putting on the ritz

Award-winning designer dishes on Houston's new Ritz-Carlton high-rise

Houstonians have been long overdue for the return of a Ritz-Carlton Hotel to the city skyline — the original rebranded as The St. Regis in 1997 (reopening next year as The Houston Grand Hotel - River Oaks). Thankfully, The Ritz-Carlton Hotel and Residences is coming to 2120 Post Oak Boulevard in 2029.

Developed by Deiso Moss and constructed by Harvey Cleary, the 45-story limestone-clad, Pickard Chilton-designed tower was loosely-based by the Art Deco-era Gulf Building downtown and is planned to feature The Ritz-Carlton Hotel, a full-service property with 156 guest rooms and suites, alongside 112 bespoke branded residences available for whole ownership.

The Ritz-Carlton Residences will occupy floors 19 through 45, offering 13 floor plans ranging from 2,361 to 9,000-square feet of luxury living space, with prices starting at $3 million. Residents who appreciate anonymity will be pleased to know that a double-gated carport and 10-foot privacy-wall will surround the exterior approach, and each residence will have a dedicated foyer off of the elevators.

The residences will offer all of the amenities one has come to expect from buildings of this caliber: organic materials such as the best marbles and hardwoods, top-notch appliances, private loggias pre-plumbed for outdoor kitchens and pet-stations, pools, wellness suites and spas, ballrooms, discreetly-designed outdoor barbecue areas, a golf simulator — all the creature comforts its well-heeled buyers will appreciate.

While “Ima Hogg, Glenn McCarthy, and Dominique de Menil walk into a bar” may sound like the beginnings of a fanciful joke, acclaimed architect and interior designer Lauren Rottet cites the trio as the inspiration for the Bayou City-inspired interiors of the luxury high-rise. Rottet and her team at Rottet Studio approached the property as an expression of Houston’s layered identity. Inspired by the city’s historic post oak canopy and the green parklands along Buffalo Bayou, Rottet integrated warm woods, limestone, marble, and bronze accents to create a setting that balances contemporary luxury with a distinctly regional character.

CultureMap spoke with Rottet during the unveiling of the development’s $5 million purpose-built private sales gallery to learn more about her inspired-design for what is already being referred to as “The Crown Jewel of Texas.”

Conceived as a true extension of the future tower, the gallery integrates curated architectural elements and material selections consistent with those specified for the project, providing a tangible preview of the residences’ design language and finish level. Dedicated installations within the gallery highlight the private amenity collection, anchored by a discreet residential arrival experience, indoor and outdoor pools, and a comprehensive wellness program, alongside full access to the hotel’s dining, cultural, and spa offerings.

Upon entering the gallery, prospective homeowners are met by intricately-detailed oak herringbone floors that will reside in the foyer of each residence. Agatha Black, Bardiglio, and Statuary-White marbles feature throughout the space, as well as rift-cut oak wall paneling and hand-painted linen wall coverings.

Notably, the wall coverings are creations by Maksim Koloskov, an architect at Rottet Studio. Those familiar with the ceiling in Ralph’s Bar at The Crescent Hotel in Dallas will recognize his work. Rottet explains that having Koloskov in her employ as both an architect and artist benefits everyone: “It’s actually less expensive for the owner, it’s great for him because he makes good money, and [the artwork] is exactly what I want — it’s fabulous,” she says.

While an abundance of wooden paneling can read as outdated or even stuffy, Rottet’s decision to implement rift-cuts allows for a contemporary flair that will remain decidedly timeless. Flat-cutting is what gives traditional paneling that knotty, heart-plagued characteristic which tends to turn people off from it — a quality that is conspicuously absent from the oak paneling being cut for the Ritz-Carlton.

“It’s interesting,” muses Rottet. “People love wood, but they don’t want a lot of character and nature in the wood. This is very much contemporary. Although this looks, in a sense, old world or traditional, it’s a little quieter. It’s still wood, it’s still beautiful, but it’s not as busy or older looking.”

Some buyers may wonder, with such an abundance of oak used in the building — herringbone installations, six-foot planks, and floor-to-ceiling paneling — what’s the environmental impact?

“Oak is a very sustainable wood,” explains Rottet. “The mahoganies and some of the other woods are a little less forest-friendly. This oak is forested well, and this is all a sustainable oak — it’s all from the right farms.”

Rottet has designed the bulk of the furnishings for the space, as she will for the hotel and residential shared spaces like the library — some bespoke, some from her private line, and lighting from her collection with Visual Comfort. The sofas and rugs in the library and opposite concierge space were designed with movement in mind — think sleek curvature and varying degrees of height. Rottet explains that these common spaces are all about “being alone, together.”

“These rooms are about wrapping you, cradling you, and making you feel comfortable; not just a straight, hard edge,” says Rottet. “It’s loosely of the bayou, of the land, of the water. Houston is very languid and fluid. Houston has a more New Orleans climate than a Texas climate, so I like to think of the flowing spaces and the water. A lot of the design I do — and particularly here — has to do with visual movement. I don’t like for an interior space to feel static. That’s why this is so free and open, and beautiful. I’m always doing things to make it feel visually active.”

The residences are available in three different style and material packages, and Rottet is happy to help provide a turnkey design if a buyer chooses to have her finish out their space entirely. After designing 55 hotels, who better? With stunning Art Deco architecture, luxuriously-timeless interiors, plus elegant green spaces, Rottet says it best of all: “There will be newer buildings in Houston, but there will never be a better one.”

Sales are being conducted by private appointment through Redeavor Group. To learn more about the project, please visit rcresidenceshouston.com.

