Mexico City welcomes Museo Casa Kahlo, a new museum located in Casa Roja, the historic home of Frida’s sister Cristina Kahlo, transformed into a museum by architect Mariana Doet Zepeda Orozco, with experience and exhibition design by Rockwell Group and graphic design by Pentagram.

Dedicated to exploring the private life, family relationships, and early inspirations of Frida Kahlo, the venue occupies the same neighborhood where the artist and her family lived for over a century. Far from the public eye of Frida’s more famous blue house, Casa Azul, this intimate residence offers a glimpse into the domestic world that shaped her life and work.

all images by Rafael Gamo for Rockwell Group, unless stated otherwise

an Intimate Journey Through the artist’s Private World

The museum experience, designed by the team of Rockwell Group, is deliberately personal and reflective. Visitors move through preserved domestic spaces that include a kitchen containing Frida’s only known mural, a candlelit basement that once served as her private retreat, and rooms dedicated to family initiatives like La Ayuda, a charity for single mothers. Museo Casa Kahlo foregrounds Frida’s roles as sister, aunt, and friend, illuminating the networks of support and inspiration that fueled her artistic life.

Mexico City welcomes Museo Casa Kahlo | image courtesy of the Museo Casa Kahlo

Courtyards, Corridors, and Hidden Rooms

Visitors arrive through a narrow corridor that traces the historic driveway of Casa Roja, lined with historical photographs and hand-crafted signage, before stepping into a restored courtyard. Here, a large grapefruit tree that references Frida’s kitchen mural sits in a hand-carved cantera stone pot, surrounded by planters in green clay from Oaxaca, red clay from Guadalajara, and monumental Purépecha vessels from Michoacán. Native plantings and locally sourced cast-iron benches evoke the feeling of a lived-in home, and a curved corner stair reintroduced from historic photos recalls the family gatherings once staged here.

Descending into the basement, Rockwell Group recreates Frida’s hidden studio, a quiet room filled with personal objects, dolls, paintings, and her microscope for studying insects. The space is intimate, almost secretive, with soft candlelight and tactile displays that invite slow observation. With wood, stone, and ceramics at its core, the design radiates warmth and reflects the region’s artisanal heritage, grounding Frida’s story in the textures of her family home.

the museum is located in Casa Roja, the historic home of Frida’s sister Cristina Kahlo

The Next Chapter of frida’s Story

The museum also foregrounds contemporary artistic voices, with rotating exhibitions of Mexican, Latin American, and female artists who echo or challenge Kahlo’s vision. As Mara Romeo Kahlo, Frida’s grandniece, notes, the museum is a family project. ‘To welcome the public into these spaces is, for us, a tribute to the Kahlo family’s tradition of hospitality,’ she shares. ‘This museum honors the spirit of family, generosity, and creativity that has been passed down to us.’

Museo Casa Kahlo is administered by director Adán García Fajardo with chief curator Adriana Miranda and represents the most significant expansion of the Kahlo family’s cultural footprint in decades. For visitors, it offers a rare chance to inhabit the domestic spaces that nourished the artist’s creativity, revealing a side of the artist rarely seen by the public.

a large grapefruit tree that references Frida’s kitchen mural sits in a hand-carved cantera stone pot

exhibition design by Rockwell Group and graphic design by Pentagram

Rockwell Group recreates Frida’s hidden studio in the basement

Museo Casa Kahlo foregrounds Frida’s roles as sister, aunt, and friend

revealing a side of the artist rarely seen by the public | image courtesy of the Museo Casa Kahlo

project info:

name: Museo Casa Kahlo

architect: Mariana Doet Zepeda Orozco

exhibit & experience design: Rockwell Group | @RockwellGroup

location: Casa Roja, Coyoacán, Mexico City, Mexico

client: Fundación Kahlo

director: Adán García Fajardo

chief curator: Adriana Miranda

graphic & creative direction: Pentagram | @pentagramdesign, Ileen Gallagher

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The View, a legendary revolving restaurant and bar in NYC, has reopened its doors following a dramatic redesign by Rockwell Group. Found on the 47th and 48th floors of the New York Marriott Marquis, this historic venue has been transformed into a space that is at once contemporary and nostalgic space that pays homage to its 1985 origins.

Rockwell Group’s approach to the renovation draws inspiration from The View’s storied past and its proximity to Broadway’s Theater District. The design integrates materials and textures that evoke the opulence of American supper clubs and classic chophouses, reinforcing the restaurant’s connection to its cultural surroundings. Rich burl wood, shimmering Venetian plaster, and deep blue velvet drapery reminiscent of stage curtains set the scene for a dining experience that feels both intimate and grand. The View celebrated its re-opening on February 12th, 2025 at its original location in New York’s Theater District.

The View has reopened with a redesign by Rockwell Group | images © Jason Varney

a stage with a view

The View’s signature feature, its revolving floors, presented a unique challenge and opportunity for Rockwell Group during its redesign of the NYC restaurant. To exaggerate the sense of movement, the design team led by David Rockwell introduced overlapping concentric circles on the ceiling, mirroring the rotation of the restaurant below. Inspired by the ceaseless energy of Times Square, these forms reflect the flow of people, cars, and lights on the streets beneath. Two types of metallic paint, one matte and one reflective, add a luminous depth, making the ceiling itself feel as if it shifts along with the restaurant’s slow revolution.

Rockwell Group conceptualized The View’s interior as both a stage and a viewing platform. Faceted antique mirrors amplify the sense of space, while a layering of textures and reflective surfaces captures and refracts light in dynamic ways. The venue’s division into two levels allows guests to choose between an elevated cocktail lounge experience on the 48th floor or a full dining experience below, both with uninterrupted 360-degree views of the city skyline.

antique mirrors and reflective surfaces amplify light and create a dynamic atmosphere

the modern and nostalgic restaurant

The View’s interior design by Rockwell Group channels a retro NYC sensibility while embracing contemporary restaurant design elements. The plush banquettes, intimate lighting, and vintage-inspired finishes create an inviting atmosphere that encourages guests to linger. Nightly live piano performances further enhance the timeless ambiance, further demonstrating Rockwell Group’s aim to create a space that feels like a rediscovered classic rather than a brand-new restaurant.

With the main dining floor completing a full rotation every hour and the upper lounge turning every 45 minutes, The View remains a singular destination that celebrates the city from every angle. Rockwell Group’s elevated renovation means that this beloved NYC institution continues to bring its cinematic and intimate experience to New York’s theater district. The ever-changing tableau of the city below is now framed by contemporary interiors that pays tribute to the past.

the design draws inspiration from American supper clubs and classic chophouses

‘The View’s mission is simple: to capture the lively energy of Broadway’s Theater District showcasing a familiar American menu whose dishes are even better than you ever knew they could be,’ says USHG Founder and Executive Chairman Danny Meyer. ‘It’s your new ‘night out on the town’ where the floor just happens to rotate.’

overlapping concentric circles on the ceiling enhance the sense of motion within the revolving space

rich materials like burl wood, venetian plaster, and velvet drapery create a nostalgic atmosphere

the rotating floors offer uninterrupted 360-degree views of the new york city skyline

the venue is divided into a cocktail lounge and a dining area below

the restaurant is located on the 47th and 48th floors of the New York Marriott Marquis

project info:

name: The View | @theviewny

designer: Rockwell Group | @RockwellGroup

location: Marriott Marquis, Floors 47 & 48, 1535 Broadway, New York, NY

operation: Union Square Hospitality Group | @ushgnyc

opening: February 12th, 2025

photography: © Jason Varney | @varneyphoto

The post david rockwell redesigns ‘the view,’ a revolving restaurant with ever-changing views of NYC appeared first on designboom | architecture & design magazine.

