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      Kith Women Flagship in Soho combines walnut and pink marble

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      American fashion brand Kith has returned to the location of its first Manhattan flagship to open a women-dedicated store, in which olive trees grow up through display podiums.

      The inaugural Kith Women Flagship in Soho opened last December at 644 Broadway, the same historic landmark building where the brand debuted its Manhattan retail offering in 2011.
      Custom-built podiums run through the middle of the Kith Women flagship store in SohoPreviously the Manhattan Savings Institute Bank, the red sandstone and brick structure’s exterior features wrought iron gates at the entrance and set the tone for the materials palette inside.
      Kith founder and creative director Ronnie Fieg designed the interiors to include signature elements of the brand’s retail concepts, but with adjustments to acknowledge its context.
      The main room displays apparel and accessories in walnut and brass-trimmed niches”The ambiance exudes modern elegance with its warm and calming aura, constructed with materials like Venetian plaster, travertine, and rosa aurora [marble],” said the Kith team.

      The spacious main room benefits from tall ceilings and an open floor plan, and presents Kith Women in-house and multi-brand ready-to-wear apparel against Venetian plaster and Kith monogrammed suede wallpaper.
      In a room dedicated to footwear, shoes are presented on travertine shelvesClothing is displayed on rails installed in walnut and brass-trimmed niches around the perimeter, with accessories like hats and bags placed on shelves above.
      A row of square walnut podiums runs through the middle of the room, each with an olive tree growing up through the centre of its pink marble surface.
      A cafe and flower shop is run in partnership with PlantShed, and features mosaic floors and a fluted marble service counterCustom-built by Brooklyn-based woodworker Mark Jupiter, these units contain drawers for product storage, and alternating ones are topped with glass vitrines for showcasing jewellery and other small accessories.
      Oak flooring is laid in a grid pattern transversed by walnut strips, and the darker wood also lines the fitting rooms.

      Kith creates “industrial ambiance” for its Williamsburg store

      Footwear has a dedicated room, in which shoes are displayed on shelves with integrated lighting that run from one end to the other.
      “Entering the footwear space, you will find a grand arched plaster ceiling, travertine shelves, and a custom chandelier from Italy by Viabizzuno,” the team said.
      The cafe leads out to a courtyard behind the historic building’s wrought iron gatesIn the final room is a cafe run in partnership with New York-based flower and plant shop PlantShed, which serves light bites and drinks and offers custom floral arrangements.
      The space features a mosaic tiled floor, walnut wall panelling, a service counter with a fluted pink marble front and floral displays on stepped stone plinths.
      The cafe leads out to a courtyard area behind the building’s impressive iron gates, which furnished with cafe tables and chairs in between topiary plants shaped into spirals.
      Kith Women is located at 644 Broadway, the same building where the brand opened its original flagship retail space in 2011Feig also designed Kith’s recently opened Williamsburg store, located in the 25 Kent Plaza office building where the brand also has its corporate offices.
      The company had previously worked with design studio Snarkitecture on its retail spaces around the world, including outposts in Miami, Los Angeles and Paris.
      The photography is courtesy of Kith.

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      Crosby Studios looks to the “signature red” of David Lynch for Silencio New York

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      New York-based Crosby Studios has utilised gold accents and rich-red fabrics and lights informed by director David Lynch for the interiors of Silencio nightclub in Manhattan.

      Silencio NYC is located between Times Square and Hell’s Kitchen and is the second location for the club, whose Paris flagship was designed by Lynch.
      Crosby Studios founder Harry Nuriev wanted to respect Lynch’s original design while fusing the “essence of French flair into the character of New York City,” according to the studio.
      Red carpet covers the walls and floor of Silencio NYC, while red lighting outlines the spacesEvoking the same mystery and allure as Silencio’s first Paris location, Nuriev created sumptuous interiors that are saturated with Lynch’s signature hue.
      “Being the next designer for Silencio, Harry wanted to have a dialogue with the director through the movies he grew up on,” said Crosby Studios.

