INTERIOR DESIGN(PRESSE DES U.S.A.) Date : 01/05/2019...INTERIOR DESIGN(PRESSE DES U.S.A.) Date :...

INTERIOR DESIGN(PRESSE DESU.S.A.) Date : 01/05/2019Pays : ENPériodicité : Irrégulier

Journaliste : jane margolies

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ELITIS 9298696500503Tous droits réservés à l'éditeur



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splash of campariGensler expertly blends corporate, cocktail, and Italian culture at the

beverage group's headquarters in New York

text: jane margalies

photography: james john jetel

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166 INTERIOR DESIGN MAY.19



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Previous spread: For the stairway connecting the two floors of the Campari Group's North America headquarters in New

York, Gensler covered walls in a polyester-blend microfiber and the floor in quort2

, all in the color of the Campari aperitif.

Top: In a lounge, loveseats by MUT Design and a Warren Platner coffee table stand before an original 1921 advertising

poster designed by Leonetto Coppiello for Campari. Bottom: Brass arcs are inset in the poured-resin floor in reception,

where a C-shope marble-topped bar serves os the concierge desk.

Opposite top, from left Brass signage against the elevator lobby's leather-covered walls. Motteo Ragni's telescopes

and PearsanUoyd chairs in the viewing area. Opposite bottom, from left A break out area’s MUT Design sofas and

Platner tables. Brass and glass ceiling fixtures in the elevator lobby.

These days, workplaces often contain cafés, well¬

ness rooms, and lounges galore. But a bar? Not as

likely... let alone four of them. But such is the case

at the North American headquarters of the Campari

Group-the Milan-based company famous for its

bright-red namesake aperitif-that now also counts

more than 50 other beverage brands in its portfo¬

lio, some of them, including Wild Turkey and Skyy

Vodka. American. Mix them all together, and it makes

Campari Group the sixth largest spirits company in

the world-a feat worthy of celebrating. Gensler

helped the group do so with its new two-story office.

But first, some background. When the U.S. became

Campari’s biggest sales market, executives decided

to move the company from its San Francisco head¬

quarters east. New York would be closer to Milan

and other parts of its empire and help recruit top

talent. "It’s the center of the action,” Ugo Fiorenzo,

Campari America managing director, says of the

city. He and his team selected two upper floors in

the landmarked W. R. Grace building, doubling work

space to 65,000 square feet and affording views of

neighboring Bryant Park. "We were looking for that

wow effect," Fiorenzo adds.

To live up to the expectation, Gensler principal and

design director Stefanie Shunk made a pilgrimage to

Milan to steep herself in the company’s 159-year-old

168 INTERIOR OFSlCiN MAY 19



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history and culture, which includes decades worth

oFart, among it posters commissioned in the early

1900’s from Fortunato Depero and Leonetto Cappi-

ello. Once back, she translated her inspirations into

the design of the workplace, drawing on furnishings

from such companies as Foscarini and Minotti and

employing such luxe materials as Italian leather.

“You gotta love it,” 5hunk says as she trails her fin¬

gers over the hide covering the walls of the elevator

lobby. She and her team specified it and much of

the furniture upholstery in a deep blue similar to

that in the Campari logo.

Further in, not a typical reception desk but an

espresso bar-wilh barista-greets visitors, looking

like it could have been spirited from Corso Magenta

in Milan. In the shape of the letter C, its counter is

topped in marble, Italian, of course, and features

a brass footrest. Just behind it is another wow element:

Gensler carved a double-height atrium through the

two floors and inserted a 16-foot-tall cerused-oak

wall assemblage inspired by a Depero brick artwork

on a building facade in Italy. The installation here

serves as a backdrop to a full-scale bar, also C-shape

but in buffed brass, on the floor below. Dubbed the

Fortunato bar, the environment has the look and feel

of an urban five-star hotel.

