Shamir Shah Goes West to Update a San Francisco Home

Shamir Shah Design has left its signature imprint all over the Manhattan residential map. So much so that when a sophisticated, world-traveled couple visited a lower Park Avenue loft principal Shamir Shah had created for friends, the pair was determined to bring the designer West—specifically to San Francisco, where a recently purchased Pacific Heights house was in need of a gut renovation. “All the things he did—art, furniture, textures, textiles, scale—spoke to each other,” the wife says of what initially attracted them to Shah’s distinctive style. An ensuing dinner party established that designer and clients had mutual respect and the right chemistry—prescient planning since the project took six years to complete, thanks to COVID erupting during the construction phase.

“We do interiors and architectural design,” Shah says of his practice, “mostly in New York, where we generally don’t work with an architect on smaller residential projects.” Thousands of miles away, San Francisco’s infamously labyrinthine permitting process presented another story: “We needed a local architect to shepherd the renovation through the building department, take charge of the house’s core and shell, and work in a truly collaborative spirit.” Enter Geddes Ulinskas Architects. In a flip of the usual procedure, it was the designer who brought on the architect after diligently interviewing three other prospects. “We enhanced each other’s roles,” principal Geddes Ulinskas reports, lauding the thoroughness of Shah’s drawings. “He produced a brilliant package that was a fantastic way of communicating and transmitting his passion for the project to the entire team.”

The Home Renovation Features Seismic Upgrades

The house, originally a 4,000-square-foot, three-level, wood-sided structure dating to 1947, was lackluster in design and substandard in construction. What it did have was location. At an elevation of 340 feet, the site offers panoramic views of San Francisco Bay. And in a city given to a mélange of residential styles, the property was located in a cul-de-sac of pedigree modernist houses by Gardner Dailey, Joseph Esherick, and William Wurster. In fact, the enclave is up for listing on the National Register of Historic Places.

The second level is given over to private quarters: the main suite, two bedrooms, one doubling as a larger office, and a sitting room. The penthouse, which opens to a roof deck, is designated as a game room while more things recreational—a gym and a capacious wine cellar—join two additional bedrooms, a laundry, and a mudroom in the basement.

“In general, our work is quiet and serene,” Shah says of the furnishings and materials, which are frequently custom and used plentifully “for a rich, layered approach.” Pale creams and grays dominate the color palette, while bronze is the metal of choice. A characteristic vignette centers on the living room fireplace, which is surrounded by planes of travertine and flanked by a pair of oak-lined niches with custom bronze pedestals topped by Ju Ming sculptures, part of the family’s art collection.

“We wanted large walls for art,” Shah continues. Whether existing, purchased, or commissioned, the pieces were curated by the designer. An impressive Max Neumann canvas, one of the first works acquired and a Shah favorite, anchors the living room. A pair of Julian Watts stained-maple bas-reliefs adorn the adjoining wall, across from which hangs a Katherine Hogan wire sculpture, a ghostly presence reminiscent of the late San Francisco artist Ruth Asawa’s iconic pieces. Arguably closest to home is the commissioned site-specific mixed-media work spanning a media-room wall. Made of canvas, burlap, rope, and wood, it’s by Malcolm Hill, Shah’s life partner.

Inside the Curated, Art-Filled Home by Shamir Shah Design

shamir shah design: nely cuzo; cailen messersmith; olivia manzano; wendy wahlert

geddes ulinskas architects: alla agafonov; roma olišauskaitė

lutsko associates landscape architects: landscape consultant

jon brody structural engineers: structural engineer

matarozzi pelsinger builders: general contractor

todd merrill studio: custom sofas (living room)

through fair: floor lamp

through ralph pucci international: daybed

through galerie bsl: loveseat

la cividina: armchair

argosy designs: custom pedestal

Woven: custom rugs (living room, media room)

neolith: sintered stone (kitchen)

Holly Hunt: sconces (stair), chairs (dining room), armchairs (media room)

through maison gerard: sconce, shelf (entry)

Lindsey adelman studio: pendant fixture (entry), chandelier (dining room)

bddw: table (dining room)

chris french metal: custom front door (exterior)

amuneal: custom coffee table (media room)

emmemobili: table (penthouse)

dwr: chairs

garde: pendant fixture

phillip jeffries: wallcovering (bedroom)

bruno moinard éditions: armchairs (bedroom), sconces (penthouse)