      “The signature red colour of [David Lynch] was heavily used to capture the true essence of modern-day New York. Harry wanted to create a space that felt sexy and as if you were in a movie.”
      Raised private rooms are lined in gold and can be concealed by drawing red velvet curtainsThe newly opened space is situated near the former location of iconic nightclub Studio 54, which also informed the design of New York’s Silencio.
      Expected to face a strict door policy, those who make it over the threshold will experience a series of spaces where the walls and floor are covered in plush red carpet.
      Thin strips of glowing red lighting follow the outlines of the rooms, framing doorways and openings to a variety of small lounge spaces.
      Another VIP area is located behind the minimal DJ boothThese raised private areas are lined entirely in golden metal panels and surfaces including curvy built-in seating.
      “In New York, as in Paris, Silencio tunes into the ambient air,” said the club’s team. “Its agenda celebrates the moments that make the city pulse; the club becomes a nighttime landmark.”
      “Inside, you will find Silencio’s signature universe – minimal and contemporary – expertly reimagined by the aesthete Harry Nuriev,” the team added.

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      Red velvet curtains can be drawn across to conceal those desiring privacy, but when open, the gold nooks reflect the cinematic red lighting elsewhere. The same gold was used for the dance floor.
      In the main room, mirrored walls create the illusion of more space and upholstered benches allow guests to rest their feet if needed.
      A larger niche is positioned behind the minimal DJ booth, offering an area for VIPs to party during music performances from local and international talents.
      The cinematic interiors by Crosby Studios are intended to evoke the spirit of legendary NYC nightclub Studio 54Silencio also recently opened a beach house in Ibiza, and a second Paris outpost in Saint-Germain-des-Prés on the Left Bank of the Seine.
      Its original address is on Rue Montmartre in the second arrondissement of Paris and was opened in 2011 by Arnaud Frisch and Antoine Caton.
      Silencio offers a membership program for those wishing to enjoy all of its locations, and gain access to cultural offerings and events that include concerts, performances, talks, screenings, exhibitions, dinners, private tours and more.
      Silencio NYC is expected to host local and international DJs as part of its varied programming”Resolutely multidisciplinary, Silencio fosters free movement of ideas and the birth of new projects,” the club said. “Its curious and eclectic programming generates a unique energy in confidential venues.”
      Nuriev has risen to prominence through collaborations with brands like Nike and Balenciaga and has previously designed hospitality spaces such as a Moscow restaurant where gleaming sheets of pink corrugated metal contrast with rough plaster walls.
      The designer also added his “signature boldness” to his own NYC apartment, which features tiled walls, purple carpeting and leathery cabinets.
      The photography is by Pauline Shapiro.

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      ALA draws on West Village history for Talea taproom interiors

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      New York studio Alda Ly Architecture has designed a taproom for female- and veteran-owned brewery Talea in the city’s West Village neighbourhood, which includes a place for groups to “scheme”.

      Talea West Village is the beer company’s third outpost and its first Manhattan location, following two established in Brooklyn.
      The main dining and drinking area at the Talea West Village taproom is anchored by a colourful barThe space is located in a 1920s building on Christopher Street, an iconic thoroughfare that’s home to several landmarks, businesses and historic spaces associated with the LGBTQ+ rights movement.
      “This new taproom on Christopher Street reclaims the masculine identity of a West Village saloon to celebrate voices of women and LGBTQ+ communities in the Village, all while serving Talea’s popular sour brews in an elevated, vibrant space,” said Alda Ly Architecture (ALA).
      Bright hues chosen by ALA for the space include yellow for tiles, green seat backs and red dining chairsFlooded with natural light thanks to large windows along the street facade, the main space is anchored by a purple-fronted bar with a curved white quartz countertop in one corner.

