March 7, 2019

After ten years as CEO and Creative Director at Bunny Williams Home, Jennifer Potter and Audrey Margarite decided to take on a new venture in the home décor industry and founded their own company: Fête Home.

Just a few months after their October 2018 launch, we sat down with Jennifer and Audrey to learn more about Fête Home, what makes the company special, and where they hope to see it going moving forward.

You have been in the design and decor industry for a long time now—both of you were at Bunny Williams for at least ten years. What brought you to found your own company, and how has your time at Bunny Williams influenced your work at Fête Home?

Jennifer: Yes, we were there for over a decade. Audrey was Creative Director and I was CEO. We wore two different hats, but we shared a desk all that time. It was a pretty small team, so we did a multitude of things and worked together.

Bunny Williams Home was at a different price point; it was more of a luxury home brand, and we saw some whitespace in the market for really good design at reasonable prices. We have, as have most consumers, been influenced by the direct-to-consumer model.

We have developed relationships with factories and sources for the last decade. We knew that between the business and creative experience we gained, we could build something in the direct-to-consumer arena.

Audrey: We’re both mothers with young children. It is important to us to have nice things in our house, but it can’t be anything too precious. One of the things we really wanted to do was to make items that are dishwasher safe or can go in the laundry. We knew it was possible based on the factories that we worked with. So that was something that we very much wanted to bring to the forefront.


“Fête” means “celebration” in French—could you shed some light on why you chose that name and how it reflects your brand philosophy?

Audrey: Very basically, we feel that your home should bring you joy and there should be a reason to celebrate every day. That’s why we named our company Fête Home: so that people will realize they can invite people over anytime.  It doesn’t have to be stressful. You can make every day a little celebration.


What else would you say makes Fête Home special?

Jennifer: We design and produce about 70 percent of the line right now, so you can’t find most of our items anywhere else. That is very important to us. We just resigned from our past jobs in May of last year, so that’s the reason why our line is not 100-percent designed and produced by us. We were trying to catch the holiday season, so there were a few categories that we had to fill in with other vendors that we know and respect.

We sell a lot of fabric by the yard, all of our table linens and textiles for pillows and throws are exclusive patterns to us. We’ve designed and produced those patterns exclusively.

Audrey: We are starting to do more and more custom work, too. For instance, right now we have three tablecloth patterns and two more in the works.  If you don’t see a tablecloth that you like or you need one in a different size, we can custom-make one for you from one of the 30 different fabrics we produce. We can also do custom pillows, window treatments and more.  You can just reach out to us about your idea, because we love to work on custom projects.

Audrey:: Another thing that makes us special is the frequency with which we’re going to introduce new products. We found the whole industry to be pretty slow. Often, they only introduce products once a year, sometimes twice a year. We want to make Fête Home more akin to fashion, where a new collection comes out seasonally.

Jennifer: Everyone is looking for the newest thing. You might love a brand, but if you keep going back and seeing the same thing, you’re going to lose interest. We want to offer something new with each collection we put out.


Who are you designing for? What is your main demographic?

Jennifer: We launched in October, so we’re still learning. We’ve been in this industry for a long time and that means we have a nice built-in fan base which has been really supportive. We assumed that our primary customer was going to be a woman; that’s proven for the most part to be true. I think the age range can be anywhere from 25 and up and our price points go from $20 up to $300, so it runs the gamut.

I think it often gets intimidating, when people think about accessorizing and styling their home, especially if they don’t have an interior design background. What we’re encouraging is that it doesn’t have to be intimidating. That’s what we’re really aimed towards.

We relate to being mothers and being on the go; not having time for ironing or taking meticulous care of accessories and tabletops. I think that goes for everyone who’s really busy, loves to have people over, and doesn’t want to freak out every time they do it. We also think about making things multi-purpose—items off your bookshelf to put in the middle of the table, versus worrying about fresh-cut flowers, or candles, or that kind of thing. Our target is really the busy person who appreciates being in a happy, fun home.

We’re finding other niches that we didn’t think were going to be part of the model but certainly are easy to do.

For example, we didn’t start Fête thinking of it as a gifts company, but we’re finding more and more that it certainly fills that void.

Also, interior designers have a hard time finding the final layer of a home: accessorizing and styling. They need to find things very quickly that aren’t readily available or everywhere on the market. We can definitely help with that.

And there are the prop stylists. We had a sample sale recently, which Kew helped us promote, and we found that there seem to be a lot of prop stylists in these two buildings, and we can certainly help in that market, too.


What would you say is the most enjoyable or rewarding part of your work and what is most difficult so far?

Jennifer: As I said, we’ve been doing this for a really long time, in terms of designing and producing, so we know what’s involved. We were a small team before, but now we’re a much smaller team—it’s just Audrey and myself. We’re each doing a million different things at any given time. So that’s definitely challenging, but seeing a product come to life is really amazing.

Audrey: Yes, seeing it come to life and then getting feedback from a customer. When somebody sends you a picture of something in her own home and says how much they love it – it makes it all worthwhile.


Have you noticed any trends in the industry? What have you noticed has changed over time, especially in terms of direct-to-consumer and social media developments?

Jennifer: Social media has obviously played an increasingly important role across the board, but especially in such a visual industry. A lot of sources had not been as easily visible because of various trade levels, and now, everyone can see everything. It’s a great thing for both the consumer and designer, because there are just so many options out there. It affects us as well, because the need for photography is so great, and you have to be able to show something in a million different ways. The hunger of the consumer has become a lot more intense.

Audrey: Piggybacking on that thought, I think there is a need to show our customer authenticity. Our customer really wants to see that. You can see we’re two women; we are the company.  This is what we live and breathe, and we try to convey that to our customer through Instagram and with behind-the-scenes Instagram Stories. We want people to know who they’re buying from. It’s not the big machine; it’s a small business.


Where do you hope to see Fête Home going in the future?

Jennifer: Well, as Audrey said, we’re putting out several collections a year, so our primary focus is to grow the catalog and offer more and more to our audience. Again, we’re still figuring out exactly who our audience is. But, catalogue expansion is a major focus, and I think our custom business has really great potential, so we really want to grow that.


You mentioned you chose the St. James Building in part because of the design community. Were there other things about the building and the neighborhood that drew you to make this your new office home?

Jennifer: We definitely wanted something central in New York City. We loved the community feel, plus the size of the space was right.  Of course, timing and availability were also important.

Audrey: The location is great to get to; it’s really easy. There are tons of designers in these two buildings, and even outside them, there are so many more designers just in the next few blocks, so it’s a real hub.


Fête Home works with designers and offers a trade discount and trade program, but they are also open to the whole community. It’s important to Jennifer and Audrey that you know that they’ll be in the office to help and they will be maintaining inventory in their office, so you can just stop by and pick something up.  Fête Home serves regular customers, as well as designers, prop stylists, event planners, and will lend items out for photoshoots. Jennifer and Audrey welcome you to come by!

February 22, 2019

From its fifth-floor suite at 1133 Broadway, Susan Norget Film Promotion has had a hand in marketing and promoting some of the most notable and important films of our time. In fact, it’s safe to say that America’s familiarity with critically-acclaimed films like Blue Is the Warmest Color, American Honey, Searching for Sugarman, March of the Penguins, Melancholia and a host of others can be attributed—at least in part—to Susan Norget and her team.

Working mainly in the art house, foreign language, and documentary categories, Norget has promoted films for acclaimed documentary filmmakers such as Werner Herzog and Joshua Oppenheimer as well as known narrative writer/directors like Terrence Malick and Lars Von Trier, among many others. She has also seen films she promoted garner nearly two dozen Oscar nominations (winning four), six Golden Globe nominations (winning two), a dozen documentary Emmy nominations and awards, and dozens of film festival awards at Sundance and Cannes. One of her more recent projects, the Japanese film Shoplifters, won the prestigious Palme d’Or in Cannes and has been nominated this year for an Oscar in the Best Foreign Language Film category.



Susan didn’t purposefully set out for a career in film promotion, but rather landed there naturally as a result of her strengths and interests.

“I studied film for many years,” she says, “but like a lot of people, I wasn’t sure what I was going to do with it. I really love talking about film, I love watching films, I love international film. . . A four-year stint with the Toronto International Film Festival prepared me for my current career track.  I was often organizing screenings of the independent filmmakers work and trying to get the word out. And really what I do now isn’t so fundamentally different: it’s really about getting the word out.”

When she first founded Susan Norget Film Promotion as a boutique publicity and marketing agency, she primarily focused her interest on art house and foreign language films, and eventually documentary.

I think there was a period when documentaries were thought of, particularly by the broader public, as sort of “worthy,” like good medicine.  They were educational, but they were never thought about as entertainment, being moving, or an emotional experience.   A lot of Hollywood films seem cookie cutter, and “well, we’ve seen that story before,” I believe that documentary storytelling can really be some of the very best original storytelling.”