B&B Italia: sectional (penthouse)

galanter & jones: seating (terrace)

erickson æsthetics: chair (office)

caste design: tables

Sacco: custom rugs

Resawn Timber Co.: accoya siding

amari: windows

benjamin moore & co.: paint

Verona Carpenter Architects Transforms a SoHo Loft into an Artful Home

Laura Mattioli, an art scholar, curator, and collector, found her SoHo loft, and the one two floors up that now houses the Center for Italian Modern Art, on a tip from a friend back in 2011. A native of Milan, Mattioli had been looking for a place in Manhattan where she could open the foundation to spread the word about the modern and contemporary art of her homeland, but she needed a large, open space on one level that she could easily move works in and out of for exhibitions. Her friend had heard about a handsome cast-iron building on Broome Street with full-floor apartments that were about to come on the market. Mattioli immediately booked a flight to New York and within days she had nabbed two of them—one for CIMA and one for herself.

“Usually lofts are long and narrow with light only on the two shorter sides,” she says. That’s because the buildings typically stand shoulder to shoulder. Her building, however, which dates to 1873, has a single-story Con Edison utility structure next door, so the apartments from the second floor up also have sunlight streaming in all along the eastern side. Then, too, the ceilings are high, and the layouts offer one vast space overlooking the street and well-proportioned rooms off a wide hallway toward the back. And, the location couldn’t be beat: SoHo, a 19th-century dry goods district, was colonized in the 1970’s by painters and sculptors who turned old industrial spaces into live-work lofts, leading to an explosion of galleries in the area. Although perhaps better known today as a shopping destination, the neighborhood is still home to many creators and arts organizations.

Finding an architect proved trickier than finding the space, however. The first two Mattioli hired were more interested in making a statement. But she wanted the architecture to take a back seat to the art—some inherited from her collecting father, some purchased herself. Then she discovered Irina Verona, co-principal of Verona Carpenter Architects, who understood Mattioli’s point of view. “We like the approach of ‘light architecture’ that respects the surroundings and what happens in it,” she says, speaking of the work she and co-principal Jennifer Carpenter have been doing together since founding their firm in 2017, after Verona had taken on Mattioli’s project.

Verona first completed the center, which opened in 2013. Then came Mattioli’s 4,500-square-foot apartment, which, because it was to be a home, would be “more personal,” the architect notes. But otherwise, the priorities remained largely the same—“quiet architecture for a lot of amazing pieces,” referring to both Mattioli’s art and furniture, much of it mid-century.

She left the two-bedroom, two-and-a-half-bath layout largely unchanged but switched up the primary bathroom and a walk-in closet for better flow and to create space for a new staircase to a storage and mechanical mezzanine (another new stair leads to a small sleeping area). Verona also added a terrace—a maneuver that required obtaining approval from the city’s Landmark Preservation Commission because SoHo is an official historic district in which changes are strictly controlled.

The three-dimensional, one-of-a-kind art in the public areas is even more riveting. Sculptures by New Yorker Barry X Ball—two standing 10 feet high and one of them inspired by Michelangelo’s Pietà Rondanini, also in Milan—occupy one end of the open living/dining area. On the other side of the space, furniture by Gio Ponti, Alvar Alto, and Marco Zanuso hold their own near the fireplace. In the newly enclosed kitchen, tribal masks from Mozambique and Mali stand on a counter, inches from the olive oil. High on a wall in the hallway, rough granite blocks wrapped in steel cables are hung, daringly, over an 18th-century sideboard of intricate inlaid wood from Mattioli’s childhood home. The artwork, by Giovanni Anselmo, weighs a ton, literally, and Verona was responsible for ensuring that it would stay put.

