Rob Johansen 是一位常驻纽约的室内设计师，毕业于纽约大学美术学士专业。在创立个人工作室之前，他于 Ingrao 工作近十年，积累了丰富的高端项目经验。2021 年创办公司后，Rob 以精致的美学与艺术敏感度，打造兼具现代感与个性化的空间。

Upper East Side

residence

New York, Upper East Side

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Upper East Side 住宅位于纽约上东区的，由室内设计师罗布·约翰森（Rob Johansen）与建筑师尼古拉斯·德拉莫（Nicholas Deramo）及其事务所Studio NDA合作完成。这一改造项目以设计师所谓的“永恒性”作为核心追求——这一在当代设计语境中常被提及的词汇，在此处却获得了具体而厚重的物质内涵。来自远古海床的缟玛瑙（onyx）承载着跨越数百万年的地质记忆，与源自非洲南部沙漠高温环境中形成的纳米比亚大理石（Namibia marble）相映成趣，构成了深层时间与日常居住之间的对话。

The Upper East Side residence is located in the Upper East Side of New York and was completed by interior designer Rob Johansen in collaboration with architect Nicholas Deramo and his firm Studio NDA. This renovation project takes what the designer calls permanence as its core pursuit - a term often mentioned in the contemporary design context, which here acquires concrete and profound material connotations. onyx from the ancient seabed, carrying geological memories spanning millions of years, contrasts interestingly with Namibia marble formed in the high-temperature environment of the southern African desert, creating a dialogue between deep time and daily habitation.

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这种关于恒久与居所的讨论贯穿于整个联排住宅，最显著的体现是在厨房空间中对日本传统料理空间的呼应。此种选择并非文化挪用，而是源于对材料真实属性的尊重——正如日本工艺传统所长期秉持的那种清晰与诚实。简洁的线条与克制的材质运用，呈现出历经数百年实践淬炼的功能美学。

This discussion about permanence and residence runs through the entire townhouse, most notably reflected in the kitchen spaces echo of the traditional Japanese cuisine space. This choice is not a cultural appropriation but stems from respect for the true properties of materials - just as the clarity and honesty that the Japanese craftsmanship tradition has long adhered to. The simple lines and restrained use of materials present a functional aesthetic that has been refined through hundreds of years of practice.

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业主的藏品同样体现了这一哲学脉络。埃米尔-雅克·鲁尔曼（Emile-Jacques Ruhlmann）的装饰艺术（Art Deco）精密感，与玛丽亚·佩尔盖（Maria Pergay）的金属雕塑作品并置；里克·欧文斯（Rick Owens）的野兽派家具，与乔治·扎尔苏平（Jorge Zalszupin）的巴西现代主义作品形成共鸣。皮埃尔·保兰（Pierre Paulin）的有机形态自然过渡至阿雅拉·瑟法提（Ayala Serfaty）空灵的灯光装置，构成设计师所称的“物质时代的奇珍柜”（a cabinet of curiosities for the material age）。

The owners collection also embodies this philosophical thread. The precision of Art Deco by Emile-Jacques Ruhlmann is juxtaposes with the metal sculptures of Maria Pergay. The Fauvist furniture of Rick Owens resonates with the Brazilian modernist works of Jorge Zalszupin. The organic form of Pierre Paulin naturally transitions to the ethereal lighting installation of Ayala Serfaty It constitutes what designers call a cabinet of curiosities for the material age.

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这一策展式的方法揭示了当代收藏观的重要转向——不再追求风格上的一致性，而是强调材料的内在完整性。无论是Studio Drift的动态雕塑，还是约翰·维格莫尔（John Wigmore）精确的几何构型，都以迥异的表达语言传达了相同的理念。

This curatorial approach reveals an important shift in contemporary collecting views - no longer pursuing consistency in style, but emphasizing the intrinsic integrity of materials. Whether it is the dynamic sculptures of Studio Drift or the precise geometric configurations of John Wigmore, they all convey the same concept in distinct expressive languages.

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历时三年的改造周期在此并非偶然。在数字化加速的时代背景下，约翰森与德拉莫的循序推进，宛如材料在时间中缓慢获得包浆、逐渐沉淀彼此关系的过程。其中，缟玛瑙铺就的浴室成为情感核心空间——在这里，人的身体与石材相遇，迎接着透过百年窗框倾泻而入的晨光。

The three-year renovation cycle is no accident here. In the context of an era of accelerated digitalization, the sequential progress of Johnson and Delamo is like the process in which materials slowly acquire a patina over time and gradually solidify their relationships with each other. Among them, the bathroom paved with onyx becomes the emotional core space - here, the human body meets the stone, welcoming the morning light that pours in through the century-old window frames.

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信息 | information

编辑 EDITOR

：Alfred King

撰文 WRITER ：L·xue 校改 CORRECTION :

W·zi

设计-版权DESIGN COPYRIGHT : Rob Johansen，

Nicholas Deramo， Studio NDA