The feeling changes to that of floating inside a

bottle of Campari in the stairway connecting the

floors. Walls, floor, and ceiling are drenched in car¬

mine red, and LED strips along the coves and treads

instill a nightlife vibe. A grid of steel-mesh lockers at

the landing exhibits bottles of rare liquors produced

by the Campari Group. Glimpsed through the lockers

is an ornate crystal chandelier. Arrive there to find it

suspended over yet another bar, this one inside a

tall, slender jewel box. Intimate and hermetic, its

walls are covered in an old-fashioned taupe damask

pattern, and the bar proper is an elaborately carved

mahogany antique. Inspired by a prohibition-era

speakeasy, this Boulevardier Bar-named for the

cocktail of sweet vermouth, bourbon, and, yes,

Campari originating at Harry's New York Bar in

1920's Paris-is where top customers visiting the

HQ are invited to sip special-edition whiskeys,

rums, and liqueurs. It's a wonder of a space.

Making sure the Campari bars not only look excep¬

tional but also function extremely well "was the thing

that kept me up at night." says Shunk, who watched

GoPro videos of bartenders at work to learn exactly

where the sink, ice, and other components needed to

be. That knowledge was essential to designing the

office's lablike academy, where master mixologists

concoct cocktails and bartenders come for training.

In the bar named after Fortunato Depero, the 16-foot-tall wall

installation is composed of1,500 pieces of cerused oak and

inspired by a Depero artwork in Italy.



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Tap, from left Each liquor locker in the stairwell has its own LED-lit cave. A vintage crystal chandelier

hangs in the Boulevardier Bar, clad in vinyl wall covering. Bottom: In the café, upholstered choirs by

Noé Duchoufour-Lowrance serve the Wolfgang C.R. Mezger square tables.

Opposite top: LED strips also light the quartz stair treads. Opposite bottom: Mezger's sectional sofa joins

Rodolfo Dardoni side tables, Ludovico + Roberto Palomba pendant orbs, and Travis Clifton borstools.

The café, which occupies a whole corner of a floor

plate, functions as yet another bar, one that, with

its brick wall, large windows, and Campari motto—

’’toasting life together," rendered in neon—was

intended to evoke and bring in the city.

Lest anyone think all anyone does is party around

here, "Foremost, this is designed for work," Shunk

states. The office areas for the 135 employees com¬

posing the Campari Group and Campari America are

spread across both floors. They are 100 percent

open-plan with sit/stand workstations and tailored

to hot-desking, meaning no assigned seats, so em¬

ployees clear off desktops and stow belongings in

lockers at the end of the day. Should staffers choose

to sit. they do so in task chairs powder-coated red or

blue. Hoteling stations give colleagues in from Milan

or elsewhere places to touch down. Phone, meeting,

and conference rooms are peppered throughout.

There are no offices. There is a very executive

boardroom, however, but Shunk situated it away

from reception. “So it doesn't shut down the main

space when a meeting is on." she explains.

For all the workplace savvy Gensler brought to the

table. Campari Group contributed sophistication of

its own. It was the management team’s idea to set up

what it calls “viewing stands” near the office's south¬

facing windows, where enormous red telescopes are

pointed in the direction of the Empire State Building.

Architect Matteo Ragni originally designed them »



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GENSLER. LIGHTING WORKSHOP: LIGHTIN6 CONSULTANT. GILSANZ

MURRAY STEFICEK: STRUCTURAL ENGINEER. WB ENGINEERS CON¬

SULTANTS: MEP. A05 STUDIO: FABRICATION WORKSHOP. ISLAND

ARCHITECTURAL WOODWORK: WOODWORK. MISTRAL ARCHITEC¬

TURAL METAL GLASS: METALWORK. GLASSWORK. J.T. MAGEN B

COMPANY: GENERAL CONTRACTOR.