Throughout the apartment she added plywood on one or both sides of the wall studs to ensure art could be hung securely. For the wall hosting a 1-ton piece, she had the studs reinforced with metal as well as additional wood. Then, to be safe, the art was also bolted right through the wall.

verona carpenter architects: ana maria reyes; hakan westergren

jim conti lighting design: lighting consultant

northeast contracting group: terrace contractor

old structures engineering: terrace structural engineer

charles g. michel engineering: mep

think construction: general contractor

dwr: sectional (living area), chairs (dining area, kitchen), sofa (study), table (terrace)

mdf italia: table (dining area)

cassina: chair (living area)

valcucine italia: cabinets, countertops (kitchen)

wolf: cooktop

franke: sink

Add tag via side panel:

Fritz Hansen: table

porcelanosa: custom vanity (powder room)

hansgrohe: sink fittings

kravet: wallpaper (powder room, guest bedroom)

valsan: towel bar (bathroom)

flavor paper: wallpaper (bathroom, study)

through 1stdibs: bookcases, sofa (alcove)

wyeth: nesting tables (study), bench (primary bedroom)

vitsoe: shelves (study)

artemide: lamp (primary bedroom)

breakwater bay: sconces (terrace)

nuimage: awning

lualdi: doors

halo: track fixtures

element lighting: recessed fixtures

benjamin moore & co.: paint

Neal Beckstedt Studio Transforms a Beaux-Arts Building into a Modern Office

Ever since Neal Beckstedt opened his eponymous studio in 2010, he’s had the good fortune of working with creative clients like fashion designer Derek Lam and eyewear maven Robert Marc. Another is innovative entrepreneur Albert Sebag, who approached Beckstedt for help with “his office” one day in 2019.

“I thought he meant his personal office,” Beckstedt says with a laugh. What Sebag actually had in mind was new headquarters for Guidepoint, the information-age business he founded in 2003. Guidepoint is a matchmaker of sorts, connecting clients, specifically global companies, in need of specialized information with the experts that can provide it. Currently, some 3,500 clients in a broad spectrum of industries—from healthcare to TMT—have at their disposal a network of 1,250,000 authorities for virtual or in-person consultations of practically any size. Almost half of the company’s 1,100 international employees would be based in the facility. What Guidepoint needed from Beckstedt, then, was an open and transparent arrangement of work spaces for clients, advisors, and full-time staff. Efficiency and versatility were stated goals.

After a six-month search, Sebag and Beckstedt found the ideal site in Chelsea: the entire 38,000-square-foot second floor of 675 Avenue of the Americas, a landmarked beaux-arts stunner built in 1900 as the Adams Dry Goods department store. “It was a bit of a mess inside,” the designer acknowledges, “but it had beautiful columns, high ceilings, and tons of light—all on one level.” That the building incorporated a central atrium also helped with the layout. “Most offices of this scale are worms’ nests of dark corridors; the atrium allowed for a completely open plan flooded with natural light.”

After demolishing the many interior walls and partitions, Beckstedt went about creating a unique config­uration of work zones in a controlled materials palette that invokes Gotham’s loft-conversion aesthetic. “I wanted the design to be straightforward,” he explains. “It’s about elevating mundane building materials— plywood, metal mesh, stainless steel—so the environment is clean and modern with a streamlined element, but still warm and interesting in a way that isn’t boring or overpowering.”

Beckstedt’s sense of delight helped raise visual engagement. He left much of the original brick exposed and enlivened the palette of blacks, whites, grays, and beiges with shots of a hot yellow taken from Guidepoint’s logo. The designer even opted to keep a pink wall, daubed with a bit of whim­sical graffiti, which had been revealed when plasterboard was stripped away during demolition.

Most of Beckstedt’s custom pieces are modular, and much of the purchased FF&E is versatile, such as the adjustable-height workstations. He limited the selection of furniture, focusing on familiar mid-century pieces by the likes of Alvar Aalto, Charles and Ray Eames, and Mies van der Rohe. “It keeps things calm and consistent,” he notes. “So many offices try so hard to be interesting that they wind up with visual chaos.”

Beckstedt spent a great deal of his time developing the program, accommodating as many people as Guidepoint needed into the square footage. “The overall strategy was about being functional, about letting the function become the design,” he explains. “Ornamentation wasn’t going drive it, and that informed every decision, from the layout to not replacing missing sections of the crown molding. This project is about work and the history of the building and the city.”

