The Boston Globe
By: Marni Katz
The former Intermix storefront at The Street Chestnut Hill has emerged as an even more upscale, albeit slightly less trendy, boutique. Copious Row boasts an inventory akin to that of Barneys New York in Copley Place — cutting-edge but not over-the-top — showcasing pricey, fashion forward labels including Prabal Gurung, Narciso Rodriguez, and Mary Katrantzou. The 2,400-square-foot space is sleek, with touches of grandeur, including pink onyx and green empress marble tabletops and a curvy champagne-colored velvet sofa. And, of course, clothing, shoes, and jewelry. Copious Row, The Street Chestnut Hill, Chestnut Hill, 617- 608-3530, copiousrow.com
It only makes sense that shopping for new luxury pieces for your closet should be, well, luxurious. Get ready to feel like a pampered princess browsing the racks at Copious Row, the new 2,400 square-foot boutique now open at The Street in Chestnut Hill. Designed by Zachary Dillingham Zimmerman, the interior features slabs of pink onyx and emerald green empress marble with handmade custom Apparatus Studio fixtures, Gabriel Scott pendants, and exclusive Fornasetti wallpaper that is not yet available in the states. Need to rest for a spell? Pull up a seat on one of the custom tweed Kelly Wearstler chairs!
There’s a lot to take in. Although this is the brand’s third location, it’s the largest and the first to carry footwear. CEO and Creative Director, David Chines, opened the first store four years ago in Sag Harbor and has since opened locations in Southampton, New York and Greenwich, Connecticut. No stranger to the retail game, Chines worked in marketing, public relations and digital strategy for luxury conglomerate LVMH before deciding to launch Copious Row. Taking his knowledge and connections with him, he’s able to offer exclusively distributed labels, from recognized designers to emerging brands, some of whom were not available in Boston until now.
Chines hand-selects the highly curated collection of apparel, accessories and fine fashion jewelry saying, “we want to bring clothing to people that they can see themselves living their lives in, it’s not just simply following a fad or trend. There are many designers that might be trendy but at the end of the day we don’t feel like is a good fit for our customer.”
So if you’re in need of some retail therapy but don’t actually need anything new, come have a look around. Guaranteed you leave feeling just a little more fabulous.
Copious Row is located at The Street, 33 Boylston Street in Chestnut Hill and is open on Monday through Saturday from 10 a.m. to 7 p.m.and on Sunday from 12 p.m. to 6 p.m.
Our client, Patrick Planeta of Planeta Design Group, along with his dog Moses and partner Santiago Varela, were featured in the latest issue of Boston Common showcasing their philanthropic work. Gets your November issue out now!
Thrilled to have our client, The Heritage On The Garden, featured in the latest episode of Boston’s Red Carpet on NESN with host, Tonya Mezrich. This episode featured the amazing fashions from this year’s From Fenway to the Runway event in support of the Red Sox Foundation. Thank you Exhale Spa, located at The Heritage, for hosting the Boston’s Red Carpet team to a wonderful afternoon!
Be sure to check out the September/October 2018 issue of Artscope magazine to see our client, CambridgeSeven’s, full-page feature on their newest gallery exhibit “Visages de Punk” by JJ Gonson. Pick up the latest issue to learn more about the artist and the firm’s Curator, Kwesi Budu-Arthur! Visages de Punk is open to the public now through October 19.
Excited for our client, Patrick Planeta of Planeta Design Group, for his 2-page spread and front cover shout out in the October issue of Elle Decor on stands now. Get yours!
We are pleased to announce our principal, Lynne Kortenhaus, will be showcasing her work at The School House Gallery in Provincetown, MA on July 20 - August 8, with a celebratory reception on July 20th from 6-9 pm. Click here for more info!
