors to the company through a series of appealing domestic settings in which interiors in restrained colours heighten the appeal of the furniture on display,” Moroso added.
      Large columns were finished with handmade terracotta tilesThe team refinished the interiors with colourful pink finishes, new wooden floors and curved surfaces rather than corners.
      “The interiors are reinterpreted with an emphasis on their gently curved contours and lack of sharp angles, while particular attention is paid to colour,” said Moroso.
      The inaugural collection includes a sofa that is meant to look like moss-covered rocksLarge columns within the space were finished with shiny, handmade terracotta tiles, complementing the prevailing colour palette.
      Along the walls at the periphery of the space, Studio Urquiola created plant-filled alcoves, which help break up the space into smaller sections.
      Plant-filled alcoves line the walls of the space”Everything is studied in detail, and even the lighting is designed to make the space elegant and welcoming, while plants and niches create focal points in the different rooms,” said Moroso.
      In addition to the main exhibition space, the showroom includes a smaller mezzanine at the back, where the brand can host architects or other design professionals for meetings.

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      The mezzanine space is divided into a lounge area, workstations and a glass structure with meeting rooms and a private office.
      A blue staircase connects this level to the ground floor and to the cellar, which has larger pieces.
      “Studio Urquiola’s architectural design alters the existing structure while maintaining its spatial characteristics, perfecting and emphasizing their soft, enveloping language with warm tones of terracotta and wood,” said Moroso.
      Patricia Urquiola also created furniture for the inaugural connectionThe inaugural collection on display at the showroom includes a sofa that is meant to look like moss-covered rocks by Sofia Lagerkvist and Anna Lindgren of Swedish design studio Front, and a series of colourful furniture that was designed by Patricia Urquiola called Pacific, which is finished in wool upholstery.
      Patricia Urquiola founded her eponymous studio in 2001, with her partner Alberto Zontone. The studio takes on architectural commissions, as well as designing furniture, products, and exhibitions.
      Other projects by the Spanish designer include the Haworth Hotel in Michigan, which was revamped to become a “design showcase” and a table with mix-matched legs for Cassina.
      The photography is by Alex Kroke unless otherwise indicated.

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      Studio Sofield completes interiors on world's skinniest supertall skyscraper in New York

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      Studio Sofield has completed the interiors of 111 West 57th Street, also known as Steinway Tower – a supertall skyscraper designed by SHoP Architects in New York City.

      The interiors mark the full completion of the 1,428-foot-tall (435-metre) skyscraper, which is the second tallest in the Western Hemisphere, and the skinniest in the world with a height-to-width ratio of 24:1.
      Studio Sofield completed interiors for Steinway Tower in ManhattanSited on a street bordering Central Park in Midtown that has come to be known as Billionaire’s Row, the skyscraper has views looking north and south.
      New York-based Studio Sofield designed the interiors for the skyscraper as well as the adjacent Steinway Hall, which is connected to the tower.
      The 91-storey skyscraper has 46 residences, with an additional 14 held in Steinway Hall, as well as a variety of amenities, and was developed by JDS Development Group and Property Markets Group.

      The design included interiors for the lobby spaces that connect the tower and Steinway Hall”With 111 West 57th Street, I set out to create interior architecture that was unmistakably and quintessentially New York,” said Studio Sofield founder William Sofield.
      “While celebrating the vibrancy of today, I am a historian by nature and sought to honor and evoke the splendor of our city’s gilded age.”
      Studio Sofield wanted the public interiors to reflect the “gilded age” of New York CityInteriors designed by Sofield includes the “block-long lobby sequence” that connects the two aspects of the tower. Here, the studio restored the original flooring of the Steinway Hall and used limestone, marble, blackened steel and velvet accents.
      Murals in bas-reliefs of gold and silver leaves depict architectural landmarks of New York, and elephants were depicted elephants roaming through the city as a”tribute to the history of pianos”.
      The swimming pool room has full-height windowsAnother room in the lobby sequence was outfitted with bronze mirror cladding that leads to a “domed salon” lined with banquet seating.
      On 58th street, a residence entrance featuring a granite porte-cochere with grillwork doors inspired by “the bronze filigree on the building’s exterior”.
      Steinway Hall was renovated using themes from the original buildingThe bar area and the swimming pool are also in the hall structure. According to the studio, the bar was based on the “legendary King Cole Bar with its chic bar” with an ornamental balcony and skylights that further the material references to the original building.
      Elevator vestibules for the tower were completed using custom-made doors by artist Nancy Lorenz. The swimming pool is 82 feet long (25 metres) and is housed in a double-height room with floor-to-ceiling windows.

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      In the skyscraper, the residences each occupy at least a single floor. Each home has a central room where the views to the north and south are prioritised, and these rooms lead to a “signature great hall, which often spans the full width of the tower,” according to the studio.
      Grey oak and macauba stone were used for the flooring and nine-foot-tall doors separate the room.
      The skyscraper’s residences have wooden and stone floorHardware for the doors as well as other features like the freestanding bathtubs and the fixtures were sourced from long-standing US manufacturers such as PE Guerin, which, according to the studio, is the “country’s oldest architectural hardware firm”.
      Other supertall skyscrapers – defined as one between 984 and 1,969 feet (300 and 600 metres) – designed by SHoP Architects include the Brooklyn Tower in Downtown Brooklyn, which is nearing its way to completion, having topped out earlier this year.
      Billionare’s Row – the name for the luxury skyscrapers on 57th Street near Central Park in Manhattan, continues to see new developments, with New York studio ODA announcing the construction of a “fractal” skyscraper on the street.
      The interior photography is by Adrian Gaut with exterior photography by David Sundberg.

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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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