A Standout Gym Entices Employees Back to This Los Angeles Office

Design a post-pandemic workplace. That was architect Kristi Paulson’s first assignment for a confidential client when she landed at Behnisch Architekten. Fortunately for the client—and Behnisch—Paulson had already worked for the firm, when it had a previous L.A. studio from 1999 to 2011 (she was there from 2007 to 2011 as project partner). After a seven-year run at ZGF, she’s returned as partner-in-charge, her duties, in addition to designing the aforementioned workplace, also encompassing putting together a team and heading up the new L.A. operation with majority ownership—making the studio a woman-owned business.

The endeavor also marks Paulson’s first copiloting expedition with her husband, Behnisch director Daniel Poei. Further worth noting is when the client’s workplace project began: January 2020. Talk about timing. The confluence of the COVID-19 shutdown, working remotely, and a tight schedule from the client conveyed an unprecedented urgency. It meant two years of quasi 24/7 dedication. “We lived and breathed this project,” Paulson recalls. Fortunately again, the couple’s commitment and joint four decades of design experience is clearly evident in the end result: a bright four-story office that focuses on employee connectivity to each other and nature.

Design Considerations for This Post-Pandemic Workplace Centered on Collaboration and Wellness

The process began with the client introducing Paulson and Poei to its 110,000-square-foot “developer box,” Paulson notes, with a central elevator lobby. “Luckily, the owner opened the door for us to communicate directly with the sub-contractors, not just the contractors,” Poei says. “So we could get to the right people and figure things out.”

For the client’s small, low-density workforce valuing connection and operating on egalitarian premises, the Behnisch team’s first step entailed translating said connection to physical reality. Irregular cuts piercing three of the floor plates were means to that end, while simultaneously creating “an eccentrically shaped atrium on either side of the elevator lobby,” Paulson says. The resulting new territory sports “a diversity of spatial environments and visual connections between levels.” Moving up and down between them was crucial to collaborative success. She and Poei provided plenty of stunning options—make that eight of them. Four cantilevered, hairpin-turn staircases, a pair for each of the two atriums, connect the upper three levels, designated as office areas. Beyond, four spiral staircases, counter­acting the building’s rectangularity and its orthogonal layout, are two-story connectors. All are similarly constructed of matte black–painted steel cladding and white oak veneer for risers, treads, and inner balustrade paneling.

The Office Gym Features a 15-Foot-High Climbing Wall

As striking as the stairs are, there’s another showstopper standing front and center on the ground floor. A 10,000-square- foot gym adjoining reception is fully out in the open, not secreted away as is often the case. Outfitted with weight and cardio apparatus, it offers a plethora of choices for staffers. But their real challenge comes at the 15-foot-high bouldering wall, conceived to wrap around and conceal some of the existing building core elements. “Many of the buildings Behnisch designs worldwide have ground-floor amenities for connectivity. We think globally and share knowledge,” Paulson says, referring to projects by the firm’s other offices in Boston, Stuttgart, Munich, and Weimar. “Here, the client even provides its employees with free bouldering shoes.”

The Space Nods to Company Values With Custom Art Pieces 

Given Behnisch’s global reach, Paulson’s art program for the client, themed to geography, was a natural—literally and figuratively. Six continents, mapped out as massive oak wall sculptures, unfold two per floor across the office levels. Antarctica, the seventh, is on the ground floor. Meanwhile, conference rooms are named after rivers, like the Amazon, signifying movement and the flow of discussion, with cut-vinyl graphics for signage. The earthy theme continues with open lounge areas named after lakes to connote serenity. Which is, after all, an important vibe when venturing back to the office.

behnisch architekten: tony gonzalez; vera tian; laura fox; erik hegre; apurva ravi; victoria oakes

ockert und partner: graphics consultant

loisos + ubbelohde: lighting consultant

spmdesign: art consultant

john a. martin and associates: structural engineer

acco engineered systems: mechanical, plumbing contractor

morrow meadows: electrical contractor

spooner’s woodworks: millwork

washington iron works: metalwork

dpr construction: general contractor

diamond perforated metals: staircase panels (atrium)

california sheet metal: staircase soffits

Dinesen: wood flooring

stone source: stone flooring

Gubi: coffee tables (break-out areas, atrium)

knoll: chairs (break-out areas, lounge)

caesarstone: sectional tabletops (break-out areas)

spinneybeck: sectional leather

unisource solutions: custom sectionals (break-out areas, gym), parson’s table (meeting area), coffee table (lounge), benches (gym), table (conference room)

krc rock: custom rock bed (lounge)

sistemalux: pendant fixtures

Arup: Consultant for Fire/Life Safety, Acoustics and Audio Visual

blå station: chairs (lounge), sectionals (conference room), sofas (break-out area)

sorensen: chair upholstery (lounge), sectional upholstery (conference room)