      Behind, numerous beer taps are mounted onto a yellow-tiled partition, while glassware and cans are displayed on shelves above.
      Exposed brick and stone floors allude to a saloon-style aestheticThe bar is lit by Junit oak pendants from Schneid Studio and brass Dottie sconces by Visual Comfort are mounted around the perimeter.
      “We opened up the space to provide as much open area for the front dining room, and brought the bar front and centre to highlight the taps with their extensive selection of beers,” said ALA founder Alda Ly.
      The taproom was designed to celebrate its location in the West Village, which has played an important role in LGBTQ+ history”We wanted the bar to be a welcoming beacon for all people in the neighborhood,” she added.
      The other side features built-in, stained-oak seating and small circular tables against an exposed brick wall.
      Behind the bar is The Revolution Room, intended for larger groups to gatherPale green backrests and muted red Scroll dining chairs from Industry West continue the interior’s bright colour palette, which is also echoed in the works by local artists displayed on the walls.
      “It was important to us to capture the spirit of Talea in a space that felt elevated but also very warm and welcoming,” said ALA project director Marissa Feddema.

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      Past the bar is a more intimate space called The Revolution Room, designed for groups of eight to 10 people to “scheme, hang and gather” according to the team.
      A large table sits below a Nuura Miira 8 Oval chandelier that’s suspended from a skylight, and more brickwork is exposed to add to the saloon-like vibe.
      At the back is the Snug, a cosy space furnished with jewel-tone piecesFurther back still, patrons will find the Snug – a much darker and cosier room decorated with jewel-toned furniture, navy limewash painted walls and a vintage fireplace mantle.
      The moody bathrooms are adorned with images of prominent local residents and gender activists through the years, further emphasising the neighbourhood’s importance to the LGBTQ+ community.
      Images of prominent local residents and gender activists are displayed in the moody bathroomsThe West Village is packed with bars and restaurants, from upscale dining spots like Cecchi’s to casual cocktail places like Donna.
      Close by, in the Union Square area, ALA has previously designed the interior for a doctor’s office and clinic with earthy and homey details.
      The photography is by Brooke Holm.
      Project credits:
      Architect and interior designer: ALA (Alda Ly, Marissa Feddema, Sheridan Treadwell, Marlee Anderson)MEP engineer: Tan EngineeringGeneral contractor: Aerial Design & Build

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      Ideas of Order selects bright colours for New York apartment renovation

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      Bright hues define the different interventions that New York architecture studio Ideas of Order has made in this apartment at the northern tip of Manhattan.

      The 1,000-square-foot primary residence in Hudson Heights was partially renovated for a couple, who had been living in the space for several years before deciding to invest in making it better suited to their needs, rather than buying another apartment.
      One side of this Manhattan apartment was overhauled by Ideas of Order to make it function better for its owners”Their sons had been sharing a room, but were beginning to need their own spaces,” Ideas of Order told Dezeen.
      “They also wanted a space that could be designed for flexibility for when their children left for college.”
      In the newly created bedroom, a lime green built-in houses a bed, a desk and storageThe kitchen also needed updating, to make it more suitable for entertaining, and more efficient storage space was required in the entryway.

      So the architects reworked one side of the open living area, adding a bedroom on one side of the kitchen and refreshing the other areas.
      A new wall divides the bedroom from the kitchenThe husband is French, and the couple spent several years living together in France.
      During this period, they both became enamoured by the midcentury architecture and design in the country and wanted to apply this style to their own home.
      Raspberry and periwinkle cabinets surround the cooking area, which also features aluminium panels”Inspired by their stories and the history of how colour was used by French midcentury designers like Charlotte Perriand, we suggested a series of polychrome millwork pieces inspired by Perriand’s design language, but updated for a contemporary home,” said Ideas of Order.
      The different areas of the home were therefore given their own identities by applying bright hues.
      A porthole looks through from the bedroom into the kitchen, which has rubber flooringLime green is used in the bedroom across a full wall of built-ins that incorporate a single bed, a workstation and plenty of storage.
      Sliding doors with fritted glass panels pull across to enclose the slightly raised room, while a porthole window with double shutters looks through the new wall that separates the kitchen.
      Storage in the entryway was made more efficient by new pink and grey built-insThis adjacent space is denoted by raspberry and periwinkle millwork, which surrounds a small preparation area with an aluminium backsplash and matching panels above.
      The same metal also fronts the bar counter between an arched opening to the living area, which is topped with concrete.
      Archways between spaces throughout the apartment have curved cornersRubber flooring in the kitchen offers a practical alternative to the wood used through the rest of the apartment.
      Finally, in the entryway – which is again raised slightly higher than the living area – an L-shaped cabinet system was constructed in a corner beside the door.

