Introducing Interior Design’s 2024 Rising Giants

While many overarching industry trends recounted in the previous essay apply to both the top and Rising firms, including full pandemic recovery and generally healthy vital signs, there are some nuances between the two populaces worth highlighting.

First, Rising Giants took a bigger hit during COVID, so have farther to recover. Second, their design fees are less than a tenth the amount of the top 100 firms’ ($576 million compared to $5.9 billion), so small changes in their numbers can result in more significant swings percentagewise. Not to mention that one huge project or a single market performing extremely well or poorly on any given year can make the data look more volatile than it truly is.

All that a prelude to say: The Rising Giants had a good 2023. Fees have grown 11 percent since 2019 (and 8 percent yearover year), while FF&C value rose 15 percent in that same time period. The number of projects firms worked on increased 9 percent from 2022 to 2023 and more than doubled since 2019. (Top 100 Giants’s projects increased only 13 percent in that interval.) Not to mention that 24,956 is a heck of a lot of projects for the Rising firms!

Note: “blank cells” = did not report data

Remember we mentioned the roster of employees shrank 16 percent for the top 100 firms? That’s the exact same percentage that Rising Giants staff grew, which is concrete evidence of how much further they had to build back up after pandemic downsizing. It makes sense we’re seeing positive recovery in greater percentages for Risers than for the top 100 because of the deeper hit they took. To get more specific, the number of principals/partners is up 109 percent since 2019; project managers are up 61 percent; and designers are up 36 percent. (Remember, these figures include new hires and promotions.)

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Interested in learning more about Interior Design’s 2024 Giants of Design? Check out our reports for Top 100 Giants, Sustainability Giants, and more.

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Overall, salaries rose 11 percent but billable rates only grew 2. Translation: Rising Giants are doing more projects and paying their staffers more but not increasing their billable fees to compensate—likely due to the competitive nature of the work they’re trying to win.

Forecasts are another arena where top and Rising Giants diverge, with the latter trending a bit more optimistic. Last year, the top 100 projected a decline (which did not come to pass) while the second 100 firms anticipated an uptick (which did occur—although even more forcefully than anticipated). For 2024, Rising Giants are forecasting less of a slowdown than the top 100 are predicting, their rosier expectations evidence of a very different recovery trajectory.

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*New this year is data centers, a vertical that also encompasses mission critical and advanced facilities.

Note: “blank cells” = did not report data

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Most Admired Firms

Editor’s Note: Take a look at recent coverage of our Rising Giants most admired firms of 2023 below. Gensler tops the list followed by Rockwell Group, AvroKO, Yabu Pushelberg, and Rottet Studio.

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Percentage of Rising Giants Reporting These Challenges As The Biggest They Face

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Methodology

The Interior Design Giants annual business survey comprises the largest firms ranked by interior design fees for the 12-month period ending December 31, 2023. The listings are generated from only those surveyed. To be recognized as a top 100, Rising, Healthcare, Hospitality, or Sustainability Giant, you must meet the following criteria: Have at least one office location in North America, and generate at least 25% of your interior design fee income in North America. Firms that do not meet the criteria are ranked on our International Giants list. Interior design fees include those attributed to:

1. All aspects of a firm’s in­terior design practice, from strategic planning and programming to design and project management.

2. Fees paid to a firm for work performed by employees and independent contractors who are “full-time staff equivalent.”

Interior design fees do not include revenues paid to a firm and remitted to subcontractors who are not con­sid­ered full-time staff equivalent. For example, certain firms attract work that is subcontracted to a local firm. The originating firm may collect all the fees and re­tain a management or generation fee, paying the remainder to the performing firm. The amounts paid to the latter are not included in fees of the collecting firm when determining its ranking. Ties are broken by rank from last year. Where applicable, all per­cent­ages are based on responding Giants, not their total number. 

All research conducted by ThinkLab, the research division of SANDOW Design Group.

Stonehill Taylor Designs a Biophilic Hotel Haven in Boston

Raffles Hotels & Resorts is a luxury Singaporean chain launched by the Persian-Armenian Sarkies brothers in 1887. Over the centuries, the portfolio has grown to more than 20 properties, a mix of secluded resorts and urban towers in Asia, Europe, and the Middle East. One of the most recent openings—and the brand’s U.S. debut—is Raffles Boston, a 35-story new-build by The Architectural Team encompassing residences by Rockwell Group and a 147-key hotel by Stonehill Taylor. 

