Hall of Fame members share their own favorite projects
Staff -- Interior Design, 12/1/2004 12:00:00 AM
Bank of America, Charlotte, North Carolina, 2001
Integrating the wired world of trading-desk technology with intelligent, beautiful design was just one of the reasons this project was so rewarding.
Grand Hotel a Villa Feltrinelli, Gargnano, Italy, 2001
The Salon, with its oak-paneled walls and antiqued Venetian mirrors, looks out over Lake Garda. During the day, the light sparkling off the lake literally brings the outside in. In the evening, the sparkling reflections of candles are undeniably glamorous.
Savoy Grill, London, 2003
It is my favorite space because of its history and its rebirth for today. I do my best work when working with good bones, good people, and simple ideas.
Louis M.S. Beal
American Academy of Arts & Sciences, Cambridge, Massachusetts, 1980
"It epitomizes my professional belief that the respectful collaboration of architects and interior designers can produce a timeless and graceful product."
Yale University School of Art hall, New Haven, 2000
"The School of Art at Yale encompasses the things I care about and am interested in—it's tough, simple, and creative."
Central Park West residence, New York, 2000
"It's clean without being cool, modernist without being minimal. It's visually rich with superb materials, impeccable fabrics, and lots of detail."
14th Street loft, New York, 2004
"Making this large loft a high-style space that was still inviting proved to be one of my biggest challenges, yet the outcome was pure comfort."
Library in a private residence, New York, circa 1975
"I integrated my favorite classic orders with a contemporary setting, along with six drawings by Van Day Truex, my mentor as a student at Parsons."
Penthouse apartment, New York, 1996
"This is my favorite, because building a new residence in Manhattan is a unique opportunity. That the site is 12 stories in the air made it so much better."
IBM, Armonk, New York, 1997
"This commission represents a continuing client relationship with a senior executive who moved from American Express to RJR Nabisco, then to IBM."
His own former residence, Paris, 1994
"There is something rewarding and very personal involved in being my own client. I sometimes use ideas I incorporated here as inspiration for my other clients."
Bulgari Hotel, Milan, 2004
"It's interwoven with Milan's historical urban fabric while being international at the same time."
Zen tub, Kips Bay Decorator Show House, New York, 1998
"As a home spa exploration, a small space became a Zen retreat with a sculptural tub and a light fixture that functions as an interior window."
His own former residence, San Francisco, 1994
"I was able to introduce freshness and uniqueness with a contemporary feeling into an otherwise traditional apartment."
Gracie Mansion, New York, 2002
"Why is this my favorite? I love designing part of history."
Perry Street residence, New York, 2004
"This is a favorite of mine because it's taking a step from the past into the future, a modern expression for a modern building."
Desert mountain residence, Scottsdale, Arizona, 2004
"The setting provided an opportunity to investigate 'cutting open the watermelon,' retaining the desert palette on the exterior and using water to reinterpret the courtyard."
West 12th Street residence, New York, 1987
"The space has never lost its relevance."
United Airlines ticket office, San Francisco, 1972
"This project won the first major national design award for our firm, giving me the confidence that we could compete on an international level."
Museo Picasso Málaga, Málaga, Spain, 2004
It included many challenges I have faced in my career: reuse of an important historical building, design of new structures for exhibition, and integration of the two into a seamless experience.
Mariette Himes Gomez
Drawing room, Kips Bay Decorator Show House, New York, 1999
This drawing room in an Upper East Side town house is a favorite for me because it is perfectly styled, perfectly balanced, and perfectly livable.
Steigenberger Golf Resort, El Gouna, Egypt, 2000
Although I don't choose favorites, I'm particularly fond of our designs for several Egyptian resort hotels that impart domesticity—a home away from home—while responding to their vernacular context.
Charles Gwathmey and Robert Siegel
Gymnasium residence, New York, 2002
We have no favorites per se. However, this project's existing volume and exposed structure demanded an intervention that was powerful yet sensitive.
Library for Brooke Astor, New York, late 1970's
We were able to design and install a classically inspired yet contemporary background to house the late Vincent Astor's remarkable collection of rare and beautiful books.
Brooklyn Academy of Music Harvey Theater, Brooklyn, New York, 1987
It represents collaboration, a novel approach to restoration, and a form of theater that has proven to have remarkable flexibility.
Nob Hill residence, San Francisco, 1987
"Not only was this job for thoughtful young clients, but it was also an unusual space. And the locale was San Francisco!"
Dillingham Hall, Punahou School, Honolulu, 1994
"We created a contemporary proscenium theater with a vigorous color palette and pattern in an auditorium originally by Bertram Grosvenor Goodhue."
National Financial Partners, New York, 2002
"Had fun—still having fun. Each project becomes a stepping stone to the next adventure."
Hotel Josef, Prague, 2002
"For a long time, I wanted to buy my ideal hotel. Then I was lucky enough to meet a client to pay for it. Other people seem to enjoy it, too, which is a great pleasure."
Energy firm, Houston, 2003
"We created a fresh but powerful image through the use of light in architecture—a design that supports this energy company."
Paul Stuart, Chicago, 1995
"The essence of a good plan in harmony with a classic yet modern design."
Herman Miller national design center, Chicago, 2001
"The traits of Herman Miller—purposeful, spirited, and human-centered—are integral to our work as well."
Gary Lee Partners, Chicago, 2000
"Turning a paint factory into a home for my firm and being my own client made this project my most challenging and rewarding."