Located at One Madison Avenue, overlooking Madison Square Park, La Tête d’Or marks Chef Daniel Boulud’s newest restaurant. Designed by Rockwell Group, the project combines classic French brasserie charm with contemporary sophistication. Found within the newly transformed office tower by Kohn Pedersen Fox (KPF), the space serves both the public and tenants of the building.

Designing the restaurant’s warm interiors — at once opulent and welcoming — Rockwell Group drew inspiration from French brasseries and Chef Boulud’s Lyonnais roots. With this influence, the team created an interior that celebrates the craft of cooking. The open kitchen, featuring a wood-burning grill, anchors the restaurant, connecting the artistry of cuisine with the surrounding design. Rich hues of blue, dark marble, wood, and leather set the tone for an atmosphere that is as inviting as it is luxurious.

images © Jason Varney

a luxurious and inviting restaurant in new york

From the street outside the restaurant, La Tête d’Or’s double-height glass facade emits a warm glow, framed by wood accents. Inside, guests are greeted by a vestibule which the design team at Rockwell Group curates with Italian stone flooring, deep red walls, and custom amber glass light fixtures. This transition from busy Madison Avenue to the restaurant’s refined interior sets the stage for an elevated dining experience. The host area, enclosed by curved red paneled walls and a softly lit ceiling, introduces the restaurant’s vibrant palette. A blue lacquer host stand with wood detailing, paired with a custom red rug, creates a sense of understated luxury.

A corridor leads guests to the bar, with Port Laurent marble flooring, bronzed antique mirrors, and a wine display enhancing the ambiance. The bar itself is a focal point, featuring a quartzite countertop, copper tile accents, and blue leather stools. Leather wall panels and velvet armchairs add texture and comfort, while the high-gloss ceiling with metal inlays ties the space together.

One Madison Avenue hosts Chef Daniel Boulud’s new restaurant designed by Rockwell Group

rockwell group draws from art deco influences

The main dining area at La Tête D’Or blends Art Deco influences with contemporary warmth. Walnut wood flooring, ebony parquetry, and silk-look upholstered walls create a harmonious backdrop. Banquette seating offers flexibility, while a decorative art hood above the open kitchen, designed in collaboration with Belgian artist Jesse Willems, serves as a stunning centerpiece.

For intimate gatherings, the North Dining rooms offer secluded spaces with custom sliding doors and warm wood finishes. The Wagyu Room, featuring a horseshoe-shaped stone table, enables table-side grilling, making it ideal for special celebrations. The private dining area, accessible through a pre-function cocktail space, is finished with silk-look wallpaper, custom carpets, and floral murals by Glamora. Large windows provide views of the Met Life tower, while ribbed glass pendants and brass details bring elegant details.

the design draws inspiration from classic French brasseries and Lyon’s cultural heritage

private dining spaces include unique features like a stone table for tableside grilling

the grand dining room blends Art Deco influences with modern warmth and symmetry

the design draws inspiration from classic French brasseries and Lyon’s cultural heritage

a decorative art hood above the open kitchen serves as a stunning centerpiece

silk-look wallpaper floral murals and brass accents define the private dining room

project info:

name: La Tête d’Or | @latetedorbydaniel

design: Rockwell Group | @RockwellGroup

location: One Madison Avenue, 318 Park Ave S, New York, NY

client: SL Green Realty Corp

F&B operator: The Dinex Group

opening: November 2024

photography: © Jason Varney | @varneyphoto

The post la tête d’or: david rockwell curates daniel boulud’s new NYC restaurant with warm opulence appeared first on designboom | architecture & design magazine.

The Cinema by NeueHouse, David Rockwell’s reimagining of the cinematic experience, and the 2024 BlackStar Film Festival have converged in a powerful collaboration. The state-of-the-art cinema has been introduced by Rockwell Group as an addition to its design-minded co-working space in New York City, blending contemporary style with the vintage opulence of 1960s Italian movie houses. Earlier this month, the space hosted an exclusive preview screening and panel discussion for BlackStar‘s annual film festival, which will celebrate its 13th year showcasing Black, Brown, and Indigenous filmmaking this coming August. The event joined innovation, inclusivity, and cinematic artistry to redefine the New York film scene.

designboom attended the screening to take a first-look at this year’s edition of BlackStar Film Festival, and to experience Rockwell Group’s immersive new interiors for The Cinema by NeueHouse. Following the preview and panel discussion, insights were captured from Maori Karmael Holmes, founder of BlackStar, and NeueHouse’s General Manager, Sarita Tabarez. 

Shatara Michelle Ford at The Cinema. image © Deonté Lee / BFA | header © Jason Varney for Rockwell Group

a first look at blackstar film festival

On July 11th, 2024, The Cinema by NeueHouse hosted its exclusive preview of the BlackStar Film Festival 2024, the premier event celebrating visionary Black, Brown and Indigenous filmmakers. This year’s festival will take place from August 1st — 4th in Philadelphia. During the screening in New York, BSFF showcased visuals from two anticipated films: Dreams in Nightmares by director and writer Shatara Michelle Ford and The Ballad of Suzanne Césaire by visual artist and filmmaker Madeleine Hunt-Ehrlich — between which, BlackStar Projects founder Maori Karmael Holmes was joined by the filmmakers in a panel to speak about their intentions, processes, and challenges.

Through BlackStar Film Festival, Holmes champions marginalized voices and nurtures a platform for their storytelling. Set to take place at Philadelphia’s Kimmel Center for the Performing Arts, the festival will unfold with a varied grouping of cinematic narratives — from experimental works to documentaries — all inviting audiences to learn from the perspectives of Black, Brown, and Indigenous cultures.

The Cinema by NeueHouse blends contemporary design with the opulence of 1960s Italian movie houses. image © Jason Varney for Rockwell Group

excerpts from the filmmakers’ panel discussion

At The Cinema by NeueHouse, panelists discussed the tension between creative freedom, authentic representation, and industry expectations, especially when experienced through the lens of marginalized voices. They emphasized the need for resources and support for such marginalized communities, and further challenged traditional filmmaking structures to create space for a more inclusive and authentic film. Personal experiences were shared, along with perspectives on the importance of representation, diversity, and authenticity in the film industry. 

Shatara Michelle Ford details key moments in their career as a director, uncovering insights into their identity, ancestry, and the systems that govern our society. They explain, ‘During COVID I was feeling a lot of tightness and angst. I was processing a lot of what we were all collectively working on as a society. I was processing the call for community care, and reevaluating how we consider ‘family.’ I saw society retreat into deeper, more entrenched settlements as resources became more scarce and people became more fearful.