Since the company was named after pioneering botanist Sir Stamford Raffles, it’s fitting that this hotel concept draws from the city’s Emerald Necklace, the 1,100-acre chain of parks, infusing flora and fauna in guest rooms and public spaces, which include two lobbies, conference areas, lounges, and four F&B outlets. “We brought biophilic designs to life throughout,” interiors design director Bethany Gale says. That’s first evident in the ground-floor lobby, where a custom blown-glass installation resembles leaves falling from trees. The sky lobby, on 17, boasts actual plant life cascading from a 30-foot-high shelving system clad in warm copper. The latter material, which reappears in an elevator lobby, is another part of Stonehill Taylor’s regional narrative: Its use was inspired by the Revere Copper Company, founded in 1801 in a Boston suburb by Paul Revere. 

Get Ready to Party at This Maximalist Florida Eatery

If the flamboyant Italian fashion designer Elio Fiorucci opened a trattoria with his mother, the result would be something like Fiolina. This 182-seat eatery in Boca Raton, Florida, celebrates the craft of handmade pasta with open prep stations and a vivid palette drawn from the cloths and aprons of traditional sfoglia makers. The chef, Fabio Trabocchi, asked EDG to create a voguish neighborhood destination that was “imaginative, fun-forward, and fantastical,” firm partner Patrick O’Hare recalls. “He wanted it to transport guests from the everyday.” 

The EDG team delivered a maximalist setting that invites them to party. “We were inspired by Fiorucci’s daring, cheeky sensibility,” O’Hare continues. It influenced the bold patterns that mix on wallcoverings and upholstery, and the disco-era Fiorucci print advertisements as decoration. Jolts of Negroni-red unify disparate dining areas that center on different elements of a meal, from the wine cellar to the pasta room and the mozzarella bar. A gallery wall of custom floral plates completes the playful, nostalgic ambiance.

Ski Straight into This Rustic-Chic Aspen Home

You’re never too young or old to hit the slopes. Ask anyone in the multigenerational family calling this three-level ski-in, ski-out residence home in Aspen, Colorado. The rustic 1990’s stone-and-glass dwelling presented a sensitive fit with its mountain surroundings but it was ripe for modernization. Rowland+Broughton’s architectural interventions include expansive, view-enhancing windows and sliding doors and the careful editing out of mullions on existing glazing. Inside the more than 9,000 square feet, most work occurred on the main and upper floors in the interest of opening up spaces.

Down came a dividing wall between the kitchen and living area. Walls were excised upstairs, too, transforming the main bedroom suite into a single gabled volume comprising sleeping and sitting spaces, plus an office. Existing oak millwork was gently bleached to emphasize the natural grain, and pedigreed contemporary furnishings were specified throughout. When inclement weather rolls in, the family can head down to the house’s lowest level, which serves as a cozy-chic indoor-activity area for rock climbing or arts and crafts.

6 Natural Furnishings to Spice Up Interior Spaces

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OO+II Nested Chairs by Kiki Goti

OO+II nested chairs in stained ash and aluminum by Kiki Goti.

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Wild Fibers by Aurélie Hoegy

Wild Fibers rattan wall-hanging sculpture by Aurélie Hoegy.

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Oxide Tiles by AVO

Oxide leather tiles by AVO.

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Exercice Chair by Theoreme Editions

Exercice’s aluminum chair by Theoreme Editions.

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Fearn Planter in Lecarrow Limestone by Orior

Fearn planter in rough and polished Lecarrow limestone by Orior.

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Core Coffee Table in Marble by Radnor

Core coffee table in chiseled yellow Sienna marble by Radnor. 

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Saga Pendant System With Diffusers By In Common With

Saga modular pendant system with low-waste aluminum hardware and diffusers made of lightweight recycled LDPE plastic by In Common With.

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Anga Panels by Alexandre Alimi and Valentine d’Harcourt

Anga panels made of plastic waste, such as delivery-pallet shrink-wrap and single-use water bottles, by Alexandre Alimi and Valentine d’Harcourt. 

