Antique French Oak

French vintners coined the term terroir to describe the earthy mix of climate, soil, and weather conditions that make wine taste the way it does. There’s no equivalent word to describe lumber, but the concept of terroir applies: every piece of wood on earth originally came from a tree, and that tree grew on a unique patch of soil in its particular corner of the world. The wind, weather, soil and sun make it what it is. That’s why this collection of Antique French Oak is so special, and couldn’t be replicated in any other place.

Sourced last autumn, this wood was salvaged from floorboards in farmhouses east of Paris in the French towns of Metz, Nancy, Dijon, as well as Lorraine and Bougogne in the region of Est. Dating from the 17th and 18th centuries, thesehouses were sturdily built and well loved. You wouldn’t find the kind of high-polish case furniture favored by the various Louis here; instead you’d be enchanted by the rustic simplicity and unspoiled beauty of the architecture and the surrounding countryside. Picture charmingly idiosyncratic paint colors, pictures and lighting fixtures just slightly askew, clean and fresh-smelling tea towels, and the promise of fresh bread each morning. So much history and daily life unfolded in these houses, and some pieces of it are coming to America.

SCHOTTEN & HANSEN at The Hudson Company

The Hudson Company is pleased to announce our new partnership with the venerable German flooring company Schotten & Hansen, which produces responsibly harvested wood of peerless quality. Now on view at our New York City showroom, the Schotten & Hansen Collection for The Hudson Company combines two distinct legacies in the design world, providing American clients with seamless access to Schotten & Hansen products. This new relationship means access to an expanded range of top quality lumber for flooring, panels and interiors with the service, knowledge, and craftsmanship you already know.

Founder Torben Hansen has described his company as a “mediator between nature and architecture.” Established in 1984, Schotten & Hansen is the premier producer of fine wood for flooring, paneling and interiors in Europe. Based in Peiting, Germany, Schotten & Hansen makes its wood products “for life,” meaning that their wood lasts a lifetime, and that their natural approach to sourcing and finishing wood is as safe as anything you would eat or wear. No solvents or acrylic glues ever touch Schotten & Hansen lumber—the company finds all the ingredients they need in nature, using beeswax, minerals, and oils to color and finish their products. Like The Hudson Company, Schotten & Hansen provides the finest quality wood available to some of the most prominent interior designers and architects in the world. Schotten & Hansen’s project can be found all over the globe. Several recent highlights in New York include the new GOOP Store, the Crosby Street Hotel in SoHo, the Whitby Hotel in Midtown, and numerous residences designed by top architects around the world.

Schotten & Hansen Shrunk Face, European Oak flooring in Driftwood color at Goop Lab, NYC. Photo: Adrian Gaut.

Schotten & Hansen Shrunk Face, European Oak flooring in Oyster Dark color at The Crosby Street Hotel, NYC. Design by Kit Kemp. Photo: Simon Brown.

The partnership between The Hudson Company and Schotten & Hansen means access to a new range of top quality lumber for flooring, panels and interiors with the service, knowledge, and craftsmanship you already know. Schotten & Hansen’s practice of finishing wood by hand yields a product that’s designed to stand the test of time and age beautifully. Torben Hansen believes machines are “no match” for traditional German woodworking techniques. Their wood is the lumber equivalent of haute couture: you won’t find a more luxurious or perfectly finished product anywhere. A tree’s life cycle doesn’t end when it is harvested; if it’s crafted and finished in just the right way, its wood enhances the beauty of an interior and enriches the experience of those who live there for generations to come.

BROWSE OUR SCHOTTEN & HANSEN COLLECTION

The Finishing Touch on a New York Showroom

If Schotten & Hansen had a kindred spirit in the interior design world, it may have been Christian Liaigre, the French designer of furniture and interiors who passed away in September aged 77. Back in 2018, his eponymous firm opened a new showroom on 29th Street in Manhattan’s Nomad district, where his signature aesthetic—described in The New York Times by Penelope Green as “muscular and elegant”—was made manifest with flooring from Schotten & Hansen. Liaigre was devoted to fine craftsmanship, and admired the skill of accomplished makers. He designed interiors for Calvin Klein and Karl Lagerfeld, and he loved using elemental materials like bronze, stone, and wenge wood. He’s also credited with pioneering the concept of the boutique hotel, having designed SoHo’s Mercer Hotel in 1997—his first big project in the United States.

Liaigre showroom, New York City.

Hotel Montalembert, Paris.