Even the lobby, which stretches along a wall of commanding arched windows, is an interactive work space. “It’s not just a place for people to wait,” Beckstedt says. “It’s where team members can meet, use laptops, have a quick chat, or just take a break.” In theory and praxis, the genius loci at Guidepoint is connection.

facility solutions group: lighting consultant

lilker: mep

hollinger fine cabinetry: woodwork

mcnichols: metalwork

master’s upholstery: custom furniture workshop

b&b contracting group: general contractor

savel: sofa fabric (lobby)

chemetal: coffee table laminate

vitra: stools, side chairs (lobby, café)

fitzfelt: re­ception desk felt (ceo suite)

through merit: vintage desk

Patterson Flynn: rugs

empire office: conference chairs

knoll­textiles: armchair fabric (ceo suite), cushion fabric (training room)

dwr: armchairs (ceo suite), chairs (podcast studio, large conference room)

polygal: enclosure system (booths)

pinta acoustic: paneling (podcast studio)

Kohler: sink fittings (restroom)

knoll: workstations, task chairs (office, office area)

bernhardt; camira fabrics; designtex; febrik; hbf textiles; luum textiles; maharam; pollack: cushion fabric (training room)

ann sacks: floor tile

stark: carpet

laminart: tabletop laminate

bartco; coronet; delray lighting; liteline: lighting

benjamin moore & co.: paint

MetroWall: Glass partitions

Jennifer Kolstad and Ghafari Associates Propel the Ford Experience Center in Michigan into the Future

2022 Best of Year Winner for Office Transformation

Ford Motor Company was founded in 1903 and today is one of the biggest car companies in the world. Despite its long history, Ford is focused squarely on the future, developing new technologies like smart infrastructure and self-driving vehicles. Yet for over 20 years, the main events facility at its headquarters in Dearborn, Michigan, was a dark and uninviting concrete structure. Company executives sought to reimagine it as a cutting-edge “front door” to the 600-acre campus, which itself is being overhauled under a master plan by Snøhetta. They turned to Jennifer Kolstad, the in-house global design and brand director, and her 20-person team to renovate the 1998 building and transform it into the Ford Experience Center, or FXC.

Ford’s leaders envisioned the FXC as a dynamic hospitality-inspired hub for employees, car dealers, and major customers. It would have flexible event spaces, conference rooms, a café, and hot-desking, plus an on-site design lab where employees could work with clients like the City of Los Angeles to customize and prototype police vehicles. The FXC is also meant to reflect a new company-wide emphasis on innovation and collaboration. Positioned across the street from the Henry Ford Museum of American Innovation, the FXC symbolizes “Ford future facing Ford past,” Kolstad notes. Her design encompasses aspects of both.

Kolstad worked on the 95,000-square-foot project with Ghafari Associates, which served as the architect of record but also designed major elements of the interior and helped with the selection of furnishings. Together, the two teams completely transformed the existing two-story building, keeping only its structure and oval shape. “Even though the space is similar to what it was, an event center, we had to take it to the next level,” architect and Ghafari director of design Andrew Cottrell recalls. The goal was to create an environment that felt open and transparent. “Ford wishes to be the most trusted company in the world, and architecture can help that along,” Kolstad adds.

To start, the concrete walls were out. Ford and Ghafari re-skinned the facade with electrochromic glass that brings ample light to the interior but can also tint for shade. Kolstad, who was a principal at HKS before joining Ford in 2019, brought a focus on wellness and human-centered design to the project. She incorporated two green walls in the café, called the Hive, and ensured that even enclosed rooms have natural light and views of the surrounding lawns. She also integrated the building into the landscape: Terraces allow for events to flow outdoors, and the central corridor aligns with the front door of the Henry Ford Museum.

The FXC showcases the future of automobiles, but it’s grounded in Ford’s history. “The building speaks to the legacy of the company through its use of museum-quality materials,” Kolstad explains. “If the foundation is solid and well-executed, the brand can breathe and take on its own life.” In the central forum, polished white-terrazzo flooring and oak stadium seating form a timeless backdrop for what is in fact a high-tech, production-ready space. At the touch of a button, the lighting can change to suit a cocktail party, presentation, or launch event, and cars rotate on a turntable in the floor. Overhead, a sculpted white ceiling of acoustical plaster conceals lighting and mechanical systems, with cuts that mirror the lines in the terrazzo floor. “We had to coordinate myriad things to make the ceiling look seamless,” Cottrell says.

Like the building, the forum is the shape of the Ford logo: an oval. “You won’t see the logo anywhere, but you’re literally inside the Ford oval,” Kolstad says. “The space tells the company’s story in a subtle, sophisticated way.” Ovals appear in the symbol of the Hive, making the shape of a bee, and in custom lighting fixtures, while velvet in the brand’s deep blue upholsters the café’s banquettes. Covers of retro Ford Life magazines hang in phone booths, and broken ovals appear in the pattern of blue vinyl wallcovering. Kolstad’s team also deconstructed the oval to make a camouflagelike pattern for blue-and-white area rugs. All furnishings, materials, and finishes demonstrate a new palette that will be used in Ford showrooms and offices worldwide, including the nearby workplace by Snøhetta now under construction.