“Documentary has really hit a boom time mostly in the last 10 years,” Susan says. “I worked on a film called March of the Penguins many years ago, which was then a real anomaly in terms of big box office films because big box office and documentary didn’t go together. People like Michael Moore were able to kind of break through. Films came out that started opening people’s eyes a bit more, and in turn, because some of them were box office successes, it also made distributors more open. Some distributors that hadn’t even picked up a documentary film ten years ago suddenly realized there is an audience for them.”


Her Work Today

Nowadays, Susan’s firm handles promotion and publicity for a significant number of films each year, with a team ranging between two and four people, depending on the time of year and the work load.

Susan says. “I’m mostly doing the marketing side for filmmakers who don’t yet have distribution for their films. Once a film is picked up for distribution, then the distributing firm takes over the marketing of the film, whether it be posters, websites or the social media side of things. So, I often come in very early and work closely with filmmakers in terms of positioning the film: thinking about who the potential audience is, how best to get the message across, and what each individual film’s strengths and challenges are.  Then, I come up with great stills, posters, websites, broadcast clips, grassroots outreach and other fun marketing ideas—in a nutshell, I establish the profile of the film.”

Susan finds a special satisfaction in helping guide first-time filmmakers through the promotion process. “What’s incredibly gratifying is when you start with a film at its first film festival, whether it’s Sundance, or Cannes, or Toronto. Maybe it’s a first film or it’s just the first time a filmmaker has ever even been to a film festival, and you really feel like you’re helping guide the way. So much of what I’m doing is really familiarizing the filmmakers with the independent film landscape, what they should expect of a film festival, encouraging them to do certain things, to participate in certain things, preparing them for Q & A’s, and for interviews with the press. A lot of it is like coaching.”


Changes in the Industry

Like so many other industries, Susan says the digital age has had a profound effect on the modern film industry, particularly when it comes to streaming media services like Netflix, Hulu and Amazon.

“I would say it’s more challenging than ever for foreign language films at the box office these days,” she says. “I’ve noticed certainly in the last five years that it’s been much tougher. The films that break $1 million, for instance, which is a magic number in the foreign language and international film market, are very rare. It used to happen more often. I think there are a number of reasons, but certainly the fact that we do have so many more choices now, and that people are choosing to see more films at home play into this. That’s something that can be a little frustrating.”

Susan also sees the rise of social media as a mixed bag when it comes to how films are discovered, reviewed and curated today.

“On one hand, I do love the sort of democratization of it,” she says. “So many people have blogs and Twitter accounts, and they just want to express themselves.  I love the fact that there’s just so much more dialogue online about film. It changes my approach to marketing because of social media and the idea of influencers. Setting up a social media campaign and working with various digital assets that you premiere at different times—whether it’s a little clip or it’s a trailer—are very important because so many people are on their devices just scrolling around film and entertainment sites.

“At the same time, film criticism as a viable profession is a real question mark these days in terms of a profession in which people can support themselves . . . where there once was a staff of three film writers, now there is maybe only one. This is true for websites, magazines, and papers. It’s obviously even more challenging for print media. They’re downsizing, and with many more films being released,—both in theaters and through streaming—these people are overwhelmed.   Also, there’s much more pressure by the publishers or the “money people” in terms of page views.  You know, you’re more likely to get a click if it’s a film that’s starring somebody big, or has a trendy topic.  I feel economics is playing a larger role— and one outside my control to a large extent.

“That has changed my work in that I know they can only review so many films a week; so the foreign language films or those real special documentaries aren’t being reviewed to the same extent they once were. There’s less room for critical discovery, and, as a filmgoer, that makes me a bit sad. I appreciate the greater diversity of choices, in terms of how you see films, but as someone who deals with the media on a regular basis, it’s that much harder. I love a challenge, but sometimes you feel you’re working hard for diminishing press coverage.”

However, not all the news is bad from Susan’s perspective. “I think it’s wonderful that through digital platforms more people than ever have access to a lot of specialty films,” she says. “So, whether you’re living in Salt Lake City or Cleveland, or somewhere in Alaska, now you can see these films. New Yorkers are spoiled. We can go to the Film Forum, Metrograph, or New York Film Festival—there are so many different film festivals in NYC. However, in the past, if you were living in a smaller city or in an area that didn’t have an ‘art house’ cinema, you were able to see only mainstream films. The fact that many more people can see these films on digital platforms is a wonderful thing.”


What’s Next

Susan has some diverse projects on the horizon.  She is about to do an Icelandic comedy in early March.  A week after that, she is working on an Iranian film by one of the great international filmmakers, Jafar Panahi.  She says, “It’s a really broad cross-section of films that represent foreign language, what you’d call sort of Auteur Cinema, as well as a lot of really great documentaries. One documentary that’s going to be world premiered at Sundance and is coming out at the end of March in theaters is a documentary about Steve Bannon, which we hope people will be talking about.”

“I take on these films because I love them. But it is also incredibly gratifying to know that you first worked with this filmmaker for the world premiere of the film at one of the many festivals, and then a year later, it’s nominated for an Oscar. Whoa! And, you know, there have been a number of awards, a number of film festivals and a theatrical release, and so on in between, and great reviews, standing ovations, and so on.  There’s something about being part of that journey that’s incredibly rewarding, and that has happened with any number of films that I’ve been connected to.


Speaking of New York…

In moving from Canada, why did Susan wind up in New York to establish her film promotion firm, as opposed to Los Angeles? For Susan, it has as much to do with the New York vibe as the types of films she gravitates toward.

“It just happened to be a great place for my profession,’ she says. “It also just makes sense for so many reasons, not just because I love the city, but because of the distributors and filmmakers who are based in New York. While there’s certainly an independent community and independent distributors in L.A., there’s much more of an independent film industry here. It also makes much more sense as a sort of through-way for international film and filmmakers, whether it’s just about the distributors or the film festivals that are based here.”

Why set up shop in NoMad—and specifically, why the St. James Building? “I have a lot of clients and friends who work in the neighborhood,” Susan says. “I live in the West Village, so it’s nice that I can often walk to and from work. NoMad has a nice hustle-bustle too and great restaurants nearby. It’s also a nice midpoint between my home in the West Village and a lot of the places I need to go for work, such as the Film Society of Lincoln Center or MoMA, for meetings . . . it’s really well situated.

“As far as the building goes, I looked at a number of other places, but I liked the “vibe” as it were. I liked the fact that it was an older building that had character. The other thing I like about the building, and the neighborhood too, is that it is very ‘New York-y.’ I like the fact that it’s a nice mishmash of people from all different industries, and especially creatives.”


Susan Norget Film Promotion
1133 Broadway, Suite 536
New York, NY 10010
(212) 431-0090

November 26, 2018
© Sarah Smith Lubarsky – Solar Eclipse Lake Michigan, 2017

What do Ashton Kutcher, Michael Bloomberg, Maria Bartiromo, Phyllis Diller, Elliot Spitzer, and former Treasury Secretary Robert Rubin have in common?  They’re among the many cultural, business and political heavyweights whose portraits have been captured by virtuosic New York photographer David Lubarsky.

Over a career spanning more than three decades, David has seen and done it all— from portraits of the rich and famous to corporate and architectural photography.  His photographs have appeared in such exalted publications as The New York Times, The Wall Street Journal, Money, Forbes, Business Week, and Barron’s, among others.  Today, operating from his studio and office at Suite 1404, 1133 Broadway, David is always in high demand.  He says, “Most of my work today is for law and financial services firms. “Executive and environmental portraits, corporate lifestyle images for websites, annual reports, brochures and corporate collateral materials.”

Among the clients for whom David has worked are: Cravath Swaine & Moore, Sidley Austin, Jones Day, Goldman Sachs, Morgan Stanley, Skadden Arps, Mercedes-Benz, Edelman Worldwide, NYU Langone Medical Center, Museum of Modern Art and New Museum of Contemporary Art.  These represent a small fraction of an enormous list that attest to the quality of his work.

How does a seasoned pro like David flourish in the highly competitive photography field when anyone with an iPhone can claim to be a photographer?  The answer: thorough preparation, persistence at getting every detail right, innovation and, perhaps most importantly, connecting with people.

Persistence and Innovation

Every photographic situation involves a challenge and some may seem insurmountable–but not for David.  The reason is simple: he will not settle for second best no matter what it takes – leaning out over the edge of a building, jerry-rigging equipment, moving furniture or studying light patterns before the shot.  His goal is never to just get a shot taken, it is to make each exposure noteworthy and finished to the highest professional standards.

Recently, David has completed several photoshoots for Kew Management, including photos for the company’s website. Richard Falk from Kew who worked with David on these assignments noted, “I have worked with renowned photographers for more than 40 years, and David is the most detailed-oriented photographer I have worked with, and the one with the keenest sense of composition and insight.  He’s easy to work with, because he is committed and resourceful.”

© David Lubarsky – “Conferring Attorneys”, 2013

Making a Personal Connection

David has a winning personality that puts people at their ease, but with years of experience he also has many ways of making the tensest sitter loosen up.

