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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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      Studio V clads Long Island City apartments in British racing green terracotta

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      Architecture practice Studio V has unveiled The Green House apartment block in Long Island City, USA, which was informed by the neighbourhood’s history of terracotta production.

      Situated at a prominent location on Jackson Avenue near the New York City neighbourhood’s waterfront, the 12-storey block encompasses a gallery, retail, 46 two-bedroom apartments and 40 parking spaces that are spread across two lower floors.
      “[Studio V founder] Jay’s goal with this building… was to create a design that points to the future of Long Island City as well as respects its past,” the studio told Dezeen.
      The Green House was designed by Studio VChosen as a contemporary interpretation of local terracotta-clad architecture, the British racing green colour gives the building its name.
      “Green was perfect for multiple reasons: to broadcast the sustainable design of the building and as the complementary colour to the traditional red [terracotta],” Studio V told Dezeen.

      “We also chose a glazed terracotta [finish] which features a shiny surface [and] brings the custom curved forms and shapes to life, giving the facade depth, reflecting light and capturing shadow.”
      The Green House was clad in British racing green terracotta tilesStudio V aimed to create a unique building by drawing inspiration from the site’s “rich history of terracotta production,” warehouses and red terracotta-clad architecture that are typical of the site.
      Three bold, large-scale murals by Brooklyn art duo Faile contrast the uniformity of the terracotta cladding and reference the significance of Long Island City as “a hub for contemporary art”.

      ODA completes “pixelated” luxury condo building in Queens

      Manufactured in Emilia-Romagna, Italy, the terracotta tiles were arranged  linearly with spacing and windows arranged to be reminiscent of a warehouse.
      “We’re not interested in generic design: architecture must reinvent a site’s history and context,” said Studio V founder Jay Valgora.
      Colourful murals by Brooklyn art due Faile contrast the uniformity of facadesThe three-storey lobby on the ground floor was designed as a gallery space and dedicated to “retail and active uses,” as an extension of the shops and restaurants that occupy the surrounding streets.
      Flux Chandelier, by Brooklyn-based artist Jen Lewin, illuminates the space. Its colour-changing pendants are activated by the movement below, adding an interactive element to the building.
      Facade facing Jackson AvenueDue to the unusual trapezoidal shape of the site, The Green House consists of two street-facing facades, which created an opportunity for variation in the terracotta facades.
      Woven bronze mesh panels that conceal the elevator tower and parking areas, storefronts and gridded windows formed “two distinct [yet] complementary compositions” that face Jackson Avenue and 50th Avenue.
      Facade facing 50th Avenue with alternate compositionA raised internal courtyard oriented to overlook the “stunning views of Manhattan across the East River” provides space between the apartments to prevent them from looking directly into each other.
      The Green House contains two further outdoor spaces – a shared wrap-around terrace accessed on the penthouse floor and private individual terraces for residents on the eighth floor, created by the staggered design.
      The Green House features individual terraces on the eighth floorThe electricity-powered apartment block also contains conference and co-working spaces to accommodate the rising trends of remote work.
      Other terracotta-clad architecture recently featured on Dezeen include a triangular mixed-use complex that is rotated around a central axis and a school that was informed by a child’s doodles.
      The photography is by Alexander Severin.
      Project credits:
      Architect: Studio VDeveloper: Charney CompaniesGeneral Contractor: Broadway ConstructionMEP Building Systems: Ettinger EngineeringStructural Engineering: Titan Engineers

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      Michael Groth uses natural and recycled materials inside New York’s Donna restaurant

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      New York designer Michael Groth collaborated with a Moroccan artisan cooperative to create the wall hangings for this worker-owned bar and restaurant in the West Village.

      The opening of Donna’s new location on Cornelia Street follows the closure of its Williamsburg spot in December 2020 as a result of the coronavirus pandemic.
      Michael Groth has designed the new Donna outpost in New YorkServing a pan-Latin menu with Mediterranean influences and Filipino-inspired cocktails, the restaurant and bar is now a worker-owned cooperative, with original owner Leif Young Huckman acting as an advisor.
      To reflect this shift, Brooklyn-based Groth aimed to imbue the design of the new outpost with references to the previous location while nodding to Donna’s revised business model.
      Earth-toned limewash plaster was applied to the walls in geometric patternsHe drew influences from the constructivist art movements of Latin America in the 20th century and particularly the work of artists Sandu Darie, Pedro Alvarez and Lygia Clark.

