The Hudson Company on the High Line

 
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New York’s High Line is renowned as a botanical oasis in the middle of the busy, formerly gritty neighborhood of West Chelsea. With plantings thoughtfully chosen by Dutch landscape architect Piet Oudolf, the elevated park is home to over 120 species: coneflowers, sumac, grasses and birch trees, to name just a few. Some are native to the region, and some are exotic. But plant diversity on the High Line isn’t restricted to the living specimens that make it lush and green. Thanks to the success of The Hudson Company’s wood-sourcing trip to India in 2017, there is teak to be found on the High Line in benches, steps, seating and furniture. The journey of this wood from a teak forest somewhere in Southeast Asia centuries ago, to exquisite buildings in Hyderabad’s old Muslim quarter, to New York City’s High Line illustrates how architectural preservation—even the accidental kind—can give materials a second life when they’re salvaged sustainably. 

Teak, known to botanists as tectona grandis, evolved for harsh conditions, which is why it’s long been a popular choice for decking material, outdoor furniture, and boats. It’s native to the hot, tropical climates of India, Malaysia, Thailand, Bangladesh, Indonesia and Sri Lanka, and it’s cultivated in parts of Africa and the Caribbean, but half the world’s naturally occuring teak comes from Myanmar. Teak is a hardwood with a high oil content and tight grain, which gives it great tensile strength and a natural resistance to weather. It’s so strong, in fact, that it can wear out metal tooling and blades over time. It’s also very insect-resistant, and tends to be impervious to termite infestations. All of these qualities have led architects and builders in tropical climates to choose teak for centuries, using it to construct doors, beams, wall panels, and floors. Intricately carved screens and pilasters made from teak can be found in buildings throughout Southeast Asia.

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One of the great places to source vintage teak wood elements today is Hyderabad, India. Today, Hyderabad is widely known as one of India’s largest high tech centers (it’s nickname: Cyberabad) and travelers who visit on business are likely to spend most of their time in the city’s modern downtown, which is full of glass and steel high-rises. But old Hyderabad is a treasure trove of historic temples, mosques and houses dating from the 16th century, including Golconda Fort, a former center for the diamond trade and the capital of the Qutb Shahi dynasty. Hyderabad’s historic architecture is distinct, with elements of Hindu and Muslim styles reflecting its complex cultural heritgage. 

Buildings from the 16th and early 17th centuries built during the Qutb Shahi period drew design elements from Persian architecture, with domes and soaring arches. At the beginning of the 18th century, Mughal rulers were responsible for building Hyderabad’s city wall. The families of the Nizam dynasty, which followed the Mughal era and ruled Hyderabad from 1724-1948, built palaces in an increasingly European style, because they ruled as vassals of the British Empire. All of these successive dynasties in Hyderabad represented a mix of different cultures and religions, and as with much of India—and multi-ethnic cities around the world—various populations tended to remain in their enclaves.

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Because it resisted westernization and modernization in the latter part of British period, the largely Muslim older sections of Hyderabad tended to remain intact, if a bit down at the heels. This meant that much of the historic architecture escaped the rush of bulldozing and new construction that has transformed the city’s modern, high-tech center, and remains a key source of beautiful old teak wood. When The Hudson Company visited, we made trips to two sites where well-preserved teak can be found. Demolition in the old city yielded boards as long as 22 feet, some dating back to the 17th century or even earlier. Then we worked with an aggregator who organizes auctions of antique beams, boards, doors, and exterior elements. Ultimately, we gathered 10,000 BF (that’s one shipping container’s worth) of teak, and sent it to our facility in Pine Plains where it was milled. We worked with Friends of the High Line and Sciame Construction to source the wood and find what was needed to craft seating, steps, and other design elements. It’s gratifying to see that these pieces of antique timber, which grew centuries ago in India or elsewhere in Southeast Asia, survived long enough in the buildings of old Hyderabad to be harvested and given a second act in New York City. Visitors may not know the wood’s story, but they can admire its natural beauty and appreciate its impressive weather-resistance on a blustery New York day.