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Quetzal Paint by Alkemis Paint

Quetzal velvet-matte all-natural paint made to order with artist-quality mineral pigments and clear quartz by Alkemis Paint.

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Natura and Treelore Wall Panels by Weitzner

Natura and Treelore wall panels handmade of mullbery fibers by Weitzner.

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Double U Fruit Bowl by Cyrc

Double U fruit bowl 3D-printed on demand of recycled plastic in Burnt Sienna by Cyrc.

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Bolster Chair by Model No.

Bolster chair 3D-printed on demand of biodegradable resins upcycled from plant waste by Model No.  

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Concrete Bookshelf by Tosco Studio

Handmade, low-waste concrete bookshelf marbled with natural pigments by Tosco Studio. 

Savor Connectivity and Nature at LinkedIn’s Toronto HQ

With 36 offices around the globe, LinkedIn is almost as ubiquitous a physical presence as it is a digital one. And like the business-focused social media platform’s 1 billion-plus members, each of those offices has an individual identity, a personal brand that closely reflects the culture of the city and country it’s located in. The company’s new three-floor, 100,000-square-foot Toronto headquarters is an ebullient example of this individualistic paradigm. 

“This was our first project with LinkedIn,” recalls Meg Navin, commercial practice executive director at CannonDesign, which, in July 2019, won the competition to relocate the Toronto office to a ground-up LEED Platinum–certified building by Architects-Alliance and B+H Architects. Cannon—which is number 12 among the Interior Design top 100 Giants and also 4th and 12th on the Healthcare and Sustainability Giants lists, respectively—provided interior design and work strategy services, “and a little bit of change management,” adds Navin, who led the project. “It’s a sales office, so our task was making sure LinkedIn’s team had the right mix of spaces—for meetings, individual heads-down work, and shared resources for everyone—as a total kit of parts.”

How Graphic Design Creates a Distinct Identity for LinkedIn Toronto

In February 2020, the scope of work expanded when Cannon won the environmental graphics portion of the job, which Dylan Coonrad, in the recently minted position of creative director, headed. Almost immediately, COVID shut everything down. “We had to pause,” Navin continues, “and start having conversations about the future of work, security, safety, and other important factors that began coming to light.” The client decided to phase construction floor by floor instead of doing it all at once, which allowed Cannon to develop the program over time—test different layouts, furniture solutions, square footages per employee, and so on—and apply the best results when building out the next level. 

Now, with all phases complete, the fine-tuned headquarters puts a premium on “collaboration spaces, team rooms, places where people can come together,” Navin says, noting that there are relatively few singular workstations, “evidence that we were able to adjust a bit with the future of work changing so rapidly in front of us and say, ‘Maybe one-on-one is not the right solution for you.’” So, desk-sharing neighborhoods are balanced with enclosed rooms for quiet meetings with clients, augmented by smaller pods and phone booths for individual use.

Office Amenities Include a Recording Studio and Fitness Space

Amenity spaces, which include a lounge, coffee bar, game area, and recording studio—a lot of the employees have instrumental skills and like to jam now and then—are generous and exuberantly characterful. The Grove, a large cafeteria that can be combined with an adjacent training room for all-hands meetings, is matched with an almost equally expansive kitchen, since food quality was an important consideration. “We worked closely with LinkedIn’s catering service to make sure all the culinary equipment was top-notch,” reports Coonrad, whose team helped name the eatery and many of the other non-work facilities while creating the headquarters’ extraordinary graphics environment in which most walls are lavishly embellished. “We produced 104 individual graphics over the phased construction period,” he confirms. “Normally, that would be a red flag—why would anyone want so many?—but, for the client, it’s an outward gesture toward the employees, a sign of how much the company wants them to thrive and feel included in the workplace.” 