When David was preparing to photograph former New Jersey Governor Jon Corzine for a magazine cover, he had allotted 30 minutes for the shoot.  The governor (and former senator) not only arrived late but said gruffly that he’d only sit for five minutes. While powdering Corzine’s face, David said he admired legislation to repeal the death penalty that Corzine had sponsored.  The governor immediately changed his tune.  “You know about that?” Corzine asked, surprised. “Take as much time as you need!”

Similarly, when David was preparing to shoot a portrait of Robert Klein for A&E Network, the iconic comedian was not entirely enthusiastic. But David knew Klein had grown up in the same Bronx neighborhood as his parents and told the celebrity he had even been to the David Marcus Theater on Jerome Avenue, where Klein spent countless hours as a kid.  “He was surprised and thrilled I knew about the old neighborhood theater, and his tone completely changed,” David recalls.  “Klein then said, ‘I’m yours!’  The shoot went very well.”

The key is to “do your homework,” David says. “Take the time to find out what makes your subject tick–connect with people as people.”  The results are clear in David’s portraits.  Subjects look their best: relaxed & engaged.

His Drive has Led to Success in Photography and Life

David’s success is no chance occurrence.  His indomitable spirit has resulted in great work for his clients and success for himself.

In the late 1970s, before he had even finished his fine arts degree in photography from the School of Visual Arts, he was taking on freelance assignments photographing works of art for museums and galleries. “As a new freelancer, I could apply my technical and aesthetic skills and still making a living, with the hope that some gallery owner would notice my work.”

Then he received a challenge that would have defeated others. “Within six weeks of opening my first studio, I had a brain hemorrhage.  It’s called an AVM, an arteriovenous malformation.” David was one of the first AVM patients to receive microsurgery, and one of the few who actually survived without any lingering problems. But the health crisis forced him out of work for several months. “Fortunately, my clients stayed with me. I still had work when I came back.”

© David Lubarsky – Sam Ehrenhalt, Labor Economist, 1999

Finding New Business Models to Succeed

More determined than ever, he spent the next two years building up three new portfolios of work: An editorial/portrait/portfolio, an architectural interior/exterior portfolio and a public relations portfolio.

David recognized that by shooting editorial, the photographer owns the copyright for the one-time use in a magazine.  Additionally, the subject of a portrait, or their company, often wants to purchase the rights to use the photo elsewhere, which provides an additional source of income for that image.

That’s what happened when David photographed Robert Rubin, then the chairman of Citicorp, for a magazine cover. A year after the shoot, Rubin’s staff wanted to use the image again for the cover of his upcoming book on his earlier time as treasury secretary in the Clinton Administration. By owning the copyright to the image, David could charge a licensing fee for each use.  “Controlling the image’s use is a key factor in generating additional exposure & income,” he says.  “Artists should never give away their copyrighted work.”

Meanwhile, many of the companies observed how David worked with the executives during the editorial shoots, so he started picking up assignments from them directly. “It was a great business model, and soon enough I had a collection of clients in the law and financial world.

© David Lubarsky – NYU Langone Medical Center’s Dean’s Honors Day, 2013

Continuing to Meet Challenges

What bigger challenge has there been to the entire creative world than the digital revolution?  It affected all art expression, but perhaps, none more so than photography.  On one hand, there was so much new to learn, from the enhanced results produced from digital cameras to the innumerable details of how to size images, store them, send them to clients in online galleries, and alter them post-production.  David, with his enthusiasm, sense of wonder and computer savvy, made all of these transitions easily.  But the change also had an impact on his bottom line . . . at least temporarily.

David recalls, “When affordable digital cameras hit the market, some of my clients said, ‘Well, you know, we don’t really need your services anymore. We’re just going to hand the point-and-shoot digital camera to our IT guy to get the shots.’”  “I said, ‘Please keep in mind that it’s not the camera that makes a good photograph, it’s the creative eye behind the camera.’ Within six months, those same firms came back, saying, ‘You know, you’re right, it’s not the camera.’”

© David Lubarsky – “Rights of Passage”, 1977

Inspired by NoMad

In 2014, after 31 years at his 20th Street studio, David was forced to move when the building was sold and his rent quadrupled. That led him to the NoMad neighborhood, a move which he says has been both convenient and inspiring.

Madison Square Park has been the Mecca of modern photography. “Alfred Stieglitz and Edward Steichen made those iconic pictures of the Flatiron building at the turn of the 20th Century;  Steiglitz also founded the famous 291 Gallery and The Photo-Secession movement, which met in the neighborhood. For me, it’s a meaningful connection and an inspiring place.”

Beyond his commercial photography, David has always pursued his own fine art work.

Among his favorite subjects is his interest in “transit”-themed images.  Some of the images from this study are in the permanent collections of the Museum of the City of New York and the New York City Transit Authority.  You may have even seen them in subway ads.  David’s transit photos also garnered him a one-man show.  Awarded by MTA Arts for Transit (now called MTA Arts & Design) the show was entitled “InTransit” @ Grand Central Terminal’s 42nd Street East Passage, July 1992.

© David Lubarsky – St. Sava Cathedral, 2015

Soon after settling into his studio space in 1133, David found a new personal fine-arts project to pursue.  “I had this beautiful view of the St. Sava Serbian Orthodox Cathedral from my fifth floor office, so I started shooting images every day–from various angles at different times and seasons, capturing the changes in lighting and weather,” he says.  Then, in May 2015, the church was destroyed by fire which David continued to photograph the aftermath.  “About a year and a half ago, I moved from the fifth floor to the 14th, on the same side of the building, so now I’m looking down at the church and photographing its reconstruction, a progression I hope to present in a book or show.”

As Always, Looking Forward

I’m incredibly fortunate to have an amazing partner, my wife Sarah, and I have two grown daughters who are gems, both married to artists, too.  I continue to be excited by the challenge of my assignments and the thrill of so many new technological advances.  It’s been a rewarding career, which I hope to enjoy for a long time to come.

David Lubarsky Photography LLC
1133 Broadway, Studio #1404
New York, NY 10010
Studio – (212) 505-1720
Mobile – (917) 754-1670

September 20, 2018

When a project completed by an interior designer still holds up after a quarter of a century, you know you’re looking at a master artisan. Recently, Kew tenant Glenn Gissler was featured on Dering Hall’s website for an interior he did 25 years ago—an interior that looks as fresh and timeless today as when he completed it.

The featured interior was of a home in Westchester County, NY. Gissler successfully combined traditional and modern furnishings with vintage and early American pieces to create a look that is truly timeless. The clients were passionate art collectors, and Gissler interwove this aspect into his design as well, with works by artists such as Richard Serra, Jim Dine, Claes Oldenburg and Jean Dubuffet—and even an etching by Matisse.

Gissler, who keeps his offices at 1123 Broadway, holds degrees in Architecture and Fine Arts, and he draws from a diverse palette of inspiration ranging from the vintage to the contemporary—and even exotic—to evoke visual appeal while reflecting his clients’ aesthetic. His architectural background even enables him to design custom furniture pieces for specific projects and functions. His work has also been recognized on a national scale, as he has been named among the “100 Top Designers” in House Beautiful and New York Magazine.

Glenn Gissler is just one of several highly talented designers with offices at 1123 and 1133 Broadway, and the quality of their work has shaped NoMad into a designer destination in recent years.

We congratulate Glenn for his achievements and his recognition by Dering Hall, which is clearly well-deserved.

August 14, 2018

Anyone who has looked up symptoms online knows how easy it is to be overcome by the abundance of medical information at your fingertips.  In fact, many people fall trap to “cyberchondria”, a term recognized in the science and health community, referring to increased anxiety caused by researching symptoms of diseases. K Health founder Allon Bloch characterizes this internet phenomenon as making everyone “two clicks away from cancer.”

K Health believes it has an answer to static symptom checking, with its new K app.  K employees a huge database of real clinical data — 20+ years of data across one billion professional health interactions, including physician notes, lab results, treatments, and prescriptions.  Using the “People Like Me” approach, it turns this massive amount of information into knowledge that is useful to the user based on their particular health profile.  The key to formulating the information for each user is a proprietary methodology incorporating advanced machine learning that formulates the response based on each user’s health profile.

Unique to K among competitors, it can also provide same-day office appointments and remote consultations with physicians.  In fact, K is now launching an easy way for its users to connect with a leading network of independent primary care providers throughout New York City. Local users can share their K report in a HIPPA-compliant manner with a provider through the app for a same-day visit or a free remote consultation.

The power of the new app has been recognized by the investment community.  Only last month, Kew tenant K Health, a Tel Aviv, Israel-based primary care startup, announced $12.5 million financing from investors including Mangrove Capital Partners, Lerer Hippeau Ventures, Primary Ventures Partners, the Box Group, Max Ventures, Bessemer Ventures, and Comcast Ventures.

Bloch makes it clear that K’s results are not designed to replace the advice of medical doctors, and he added that the team is working towards creating ways that prevent the misinterpretation of treatment suggestions.

K Health has already seen improvements in patient outcomes in markets where it has launched. In fact, the success and powerful capabilities of the app have been acknowledged by numerous publications including WSJ, Crain’s NY, Alley Watch, and Venture Beat.  We are proud to have K Health as part of the Kew community and look forward to more exciting developments and their continued growth.