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Inside Man: Contemplating Art and the Interior World with Donald Judd

 
Donald Judd, 100 untitled works in mill aluminum, 1982-1986, Mill aluminum, 100 units each 41 x 51 x 72 inches.

Donald Judd, 100 untitled works in mill aluminum, 1982-1986, Mill aluminum, 100 units each 41 x 51 x 72 inches.

 

The artistic legacy of sculptor Donald Judd (1928–1994) is getting a lot of attention this spring: there is a major retrospective at the Museum of Modern Art curated by Ann Temkin, and a massive plywood installation at Gagosian Gallery, on view for the first time since 1981. This flurry of activity has fallen, quite by chance, at an odd moment: you can’t see either exhibition in person, because—as of this writing—institutions across the United States (and especially in New York City) are closed to the public in an effort to stop the spread of COVID-19. There’s also a book, and this you can read anywhere: Donald Judd Spaces, edited by Flavin Judd, Rainer Judd and the Judd Foundation, which offers newly published photographs from Judd’s archive, as well as five essays by Judd himself.

Judd is typically classified as a sculptor, but he didn’t like that term, nor did he like “minimalism.” He described his efforts as “another activity of some kind.” He began his career as a painter, and in the late 1950s and early ‘60’s, he worked as an art critic. This role gave him access to the postwar New York art world, where at the time Abstract Expressionism reigned supreme. As a blue chip artist today, Judd’s work is immediately recognizable: geometric, orderly, colorful, architectural, and smooth. Judd wasn’t precious about craftsmanship: once he began making three-dimensional objects, he started working with industrial fabricators, especially a commercial sheet-metal shop called Bernstein Brothers, providing them with detailed drawings and plans. In 1968, he bought a cast iron building on Spring Street in SoHo, and renovated it floor by floor, using it as his art studio and residence.

 

Judd in the early 1960’s in his studio on East 19th Street in New York City.

“Untitled” (1991) is among the many untitled works in ”Judd” at the Museum of Modern Art. The exhibition opens on March 1.Credit...Donald Judd Art; Judd Foundation/Artists Rights Society (ARS), New York; Zack DeZon for The New York Times.

 

In 1971, he rented a small house in Marfa, Texas, eventually assembling the compound around the Ayala de Chinati Ranch and the abandoned buildings of U.S. Army Fort D. A. Russell, which would in 1979 become the Chinati Foundation, with support from the Dia Art Foundation. In addition to the collection of important large-scale works by Judd and contemporaries like Claes Oldenburg, Dan Flavin and John Chamberlain, the Chinati Foundation preserves Judd’s living quarters and studio exactly as he specified. The Judd foundation does the same in New York where his Spring Street loft building is carefully preserved as a working and living space.

Writing of the MoMA retrospective in the New York Times in February of this year, critic Holland Cotter described Judd’s early forays into 3D work thus: “It was three-dimensional, so it wasn’t painting but, he claimed, it wasn’t sculpture either. He called the new works “specific objects,” and left it at that. He titled all of these objects “Untitled,” and insisted they were devoid of metaphors, personal data or real-world references — all the lures, in other words, that art traditionally uses to draw us in.” It may have been devoid of “lures,” but it wasn’t devoid of references: Judd’s specific objects, and the dwellings and studio spaces he designed them in, were the very “personal data” and “real-world references” Cotter believed Judd eschewed. Judd was a creature of the interior.

 

An installation view showing, in the foreground, “Untitled” (1963/1975); one of Judd’s earliest experimental objects (from 1961), left, with a baking pan sunk in its surface; and, right, a 1963 piece that shows him playing with space. Credit: Donald Judd Art; Judd Foundation/Artists Rights Society (ARS), New York; Zack DeZon for The New York Times.