Ritz-Carlton Residences exterior rendering

Rendering courtesy of The Boundary/Ritz-Carlton Residences Houston

The Ritz-Carlton Hotel and Residences will debut in the fall of 2029.

high-rises hotels home-design architecture

dive in

Houston designer dishes on Tulum-inspired look of chic Montrose cocktail lounge

Photo by Par Bengtsson

Tulum's cenotes inspired the monolithic central bar.

Globally-recognized luxury design firm Nina Magon Studio’s continued foray into the realm of hospitality has wowed Houstonians once again. The Architectural Digest, Elle Decor, and Forbes favorite introduces an immersive experience unlike anything else in the city. Unlike Magon’s previous, ultra-glamorous hospitality projects 5115 Saks Fifth Avenue and Cocody, her latest concept is unlike anything yet seen from the designer. Organic in nature, pared down, and entirely unpretentious, the new 1111 cocktail lounge in Montrose is a masterpiece of escapism.

1111 (read as “eleven-eleven”) is the latest concept by nightlife impresarios Army Sadeghi and Brandon Duliakas (Clarkwood and Melrose). Featuring cocktails created by bartenders who worked at Mexico City’s world-renowned Handshake Speakeasy and cuisine by chef Emmanuel Chavez of Houston’s Michelin-starred Tatemó, it’s only fitting for the interior spaces to be helmed by an elite designer as well. The result is a brilliant trifecta of offerings poised to satiate the most sophisticated tastes.

While food and cocktail menus look squarely to Mexico City for their source material, Magon chose to venture the path less traveled. Stepping away from her signature polished and glamorous aesthetic, the interiors of 1111 are decidedly earthy, naturalistic, and even primal. Inspired by the cavernous sunken swimming holes, known as cenotes, outside of Tulum, earthy greens, warm taupes, terracotta hues, oxidized tones, and muted stone textures evoke the raw beauty of Mexico’s landscapes.

“It was very fun, because we were able to get to be very creative and create something that is different from our portfolio to show the extent of where design can go and how we can bring authenticity from other cities into our hometown of Houston,” explains Magon. “You feel like you’re in a space that doesn’t necessarily feel like you’re in the glamour of Houston; we wanted something more authentic to Mexico.”

Anchored by a monolithic central bar, the open-concept space utilizes seating and tables of various materials and scale to accommodate any of the lounge’s many functions. Textural Venetian plaster in shades of the deepest greens drench the walls and ceilings, lending a cavernous quality to the overall atmosphere. Along one wall, a dramatically-curved overhang draws the eye back to the central bar, where a recessed ceiling gives way to a cascade of backlit flora and fauna, harkening to the idea that guests are gazing up through a void in the earth.

“When you’re in a cenote, you have rays of sunlight coming through from the foliage, and so that’s what we’re emulating. Everything is done with that thought in mind,” says Magon. “It feels like this underground — not in Houston — feel that we were going for. The design is unexpected, and with the unique, big play on lighting, it’s very unlike Houston.”

The heavy use of drapery, extensive architectural curvature, and cinematic lighting throughout continue the idea that the space is deep underground, with light merely sneaking in through cracks and voids. To soften the space, warm wooden panels are strategically positioned to provide both form and function. Laser-cut patterns were inspired by a design Magon admired in Mexico City. Though originally cast in stone, Magon’s backlit interpretation is equally striking.

In residential settings, the use of decor and accessories helps define a space and set the desired tone. Restricted by the realities of 1111, where a DJ starts spinning at 9 pm, and patrons move more freely, Magon parlayed this limitation into a grand opportunity. Along the eastern wall, 18 custom, backlit niches create an illuminated gallery of vintage Mexican pottery — each piece chosen by Magon and her team.

“It’s all vintage pieces, and the pots really bring in that originality of Mexico,” explains Magon. “We only used natural materials. Anything that’s glamorous, you’re not going to see here.” This naturalistic theme continues with the organic yarn wall hangings, and eagle-eyed patrons will notice the subtle mountain landscape — and other clever shadow-play — dyed into the wall-hung works.

To keep the low lit, earthy vibes from becoming too monotonous, Magon chose a bright terracotta and bone color palette for the restrooms. All too aware that mirror selfies are highly de rigueur, the hallway is a colonnade of recessed full length mirrors leading up to the burst of color waiting beyond the doors. Bright terracotta plaster, oversized mirrors in organic, fluid shapes, stone vessel sinks, draped foliage, and fire-baked floor tiles in playful patterns beckon patrons to take advantage of the flattering rosy lighting.

“We always want, in everything we do, a photo moment, a place where everyone takes photos,” explains Magon. “I didn’t want green everywhere. I wanted it to be a different experience, because everything in this space is an experience. From the moment you walk in, to when you’re seated, to the cave portion of the cenote, it’s all a different experience and different view point of this lounge. So, in the bathrooms, we wanted to make sure we weren’t missing any moments. Terracotta is very prevalent in Mexico City, and that’s why we wanted to bring in that terracotta color to the hallways and bathrooms — everything is fresh.”

The entire interior concept was conceived of the instinctive desire to escape the everyday. From its sculptural architecture to its richly layered materiality, 1111 stands as one of Nina Magon Studio’s most immersive hospitality projects to date, an environment where bold design vision and cultural authenticity converge in a deeply sensory experience.

“I’ve been wanting to do something like this for the last three years, just based off of my travels,” 1111 co-owner Army Sadeghi tells CultureMap. “I felt that Nina, with her strong residential portfolio, would be a unique opportunity for everybody to collaborate on a big stage — being hospitality — and I think she delivered. We worked very closely with her team, and they did a great job throughout the process — I think they nailed it. They created a space that’s a unique, sculptural, architectural sort of luxe space that hasn’t been seen in the country.

Photo by Par Bengtsson

Tulum's cenotes inspired the monolithic central bar.

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