August 9, 2018

The best companies are always on the hunt for brilliant, talented individuals—but when they’re specifically looking for people in the creative space, many of these businesses look to BIANCHI&Co. Centrally located in NoMad at 1123 Broadway, this boutique firm has carved out a niche in the executive search and recruitment industry by connecting growing businesses with the perfectly matched exceptional creative talent they need.

“My job is to help companies evolve,” says Anthony Bianchi, the firm’s founder and CEO. “I’m known in the industry as someone who can effect change through finding the person who is the perfect fit to help take the client to the next level.”

A Newer Company, Backed by a Legacy of Success

While BIANCHI&Co. has existed only since 2015, Anthony himself is no newcomer to the industry. He’s spent more than 20 years focused on professional recruitment in the creative space and was a pioneer in e-commerce and digital marketing sectors. His client list is long and impressive, with names that include AT&T, The Gap, Microsoft, Ralph Lauren, Sephora, MTV, Calvin Klein, Estee Lauder, L’Oréal and others. It comes as no surprise that it has taken very little time for BIANCHI&Co. to build an established clientele.

“My clients are really a mix of a lot of retail brands, a lot of fashion and beauty clients,” says Anthony, “as well as other brands that aren’t retail per se but do value creative. The challenge is to truly understand how to evaluate talent, to match the caliber of someone’s creative work to the aesthetic that is appropriate for each of my clients.”

Forming a Niche Within a Competitive Industry

Specialization has definitely been a key to the firm’s success as BIANCHI has developed a solid reputation for finding creative talent quickly, making them a “go-to” company for specific types of skills. “I’ve been doing this for so long that I have a lot of relationships within the industries in which I work,” says Anthony. “I have a large and strong network of talent that I’ve nurtured over the years.  So when we work on something, immediately we have people whom we know could be a perfect fit for our client.

“A lot of companies come to us looking to elevate the level of their creative work,” Anthony continued, “perhaps even to grow a discipline they did not have. One of the things I enjoy the most in my work is partnering with my clients on those kinds of challenges.”

Changing Technologies and the State of the Industry

Over the years, Anthony has seen the digital revolution cause huge changes within his industry, from online job searches/recruitment to the emergence of new types of creative roles. He sees these changes as largely positive, although they have certainly required an ability to adapt and re-think.

“I feel there is a stronger demand for search than ever,” he says. “However, there is a huge shift in the type of talent that companies are looking for. The move toward social media is greatly changing the way my clients engage with their customers. Instagram, especially, is especially where we’re seeing the biggest growth right now. Thus, many of my clients are specifically looking for talent who lean heavily toward social media skills.”

At Home in NoMad

Given the wealth of creative companies in the area, BIANCHI&Co. has found NoMad to be both convenient and strategic as a location for their offices. “My last office was located in a very nice area over in West Chelsea in the art gallery district,” says Anthony, “but it was just a little tougher for people to get over that far during the middle of their day. I like this location because it’s so central that it makes it easier for people to come into my office during their workday.”

Anthony says the overall aesthetic quality of 1123 Broadway is an asset too. “The building presents the firm nicely,” he says. “The fact that it’s a landmark building, that it’s kept up and preserved so well, and there’s so much respect for the history and the original architecture and design of this building, I think is really in line with my brand and the values that are important to me and my clients.”


1123 Broadway, Suite 511

New York NY 10010

(212) 414-8514

July 30, 2018

If you’ve spent any time in public or commercial spaces in New York City, you’ve likely encountered the handiwork of Zero-In without realizing it. From the digital menus at Shake Shack to the interactive directory screens in a myriad of office buildings, the free guest wi-fi that has become standard in so many hotels and retail establishments, and even the directories in the Kew Lobbies—Zero-In has taken a leading role over the past decade in changing the way companies communicate digitally and the way consumers interact with their messages. The Zero-In client list ranges from international brands like Chase, Equinox and Macy’s all the way to the local concept eatery down the street. In many respects, Zero-In is a neighborhood company with a global reach—and as you’ll soon see, it’s a company harboring a deep affinity for NYC in general and NoMad in particular.

We spoke recently with company founder Mitchell Goss about Zero-In’s beginnings, the company’s emergence into the technology sector, and the various ways his business has set its roots deeply into the NoMad community.

Could you begin by telling us a little about Zero-In itself—what you do and what your company is about?

We’re a creative digital agency that focuses on the creation of digital experiences for the real world—basically what people experience when they’re inside retail or public spaces. That includes anything you see, what you hear, and even connected devices. Most of us here in New York are familiar with Times Square or the little displays you’ve seen inside the elevators, or the TV screens inside taxi cabs. We work within that industry—digital displays, interactive screens, iPads, the music you hear in retail spaces, the guest wi-fi that you connect to once you’re inside a store, transit system, or shopping center. It brings together technology from all different perspectives. I work with our clients’ marketing departments to build the experiences that people see and hear, but we’re also an IT services management company as well as an audio-visual house.

You probably have plenty of opportunity to create interactive experiences in this space.

Yes. For example, here at Kew, when you walk inside the Kew Building, one of the first things you see is an interactive directory. It’s a touch screen that you see where you can search for the tenant that you’re looking for. You can type Z-E-R-O, and Zero-In pops up, and you can see what floor we’re on. Very highly functional.  Gets you the information you need right away.

But then we also do interactive wayfinding maps for clients like Brookfield Place downtown, where you walk up to a large screen, and if you’re trying to find Paul Smith, for example, it shows where the Paul Smith store is, it draws out  the route on the map showing how to get there, and it may pop up promotions or offers. It takes a lot of hardware, software, and engineering and design to centrally manage the content across these types of complex systems

Where does the content come from for these displays? Do you help create the content, do you contract with third parties, or do your clients provide the information?

It’s all of the above. We have an in-house design team that helps our clients create the graphic content — the images, video and motion graphics and imagery that you see on the screens. Our clients can also create their own content and schedule it themselves, or they can send it to us to schedule for them. Typically, it’s a hybrid solution where we’re creating some of the content and scheduling it, and we give our clients the ability to make their own changes.

So what initially got you started in this industry? How did it begin for you?

In the early to mid-2000s when we started, we really went into business to be a media company. The first thing we did was install digital displays in New York City tourist locations. So the first version of the company—you could almost call it Zero-In 1.0—was a media company that installed displays in public places like the Empire State Building, South Street Seaport and ferry terminals.  Where the tourists would be standing in line, we put in TVs and ran around selling advertising to all the hotels, Broadway shows, restaurants, museums, and all the other attractions around the city. We called it NYC Tourist TV, and that’s how we got into the business. Then about a decade ago, we got out of selling advertising as a business and really focused on being a technology provider. Now, we provide services to the ad industry, but we don’t sell the advertising ourselves.

What prompted that change for you?

I think, as a younger company, your focus changes sometimes. I think in the later 2000s, we realized that there was a very big opportunity when everything turned into cloud-based software, and everything was managed services. There was a huge demand for entities looking for these types of systems for their own in-house communication with their customers, members, or guests. So we kept getting requests by different verticals and organizations for this type of technology, and we realized that there was a really big opportunity for us to be a leading provider of these services from an agency and consulting perspective rather than just being in the advertising business.

Among your current clients or projects, do you have anything you’re particularly proud of?

We’re fortunate to operate throughout North America, pretty much all 50 states, many Canadian provinces—we have clients from Hawaii to Maine, Alaska and Florida—and now we are working more globally than ever before. But as you know, we’re in the Kew Building, we’re in the Flatiron Building, we’re part of the Madison Square Park Conservancy, we’re part of the NoMad Experience. We’re really proud to be New Yorkers and be part of the community and especially of NoMad and Madison Square Park. We love the fact that we can service New York City clients, and one of the really nice things about being where we are is that it’s almost like a showcase for our work.

So for example, we work with Equinox globally, but their headquarters is right down the street.  Crunch gyms is a client that we work a lot with in their gyms throughout North America with interactive screens, and they’re right down the street. We have Shake Shack—as you know, the original Shake Shack is in the park right here, and we do their digital menu boards. We have other clients that are right here on Broadway, like Little Beet and Melt Shop.  We’re about to launch a new project with End Pizza — they’re a growing popular brand with customized pizzas. We’re launching a project with Cava Grill in Bryant Park; we work with Raymour and Flannigan uptown; we do a substantial amount of work with Macy’s.  The list goes on and on with just New York City-based organizations, and we’re proud to work with all of them.

It feels like you have been able to establish yourself sort of as a neighborhood business as well as an international company.

You know, I truly believe that there’s no place I’d rather have my business in the world than in New York City, and no place in New York City I’d rather be than NoMad.

How long have you been in NoMad?

Five or six years. And it just gets more fun and more exciting all the time. It’s vibrant, you have fantastic restaurants, you have a great network and community of like-minded individuals.  I think it depends on the type of business you have, but if you’re media- and tech- related, this is a really fantastic place to be.