‘As an artist, the content of my work is always in conversation with systems that I find problematic. In 2018 I shot a film called Test Pattern, with this tightness and angst in my body. I found that that film was very intense and aggressive. It was calling out these systems, saying: ‘Look! Can you see it?’ At the time, I believed that maybe people just don’t see it. And if they see it, then it will change. I got my heart trampled on when I realized they do see it, but they genuinely don’t care. Or they just don’t have the ability to do anything differently.’

the venue hosted an exclusive preview screening and panel discussion for the 2024 BlackStar Film Festival. image © Jason Varney for Rockwell Group

Ford continues, ‘That led to a lot of frustration because I didn’t know what my job was. I spent more time reframing, healing. I consider myself an indigenous African American, meaning that both sides of my family had been enslaved and displaced. Most of my family stayed put in the Mississippi Delta forever, sitting with all of the pain and complexity. As I connected more with my people, I realized that one of the reasons why I’m here is those who came before me. We have the opportunity for dreaming. We can dream of what is possible. So I tapped into that.

‘Late stage capitalism is keeping us too busy, or too tired. I have a privilege to do this work, and so let me do some healing for everybody. As an artist, I have a lot to say about America, and about being indigenous to this place. I don’t know how to reconcile that I am of this earth, and that this earth doesn’t want me — I should reframe: Earth does want me. The people who possess it are trying to keep it from me. I wanted to make a road trip movie because I wanted to talk about America.’

Rockwell Group curates sage green textiles, warm rust and orange tones, and soft ambient lighting. image © Jason Varney for Rockwell Group

Inside The Cinema by NeueHouse

The Cinema by NeueHouse is a continuation of Rockwell Group‘s vision for the contemporary shared workspace in New York. It is curated with inspiration from mid-century opulence as lead designer David Rockwell infuses whimsical details into every corner. The cinema is designed with luxe, sage green textiles, while the lounge shows warm rust and orange tones. Brass, wood, and channel glass details are illuminated by the glow of soft ambient lighting. While the workspace above opens out with lofty ceilings, natural light, and expressive industrial elements, The Cinema is located below ground-level — this way, the design team is able to curate a more private, intimate atmosphere.

The Cinema includes top-of-the-line projectors and speakers, and a podcast studio. image © Jason Varney for Rockwell Group

blackstar founder Maori Karmael Holmes

DB: The film industry often lacks representation for marginalized communities. How does BlackStar aim to address this gap, and what impact do you hope the festival will have on the broader industry?

Maori Karmael Holmes (MKH): The mainstream film industry often relies on stereotypical representations which contribute to the marginalization of people and their communities. BlackStar has always been focused on connecting independent filmmakers who represent the global majority with audiences who might not always know about their work. Many Black, Brown, and Indigenous filmmakers, especially ones making work that addresses social justice issues or work that is formally challenging, don’t often find opportunities in the mainstream. It’s our hope that the festival is able to nip at the heels of the broader industry and serve as a vanguard, while introducing new voices.

DB: Can you share some of the challenges you faced in establishing and growing BlackStar, and how you overcame them?

MKH: It goes without saying that funding is often a challenge. That has been true since our very first festival. Each year we essentially raise the funds from scratch, finding new or returning partners who invest in our work. While we sometimes have industry partners, our more long-term supporters have been other non-profit organizations and of course our audiences who return year after year.

the space has hosted pre-screenings, premieres, and panel discussions. image © Jason Varney for Rockwell Group

DB: What criteria do you use to select films for BlackStar, and what types of stories and voices are you most passionate about bringing to the forefront?

MKH: Our films are reviewed by a global committee made up of artists, curators and programmers. Our Festival Director, Nehad Khader, makes the final decisions in consultation with our committee chairs. We have a working document, a rubric of sorts, that addresses the ideal components of a film that is emblematic of the kind of work that we want to platform, and we refer back to that document throughout the process. A few examples of these types of stories are works that are: centered on the perspectives of Black, Brown and Indigenous communities, genre-defying, aesthetically rigorous, avoid reproducing systemic violence, reflect intersectional feminist thinking, and aim to advance our collective liberation, globally.

the Cinema’s mid-century aesthetic integrates with modern requirements. image © Jason Varney for Rockwell Group

neuehouse general manager sarita tabarez

DB: The Cinema by NeueHouse is a major addition to your multimedia amenities. How do you imagine it enhancing the creative and professional experience for your members?

Sarita Tabarez (ST): The Cinema by NeueHouse, along with the new podcast studio, are unique amenities that will offer our members opportunities to create and showcase their work professionally. NeueHouse’s core membership base is in the entertainment industry so these are especially designed for those members. Our cinema is Dolby-certified with top-of-the-line projectors, video cameras, recording equipment, immersive speakers, and more. It’s a place where producers, directors, cinematographers, film artists, and documentarists can screen their work.

The podcast studio also has staff ready to record and edit members’ long-standing podcasts or blossoming ideas to start their own. Our members are creative geniuses and true storytellers so we are excited to give them the facilities to share and create their work. These are top-of-the-line amenities that no other social members home offers.

this year’s festival will take place from August 1st — 4th in Philadelphia. image © Deonté Lee / BFA

DB: Because of its luxury design and advanced technical equipment, the space seems ideal for hosting events. What types of events are you most excited to see taking place in this new space?

ST: I’m most excited for our exclusive movie premieres before films hit public theaters. We have already hosted a few, Amy Schumer’s prescreening for Keith Robinson’s new Netflix special, Different Strokes, was a huge success. Chris Rock and Eddie Murphy were in attendance as well. The Cinema also hosted premiere screenings of Back to Black by Sam Taylor-Johnson and Hard Miles by Mathew Modine.

I’m also excited to see how the Cinema is used for other events besides screenings. It could be used for up fronts, press junkets, documentary screenings, and much more. Its a very dynamic space that will continue to grow NeueHouse as the cultural hub for New York City’s emerging and established artistic community. Our programming is forever feeding our member’s curiosity for learning. We are not only a place to work but a breeding ground for our members to collaborate and be inspired by each other.

Although unusual, the cinema is also perfect for lengthy business conferences. With our velvet cushioned seats, it is a comfortable and intimate setting that lends itself to hosting groups of 90 or less for luxurious presentations of all kinds. We can provide breakfast, lunch, and all-day liquid breaks from our gallery restaurant and fresh juice bar to make the best conferences possible.

BSFF amplifies marginalized voices, offering a platform for independent filmmakers. image © Deonté Lee / BFA

DB: Can you tell us more about the decision to include a separate cocktail lounge and full-service bar within The Cinema by NeueHouse? How do you think these features will elevate the overall experience for members and guests?

ST: We decided to include these spaces to provide guests with an elevated yet traditional movie-going experience. The bar and lounge are dedicated areas on the same floor as the cinema that allow guests to easily access concessions and drinks. The lounge also provides a private area to socialize before and after a screening, separated from the rest of the house, where other events often occur simultaneously.

The privacy of the cocktail lounge acts as a warm greeting on the way into the cinema, the perfect reception area before the show begins. Here guests can prepare for the screening by getting artisanal candies and popcorn, building the excitement of getting into the theater. Once inside, guests take their seats and cozy in to be immersed in the film, taken on a journey through the silver screen.