Fritz Hansen: chairs (atrium)

walltopia: climbing wall panels (gym)

climbmat: mat

beta-calco: spotlights

mondo: floor­ing

carl hansen & søn: chairs (break-out area)

kvadrat: sofa fabric

leland: stools (meeting area, cafeteria)

eureka: pendant fixtures

daltile: wall tile (cafeteria)

concrete collaborative: flooring

Dupont: tabletop material

west coast industries: table bases

flor: carpet tile

Maharam: wall panels

conwed: wall system

schüco: glazing system

vibia: flush-mount fixtures

lumenpulse: downlights

CertainTeed: suspend ceiling grids

assa abloy: door pulls

guardian glass: glass

vista point: paint

Gensler Captures the Spirit of the Midwest for the LinkedIn Office in Omaha, Nebraska

2022 Best of Year Winner for Large Tech Office

Nebraska is not necessarily known as a destination for cutting-edge design and culture. However, the new Omaha office of LinkedIn, the professional networking giant with nearly a billion users, tapped into the deep-seated tradition of innovation and dynamism that has historically defined the Midwestern metropolis. “From the beginning, there was an emphasis on making sure the decisions were an honest reflection of the city,” LinkedIn senior design manager Virginia Alexander recalls. Longtime partner Gensler was a natural choice for the project, as LinkedIn has worked with the firm on interiors and branding for more than a dozen of the company’s offices around the globe.

How Employee Research Informed the LinkedIn Office Design

Concepting for the hybrid work experience was both a technical and a cultural challenge, so Gensler and LinkedIn conducted research, surveys, and workshops with staffers to understand what made them tick, both professionally and personally. “We were challenged to consider how our designs and technology could make working more engaging and equi­table,” Alexander says. Out of the discovery process came a host of amenities including a dynamic tech-ready team space for hybrid collaboration called the Lab, two libraries for heads-down focus work, recreation rooms with a golf simulator and rotating arcade games, music rooms, terraces, and a cafeteria called the Almanac, with revolving food kiosks and LinkedIn’s first all-electric kitchen.

Health, wellness, and resilience emer­ged as key themes, so in addition to an on-site fitness center and an outdoor roof deck, as well as incorporating no- or low-VOC materials and finishes and only reclaimed or FSC–certified timber, the campus contains four respite rooms sprinkled throughout. Ranging in size and design, the tech-free spaces have ambient light to support a variety of ways to re-energize mind and body. “Everyone resets their brains differently,” Dubisar says. “Some need calming spaces, others something more tactile and hands-on. Rather than a generic ‘wellness room,’ we have different spaces so people can choose the one that fits them best.” They also should help the project achieve its pending Fitwel 2 Star certification, along with a fire stair surrounded by bold graphics and with motivational phrases integrated into treads to encourage staff to take them instead of the elevator.

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Office Culture Meets Local Culture 

The final theme to emerge was expressing Omaha’s particularities of place. “We looked to the historical significance of craft in Omaha and the overall notion of going against the current,” Cavaliere says. Civic storytelling begins in the two-story atrium lobby with a stair backed by a double-height wall of whitewashed brick, a traditional building material in Nebraska. Sculptures by Japan-born Omaha artist Jun Kaneko animate the welcome experience on the ground level, as do Gensler’s integrated wall graphics and site-specific art installations that nod to Omaha’s agrarian roots and contemporary culture. Conference-room graphics referencing the Max, a longstanding Omaha LGBTQIA+ nightclub, quickly became a LinkedIn staff favorite. “It’s incredibly meaningful for people to feel represented not just in their city but also their workplace,” Cavaliere states.

Ultimately, this place-based narrative could be a stronger draw for employees to return to the office than more traditional amenities. “The purpose of the workplace today is to reinforce a sense of community and culture,” Dubisar says. “The office should make you better and support the whole self. At the same time, it’s a place for people to come together and strengthen relationships.” As Linked­In’s global real estate portfolio continues to grow, prioritizing personal expression and community connectivity in the workplace seems only fitting for a company that’s staking its claim as the world’s largest professional network.

Gensler: randy howder; laura richardson; chad wyman; marissa everling; ben vela; chad spurlin; samantha lewis; jeffrey ding; fang fang, eric mortensen (interiors); jennifer hamilton; tiffany ricardo; jarrod holt; marie achterhof, Miriam Diaz, victoria chau, Brian newman (branding); Gail napell, nova punongbayan (sustainability advisors)

tucci lighting: lighting consultant

acrylicize: signage

morrissey engineering: mep

urban evolutions through imperial woodworking company: millwork

lockwood construction: general contractor

glen-gery: brick (lobby)

carl hansen & søn: white chairs

muuto: gray chairs (lobby), sofa (coffee bar)

dum: stools (lobby, coffee bar)

grand rapids chair co.: stools (reception, cafeteria)

sancal: lounge chairs (coffee bar)

Mattiazzi: chairs

Lindner: ceiling mesh (elevator lobby)

barbican: ceiling fixtures (elevator lobby, cafeteria, neigh­borhood)

pinnacle lighting: pendant fixtures (confererence room)

allermuir: chairs

hollis + morris: pendant fixtures (cafeteria)

blu dot; de vorm; hightower: chairs

Lambert et Fils: pendant fixtures

corral: chairs (canteen)

stylex: sofas

menu: stools (workstation)

andlight: downlights

kvadrat: panel fabric

tretford: carpet

bernhardt design: sofas (neigh­borhood)

pair: custom communal table, custom shelving

most modest: lamp

Maharam: seating fabric

Moore & Giles: seating upholstery

rad furniture: custom tables

filzfelt: felt

one workplace; two furnish: furniture suppliers

er2: custom graphics installation

Benjamin Moore & Co.; Dunn-Edwards; Farrow & Ball; Sherwin-Williams Company: paint

Through Adaptive Reuse, Studio Alexander Fehre Turns Two Buildings into a New Facility in Germany

German corporations employ the highest number of engineers in all the European Union, which means they are constantly scouring the globe for qualified staff. So, how do they lure such specialized employees away from the competition? Perhaps by suggesting that, contrary to dour memes, the work life of an engineer in the Federal Republic is, quite possibly, fun.