Some of Judd’s objects come with special effects: Peer into either end of a row of the four aluminum boxes that make up this 1969 work and you’ll find that they form a long blue corridor with a reflective surface. Credit: Donald Judd Art; Judd Foundation/Artists Rights Society (ARS), New York; Zack DeZon for The New York Times.

 
 

Donald Judd - Daybed, 1979, Pine wood (with canvas mattress). 112 x 115 x 203 cm.

This is one of the key themes of Donald Judd Spaces, which brings readers into Judd’s material world. He placed objects and furniture in specific locations, and while he lived in New York and in Texas, he created works of art that themselves framed out space, with colors, forms, surfaces, and gaps. The Judd Foundation restored his residences and studios, so when visitors see them, they’re seeing something like a 20th century historic house museum rather than a collection of sculpture. The differences between his studio work and his forays into architectural preservation are mainly questions of scale: where he made room-size installations in his works of art, he also restored a SoHo building and conserved old structures on what is now the site of the Chinati Foundation, which could be read as gigantic Judd-type sculptures astride the landscape.

Right now during this indeterminate period of quarantine, it’s possible to read about Judd’s work, see some of his outdoor sculpture if you happen to be in Münster, Germany, the campus of Northern Kentucky University, or Marfa, Texas. You can watch an interview with Judd on YouTube via the Museum of Modern Art’s website—all part of a movement that’s taken shape in the past few weeks known as #MuseumFromHome. In a way, Judd’s work is particularly compelling right now because we’re experiencing an abundance of shared two-dimensional experiences: working remotely, reading the news on a tablet, playing games, streaming Netflix, even gazing out the window. The picture plane is all around us, signs and symbols everywhere. But inside, where we may least expect it, complexity and an abundance of forms in space abound. Our furniture, personal belongings, papers, and kitchen implements can all be seen, if we choose, as an interior landscape to be explored rather than overlooked or taken for granted. That’s the ironic twist of Judd’s temporarily hidden exhibitions: just thinking about them rather than seeing them—and indeed of Judd’s own spaces in New York and Texas—can make us see our own interior worlds in a new way.

 
 
 

READ THE BOOK: DONALD JUDD SPACES

An unprecedented visual survey of the living and working spaces of the artist Donald Judd in New York and Texas.

 

INSTALLATION IN FOCUS: DOWNTOWN IN COLOR BY HALLIDAY GREER, 8th STREET, MANHATTAN

Interior design by Halliday Greer, Capella, Flat Sawn flooring by The Hudson Company, Photo by Annie Schlechter

Interior design by Halliday Greer, Capella, Flat Sawn flooring by The Hudson Company, Photo by Annie Schlechter

Interior and architectural designers Andrew Halliday and David Greer focused on chroma and pattern while thinking about their design for this bright and color bathed residential renovation in lower Manhattan.

Early in the process, the designers and owners were aligned in wanting to use a light colored floor to amplify the brightness of the space without competing with the rest of the colorful elements of the interior. They selected Capella, Flat Sawn White Oak Select Grade flooring for the project. “We wanted something light, neutral and airy so that it didn’t ever feel dark or too heavy…a clean and contemporary envelope that didn’t compete with the deep colors and patterns on the walls,” said Halliday.  “We think it looks terrific.”

Photo by Annie Schlechter, Typographic art by Russell Maret

Photo by Annie Schlechter, Typographic art by Russell Maret

Photo by Annie Schlechter

Photo by Annie Schlechter

The entryway paneling is painted a deep teal blue and creates a wonderful arrival that opens up into the rest of the bright apartment.  Bold patterned wallpapers were integrated with other graphic elements to create an environment that truly represented the owners themselves.  Russell Maret, a type designer and family member, provided some of his typographic artwork, which adorn the walls with color and symmetry. 

“Working with The Hudson Company was a terrific and seamless process,” commented Halliday, “we will use their floors many many times in the future.”