As the lights come up, guests can stick around the cinema for intellectual, thought-provoking conversations about the film. We often have Q&As with directors or actors from the feature that shed light on their inspirations and what takes place behind the scenes. On the way out, guests come through the lounge again, where they can enjoy craft cocktails from the bar, eat hors d’oeuvres, and socialize. All of this comes together in a perfectly tailored movie-going experience that makes you want to come back for more.

panelists highlighted the tension between creative freedom and industry expectations. image © Deonté Lee / BFA

DB: The integration of a 60s Italian movie house aesthetic is very distinctive. How did you and the design team work together to ensure these elements harmonized with the modern needs of the space?

ST: We wholeheartedly trusted David Rockwell’s vision of the cinema. He was the original architect for NeueHouse and created the luxury spaces NeueHouse members have grown to love for ten years. As a long-time creative partner at the house, and a legendary architect in his own right, he is an expert at harmonizing the utility and aesthetic of any space. It was incredible to bring him back again and an honor to collaborate with him on this magical space.

Personally, my favorite part of the cinema is the color palette and mix of finishes from high gloss to venetian plaster on the walls. The lounge has warm rust and orange tones, which make the cinema pop with it’s sage green walls and seats. Of my favorite features is the fire place in lounge, it gives such a homey feel, along with the vignettes of different seating arrangements for intimate conversations.

director Shatara Michelle Ford (right) shared their goal of addressing societal issues and systemic challenges. image © Deonté Lee / BFA

BlackStar Projects founder Maori Karmael Holmes (right) is pushing the industry toward inclusivity. image © Deonté Lee / BFA

filmmaker Madeleine Hunt-Ehrlich (right) previews The Ballad of Suzanne Césaire. image © Deonté Lee / BFA

celebrating its 13th year, BSFF continues to spotlight work from Black, Brown, and Indigenous filmmakers. image © Deonté Lee / BFA

the team highlights their creative processes and the importance of authentic storytelling. image © Deonté Lee / BFA

actress Denée Benton discussed the lack of representation in the mainstream film industry. image © Deonté Lee / BFA

project info:

project title: Neuehouse Cinema

event: Blackstar Film Festival | @blackstarfest

interior design: Rockwell Group | @RockwellGroup

location: Neuehouse, 110 E 25th St, New York, NY

festival dates: August 1st — 4th, 2024

photography: © Deonté Lee / BFA, Jason Varney for Rockwell Group

The post ‘let me do some healing for everybody’: blackstar film festival previews at neuehouse cinema appeared first on designboom | architecture & design magazine.

Architect Joshua Ramus of REX and his team celebrate as its Perelman Performing Arts Center opens to the public in New York with its glowing marble facade. The project marks the long-awaited addition to the World Trade Center site. Since 2001, this space held the memories of disaster for New Yorkers, but has since grew into a symbol of growth and hope. The site has since seen the construction of new icons like Santiago Calatrava‘s sculptural Oculus shopping mall and transport hub, and Snøhetta‘s 9/11 Memorial Pavilion, all surrounded by a cluster of mirrored skyscrapers. 

While the neighborhood has certainly been brought back to life, its residential population more than doubling over these two decades, critics have noted that a theater and arts center would be a more meaningful addition and neighbor to the poignant memorial pools. Governor Hochul reflected these sentiments at today’s opening ceremonies, noting that ‘arts are the world’s only common language, they allow us to open up a dialogue with people around the world.’

image © Iwan Baan | @iwanbaan

the patterned marble cube

The Perelman Performing Arts Center now stands as a glowing beacon in New York. The cubed building is shrouded in a gridded facade of veined marble, which rises 138 feet and seems to float over the sidewalks. By day, the building presents itself as an elegant monolith, with its translucent Portuguese marble laminated on both sides with glass. This harmonious blend of materials allows daylight to permeate the structure while maintaining energy efficiency and protecting the marble from the elements. When the night descends, the facade undergoes a transformation, emanating a warm and inviting glow from polished aluminum LED pendants within.

image © Iwan Baan

perelman performing arts center’s reconfigurable theaters

REX collaborated with theater consultant Charcoalblue to plan the Perelman Performing Arts Center’s reconfigurable interiors. The center hosts three flexible venues of varying sizes, each equipped with movable walls and scene docks that can be combined and reconfigured into over five dozen unique setups. The theaters are equipped with sophisticated automated and manual technical systems, empowering creative teams to bring their artistic visions to life. Four massive vertically sliding walls, or ‘guillotine’ walls, weighing up to forty-six tons each, separate or combine performance spaces with remarkable acoustical precision. Movable seating towers, interwoven catwalks, and walkable grids overhead offer boundless flexibility for stage configurations, ensuring the perfect setting for any artistic endeavor.

image © Iwan Baan

david rockwell’s lobby and restaurant

When visitors first step inside the building, they are greeted by lobby and restaurant designed by Rockwell Group. The lobby, with its dynamic, glowing ceiling visible from the street, offers a warm and inviting arrival experience. It serves as an architectural beacon and wayfinding system in one, setting the stage for the artistic wonders that await within. A built-in stage at the southern end of the lobby provides a platform for casual performances throughout the day. Custom, modular sofas frame the space and can be reconfigured to accommodate different events. The welcoming restaurant, overseen by celebrated chef Marcus Samuelsson, is adjacent to the lobby and features transparent glass walls that offer tantalizing glimpses of the outdoor terrace, where guests can savor their meals in the open air.

translucent marble is illuminated by LED lighting fixtures | image © Iwan Baan
the lobby and restaurant interiors are designed by Rockwell Group | image © Iwan Baan

the performance space can be transformed with sixty-two configurations

veined marble sourced from Portugal wraps the building | image © Iwan Baan

the project marks the latest addition to the World Trade Center site

project info:

project title: Perelman Performing Arts Center | @pac_nyc

architecture: REX | @rexarchitecture

location: 251 Fulton Street, New York, NY

theater consultant: Charcoalblue | @charcoalblue

interior design (lobby, restaurant): Rockwell Group | @rockwellgroup

executive architect: Davis Brody Bond | @davisbrodybond

architectural lighting consultant: Tillotson Design Associates | @tillotsondesign

photography: © Iwan Baan | @iwanbaan

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Lasvit unveils a nature-inspired, crystal Cloud as part of the ‘It All Comes From Above’ installation for Milan Design Week 2023. The interactive glass design, imagined by Maxim Velčovský, mimics the inspiration of looking up at the sky and stars – no matter where one is located around the world. In turn, the design evokes a similar meditative feeling for Euroluce visitors, as if they are peacefully cloud-watching.

‘I focused on the Cloud as being a symbol of energy. Naturally, clouds bring water, shadows, and life, but for the new generation, a cloud is a virtual symbol of storing information. Our design consists of optical fibers which distribute light through the interactive installation. Smells and a soundscape have been composed to extend the object to interest with the visitors’ senses,’ introduces Maxim Velcovsky, Creative Director of Lasvit, in an interview with designboom.