Though Kolstad describes the FXC as an “immersive brand experience,” you won’t find a Ford sign at reception. Instead, there’s a mirrored acrylic work by Detroit artist Tiff Massey, one of several in her team’s DEI-focused art program for the project. Inspired by traditional American quilts, it’s composed of seven designs—representing each of Ford’s company truths—laser-cut onto 90 tiles. An asymmetrical solid-walnut desk in front of it, designed by Ghafari, looks like a sculpture that alludes to movement. Elsewhere, three abstract artworks by Los Angeles artist Robert Moreland refer to the 24 Hours of Le Mans, the French car race that Ford won in the late 1960’s. With the FXC, it’s leading again as a cool, tech-savvy company.

---

---

ford environments: julia calabrese; rachael smith; chris small; don zvoch

ghafari associates: michael krebs; brittnee shaw; angela cwayna; joseph kim; delbert dee; justin finkbeiner; stephanie hrit; jennifer hatheway; katy rupp; steve lian; yuqi pan; bruce coburn; justine lim; karan panchal; ali zorkot; christopher olech; ryan raymond; cynthia harman-jones; kristina allder

illuminart: lighting consultant

farmboy: art consultant, custom wallcovering

denn-co construction; ganas; navy island: woodwork

devon industrial group: general contractor

tacchini: benches (forum)

viccarbe: benches (lounge)

dwr: chairs

bernhardt; designtex: banquette fabric (café)

Coalesse: tables (café), chair (phone booth)

geiger: chairs (café, innovation)

Stellar Works: sofas (break-out, collaboration, grand hall)

carnegie: wallcovering (break-out)

stua: coffee table

zauben: green wall (café)

preciosa: custom pendant fixtures

keilhauer: stools

Tarkett: carpet (phone booth)

Humanscale: lamp

Blu Dot: tables (innovation, grand hall)

restoration hardware: lamp (grand hall)

michielutti brothers: flooring

shaw contract: custom rugs

benjamin moore & co.: paint

Hariri & Hariri Architecture Transforms the New York Penthouse Headquarters of SIBA Corp/SIBA Residences into a Multifaceted Gem

Hariri & Hariri Architecture—the firm of Iranian sisters and Interior Design Hall of Fame members Gisue and Mojgan Hariri—began the renovation of the headquarters of SIBA Corp/SIBA Residences, a prominent gem dealer and real estate business in Manhattan’s Diamond District, in early 2020, just as COVID-19 was about to grip New York. The architects designed the 3,000-square-foot full floor during the transitional period when the SIBA office staff, like countless others across the country, started Zooming from home. Like anthro­pologists unexpectedly equipped with a telephoto lens into the lives of their subjects, the Hariris observed home environments that had become on-screen business backdrops.

COVID taught the architects what now seems obvious: People were in no rush to return to the office because they like the warmth, character, crafted touches, and creature comforts of their homes. Specialists in both residential and workplace, the sisters resolved to adapt domesticity to the penthouse site, balancing the amenities of home with office life in a building deep in Midtown’s thicket of high-rises. “Zoom confirmed what George Nelson advocated long ago,” Gisue Hariri notes: “‘The office should be a daytime living room.’”

The renovation initiated a new era and ethos for the four-generation family business. The third-generation patriarch, Sam Abram, had recently died, and his son Edward, now CEO, was relaunching the company. Three of SIBA’s separate divisions—diamond trading, real estate sales, and building management—shared the floor. Without looking like Fort Knox, the gem side of the business had to be secured away from the real estate and management spaces, which were themselves separate from each other. With multiple zones and numerous dedicated functions—reception and waiting areas, open workstations and offices, a conference room and a jewelry viewing lounge, kitchen and dining—the program presented the organizational challenge of piecing together an intricate puzzle. The existing office looked like a leftover period set from “The Honeymooners.” Cubicles and rooms were grafted onto each other higgledy-piggledy under harsh fluorescents set in a water-damaged dropped ceiling. A large safe was strapped down like an electric chair. The whole place required a gut renovation.