The messaging begins in the elevator lobbies, where floor numbers are rendered as convoluted networks of reclaimed-wood strips that resemble transit maps. Dotted across the framework are several mottos, like “Aspire to Excellence” or “Invest in Transformation,” which reinforce company core values. One end of each lobby faces its own commissioned mural featuring an abstracted depiction of a specific Canadian sight—the Aurora Borealis, Niagara Falls, Dinosaur National Park—by Toronto illustrator Jeannie Phan. “LinkedIn puts effort into engaging local artists and giving them credit whenever possible,” Coonrad notes. The murals are prelude to a plethora of clever Canada-specific iconography, such as the game area’s striking wall installation made from the parts of a deconstructed Muskoka chair—an arguably more- comfortable version of America’s classic Adirondack seat—though as the designer is quick to point out, such cliched Canuck symbols as moose or plaid flannel are avoided. (The latter appears once, in highly abstracted form, on a huge sign reading “The World Needs More Canada.”)

But the intervention that perhaps best embodies the company’s desired sense of place for its regional headquarters is Hinterland, a three-story-high treelike sculpture that rises up through the open stairwell, a direct response to Toronto’s reputation as a city of enviably verdant parks. Made from tubes in a number of materials—wood, metal, concrete, and acrylic—the airy, twisting form not only evokes a tree’s roots, trunk, branches, and overarching canopy but also suggest the connections, pathways, and conduits between business professionals that the networking platform is designed to facilitate. At LinkedIn headquarters, the messages are always mixed, in the very finest sense of the word. 

Check Out the LinkedIn Toronto Headquarters

CANNONDESIGN: MICHAEL BONOMO; NICOLE ANDREU; PETER MCCARTHY; MICHELLE LYNCH; PAUL NG; CHRIS LAMBERT; CARMEN RUIZ CRUZ; KATERINA HONSBERGER; ENGE SUN; HENDY BLOCH; BARRETT NEWELL; OLIVIA GEBBEN; STEFFANY BRADY; CHELSEA DOCHERTY; ABBEY FURLOW; MIRANDA HALL; SHARON MATHEW; JACKIE TOBIN; JESS WIER; NICOLE SOWINSKI.

ARCHITECTS-ALLIANCE; B+H ARCHITECTS: BUILDING ARCHITECTS. 

JEANNIE PHAN: CUSTOM MURALS. 

SKETCH WORKING ARTS: ART CONSULTANT. 

NGASSOCIATES: FOOD-SERVICE CONSULTANT. 

THORNTON TOMASETTI: ACOUSTICS CONSULTANT. 

SMITH + ANDERSEN: MEP. 

ENTUITIVE: STRUCTURAL ENGINEER. 

DPI CONSTRUCTION: GENERAL CONTRACTOR. 

VISO: CUSTOM SCONCES (ELEVATOR LOBBIES). 

KEILHAUER: HIGH-BACK CHAIRS (LOUNGE). 

STUFF BY ANDREW NEYER: PENDANT FIXTURES. WCI: DISC-BASE TABLES (LOUNGE, GAME AREA). 

HIGHTOWER: COFFEE TABLE (LOUNGE), BARSTOOLS (GAME AREA). 

CHILEWICH: RUGS (LOUNGE, TECH BAR). 

BLÅ STATION: CHAIRS (LOUNGE, GAME AREA), UPHOLSTERED CHAIRS, BARSTOOLS (CAFETERIA). 

PEDRALI: SLED-BASE CHAIRS (LOUNGE), WOOD CHAIRS (CAFETERIA). 

FRAMERY: PHONE BOOTHS (OFFICE AREA). 

SHAW CONTRACT: CARPET TILE. 

ARKTURA: CEILING BAFFLES (RECEPTION). 

XAL: TRACK LIGHTING. 

EVENT MATERIALS: DESK LAMINATE (RECEPTION), BANQUETTE LAMINATE (CAFÉ CORRIDOR). 

ARPER: ROUND TABLES (GAME AREA, TECH BAR). 

STYLEX: SOFA (TECH BAR). 

COR SITZMÖBEL: BARSTOOLS. 

CAESARSTONE: COUNTERTOPS (TECH BAR, LOCKER ROOM). 

DAVIS FURNITURE: OTTOMANS (TECH BAR), WHITE CHAIRS (CAFETERIA). 

FIRECLAY TILE: BAR-FRONT TILE (TECH BAR), COLUMN TILE (CAFETERIA). 

STONE SOURCE: WALL TILE, FLOOR TILE (LOCKER ROOM). 

ARTICLE: STOOLS. 