      Donna is decorated with earth-toned limewash plaster, applied to the walls in geometric patterns that echo the brand’s visual identity.
      Groth created wall hangings in collaboration with artisan cooperative The AnouExposed brickwork is painted white, forming a plain backdrop for the circular wool wall hangings that Groth created in collaboration with Moroccan artisan cooperative The Anou.
      Together with wool floor rugs, these help to dampen the acoustics while lime plaster assists in regulating humidity, according to Groth.

      GRT Architects uses “riot” of materials for Bad Roman restaurant in New York

      The tables are crafted from reclaimed Douglas fir flooring and stained plywood was used to build the banquette seating that wraps the perimeter.
      Bar-back shelving and floors were repurposed from the unit’s previous tenant, while the bar tops were fabricated by Brooklyn Stone and Tile – another worker-owned cooperative.
      Tables are crafted from reclaimed Douglas fir”The use of any new materials was limited to those that are natural and biodegradable, keeping in mind the holistic effects of resource extraction, human health and equity, and circular material cycles,” the Donna team said.
      Pendants lights above the bar have shades made from mushroom mycelium, which according to the team presents “an environmentally holistic approach to material creation that poetically reflects Donna’s equitable business model”.
      The pendant lights above the bar feature mycelium shadesNew York City’s dining scene was upheaved during the pandemic, with many eating and drinking establishments forced to either adapt or shutter.
      As a result, sidewalk dining shelters sprung up across the city, as documented in these photographs by John Tymkiw.
      The photography is by Nicholas Ruiz.

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      Penthouse at Richard Rogers-designed New York tower overlooks City Hall Park

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      A penthouse has been unveiled inside British architecture firm RSHP’s first residential project in New York City: a tower overlooking City Hall Park in Lower Manhattan.

      With interiors by local studio Ash Staging, Penthouse 3 is one of 30 residences within No 33 Park Row, which was designed by RSHP’s late founder, Pritzker Architecture Prize-winning architect Richard Rogers, before his death in 2021.
      Penthouse 3 at No 33 Park Row boasts 15-foot (4.5-metre) ceilingsFrom the 23-storey tower, the 5,403-square-foot (502-square-metre) penthouse has an unobstructed view of the Manhattan park, and features dark-coloured steel framing intended to reference the area’s industrial-era buildings.
      Visible through the huge windows are the building’s copper fins, an architectural element similar to the firm’s previous residential buildings such as One Hyde Park in London.
      The corner residence boasts views of City Hall through huge windows”One Hyde Park and 33 Park Row each face a park to the north and exhibit a similarity in terms of aspiration and quality with carefully composed facades that exhibit a richness of depth, shadow and texture,” said studio partner Graham Stirk, who worked alongside Rogers on the building.

      The penthouse interior features a double-height, open-plan living area that wraps around the huge north-facing windows to form an L shape.
      A staircase with glass balustrades connects to the upper levelTwo generously sized seating areas are positioned on either side of a 10-person dining table in the corner, while an adjacent bar area can be hidden away behind folding pocket doors.
      Above the grey marble kitchen is a grand wood-panelled storage and display wall that extends all the way up to the ceiling, with high shelves accessible via a rolling ladder as well as the mezzanine corridor.
      Each of the five bedrooms features a different aestheticA metal staircase with glass balustrades doglegs around a curved platform to reach the upper level, where a workspace is located on the glass-edged balcony.
      Five bedrooms all have tall ceilings but are decorated with different detailing. One is entirely neutral-toned, while another features pale teal walls, blue upholstery and rug, and copper table lamps.

      One Wall Street skyscraper completes conversion from offices to apartments

      In the 5.5 baths, richly veined book-matched Montclair Danby marble patterns the walls and floors, and an outdoor terrace measuring 108 square feet (10 square metres) has a wooden deck that echoes some of the millwork inside.
      The penthouse’s eventual residents will also have access to the fifth-floor amenities, which include an indoor/outdoor fitness centre and yoga studio, an outdoor kitchenette and dining area, as well as a rooftop terrace, library, craft studio, screening room and bike storage.
      Richly veined, book-matched Montclair Danby marble features in the bathroomsFounded as Rogers Stirk Harbour + Partners, the firm rebranded as RSHP in June 2022 following Rogers’ death. It has since revealed designs for “open and welcoming” Shenzhen skyscraper.
      The studio’s other projects in New York City include the 80-storey Three World Trade Center, which was completed in 2018 not far from No 33 Park Row.
      Dark-coloured steel framing on the exterior is intended to reference Lower Manhattan’s industrial-era buildingsOnce almost exclusively occupied by commercial property, Manhattan’s Financial District is becoming increasingly residential.
      Some of the existing offices towers are being converted into homes, like the recently opened One Wall Street, while new skyscrapers like David Adjaye’s newly completed 130 William are purpose-built for living.
      The photography is by Evan Joseph.