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      Pale pink is applied to the frames, while the doors and drawer fronts are finished in light grey and walnut is used for the trim. Choosing the right hues was a challenge that took many iterations to find the right balance, according to the architects.
      “It was important that each pair of colours in the millwork work together, but that the colours also harmonise when viewed as a whole,” they said. “We wanted the colours to be bright, but not overpowering. And we wanted the colour pairings to feel timeless and not too trendy.”
      The architects went through many iterations to find the right balance of coloursAnother challenge was the budget, which was modest by New York City standards and required some conscientious spending – particularly on small details that would make a big impact.
      “We love the custom pulls for the millwork, the shutters for the circular window, and the rounded end to the partition between bedroom and kitchen, which reflects the rounded openings throughout the apartment,” the architects said.
      The couple had been living in the space for several years before deciding to invest in making it better suited to their needsIdeas of Order was founded by Jacob Esocoff and Henry Ng, who are both Fosters + Partners and WORKac alumni.
      Their renovation is one of the most colourful interiors we’ve featured in New York City of late, compared to a neutral show apartment inside the One Wall Street skyscraper and a loft in Dumbo with a subdued palette.
      The photography is by Sean Davidson.

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      Bird feathers and burls inform New York restaurant by Polonsky & Friends

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      New York design studio Polonsky & Friends has lined this tiny New York omakase restaurant with burl wood veneer panels, while its counters and cabinetry are coloured to resemble bird feathers.

      Designed as a sister location of Rosella, an East Village sushi spot that opened in 2020, Bar Miller is located a few blocks away in Alphabet City.
      The compact Bar Miller space seats eight covers around a counter made from rare Avocatus stoneThe owners brought back Polonsky & Friends to complete the interiors so that the two outposts could share the same “warm, welcoming energy”.
      Although the menu borrows from traditional sushi craft, it’s not authentically Japanese, so the designers wanted to steer clear of any tropes that might deceive customers.
      Burl wood veneer panels on the walls are framed in white oak, matching the building’s original floors”The design had to incorporate local and craft-centric elements and honour the food’s Japanese inspiration, but not fall into any folklore since the team isn’t Japanese and the menu is untraditional,” studio founder Anna Polonsky told Dezeen.

      The restaurant only seats eight covers, which surround the open kitchen in the centre of the compact space.
      Custom wallpaper hand-painted by Hollie M Kelley displays the feathers of an eastern rosella birdDeep blue-green Avocatus stone – a rare quartzite with a leathered finish – forms the entire bar counter
      A custom ceiling pendant by Madrid-based designer Pablo Bolumar is suspended above the counter like a string of pearly beads.
      Pieces by several local designers are featured in the restaurant, including ceramic vases by FefostudioOn the walls, panels of burl wood veneer are framed in white oak, which matches the refinished original parquet floors.
      “We were able to sand back [the flooring] after it was hidden for years in the previous restaurant,” Polonsky said.
      To contrast the blue-green dining area, kitchen cabinetry is coloured maroon as another nod to the rosella bird’s feathersA trio of panels feature a custom wallpaper drawn by artist Hollie M Kelley, displaying the feathers of an eastern rosella bird.
      Kelley also drew the icon for the sister restaurant, a western rosella, which has different colours in its plumage.