PRODUCT SOURCE5

FROM FRONT BANKER WIRE: CUSTOM LOCKERS (STAIRWAY). COSMO¬

POLITAN GLASS: PARTITION. SILESTONE: TREADS. KNOLL TEXTILES:

WALL COVERING. KNOLL: COFFEE TABLE [LOUNGE], WORKSTATIONS

(OFFICE AREA). THE RUG COMPANY: RUG (LOUNGE). MISSANA: LOVE-

SEATS (LOUNGE, BREAK-OUT AREA), CHAIRS [VIEWING AREA). FOSCA-

RINI: PENDANT FIXTURES (RECEPTION). BENDHEIM: BACKSPLASH.

MINOTTI: BENCHES, 5IDE TABLES. ÊLITIS: WALL COVERING (ELE¬

VATOR LOBBY). DRIVE 21: CUSTOM SIGNAGE. COALESSE: RED CHAIRS

(VIEWING AREA) TECH LIGHTING: CEILING FIXTURE [ELEVATOR

LOBBY). KELEEN LEATHERS: DOOR UPHOLSTERY. CASCADE COIL DRA¬

PERY: METAL DRAPERY (FORTUNATO BAR). STONE SOURCE: BACK BAR

TOP CUMBERLAND: BARSTOOLS. VICCARBE: SIDE TABLE. DAVIS

FURNITURE: BENCHE5, OTTOMAN [FORTUNATO BAR), TABLES (CAFE).

RH: SCONCES (BOULEVAROIER BAR). MDC WALLCOVERINGS: WALL

COVERING DYKES LUMBER: MOLDINGS. PANELING. ARMSTRONG:

CEILING SYSTEM (CAFE). REJUVENATION: CEILING FIXTURES (CAFÉ),

SHELVING (OFFICE AREA], SINKS (RESTROOM). BERNHARDT FURNI¬

TURE COMPANY: WOOD CHAIRS (CAFE). BERNHARDT OESIGN: UPHOL¬

STERED CHAIRS. OESIRON: BARSTOOLS HERMAN MILLER: CHAIRS

(OFFICE AREA). EGE: CARPET. ANDREU WORLD: CHAIRS [BOARDROOM],

HALCON: TABLE. MASLAND CONTRACT: RUG EMECO: CHAIRS (ACA¬

DEMY). ANN SACKS: FLOOR TILE (CAFE). CERAMICA BAROELLI:

PATTERNED TILE [RESTROOM). DALTILE: WHITE TILE. CREATIVE

MATERIALS CORPORATION: FLOOR TILE. LOVAIR: SINK FITTINGS.

CEDAR AND MOSS: SCONCES. THROUGHOUT OPTIC ARTS; ECOSENSE;

USAI LIGHTING: LIGHTING. LIQUID ELEMENTS: FLOORING AMUNEAL

MANUFACTURING CORP.: CUSTOM SHELVING. BENJAMIN MOORE &

CO.: PAINT.

to mimic oversize Campari soda bottles for a 2010

exhibition at La Triennale di Milano, but they also

resemble megaphones. They seem to proclaim:

Hey. Big Apple, Campari has arrived. Saluti! J

PROJECT TEAM

AMANDA CARROLL; MEGAN DOBSTAFF; STEPHANIE LAN; AMANDA

LANGWEIL; ANDREW STERN; LAURA MORAN; LAURA BISHOP;

ARTELLE LEVY; AUDREY STROM; CARLY KLAIRE; KATHRYN MORSE:



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Opposite top: Task chairs in an

office areo are by Studio 7.5.

Opposite bottom: In the board-

room, o custom brass and glass

fixture displays LED-illuminated

Campori bottles above choirs by

Piergiorgio Conaniga.

Top, from left Mixologists

creating cocktails in the academy.

Lacquered shelving in an office

orea Bottom, from left The

cafe's walnut-veneered bar with

laser cut wenge letters. Cedar

and Moss sconces and ceramic

tile in the women's restroom.

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