Lasvit unveils a nature-inspired, crystal rod Cloud at ‘It All Comes From Above’ installation

image ©Lasvit

‘nature is a never-ending source of inspiration’

Czech glass experts Lasvit and Creative Director Maxim Velčovský have a history of using nature as both inspiration and physical material to create their art pieces. Velčovský molded vases from snow and casted their shape in plaster for three consecutive years (2010 – 2012), for example. The ‘Frozen’ collection from Milan Design Week 2014 resembles a natural expression as glass would spill over a metal form and to create an original ‘frozen’ lamp shade. In 2023, Lasvit’s natural inspiration evolved from snow and ice to the sky and clouds.

‘I often work with ephemeral things that evaporate as time passes. One of my projects was a snow vase, where I waited for the material to come from the heavens. As snow fell, I only had a certain amount of time to work before it would disappear. We often forget that we too are part of nature – like snow, clouds and water – so to me, nature is a never-ending source of inspiration. I try to capture moments that are difficult to write about, the process is constantly changing and evolving, and this leads to completely new compositions,’ Velčovský elaborates on how nature influences Lasvit’s creative design process.

designed by Maxim Velčovský , Cloud looks up at the sky and stars as an ever-present source of inspiration

image ©Lasvit

cloud is a symbol of mortality

Light diffused by the clouds’ natural shade was the brightest source of inspiration for Cloud. A suspended bundle of glass rods form the main body of the light fixture. Intricate optical fibers then cascade down four meters towards the ground, like rainfall. The interactive art piece constantly changes as visitors walk through Cloud’s glimmering strings.

‘The installation is like a living creature, affected by circumstance. Cloud is a big object, around four meters, consisting of crystal rods that can be assembled in different variations based on the surroundings of the interior or exterior. Cloud is a mortal symbol within art,’ compares the artist.

the interactive glass installation evokes meditative feelings in Euroluce visitors

image © designboom

Collaboration to form ‘It all Comes From Above’

Lasvit’s Cloud is complemented with other artistic work to form the ‘It all Comes From Above’ exhibit. New York-based architect David Rockwell Group found inspiration in the city’s shimmering night sky as well as the celestial landscape depicted in the ceiling mural at Grand Central Terminal. The architect’s Constellation series brings a cluster of shining stars that vary in circular scales. The composition is mapped out with straight lines, no matter whether functioning as a wall or ceiling piece.

‘It all Comes From Above’ also debuts innovative lighting collections from prominent global designers. Yabu Pushelberg creates the Miles artpiece, a table tamp that can be stacked or hung to create different effects. Campana Brothers‘ Sushi collection – originally sculpted from offcuts of carpet – is now reimagined as an elegant glass lighting piece. Studio LLEV showcases a revolutionary use of mycelium to define the mushroom-like Symbioosa lamps. Finally, Lasvit’s own Martin Gallo and Táňa Dvořáková contribute signature organic installations respectively. Gallo realizes the flower-inspired interactive Florescence and Dvořáková portrays the fragile beauty of smoke rising lazily into the air with the Twill.

‘It is always a great experience to collaborate because other artists bring their own poetry and stories. With every designer, we task ourselves on how to bring their ideas into the world of glass, within the context of Lasvit. When other creatives come to our furnace and react to our process of making, that allows them to form an idea. David Rockwell came up with a great concept of a beautiful, glowing, star constellation that reminds us of the Gods.’  Velčovský describes.

image ©Lasvit

Future of Cloud

Cloud explores the relationship of individual perspectives into something larger, something that transcends us all. Cloud is visually striking and invites interaction from visitors of Salone del Mobile. After Milan Design Week, the interactive art installation’s purpose could be extended to many corners of the globe, serving a range of public or private functions.

‘I could perfectly imagine that one of the Clouds could be at the Google headquarters; another one could be in a nice public space or in a metro station to bring light underground. There’s a lot of ways it could be presented. Personally, I would like public spaces to house this special installation so that people can interact with it. The public could touch it and enjoy the artificial rain formed by this mass of glass, together with light and technology,’  speculates Maxim Velčovský, Creative Director of Lasvit, in an interview with designboom.

clouds bring water, shadows, and life, but for the new generation, clouds are a virtual symbol of storing information

image © designboom

image ©Lasvit

in ‘It all Comes From Above’ exhibit, Cloud is complemented with other designers’ work

image ©Lasvit

image ©Lasvit

Rockwell’s star constellation

image ©Lasvit

image ©Lasvit

Studio LLEV unveils Symbioosa

image ©Lasvit

image ©Lasvit

Lasvit’s Táňa Dvořáková showcases Twill

image ©Lasvit

project info:

name: Cloud

brand: Lasvit | @lasvitdesign

designer: Maxim Velčovský

installation name: It All Comes From Above

installation collaboration: Rockwell | Yabu Pushelberg | Campana Brothers | Studio LLEV | Martin Gallo | Táňa Dvořáková

location: Euroluce, Salone del Mobile

dates: 18-23 April, 2023

The post interview: lasvit floats crystal cloud of light above milan design week 2023 visitors appeared first on designboom | architecture & design magazine.

Euroluce is a highly anticipated biennial lighting fair that takes place as part of the Salone del Mobile in Milan. From April 18th — 23rd, the international exhibition showcased the brightest ideas in lighting design and technology from around the world, drawing architects, interior designers, and design enthusiasts with its luminous displays. With Milan Design Week now wrapped up, designboom spotlights some of the most exciting lighting presentations from this year’s Euroluce fair during Salone del Mobile 2023.

Euroluce exhibition view, image courtesy Salone del Mobile | header image ‘La Linea 25,’ BIG for Artemide

artemide

Artemide‘s presence at Euroluce 2023 was highly anticipated and the lighting company did not disappoint. Artemide showcased a stunning range of new products designed by some of the most renowned names in the industry. The new designs on display were created by Bjarke Ingels Group, Alida Catella e Silvio De Ponte, Carlo Colombo, Mario Cucinella, Carlotta de Bevilacqua, Michele De Lucchi, Foster+Partners, Hassell, Herzog & de Meuron, Progetto CMR, Carolina Gismondi, and Daniele Moioli.

La Linea by Bjarke Ingels Group | image © Artemide

Artemide and Bjarke Ingels Group have introduced La Linea, an innovative and flexible light tube that offers excellent light performance, versatility and sustainability. It is designed to fit into indoor and outdoor spaces with fixing elements that disappear into the cross section, allowing countless applications in a broad variety of locations. The light is capable of adjusting to extreme weather conditions, resisting weathering and high minimum and maximum temperatures. La Linea offers even greater freedom of expression in space due to its length and light weight, and its slim cross-section means it can be overlapped to create weaving and leaving the freedom to follow complex geometries, designing figures created by a single line.

Dreispitz by Herzog & de Meuron | image courtesy Artemide

Dreispitz is a lighting solution that is designed by Herzog & de Meuron with a simple triangular core that contains electronic components and diffuser tubes on all three sides. The design also includes a cylinder that can be used to control the emission of light in office environments, as well as a wall version with two diffuser tubes. The modular system allows for flexibility and compositional freedom through a connector that links the elements. Dreispitz is a sustainable product that is made from partially recycled and easily dismantled materials, and is simple yet recognizable.

Stellar Nebula is a series of suspension lamps that combine traditional glass blowing techniques with modern finishing methods, as designed by BIG. The project explores the intersection of artisanal and industrial production to create unique yet mass-produced solutions. Artemide, known for its contemporary take on traditional glass blowing, contributes to the project by providing its expertise in the craft. Thus, the lamps’ design showcases the artistry of glassblowing, allowing each piece to be uniquely shaped by the master glassmaker’s techniques.

