Edward Yedid on The Fitzgerald Suite at The Plaza Hotel — Much like Jay Gatsby and his legendary parties, I am propelled forward by an innate desire to transform spaces into memorable and personalized environments that not only express the lifestyle of the inhabitant, but enhance it. In honor of Baz Luhrmann’s forthcoming The Great Gatsby, The Plaza Hotel has unveiled its own Fitzgerald Suite, named after the iconic novel’s author (F. Scott Fitzgerald) and customized by the film’s art director (and wife of Luhrmann) Catherine Martin.  Designed around the character of Jay Gatsby, the Fitzgerald Suite presents a clear representation of the character — the times in which he lived and how he wanted to be perceived by an increasingly ostentatious 1920s society. The room screams opulence, luxury and wealth — all that he strived to be, and eventually came to symbolize.

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Thomas Hickey on Tiffany & Co. Savoy headpiece — The creative vision behind a statement headpiece like the Savoy from Tiffany & Co. is evident in its construction, commitment to the artistry and quality of craftsmanship… all attributes that simply make Tiffany’s a cut above the rest. The rich tradition inherent in these accessories — not to mention their show-stopping allure — is obviously admired by Jay Gatsby himself in Baz Luhrmann’s upcoming take on The Great Gatsby, an American literary masterpiece, opening this weekend. While Mr. Gatsby was not one for discretion, even today, with nary a flapper in sight, this piece is timeless in elegance and modern in style. At GRADE, with every project we do, at any scale, our goal is always to create pieces that will endure.

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Edward Yedid on Objects d’Art & Style — Amazing how a group of objects can induce such a captivating response when placed together. Alone they evoke a completely different reaction. The viewer can imagine anything they want about each singular object and how it relates to their life. Together, the reaction is controlled. We are forced to begin thinking about them as an experience, lifestyle or how they would be used together, by whom and when. The same concept can be applied to selecting materials, specifications or furniture for a project. When chosen carefully and with intention the experience is tailored and controlled, resulting in great design that captivates its inhabitants.

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Thomas Hickey on Tørst — The flux capacitor at Brooklyn’s newest craft beer bar, Tørst, is a fresh expression of form following function. Many times in a project, a programmatic requirement or detail will act as a springboard to a larger idea. This idea can escalate becoming a motif within the overall composition. The design of the flux capacitor and how they incorporated it into the setting of the bar brings a playful relief to the jewel box-like interior. At GRADE, juxtaposing conditions like this maintains continuity within the grand scheme of a project. We always strive to create new solutions and focus on details that enhance the overall environment. The flux capacitor is a refreshing look to a pragmatic solution.

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Edward Yedid on Bond No. 9 Chez Bond — The ideal men’s fragrance, perfectly wearable not only in the warmer months but year-round: quintessentially New York, masculine and sophisticated.  It draws you in and is memorable.  

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Thomas Hickey on Curved Staircase — GRADE’s design starts with plans organized in a logical manner, creating a clarity of hierarchy and order.  The coupling of these plans provides us with an opportunity to develop section moments.   The stairs lend themselves to be the most expressive of the project’s character, often designed as a sculpted art piece inhabiting a voluminous space.   Here, a curved stair designed with a custom metal balustrade balances a modern palette, providing a visceral connection to the experience of climbing between plans.

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Thomas Hickey on The Standard, High Line — A GRADE favorite, The Standard hotel, located across the High Line, is a perpetual spring destination of ours. Quite simply, there’s nothing “standard” about it. 

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Edward Yedid on Marble Bathroom — Choice of material is crucial to a project’s success. In the case of this marble bathroom, it seems the stone material itself has dictated the design solution. The linear pattern in the stone is reflected in the metal work and custom vanities: vertical light bars and tall faucets were used to enhance the idea, really strengthening the overall attitude of the space. There is something very elegant and sophisticated about using one material throughout a room and letting its characteristics define palette, organization and direction.

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Thomas Hickey on Elk Mountain — Inspiration can come from anywhere.   Walking in the forest after a winter storm with the ground blanketed by snow and the trees absent of foliage may seem like an unlikely resource for inspiration — let alone color.  However, the late afternoon light against a grove of trees creates an umbrageous contrast against the white snow.   To me, this palette of light and shadows emboldens a serene atmosphere, ultimately creating a powerful palette of clarity and texture. 