“There’s a cliche of the German engineer toiling tirelessly away in a little chamber,” designer Alexander Fehre admits. Which is exactly the kind of work environment that the Studio Alexander Fehre principal and his team sought to avoid creating for Bosch Engineering GmbH, a developer of electronics systems for automotive and other applications, headquartered on a 108-acre campus in the southern German town of Abstatt.

Executives at BEG, a subsidiary of multinational technology giant Robert Bosch, asked Fehre to turn two of its buildings into a facility for special engineering projects that run for a few weeks or more. What they got was 48,000 square feet of flexible work space that combines the know-how of an established corporation with the dynamic vitality of a start-up, while infusing the whole with a spirit-lifting sense of play.

The two glass-and-steel buildings, which are about 330 feet apart, are both two stories high. One, known by its number, 204, is a new structure by WMA Architekten; the other, 301, was designed by SFP Architekten in 2004. Having previously conceived headquarters for another Bosch subsidiary, Fehre was already attuned to the conglomerate’s corporate culture and thus able to give the separate interiors a satisfying physical and psychological unity.

Splashes of yellow, shimmering metallic surfaces, warm honey-hued wood, and an abundance of car motifs feature throughout, lending the workplace an upbeat yet focused energy appealing to BEG’s high-profile clients ,such as Pagani, an Italian maker of limited-edition supercars that cost $3 million and more.

The combined facility, which brims with flexible furnishings, dozens of meeting-room iterations (in 17 enclosed spaces), and hybrid lounges (in airy, light-filled open areas on all four floors), provides satisfying transitions between a range of spaces, from studious work zones to convivial gathering spots. “The goal was an open, international feeling that points to very different projects from very different clients in Europe, America, Asia, and beyond,” Fehre explains.

The 2,600-square-foot lobby of 301, where an existing ceiling and some glass partitions were removed but the terrazzo flooring retained, now doubles as a showroom for products developed by Bosch, with a mini race car and a small helicopter among the projects on exhibit. MDF display plinths in reflective teal PVC and oak veneer are surfaces for both meet-and-greet beverages and gleaming engine parts. The dynamic zigzag geometry of the existing stair gains new prominence after its concrete stringers received a coat of glimmering blue-green lacquer. “It’s called flip-flop paint and comes from the car-tuning industry,” Fehre notes. “The color changes depending on which angle you look at it.”

Of all the enclosed meeting and work spaces, perhaps the most intriguing—and fun—is the computer lab, a 500-square-foot room with walls paneled in perforated aluminum that is backlit with LEDs. As staffers create desktop simulations of how BEG products might affect vehicle performance, they are surrounded by a dazzlingly pixelated environment that feels like being inside a supercomputer of the future. Or inside an engineer’s dream playroom of today.

studio alexander fehre: per hohberg; johanna pander; josse freund; magdalena paprotna; inna strokous

Baierl + demmelhuber: custom furniture workshop

jab anstoetz: rugs (community hub, hall)

gervasoni: chairs (hall)

heinrich schmid: paint (301 stair)

delta light: pendant fixture (yellow alcove)

westag & getalit: island laminate (kitchenette)

Haworth: chairs (computer lab)

thyssenkrupp: paneling

ecoline: leds

blå station: modular seating system, barstools

kvadrat: upholstery fabric

strähle: partition system

Dupont: solid surfacing

schöpfer: custom foil

alfred kiess: custom plinths

Interface: carpet tile

Architecture Research Office Creates a Soothing Manhattan Headquarters for Mattress Maker Casper

Casper, the mattress maker that calls itself the Sleep Company, wouldn’t want to do anything jarring. “It was important to present a relaxing environment,” says Kim Yao, a principal of Architecture Research Office, which designed the company’s lower Manhattan headquarters. “Our use of curves and arches helps set the tone.” There is no showroom in the space, but as Yao’s co-principal Adam Yarinsky points out, “We’re presenting the brand through its workplace.”

Luckily ARO had already designed a product for FilzFelt called Plank, a pillowlike acoustical panel covered in felt. An oversize version of it now surrounds Casper’s reception desk. Beyond reception, ARO had to provide space for 300 or so workers—who are there on a hybrid basis—while maintaining the quality of softness associated with the brand.
There are few private offices, in part because the views from the headquarters, which occupies 37,500 square feet on the 39th and 40th floors of 3 World Trade Center by Rogers Stirk Harbour + Partners, are as spectacular as the sunlight pouring in. With the floor-to-ceiling glass entirely exposed, everyone at Casper gets to enjoy those amenities. Away from the windows, personal workstations alternate with pods, or collaboration booths, that are about 5 feet high. “When you’re in one, you feel very sheltered,” Yao notes.

