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    Michael Hsu utilises soft shapes for Austin skyscraper interiors

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    US studio Michael Hsu Office of Architecture has designed the common areas and amenity spaces for a residential skyscraper in Austin, Texas, which include a circular outdoor swimming pool.

    The 51-storey 44 East Avenue development on the city’s riverfront was designed by Page Architects, and includes 330 condominiums and a variety of shared amenities for residents.
    The ground-floor lobby of 44 East Avenue includes a glazed atrium that divides the spaceLocal studio Michael Hsu Office of Architecture took an organic approach when designing the communal spaces, introducing soft shapes and natural materials to the glass and concrete structure.
    “44 East combines nature and design with the idea of home,” said studio founder Michael Hsu. “It’s an unexpected expression of what beautiful, livable, modern spaces can be.”
    Michael Hsu Office of Architecture has layered a variety of vintage and custom furniture in the lobbyThe bright lobby features light colours, curved surfaces, and a blend of hard and soft materials.

    Poured concrete terrazzo floors are intended to echo the gravel of the nearby riverside trail, while plaster ceilings are subtly smooth-edged to mimic the undersides of boats.
    A rounded mint-green reception desk sits in front of a white tambour wallA glazed atrium with curved corners divides the ground floor and brings the landscaping by DWG further into the building.
    Lounges on either side are furnished with a mix of vintage and contemporary pieces, which add colour and texture.
    On the 11th floor, spaces feature pastel tones to match the interiors of the residencesThe reception desk has rounded edges and sides, and a glossy mint-green finish. It sits on a chrome base that matches a custom pendant light over a nearby seating area.
    “[The communal areas are] a completely designed experience, one that allows for a multitude of ways of living,” Hsu said. “It represents creativity and design without pretension.”
    A circular outdoor swimming pool has loungers and pebble-shaped islands at its shallow endsOn the 11th floor, a series of spaces are oriented towards views of the Colorado River and the leafy neighbourhoods to the south.
    A circular outdoor swimming pool features loungers dipped into the shallow water and a series of pebble-shaped islands.
    A tree grows through a hole in the canopy that covers a patio area for grillingAdjacent is a partially covered patio for barbecuing and dining al fresco, oriented around a planter with a tree that grows up through a hole in the slatted canopy.
    Indoor spaces on this level are decorated in pastel hues to match those found in the residences, which were designed by Page.

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    Further amenity areas on the 37th floor feature jewel tones and darker materials, such as the stone flooring, as well as fixtures including a large moon-like pendant light above a circular sofa.
    “We hope that this space feels both fresh and welcoming, a place that has new moments to discover, but that is comfortable and familiar,” said Hsu. “Design here is part of the resident’s everyday experience, rather than reserved for a special occasion.”
    Another lounge on the 37th floor has darker decor and a view of the Austin skylineAustin continues to grow as a desirable place to live and work, and has seen a boom in development across residential, commercial and hospitality sectors as a result.
    Plans for a supertall skyscraper in the city were unveiled in November 2022, although cut back significantly six months later, leaving another supertall by KPF in the running to become Texas’ tallest building.
    44 East Avenue is located beside the Colorado River, east of Downtown AustinMeanwhile, a concrete office complex, a sculptural tower, and a technologically advanced sports arena have all been completed in Austin over the past year.
    Michael Hsu Office of Architecture has also wrapped up a string of projects in its home state, from converting a 1930s Austin church into a design office to designing a cosy Japanese restaurant in Houston.
    The photography is by Chase Daniel.
    Project credits:
    Common areas/amenity spaces: Michael Hsu Office of ArchitectureHome interiors: PageLandscape architect: DWGDeveloper: IntracorpPre-construction: FlintcoCivil engineering: WGI

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      Krista Ninivaggi looks to “future rather than nostalgia” for Brooklyn Tower lobby interiors

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      International architecture studio Woods Bagot has completed the lobby design of the Brooklyn Tower, a supertall skyscraper that is the tallest in the New York City borough.

      Woods Bagot was commissioned for the interior spaces – including lobbies, amenities spaces and furniture – for the SHoP Architects-designed skyscraper, which is completing this year. So far, it has completed the two entrances that will usher residents into the lobby.
      Woods Bagot designed the lobby for Brooklyn’s tallest towerThe tower itself rises from the historic Dimes Saving Bank in Downtown Brooklyn, so Woods Bagot needed to navigate the historic design as well as the “future landmark”.
      “Together with the architect we looked to the future rather than focus on a nostalgia for the past,” Woods Bagot principal Krista Ninvaggi told Dezeen.
      It features oak panelling”Ironically, [American architect] Hugh Ferriss’s work and dedication to retro-futurism influenced our designs,” she added.