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      GRT Architects uses “riot” of materials for Bad Roman restaurant in New York

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      Brooklyn studio GRT Architects has designed an Italian restaurant in New York City where a visual cacophony of colour, pattern and materials combine for a maximalist aesthetic.

      Bad Roman is the latest venture from the hospitality group Quality Branded, for which GRT Architects previously completed the interiors for Michelin-starred Don Angie.
      Bad Roman guests are greeted by a sculpture of a boar raised on a patterned podiumServing a “contemporary and whimsical” take on Italian cuisine, Bad Roman is located on the third level of a shopping centre in the Time Warner Center on Columbus Circle, at the southwest corner of Central Park.
      “Where The Shops at Columbus Circle are politely elegant, Bad Roman is a riot of rich and varied materials, textures, found objects, shapes and colour,” said GRT Architects.
      The organically shaped bar is clad in stripes of marble and glassThe 6,500-square-foot (604-square-metre) space has an open layout so that diners can enjoy the view of the park through the glass facade.

      To set the tone, guests are greeted by a sculpture of a boar, which is raised on a patterned podium and wears an illuminated collar.
      Booths lined up along the window feature stepped orange backsA curved bar sits in the middle of the restaurant. A light box above is clad in stripes of marble, mirror and cast glass, and emits a soft glow onto the marble bar counter below.
      Throughout the restaurant, a variety of booth seating arrangements are designed to accommodate parties of all sizes.
      Blown-glass lighting, 19th-century sculptures and various decor elements are combined in the colourful spaceThe booths have fabric-wrapped cushioned backs with multiple panels at stepped heights, which form waves when placed side-by-side around the tables.
      “We made these islands into worlds unto themselves, incorporating textured plaster cladding, assemblages of found objects and segmented upholstery in a family of orange fabrics,” said the studio.
      Private dining rooms at the end of the restaurant each have a distinct design languageAt one end of the 160-foot-long (49-metre) space are a pair of private dining rooms, while a fully glazed area is located at the other – each with a distinct design language.
      Greenery spills from planters suspended from the coffered ceilings, and several different types of lighting help to set the mood.

      Don Angie restaurant interior takes influences from Italy and New Jersey

      The bright dining room is contrasted by dark and moody bathrooms, where a two-tiered, classical-style garden fountain sits on a mosaic basin at their entrance.
      “Minimal it is not, but the design of Bad Roman is unified by a high level of handcraft, and a say-yes-to-all-beautiful-materials attitude,” GRT Architects said.
      A classical-style fountain is positioned at the entrance to the bathrooms”Locally blown-glass light fixtures, trompe l’oeil mosaics, 19th-century fragments and intricate tilework all collude to create an exuberant home for Bad Roman’s fresh take on modern Italian.”
      The studio was founded by Tal Schori and Rustam-Marc Mehta in 2014, and their team has since completed a variety of projects across the US.
      The dark and moody bathrooms contrast the bright and colourful dining roomOther restaurants in their portfolio include Cucina Alba in New York and Curtis Stone’s Georgie in Dallas.
      In the residential sector, GRT Architects recently completed the renovation of an East Village apartment and a house perched above the marshes in Connecticut.
      The photography is by Christian Harder.

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      Checkerboard walls wrap Awake NY store by Rafael de Cárdenas

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      Local architect Rafael de Cárdenas referenced lost landmarks of New York for the interiors of this streetwear store in the city’s Lower East Side.