Photo by Annie Schlechter

Photo by Annie Schlechter

5 Questions With Architect Sarah Zames of General Assembly

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The Hamptons is an interesting place because it has both a very formal and a more relaxed artistic history. This project was a balance of those two ideas.
— Architect Sarah Zames
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Flooring is one of the biggest decisions you make on a project and locking that decision in in the beginning is important in order to keep the other decisions on finishes in line. What I enjoyed about The Hudson Company was the education they brought to the clients.
— Sarah Zames

Meet Sarah Zames of General Assembly

Brooklyn-based architect Sarah Zames grew up in Northwest Connecticut and has been living and designing in New York City and Los Angeles for the past two decades. After working at several international firms, including Skidmore Owings and Merrill, Tod Williams and Billie Tsien Architects, and Rafael Viñoly Architects, her attraction to the intimacy and scale of residential design led her, in 2010, to start General Assembly - a team of designers and project managers who believe that the details of a home should come from the unique, personal details of the people who live there. In addition to ground up and full renovation projects, GA designs custom lighting and furniture.

Creating A Family Refuge In The Hamptons

In 2018, The Hudson Company worked together with Sarah and GA to provide the custom milled flooring for the ‘Watermill’ project - a complete residential renovation in The Hamptons. Describing the project in their own words, GA says:

“This 3400 square foot home in the Hamptons was gutted down to the studs and rebuilt to create a family refuge from the busy city. We were inspired by the idea of juxtuposing the informality of a traditional country house with the formality that such a grand space required, in order to create something entirely unique, filling the house with our modern interpretation of some very classic details. GA handled all aspects of the process from architectural design to interior design, including all lighting, finishes and several custom designed furniture pieces.”

5 Questions with Architect Sarah Zames

After the successful completion of the Watermill project, which features Hudson Company Bare, White Oak, Flat Sawn floors, we wanted to sit down with Sarah to discuss a bit about her team’s creative process and how they brought the Watermill project to life.

First off, how did you distill the clients' needs / ideas into a clear vision for the design of this project?

The house was designed for four different people (from two different generations) to enjoy. So, we naturally had some differing opinions on style.  We wanted to make sure we were able to work the personality of everyone into the design, and took input from everyone involved. One unifying factor between everyone was their love of travel. They often traveled as a family together, and brought back some great art pieces. We made sure to find places to include those in the space. 

Clearly there is a focus on natural materials in this project—woods, marble, stone, and plants—can you talk a bit about these choices of materials and why they are a good fit for a, 'family refuge from the city?'

We tend to use natural materials in all of our projects because they are ageless and will not go out of style. For this project, using natural materials was a big part of bringing balance to the design. We combined natural materials with more modern details and, in doing so, we were able to achieve a comfortable elegance.

How did the design of this home fit into or contrast the historic design vernacular of the Hamptons?

The Hamptons is an interesting place because it has both a very formal and a more relaxed artistic history. This project was a balance of those two contrasting ideas. We wanted to maintain some of the formality, but also create a comfortable place to enjoy the weekend. We achieved this balance by creating more modern versions of some traditional details (for example, the paneling on the stairs and family room ceiling), and by bringing in natural materials that would age over time.  

It's clear that your team loves the custom details of design (from finishes, lighting, furniture, etc.). Can you talk about this high-level of creative detailing and how this style of work allows you to serve your clients and create unique design?

We feel that the best part of doing a full renovation is being able to have everything designed exactly to your taste. Designing custom details, like the brass tops to the railing balustrade, is one of the best parts of what we do. It means that the homeowners get to enjoy something that is unique to them, and we get to experiment with design and work with really great craftspeople.

Lastly, can you talk about your experience collaborating with The Hudson Company during the Watermill project?

We started working with The Hudson Company very early on in the project. Flooring is one of the biggest decisions you make on a project and locking that decision in in the beginning is important in order to keep the other decisions on finishes in line. What I enjoyed about Hudson was the education they brought to the clients. They respect the fact that [wood flooring] is a big investment and they took the time to educate the clients on the importance of quality flooring. 