MUUTO: OVAL MIRROR. 

TOTO: SINK FITTINGS. 

FORMICA: LOCKER LAMINATE. 

NEMO TILE & STONE: FLOOR TILE (CAFETERIA). 

VIBIA: PENDANT FIXTURES. 

SEED DESIGN: TRACK PENDANT FIXTURES. 

ALLERMUIR: TABLES. 

PRODUCT SOURCES THROUGHOUT

DADO LIGHTING; FOCAL POINT; LITELINE: LIGHTING. 

AMERICAN CLAY: WALL PLASTER. 

CENTURY ARCHITEXTURE: BRICK WALL TILE. 

ARMSTRONG: ACOUSTIC CEILING PANELS. 

INTERNATIONAL CELLULOSE CORPORATION: ACOUSTIC CEILING FINISH. 

WAUSAU TILE: TERRAZZO. 

BENJAMIN MOORE & CO.; SCUFFMASTER: PAINT.

Get a Much-Needed Dose of Optimism at This Washington, D.C. Hotel

Dysfunction in government. A pandemic. An uncertain economy. The Morrow Hotel, a recently opened property in Washington, is an antidote to the national—and global—malaise. The name alone evokes better days ahead. But it’s the fresh, light scheme that conveys the optimism of the new brand, part of the Curio Collection by Hilton. That’s thanks to two of Interior Design’s Hospitality Giants: Rottet Studio, ranked 40th on that list, and INC Architecture & Design, 42nd, which conceived the private and public areas, respectively. Though the firms worked independently, they created differentiated spaces with warmth and character that form a remarkably cohesive whole. 

The 149,000-square-foot, 12-story hotel is part of Central Armature Works, a new mixed-use development in the formerly industrial NoMa neighborhood. Construction by the client, developer Trammell Crow Company, began in 2019, and its team initially envisioned a dark and luxurious atmosphere that gestured to the gritty location by the train tracks. But the pandemic soon scrambled that plan. Trammell Crow hired creative agency Revolver to rethink the hotel for the COVID era, and the resulting brand book became the basis for the interiors. 

“We all agreed that we needed something positive: airy, open, and joyful,” begins Adam Rolston, INC founding partner and creative and managing director. He, cofounding partner and construction and development director Drew Stuart, and their team oversaw the concepts for the lobby; Le Clou, a modern brasserie and the hotel’s main restaurant; the 11th-floor cocktail lounge, Vesper; and Upstairs, the rooftop bar and terrace. The 203 guest rooms and the conference center, totaling 16,500 square feet of meeting areas, are by Rottet Studio—which also ranks 67th among the top 100 Giants and 80th for Sustainability Giants—led by Interior Design Hall of Fame member and founding principal Lauren Rottet. 

The firms rarely consulted each other during the process, Rolston says, “but we arrived at the same place.” That’s because both took a holistic slant that extended the brand identity into the physical environment. “Despite designing a hotel during the pandemic, almost entirely over video calls, the project was a seamless collaboration,” Stuart recalls. “It’s a prime example of our communitarian approach.”

INC, also 123rd amid the Rising Giants and 68th for Sustainability, has a growing portfolio of hospitality projects that includes the nearby Line Hotel and the 1 Hotel Brooklyn Bridge in New York. While the former occupies a century-old church, the Morrow is in a ground-up building. Rolston and Stuart began by studying the area to create a sense of place, visiting such disparate local sites as the Lincoln Memorial, Union Market, and Manifest, a club/ barbershop. “It’s always a heavy lift to bring real personality to a new-build, but it’s what we enjoy doing,” Rolston continues. The city’s neoclassical architecture inspired fluted coffee tables and oak millwork that wraps columns. In the lobby, ribbed-glass panels have a celadon hue taken from the conservatory at the United States Botanic Garden, about a mile away. The district’s low-key culture informed the comfortable yet luxurious setting. 

One of Revolver’s ideas was that spaces should evoke different times of day, depending on when they’re used, transitioning from light to dark. “It was poetic and became the core driver of the project,” Rolston notes. The lobby’s sky blue–upholstered sofa, white travertine flooring, and bleached millwork channel morning. In clubby Vesper, the same millwork is stained midnight blue, and navy mohair armchairs, dark travertine-and-walnut tables, and oak parquet are more nighttime. At the rooftop bar Upstairs, the green, blue, and orange palette comes straight from a photograph of the National Mall at dusk. 