Stellar Nebula by Bjarke Ingels Group | image © Artemide

lasvit

Lighting design studio Lasvit has introduced its latest collection, ‘It All Comes from Above,’ at Euroluce 2023. This assortment is influenced by the captivating beauty of the natural world, and it pays homage to the commonly disregarded phenomena above us. The collection features designs that are inspired by the diffused light of the clouds and the striking constellation of stars in the night sky. It aims to commemorate the ordinary yet extraordinary elements that unite people globally.

The team at Lasvit harnesses celestial nature is a rich source of inspiration, and this is apparent in the meticulously crafted designs of the collection. As the design team says, ‘It All Comes from Above’ reminds us to pause, look up, and appreciate the beauty that surrounds us every day.’

Constellation by David Rockwell | image © LASVIT

The nighttime scenery of New York City and the celestial mural which speckles Grand Central Terminal’s ceiling have served as the inspiration for architect David Rockwell’s new Constellation lighting collection for Lasvit. The series features six unique light designs that debuted at Euroluce. These designs capture the essence of distant stars and bring them down to earth, with the latest additions to the collection including the Ursa Minor chandelier, Cassiopeia wall sconce, and Gemini table lamp. These three pieces complement the existing collection, which already features a horizontal chandelier, a wall sconce, and a floor lamp, representing the Cassiopeia, Tri Star, and Polaris constellations, respectively.

Miles by Yabu Pushelberg | image © LASVIT

Lasvit design teammate Martin Gallo showcased his wall installation Florescence at Euroluce 2023. The design concept features glass in organic shapes and caustic effects, creating the impression of a blooming flower on the wall. The modular installation is inspired by natural forms, which can appear to blossom when lit correctly. Gallo’s intention with the design is to tap into the happiness-inducing effects of observing flowers, which can stimulate dopamine, oxytocin, and serotonin levels.

Florescence by Martin Gallo | image © LASVIT

Tom Dixon

Tom Dixon presented for the first time at Euroluce 2023. ‘This year we want MORE. Much Much More,’ The designer said. ‘More colour, more variations, more unexpected combinations in floor lamps and chandeliers, table tops and textiles to give our design afficionados a deeper, wider palette of opportunity to help build perfect interiors. 

Debuting at Euroluce, the latest collections will feature novel PUFF chandeliers and pendants, as well as PORTABLES lamps that draw inspiration from the renowned MELT, BELL, STONE, and CONE designs. Additionally, the well-received FAT and WINGBACK furniture pieces are now offered in numerous hues and fabrics. With the 2023 collection, every item possesses the ability to infuse any area with ‘a touch of the extraordinary.’

PUFF by Tom Dixon | image © Tom Dixon

Tom Dixon’s creation, PUFF, is a 45 centimeter-diameter lamp constructed from thirty metal panels that are arranged to form a sturdy polyhedral shape. Drawing inspiration from inflatable geometry, the flat diamond-shaped metal pieces are cleverly designed with an incised pattern that gives the appearance of being inflated and curved, allowing light to emit from the lamp. PUFF’s panels are etched and perforated, creating many small, reflective facets that produce multiple internal reflections, causing the inside to resemble a dazzling, shimmering, inverted disco ball.

CONE by Tom Dixon | image © Tom Dixon

The CONE floor lamp introduces a freshly designed pedestal that can be matched with sixteen of Tom Dixon’s popular lampshades, including the MELT and MIRROR BALL styles. Tom Dixon explains that the lamp’s simple geometric design is ideal because it is the most basic and effective option for its purpose. The series of conical lamp bases represents the ultimate outcome of their search for the perfect floor lamp base. The metal cone pedestal is executed with precision, making it the most suitable and sophisticated option to support and enhance a variety of luminous options from their collection of polycarbonate lampshades.

MELT Portables by Tom Dixon | image © Tom Dixon

slamp

The La Belle Étoile lighting collection, created by Adriano Rachele for Slamp, draws inspiration from the graceful movements of a ballerina. This handcrafted lamp is both lightweight and durable, and showcases the seamless combination of technological innovation and stylistic creativity. The lamp’s LED source can be effortlessly changed using a unique magnetic hanging system, and the design features a white texture printed on transparent polymers, resulting in an aesthetic that is sleek and contemporary.

La Belle Étoile by Adriano Rachele | image © designboom

The Clizia lighting series, designed by Adriano Rachele for Slamp, is ‘an ode to femininity, joy, and effortless emotion.’ The lamps are crafted using a series of shapes that come together to create a stunning balance of reflections and transparencies. The design draws inspiration from natural forms such as clouds capturing the first rays of the morning sun, or treetops filtering play of light and shadows. The collection offers a range of aesthetically pleasing yet functional options, featuring a magnetic system that connects the lamps to either the ceiling or the metal base. The Clizia series, Adriano Rachele aims to transform spaces into serene landscapes, without overpowering them.

Clizia Table by Adriano Rachele | image © designboom

As part of the tenth anniversary celebration of Slamp’s collaboration with Zaha Hadid Design, the lighting design company has unveiled Aria Infinita, a modular rendition of its popular Aria model. This luminous sculpture features a modular lighting body that produces undulating waves in the surrounding space. The lighting body is encased by polycarbonate layers of varying designs, which give rise to a fluid and imaginative structure. At its apex, the lamp towers to a height of two meters. Aria Infinita is an outstanding example of Slamp’s inventive approach to lighting design.

Aria Infinita by Zaha Hadid Design | image © Zaha Hadid Design

foscarini

During Euroluce 2023, Foscarini unveiled its latest product innovations in a stunning stand, which was specially designed by architect Ferruccio Laviani. Laviani’s design for the stand took shape with a blend of Japanese and Corbusierian influences, resulting in an harmonious blend of warmth in materials and vibrant colors.

The collection’s unique and diverse design language reflects Foscarini‘s commitment to creating lighting fixtures that are playfully-designed and innovative. The use of materials such as wood, botanical ceramic, and textured mesh — combined with the playful use of color and organic form — lended a sense of unexpected discovery as visitors explored the maze-like exhibition space.

Hoba by Ludovica + Roberto Palomba | image © designboom

The Hoba lamp collection by Ludovica + Roberto Palomba is inspired by the Hoba meteorite, the heaviest ever to fall onto Earth. The lamps are made of opaque rusticated blown glass, resembling stones shaped by flight. HOBA lamps are crafted to be asymmetrical and irregular, with what Palomba describes as a ‘perfect imperfection that triggers magic, curiosity, elective affinities with human beings.’ The glass seems crushed in various points, leaving behind a series of imprints, creating an anti-geometry effect that maintains dynamism and organic deformation.

Fregio by Andrea Anastasio | image © Foscarini

Fregio is an ornamental lamp designed by Andrea Anastasio that combines antique and contemporary elements. The lamp’s decoration is created through the designer’s experimentation with bas relief fragments from the Gatti archive. Fregio is a highly decorative lamp that emits both upward and downward light, making it ideal for lighting tables or desks. The lamp consists of two ceramic sections anchored to a metal profile containing LEDs, connected by straps inspired by the shipping industry. These straps serve as a connection between the contemporary and ornate aspects of the lamp.

