HOK Designs Boston Consulting Group’s Canadian Headquarters

Long before the pandemic, Boston Consulting Group had embraced hybrid work, giving employees the freedom to come to the office—which total more than 100 across the globe—meet with clients at their workplaces, or complete certain tasks from home. Whichever made the most sense for the business at hand. That said, collaboration is at the heart of how the management consultancy, often referred to as BCG, operates: Staffers form teams to tackle knotty problems clients are facing and puzzle through the issues to arrive at solutions. And this sort of teamwork, BCG felt, is best carried out face-to-face.

Back in 2017, when the company tapped HOK for its new Canadian headquarters on three floors—46, 47, and 48—of a tower rising in Toronto’s financial district, BCG sought an office that would be dazzling enough to draw employees to the workplace, that would provide a variety of bespoke settings so that teams could be as productive as possible while on-site. All of which is to say that when the pandemic hit in 2020—sending companies around the world scrambling to, first, figure out how to work remotely during lockdowns and, then, how to lure employees back to the office after they’d become accustomed to doing their jobs from home—BCG was way ahead of the game. Sure, there were tweaks to HOK’s concept for the 100,000- square-foot BCG project because of the pandemic—designers had to make sure work- stations were 6 feet apart, for example, and they loaded up meeting rooms with video- conferencing and audiovisual equipment for staffers participating remotely—but the changes amounted to fine-tuning a good plan that was already in place. And the result is this spectacular, ultra-sophisticated space that serves as a showplace for the company and a magnet for a workforce now numbering more than 400. “On the busiest days, we’re approaching pre-pandemic attendance levels,” Nina Abdelmessih, BCG’s chief of operations and external relations in Canada, says. “Everybody is coming in.”

HOK Designs a Hybrid Office for Boston Consulting Group

The plan’s success started with carving out an atrium near the window wall on the two lower floors—one advantage of coming to the project while the building was under construction was that this could be done before the floor plates were in place. Working with the developer, HOK specified an opening measuring a generous 20 by 80 feet, envisioning it as the “heart of the organization,” Caitlin Turner, HOK director of interiors in Canada and the project lead, notes. The atrium fills with light and opens up views of the city and Lake Ontario. Rooms situated off it are sided in glass so everyone shares in the sunshine.

A beckoning staircase steps up through the atrium to the top floor. It encourages employees to walk up and down—healthier for them than taking the elevators—and results in serendipitous encounters that add to the general esprit de corps. “There’s this buzz,” Turner enthuses. As for the seating areas in the base of the atrium, in the café, she adds: “At lunchtime, it’s like a high-school cafeteria.”

But serendipity also played a part: Turner tracked down a black-stained oak credenza she spotted on Instagram for use in a touch- down room, where it joins an oversize pendant fixture by Marcel Wanders and sinuous Italian armchairs. It’s just a sampling of the international, contemporary aesthetic permeating this buzzing workplace—one that is clearly not cookie-cutter but has helped become something of a model for other BCG offices in the throes of relocation and renovation.

Behind the Design of Boston Consulting Group’s Canadian Headquarters

HOK: PAUL GOGAN; BRITTANY TOD; KRISTINA KAMENAR; CALEB SOLOMONS; SALLY SHI; FARIBA SAJADI; ROWENA AUYEUNG; BETHANY FOSS; DANIEL MEEKER

RJC ENGINEERS: STRUCTURAL ENGINEER

MITCHELL PARTNERSHIP: MECHANICAL ENGINEER

MULVEY & BANANI LIGHTING: LIGHTING DESIGNER

MCM: CUSTOM FURNITURE WORKSHOP

Opus Art Projects: Art Consultant

VISO: CUSTOM SCONCES (ATRIUM), CUSTOM CEILING FIXTURES (BOARDROOM)

geiger: WOOD CHAIRS (CAFÉ)

PENGELLY IRON WORKS: CUSTOM SCREENS

KEIL­HAUER: BENCH

EUREKA LIGHTING: RING PENDANT FIX­TURES

STEELACASE: BOOTHS

gervasoni: BRASS PEN­DANT FIXTURES

BILLIANI: GRAY CHAIRS

TRIBU: BROWN/WHITE CHAIRS

CEMENT TILE SHOP: FLOOR TILE

muuto: PENDANT FIXTURES (OFFICE AREA)

