Brooklyn was getting hot when we were tasked to convert Europa, a Polish dance hall, into the coolest place in town. We faked warehouse windows, distressed the walls and placed the main floor DJ booth in the right place. Levels were added to make the room visually exciting. A busted-up disco ball was rescued from a trash heap to be glorified in the smaller Bad Room. The Bad Room featured an LP lending library sits behind its DJ booth. The old bars copper top was used as that booths facing. We named it Good Room so as not to be conceived as a pretentious addition to the burgeoning scene. It has received so many accolades that calling it Great Room may be in order.
New York Magazine Best Nightclub 2015
Timeout #2 Best NYC Danceclub 2018
Grubstreet #3 Best Club in NYC
Bedford and Bowery Pre-opening coverage
New York Times Opening coverage
Brooklyn Vegan coverage
I brokered a collaboration between our team and acclaimed architect Philip Johnson. I believe it was his last project and I feel blessed that he blessed my work. Marquee was the forerunner of the bottle service era. Bottle service didn't start here but it was taken to the heights that reinvented Las Vegas and quite a lot of the hospitality world. We designed the first Marquee, redesigned it again and came back again for a re-dux. We did the lay-out of the current incarnation.
New York Post The Five Year Marq-uee
New York Post Opening night coverage
New York Magazine Long form
The Buddha room at Tao in the Venetian Hotel in Vegas was under-achieving when we were asked to make it work. We added back-lit walls of amber glass and wooden balls to create symbols associated with good luck. "Bread-sliced" green Buddha heads framed the bar and seating was made more comfortable - and it worked.
New York Times Opening coverage
New York Times coverage
When we were hired to design Webster Hall we knew that it had been around for more than a hundred years. It was working so our design intent was to not screw it up. We exposed ancient moldings and floors that had been buried in time. The black fabric clad balconies were stripped to reveal incredible moldings which we repaired and painted. Decorative moldings were added through-out and old lighting fixtures were re-wired. Modern touches were added as well as wallpapers and decorative paint stunts.
New York Times Reopening coverage
New York Post Reopening coverage
New York Times Slideshow
Guest of a Guest Interview
Stone Lotus brought us to Chicago just as modern nightlife exploded. The design featured an 80-foot stone waterfall with lotus rondelles to trip the water. A wood carved ceiling featured a disco ball lowered from the ceiling above. The downstairs "Stone Room" had river rocks behind iron gating. Our lighting designer Maureen Mahr captured the IES Regional Design Award of Merit.
Like Webster Hall we were tasked to enliven a 100 plus year old building into a then-contemporary nightclub. Topiaries were added as well as modern seating. Arches were painted with accents to emphasize their majesty. The incredible stained-glass windows were exposed, repaired and back-lit to embrace the church's history. Go-Go cages hung from the ancient rafters as lights and colors were added to rooms whose meanings were redefined.
A lounge that could only hold one hundred people was given a a patterned floor and walls made from hickory and mahogany. An arched plexiglass ceiling covered with mosaic red and gold glass tiles created an illusion of height. Cocktail tables were filled with zero cost broken auto windshield glass which was under-lit to look like emeralds. A drawer was added to protect cell phones and a small “stash" was painted on for comic relief. Stash, however, was no joke and hosted an A-list crowd.
The main zinc clad bar featured a roaring waterfall behind the liquor bottles. Cocktail tables with images of androgynous body parts added to the healthy theme. The White Room was all plexi and a "2001 A Space Odyssey" lit floor and 3-dimensional white plexiglass walls. The main dance floor was all about amber plexiglass walls with banquettes having dance platforms behind them. Dancers silhouetted against this background looked amazing. A tanning bed in the ceiling replaced the obligatory disco ball. A dozen different waters were served.
New York Times Full write-up
D'Or was in a stone walled basement space at the Dream Hotel. Floors were raised with concrete to allow banquettes to be built over the footings. Vaulted ceilings and cracked Venetian mirrors added to the literal underground feel of the place. An oversized chandelier in an old coal chute adorned the entrance sequence.
New York Magazine Critics' Pick/Listing