1123 Broadway, Suite #704

New York, New York 10010

Phone: 888.260.7291


July 16, 2018

For over 120 years the office doors in 1123 and 1133 Broadway have opened to some of the city’s most interesting businesses. That is no less true today, and one of the most interesting is Pryor-Johnson Rare Books in 1123 Broadway.

When you step through the door of 517, you’re in for a wondrous experience: a welcoming space set up as part shop, part library, complete with comfy chairs, elegant antique furnishings and even a liquor cabinet—from which, depending on the time of day, the proprietors may offer a glass of whiskey or brandy.

And of course, there are the shelves and cabinets full of amazing books you won’t find anywhere else.

If you’re one of those people who imagine rare bookstores as dank, dusty places where you’re kindly advised not to touch anything, prepare to have your stereotypes shattered. Shop owner David Johnson and his associate Jonah Rosenberg are congenial hosts who invite guests to come in, sit down, relax, discuss fine works and peruse their collection of treasures—with supervision, but without apprehension. Delicate items are protected by mylar covers, and as Jonah points out, leather-bound books benefit from the oils on clean human hands.

“I think often what happens when people come in,” says Jonah, “is they say, ‘Oh, you know, these books are so lovely, but I’d be afraid to buy them because you can’t read them.’ And I just don’t think that’s true—you just have to reframe what you mean by read them. I have a book that I throw in my tote bag to read on the subway here.  Then, there are books that live on my shelf, and I read them when a friend, who’d be interested, comes over; or if I just want to look at something lovely, I’ll pull those down and read them.  I don’t think these books are sacred. We keep them behind glass because we have to dust them less. They can be used, and they want to be used.”

Awe-inspiring Treasures

If you linger for more than a few minutes, you’re likely to get a tour, at which point Jonah or David (or both) will personally show you a few of the gallery’s most notable treasures—and be advised, their passion is contagious. In the hour or so we spent with them, we were shown (among many other items) first-edition autographed copies of Harry Potter and the Sorcerer’s Stone by J.K. Rowling and Infinite Jest by the late David Foster Wallace; a first-edition copy of Allen Ginsberg’s Howl, signed both by the author and by his friend Carl Solomon, to whom the poem was dedicated; and a copy of the Tragedies of Seneca, currently the gallery’s oldest book. Most remarkably, as Jonah reads the Latin inscription in the Tragedies of Seneca, it reveals the exact day on which printing was completed: “Printed in Venice in 1505 in the month of September on the seventh day,” says Jonah. “So we can celebrate the book’s birthday.”

David and Jonah point out that rare and old are not the same thing. Many factors may determine the rarity of a book, including its condition, its edition, irregularities, who signed it, who owned it, authentification of its history, and hundreds of other possible variables.

“It doesn’t just mean ‘old books’ because all of our books aren’t old,” says Jonah. “When you’re dealing with old books, the case [for rarity] makes itself. It’s been preserved, it’s original, it’s often in a very nice binding. But for modern books, what makes a book rare?  It’s about distinguishing between the content and the individuality of the object, which is sometimes a difficult distinction to draw. But I think once people get it, they really get it. And to be able to hold the book that was in Allen Ginsburg’s hand when he signed it, in Carl Solomon’s hand when he also signed it, and to know that they were maybe together at some point or that this person [who owned the book] knew both of them is just really quite extraordinary.”

Pryor-Johnson’s Journey to 1123

Pryor-Johnson Rare Books essentially began as a personal passion of David Johnson, who emigrated from England in the early 1960s and initially began his career in the States as a telecommunications engineer.

“I started collecting examples of fine printing,” David explains. “I couldn’t afford much, so I started [collecting] printed ephemera, prospectuses for fine press [i.e., advertisements for soon-to-be-published works], and also English gardening books before 1800.  It’s a keen hobby of mine, and of course, it escalated and bloomed until it became bibliomania.”

Even though he had been collecting and selling for years, David says he didn’t become a full-time bookseller until 2014, when he was offered space as a tenant in the back room of Crawford Doyle, a bookshop then situated on Madison Avenue between 81st and 82nd Streets on the Upper East Side. After operating there for several years, David decided it would be best to move the shop away from street level, to the fifth-floor suite where the shop lives today.

“When we were up at Crawford Doyle, lovely as it was, it was open to the street,” Jonah explains. “We were a block from the Metropolitan Museum, so we got a lot of traffic, but it was generic traffic. [People] wandered around, and there was a sign that said, ‘More books this way,’ and they were going from an ordinary book shop where everything was $10 or $15, and then coming into our bookshop. They’d take a book off the shelf and say, ‘Oh my God, why is this $200?’ We weren’t in our target market. So our day-to-day work, which is cataloguing, was interrupted dozens of times a day. When we decided to move, we wanted to move to a closed space and not street-facing.  The benefit of being here is that we have peace and quiet when we want it, but it’s accessible to anyone who wants to visit.”

Rare Books in an Internet World

Today, Pryor-Johnson Rare Books sits in the heart of NoMad, where visitors can drop in whenever the door is open. “Strictly speaking, our hours are by chance and by appointment,” says Jonah. “Even though we’re [usually] here Monday to Saturday, 11 to 6, often we’re off at a preview for an auction or looking at a collection or what have you.”

In an age where technology is changing the way so many industries do business, both David and Jonah admit the rare book business has been affected dramatically. Still, they have found ways to adapt, both to utilize the Internet for selling and to compensate for the challenges it presents.

“We only pretend to be luddites,” Jonah quips. “We sell online, we sell through our own website, we sell through AbeBooks, we have an Instagram. To my mind, the bigger effect is the generational gap of people who have never gotten into a bookshop. I think something David and I see very much eye to eye on is a sort of educational mandate. We need to educate our customer in a way that our predecessors perhaps didn’t have to. We have to explain to people, without judgment or condescension—we have this stuff; let us show you why it’s so cool.  As sellers of a distinctly physical object, it’s about making the case to people that this is not equivalent to a PDF of the same thing.”

Pryor-Johnson Rare Books, NoMad and A Gilded Age Building

For David and Jonah, the decision to relocate the shop to NoMad last year was a natural choice for a number of reasons. “We’re surrounded by eight subway lines,” says Jonah. “The thing about this neighborhood is that because it’s younger and more creative than the Upper East Side, this is closer to our target demographic. We have the sort of people who have historically been book buyers. We have architects, psychologists, and writers — people who appreciate the printed matter of their field of interest.”

Aside from business reasons, the pair also acknowledge that moving to 1123 Broadway carries a strong sense of meaning, as much for the literary history of NoMad as for the building itself.

“One of the great private libraries, the Morgan Library, actually sits at the top of NoMad,” says Jonah. “This neighborhood is certainly a literary neighborhood. Lots of books take place here. Here’s a good example.” (He pulls out a book.) “Time and Again by Jack Finney. [The characters] are constantly walking through Madison Square Park, and they walk past our building. They walk past the Flatiron Building, they walk past the brand-new New York Life Building, that sort of thing. So this neighborhood is part of the literary heritage of New York in quite a serious way.

“Maybe it’s even too basic to mention,” he adds, “but when we sell old books, being in an older building, especially one such as this that has such character, you know, mosaic floors, the beautiful marble and cast-iron stairwells. It sort of sets us in context; we make sense in this building.”

Pryor-Johnson Rare Books
1123 Broadway, Suite 517
New York, NY 10010

Phone: 212-452-1990
Hours: “By appointment or by accident”

June 20, 2018

Independent ad agency Terri & Sandy was founded in 2010 with one goal in mind: To provide a more personable take on the big-agency world. Stepping away from over 20 years of Madison Avenue experience, founders Terri Meyer and Sandy Greenberg have created a company dedicated to hard work and strong client relationships. Their years in the industry have prepped them with big agency rigor, but their approach to clients and staff offers a personal touch. The magenta walls and open floor plan of their NoMad office provide the perfect backdrop to positive company culture and teamwork.

“Clients say that when they walk in, they just think it feels really good in here,” says agency co-founder Terri Meyer. “People really like coming to work.”

Accomplished Past

The welcoming nature of the company’s image does not distract from their ability to deliver results. Recipient of Ad Age’s Small Agency of the Year Award in 2017, Terri & Sandy went from $8 million to $13.6 million in revenue between 2015 and 2016, and about $19 million by the end of 2017. Their clients include names like Gerber, Disney, Peeps, Avon, and People, and their work has been featured on CNN, Conan, The View, Today, Fox News, Access Hollywood, and TBS Funniest Commercials. It is clear that while this woman-owned company keeps a staff of just under 50 employees, the scope of their accomplishments is anything but small. 


Having teamed up early in their careers, Meyer and Greenberg had already experienced great success together before opening their own firm.  The pair worked at different times with industry giants such as Mars, Kraft, Campbell’s, Nestlé, Oreo and Time, Inc., among others. But gradually they began to feel a lack of compatibility within the walls of the large company where they worked.

“Clients had been telling us for a long time that we should go off on our own,” Meyer says. “We sort of had an agency within an agency.  We had our group, we had our businesses, and we had our clients.”