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      The maroon hues in the wallpaper are echoed on the cabinetry behind the kitchen counter, differentiating the food preparation area from the blue-green of the dining space.
      Other details include a panel of vertical wood slats for storing plates above the sink and moulded-glass scones shaped like scallop shells.
      Vertical wood slats provide spaces for storing dishesThe bar stools were crafted by Maderas Collective in Nicaragua and upholstered by Ecua in Queens, while ceramic vases were sourced from New York-based Fefostudio.
      In the bathroom, green tiles laid in a herringbone pattern cover the walls and a rice paper pendant light hand-painted by Claire Dufournier hangs from the ceiling.
      The bathroom features dark green tiles and a hand-painted rice paper pendant lightFor those looking for more Japanese restaurants with notable interiors, New York City has plenty of options to choose from.
      Check out the Rockwell Group-designed Katsuya close to Hudson Yards, Rule of Thirds by Love is Enough in Greenpoint, and Tsukimi in the East Village designed by Post Company – formerly known as Studio Tack.
      The photography is by Nicole Franzen.

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      Yellow lighting illuminates Le Père store in New York by BoND

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      New York architecture studio BoND has used tubular lighting to create a bright yellow glow inside this men’s apparel store on Manhattan’s Lower East Side.

      The first flagship for cult fashion label Le Père occupies a 1,000-square-foot (93-square-metre) corner unit on Orchard Street.
      The flagship store for Le Père is largely painted white to allow the bright clothing to stand outUtilising the store’s large exposure to the street, BoND opted to create an interior that would be just as impactful from the exterior as it is once inside.
      “BoND designed the store to feel like a canvas, highlighting the design elements of the clothes while ensuring the space is a place that creators feel encouraged to spend time in,” the team said.
      A central column is encased in a translucent yellow boxThe firm’s approach was to leave the majority of the space white, allowing the boldly patterned clothing to stand out, then highlighting the fitting rooms using bright yellow lighting and surfaces.

      A structural column in the centre of the store encased in a translucent box is also fitted with lights to give off a sunny glow.
      Yellow lighting installed in the fitting rooms emits an inviting glowThis yellow aura is immediately apparent from the street and is meant to entice passersby to step inside.
      Neon lighting has seen a resurgence in retail and other commercial interiors of the past year, appearing everywhere from a Brooklyn cafe to a Calgary chicken shop.
      The tube lights were installed on either side of mirrors in the fitting rooms, which are also yellowAt Le Père, other elements like the tops of vintage Artek furniture are coloured red and black, to borrow from the street signs across the neighbourhood.
      Floor-to-ceiling curtains along the back wall create a soft and neutral backdrop for the apparel, which is displayed on industrial metal racks.
      Custom furniture pieces were designed by BoND and fabricated by Lesser MiracleWide-plank wood floors are laid across the main shop floor, which doubles as a space for gatherings, conversations, exhibitions and events.
      Custom furniture pieces including a curved bench were designed by BoND and fabricated by Brooklyn design and art studio Lesser Miracle.

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      “The design scheme blurs the lines between a store, a home and an art studio – a space that is both aspirational and livable, combining contemporary and historic elements as a playful strategy,” said the studio.
      On the exterior, a generous portion of the facade is given over to a giant billboard that Le Père will use to present its seasonal visual campaigns and artwork by the brand’s collaborators.
      A large portion of the facade is given over to a billboard to display the brand’s campaignsThe debut placement for Fall/Winter 2023 was titled And Sometimes Boys and influenced by the work of Korean visual artist Nam June Paik.
      BoND was founded by Noam Dvir and Daniel Rauchwerger, who previously designed the global headquarters and showroom for the Brazilian brand PatBo in New York.
      The glow from the yellow lighting is designed to entice in shoppers on the Lower East Side. Photo by BoNDThe duo earlier overhauled an apartment in Chelsea for themselves, turning the dark, divided space into a light-filled home.
      The photography is by Stefan Kohli, unless stated otherwise.