Guest rooms have the bright, crisp look of midday. “They’re meant to feel calm and relaxing, reflecting the idea of how the colors of the sun change your perception of the city,” Rottet picks up the thread. She and her studio created quartz-topped nightstands, maple-veneered credenzas, and ombré wallpaper reminiscent of drifting clouds. Rottet—who’s designed hotels everywhere from Lubbock, Texas, to Hong Kong plus dozens of ships for Viking Cruises—explains that, “It’s always our goal to make interiors animated like the outdoors, and not static.” This instinct aligned with the brand’s emphasis on the times of day. 

Rottet also aimed to indicate movement. The idea sprang from the train tracks, the repetitive rhythm of local bay windows, and turntables (the Beatles played their first U.S. concert around the corner from the site). This led to the ribbing of the lacquered-wood wainscotting—that coincidentally mirrors INC’s fluted columns—and wool rugs with speckled patterns. In the ballroom, polished-bronze petals glint under a grand ceiling fixture, its circular shape evoking Washington’s historic rotundas. 

Bill Brewer, a senior vice president at Trammell Crow, says his company hired two different firms for logistical reasons, but it proved to be fortuitous. “We didn’t have to worry about things getting too uniform,” he says. But there’s still continuity: “Design elements travel through the spaces in an effective way.” He points to the cove lights in the lobby and Le Clou, where cast-gypsum circles are plastered to drywall ceiling panels to form shapes that resemble celestial bodies. Derived from column capitals, the fixtures are placed randomly in the lobby and symmetrically in the more formal restaurant. In both places, they seem to signal that there is upward momentum.

Peek Inside The Morrow Hotel in Washington, D.C.

INC ARCHITECTURE & DESIGN: GABRIEL BENROTH; TYLER KLECK; MEGAN MCGING; MARISSA ZANE; AMY CAHILL; JOSELYN DONTFRAID; BILLY ABRAMENKO. 

ROTTET STUDIO: DAVID DAVIS; JAMES CULL; JOE JELINEK; ASHLEY LIU; CHRIS EVANS; NOGA SMERKOWITZ; SNEHA KODI; RATHA SANGWORRAWUTTHIKRI; STACY RAPA; SIMONA FURINI; FELIPE COSIO. 

SHALOM BARANES ASSOCIATES: ARCHITECT OF RECORD. 

REVOLVER: GRAPHICS, BRANDING. 

PDI LIGHTING: LIGHTING CONSULTANT. 

CARDNO HAYNES WHALEY; STANTEC: STRUCTURAL ENGINEERS. 

INTERFACE ENGINEERING: MEP. 

WILES MENSCH CORPORATION: CIVIL ENGINEER. 

AWM GROUP: MILLWORK, ACID-ETCHED GLASSWORK. 

SOHO MYRIAD: ART CONSULTANT. 

CLARK CONSTRUCTION GROUP: GENERAL CONTRACTOR. 

FROM FRONT KINGS COMMERCIAL INTERIORS: CUSTOM SOFAS (LOBBY, UPSTAIRS).

COMPOSITION HOSPITALITY: CUSTOM LOUNGE CHAIRS, CUSTOM OTTOMANS (LOBBY, VESPER), CUSTOM STOOLS (LE CLOU BAR), CUSTOM SOFAS, CUSTOM CHAIRS (TERRACE), CUSTOM CHAIRS (UPSTAIRS). 

MUNNWORKS: CUSTOM COCKTAIL TABLES (LOBBY, VESPER, UPSTAIRS), CUSTOM TABLES (LE CLOU), CUSTOM MIRRORS (BURNHAM SUITE, BATHROOM). 

NEW YORK STONE: BAR TOP (LE CLOU BAR). 

TEAK WAREHOUSE: CONCRETE SIDE TABLE (TERRACE). 

JANUS ET CIE: OTTOMANS. 

DISTRICT EIGHT DESIGN: CHAIRS (MEETING ROOM). 

JUNIPER DESIGN GROUP: SCONCES. 