STUDIO OTHER: WORK­ STATIONS

knoll: CHAIRS (OFFICE AREA, LIBRARY)

SHAW INDUSTRIES GROUP: CARPET TILE (OFFICE AREA, NOOK)

herman miller: CHAIRS (DIGITAL ROOM)

HALCON FUR­NITURE: TABLES

flos: CEILING FIXTURES

Interface: CARPET TILE

nienkamper: TABLES (TOUCH­DOWN, COFFEE BAR)

GALLOTTI&RADICE: CHAIRS (TOUCH­DOWN)

POIAT: CREDENZA

AREA ENVIRONMENTS: WALLCOVERING

flos: PENDANT FIXTURE

CASALA: CHAIR (NOOK)

cappellini: CHAIRS (BOARDROOM)

PRISMATIQUE: CUSTOM TABLE

CREATIVE MATTERS: CUSTOM RUG

Davis Furniture: BENCH

filzfelt: PANELING (MEETING ROOM)

Haworth: DEMOUNTABLE WALLS

Allied Maker: PENDANT FIXTURES (COFFEE BAR)

ARRMET: CHAIRS

MOSAÏQUE SURFACE: WALL TILE

STONETILE: VINYL FLOOR TILE

BENJAMIN MOORE & CO.; SHERWIN­ WILLIAMS: 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

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

Huntsman, Pfau Long, RMW, and SHoP Deliver a Five-Star Campus for Uber Headquarters in San Francisco

It’s been 12 years since Uber disrupted the transportation system with its ride-hailing technology that’s now ubiquitous. Today, the company proves itself another disruptor, this time in workplace architecture and design. Uber’s new San Francisco headquarters is a consortium of four towers, not by one or even two firms, but four internationally renowned studios. Like dating, Uber paired them in a harmonious match. For MB1 and MB2, Uber’s first commissioned ground-up headquarters, SHoP Architects conceived the original building plan, and then RMW came aboard for interiors. Huntsman Architectural Group was mainly responsible for the interiors of MB3 and MB4, originally created on spec by Pfau Long (which has since merged with Perkins&Will). Then Huntsman and RMW collaborated with Uber on the campus master plan. MB, by the way, stands for Mission Bay, the city’s burgeoning, formerly industrial neighborhood. As for stats: MB1 is 11 stories, MB2 seven, including the partially enclosed rooftop, and buildings three and four rise 11 stories each. All told, interiors total just over 1 million square feet and will eventually bring together some 6,000 staffers. “We saw this as an opportunity to unite employees within a campus setting rather than have them scattered throughout the city,” begins Uber director of workplace and real estate Tracie Kelly, who worked alongside project executive Michael Huaco, Uber’s VP of global real estate. As for the design teams? “It was a happy marriage,” Huntsman associate principal Nicole Everett reflects.

On a grand scale, Uber is conceived as a micro-city, one within and connected to the urban area at large where the two pairs of towers align. This micro-city breaks down into boroughs signified by the towers, communities analogous to floors, and neighborhoods as sig­naled by teams. It’s a broad organizational device allowing for—and encouraging—qualities of contributing to a “sense of place bring­ing people together to a positive environment,” Alison Woolf, also a Huntsman associate principal, notes.

Thus everyone, no matter where their location, experiences a shared panoply of indoor-outdoor junctions: public spaces, collaboration areas, and quiet zones in the form of libraries, wellness facilities, terraces, cafés, and break rooms—specifically designed to be communal and active, or focused and calm. Each pair of buildings shares an approximately 30,000-square-foot cafeteria, supplemented by four coffee bars. All together the setting offers a work-from-anywhere scenario, albeit one with dedicated workstations, indicative of an autonomous office paradigm. The fact that each environment presents a uniquely textured fabric induces folks to interconnect and continuously explore the entire campus—much as they would San Francisco’s heterogenous streetscape.