Conference rooms and telephone booths hug the building’s core. Upper and lower common areas include a café big enough for all-company meetings. The new stairway connecting them, sheathed in solid white oak planks, contains a circular felt-lined cutout for somebody to lounge in.

Casper wants its workers to be aware of how it presents products to consumers, so retail vignettes pepper the space, including one near reception. Other furniture, which ARO chose in conjunction with Casper’s in-house design team, is a mix of pieces from Muuto and Herman Miller.

“Our goal was a very direct connection to the architecture,” Yarinsky says, explaining the decision to expose the concrete floor slabs throughout and leave mechanical equipment visible overhead. Also hanging from the ceiling are boat-shape acoustical panels, covered in felt and targeted by LED uplights. The panels bring noise down to a soothing level, which is exactly what a sleep company deserves.

geiger: armchairs (lounge)

carvart: workstations (of­fice area)

vode: custom linear fixtures

softline: armchairs

Interface: carpet tile

c.r. laurence: doors (entry)

rockwood: door pulls

muuto: dining chairs, dining tables, sofas, ot­to­mans, rugs

kvadrat: sofa fabric, ottoman fabric

filzfelt: felt, acoustical panels

herman miller: high tables, task chairs, desks

Shinnoki: paneling

amerlux; flos: recessed ceiling fixtures

hdlc: lighting consultant

longman lindsey: acoustical consultant

tmt: audiovisual consul­tant

benhar office interiors: furniture sup­plier

wsp: structural engineer

ama: mep

metropolitan architec­tural woodwork: wood­work

clune construction: general contractor

i29 Reinvents a Historic Canal House in Amsterdam

The archetypal Amsterdam canal house constitutes much of the Dutch city’s residential landscape. Dating to the 17th century, these four- or five-story waterfront row houses were conceived as hybrids: part living space, part warehouse storage for goods transported along the canals. They were built sturdily of wood and masonry construction with heavy beams, i29 co-founder Joeren Dellensen explains, “which is why they still exist.”

Albeit not always in the greatest shape. Take this compact 1675 house near Amstelveld square. Though designated a state monument, it had fallen into ruin before new owners initiated a meticulous two-year restoration and update. “From the start we knew i29 had to be involved in the project, to instill their out-of-the-box, serene, and perfect design,” notes the client, who first hired the firm nine years ago to craft an “invisible kitchen” for the family’s Paris apartment that was entirely concealed behind sliding wall panels imitative of decorative molding.

Here, architectural interventions were strictly limited by mandates protecting heritage houses. “We were not allowed to demolish any walls,” co-founder Jasper Jansen says, noting that the project was a collaborative effort among firm members. “And we couldn’t build any, either, even though very few existed in the space.”

Instead, color performs the role of spatial demarcation. “We used color as a tool to expose the architectural shell to the fullest and to make interventions that define functions,” Dellensen notes, adding that the classic hues chosen “are in sync with the monumental quality of the building.” Complementary blues, greens, and grays are muted and somewhat smoky, contrasting with swaths of crisp white.

Related Post: i29 & Chris Collaris Evoke High Contrast for a Summer Residence in Vinkeveen, the Netherlands

The 1,240-square-foot interior of the Amsterdam canal house, adjoining a rear garden, offers long sight lines and elements of delightful surprise. A steep, curving stairway, every bit original, connects the three full floors plus three intermediating half levels. The entry opens into a cozy seating alcove with wide steps down to the ground floor, which had to be lowered for foundation repairs. Occupying the majority of this level is the eat-in kitchen, where custom oak millwork is coupled with chairs by Naoto Fukasawa and lighting pendants by Ludovica and Roberto Palumbo. At the far end of the space, a green glass volume marks entry to a pass-through bathroom leading to a hidden bedroom with garden access.

Fittingly, the living room on floor two retains its characteristic plaster walls and bas-relief ceiling ornamentation, painted creamy white, and restored pine flooring. Behind the rotating bookshelf lies a surprise: a moody blue cocoon in which to read or relax. On the opposite side of the room is another surprise: Interior windows provide a split-level view of the entry seating nook below and the study a half-flight above, where a swath of springlike green frames the built-in desk.

Up on the third floor, “sleeping quarters radiate comfort like a true hotel experience,” Dellensen remarks. Exposed beams trace the peaked ceiling in the main bedroom. Two-way mirrored panels enclose the WC/shower stall, offering sight lines out (into the wet area’s Japanese-inspired soaking tub and beyond) but not in. Up a ladder, an additional mini level is squeezed in below the roof’s bell gable to function as the daughter’s bedroom. So enamored are the homeowners by their pied-à-terre’s charm that they are spending even more time there than they envisioned.

