Arlo Soho by AvroKO: Official Interior Project
In AvroKO’s original design for Arlo SoHo, the hotel’s social space begins well before the guestroom door. Shelves, long tables and glazed sitting rooms give the ground floor several different centres. Arlo’s own history dates the New York property’s opening to September 2016, making it the brand’s first hotel. Brand Bureau developed the brand and experience, with AvroKO responsible for interiors. The project photographs record a precise relationship between generous shared settings and compact private rooms. [1] [2] [3]
A ground floor made of connected rooms
The reception area introduces a recurring grid. Amber-toned objects repeat across tall white shelves, while a timber desk sits to one side of the route through the building. The eye continues between the shelving toward the rooms beyond. This depth makes the entrance feel like part of a larger inhabited interior. It also establishes a visual language that reappears in the thin black frames of the glass partitions. [1]
One shared room places a long table in front of an inset record display, with timber chairs and a soft rug below. Another makes a colourful library wall the backdrop to a table and suspended lights. Both settings combine a clear working surface with the scale and objects of a domestic room. Their usefulness is legible in the furniture itself: there is room to spread out, face another person or settle beside the edge of the activity. [1]
Beside the courtyard, the arrangement becomes more linear. A sofa and low tables sit between large windows and a glazed partition, with the brick exterior close enough to remain part of the view. Black framing connects this smaller sitting room to the broader sequence of spaces. Daylight and transparency preserve a sense of depth even where the furniture grouping is narrow. The courtyard supplies an orientation point within the interior. [1]
Colour marks the change in level
A blue tiled stair wall concentrates the strongest colour in the photographed circulation spaces. Circular lights interrupt its glossy surface, while open timber treads and dark rails cut across the view. From below, the flights overlap without closing off the room behind them. The stair makes movement through the hotel visually explicit: its lines are easy to follow, and its saturated background gives the transition a memorable location. [1]
The guestroom as fitted furniture
The private rooms compress several functions into a closely coordinated set of elements. In one photograph, the bed sits on a timber base beside a full-height window, with the vanity and a tall mirror close to the foreground. AvroKO describes fold-down desks, adjustable hanging pegs and custom millwork as parts of this approach. The bunk room applies a similar discipline vertically, placing two sleeping levels in a frame that leaves the window and city view prominent. [1]
These interiors give compactness a spatial counterpart elsewhere in the building. Long shared tables, separate sitting groups and views across the courtyard offer different distances and postures from those available in the bedrooms. The original scheme’s coherence comes from repeating modest devices—shelves, glass frames, timber surfaces and carefully placed light—at both scales, so that the public rooms and private fittings belong to the same architectural idea. [1]
Comments