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Given their origins, the two sets of buildings are entirely different. Logic has the introduction start at MB1 and MB2, since the gateway to the campus occurs at the latter. Double-glass facades create layered transparency as a vertical atrium weaving through all floors be­tween the two skins—and a literal and metaphorical connection to the city. The design teams refer to this interstitial space as solariums, for gathering or working. “They give people the choice to choose their own adventure,” SHoP associate principal Shannon Han says. They also add the asset of fresh air. Computer-controlled, operable windows respond to weather conditions creating what she terms “breathing facades.” Yet, adds RMW design principal Hakee Chang, “We were essentially presented with 17 different floor plates due to the various ways in which the solariums engage with the building core.” Unlike typical buildings with a central core, he continues, “Circulation is concentrated along the sides to high­light the bridge connections.” Two reflective glass sky bridges, mirrored on the bottom and visible from outside the buildings, span levels four to six and five to seven with pathways both covered and uncovered.

Inside, the main lobby is a digital experience. “Conduits run from the feature wall behind the 40-foot-long concrete desk, up to the ceiling and along the length of the space,” RMW senior designer Jenna Szczech explains. Then come choices. Grab a coffee or proceed directly to the events space occupying most of the rest of the floor. Like moths to a flame, visitors are pulled to it, since it’s wrapped in a backlit and perforated white screen. Inside, the room is multifunctional and divisible, made so by an accordion-pleated partition that can rise to the ceiling.

These are two of what RMW calls “iconic spaces,” meaning places with campus-wide draw. The cafeteria is another. In MB2, it occupies the entire second floor in a setting every bit the hip restaurant: polished concrete flooring, serpentine white-oak banquettes overlooked by a curvaceous installation of acrylic tubes, and brass floater strips. Up on the sixth floor is the second and main events space. The Forum, preceded by an icy white pre-function environment with a mossy back wall hinting at the rooftop terrace above, counts as an all-hands venue. “The architecture is a beauty,” Szczech states. Indeed it is: a bright, double-height room enclosed on two sides by a floor-to-ceiling window system capped by a grid of skylights.

Work areas, with each team neighborhood introduced by a “front porch” and privy to break rooms, are focused and calm. Quieter still is the cobalt cocoon punctuated by oak and walnut millwork. Sssh, this is the fifth floor’s head’s-down library devoid of any AV component. What’s missing from this complex scenario? Art, as true walls are scarce. For that, all commissioned from locals, cross over to Huntsman’s component. The two buildings face each other across a plaza; MB3 has a terrace off its seventh floor. While the SHoP-RMW parcel has built-in wow factors, “We had to create these spaces after the fact,” Woolf recalls.

For starters, the firm cut through slabs in multiple locations. Now both structures have double-height lobbies, the larger with a slatted wood statement stairway, the smaller a cube framed with dichroic glass tubes, their colors changing according to one’s viewing stance. The ceiling above the bleachers, beneficiary of a cutout between floors four and five, has more fluctuating colors. A double-height break room, itself a novel amenity for the top 10th and 11th floors, has a fiber artwork extending upward over the expanse. Meanwhile, a vibrant, multi-panel painting is installed at the connector stair from yet another break room to the wellness suite.

Uber is particularly proud of this initiative. Almost every floor campus-wide has a mother’s room, but the big push is the mirrored studio for yoga, barre, or dance classes with a bird’s-eye view of the terrace below thanks to glass sliders. There are also adjacent pre- or post-workout chill zones that beckon with hanging wickerlike chairs.

Back inside, the cafeteria serving this part of the quad is anything but corporate. It presents a cheeky take on the green wall with verde tiles. The ceramics combine with stitched, white-bolster fabric to form a dimensional divider between servery and seating. Post-prandial, staffers can head to MB4’s makers’ room for collaborative work or MB3’s library for heads-down work. This version is “a digital and tech-enabled space prompting different neurological stimuli,” Woolf says. Regardless, Huntsman paid some homage to the old-school library format by furnishing it with long tables and carrels. It turns out, some things don’t need disrupting.

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huntsman architectural group: david link; david meckley; rene calara; adam murphy; greg dumont; edna wang; jena kissinger; saruyna leano; amy stock; sierra goetz; hadley bell; patrycja dragan; david hevesi; julio gutierrez; edward sweeney; elias horat; pam robinson; takrit jirawudomchai; joanna heringer; eric nelson