The final push to start their own company came during the recession, when Meyer and Goldberg felt they could no longer do right by their clients in their current situation. “There were so many politics in the big agency world,” says Meyer. “Some creative directors would just kill stuff because they could, not because there was a reason to.”

The result: Terri & Sandy was formed in 2010 on Terri’s living room couch. Since those early beginnings, the company staff has grown by nearly 500%, and eight years later, five of the original seven employees are still with the agency.

“Everybody takes pride in their piece of what they do,” Meyer says. “Cultures are created from the top, and I would have to say we don’t have any politics, which is a miracle.”

The Work

The key to Terri & Sandy’s success, Meyer believes, is in the relationships the agency has with clients. “Every client here today, with the exception of one,” she says, “came from a prior relationship. When you have mutual success with people, they know that they will have it again.”

This special relationship differs from big agencies, because Meyer and Greenberg are the final decision makers behind every advertisement the company creates. “One of our promises is when you buy Terri & Sandy, you get Terri & Sandy,” Meyer said. “We laugh because the president of a big agency may come by once a year to grab a ham sandwich at a meeting.”

However, don’t be deceived by the company’s small size; for being a relatively small fish in a huge ad-agency pond, this agency definitely knows how to make waves. Terri & Sandy’s creative teams are behind some of the most heartwarming and effective campaigns on television, radio, social media and print—from putting FreshPet on the map to revitalizing the iconic Gerber baby brand for the Millennial generation. When People magazine — struggling to reconnect with readers in a day of instant online communication — approached them, the team launched a social media campaign that exceeded every benchmark and turned the magazine’s sales around. And last June, when Terri & Sandy were tasked with shaking up Avon’s image, their hugely successful “Boss Life” campaign breathed new life into the brand with its message of women empowerment through entrepreneurship.

With its current clientele, Terri & Sandy chooses to focus only on projects that align with the firm’s collective mission and values. “Clearly everyone wants to make money,” Meyer says, “but it is not the bottom line. We say ‘no’ to things if we do not feel like they are right for us.”

Social Consciousness

While Terri & Sandy is incredibly busy meeting the needs of high paying clients, it is perhaps most proud of the social work it’s done such as that for “Strands for Trans,” a nonprofit initiative working to provide transgender people with a safe salon to get haircuts. “We met all of these trans people, and their stories were similar,” says Meyer. “There was no safe place to go. They never felt comfortable having anyone touch their hair.”

The agency partnered with JP Gomez of the famous men’s salon Barba to start the nationwide initiative. The campaign began with a video advertisement.   “We did a video that was barber shop poles,” Meyer explained, “and it has a track going over it with all of these news stories about how trans people don’t feel comfortable.  At the end, we change the colors of the barber shop pole to pink, blue and white – the colors of the trans flag.”

For Pride Week, Terri & Sandy came up with the idea to dye hair with the colors of the trans flag. “We did a video of all the people with their hair dyed to show support,” Meyer said.  “Marc Jacobs, the fashion designer, got involved.  He came in to get his hair colored, and he did a video. We got so much press.”

Since the campaign, over 150 salons across the nation have signed on to Strands for Trans and  have placed a sticker in their window, letting transgender clients know they have found a safe place.  “We have five more states to go, and we will have the whole country,” Meyer said.  “So many people donated their time, which is the most meaningful thing.”

The Future of Independent Agencies

While Terri & Sandy may be working with a smaller staff than the big firms on Madison Avenue, its successful track record and returning clientele demonstrate that the future of advertising may very well lie within independent agencies.

“I think people are getting sick of being in the big agency world,” Meyer said.  “Employees are not treated well, and clients are sick of not getting personal attention. We have pitched against the best agencies in the world and won — sometimes twice.”

June 14, 2018

Founded in 2003, Open House New York (OHNY) is a nonprofit civic organization dedicated to connecting the public with New York City’s rich architectural heritage through a variety of events and programs. The organization’s biggest annual event, Open House New York Weekend, opens the door for architecture enthusiasts around the world to explore buildings usually closed off to the public. Originally inspired by the very first Open House organization in London, organization founder Scott Lauer began OHNY when he realized how easily Open House Weekend could be replicated in New York. Since then, Open House organizations have spread rapidly through metropolitan cities across the globe. Besides Open House Weekend, OHNY puts on additional programs throughout the year, including educational sessions on urban systems and a city-wide scavenger hunt. The overarching goal of these programs is to educate the public about the importance role architecture and design play in the shaping of a city, and particularly how our relationship to these elements have helped shape NYC into a vibrant place to live, work and learn.

We sat down to talk with Gregory Wessner, the Executive Director of OHNY, about his organization’s programming, the importance of understanding the built city and the future of architecture in NYC.


What did the early days of this organization look like?

I wasn’t here at that time, so I’m speaking second-hand, but the planning for the first Open House Weekend, which was inspired by an event that happens every year in London, took place the summer before 9/11.  I think a key point about the development of Open House New York was that the planning really happened in the months and years after September 11th. The first weekend event was in 2003. New York at that time was a city of security and lockdown and very closed off.  Open House weekend was a reminder of the value of openness and access and giving the public and New Yorkers access to the city.  It was an important event specifically to New York at that time—different than London, which was just celebrating architecture and buildings.  For New York, it was a real reminder about the deeper meaning of being in a city.

Was New York picked to be the second city?

It wasn’t picked. In every city that has happened since, it is initiated from within the city.  London started the initiative, and there was no intention of it ever going anywhere but London.  There was a woman in London that had the idea and started the event, but there was a guy named Scott Lauer who is an American living and working in London that volunteered for Open House London.  He moved back to New York in the summer of 2001.  He went to a bunch of organizations and said, “There is this great event that happens every year in London, and we should do something like that in New York.”  All of those organizations said, “Yes, this is a great event, you should do it.” And so, he started the planning, and that is how it happened. I think once people around the world saw that the idea could happen somewhere else and that the model of a one-weekend-a-year event could be exported, New York became an example of “Oh, we could do that too.”

How does OHNY work with other branches around the world?

Every city is completely independent.  There is a shared set of values and we occasionally communicate and trade horror stories and support for one another, but there is no formal relationship.

What does the OHNY staff and board look like today?

Everyone associated with Open House loves New York. There is a real passion for the city.  A lot of the people have a background in either architecture or urban studies or some kind of related field.  Our staff is small; we are only four people, but we have a board of 22 people. It is a mix of architects and developers and other cultural figures. The board’s role is to provide guidance and long term vision as well as general fundraising and oversight.

Why does OHNY believe it is important for someone not involved with architecture as a career to know about architecture in New York? 

We don’t have a choice—we exist in a built city.  We live in homes, we go to work in offices or in factories or in schools. Every aspect of our daily life is shaped by the built environment. It is something that none of us can escape. We all share it together. Whether the city functions well or poorly, it’s really the responsibility of all of us to pay attention and advocate for better design and better facilities. The more each of us know about how a city is made, the better off we all are.

Tell us about your recent Urban Systems series of events. How do these help your mission?

I think when people talk about architecture, they think of grand and beautiful buildings. What we are really interested in is looking at architecture in its broadest sense, which is the constructed city. A lot of construction comes from places that support our lives day-to-day, like manufacturing facilities that create jobs or provide products that we use, or our food system.  We have to feed 8.5 million, as [well as] millions of people that are visiting on a daily basis. All of that food has to be managed and produced and consumed and distributed. That requires space. The urban systems series is really looking at aspects of the city that may escape our attention because they aren’t the beautiful buildings we think of when we think about Capital A architecture. They are, in many ways, more important. They provide jobs and provide sustenance.

Would you walk us through what we would experience at an OHNY weekend?

Everyone has a different approach to our weekends.  Depending on your interests, there really is something for everybody. It really depends on what your individual interests are, and how much stamina you have. You can spend two full days going around all five boroughs and seeing as much as you can handle.  Generally, I think what is really wonderful about it is that it gets people out to see parts of the city that they have never seen before.

How do you solicit support?

Like all non-profits, every year is a scrambling to put together our funding from lots of different sources. We have a pretty diverse funding stream that includes public support from the federal, state, and city governments. If you put those three together, that would be our single largest supporter. We do special events and fundraising benefits for which hundreds of New Yorkers buy tickets. This represents another major portion of our funds. There are individuals who love New York and believe in our mission who will support us with private donations.

Is there a favorite part of New York for you?

I don’t know that there is a favorite part. I love those moments of going someplace new and thinking “I can’t believe I am still in New York City”.  We did a tour of Dead Horse Bay, which is part of Gateway National Recreation Area. It is a former landfill that is sort of failing. The garbage is spilling out. If you did not pay attention to the garbage that was all over the beach, you might have thought you were on Long Island Sound or in the Hamptons. If you turned around, you saw the skyline in the distance. I love those moments when one can see the contrast between Midtown Manhattan and somewhere else. More conventionally, I love all of New York’s parks: Brooklyn Bridge Park, Hudson River Park, Central Park, and Madison Square Park. Having places where you can get a break from street life is really wonderful.

Do you have a favorite building?

I am a huge fan of contemporary architecture. I love all of the new buildings that have been going up. It gives the city energy, and it defines this moment in time so that, 100 years from now, future New Yorkers will look back and remember what we left for them.