      “We very much wanted the interiors to be in dialogue with the ethos of the exterior of the building, so that it felt like a complete work and continued the vision of the exterior. The goal was for the inside and outside to be unified as a total work.”

      SHoP Architects principal knew Brooklyn Tower would be “like the Empire State Building of Brooklyn”

      Woods Bagot’s solution to create this unification was to focus on small details, such as the wood panelling in the main lobby, which was milled at one-half the scale of the exterior facade extrusions.
      The design included both of the two residential entrances to the tower, one of which passes through the Dimes Savings Bank building on Fleet Street.
      Both entrances have oak panelling and cream-coloured hexagonal flooring that was based on the original flooring for the bank.
      The elevator entrance room has a ceiling clad in dimesThe Flatbush Avenue entrance, through the extension built for the tower, acts as the primary lobby and has a concierge desk positioned in front of a recess.
      Gold and bronze detailing and custom furniture designed by Ninvaggi – such as a built-in stone bench – were arranged around the desk and the wood panelling is backlit.
      From here, a passageway with arches clad in stone connects the main lobby with the Fleet Street entrance. Also accessed from the main lobby is the elevator bank.

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      This area has a vaulted ceiling clad in liberty dimes, another reference to the bank, and the elevators are framed by gold detailing.
      “We also used an abstracted mercury dime face as the signage for the ATM tucked away in the lobby,” said Ninvaggi.
      “Though we wanted to reference the bank we intentionally incorporated wood, which was not found in the bank’s original material palette. This warmed the space and gives it a more residential feel and the lighter wood tone compliments the stone.”
      “Overall, we made strides to abstract our references for a modern-day audience,” she added.
      A passageway connects the two entrancesWoods Bagot was founded in Adelaide, Australia in 1869. Other recent projects by the studio include a convention centre in Christchurch with a curved, tile facade in collaboration with New Zealand studio Warren & Mahoney and an expansion to Seattle’s Sea-Tac airport.
      The Brooklyn Tower is scheduled to be completed in the next few months, with most of its black facade already having been installed.
      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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      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.

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      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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      Norman Kelley refreshes lobby of postmodern Chicago skyscraper

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      US architecture studio Norman Kelley used materials such as brass and polished quartz to update the lobby in a 1980s skyscraper designed by John Burgee and Philip Johnson.

      The project – formally called the 190 South LaSalle Street Lobby – is located within a postmodern-style office tower in Chicago’s Central Loop. The 41-storey building was originally designed by American architects John Burgee and Philip Johnson and opened in 1987.
      Norman Kelley updated the lobby with materials including brassThe current owners, Beacon Capital Partners, hired local studio Norman Kelley to update the ground-level lobby, which is open to the public.
      “The overall goal of the project was to provide a safe interior public space that encourages community and contemplation, or a space to linger within,” the studio said.
      Rose-hued marble pilasters were kept intactThe lobby has a number of notable features that were kept intact. These include rose-hued marble pilasters, a black-and-white marble floor, and a 50-foot-tall (15-metre) vaulted ceiling sheathed in gold leaf.

      Norman Kelley added a range of new elements, including electric turnstiles, security desks and a cafe. Brass and polished quartz were used for the desks and cafe.
      A black-and-white marble floor was also preservedThe studio also designed new furnishings for the project, including a curvy sofa and long banquette, both in a vanilla hue.
      The seating was inspired by two sources – Vitra’s office furniture and group seating in the now-shuttered Four Seasons restaurant in New York, designed by Philip Johnson.
      A vanilla-hued banquette was designed by the studioThe seating was paired with round, brass-and-marble tables topped with portable LED Carrie lamps by Norm Architects.
      The north apse, which once held a marble security desk, was redesigned as a semicircular amphitheatre measuring 12 feet high and 27 feet wide (3.7 by 8.2 metres).
      The semi-circular amphitheatre has gold seatingThe tiered seating is made of perforated brass risers and honed, off-white marble with gold veining. Railings are made of brass pipes.
      To animate the space, the architects created an “immersive audio experience” in collaboration with the studio iart and sound scenographer Idee und Klang.
      Brass and polished quartz were used for the desks and cafeThe weather-inspired audio installation was designed to be triggered by 81 light sensors and three motion sensors that are located behind the risers.
      “Once the amphitheatre senses one’s presence, a musical score comprising 15 instruments, four tempos, and seven keys and scales play across eight of the nearest 91 speakers,” the team said.