Related Post: i29 Updates Classical Interiors of Landmarked Enlightenment Building in Amsterdam

Sigma: paintwork (stairwell)

kvadrat: acoustic wall fabric (living room)

Aleksandra Gaca: pillow fabric (reading room, living room)

norR11: lounge chair, ottoman (living room)

maruni: chairs (kitchen)

concraft: concrete flooring

quooker: sink fittings

blumenberg: custom tub, custom sink (bathroom)

glas xl: two-way mirror

water revolution: taps

Foscarini: pendant lights

schneinder interieurbouw: custom furniture and woodwork

seasons parket: oak flooring

G.K. Visbeen & Co: general contractor

kodde: restoration architect

Dufner Heighes Transforms a Historic House in Pelham, New York into a Modern Family Home

Flip back a page, please. Now, kick up your feet, relax—here, have a cocktail—and observe this intriguing wood-paneled room: the resolutely leafy view, that groovy triangular window, the serene quiet, the vintage-heavy furniture scheme. Bet you think this is the living room of some cozy ’70’s-mod cabin on a remote rural plot, right? Well, surprise! In fact, this is the second-floor sitting room of a painstakingly preserved century-old Edwardian-style manse within shouting distance (although please don’t; the baby’s sleeping) of the Bronx.

Dufner Heighes was the firm tasked with future-proofing the historic Pelham, New York, house for a growing family. The 7,100-square-foot dwelling has an intriguing back story. Previous owners include the island nation of Barbados, which used it as an embassy, and a Coca-Cola executive who frequently hosted President Eisenhower there back in the 1950s. Another head of state, George Washington, reportedly stayed on the property, too, in a structure that once stood on this abode’s exact footprint. That provenance piqued the interest of Erica Holborn, CEO of Sandow Design Group (Interior Design’s parent company) and a self-professed real-estate enthusiast. “I’m a house-with-a-story person,” she admits.

When Holborn and her husband, Andrew, first saw the property listing, they deemed the eight-bedroom too big for their needs. Fast forward a year later. Their Dufner Heighes–designed Sutton Place apartment was getting a bit too snug for their expanding family (especially with WFH in the mix), and their upstate getaway, a 1970’s A-frame designed by Frank Lloyd Wright protégés, was too far from the city for full-time residency. Plus, the Holborns got an offer on the latter that they couldn’t refuse. So when the price dropped on the Pelham place around the same time, they finally took a look—and were sold.

Among the structure’s many attributes was that it had been pristinely restored, from the oak millwork to the original hardware. “It was a perfect situation, because the previous owners had updated a few things, like the kitchen, but restored everything else—stripping layers of paint off moldings and all that stuff no one wants to deal with,” notes Daniel Heighes Wismer, firm copartner with Greg Dufner. In short, it was practically turnkey. Early site visits suggested the project would be primarily decorative and cosmetic: reupholstering some existing furnishings, buying new items to fill in a few gaps, replacing antique light fixtures with more modern designs, updating cabinetry, hanging artwork. Midway through planning the new kitchen, however, it became apparent the current footprint was underscaled for the size of the house and had an awkward, dinky island unsuited to cooking and dining. “During one of our meetings with the team from Bilotta, with whom we were designing the kitchen,” Wismer recalls, “someone questioned whether we could tear down a wall to annex the adjoining butler’s pantry—and that changed everything,” necessitating plumbing and electrical rerouting plus new structural steel. “My dream has always been to have a butler’s pantry,” Holborn sighs. “And then I finally buy a house with one—and promptly take it out!”

The monthslong renovation was well worth it. The new scheme is much brighter and airier, with a long Arabescato Corchia marble island that seats four, plus a window-wrapped breakfast nook. Dufner Heighes deployed two patterns of Artistic Tile terrazzo flooring, one incorporating marble chips, to create area rug–like accents that delineate spatial zones. Shaker-style cabinetry is simpatico with the period architecture yet modern enough to suit the décor. The same flooring and cabinetry also extend into an adjacent space, a former family room that now serves as a storage-packed mudroom.

The reinvention of a living space as service-oriented hub made sense, given the floorplan already offered a generous number of hangout areas, including the ground-floor salon and contiguous sunroom, a second-floor playroom for two-year-old Marlowe and baby Bodhi, a sitting room off the primary suite, and the family and game rooms that anchor the daylit basement level. “The challenge,” Dufner says, “was how to make each living space feel like it had a unique function and purpose.” Seating in particular was selected with specific activities and postures in mind. Thus the salon’s more upright Bob sectional, its firm, snakelike form perfect for perching with a glass of wine; the sunroom’s more lounge-y Bouroullec Brothers Ploum sofa, a holdover from the upstate house (albeit newly reupholstered); and the super deep, nap-conducive sofa in the family room, where TV viewing occurs.

Though the house has a traditional layout, with discrete rooms, they open graciously onto each other, and curating sight lines was particularly important. Many features were considered holistically so they would work together from room to room. On the first floor, for instance, “there are points where you can see the ceiling fixtures in the sunroom, living room, entry hall, and the dining room all at once,” Wismer explains. “So the lighting we specified all needed to work within their respective rooms and also as a cohesive group.” Furniture and other accents were chosen and placed similarly, he adds. “There was a balancing of where we could go a little wild and where something had to be toned down so it wouldn’t get too heavy or layered.”