What advice would you give to someone interested in architecture?

Come to Open House New York. If you have an interest in architecture, urban planning, urban design, or New York, one of the most important things is getting the experience of architecture. A lot of people will read books and magazines and go to lectures, but architecture is a 3-dimensional art form, and one really needs to experience it.

July 25, 2017

From his 1133 Broadway office, four floors up from the sidewalks of NoMad, Barry Goralnick has a bird’s eye view of the city he says inspires him. “Have you ever looked at the façade of this this building, and the surrounding buildings?” Barry said on a recent visit to his office, “they are absolutely beautiful.” He finds inspiration everywhere, because he looks at it with a broad humanistic eye. This eye has helped in all aspects of his work – from light fixtures inspired by stairway railings to interior designs based off of vintage store finds.  The city in which he resides and the places he travels are the muse for his career.

Widely Accomplished

Goralnick is an architect, interior designer, product designer, and lecturer, and theater producer. His lengthy job description and unique ability to create timeless designs have brought him great success. He works alongside a small team to create beautiful interiors and homes, as well as products — ranging from lighting to furniture, carpet and fabrics (fabrics not official yet) — that are manufactured by some of the leading home furnishing companies in the country.   For his product designs, he has won the “Best of Year Award” and has been nominated several years running for Innovation Awards. He also has a coveted spot in Rizzoli’s highly regarded Interior Design Master Class edited by Carl Dellatore. Perhaps most impressive beyond all this is Goralnick’s welcomed ability to describe complex design theories and numerous successes in a simple, humble way.

barry goralnick

The Influences of a Broad Education

A graduate of Brandeis University with a Bachelor’s of Arts, with a degrees in English Literature and Fine Art before heading to Harvard University for a Master of Architecture, Goralnick strongly supports liberal arts education in schools.  “I studied literature, history, science, and I used to paint,” Goralnick said. “I encourage young people to study liberal arts first.  You need to be a deeper person and learn about as much as possible.  When I went to grad school, there were people like me and then there were people that had spent their whole life just  studying architecture.  The more you know about the world, the more you bring to your designs”

He cites the instructors he had along the way as some of his biggest influences. “I had amazing teachers,” Barry said. “When I was an undergraduate, I was the only one in my class who went to architecture school; we weren’t geared towards that.   But I had an architecture history teacher; he was just wonderful,. and he inspired me to choose my path” At Harvard I was lucky to study with Frank Gehry, Neil McKinnell, Fred Koetter and be critiqued by Philip Johnson, Charles Gwathmey, and Harry Cobb of I. M. Pei and Partners.

Barry has not stopped learning. Today, he considers Jim Druckman, president and CEO of the New York Design Center at 200 Lexington Avenue, to be one of his greatest  influences. “He has mentored many of New York’s top designers, Barry said. The two met when Druckman hosted a design competition requiring the creation of a new furniture or lighting piece. Barry entered a table and a light fixture and both were winning designs.  He credits the beginning of his success in product design as a result of this competition twenty years ago.    

For this reason, Barry has taken it upon himself to help aspiring designers. “I try to give back by lecturing to students,” he said.  He has spoken at high profile design schools such as Parsons School of Design, Pratt Institute, the New School, and New York University, as well as at NEOCON in Chicago.

Barry Goralnick Lithgow Living Room

What is Blended Modern?

While he is working to secure the future of design by assisting the next generation of designers, he is also changing the way design is viewed today. The tagline of Barry Goralnick Architecture & Design  is “Blended Modern,” indicating a style which Barry describes as neither classic nor uber futuristic, but rather a look with familiarity and some 50s and 60s inspiration.  The idea came about when he discovered an ambiguity in the projects he was designing.  “Sometimes a client will say ‘I love my room,’ and a friend will ask me what style it is,” Barry said.  “It’s not really any one particular style. It is an amalgam of different eras.  It is putting together things in unexpected ways.  It is your own personal style.  It is Blended Modern.”

Barry went on to explain the importance of Blended Modern in his own career and the unique way it fits into the market. “When I started designing product I realized that there were a lot of people with a very set style. I felt that there was a place in the middle where we could design things that work well with other styles; Blended Modern came out of that.”

The Blended Modern concept becomes crystal clear to anyone stepping into Barry’s office.  No clear theme can be assigned to the room, but it flows effortlessly.  Vibrant colors pop throughout the room, from purple chairs sitting against dark wood floors to a bold orange lamp.  Chandeliers from his own line hang from the ceiling, subtly drawing together the entire room.  Past and future design projects are seen in sketches, mood boards and fabric swatches hanging from the walls. The beauty in the work is his ability to assemble these disparate pieces into a common theme, which might otherwise be invisible to others.

Along with being a showroom for the blended modern style, Barry’s office highlights his favorite thing about design work: its tangible result.  “The thing that excites me most about everything that I do is to be able to produce tangible things that spring from your imagination ,” he said. “You come up with ideas and put them on paper, and then, you have a reality. When you’re an architect or designer, you can actually walk around inside your design.That is always thrilling”

Product Design

Currently, Barry has partnerships with name brands such as Circa Lighting, Ferrell + Mittman Furniture, Stark Carpets, Vanguard Furniture, Kichler Lighting, and design a line of bespoke furniture and lighting.  “When I started doing interiors, there were always pieces I wanted that didn’t exist, so I started designing them,” Barry said.  His business shifts between the work he does designing homes and interiors and the work he does designing product lines for his partnerships. Product design, he describes, is not as easy as his friends believe it to be. “The process is finding the best companies to design for,” Goralnick explained.  “Then  there are contracts, presentations, editing the line, going back and forth approving prototypes   Then you go to Markets, and design your own showroom space.  You meet retailers and train the sales staff.  And I travel around the country meeting and lecturing to designers, editors, and the end-users.  Nobody understands the amount of work there is in product design unless they do it.”

He takes great joy in seeing others use the products he has designed. “The most exciting thing about doing this for me is seeing the way others incorporate my pieces,” he said. “I recently met this woman at a design conference who said ‘I just used your sofa in a living room’ and she sent me a picture.  It was gorgeous.

His Psychology of Design

The importance Barry places on the relationship he shares with the companies that he designs for is similar to that of his own clients. As seen in his article in Rizzoli’s Interior Design Master Class, he believes the relationship he has with is clients his more similar to that of psychiatrist to patient. “When we meet clients, it is almost like a session,” Barry said.  “You are going to be spending a year or two talking all of the time.. You are designing their bedrooms and spaces they work in.  You get to know people and their families intimately. 

He believes some of the easiest people he has designed for have been actors and actresses, because they understand the amount of training he has in his craft.  It comes as no surprise that many of his clients are stars of the theatre and film.  “Successful people who are actors are very secure and easy to work with,” he said.  “They are artists too, which is great.”


Outside the Office

Barry’s love for actors goes beyond his design business. He is an avid fan of the theatre and produces plays and musicals. He is capable of recommending and reciting a summary of virtually all past and present Broadway shows to date.

Another way he fills his time outside of work is with the blog he writes for his website “at home, from six to nine o’clock in the morning.” He chronicles everything from hidden gems in the city to revolutions within the interior design industry, and occasionally, he even writes about his own upcoming work or the use of his products in other design styles.  

Between the “Blended Modern” style and his various product lines, Barry’s ideas are quickly spreading throughout the industry. His career is seemingly unstoppable and his work in molding the generations of designers to come is only furthering his influence.  While the reach of his work has extended far beyond the island of Manhattan, luckily for us, the man himself can be found in his NoMad office – showing us the wonderful details of the city we might fail to see and be enriched by, through his window and his work.

July 30, 2015

male and female dancer's in william reue's elevation

Watch now on YouTube

William Reue Architecture has been a Kew tenant for seven years.  During that time, the firm’s work has gained acclaim from critics, and in recent years, the firm’s reputation has been growing exponentially. William Reue, founder and principal of the firm, is not only a fine architect but a thoughtful, creative person who’s always looking for innovative ways to address challenges.

William Reue Riverview Townhouse

The firm’s latest work is a gorgeous townhouse project in the West Village here in New York.  It is a beautiful design with stunningly simple lines and replete with grace and light.

William Reue Riverside Townhouse Staircase

Typically, architects present new projects in “airless” photographs where the rooms barely seem like they could have been or will ever be inhabited. Reue wanted a way to highlight the dynamic beauty of the new townhouse. His solution is astoundingly innovative.  The firm commissioned an evocative dance to be choreographed, performed and videotaped in the space — a piece that would bring the space to life, suggest the drama of the life of future inhabitants, and brings us a richer experience of the space itself.

william reue designed living room

Entitled “Elevation – A Ballet Exploration of an Architectural Space,”  this film is unique in its combination of architecture, dance, film, and music. To pull it off, William Reue Architecture collaborated with choreographer Sean Roschman, whose body of work includes commissions by Cirque Du Soleil’s and Lady Gaga’s ARTRave New York Fashion Week, to create an original dance that was performed by Jon Cooper, Megan Dickinson, and Oscar Carrillo.

william reue designed bathroom

The video was directed by Brandon Bloch, a commercial filmmaker based in Brooklyn who was supported by a small but talented team including Tim Sessler as Director of Photography. The soundtrack – called “Iguazu” – was created by Hays Holladay, an experimental musician based in Los Angeles whose work is often informed by physical spaces.