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      “The brass-and-marble amphitheatre is a responsive instrument that uses real-time data inputs, like weather and time of day, to compose an ever-changing sonic environment.”
      The amphitheatre stands in contrast to the southern apse, where a towering bronze sculpture, called Chicago Fugue by Anthony Caro, was installed in 1987. The abstract sculpture is composed of anomalous shapes and alludes to musical instruments.
      A bronze sculpture by Anthony Caro features in the space”Like an aural diptych, the lobby presents two musical sculptures: one figurative, the other literal, to welcome you back to work,” the team said.
      Norman Kelley was founded in 2012 by Carrie Norman and Thomas Kelley.
      The studio’s other projects include an Aesop store in Chicago’s Bucktown neighbourhood, which features reclaimed bricks arranged in pinwheel patterns, and a flagship store for clothing retailer Notre that is housed in a building dating to 1906.
      The photography is by Kendall McCaugherty Ristau.
      Project credits:
      Architect: Norman KelleyOwner: Beacon Capital PartnersGeneral contractor: Power Construction CompanyMedia architecture: iartSound scenography: Idee und KlangAcoustics: Walters-Storyk Design GroupMEP: Kent Consulting EngineersStructural engineering: Klein & HoffmanAudio visual services: Global Service TechniciansMillwork: HuberExpediter: Burnham NationwideFilm: Spirit of Space

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      Ministry of Design creates shared office spaces in Kuala Lumpur skyscraper

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      Marble-clad columns and bronze detailing line the soaring entrance lobby that Ministry of Design has created for the YTL Headquarters in Kuala Lumpur, Malaysia.It is one of several shared areas created by Ministry of Design in the Malaysian construction company YTL’s new office skyscraper by Kohn Pedersen Fox, which combines all of its staff departments in one place for the first time.
      Alongside the giant entrance area, the studio has created an oak-lined cafe and three storeys of varied meeting spaces shared by 1,000 YTL employees.

      Above: the YTL Headquarters skyscraper. Top image: the office’s entrance lobby

      “The brief for Ministry of Design was to design the public areas shared by these departments,” the studio explained.
      “As such, Ministry of Design sought to create a series of choreographed spatial experiences which aim to balance YTL’s legacy of corporate professionalism with a future-forward attitude that embraces change.”

      Marble-clad columns and cushioned benches line the entrance lobby
      The YTL Headquarters’ entrance lobby is positioned at ground level and measures 25 metres in height.
      Ministry of Design’s goal was to enhance the “majestic” quality of this vast space while ensuring it was welcoming and human in scale.

      The marble is offset by bronze accents throughout
      To achieve this, the studio developed a restrained material palette, dominated by the soaring, white columns clad in Bugatsa marble that run the length of the lobby.
      Floor-to-ceiling windows are positioned behind the columns to illuminate them and maximise natural light throughout the day, while making the space “glow like a lantern in the evening”.

      The lift lobby is highly symmetrical
      To obscure the height of the columns, each one is punctured by rectangular insets and bronze accents, while a cloud-like installation hangs between them.
      Cushioned benches that mimic Mies van der Rohe’s Barcelona chairs have also been slotted between the columns at floor level, framed by tall, gridded structures made from bronze.

      The cafe features a rough grey-granite counter
      The lobby is complete with a deliberately symmetrical lift area at its rear, accessed through turnstiles and framed by a statement bronze doorway.
      This provides private access to YTL Headquarter’s upper levels, including the office cafe, various meeting spaces and a function room by Ministry of Design.

      A central spiral staircase is enclosed by slatted bronze
      Ministry of Design’s development of the cafe and meeting spaces are intended as an extension of the lobby area, featuring a complementary material palette but with warmer tones.
      In the cafe, this includes a rough, grey-granite counter with a polished black-granite worktop, set against a backdrop of bronze wall-mounted shelves and oak-lined walls.

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      Oak has also been used to line the walls and ceilings of the meeting spaces, which cater for small and large, private to non-private gatherings.
      Ministry of Design achieved this through the combination of communal tables and open areas, alongside enclosed meeting rooms and acoustically-private spaces.

      The staircase connects the cafe to the office spaces
      In the open, shared meeting areas, the oak walls form a backdrop to black powder-coated lighting fixtures and seating upholstered with neutral Saum & Viebahn textiles.
      Silver mink marble flooring lines the floor, while black Nero Marquina and elegant white Calacatta marble are used across the tabletops.

      Oak lines the walls of the shared meeting spaces
      The private meeting areas are complete with softer furnishings and finishes, including brown-leather chairs, carpet floors and timber tables.
      The meeting spaces are complete with a statement spiral stair at their heart, which connects them to the cafe. It is lined with leather handrails that are enveloped by slats of powder-coated bronze and positioned on top of a bed of black gravel.