I-WORKS: CUSTOM CEILING FIXTURE (BALLROOM). 

TRIBECA STONE: FLOOR TILE (LE CLOU). 

SMARTWOOD: CUSTOM WOOD FLOORING. 

ALLIED MAKER: SCONCES (PREFUNCTION HALL, BURNHAM SUITE). 

POTOCCO: CHAIR (PREFUNCTION HALL), STOOLS (BURNHAM SUITE). 

PROVIDENTIAL METALS: HANDRAILS (STAIR). 

ARTISTIC FRAME: DINING CHAIRS (BURNHAM SUITE). 

BERMANFALK HOSPITALITY GROUP: CUSTOM CREDENZA, CUSTOM TABLE (BURNHAM SUITE), CUSTOM BEDS, CUSTOM NIGHTSTANDS (GUEST ROOMS), CUSTOM VANITY (BATHROOM). 

CHARTER FURNITURE: ARMCHAIR, OTTOMAN (GUEST ROOM), CUSTOM BENCH, CUSTOM SOFA (BURNHAM SUITE).

WESTWOOD AVENUE HOSPITALITY: CUSTOM SOFA (SUITE). 

BURKE DECOR: TABLE. 

THROUGHOUT MAPLE TILE AND TERRAZZO: STONE FLOORING. 

RELATIVE SPACE: CUSTOM PARQUET FLOORING. 

HB LIGHTING: CUSTOM LIGHT FIXTURES. 

LOLOEY: CUSTOM RUGS. 

PHILLIP JEFFRIES; WOLF-GORDON: WALLCOVERING. 

COUNTY DRAPERIES: CUSTOM DRAPES. 

BENJAMIN MOORE & CO.: PAINT. 

Row Over to UPenn’s Updated Historic Boathouse

When University of Pennsylvania, the esteemed Ivy, tapped EwingCole to modernize and expand its existing varsity crew facility, located in an 1875 stone boathouse along the Schuylkill River in Philadelphia, a key driver was “juxtaposing the legacy of rowing with the evolution of the sport’s technology and culture,” lead designer Andrew Donaldson-Evans says. That’s evident in the grand hall of the Burk-Bergman Boathouse, where 150-year-old oak trusses have been restored and discreetly reinforced with steel. Suspended from the beams is an inspirational relic: the Pocock sculling shell that oarsman and later UPenn coach Joe Burk rowed to win and set a record at the 1938 Henley Royal Regatta. Below, original red-framed windows were moved inside, repurposed as a double-sided display case for trophies. They also offer a glimpse into the adjoining addition, the erg training room replete with state-of-the art ergometers (aka rowing machines). There, repointed stone and repaired scarlet shiplap, both once exterior-facing, pair with new white shiplap, a tensile steel ceiling structure, skylights, and a mural of Boathouse Row. It’s a pristine intervention that gives Penn rowing a home base worthy of its Division I status. 

6 Furniture Pieces Revolutionizing Interior Spaces

Transform spaces with these dynamic furniture options that help clients customize interiors to fit their needs.

Check Out These Pieces Featuring Bold Geometric Forms

Boulevard 90 ̊ Curve Bench by Hightower

Boulevard 90 ̊ Curve bench with soaped-oak table by Hightower.

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Powder Coated-Steel Planter With Rails by Most Modest by Lightcorp

Jesse Hill’s Silas powder coated–steel planter/storage bin on casters, with integrated rails to accommodate standard-size hanging folders, by Most Modest by LightCorp.

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Dayton Occasional Tables With Surfaces By Plural Studios

David Allan Pesso’s Dayton occasional tables available in the manufacturer’s standard material palette of solid surfaces, wood veneers, and laminates, by Plural Studios.

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Ralik Modular Seating System by Arper

Ichiro Iwasaki’s Ralik modular seating system by Arper.

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RUT Sectional With Modules by Scandinavian Spaces

Thomas Bernstrand & Stefan Borselius’s RUT sectional, with modules that lock onto a steel H-beam in any direction, by Blå Station, through Scandinavian Spaces.

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Buddyhub Desk System With Wraparound Panels by Pedrali

Busetti Garuti Redaelli’s Buddyhub desk system with sound-absorbing wraparound panels by Pedrali.