Founded three decades ago by David Mann, New York City-based studio, MR Architecture has grown from a one-person operation to a 20-person team that defies singular stylistic constraints. Yet, the work is still distinctly theirs.
Led by Mann and a collaborative team of senior associates and studio directors, MR has cultivated a unique approach that prioritizes intimate client dialogue and a disciplined aesthetic. Their work spans an impressive range—from ground-up construction to detailed interior design—with clients that include high-profile fashion brands like Calvin Klein and Dior, as well as prestigious residential developments across Manhattan and The Hamptons.
In our discussion, David Mann offers insights into his studio’s evolution, design philosophy, and his passionate commitment to creativity, art, and emerging sustainable technologies.
On growing into their “sweet spot”
DNN: MR is a 20-person studio – Tell me about growing to that size and is that the sweet spot for you? What have been the challenges and advantages of growing and of maintaining your well-oiled machine?
DM: The growth to our current size has taken place over a long time, beginning with me, almost 30 years ago when I started the firm as a one-man show. About a decade ago, we reached a peak with almost 40 employees, but our current size is a “sweet spot.” At this size, we can pick and choose projects we feel best suit our talents, abilities and aspirations. We are definitely more efficient than we have ever been.
Art and design
DNN: Your team places a strong emphasis on the integration of art from the very beginning of a project. Can you elaborate on why that is?
DM: Art has always been an important part of our work. It is, in part, because of my own passion for it. I am a collector myself and am very involved with the art world, visiting local galleries regularly and attending the major shows in the US and abroad each year.
As a firm, we have always been attracted to clients that share this passion, so the inclusion of art in a project is usually a natural step in the process. Sometimes art is one of the first things we consider—as we have done for several serious, museum-quality level collectors—and sometimes it is one of the last.
When to integrate art is personal and has everything to do with the particulars of the project. An example of art being the last thing we consider is when we have a client that will wait years to find the perfect piece, rather than just purchasing whatever is available. When working with clients that are not so familiar with art and/or collecting, assuming they possess an interest in it, we do what we can to foster their understanding of it, with the belief that art is another layer of design that enhance an interior in both a beautiful and personal way. If done right, it can be an exclamation point of a project.
DNN: Which design shows, fairs, and events are must-attends for you and why?
DM: Art Basel, Art Basel Miami, Nada, Frieze New York and London, Salon Art + Design. I also love the major auctions. It is always fascinating to see the influence our culture as a whole has on the art world, specifically what art / what kind of art is being created at a particular moment in time, and on which art the highest monetary value is being placed. Art fairs are the best place to get a pulse reading of the the art market, and of course, to learn about new and emerging artists and trends in art.
DNN: What artists, vendors, other designers are inspiring or exciting you and why?
DM: I have always been drawn to creativity in all forms. It is life-affirming, and at its best, it inspires, explains and connects us. Some of my favorites are: Nancy Lorenz, Pekka Paikkari, Dana Barnes, Kiko Lopez, Michele Oka Doner, Maison Gerard, Hostler Burrows, Wolfgang Tillmans, Yun Hyong-Keun, Spencer Finch, Sugimoto, Gursky, Shelia Hicks, Cary Leibowitz, Imi Knoebel and many, many more. The art I find most compelling is usually also a little enigmatic. It needs to be challenging.
What do design clients want today?
DNN: What are clients asking for now that they weren’t 10 years ago, 20 years ago and why?
DM: My answer to this question has to do with my very urban practice. We have had many clients in recent years asking for new ground-up, weekend homes. This started before Covid for us, but it has definitely increased since then. I like to think it is because they were so pleased with how we realized their city homes that they felt comfortable having us create their Hamptons or suburban homes well. We are very happy about this trend.
DNN: MR’s aesthetic is described as having “no singular mandated style,” and you describe the throughline of your work as having a “disciplined aesthetic.” Can you elaborate on that and explain how you came to define your aesthetic?
DM: There are definite throughlines in our aesthetic, but I am never inclined to capture or frame them, as I value the notion that each project should be unique and that our responses are thoughtful of the conditions and impulses that inspired the commission.
One example of this that comes to mind was the renovation of a boathouse in Long Island that we did years ago. The objective for this project was two-fold: to create a surprise destination on our client’s lovely property, and to have it published in The World of Interiors. One condition that played a role was that the boathouse would flood several times a year.
We came up with the idea of attaching the furniture to ropes and pulleys so that the pieces could be raised up out of harm’s way. We found our inspiration from the 1950s Hollywood film “Auntie Mame,” where her interior designer, Yul Uhlu had all of the living room furniture on pulleys, to be lifted up and lowered. This modest boathouse achieved all of our goals. It became a charming destination and we got the cover story in WOI!
DNN: What emerging technologies are you most excited about (or conversely, are bracing yourself for), and how do you see them shaping the future of architecture and design?
DM: One of the emerging technologies that I would like to embrace more is healthy materials. I think that along with sustainable design, creating new environments that are healthier to live, work and play in, is of primary importance. This means interiors with lots of natural light, operable fenestrations so that spaces can be well-ventilated with fresh air, using lime or milk-based paints instead of latex or oil-based paints, avoiding materials that emit VOCs, using new materials like hemp-based products. We need to focus on greener and healthier new products.
DNN: What is something you wish other trades – interior designers, furniture manufacturers, etc, understood about how you work?
DM: At this point, most of the tradespeople and manufacturers that we work with understand our work and collaborate with us beautifully. That said, we often find it challenging to commission custom pieces that are both unique and of high quality but also in line with our client’s budgets.
DNN: Do you have a favorite project or one you’ve found particularly rewarding? And lastly, do you have a dream project you’d love to have realized?
DM: My most rewarding projects are usually the ones that I am currently working on. I would love to build a ground-up house that I have designed for my husband and I.