RMW: terry kwik; karen letteney; jin park; owen huang; britni williams; darren barboza; janet braden; sal wikke; oscar catarino; felice rosario; gloria n. rasmussen; annette litle; josh carrell; maurice farinas; jonathan chow; yinong liu

quezada architecture: architect of record (core, shell)

alfa tech: lighting consultant, mep

there: graphics consultant

swa group: landscaping consultant

hush: digital experience design

thornton tomasetti: structural engineer

salter: acoustical engineer

atelier ten: leed consultant, well consultant

acco: mep

mission bell; montbleu: woodwork

concreteworks: concretework

dpr construction; truebeck: general contractors

Yellow Goat Design: custom screen (events space); custom ceiling installation (cafeteria)

steelcase through west elm workspace: bench, tables (lobby)

zehnder rittling: ceiling panels (library)

Interface: carpet tile

Allied Maker: sconces

watson: table

muuto: armchairs

gus modern: side chairs

& Tradition: stools

associated terrazzo co.: flooring (pre-function)

apparatus: pendant fixtures

menu: stools

skandiform: chairs

kristalia: table

filzfelt: acoustic wall panels

designtex: banquette back fabric

Knoll Textiles: banquette seat fabric

minus tio: tables (event space)

arper: stacking chairs

decoustics: ceiling panels

carnegie: wall panel fabric

bendheim: glass panel (break room)

martin brattrud: custom banquettes

global lighting: pendant fixtures (cafeteria)

molo: pendent fixtures: (coffee bar)

goldray industries: dichroic glass panels

pedrali: chairs

west coast industries: tables

muuto: stools (coffee bar, break room, counter)

hbf textiles: cushion fabric (stadium seating)

fermob: chairs (terrace)

kettal: sofas

CB2: tables

landscape forms: custom trellis

woodtech: tables, benches (makers’ room)

solid manufacturing co.: stools

lightolier: ceiling fixtures

ton: chairs (café)

V2 lighting group: pendant fixtures

statements: wall tile

geiger: wall fabric

garret: banquette fabric

sika design: hanging chairs (wellness center)

mafi: flooring

garden trellis co.: custom ceiling

Finelite: linear fixtures

schiavello: screens (library)

turnstone: tables

Hay: chairs

studio trevelyan: pendant fixtures (wellness)

caesarstone: solild surfacing

Mannington Commercial: flooring

grato: wood slats

stone source: stone

dunn-edwards paints: paint

Fogarty Finger Charts a New Course in the Brooklyn Navy Yard With Dock 72

Across the East River from the Lower East Side, the Brooklyn-side shoreline zigzags inward to form Wallabout Bay. This funky stretch of waterfront, once home to Lenape tribespeople and early Dutch settlers, began its modern life as an innovation hub in 1801, when President Adams designated it one of the country’s first Navy yards; during its World War II heyday, it operated six dry docks and employed 70,000 workers. More recently, the since-decommissioned site has been reborn as a hotbed of tech companies and creatives, the home address of healthcare incubators, furniture startups, small-batch juice purveyors, cutting-edge military-gear makers, film sound stages, and the country’s largest rooftop soil farm.

Until now, the majority of redevelopment in the Brooklyn Navy Yard has entailed adaptive reuse of its industrial warehouses. Enter Dock 72, the first ground-up commercial office building to be erected right on the waterfront (and, in fact, one of the largest such structures to be built in the city’s outer boroughs in many decades). The 16-story volume, with base building design by S9 Architecture, sits prowlike on a skinny pier sandwiched between two former dry docks and culminating in a new ferry terminal. In 2015, as construction documents were being drawn up, codevelopers Boston Properties and Rudin Management tapped Fogarty Finger to start conceptualizing interior architecture—from FF&E to art curation—for the entry-level lobby and commissary, second-floor fitness center, and penthouse-level conference center, totaling some 60,000 square feet of amenities. WeWork had already signed on as anchor tenant and the Brooklyn Navy Yard Development Corporation was naturally involved, too, meaning there were many stakeholders to please—and to align. “Those many players had so many different opinions, which is so New York, right?” says Fogarty Finger director Alexandra Cuber, who led the project with associate director Candace Rimes. “From that delightfully tangled knot of ideas and individual preferences, we had to come up with a strong concept that had enough nuance and depth that everyone could see themselves in it and find a piece they’d contributed to.”

Ultimately, the design team sought to channel both the can-do spirit of the 300-acre industrial park and what Cuber calls its “nautical messaging”: the unique sun-bleached, rust-tinged palette and omnipresent visual language of ship details and graphics. As a guiding narrative, she and Rimes homed in on the Plimsoll Line, a technical symbol on every ship’s hull that denotes the proper immersion level given its load and the density of the water it’s traveling through. FF commissioned a rendering of Plimsoll markings in yellow neon, which now glows beaconlike at the Dock 72 entry—setting the stage for the subsequent journey.