Nuée by Marc Sadler | image © designboom

The Nuée pendant, designed by Marc Sadler for Foscarini, is a lightweight creation that showcases the designer’s experimental and interdisciplinary approach. Its informal yet poetic style is achieved through a delicate suspension system of thin steel cables, and the diffused light that emanates from the technical, three-dimensional fabric that encompasses the lamp adds to its overall appeal. The fabric can be shaped and gathered in various areas around the lamp’s rounded silhouette, resulting in a dynamic interplay of light and shadow.

Garcia Cumini designed the Spokes lighting fixture for Foscarini, which conveys a sense of weightlessness and movement. The light emanates from within the fixture and creates a mesmerizing pattern of solid and empty spaces as if passing through a mystical and geometric mesh. The Spokes 2 suspension lamp resembles a lantern or birdcage in shape.

Spokes by Garcia Cumini | image © designboom

flos

Flos, a renowned brand in the lighting industry, made a bold statement at Euroluce 2023 by creating an immersive and expansive series of rooms and outdoor spaces to showcase its latest collection. The brand created a new environment of lighting designs that emerged from lush vegetation and spots of earth, and disparate rooms to offer visitors a unique sensory experience.

exhibition view | image courtesy Flos

Visitors were invited to explore the various lighting designs throughout a luminous labyrinth of displays. Some of the designers whose works were featured include Ronan and Erwan Bouroullec, Michael Anastassiades, Antonio Citterio, Konstantin Grcic, among others known for their innovative and creative approach to lighting design and furniture.

Workmates by Flos Architectural | image courtesy Flos

Workmates is a collection of modern luminaires created by Flos Architectural for workspaces. They include suspension, ceiling, track and floor solutions, all made from flattened and rounded aluminum extrusions with customized glare-free lenses and advanced lighting technology for maximum comfort. The light is emitted both up and downwards, providing even and glare-free lighting towards the worktop. LED modules illuminate upwards to balance light contrast and enhance visual comfort for a pleasant work environment.

Emi by Erwan Bouroullec | image © Flos

Ronan Bouroullec has designed a new collection of lights for Flos called Céramique. The collection features three table lamps with a ceramic body and diffuser, finished with a lead-free crystalline lacquer. Each lamp has a base, stem, and cap, and the position of the cap can be adjusted to change the type of illumination. The lamps are characterized by their connecting blade between the base and diffuser. The three configurations create different luminous flux for different functions.

The down version is for focused light, the side version illuminates walls or corners, and the up version creates soft, indirect ambient lighting. The collection emphasizes the materiality and craftsmanship of the ceramics. Ronan Bouroullec has utilized his experience with ceramics to create a contemporary and essential design for Céramique.

Céramique by Ronan Bouroullec | image © designboom

contardi

The ‘Baggy’ lighting collection, designed by Paola Navone for Contardi, exudes a casual and playful vibe, reminiscent of oversized pants which served as its namesake. Each lamp in the Baggy series is made up of individual modules of various sizes, allowing for complete creative freedom when assembling them. The satin polycarbonate diffuser features an irregular appearance, resembling a crumpled paper tube.

Meanwhile, Paola Navone introduces soft textile cords to blend with the brand‘s ‘archi-decorative stylistic code,’ acting as a connective element for the table and floor versions while supporting the suspended version. The collection’s uniqueness lies in its organic shape, within which a custom LED source emits light in a ‘magical and unexpected way.’

Baggy by Paola Navone | image © Contardi

‘Baggy is the result of an irreplicable alchemy between our way of designing and Contardi,’ says Paola Navone. ‘In a very special and pertinent way, Contardi has fostered the aptitude for imperfection in our design approach, accepting an interpretation of the company’s rigorous essence, in a project of lamps of ephemeral balance and an air of irony.’
Baggy by Paola Navone at Euroluce | image © designboom

Baggy by Paola Navone | image © Contardi

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India-based developer DLF unveils a new hub of entertainment and holistic well-being, The Camellias Club at The Camellias. With architecture and interior design by New York’s Rockwell Group, the ‘relaxation space’ forms an array of overlapping green roofs, all overlooking a mirrored pool of water. 

The new clubhouse has been created for an intimate community of just 429 apartments in nine residential towers of The Camellias in Gurgaon. The development by DLF stands as India’s first residential development to be awarded the LEED Platinum Certification by the US Green Building Council for its sustainability and energy conservation efforts.

images courtesy DLF

a global team takes to gurgaon, india

India’s The Camellias Club at The Camellias is the result of a collaborative effort between six renowned design teams from across the world. These include architecture studio Rockwell Group, landscape architects SWA Group, Isometrix Lighting + Design, The Wright Fit, GOCO Hospitality, along with the development’s original architect Hafeez Contractor.

The team aimed to incorporate sustainable practices while designing the waterfront enclave. Such strategies include transplantation of more than one hundred fully mature trees — these trees were being felled in other parts of the city, and are now thriving in their new home. Meanwhile, the sewage treatment plant produces water clean enough for horticulture. The gardens and green areas are irrigated by treated water alone, without the use of a single drop of fresh water.

petal-shaped roofs float over a mirrored ‘water garden’

A 1.3 acre expanse of fan-shaped reflecting pools dubbed the ‘Water Garden’ separates The Camellias Clubhouse from the residential towers. The team notes that when illuminated at night, these pools resemble an ‘inverted starry sky.’ When viewed from the homes above, the seven green roofs, designed to symbolize the petals of a camellia flower, seem to float in the air. Walkways crisscross the Water Garden to ensure direct access across and intimate interaction with the water.

The team comments: ‘The feeling of fluidity and calm are enhanced by the use of beautifully designed materials and organic elements everywhere, like white grain marble with a gentle watercolor effect. Custom-designed furniture ensures comfort blended with a contemporary, avant-garde look.’

residents are invited to access the landscaped roofs by way of ramping walkways
the petal-shaped green roofs float lightly over the  ‘water garden’the reflecting pool provides a calm threshold between the residential towers and the wellness club

at night, the illuminated pool resembles a starry sky when viewed from above

with full-height glazing, the interiors receive a tranquil view across the water

meticulously designed lighting enhances the curving architecture

project info:

project title: The Camellias Club at The Camellias

location: Gurgaon, India

architecture: Rockwell Group | @RockwellGroup (Shawn Sullivan)

lighting design: Isometrix Lighting + Design | @isometrix_lighting_design (Arnold Chan)

fitness center: The Wright Fit | @thewrightfit_nyc (Jay Wright)

spa design: GOCO Hospitality (Ingo Schweder)

landscape: SWA Group | @swagroup (Gerdo Aquino)

principal architect of The Camellias: Hafeez Contractor 

developer: DLF | @dlflimited

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the design team at rockwell group has curated a new space for katsuya, merging the luxury of manhattan west with the traditions of japanese craft and artistry. the restaurant‘s founder, master sushi chef katsuya uechi, has seen katsuya thrive in miami, the bahamas, and across los angeles. now with the help of rockwell group, the dining experience opens its doors for the first time in new york city.