Speaking of going a little wild, check out the dining room wallpaper. The pattern, a trippy graphic confection in riotous hues, tents the room, extending up from crisp wainscoting lacquered a mercurial green-gray color. The op art patterning is the perfect jazz riff on the abode’s 1914 bones. “The contrast between historic and modern is just so great,” says Wismer. A sentiment that summarizes the project top to bottom.

knoll: sofa

dunbar: side table

design for macha: ceiling fixture

through noguchi shop: floor lamp

garrett leather: armchair shearling

kvadrat: side chair fabric

blå station through scandinavian spaces: sofa

house of finn juhl: chairs

Gubi: coffee table

aronson’s: rug

bd barcelona through ddc: green side table.

Fredericia: daybed

lawson-fenning: vessels

bilotta: cabinetry

Artistic Tile: flooring

seungjin yang through the future perfect: pink stool

Blu Dot: yellow ottoman

through noguchi shop: pendant

Louis Poulsen: pendants

voutsa: wallpaper

e15 through stillfried wien: table

Carl Hansen & Son: chairs

iittala through fiskars group: glass birds

bd barcelona through ddc: credenza

aronson’s: rug

mitchell gold + bob williams: sofa

aronson’s: rug

Carl Hansen & Son: Lounge

Blu Dot: side table

through john derian: artwork

ligne roset: sofa

iacoli: coffee table

CB2: side table

Artistic Tile: flooring, counters

bilotta: cabinetry

Carl Hansen & Son: chairs, stools

e15 through stillfried wien: table

Louis Poulsen: pendants

casey johnson studio: custom table

Blu Dot: ottoman

through john derian: flowers

aj madison: appliances

lee jofa: wallpaper

through design within reach: rocking chair

dunbar: sofa

house of finn juhl: coffee table

floyd: shelving

stokke: crib

rejuvenation: ceiling fixture

nessen lighting: gold lamp

&tradition: coffee table, ottoman

Carl Hansen & Son: green lounge chair

mitchell gold + bob williams: sofa

aronson’s: rug

kvadrat: mama bear chair fabric

zak & fox: club chair fabric

design for macha: ceiling fixture

michael robbins: bench

lawson-fenning: bed

once milano: quilt

aronson’s: rug

flavor paper: wallpaper

Gubi: mirror

visual comfort through circa lighting: table lamps (sitting room, dining room, family room, bedroom); ceiling pendant (living room, dining room, foyer); floor lamps (living room, nursery); reading lamp (living room)

through furniture from scandinavia: items from fredericia, house of finn juhl, gubi, carl hansen & sØn, louis poulsen, and &tradition

Pophouse Captures the Collaborative Spirit of Rock Ventures for its Detroit Headquarters

2022 Best of Year Winner for Medium Corporate Office

The infill of an office building in a downtown Detroit complex had just been completed when Pophouse decided to blast an enormous hole through two floors of it. The firm was planning the new headquarters of Rock Ventures and the Rock Family of Companies, and the designers envisioned a monumental spiral staircase at the point where angled sides of the complex meet. The staircase, the central feature of the project, would not only connect the lower and upper levels of the 50,000- square-foot office but also unite the multiple teams housed there, creating serendipitous opportunities for employees who don’t normally work together to come into contact while going up and down the stairs, fostering a sense of being part of a larger enterprise. But, of course, demolishing brand-new construction would be expensive and disruptive.

Another client would almost certainly have said no. But Jennifer Gilbert, the founder and creative director of Pophouse, had the ear of her client, Dan Gilbert, founder and chairman of Rock Ventures, Rock FOC, and Rocket Companies, to whom she has long been married. And as his wife and partner in many ventures, she is part boss, too, and was thus able to call the shots much more than is usually the case on the commercial projects the studio works on—with stunning results. “Wearing the creative director hat and some of the owner hat was great,” she recalls.

Not that she was doing the work alone. Just as her husband’s business has grown—it began with his founding of what would become Quicken Loans in 1985, and the Rock Family of Companies now includes a portfolio of more than 100 diverse entities including Rocket Companies, 100 Thieves, Stock X, Dictionary.com, and the NBA’s Cleveland Cavaliers—so, too, has Pophouse. The firm, which is also part of the Rock FOC, prides itself on a data-driven approach to design that incorporates the latest findings on things like biophilia. So when Rock Ventures and the Rock FOC were ready to move from cramped former quarters elsewhere in the complex to a roomier, more sophisticated space, Pophouse was up to the job.

Chrissy Fehan, the firm’s design director, and her colleagues fleshed out a scheme that incorporates multiple circular spaces, not the least being the spiral stair in its airy atrium, based in part on research suggesting that such spaces spur creativity. The first is in reception, on the lower floor. Here, under backlit stretched fabric, a terrazzo floor is modeled on Detroit’s hub-and-spoke street grid. The waiting-area gallery just beyond is circular, too. Where circles were not possible, Pophouse rounded the corners of private offices and installed curvy furniture through­out, notably plump Pierre Paulin chairs in reception, a long and winding sofa by Koz Susani Design in a lounge, and an impressive 16-foot-diameter conference table in the boardroom, which itself is round in shape.