Born in 1943 near La Rochelle, Liaigre studied at the École des Beaux-Arts and the École Nationale Supérieure des Arts Décoratifs in Paris. His inspiration came from an array of sources, many of which, like African art, had widely influenced French Modernism. He was also the grandson of a horse breeder, and growing up he studied the ingenious design and construction of saddles, bridles and stirrups carefully. He liked exposed joinery, and disliked applied ornament, which meant his interiors and furniture were in sync with the pared down modern look of post-industrial lofts in the 1990’s and 2000’s.

He designed the Hotel Montalembert in Paris for a 1990 renovation before moving to the United States, and there he made bold, eclectic choices like pairing carved African sculptures with Ancien Régime furniture. He was also famous for a stool he designed in homage to Brancusi’s “Endless Column,” a square block of wood that flares out at a dramatic angle at the top, forming a primitive seat.

Liaigre showroom, New York City.

Custom floors by Schotten & Hansen at the Liaigre Showroom, NYC.

Liaigre’s reverence for craftsmanship comes through in the design of his New York showroom. The floors are Schotten & Hansen’s Shrunk Face European Oak, which is a light, straw-colored wood (the color is custom, in fact) and adds a depth of natural texture to the crisp space, emphasizing Liaigre’s particular love of wood in all its subtle variation. The interior is meant to be a neutral setting in which to stage Liaigre’s pieces of furniture and lighting, which are invariably bold in design, at times massive, understated in color, and usually sumptuous in their material.

Shrunk Face Oak is now available in 20 colors at our New York showroom through the Schotten & Hansen Collection for The Hudson Company.

The pennsylvania barn

This winter, The Hudson Company salvaged lumber from a large 19th century barn in York Springs, PA, a rural farming community in Adams County about 15 miles northeast of Gettysburg. This part of Pennsylvania briefly gained notoriety as a health retreat thanks to the York Sulphur Springs, a summer resort that catered to clientele from Baltimore and Philadelphia, and even hosted George and Martha Washington in 1799. But the construction of the regional railroad shifted traffic away from this part of the state in the 19th century, and it has remained a largely rural enclave ever since. There’s a strong sense of history in this part of the state. Gettysburg was the site of a key battle of the Civil War, and today Gettysburg National Military Park is the most visited battlefield in the United States. Adams County is also the gateway to Pennsylvania Dutch country, and there are nearly 80,000 Amish people—the descendants of Swiss Protestant settlers who eschew modern technology—living in Pennsylvania today. Horse-drawn carriages with bright orange traffic safety signs on the back are a common sight here.

The landscape and architecture of other parts of Pennsylvania—Pittsburgh, Scranton and Philadelphia—were drastically transformed by mining and industry in the 19th and 20th centuries, but this part of the state remains pastoral and green. So it’s no surprise that Pennsylvania is one of the only states in America that has several styles of barn construction named after it. Robert F. Ensminger, an emeritus professor of geography at Kutztown University, developed a typology in his 2003 book The Pennsylvania Barn: Its Origin, Evolution, and Distribution in North America (Johns Hopkins University Press.) Ensminger explains that Pennsylvania’s unique barn architecture is the result of a blending of different European building traditions in collective response to the topography of the region. Immigrants from Germany, Switzerland and the British Isles brought with them the barn construction techniques of their countries of origin, and adapted their designs to suit the landscape they encountered here. He identifies three primary barn types: the Royer-Nicodemus Barn (1790—1900) which were built into hillsides and have overhanging forebays; the Sweitzer or Swisser barn (1730—1850) which are crib-type barns built from logs with overbays and asymmetrical gables; and the Extended Pennsylvania barn, which are taller and wider barns built later in the 19th century with features of the first two types.

The York Springs structure that The Hudson Company recently salvaged was probably an Extended Pennsylvania barn. It has a forebay typical of the Royer-Nicodemus type, which allowed farmers to easily access both the basement and the levels above it. It also has an asymmetrical gable roof like a Sweitzer, so named for the barn Swiss design that likely inspired it. As farming technology improved and productivity increased in the mid-19th century, form followed function, and farmers built larger structures to accommodate livestock, feed, and equipment. The York Springs barn was three stories tall, and had high ceilings on its second level, with many intriguing features. Carved Roman numerals can be found on some of the beams—this may have been a technique for builders to note where each piece of lumber should go in the structure. The floors were built from wide planks. We refer to rustic wood that comes from the area where wheat was likely separated from the chaff as Oak Threshing. As it was deconstructed, the wood beams that supported the upper floor were exposed, revealing a complex, web-like system of interior struts. These are primarily hand-hewn White Oak, and tend to have wonderful characteristics and quirks like mortise holes and pockets. Now all that the wood has been salvaged in York Springs will become the foundational elements of homes and buildings across the United States, extending the life and reach of this centuries-old regional legacy, perhaps for generations to come.