david rockwell and his team celebrate their experience in both theater and luxury hospitality, crafting interiors with the attention to detail of a theatrical set (see a roundup of rockwell’s work here). with katsuya manhattan west, the group first referenced the design language consistent across the restaurant’s locations before fusing it with traditional japanese aesthetics. these include ‘kumiki‘ wood joinery, ‘urushi‘ lacquer, and ‘ukiyo-e‘ prints depicting ‘floating worlds’ — all of which can be spotted throughout the meticulously crafted space.

images © nikolas koenig | @nikolaskoenig

rockwell group evokes the past and present

with its newly opened katsuya manhattan west, rockwell group (see more) crafts a theatrical experience which at once evokes the past and present. approaching the restaurant from the citizens food hall, guests are taken on a progressive journey that leads from the sushi bar and lounge into a linearly arranged series of three dining areas, plus a private dining room.

the space includes an outdoor dining terrace at the end of the hallway-like arrangement, which seats almost half as many guests as the indoor dining rooms. in total, katsuya at citizens will boast nearly 7,000 square feet of space and accommodate 305 diners.

the restaurant’s diverse layout

upon entering the restaurant from the citizens food hall, visitors are gradually lead through a sushi bar and lounge, and into a linear array of three dining areas, plus a private dining room. punctuating this corridor of spaces is the outdoor dining terrace which seats nearly half as many guests as the indoor dining rooms, to accommodate an overall total of 305 diners.

each of the dining spaces at rockwell group’s katsuya offers its own, unique experience. the first stop — the sushi bar and lounge — seats those looking for a light bite or a sushi-only meal. next, the central dining area hosts a communal table and a handful of two-tops. here, the table is surrounded by a series of printed glass screens, creating a sense of enclosure while maintaining an atmosphere that is light and open. the dining room to the right — for small to medium-sized parties — is painted a warm cream color and features linen drapery on either side, creating an open and airy environment.

the final indoor dining area includes two-, four-, six-, and eight-top tables, as well as a robata grill, a specialty that katsuya founder chef katsuya uechi is renowned for pioneering in the west. at the end of the hall is a private dining room that can sit ten. finally, the terrace dining area seats up to 98 guests across two- and four-top tables, lounge seating, and an outdoor bar.

learning from the past

rockwell group references japanese tradition with its katsuya at citizens in new york. the team shows a meticulous attention to culturally significant details, right from the entryway which is painted in a deep red color of urushi lacquer. this moment evokes the upwardly curved lintels of torii gates or the dramatic swoosh of a pagoda’s roof. the word ‘katsuya’ is engraved out of the curving ceiling panel, referencing a fundamental interiors concept of ma, or negative space.

the sushi bar is washed in a deep red, from the floors, the ceiling, and the bar itself. the lounge tables opposite the bar are separated by three ribbed glass screens with a blue-to-red ombre effect, echoing the translucence of shōji paper with a contemporary materiality.

the dining rooms express japanese aesthetics with a maximalist approach, departing from the minimalist tendencies seen today to celebrate the katsuya brand. the printed glass screens re-appear in the central room, hung from blackened metal bracings designed thoughtfully to recall kumiki japanese joinery. the communal table is finished with red lacquer and is illuminated by a custom, rockwell group-designed lighting fixture with a sweeping gesture that is suggestive of calligraphic strokes.

a series of bold, organically shaped portals delineates between the dining areas. these portals are framed by red lacquer panels along with vermillion stained wood blocks suggesting timber tiles. several walls are adorned with imagery of dancers and their fans. finally, the checkerboard pattern on the oak wood floor is a direct reference to kabuki theater, as this pattern was named after a popular edo period actor (sanogawa ichimatsu) who frequently wore it. other wagara patterns, like kikkou (tortoiseshell) and kagome (basket weave), add a sense of dynamism.

project info:

project title: katsuya manhattan west | @katsuyabysbe

architecture: rockwell group | @rockwellgroup

location: citizens food hall, 5 manhattan west

client: C3 (sbe)/brookfield

size: 6,890 square feet, 305 seats total

opening: march 2022

photography: © nikolas koenig | @nikolaskoenig

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fotografiska announces a global expansion to three new locations — berlin, miami, and shanghai — by herzog & de meuron, rockwell group, and neri&hu respectively. upon completion of the expansion, fotografiska will become the world’s largest privately owned art museum by multiple measures. these include number of locations, number of exhibitions produced per year, and total indoor size.

each of the new museums will be housed within spectacular contemporary restorations of buildings that are either historically and architecturally significant themselves or characteristic of the neighborhood’s historical fabric.

fotografiska’s plans for its shanghai, miami, and berlin locations build upon the remarkable architecture of its three existing museums: fotografiska new york is housed within the landmarked 1894 renaissance revival-style church missions house. fotografiska tallinn is in an 1890s factory building characteristic of the estonian region’s historical fabric. and fotografiska’s flagship stockholm home is a landmarked former customs house built in 1906.

fotografiska berlin

fotografiska berlin will feature herzog & de meuron (see more) and studio aisslinger (see more) renovations of the former kunsthaus tacheles, built in 1908. the project is sited in the city’s mitte neighborhood. a pyramdical rooftop extension by herzog & de meuron will redefine the building’s silhouette and provide a contemporary beacon, while studio aisslinger’s interior renovation will pay homage to the building, the fotografiska brand, and region’s history through respectful preservation and thoughtful design incorporation of decades of graffiti.

herzog & de meuron, fotografiska berlin | image © bloomimages | @bloomimages

fotografiska miami

fotografiska miami will be housed within a rockwell group-renovated 1946 factory building across from superblue and adjacent to the rubell museum. the project is sited in the city’s neighborhood of allapattah (a name derived from the
seminole word for alligator). the team will use the rectangular volume of the warehouse as a blank canvas, ‘creating a tapestry of layered planes that define paths of discovery, frame views, and create spaces of varying scale and character for visitors to encounter and create their own journeys.’

rockwell group, fotografiska miami

fotografiska shanghai

fotografiska shanghai will see renovations by neri&hu 1931 of a warehouse on the suzhou creek waterfront, a rapidly developing cultural district unified by a pedestrian promenade. fotografiska shanghai will be housed within one of four waterfront historical warehouses that were built in the early twentieth century as reception hubs for goods brought into shanghai from the city of suzhou. the classified historical building adopts the period industrial design, including two magnificent staircases that will be a preeminent feature of the site.

fotografiska shanghai, rendering courtesy neri&hu

this global expansion follows the museum’s early-2021 merger with private work and social space, neuehouse, and the formation of their parent company, cultureworks. the three new locations will each embrace fotografiska’s status as a museum experience for the modern world, combining immersive photography exhibition spaces with eclectic cultural programming, lively dining and drink establishments, and smartly curated museum shops.

josh wyatt, CEO of fotografiska comments: ‘it is a real honor to call these remarkable landmarks the dwellings of fotografiska, and we are humbled by the opportunity to reimagine such important buildings.

we have been very intentional on our path toward global expansion, and have thoughtfully identified these cities for their flourishing cultural scenes, passion for photography, and forward-thinking attitudes on the future of immersive art experiences. we are thrilled to meet our new neighbors and guests.’

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