Also key to the office’s concept is lively artwork, on which Pophouse collaborated with Library Street Collective, a downtown Detroit gallery that focuses on artists, both local and not, who push boundaries. One standout piece, by Faile, anchors the grand staircase: It spirals down to a colorful round of inlaid mosaic tile incorporating such words as “heart,” “hope,” and “dream.” “It embodies all the great work happening in our city,” says Fehan, who came to Detroit for college and then stayed. Pophouse surrounded the installation with a C-shape bench made of modular sections that can be removed so the area can be used for events. The inclusion of works by local artists Jason Revok and the late Charles McGee underscore the Detroit-proud theme.

Then there are the basketball-related installations. A wall in Dan Gilbert’s office is devoted to a Tyrrell Winston assemblage comprised of dozens of deflated basketballs, including, of course, a couple from the Cavaliers. Outside his office, a room-size walk-in closet has a shelf with autographed balls plus, hanging from clothing rods, various team jerseys from which a lucky visitor might get to make a selection to take home. “We used to have all the Cavs things stuffed in a storage closet,” Jennifer Gilbert says. “Why not celebrate it?”

She and her team also paid homage to her husband’s “isms”—sayings such as “yes before no” and “simplicity is genius”—in the auditorium, where Cody Hudson rendered them on acoustical wall panels; rift-cut white-oak millwork here and throughout the headquarters further dampen sound. For the auditorium’s seating, the designers used sleight of hand: a benching system that incorporates Eames Molded Plywood Dining Chairs, minus their chrome legs.

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Equally inventive is a wall of preserved moss near a part of the office devoted to the Rocket Community Fund and the Gilbert Family Foundation, the philanthropic organizations the couple run that are devoted to growing opportunity and equity in Detroit as well as other national and international causes. The moss maps out Detroit’s municipal districts in varying shades of yellow and green. Small wooden boards that slide in and out of sleeves embedded in the plant matter are laser-engraved with stories about the work being done by their organizations.

If it’s not already clear, Dan Gilbert is a Detroit native, his wife grew up in one of its suburbs, and together they are dedicated to revitalizing the Motor City. A dozen years ago, Dan Gilbert relocated Rock Ventures and the Rock FOC to the then-languishing downtown, and, in the years since, Bedrock, a real estate company he controls, has been redeveloping properties in the area. Last year, the couple announced a $500 million pledge to build opportunity and equity for all Detroit residents who have faced systemic barriers to economic and social mobility. The city’s comeback and the Gilberts appear to be inextricably entwined.

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Pophouse: jordan wills; sarah davis; allen largin; monica pace; lauren burnheimer; nicole pelton; brandon bartel; makyle welke; alessandro pagura

ghafari associates: architect of record.

library street collective: art consultant

abd engineering & design: acoustician

bluewater technologies group: audiovisual

mod interiors: woodwork

whiting-turner: general contractor

m cohen and sons: stair fabrication (atrium)

nienkamper: sofa (gallery)

Kvadrat Maharam: sofa upholstery

ligne roset: chairs (gallery, reception), tables (boardroom lounge)

massproductions: tables (lounge)

noom home: chairs

kvadrat: chair fabric

urban electric co.: sconces

axis lighting: linear fixtures

vogue furniture: custom desk (reception)

artisan tile inc.: custom terrazzo

bernhardt design: ottoman (reception), guest chairs, table (office), chairs, ottomans, table (breakout

herman miller: task chair (reception), workstations (work area)

Cumberland Furniture: sofa (boardroom lounge)

artifort: chairs

grand rapids chair company: chair (phone room)

matter made: lamp

Arte: wallcovering

planterra conservatory: moss wall (philanthropy gallery)

halcon furniture: casegoods (office)

fiandre: floor tile (auditorium, boardroom)

acoufelt: acoustical baffles (office area)

Tom Dixon: ceiling fixtures (closet)

Coalesse: chairs (boardroom)

carlisle wide plank floors: engineered flooring

fusion lighting; luminii; prudential lighting company; usai lighting: lighting

barrisol: stretched ceiling

armstrong: acoustical ceiling

Add tag via side panel:

certainteed; navy island: acoustical paneling

Benjamin Moore & Co.; Dunn-Edwards; Farrow & Ball; Sherwin-Williams Company: paint

Peter Saville Designs His Inaugural Textile Series for Kvadrat

Kingston Lafferty Design Infuses a House in Cork, Ireland With Soothing Shades of Green

When the design history of the pandemic is written, it will be told with tales of firms completing projects without ever physically meeting clients, setting foot inside job sites before they’re finished, and other protracted, unexpected developments. Lovers Walk—a residence in Cork, Ireland, by Kingston Lafferty Design—is one of those stories. “It started as a small decoration job for us,” founder and creative director Róisín Lafferty recounts. “But it grew legs and ended up as a substantial design project.” The two-story, four-bedroom suburban house was purchased by a couple looking to return to Ireland from abroad to raise their young son. As the pandemic struck and timelines extended, the scope kept evolving to encompass every element of the house. “We had to think on our feet,” Lafferty concedes.