Learn more about Bare, White Oak, Flat Sawn

Go inside the Watermill residential project here and here.

Project Credits:

Inside Our New Ridgefield, CT Showroom

***THIS LOCATION HAS BEEN CLOSED***

Come Visit Us In Ridgefield, CT

Opened on November 14, 2018, our Ridgefield, CT showroom was established to serve our Westchester, Connecticut, and New England clients. Designed by Brad Ford and furnished by FAIR, our newest and largest showroom will showcase over 100 flooring, paneling, and beam products.

Located on Ethan Allen Highway (Route 7), our Ridgefield Showroom is conveniently located for product viewings, consultations, and client meetings and is open by appointment Monday to Friday.

Book An Appointment or Learn More About Our Ridgefield Showroom

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Installation In Focus: 1 Hotel Central Park, NYC

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1 Hotel Central Park: A Different Kind of Hotel

Starwood Hotel Group has long been a leader in high design and luxury hospitality around the world. With their new line of 1 Hotels (Manhattan, South Beach, and Brooklyn), Starwood is again bringing design to the forefront of the hotel experience — now with an elevated emphasis on sustainability, authenticity, and the beauty of nature. The development of 1 Hotel Central Park started with a broad concept. According to Starwood CEO Barry Sternlicht: “The world around us is beautiful and we want to do our best to keep it that way. We want to make an impact by reinventing the industry standard for socially responsible hospitality. We want 1 to be a different type of hotel.”

Located at the corner of 58th Street and Sixth Avenue, 1 Hotel Central Park is just one block south — only 100 steps, in fact — from Central Park. And like Central Park itself, the idea behind 1 Hotel was to create a retreat within the city where guests could escape and refresh. New York-based firm AvroKO developed the design for this innovative, 229-room, 110,000-square-foot urban oasis and, from the beginning, meticulously pursued the use of sustainable materials and locally sourced building solutions. The design team worked to complement the building’s existing structure (including exposed concrete ceilings and floors, steel columns and beams, and terracotta block walls) by utilizing materials to enhance the authentic feel of the hotel, including locally made furniture, handmade textiles, and a wealth of indoor greenery (24,000 indoor plants!).

A Diverse Spectrum of Custom-Milled Wood Surfaces

Among the wide range of natural and local materials incorporated into AvroKO’s designs for 1 Hotel Central Park is a diverse spectrum of Hudson Company wood products — from reclaimed flooring and paneling, to historic hand-hewn beams and one-of-a-kind custom statement pieces. Through close collaboration with The Hudson Company, AvroKO was able to incorporate a range of unique wood surfaces that reinforce the hotel’s strong design concept and its goal of “bringing the outside in.” From the hotel’s street-level entrance and lobby spaces, to the guest rooms, fitness center, and presidential suites, a variety of carefully selected Hudson Company wood surfaces can be found throughout 1 Hotel Central Park. The surfaces include 50,000 square feet of Hudson Company Silt flooring, 30,000 square feet of Reclaimed Barn Siding, 50 Reclaimed Hand-Hewn Beams, Reclaimed Gym Flooring (salvaged from the old University of Wisconsin basketball court), Reclaimed Redwood (sourced from retired NYC water tanks), Reclaimed Threshing Floor, Reclaimed Travaux Maple flooring, and a custom-finished, debarked Spalted Elm Stump in the hotel’s lobby.

A Hotel Unlike Any Other in New York

"The natural and local materials emerged as the heart of the design, allowing us to celebrate and enhance their inherent richness with minimal touches, including a warm color palette and atmospheric lighting,” says AvroKO principal Greg Bradshaw. “Our goal was to leave the space feeling somewhat unadorned so the materials and core of the space could speak for itself." All of this careful material sourcing and eco-minded design makes 1 Hotel Central Park a boutique hotel unlike any other in New York City — one that brings the outside in, provides a unique parkside respite for travellers, and, as Ann Abel at Forbes put so well, “feels alive in a way that few others do.”