      De Cárdenas worked with Angelo Baque, the former brand director of streetwear brand Supreme, on the design of a retail location for Awake NY, which Baque founded in 2012.
      Large sculptures are placed throughout the store, including a replica of the Flushing Meadows Corona Park UnisphereThe new home for the men’s clothing line at 62 Orchard Street is a homage to New York City’s fashion meccas of the 1980s and 90s, many of which have since shuttered.
      “Both De Cárdenas and Baque grew up in New York around the same time, which informed their design direction,” said a joint statement from the duo. “They built upon shared memories of lost landmarks in New York design and youth culture: Canal Jean, Antique Boutique, and Unique — and used them as reference points for the store identity.”
      Several elements leftover from the store’s previous occupants were retained, including carved wooden frames above the clothing racksThe store retains some of the features leftover from the family-owned suiting business that formerly occupied the space.

      Logos of brands carried by the previous tenants are still visible on the glass vitrines on either side of the entrance.
      The walls at the back of the space are covered in a checkerboard patternThese display cases now carry bright blue carpets and colourful portraits by local artist Alvin Armstrong.
      Other remnants from the store’s past include the original exterior signage, which reads “Mens Clothiers”, and carved wooden frames above the clothing racks inside.
      Other large sculptural elements include a giant plywood ‘A’New elements include the flooring, sourced from a school gym in Cleveland, and wood shelving affixed to the walls with ratchet straps.
      At the back of the boutique, the walls are covered in a checkerboard pattern that is repeated on a display stand closer to the centre.

      Space-age design informs Nodaleto shoe store by Rafael de Cárdenas

      Some of the industrial-style columns and areas of the metal-panelled ceiling are left exposed, while other structural elements are painted white or wrapped in mirrors.
      Murals by Larissa De Jesús Negrón adorn the fitting room area, and checkered chairs were sourced from B&B Italia.
      Plywood is also used to form storage and display casesThere are also several large sculptural pieces placed on the shop floor, helping to create a flow for shoppers.
      “The store is anchored by a replica of the Flushing Meadows Corona Park Unisphere, originally built for the 1964 World’s Fair in Baque’s hometown of Queens, and a floor-to-ceiling Awake NY ‘A’ built from plywood in the centre of the store,” said the design team.
      The flooring was sourced from a school gym in ClevelandDe Cárdenas, who is one of the judges for this year’s Dezeen Awards, has designed a variety of retail projects during his career.
      His studio recently completed the Miami store for French shoe brand Nodaleto, with sci-fi-influenced interiors, and previously created a split-level bar in Nordstrom’s flagship store in Midtown Manhattan.
      The photography is by Adrian Gaut.

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      Oak panels and slatted screens adorn Carroll Gardens Townhouse in Brooklyn

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      New York studios Starling Architecture and Emily Lindberg Design have renovated a Brooklyn townhouse for a young family, combining two units into a single home and unifying them through the use of white oak.

      The Carroll Gardens Townhouse was previously laid out as a two-family dwelling, but the owners needed more room for their growing kids, so decided to connect the units.
      White oak acts as a unifying element throughout the renovated townhouseStarling Architecture and Emily Lindberg Design were initially briefed to convert and cosmetically upgrade the townhouse, and add spaces such as a mud room, work-from-home and living areas, and a large dining room.
      Once the project was underway, the scope expanded to include a complete overhaul of the layout, a new staircase, an extensive millwork package, and the replacement of the furniture and artwork.
      A large dining area was created to accommodate group gatherings”Aside from giving everyone a little more space to work, live and grow, we also quickly focused on bringing in more light and connection between the various levels,” said Starling Architecture founder Ian Starling.

      Spanning five storeys, the building has a total living area of 3,700 square feet (344 square metres), with four bedrooms and four-and-a-half bathrooms.
      Oak millwork continues in the kitchen, which was relocated from the centre of the houseRearranging the program involved moving the second-floor kitchen from the centre of the plan to the south facade, where it received much more light.
      The dining room occupies the adjacent space, enveloped in European white oak panels that extend from a long built-in bench seat, across the ceiling, and down to a slatted screen in front of the stairs.
      Cool hues offset the warm oak flooring throughout the home, including in the lounge areaA walnut table with rounded corners provides enough space for hosting friends and extended family.
      White oak is continued on the staircase across all levels and the flooring throughout, to a corridor and the mudroom, powder room, office and wet bar at garden level.
      Oak panels define a corridor at garden level”All wood for the house was sourced from the same mill in Belgium, where they custom fabricated and finished it to our exact specifications,” said Starling.
      “All of the panels were CNC cut, so we were able to specify exact panel sizes based on as-built dimensions and each panel was divided into equal veneer widths.”
      A mud room was created as part of the renovation scopeThe earthy tones of the wood helped to guide the remaining decor choices, which include cool blue undertones offset by family-friendly materials like purple slate and clay brick.
      Cork lines the office space, while the children’s playroom in the cellar features brighter colours without feeling too juvenile.