RECLAIMED OAK THRESHING

RECLAIMED OAK THRESHING

HAND HEWN BEAMS

HAND HEWN BEAMS

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

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

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

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

Photo by Annie Schlechter, Typographic art by Russell Maret

Photo by Annie Schlechter

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

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

Photo by Annie Schlechter

5 Questions With Architect Sarah Zames of General Assembly

“The Hamptons is an interesting place because it has both a very formal and a more relaxed artistic history. This project was a balance of those two ideas. ”

— Architect Sarah Zames

The General Assembly team.

“Flooring is one of the biggest decisions you make on a project and locking that decision in in the beginning is important in order to keep the other decisions on finishes in line. What I enjoyed about The Hudson Company was the education they brought to the clients.”

— Sarah Zames

Watermill photos by Joe Fletcher.

Meet Sarah Zames of General Assembly

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

Creating A Family Refuge In The Hamptons

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

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

5 Questions with Architect Sarah Zames

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

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

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

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

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

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

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

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

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

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

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

Learn more about Bare, White Oak, Flat Sawn

Go inside the Watermill residential project here and here.

Project Credits:

• Project Type: Residential Renovation

• Architecture: General Assembly

• General Contractor: Atlantic Collaborative

• Photography: Joe Fletcher

Installation In Focus: Sunnyfield Farm

A Classic Home 8 Years In The Making

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

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

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

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

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

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

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

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

Installation In Focus: Mitchell's Lane

Flat Sawn White Oak Floors At Mitchell's Lane Residence

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

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

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

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

Setting The Stage: The Hudson Company + Field & Supply 2016

“In designing the stage, I was inspired by artist Donald Judd. I wanted to create a simple form that complimented the materials (White Oak) but didn’t distract from the natural surroundings.”

— Designer Brad Ford

Donald Judd, Untitled sketch, 1967, Graphite on paper. (C) Judd Foundation.

Donald Judd, Untitled Works in Concrete: Chinati Foundation, Marfa, Texas, 1984.

Finished Field + Supply stage, designed by Brad Ford and built with Hudson Company White Oak planking.

Setting The Stage at Field + Supply 2016

This October, The Hudson Company was proud to be a partner of Field + Supply, an event led by New York based designer Brad Ford. Over the past three years, this multi-day experience has grown to include bespoke furniture, ceramics, and textiles. And for this year's Field + Supply event, The Hudson Company partnered with Brad Ford to create a temporary stage for the weekend's lineup of musical performances.

Inspiration and Construction

According to Ford, the inspiration for the event's all wood stage actually came from sculptor Donald Judd, well known for his work in concrete, "In designing the stage, I was inspired by artist Donald Judd. I wanted to create a simple form that complimented the materials (White Oak) but didn't distract from the natural surroundings." Andrew Phillips of The Hudson Company points out that, "from a builder's perspective, Brad's design is extremely clean, uncluttered in detail, and understated. Simplicity in design is easy to conceptualize but always more difficult to execute."

When it came time to bring Ford’s design to life, the stage's structure was first built on site at The Hudson Company in Pine Plains, NY so that materials could be custom cut and fit to the stage's exact dimensions. Because the stage was going to be a relatively large, temporary structure, it had to be easy to build, assemble and dismantle in a short time. The stage's design called for The Hudson Company’s Center Cut White Oak to 'wrap' the stage surfaces completely, thus creating the solid mass that inspired Ford. Once the stage had been mocked up in Pine Plains and the cladding cut to fit, it was then disassembled, transported, and reassembled at the Field + Supply event site, Hasbrouk House in Stoneridge, NY.

A Quiet But IMpactful Statement

Looking back on the 2016 Field + Supply event, Ford is overwhelmed with the overall experience, "This year's Field + Supply was by far my favorite. The lush, open setting was idyllic, the crisp fall weather was perfect, and I think we had the best group of vendors to date. But one of this year's highlights was definitely the live music with The Hudson Company's stage serving as the backdrop. I think the stage made a quiet but impactful statement, which is a philosophy I share and admire in The Hudson Company."