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      Commoncraft draws on “beauty in imperfection” for New York cafe

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      Distressed concrete, rowlock bricks and worn plasterwork create an intentionally unfinished appearance at this cafe in New York City’s East Village neighbourhood, designed by Brooklyn studio Commoncraft.

      For its expansion into Manhattan, New Jersey-based Kuppi Coffee Company secured a 350-square-foot space on bustling St Marks Place – its second location.
      Textured concrete plaster envelops the interior of Kuppi Cafe in the East VillageThe compact interior has just enough space for a customer area and the cafe counter, plus a prep area and a WC for staff at the back.
      Commoncraft approached the front-of-house space with an ethos akin to wabi-sabi, the Japanese art of “flawed beauty”.
      Commoncraft chose materials for the space that appear purposefully rough and unfinished”Employing a range of rough and raw materials, Commoncraft’s design of Kuppi Cafe seeks out the beauty in imperfection,” said the studio, which was founded by Zach Cohen and Tony-Saba Shiber.

      Textured concrete plaster curves up from two perpendicular walls and over the ceiling, enveloping the room together with the concrete floor.
      The compact space features a small bench for customers awaiting their ordersWhere these walls meet, a vertical element is wrapped in bluish plaster that’s peeling away to reveal a whitewash beneath.
      The Kuppi logo is applied faintly at the top, and stainless-steel shelves for displaying merchandise are cut into part of the pillar’s corner.
      The cafe counter is faced in bricks stacked on their sides to expose their “guts”Zones for customer interaction – including the service counter and a small bench – are defined by terracotta bricks, which are stacked on their sides in rowlock courses “to expose their core and mortar ‘guts’.”
      “Each terracotta volume is terminated by a course of cut bricks, further revealing the rough, imperfect cores,” Commoncraft said.

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      In such a compact space, the designers have ensured that their concept carries through each of the cafe’s elements.
      “The material honesty of the space is further reinforced by a number of small details,” said Commoncraft.
      A corner element is wrapped in bluish plaster that’s distressed to reveal a whitewash underneathThese include floating stainless steel shelves behind the counter, a freestanding glass splash guard for baked goods and spherical concrete pendant lights suspended at different heights above the bench.
      The cafe is highly visible from the high-traffic street through its fully glazed facade.
      The counter is terminated by a course of cut bricksNew York City is home to thousands of cafes and coffee shops, including many independent establishments with unique interiors intended to entice customers inside.
      Among them is another Commoncraft project: a Williamsburg eatery named Gertie designed as a playful tribute to the owner’s grandmother.
      The photography is by Andrew Fu.
      Project credits:
      Client: Kuppi Coffee Company (Kevin and Vivian Kim)Architecture and interior design: CommoncraftPlumbing engineer: Alan R SchwartzGeneral contractor: LTI Construction Corp

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      Civilian draws on “grandeur” of early cinemas for Sandbox Films offices

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      New York studio Civilian has designed the headquarters for a documentary production company in Manhattan’s Flatiron District, which includes an art deco-influenced screening room.

      The offices for award-winning Sandbox Films are located in a landmarked 1920s neo-gothic skyscraper, and provide the company with its first dedicated workspace.
      Civilian’s interiors of the Sandbox Films offices draw upon multiple references, from old movie theatres to colours used by Danish modernist Poul HenningsenSpread across 4,200 square feet (390 square metres) of space, the program includes an open-plan reception area that doubles as an events space, a conference room, private and open offices, and production and editing suites.
      There’s also a 22-seat screening room with a Dolby Atmos sound system, in which the team and their visitors can preview the completed or in-progress cuts.
      In the centre of the reception area is a custom, double-sided sofa upholstered in velvet and boucle fabricsThe non-profit documentary production company makes cinematic science films, many of which have won or received nominations for prestigious awards.