      Studio Vural reinterprets Japanese interiors for Warren Street Townhouse

      “With a new layout overall, the clients were in an ‘out with old in with the new’ mentality, going forward with some bold splashes of color along the way,” said Starling.
      “There is a purity about much of the palette, working with organic texture and form rather than applied pattern,” added Lindberg.
      Cork covers the walls in a room used as an officeStarling Architecture is based in Brooklyn, while Emily Lindberg Design has a presence in both New York City and Providence, Rhode Island.
      The two studios previously collaborated on a similar project for friends of the Carroll Gardens Townhouse owners, who recommended them for this job.
      Brighter colours are introduced in the children’s playroom, located in the cellarBrooklyn’s townhouses are in high demand, and new owners waste no time in renovating these historic buildings to meet their needs.
      Recently completed examples include a property on Warren Street, for which Studio Vural used Kyoto merchant houses as a reference point, and a home in Park Slope that was designed to meet Passive House standards.
      The photography is by Eric Petschek.
      Project credits:
      Architecture: Starling ArchitectureInterior design: Emily Lindberg DesignContractor: Euro Art ConstructionWood surfaces: Madera Surfaces

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      Another Seedbed is a Brooklyn apartment that doubles as a performance space

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      In this renovated loft in Brooklyn, the owner both resides and hosts public art performances within a space divided by a variety of inserted volumes.

      The loft is located in a late 19th-century cast iron building in Williamsburg that once served as a hat factory, and was renovated by a team of architects.
      A team of architects renovated the loft, inserted volumes to conceal private areasIgnacio G Galán, Jesse McCormick, Khoi Nguyen and Julie Tran of Future Projects collaborated to turn the industrial space into a residence that could also serve as a venue for artistic performances and other public events.
      Named Another Seedbed, the project recalls the use of lofts in New York City by artists in 1960s to 1980s for developing experimental works.
      The bedroom is hidden behind red-stained plywood panels and accessed through a concertina doorThe owner and activator of this apartment began organising parties, performances and other events in a similarly industrial space in Bushwick.

      He then decided to create a dedicated space for himself to live and work, as well as host other artist friends who needed square footage to bring their ideas to life.
      Hand-troweled earthen clay plaster covers the bathroom volume”Neither just a private studio nor an art gallery, the space is equipped to welcome gatherings that operate between a dinner party and a public performance,” said the project team.
      “Artists appropriate the space and become hosts themselves, expanding the communities which the project brings together.”
      Inside, the bathroom is lined with blue penny-round tilesThe apartment is organised as a largely open-plan space, with private areas concealed inside inserted volumes.
      Red-stained pine plywood panels hide the bedroom, which is accessed via a concertina door, and also contain storage.
      Moveable furniture helps to arrange the apartment for performancesThe bathroom occupies another volume that’s covered in hand-troweled earthen clay plaster outside and lined entirely is blue penny-round tiles inside.
      An open kitchen with grey cabinetry sits below a framework of coloured wood, featuring smokey polycarbonate panels that are lit from behind.

      Vipp Studio in Manhattan functions as both showroom and apartment

      This frame extends into the living area to form a floor-to-ceiling shelving unit, on which books and objects are displayed, and a projector for screening videos onto the opposite wall is housed.
      A variety of moving furniture pieces, including an ochre-toned sofa on wheels, help to choreograph the events and arrange the apartment as desired by whoever is using it.
      The owner and his artist friends are able to transform the space to present their work”The space will not advertise its performances,” said the team.
      “Some neighbors might not know of its existence. Others will hear about an event through friends. Some might find themselves there often and will develop networks of neighbourliness within it.”
      Performances are open to the public but not advertisedBrooklyn has both a thriving arts scene and a wealth of defunct industrial buildings for hosting exhibitions, performances and events.
      Herzog & de Meuron recently completed the transformation of a derelict power plant in the borough into arts centre, while the Public Records creative venue added a bar and lounge on an upper floor of its former warehouse building earlier this year.

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