New York's Fifth Avenue Hotel and the visionary behind it

The famous Fifth Avenue Hotel is located in the heart of Manhattan, between Fifth Avenue and Broadway, near Madison Square Park. Its luxurious and eclectic design is the work of renowned Swedish interior designer Martin Brudnizki, who is particularly well-known for creating elegant rooms that combine historical and modern elements to create unique worlds. In this interview, Brudnizki shares insights into his design philosophy and the design process for the Fifth Avenue Hotel.

The design of New York’s Fifth Avenue Hotel, created by Martin Brudnizki Design Studio (MBDS), fascinates with its blend of Gilded Age elegance and modern luxury. It combines a restored Renaissance Palazzo building with a new 24-storey glass tower. Brudnizki drew on a rich colour palette of garden green, buttercup yellow, and peony pink, complemented by golden accents. The interiors feature bold patterns and textures that harmoniously combine modern and classic elements. Furniture such as Murano glass chandeliers and antique inlaid tables give the rooms a cosmopolitan atmosphere. The design aims to balance the building’s history with a contemporary travel experience.

What inspired you to become an interior designer and how does your Swedish heritage influence your design philosophy?

I grew up in a creative household in Stockholm. My mother was a stylist and filled our home with beautiful objects, fabrics, and colours. My father was an engineer and had a very precise way of working; I think this combination has had a profound influence on the way I think and work today. After studying economics in Stockholm, I visited a friend in London who had recently taken a course in interior design. He showed me his work and I thought: I can do better. So I decided to take my own course in London – and the rest is history.

How is this reflected in the design for the Fifth Avenue Hotel?

I would say it is about embodying​‘sublime comfort’. I want to create a sense of theatre in my rooms, but they also have to be comfortable and relaxing. Visually, it may seem opulent at first, but you quickly sink into it. I often think of a Vuillard painting, and I love that feeling of merging with the interior, almost wearing it like you wear your clothes, because I believe that our interiors are as much a part of our identity as fashion, friends, books, etc. – interiors embody all of these things. The design philosophy behind The Fifth tells the story of a collector who travelled the world to find beautiful objects that were passed down to the subsequent generations.

What were the challenges when combining the historic building with the modern tower?

The rich architectural history of the location was the guiding principle for the design of the hotel. Therefore, the challenge was to preserve the historical elements of this building while telling an original story. Originally, the building was the home of the Goodridge family, who were among the last to move to the north of the city, and this was only at the beginning of the 20th century. One can only imagine the range of objects and art that the family collected over the years and displayed throughout the home. From French furniture to Italian art, the composition would have been a feast for the eyes. The design of The Fifth sought to capture that feeling of a collection built over time, with a connoisseur’s eye.

How did you incorporate the history and character of the building into the design of the Fifth Avenue Hotel?

We used the original architecture as a historical reference, with the building having been designed by McKim Mead & White. What’s more, the building that was located on this site before the current building was also a mansion by McKim Mead & White for Mrs Charlotte Goodridge. The idea was for The Fifth hotel to respect the history of the place and the original architects, and to celebrate the opulence of those eras in a modern way.

What role do colours and materials play in your designs, especially at the Fifth Avenue Hotel?

It’s important to combine different materials and experiment with colours and patterns, but the key is a layered approach that allows for harmony rather than chaos. You can introduce different colours, for example, but they need to be in the same tone in order to work well together. The building’s historic past was an integral part of the design, so we worked with the architects to connect this with the contemporary tower addition, which reflects modern-day New York and the concept of the modern traveller. This required a delicate balance and juxtaposition that had to be seamless; the overlap of interiors and architecture is so important in conveying the story behind the brand.

The mansion is a much more classic response to the history and details of the building, while the tower has a more modern touch. The eclectic FFE pieces (editor’s note: Furniture, Fixtures, and Equipment) throughout all areas and rooms have a very homely feel, whereas the details and layouts were designed to reflect the true essence of a stately home or mansion. Furthermore, the art collection adds a personal touch and is reminiscent of Charlotte Goodridge’s dream collection.

How do you go about developing a new hotel project and how important is it to work with other experts – and the client?

Working with our clients is a collaborative process, from conception through to completion. We work together at every stage, ensuring that what we design not only meets the aesthetic desires of the clients, but also works effectively on a business level, especially in commercial projects. We maintain good relationships with expert designers so that we can source the best materials and fixtures that align with the vision of the project. Of course, the level of direction we receive from the client varies from project to project; sometimes we have detailed instructions, while other times we are given more creative freedom.

What trends or developments in hospitality and interior design do you foresee for the future?

I wouldn’t say they are trends, because I don’t tend to follow trends, but I do find it exciting to see how the design of spaces with a touch of theatricality continues to develop. In a restaurant, for example, it is important to create both a sense of theatre and a pleasant and relaxed atmosphere. One of the stand-out design features at The Fifth is the open-plan kitchen concept at Chef Andrew Carmellini’s restaurant, Café Carmellini, which features marble counters with bright blue ceramic-tiled walls and a matching Molteni stove – a sight that immediately captivates guests.

Thank you for the interview!

thefifthavenuehotel​.com

Info box: Martin Brudnizki

The team at the internationally acclaimed interior architecture and design studio, Martin Brudnizki Design Studio, works from London and New York, serving clients worldwide. Since it was founded in 2000 by Martin Brudnizki, more than 100 interior architects, architects, lighting and product designers, and art consultants have designed hotels, restaurants, bars, and private clubs. Notable works include the Lime Wood Hotel’s Hartnett Holder & Co, inspired by Regency architecture and local cuisine, and Villa Kennedy in Frankfurt. The Club At The Ivy in London combines 1930s style with contemporary design, while Palladio in Covent Garden is known for its curated luxury. Another highlight is the Soho Beach House in Miami, which impresses with its blend of Cuban and Latin American influences and recycled materials.

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