      Among them are Fire of Love, which was nominated for Best Documentary Feature at the 95th Academy Awards in 2022; Emmy-winning Fathom; Sundance winner All Light, Everywhere; and Fireball, co-directed by Werner Herzog.
      Another custom design is the meeting room table, which has ash legs and a white lacquered top”Inspired by [our] clients’ love for the craft of storytelling, the space was informed by the grandeur of the amenity-rich yet intimate early movie houses of Stockholm and Amsterdam, art deco cinemas, the architectural colour gestures of Danish modernist designer Poul Henningsen, and the vanished world of interwar New York conjured by the project’s Broadway address,” said Civilian.
      The reception area revolves around a circular stone-topped bar, which demarcates a staff pantry area by day, and can be used for serving food and drinks for events.
      Vintage pieces sourced for the space include a pair of swivelling Milo Boughman chairs”With an active roster of screenings, events and a residency program for independent filmmakers, the space acts as an office as well as a dynamic center of gravity for New York’s nonfiction film community at large,” the team said.
      A custom double-sided, Pierre Chareau-inspired boucle and velvet sofa sits opposite a pair of refinished Milo Boughman swivel chairs.
      A bar area in reception acts as a pantry by day and is used for hosting events in the eveningMarquee lights are installed in rows along the sides of the existing ceiling beams, with additional sconces mounted on the plastered pantry wall.
      Structural columns have been wrapped in travertine cladding to highlight thresholds between the different spaces.
      Wood panelling and film posters hark back to art deco movie theatresOn either side of the reception, acoustic partitions with glass panels and mint-green frames cordon off the bright conference room and a private office.
      Furnishing the conference room is a custom-designed meeting table that combines a solid ash frame and a high-gloss curved lacquer top, surrounded by vintage Tobia Scarpa Sling Chairs.
      A communal workspace features sit-stand desks, oak dividers and plenty of ledges for plantsFrom reception, a neon-lit burgundy door leads into the screening room, where three tiers of seating face the large screen like in a mini movie theatre.
      The cushioned seats are upholstered in soft powder-blue fabric, which contrasts with walnut wainscoting, and sound-absorbing brown wool wall panels that conceal the equipment.

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      Each chair has an individual armrest table for placing drinks or writing notes, complete with a small light created in collaboration with Lambert et Fils.
      More private offices, sound-proofed editing suites and an open workspace are accessed via a short L-shaped corridor.
      A 22-seat screening room allows the team and their visitors to preview documentary filmsIn the communal work area, sit-stand desks feature white oak divider panels and are topped with a stone ledge for displaying objects and plants.
      “This project has given us an opportunity to draw from so many inspiring references, from its iconic Broadway location to historic theatre architecture, to create an elevated and layered space that supports the work Sandbox is doing to uplift documentary film talent,” said Civilian co-founder Ksenia Kagner.
      The screening rooms boasts a Dolby Atmos sound system, and includes chairs with individual armrest tables for drinks or note-writing”We also felt it was important to be responsive to the changing priorities of the modern workplace, creating open, multipurpose spaces that nurture interaction and foster a sense of community,” she added.
      Civilian was founded in 2018 by Kagner and Nicko Elliott, and the designers have since completed projects ranging from the transformation of Detroit’s historic Book Depository into a headquarters for tech company Newlab, to the renovation of a historic Bed-Stuy townhouse for themselves.
      The photography is by Chris Mottalini.
      Project credits:
      Client: Sandbox Films (Simons Foundation)Client rep: Cushman and WakefieldCivilian scope: Interior design, creative direction, furniture designArchitect of record: LB ArchitectsMechanical engineer: WB EngineersAV engineer: SpectraAcoustic engineer: WSDGProduction studio consultant: Tom PaulContractor: L&K Partners

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