      The private meeting spaces feature softer furnishings and carpeted floors
      Ministry of Design is an architecture and interior design studio that was founded in 2004 by Colin Seah. Its headquarters are in Singapore, and it has two more offices in Beijing and Kuala Lumpur.
      Other recent projects by the firm include an all-white co-living space called Canvas House, a futuristic sports store in Singapore Airport and a robot training facility lined with metal and tube lights.
      Photography is by David Yeow.
      Project credits:
      Ministry of Design team: Colin Seah, Joyce Low, Ruth Chong, Kevin Leong , Damien Saive, Namrata Mehta, Fai Suvisith, Justin Lu, Zhang Hang, Maggie Lek, Kaye Mojica, Richard Herman, Rais Rahman, Tasminah Ali and Azilawanti WatiArchitectural design: Kohn Pedersen FoxAssociates design: Syarikat Pembenaan Yeoh Tiong Lay Sdn BhdArchitect of record: Veritas Design GroupLobby art: Leaves by Studio Sawada Design Co Ltd

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      David Adjaye and Aston Martin design five residences in New York skyscraper 130 William

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      David Adjaye has partnered with luxury carmaker Aston Martin to design homes and limited edition SUVs for five residents who will live in the British-Ghanaian architect’s first New York skyscraper.Five Aston Martin Residences will be located on the 59th and 60th floors of 130 William – Adjaye’s 244-metre-tall residential tower under construction in Manhattan. Each resident will also receive a limited-edition, Adjaye-designed Aston Martin DBX.

      Above image: crosshatched bronze, an emblem of Aston Martin, will cover Adjaye-design wallpaper. Top image: residences will have outdoor loggias
      “The 130 William Aston Martin homes have been touched in a very particular way that merges our design sensibilities,” said Adjaye.
      “Together with the limited edition SUVs that come with these units, we’ve created a truly unique signature that blends our two disciplines.”
      Differing from the other homes in the 242-unit tower, these five will be decorated with materials, textiles and furniture sourced from the Aston Martin Home Collection by the Italian manufacturer Formitalia, with additional touches by Adjaye.

      The living and dining room will feature items from Aston Martin’s home collection

      The entry hallway will be covered with a bronze cross-hatch, a signature of the Aston Martin brand, that will cover over dark Adjaye-designed wallpaper. A large arched smoked-glass mirror by Aston Martin’s design team will hang on the wall, as a reference to the arched windows of the skyscraper.
      Renderings show these windows will flood daylight into the lounge and dining room, whose furnishings will include leather, metal and fabric chairs that are intended to draw on the aesthetic of Astin Martin car interiors.

      Residents can customise a bedroom into a study
      An open-plan kitchen adjoining the living room will have rich materials like blackened-oak Italian cabinetry, marble countertops from Italy’s Apuan Alps and a cantilevered Nero Marquina marble top.
      In the main bathroom, meanwhile, dark Italian Salvtori will be carved into a bathtub and double vanity sinks. Design details in the main bedroom will include Formitalia furniture and a custom cashmere headboard.

      The spare room can also be turned into a racing simulator
      Residents will also be able to turn one of the rooms in the two- or three-bedroom homes into a racing simulator, an office and library space or a bedroom. The racing simulator will be made in partnership with British technology company Curv Racing Simulators.
      Each residence will also have an expansive outdoor space with bespoke slatted screens to divide up lounging areas.

      The main bathrooms with have a bathtub carved from marble
      The Adjaye-designed Aston Martin DBX that will accompany the purchase of each residence will feature rich materials to mirror the homes – including marble, walnut wood and hand-stitched leather with green trim.
      The five Aston Martin Residences include two penthouses for sale at $11,500,000 and $10,500,000, and three loggia residences priced from $3,985,000, $5,985,000 and $10,000,000.

      130 William skyscraper for New York will be “great for drones” says David Adjaye

      First unveiled in 2017, 130 William is a 66-storey skyscraper in Downtown Manhattan that Adjaye has designed with local firm Hill West Architects for developer Lightstone.
      It will have a textural hand-cast concrete exterior to complement the materiality of the surrounding historic, brick commercial buildings, which Adjaye has previously said will make it ideal for close-up drone photography.

      Each resident of the five homes will get an Adjaye-designed Aston Martin DBX luxury car
      The partnership with Aston Martin is not the first time the car marker has turned its hand to architecture and design.
      “This is a fascinating project for the Aston Martin design team to work on and a great opportunity to collaborate with David,” Aston Martin CCO Marek Reichman said.

      Rich materials inside the SUV are intended to reference the homes
      “It is our first real estate project in New York City but our second collaboration in real estate design after the Aston Martin Residences in Miami,” he added. “We can apply what we have learnt in Miami and also bring our unique automotive design skills to these beautiful luxury homes.’
      Last year, the brand also launched an architectural design service called Automotive Galleries and Lairs to design homes around the resident’s cars. It has since teamed up with US studio S3 Architecture to create Sylvan Rock, an angular black-cedar home in Hudson Valley, New York.
      Renderings are courtesy of Aston Martin.

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