>> This installation profile originally appeared in The Hudson Company Journal, Volume 2 - click to learn more about our new print journal and catalogue.

>> See more photos and product details from this design installation.

Installation In Focus: Sunnyfield Farm

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A Classic Home 8 Years In The Making

Overlooking the rolling hills of the Hudson Valley is the idyllic Sunnyfield Farm, a horse farm and traditional Georgian-style home in Millbrook, New York.

The Hudson Company was honored to play a role in the development, design, and construction of the home — a project spanning more than eight years, including a research trip to the Swedish countryside for inspiration and materials. This passion project required not only a very close client-designer relationship but also an ongoing dialogue with The Hudson Company. The result of these close partnerships is a residential installation project that features some of our most ambitious flooring details to date, including 10" Reclaimed Heart Pine flooring sourced from historic New York City townhouses; custom-milled, extra-long White Oak floor planks;  and Reclaimed Redwood specially milled for Sunnyfield’s trim work. 

Throughout the process, lead architect Cynthia Filkoff of Di Biase Filkoff Architects was attuned to her client’s high standard of quality and beauty. “We were initially asked to transform the preexisting modernist house into a traditional Tudor,” Filkoff explains, “but after living in the original house for a year, the client decided that the quality of the construction was inadequate. It made more sense to tear it down and build a new home.”

In time, the team at Di Biase Filkoff came up with a solution that would meet the client’s exacting criteria: a proper brick Georgian home with Swedish-inspired interiors connected to the magnificent land and views. In order to find the right balance of craftsmanship and aesthetic, Filkoff traveled to the client’s summer home in Fiskebäckskil, Sweden. “In Sweden, I was able to study the wood-centric, old-world architecture that the client admired so much. What I found there was an aesthetic that was rich in handcrafted details. It was inventive and playful, both inside and out. Ultimately, these were the kind of details that we worked to incorporate at Sunnyfield.”

Along with a detailed list of high-quality, sustainable material specifications, the choice of wood flooring was critical to the aesthetic and design of the home. “When it came to flooring,” Cynthia recalls, “the client was committed to creating a wood floor that reflected the antique floors of classic Swedish homes. The details had to be authentic.” From here, Di Biase Filkoff turned to The Hudson Company, who encouraged the designers to incorporate two complementary flooring types: Reclaimed Heart Pine and White Oak.

The Reclaimed Heart Pine milled for the Sunnyfield project was sourced from a row of historic townhouses on New York City’s Upper East Side and then milled to a width of 10” to reflect the flooring Filkoff had researched in Scandinavia. The White Oak flooring planks, installed in the home’s ground floor, were sourced from purpose-cut trees, hand selected from private timber stands. The trees were air-dried, kiln-dried, and custom milled to meet the architect’s designs. Along with an intricate wagon wheel pattern for Sunnyfield’s dining room, Filkoff also designated that much of the White Oak would be milled into extra-long planks that could span from the home’s front entrance all the way to the back door. At 10” wide and ranging from 10’ to 24’ in length, these extraordinarily long oak planks create a striking and unique aesthetic for the home’s ground floor. In addition, Reclaimed Redwood, sourced from decommissioned New York City rooftop water tanks, was used to outfit the home’s custom door and window frames and interior trim.

In the end, what made the Sunnyfield project such a glowing success was the sustained and passionate attention to detail by everyone involved: the client, the designers, and a wide array of talented craftspeople. Looking back, Filkoff remembers the project collaboration with special fondness. “Working with The Hudson Company exceeded our expectations on every level: from their knowledgeable insight and expertise, to their creative ideas, to their ability to source and deliver materials on time and on budget,” she says. “Throughout the project, the collaboration was exceptional. The Hudson Company enhanced the entire process. You know, I could go on and on about this project. Sunnyfield was such a labor of love.”