General Dynamics, Falls Church, Virginia, 2004
My favorite projects are those that exhibit a complete integration of art into architecture.
Sally Sirkin Lewis
Residence, Stinson Beach, California, 1999
I love how the cohesiveness of furniture, fabric, and hemlock paneling gives this room a glow.
House, Galicia, Spain, 1999
This project was the first in which I acted as both architect and interior designer, and I was left to explore my creativity in full.
Antron showroom, Chicago, 2000
It combines everything that I love about design—passion to succeed, struggle to achieve, and the fun of telling great stories.
Louis Vuitton, New York, 2004
Louis Vuitton, 57th Street, gave me the opportunity to reorganize a banal space and make it an exciting one. That's my favorite thing to do.
Suntec City fountain, Singapore, 1997
Suntec City wasn't built as a set of object buildings, but as an ensemble to define a civic space that would feel like a vast outdoor room for the 23-acre development. The bronze fountain sits at the center of this sunken plaza, surrounded by restaurants, bars, and cafés.
Loft, New York, 1997
"An urban watch tower influenced by Manhattan's water towers and the Statue of Liberty's crown. Also a potential landing pad for Octopussy."
Residence, Paris, 2001
"Furniture and elements of the period relate to the scale of the room."
Monastery, Nov´y Dvùr, Czech Republic, 2004
"A project of a lifetime."
Windows on the World, New York, 1976
"Restaurants have special appeal because people come there to enjoy themselves. We enhance the occasion with space and light, form and detail, color and decoration."
Baker Botts, Houston, 1970
"The first modern law office, designed for flexibility."
Old Post Office, Washington, D.C., 1982
"This was the first restoration and adaptive reuse of a historic U.S. government building—and a prime example of a successful collaboration by several professional organizations."
DIFFA's Great Bazaar, New York, 2000
"This project embodies my fascination with how design can engage people emotionally and how, by transforming spaces, you can make tactile connections."
Paul, Hastings, Janofsky & Walker, New York, 2002
"Evident here is our design philosophy of using light and details to make an existing space seem larger."
Residence, Montecito, California, 1989
I endeavored to incorporate all the principles that I believe sacred to make this villa and all its details classically enduring, sensual, and civilized.
His own beach house, Fire Island Pines, New York, 2002
A very personal project, this beach house is one of my favorites because it was about me, my wishes, my design, without compromising.
Fila, Baltimore, 1999
Time and space are suspended in a forced-perspective fun house.
Boston Consulting Group, Dallas, 2001
The quiet and calm of this simple, timeless reception area doesn't reveal the complexity of the interior architectural development. The detailing and product selection support and strengthen each other for a total, understated harmony.
Robert A.M. Stern
His own former Central Park West residence, New York, 1968
This may not be my favorite project, but it is my first. On the other hand, it's looking better and better as time passes.
Gene Juarez Salon & Spa, Seattle, 1998
This project was the first in which I was able to show how design can address the heart and emotions, the mind and intellect, the body and physicality, the soul and spirit. And it takes no words to express its meaning…
Phillips–Van Heusen, New York, 1999
"Intricate details, such as vaulted wood ceilings and hand-picked marble flooring, make this space sophisticated and timeless."
Bel Air residence, Los Angeles, 2001
"This staircase is a mixture of straight lines and curves—the new and the old in perfect harmony."
Scottsdale Hangar One, Arizona, 2003
"The English poet Thomas Gray said: 'A favorite has no friend!' I am glad to say that I have many friends. Here is one."
Upper East Side town house, New York, 2004
"We paid homage to the house's Federal style while informing its interiors with geometries, materials, and functions that are appropriate for today."
Billie Tsien and Tod Williams
Williams Natatorium, Cranbrook Educational Community, Bloomfield Hills, Michigan, 1999
"This project represents a quality that we seek in all our work—a feeling of powerful serenity."
His own apartment, New York, 1995
"It's a place where I can surround myself with things I've chosen over the years. And, above all, there's color everywhere."
Robert Venturi and Denise Scott Brown
Meilparque Nikko Kirifuri Resort, Nikko National Park, Nikko, Japan, 1997
"A path through the building works as a lobby and a symbolic street through a classical Japanese village."
Margo Grant Walsh
Goldman, Sachs & Co., London, 1991
"This job reaffirmed a long-term relationship with a global client, enabling Gensler to open the door to Europe by establishing a London office.
Island Records, New York, 1992
I was asked to rethink the office landscape, so—in 5,000 square feet—we used not one sheet of gypsum, not one linear foot of office system, and not one stock light fixture. And the client never said no.
Tribune Interactive, Chicago, 2001
All the best of Perkins + Will's talents came together to create one of the most inspiring and integrated architectural interiors.
Residence, Hobe Sound, Florida, 2003
To me, the living room of this house represents the freshness and simplicity of modern-day elegance.
Palace of the Lost City, Sun City, South Africa, 1992
Working on this project was a turning point in my life both personally and professionally. It introduced me to the beauty of South Africa and the extraordinary talents of its craftsmen, who allowed us to create one of the most remarkable resorts in the world.
Residence, Water Mill, New York, 2002
This is the essence of what Vicente Wolf Associates is about—architecture, custom furniture, and a modern feel.
George Yabu and Glenn Pushelberg
Amore Pacific, New York, 2004
Art is often inserted into a built environment as if to fill a void. Never before has there been an opportunity for us to integrate art and design so seamlessly. The suspended arc of 'flying twigs' was installed on-site, piece by piece, with the intention of responding to the true volume of the space.