Denari’s commission in 2003-2004 to re-imagine the 70,000-square-foot Los Angeles offices and screening room of Endeavor Talent Agency allowed him to take on the agency’s desire to express its “progressive” image via its environment. Denari accomplished this with ceiling and wall deformations, graphics taken from macro images of TV grain, and the incorporation of four distinct color zones (magenta, cyan, orange and green) that broke the elongated, two-level space into easily navigated areas. Photo by Benny Chan/Fotoworks.
In taking Los Angeles-based Endeavor Talent Agency’s screening room from private to public (it is street level, facing Camden Dr.), Denari incorporated a large pre-function lobby area in his 2003-2004 redesign to create spatial depth and a public identity for the agency. And yes, the wallpaper (by 2X4) reflects a sense of voyeurism permitted by the undulated aluminum panel that allows passersby small peeks inside. Photo by Benny Chan/Fotoworks.
Restricted by a narrow footprint adjacent to New York City’s High Line park development—the HL23 residential tower, completed in 2011 and Denari’s first ground-up commission—the architect broke the zoning envelope of the site by pushing out towards the park. Photo by NMDA, Inc.
The 14-story HL23 residential tower, completed in 2011 and set beside New York City’s restored High Line (a former elevated railroad track that is now a pedestrian park), is an example of what Denari calls “formagraphic” design, which merges 2D and 3D aspects to capture the fullness of form and the vividness of graphics. Photo by NMDA, Inc.
In designing HL23, a luxury residential building adjacent to New York City’s High Line, Denari used his skill in fluid surface geometry to produce a cantilevered form that was both elegant and aggressive. Photo by NMDA, Inc.
In 2002, Denari designed the 1,150-square-foot interior of the l.a.Eyeworks boutique in Los Angeles to shape space and movement through a continuous suspended surface. The gaseous blue effect is repeated in the ceiling, window display, bench and sales counter—an effect that visually fuses fashion (eyeglasses) and architecture.
Denari’s first project (in 2004) for Japan’s Mitsubishi United Financial Group (MUFG), the world’s largest banking institution, was a two-level branch located in the center of Tokyo across from the bustling Shibuya station. The streamlined main teller area handles a large portion of the branch’s daily 10,000-person volume. Photo by Kozo Takayama/Tank Co., Ltd.
Denari’s 2007 design for the MUFG Private Banking Office in Ginza, Tokyo’s chicest shopping neighborhood, reflected the area’s elegance with simple curving lines that create surfaces meant to resemble a designer fabric. The minimal color palette expresses a refined and restrained aesthetic. Photo by Neil M Denari.
This is view of the reception area and lounge of the 13,000-square-foot MUFG Private Banking Office branch in Nagoya, Japan, where Denari’s 2006 redesign aimed for an aesthetic that was progressive yet respected local identity. Hence the use of simple smooth surfaces (white plaster and wood veneers) that are curved to feel embracing, while the lounge features bright, warm colors to inspire optimism. Photo by NMDA, Inc.
Denari’s 2007 extension and remodeling of the family home of Eric Alan and Rhonda Voo in Los Angeles added 1,000 square feet (including a living area on the lower level and master bedroom on the second floor) to their 1,000-square-foot residence, essentially via a 16-foot-wide linear house being inserted into the exiting house. Photo by Benny Chan/Fotoworks.