At first, the house looked solidly built, but project collaborators Kiosk Architects discovered that the structure had major issues with energy efficiency. Original flooring needed to be removed, and the exterior required extra work to meet current standards. “The clients put a lot of trust in us,” Lafferty says, “which was bold and brave considering that we didn’t meet in person until the end of construction.”

The house was built in the 1940s. What attracted the homeowners—and informed KLD’s concept—was the central staircase, part of a ’70s addition and somewhat in that era’s style. Lafferty loved its warm, almost orange-toned oak joinery, which creates a strong impression on both levels. “It’s quite dominant,” notes the designer, to whom the clients had first turned for her firm’s signature look. The 11-year-old practice has earned a reputation for experimenting with bold swaths of solid color, mostly in paint: blood-red walls for a café in London; a deep-blue theater for a corporate office in Skerries, Ireland; and, most notably, a widely published Victorian house in Dublin with blue walls, a green ceiling, and a ruby-red dining table.

The house, located on a cliff overlooking the city, is surrounded by large oak trees. “We wanted to bring in that depth of green,” says Lafferty, who, along with KLD lead designer Fiona Stone, went beyond paint to inject the rooms with warmth and color that complemented the site. Hence much of the living room is wrapped in moss-green marble; forest-green heavy wool curtains hang in the child’s room, which is painted a similar shade, his favorite color; and the primary bedroom’s headboard wall is clad in jade porcelain tiles (by Gio Ponti, no less).

The layout of the living room, which had been fussy, was streamlined. A sofa upholstered in deep-navy velvet adds punch to the space. Similar jewel tones were chosen to balance the room’s marble-rich palette, which reminded Lafferty of Ludwig Mies van der Rohe’s Barcelona Pavilion. “We needed a poppiness to jar against that,” she notes. Adding another layer to the mix, the clients allowed their contemporary art collection—mostly playful, abstract works—to be positioned throughout the house as the design best allowed. “They weren’t precious about it,” Lafferty reports.

To add drama to the journey from the entry hall to the kitchen and dining area, Lafferty and Stone inserted a tunnellike portal lined with red finger tiles between the spaces. The clients didn’t want the kitchen to be overwhelmed with storage cabinets, so the designers kept them at base level, covering the countertops, island, and two wall-size backsplashes with pink quartzite that’s “like rock candy,” Lafferty says—a move that places added emphasis on the above-sink picture window and its view out onto nature. While Lafferty admits some might consider the rosewood-veneer cabinetry to be outdated, she relished the idea of pushing the materials so they’re “almost on the cusp of clashing.”

Upstairs, each of the three bedrooms—for the couple, their son, and guests, respectively—has its own color story. Riffing off the ’70s vibe, the guest room juxtaposes cobalt blue curtains against walls painted a buff pink called Dead Salmon; a navy shaglike carpet adds to the theme, which Lafferty describes as “almost disgusting.” The designers are particularly proud of the primary bedroom, “a small space that needed to look sleek and effortless,” Stone notes. Access is via a wide, open passageway with chevron-pattern oak flooring and three large, angled skylights set into the sloped roofline. A vanity of burgundy marble is tucked under the eaves on one side of the room; a walk-in closet and the bathroom lie behind the opposite wall, which is faced in lacquered walnut-burl veneer that abuts the green tile of the headboard wall around the corner. “It’s like a jewelry box with so many materials used,” Stone continues. “But it feels incredibly calm. There’s almost a nostalgic air about it”—a verdict with which the clients agree. It seems their trust in KLD’s boldly unconventional aesthetic has paid off handsomely.

Kiosk Architects: architect of record

herrick electrical: mep

dfl: woodwork

miller brothers: stonework

cameleo: plasterwork

rose construction: general contractor

arflex: sofa, ottoman (living room)

modern hill furniture: orange chair

oluce: lamp

moore o’gorman joinery: custom cocktail table

fest amsterdam: side table

urban nature culture: vase

muurla: gray bowl

hkliving: blue bowl

Juanma Lizana: chandelier

jover: curtain fabric (living room, kitchen)

flos: pendant fixture (kitchen)

miele: cooktop, ovens, r­e­frigerator

Blanco: sink

quooker: sink fittings

cinca: finger tile (portal)

astep: pendant fix­ture (entry hall)

wow design: vanity front tile (main bathroom)

rmc: shower wall tile

through 1stdibs: chair (guest bedroom)

Hay: pendant fixture

edmund bell: curtain fabric

scatter box: bedspread

jacaranda carpets: carpet (guest, child bedrooms)

driade: chair (child bedroom)

muuto: pendant fixture

kvadrat: curtain fabric

trunk floor: custom wood flooring (child, main bedrooms)

&tradition: sofa (dining area)

yarwood leather: banquette upholstery

zava luce: sconces (dining area, portal)

Courtesy of Gubi: vanity chair (main bedroom)

natuzzi italia: bed, nightstand

salviati: sconce

tal: spotlights

teamwork italy: wall tile

louise roe copenhagen: vases

mason editions: pendant fixture (family bathroom)

crosswater: towel ring

nic design: sink (family, guest bathrooms)

astro lighting: downlights

stone seal: concrete flooring

cork glass center: bathroom glass, mirror, shower screens

vos: bathroom sink fittings

minima home: furniture supplier

farrow & ball: paint