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It’s quite a journey indeed from the front door to reception at the far end of the building, accessed via a 170-foot-long corridor with a glass wall directing eyeballs to the active adjacent dock. “To make that lengthy pathway an enjoyable process required breaking it up into ‘rooms’ that could be occupied and experienced,” Cuber explains. Changes in ancillary seating (from low- to high-back) and flooring (dark- to light-gray terrazzo) demarcate a series of vignettes along this promenade. So do blackened-steel screens and portals that cast a spirited shadow play and reflect the linearity of ship cables, sails, and razzle-dazzle camouflage.

In addition to subdividing space, the steel portals also frame wall murals by area artists who were given free rein to devise compositions that spoke to the context, but assigned a specific color palette reflecting a different type of water from the Plimsoll Line. Bryce Wymer’s depiction of ship-wrangling in a tropical storm pays homage to women who worked in the yard during wartime; an abstract color field by Kristin Texeira, who has a studio in the complex, is painted in summer-water hues.

The murals reflect another guiding principal of the project: a commitment to
locally made design. All art and much of the custom furniture were produced in or near the Navy Yard. “We were passionate about finding the right partners and a diverse group of collaborators,” Rimes notes. “It pushed us to go the extra mile: We walked all around Crown Heights, Bushwick, Greenpoint, and throughout the Navy Yard to find who can make what or submit an idea.”

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Amenities feature a veritable roll call—er, ship’s manifest—of Big Apple talent. For the ground-floor café, Concrete Collaborative crafted tiles in custom colorways derived from photographs of the yard. Dan Funderburgh contributed a lobby mural as well as a nautical-print wallpaper for the second-floor lounge and juice bar. IceStone fabricated recycled-glass table bases in the lobby. And elevator cabs function as intimate viewing rooms for large-scale Navy Yard photographs by Harrison Boyce.

The 16th-floor conference center, with a subdividable 200-capacity town hall space, plus various lounge and meeting areas, is no exception to the city-made mandate, with shapely mirrors by Bower Studios and stacked-stone tables by Souda. What’s different up here is a shift in vibe and materiality, from the pre­dominant white-oak millwork of the lower levels to warmer walnut tones and a darker palette. “The colors become saturated and inky, as if they’ve been soaked in water,” Rimes says. “It’s like being on the deck of a vintage yacht.” A perfect launching point for next-gen captains of industry.

Fogarty Finger: robert finger; tin min fong; garrett rock; allie mathison; taylor fleming; evita fanou; jacob laskowski; carl laffan; chris worton

perkins eastman: Architect of Record:

one lux studio: lighting consultant

let there be neon: custom graphics

ove aruo & partners: structural engineer

cosentini associates: mep

langan: civil engineer

armada; capitol woodwork; zsd: woodwork

argosy designs; gkd metal fabrics: metalwork

concrete works east: concrete work

gilbane; hunter roberts: general contractors

lampiste: custom dome fixtures (lobby)

andrew nyer: pendant globes (hall, café)

oluce: table lamp (hall)

hbf: tripod tables

Maharam: Bench fabric (hall), banquette fabric (meeting room)

filzfelt: felt (elevator lobby)

Hay: chairs (hall, café). la cividina: white tables, wire tables (hall)

johanson: stools

ananda: flooring (studio)

normann copen­hagen: chairs (meeting room)

bower studios: mirror

souda: table (meeting room), side table (lounge)

velis: cab (elevator)

lf illuminations: cylinder fixtures (reception)

acolyte: pendant fixtures

clé tile: floor tile (bar)

brendan ravenhill studio: pendant fix­tures

Stellar Works: stools

milliken: carpet tile (lounge)

sattler: pendant rings

arper: chairs, sofas, ottomans

garsnas: barrel chairs

light originals: pendant fix­tures

gotham lighting: can fixtures

missana: chairs (hall)

concrete collaborative: floor tile (café)

zonca terrazzo: terrazzo flooring

hudson company: wood floor­ing

ceilings plus: custom slat ceilings

trespa: paneling

tagwall: storefront systems