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Edward Yedid on City Of Leon Auditorium — At first glance, this building reminds me of a Yaacov Agam painting, a master of optical illusion and kinetic art. The stark white exterior is composed of a stack of windows, playfully varied in size — a dynamic rhythm reflective of the music being played inside. The visual component, both striking and inviting, pulls you through the structure and back out again — much like sound emits from an instrument when masterfully played.  This project is a great example of breaking down an idea and rebuilding it through architecture — a process we practice as we develop all our projects at GRADE.

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Edward Yedid on Institute of the Arab World, Paris by Jean Nouvel — The Arab-inspired motifs, consisting of metal lens shells, gradually open and close depending on the amount of light passing through.  Control is a major component of any successful design — how a client experiences space is crucial to how they will feel about it, and ultimately remember it. At GRADE we consistently manipulate the senses through choices we make with color, light, materials, space and scale.

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Thomas Hickey on Jean Nouvel’s Chelsea Residential Tower — The grit and glamour of Jean Nouvel’s residential tower on 11th Avenue and 19th Street, on the edges of Manhattan’s Chelsea district, is the quintessential expression of the French architect’s objectives throughout his design oeuvre. Nouvel aims always to create a visual landscape wherein the buildings suit their context — sometimes by making the towering structures contrast with the surrounding area.  While the Chelsea residential tower is probably best known for the reflective framed glass façade, offering commanding views of the Hudson River, the view of the building from the east — with its matte black brick and punched openings — attempts to camouflage itself among the context of brick towers surrounding it.  The antithetical personalities of the buildings’ design makes a bold statement — while you may only see two sides of a building at once, you should consider their relationship to each other, and also to the larger visual landscape.

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Edward Yedid on Artwork Selection — For one of GRADE’s current projects, a 3,125 sq. ft. residence on Manhattan’s sophisticated Upper West Side, we selected the following artwork both for its aesthetic pop and functionality. These dots, formed by inks on paper, are by the Berlin-based artist Ceal Foyer. We strategically perched the artwork in a tight corner within the living room. Not only did the dot series solve a complication of layout, but the artwork’s collective bright burst of color also enhanced the rich hues of the surrounding furniture pieces and fabrics.  When you’re designing a space for a notable basketball client, as it so happens, it helps to think big. 

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Thomas Hickey on Studio House — When commencing a new project, the first site visit is an essential moment in the process — and presents an opportunity to design our projects with the initial visceral experience in mind. The site informs our design process completely. During the conceptualization of how the project is going to look, feel and breathe, we take into account a site’s pre-existing conditions, the surrounding area and what the actual location has to offer. With our project Studio House, the site itself was just off a dusty country road in the outer banks of Virginia. Standing before it, it was obvious that we should orient the house with the broad elevation commanding the site and overlooking the bay.   The site itself greatly informed how we would go about controlling light intake, views, wind and sound. Inspired by the steady procession from the street to the top of the dune, intuitively we felt the residence should reveal itself gradually, slowly opening up to the bay as you traveled through it.   It just goes to show that an approach to design isn’t necessarily clinical; rather, it’s a very sensory experience. 

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Thomas Hickey on Villa Savoye, designed by Le Corbusier — Historic precedence is the foundation of GRADE’s design research.  However, it’s not necessarily from the formal aspects of a reference that we draw inspiration.  Often, the vision of the designer and the narrative of their design provides insight into our projects.  In my view, Le Corbusier is one of the most visionary architects who I am still learning about and learning from.  His perspective on relationships between the way we live both in nature and in cities — along with the way we are shaped by new technologies — is still a major thesis in modern architecture. His triumph — the Villa Savoye in Poissy, France — best articulates his genius in defining the house as a “machine for living.”  While our projects may not have the physical characteristics of the Le Corbusier’s modernist masterpiece, our design cues are certainly influenced from Le Corbusier’s discoveries. 

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At GRADE, our goal is to design sophisticated, cutting-edge projects that are meticulously planned and executed, while still staying true to our style — clean, elegant, timeless. Design is a holistic experience — at the root of it, it's about creating a lifestyle.

EDGE is a compilation of images and ideas showcasing how GRADE approaches design and how we feel about it.