From the beginning, this one-of-a-kind stage was meant to be temporary, built solely for this year's Field + Supply event. But, in fact, it looks like our little stage will live on and be used for future events at the Hasbrouck House.

Learn more about Hudson Company Center Cut White Oak wood surfaces.

Learn more about designer Brad Ford and Field & Supply.

The stage structure being mocked up at The Hudson Company Mill in Pine Plains, NY.

Onsite stage build at Hasbrouk House, Stone Ridge, NY.

“From a builder’s point of view, Brad [Ford]’s design is extremely clean, uncluttered in detail, and understated. Simplicity in design is easy to conceptualize but always more difficult to pull-off.”

— Andrew Phillips, The Hudson Company

Hudson Company Center Cut White Oak planking in detail.

The finished stage in action during Field + Supply 2016.

Inspired By: Sustainable Development at 60 White Street, New York

Watch Giglio on White, a short film documenting the redevelopment of 60 White Street in New York.  

“With this project, we are preserving history and the environment. We’re setting an example of the power that we all hold in deciding how to live.”

— Veronica Mainetti

The historic floor joists inside 60 White Street.

An Ambitious resurrection in Tribeca

Developer Veronica Mainetti of Sorgente Group of America has big dreams for the property her team is reclaiming at 60 White Street in TriBeCa.

"After unveiling these gorgeous buildings from all of the years of use and abuse," Mainetti says, "I find myself breathing with it for the first time. All of the rooms are emptied, revealing the incredible structure that it houses. This is the point of rebirth. This is where the bond really begins between the building and me. It is as if the energy is finally awakening for the first time in decades and one can truly feel the soul of these beauties."

As a fifth-generation member of the Mainetti family, Veronica Mainetti was named President of the Sorgente Group of America in 2004 and, under her stewardship, Sorgente continues to expand its US portfolio with key acquisitions in California and New York, where most of their landmark properties are located, including the iconic Flatiron Building.

With 60 White Street, Mainetti's passion is deeply personal, "The unique opportunity to preserve a piece of history is extremely rewarding and humbling for me, it is what I love most about my job. Bringing back these facades to their original state from 1869 will be an absolute honor."

Sustainable Materials, sustainable Rebirth

At 147-years-old, the cast-iron building at 60 White Street is looking better than ever thanks to a painstaking three-year, sustainable restoration. The eight-unit condo conversion reused a whopping 80% of materials salvaged from the original structure and is kitted out with the latest passive house technologies (including a brand new class of window developed specifically by Zola for the project), as well as a blue roof rainwater collection system, an air-purifying green wall in the lobby, and radiant heat throughout the residences for comfort and energy-efficiency.

“Everything from day one has been about having this building perform in a smarter way,” explains Mainetti in the trailer for a documentary she produced to chronicle 60 White’s restoration. “Passive house windows set a new energy standard with modern technology. What doesn’t come from the existing structure is locally sourced.”

In addition to its impressive material reuse rate, the building was designed with a highly insulated envelope to keep energy usage to a minimum. European window company Zola developed a new class of 3-paned, passive house-certified windows for the project that keep drafts and noise out while staying true to the structure’s 1869 facade. The sumptuous marble that lines the bathrooms, kitchens and common areas was sourced locally at Vermont Danby Marble. 

For the 60 White Street project, The Hudson Company has provided 18,000 square feet of high quality, high character Reclaimed Oak [Engineered, New Face]. Before being incorporated in the the 60 White Street project, this reclaimed wood material was redirected out of the waste stream and then custom milled at our FSC-certified mill in Pine Plains, New York. The rugged, natural textures of this Reclaimed Oak provide a rich complement to 60 White Street's salvaged brick walls, creating a warm and distinctive interior materials palette.

“The challenge is the convince others what a sustainable future really is,” says Mainetti. “With this project, we are preserving history and the environment. We’re setting an example of the power that we all hold in deciding how to live.”

Learn more about Hudson Company Reclaimed Flooring here and explore more about the 60 White Street development here.

Detail exterior shot at historic 60 White Street. 

Developer Veronica Mainetti of Sorgente Group of America at The Hudson Company Mill.

Detail from the historic facade at 60 White Street.

*Some of the above editorial content has been sourced and repurposed from www.60white.com. All photos are still images taken from the film Giglio on White, copyright Sorgente Group of America and Two Penguins.