The unsalvageable maze, however, hid two assets. The space had good infrastructure—a wraparound terrace ringed the entire floor, which offered unobstructed, heart-of-the-city views. Then, in and around the principal office, the architects discovered numerous modernist prints and silkscreens that the company had quietly collected, hung up, and left in place for decades, as forgotten as old wallpaper. To their surprise, the Hariris were dealing with a portfolio that included works by Josef Albers, Ellsworth Kelly, Kenneth Noland, and Louise Nevelson. New pieces, including ones by Keith Haring, Andy Warhol, and Alexander Calder, were added to the mix, and the trove became a vehicle that helped the two sisters infuse the project with color and character.

• 

• 

Aiming for a daytime living-room effect, the Hariris avoided a systematic, gridded, modular layout. Instead, the floor is organized episodically along a circuit leading to an unfolding sequence of spaces, each highlighting art or special seating. The unique turns in the plan camouflaged the harsh fact that a corridor, for example, might function as a security lock bordered by bulletproof glass. The Hariri team included pockets as socializing zones for passing office chats and break-out moments. They sited the jewelry viewing lounge among the first rooms, beyond which lies a small open-plan pool of workstations for real estate management surrounded by a perimeter of private offices.

Improvements in technology over the last several decades facilitated domestication. Thanks to the computer, the architects could reduce the number of chilly, metal file cabinets to a minimum. A new ceiling system of parallel aluminum slats set wide enough apart to accommodate sprinklers let them raise the ceiling from 8 to nearly 10 feet. Compact HVAC equipment replaced large, antiquated units that colonized the outdoor terrace, allowing for an alfresco dining setup plus a meditation garden. Contemporary window frames gave each opening a clear view, turning the urban skyline into a sequence of spectacular pictures.

But beyond technology, the Hariris deployed architecture’s traditional tool-set—materials, scale, lighting, and simplicity—to make the HQ homelike. They covered metal access panels with rift-cut oak. Etched glass between perimeter offices and the open work area softly radiate natural light to the landlocked interior. They dimensionalized the floor with patterned carpet tile that creates the illusion of depth, its pile inviting staff to kick off their shoes. Overall, the spaces were kept intimate, with clean planes and edges that defer to the art. The walls, mostly painted white or gray, have the visual clarity of a gallery.

• 

• 

At the beginning of the commission, the architects told their clients that the goal was to build the analogue of a jewel—“something light, airy, and tactile,” Gisue Hariri says, “something small, precious, and special, where every turn is unique.” She and her sister crafted that idea right at the front door by chamfering the reception desk like a precious cut stone—its faceted, sculptural quality a trademark of their work. “From early on, we’ve collected rocks and studied geological and crystal formations, fascinated by the abstract, geometric, asymmetrical forms derived from nature, which are also apparent in both Persian and modern Western architecture,” the architect adds. But even more than a built metaphor, the diamond at the door sets the stage for the multifaceted gem of an environment beyond.

PrevNext

• 

• 

• 

• 

• 

• 

• 

• 

hariri & hariri architecture: bieinna ham; kyuhun kim; chris whiteside; maria digaetango-rodriguez

blondie’s treehouse: landscape consultant.

lighting workshop: lighting consultant.

robert silman associates structural engineers: structural engineer

skyline engineering: special inspection engineer.

ip group: mep

napoleon contracting corp.: woodwork.

icon interiors: general contractor.

Janus et Cie: chairs, table (terrace)

expert welding gates: custom railing

bendheim: etched glass panels (open work area)

knoll: workstations (open work area), lounge chair (office)

vibia: pendant fixtures (waiting area)

bernhardt design: table/chair (waiting area), sofa (jewelry lounge)

spinneybeck: sofa upholstery (jewelry lounge)

dwr: pillows

herman miller: executive chair, task chairs (office)

kohler co.: sink fittings (rest­room)

focal point: ceiling fixtures (kitchen)

JUlien: sink

kwc: sink fittings

wolf: cooktop

miele: oven

Blu Dot: credenza

mosa: floor tile

Interface: carpet tile

amerlux; coronet lighting: lighting

armstrong: acoustic ceiling panels

b+n industries: aluminum slats

c.r. laurence co.: door pulls

kilroy architectural windows: windows

evensonbest: furniture supplier

benjamin moore & co.: paint.