This installation profile originally appeared in The Hudson Company Journal, Volume 2 - click to learn more about our new print journal and catalogue.

Installation In Focus: Willow Street

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We wanted the space to be a balance of contrasts, open and airy yet respectful of the rooms expected in townhouse living; modern lines and materials, but respecting the character of the house and neighborhood; natural but polished; unique and creative, yet timeless and universal.
— Damian Zunino, Studio DB
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Transformation In Brooklyn Heights

Well known for its tree-lined streets and well-preserved antebellum townhouses, Brooklyn Heights is one of New York City’s most charming neighborhoods. At the very heart of this historic district is the 1834 brownstone on the corner of Willow and Middagh Street. Originally built in a Greek Revival Style, 15 Willow once belonged to the Franciscan Sisters of the Poor but, in 2016, was transformed into a single-family residence — a transformation that required a nuanced balance of innovation and preservation. The development and design team behind the renovation at 15 Willow Street project was Studio DB, led by the firm’s husband-and-wife principals Damian and Britt Zunino.

Damian explains how, as the team endeavored to modernize the 6,400-square-foot, five-bedroom townhouse, their goal was to create a balance of contrasts. “We wanted the space to be open and airy, yet respectful of the kind of interiors expected in townhouse living, [with] modern lines and materials that honored the historic character of both the house and the neighborhood.”

The choice of flooring was central to the architects’ goal of honoring the past while simultaneously integrating modern lines and materials. “We had a vision of how we wanted the floors to feel, so we reached out to The Hudson Company at the very beginning of the process. There was a specific walnut floor we were looking for — we wanted something that felt natural but still had a lot of character, and we knew The Hudson Company could produce this kind of flooring for us.”

Through close collaboration with the Studio DB team, The Hudson Company custom-milled 3,000 square feet of 5” Walnut plank and 1,000 square feet of 5” Herringbone plank for the project.“The new floors feel light but still raw,” Zunino says. “The finish brings a timeless, polished aesthetic to the house’s interior.”

The installation profile originally appeared in The Hudson Company Journal, Volume 2. Read more or learn how to get your physical copy of The Journal here.

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Installation In Focus: Mitchell's Lane

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Flat Sawn White Oak Floors At Mitchell's Lane Residence

Our custom Flat Sawn White Oak is milled to minimize waste and to accentuate arching, cathedral grain. This cut includes edge sap, tight knots, and grain variation. Learn more about this versatile flooring product here.

Photos above and below are from the award winning Mitchell's Lane residential installation (also known as 'Grove House'), designed by Roger Ferris + Partners. A few notes about the project design, taken from the architect's website:

This private residence was designed as an immersive yet modern natural retreat, providing connections to the surrounding landscape via planes of glass that interrupt a series of solid forms. Two of the volumes are delicately connected and sectioned off by a glass breezeway, housing the public and private living spaces of the home. A third volume stands alone, housing an artist studio on the second floor overlooking the rural landscape on which the home is set. Each of the three simple gable-shaped volumes are covered in the same natural rain screen wood material, that will gradually weather as the volumes fade into their natural surroundings.

Learn more about our Flat Sawn White Oak  here and see more from this design installation here.
 

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Introducing The Hudson Company Journal, Vol 2

Introducing the All New Hudson Company Journal, Volume 2

The new issue of The Hudson Company Journal  celebrates the people, products, and projects at the heart of who we are, goes behind the scenes at our mill in upstate New York, and takes an in-depth look at the best of our design installations, including our floors for the new Whitney Museum of American Art.

The Hudson Company Journal, Vol 2 is a tool to help designers and homeowners envision ways to use custom wood flooring, paneling and beams in your next design project.

Stop by our ManhattanBrooklyn, or Pine Plains Showroom to pick up your copy of The Hudson Company Journal Volume 2.

 

*Read A Digital Version of The Journal Here*