How did you come to design the public spaces of the soon-to-reopen Watergate Hotel in Washington, DC?
Jacques Cohen’s (principal at Euro Capital Properties, owners of the Watergate Hotel) father knew my work and is a bit of a collector. He came to my studio and proposed the final contract.
What was your design inspiration?
You have to react to the architecture; you have to react to what is there. The first thing we did was go to Washington, DC. We met [the owners] and they showed us around. Then we showed them our ideas. It’s one big battle from then on. You know who is winning? Both of us.
Watergate Hotel
How did Luigi Moretti’s architecture of the Watergrate complex influence your design?
You don’t design in a vacuum, you design for a place; it exists. You have to work there and design in context. The building is a strong statement, but when you work with it, you know that something could be better (than the original).
Tell us about the Watergate chair you created with Moroso.
The owners wanted an upholstered dining chair. I had never done an upholstered chair before and wanted the shell to be comfortable. This curved, open back chair is a work in progress; it’s a prototype for the Watergate chair and, though it’s black and red now, perhaps it will be a different color.
What is your favorite element of the hotel’s design?
The building, the place, and the legacy—it’s exciting to be a part of the project. I love the columns; they are winding, ornamental metal art sculptures.