The resulting four-minute video is quite moving.  It is sexy, seductive, and fueled by the athleticism of the dancers. Take a look on YouTube.

April 20, 2015

Prong mobile accessories

Prong’s mission is to design and manufacture electronic device accessories that simplify your life. No cords necessary.

In 2012, Lloyd Gladstone and Jesse Pliner created Prong’s flagship product, PocketPlug, It was the world’s first mobile phone case that plugs right into the wall, eliminating the need for traditional phone chargers. The innovative invention was praised by publications such as The New York Times, Washington Post, CNET, Gizmodo and Engadget.

In 2015, Prong introduced the PWR Case, which features a detachable battery and built-in plugs. The PWR Case not only provides up to 100% more battery power, it untethers people from outlets; when you need to recharge, you can plug in the case and keep the phone with you.  

To read more about Prong’s dedication to detail, its commitment to the highest quality products and rave reviews of its products, visit the company’s website.

Mobile accessories and wireless charging accessories

How did your company start?

Like so many entrepreneurs, we had never invented anything. One day we were hanging out and Jesse’s phone died. He didn’t have his charger with him, so he was basically stuck without a phone for the rest of the night. We got to talking about how annoying it is that people feel compelled to carry their phone chargers with them just in case their phone dies. That’s when we had an idea: why not build a charger into the phone case? Prong was born.


Describe your company in three words.

Mobile accessory manufacturer.


Why did you choose to be in the NoMad District?

Our company mascot, Griffin, really likes the doggy park at Madison Square Park.


How does the neighborhood influence how you do business?

The central location allows us to be in convenient proximity to the other startups with whom we work.


What are some of your favorite spots to decompress after work?

We love Beecher’s Cheese and Flatiron Hall.


Where’s your go-to for morning coffee?

Starbucks… as long they spell our names right.


What’s been your favorite installation in Madison Square Park?

We were really digging Paula Hayes’s Gazing Globes – it was so cool to see at night!


What’s your favorite menu item at Shake Shack?

When the line is short, we’ll eat anything!


Read our previous Tenant Spotlight on William Reue Architecture.

April 9, 2015

William Reue Architecture

William Reue Architecture is an award-winning design firm that has completed a range of residential, commercial and institutional projects. The firm’s portfolio includes renovations of brownstones and townhouses, commercial spaces and landmark buildings in New York City and the surrounding area.

In 2013, William Reue Architecture won the High Honors Design Award from the AIA Westchester Hudson Valley for the project A House In The Woods.  The house was described by Architectural  Record:  “With its green technologies and warm palette, the house fits into its forested landscape while minimizing its environmental footprint.

Learn more about William Reue Architecture.

William Reue Architecture

How did your company start?

We started in 2006 after I returned to NYC from teaching architecture in Africa. The firm started quite organically from a few small freelance projects. Within a year, we had calls for larger projects — townhouse renovations, large apartments, summer homes, and some interesting commercial work. We were super lucky to have great clients who trusted us.


Describe your company in three words.

Optimistic, thoughtful, innovative.


Why did you choose to be in the NoMad District?

We wanted to work in a neighborhood in Manhattan that was being rediscovered. A lot of new cool things were happening in NoMad at the time, and we wanted the business to benefit from that energy. Plus, it’s such a joy seeing the Flatiron Building from our office window.


How does the neighborhood influence how you do business?

NoMad is a convenient commute from nearly anywhere in the city, so it is easy for our clients to find us. We are also close to a wide range of trades and suppliers that we deal with nearly every day. There is tremendous benefit being located in the heart of Manhattan.


What are some of your favorite spots to decompress after work?

You can never go wrong at Gramercy Tavern. It is a five minute walk from the office and they have the best cocktail menu in town.


Where’s your go-to for morning coffee?

The super-friendly guys at the Starbucks on the corner of 26th and Broadway are the best.


What’s been your favorite installation in Madison Square Park?

Anthony Gormley’s cast iron human figures rank at the top of the list with Jaume Plensa’s “Echo” as a very close second. Both were incredible.

William Reue Architecture

William Reue Architecture





April 1, 2015

Set dresser Faye Armon and her dog, Bella. Faye Armon's studio is owned by Kew Management.

Faye Armon-Troncoso is the first and only props/set dresser to have ever won an Obie Award. Faye specializes in building and finding props, set dressing and special effects, including fake blood.

Her Broadway credits include Fun Home, The River, Of Mice and Men, Macbeth, Testament of Mary, Golden Boy, Clybourne Park, Warhorse, Merchant of Venice, Enron and Seascape. Faye won an Obie in 2004 for the Off-Broadway production of BUG, by Tracy Letts.

Learn more about Faye’s work on her website.

Studio of propsmaster and set dresser Faye Armon, owned by Kew Management

How did your company start?

In 1996, I first started doing props Off-Off-Broadway at the Cherry Lane Theatre in the West Village as a freelance prop designer and set dresser. Like most people back then — I didn’t know that my responsibilities were to provide everything that the actor touches, all the furniture, any special effects, and all the set dressing!  I’ve been doing props ever since around town and now with Fun Home on Broadway and Mystery of Love & Sex at Lincoln Center Theater.


Describe your company in three words.

Creative, experienced, and fantastic!


Why did you choose to be in the NoMad District?

The NoMad District is the absolute best for my business!  Right next to the flea market on the weekends, floral district, Home Depot, my Broadway theaters, and Madison Square Park — I love this hood!  I would live here!


How does the neighborhood influence how you do business?

The neighborhood lets me do what I need to do — when I need to do it.  I never have problems in this part of town.  During the week, I can get cabs, and on the weekends, I can pull up right in front of the building and drop items off to my studio.  It’s very convenient for my clients to stop by as well.


What are some of your favorite spots to decompress after work?

I like going to Hill Country and get my BBQ and beer on!  Fridays: I love to head over to Fairway — grab some groceries then head over to the Latin American Restaurant, 29 West 26th Street for some Latin food.  Then, go home to my husband David and Boston Terrier Bella.


Where’s your go-to for morning coffee?

Starbucks — right on the corner!


What’s been your favorite installation in Madison Square Park?

Ivan Navarro’s: This Land is Your Land — I just loved those little water towers!


What’s your favorite menu item at Shake Shack?

The Shackburger with cheese is out of this world!

March 27, 2015

Terri Meyer and Sandy Greenberg

We had the pleasure of sitting down with Terri Meyer of The Terri & Sandy Solution for another Kew Tenant Spotlight.

After 25 years in big Madison Avenue agencies, Creative Directors Terri Meyer and Sandy Greenberg created The Terri & Sandy Solution in order to bring clients the best branding in faster, more cost-efficient ways. They have worked with brands such as Kraft, Nestle, Gerber, Oreo and more, winning six EFFIE Awards along the way.

Last year, The Terri & Sandy Solution was featured in the New York Times for their pro-bono ad campaign for The Bridges Academy, a school dedicated to educating academically gifted students who have learning disabilities. Terri and Sandy designed the campaign around historically great figures with learning disabilities, such as Leonardo DaVinci and Jane Austen.

For more about The Terri & Sandy Solution, visit their website.


Kew Management office space at 1133 Broadway

How did your company start?  

At the urging of our clients, my best friend and creative partner [Sandy Greenberg] and I left the world of big advertising agencies and started our own company. We had a fervent mission in mind: to bring brand-igniting communication platforms to clients in faster, smarter, more cost-efficient ways.


Describe your company in three words.

Loud, Strategic, and Magenta.


Why did you choose to be in the NoMad District?

We’ve always loved this neighborhood. We’ve got access to Madison Square Park and the Flatiron Building is right down the street. We can swing by Eataly whenever we feel like it. Above all though, we love the community of people who also work around here. I personally cannot wait for Rizzoli to be in the building, although I’ll more than likely be turning over my paychecks to them.


How does the neighborhood influence how you do business?  

Almost all of our favorite places to take clients are nearby. For breakfast it’s the NoMad Hotel. They are wonderful there and have “our table” waiting for us every time we go in.  We’ll often bring gelato into the office from Eataly (and send our out-of-town clients there to visit), and we have our office lunches catered by Wichcraft or Schnippers.


What are some of your favorite spots to decompress after work?  

Love the bar at NoMad, the coffee bar at the Ace Hotel, Maysville across the street and Hill Country when I feel like honky-tonking.


Where’s your go-to for morning coffee?

Eataly. Hot or cold, they have one of the best cups of coffee in New York.


What’s been your favorite installation in Madison Square Park?  

Leo Villareal’s BUCKYBALL was stunning. Gave us all an excuse to work a little later just so you could see it in the dark.


What’s your favorite menu item at Shake Shack?

Definitely the milkshake.

Kew Management office space at 1133 Broadway