LYNNE KORTENHAUS was raised on a 26-acre New Jersey farm among makers—her grandfather cultivated the land and her grandmother and mother brought the fruits of his labor to the table daily. Early on, Lynne was influenced by this homesteading heritage. She used her grandmother’s Singer sewing machine to craft her own dresses from Vogue patterns, and learned the art of crochet. She took this joy of making to the Rhode Island School of Design where she earned a BFA in 1973 and an MFA in 1975. Lynne spent her final year studying drawing and printmaking in Florence, Italy. The technical, process-driven demands of printmaking satisfy her obsessive nature; she has been dedicated to refining her craft ever since. Lynne has always lived close to the sea—she has residences in Charlestown and Provincetown, MA, and Clearwater, FL—and her art is deeply influenced by the changing moods of the shoreline in every season. Wherever she travels, she photographs natural moments and uses these images to inspire her work. She is particularly drawn to the reflection of light on land and ocean, and the Atlantic coast’s ever-changing tides and dunes. Lynne is a passionate supporter of the fine arts community. She is a member of the Provincetown Art Association and Museum; a Director’s Circle member of the Institute of Contemporary Art; and a trustee of the Fine Arts Work Center in Provincetown. She is currently the chair of the Public Art Commission for the City of Boston. She is a contributing artist to the annual FAWC Monoprint Project, originally established by Michael Mazur and currently directed and curated by artist Bert Yarborough, and is a member of the Boston Printmakers.
On Thursday, June 14, 2018, our client, J.C. Cannistraro LLC, opened The FID - Boston's new center where Fabrication, Industry & Design converge. Cannistraro sat down with The Boston Globe's Jon Chesto to talk about the new center. You can read the full article here.
Our client's President and CEO, Gary Johnson, sat down with Boston magazine to talk Boston architecture, the city's housing crisis and the firm's well-known One Dalton project. Scroll down or click here for the full interview.
Meet Gary Johnson. He’s president and CEO of CambridgeSeven, a 55-year-old architectural firm based in Cambridge. Johnson is leading the team working on the Four Seasons Hotel and Private Residences at One Dalton project.
My favorite building in Boston’s skyline is…the Hancock Tower. While it is now officially known as 200 Clarendon Street, to me and many Bostonians, it will always be the Hancock Tower. I admire this building for many reasons, but most of all its unique and sophisticated approach to urban design building form. Locating Boston’s tallest building next to Trinity Church and the Boston Public Library was a bold move that required a unique design. Today, the Hancock Tower is a most exquisite example of graceful elegance of any urban high rise built before or since. It stands as a symbol of Boston with an enduring architectural presence that is every bit as important to our urban fabric as Trinity Church or the Public Library. These three buildings stand in testimony to what great architecture means to a city.
If there is one thing I could change about Boston, it would be…the weather! I love living in New England and I do enjoy the four seasons, but it would be nice if the winters weren’t so cold, dreary, and long.
I’m working on…several new and exciting opportunities in and around the city. These include new residential buildings, hotels, and large mixed-use developments. In East Cambridge, we are restoring the historic Foundry Building—a unique arts and cultural institution for the city of Cambridge. Beyond Boston, the firm is engaged in the reuse of an existing office tower, located on the banks of the Mississippi River in New Orleans, converting it to a new Four Seasons Hotel and Residences very much like the One Dalton project I am working on here in Boston. In addition, we are designing several new college and university facilities throughout New England, including buildings for Williams College, Bowdoin College, and Babson College; two new aquariums in Sarasota, Fl. and Manhattan Beach, Calif.; and finally, an array of museum and exhibition projects throughout the country and abroad.
In 15 years, I hope Boston will…continue to be a city where great ideas and solutions to our world’s complex problems are debated and solved. The resources located here are staggering. The region boasts some of the world’s finest educational and financial institutions, the best hospitals, medical research facilities, and technology companies. Let’s harness the best and brightest and challenge ourselves to bring creative solutions to end poverty, create affordable housing, make education the highest of goals for our community and the country, and work to ease racial and socioeconomic tensions by creating job opportunities and equality for all.
To help ease the housing crisis, I’m…very interested in becoming more engaged with the design of modular construction techniques that could reduce the overall cost of construction. Prefabrication has been used in other parts of the country and throughout the world to speed construction much like an automobile assembly line. So far, this technique has not been used effectively to build housing within this urban area in a way that could minimize the length of construction or the high cost of onsite labor. If residential apartment units could be built in an offsite facility, completely finished on the inside, then trucked to an urban location, they’d be hoisted into place in a way that creates both the supporting structure and finished exterior of the building. I believe this could revolutionize our housing development potential while hopefully reducing the very high cost of new residences in Boston.
Honestly, I hate it when…I hear that a building in Boston is considered too tall. Height is only one measure of a building. Far more important is how that building is designed to connect with its neighbors, how it touches the street level, and how people will feel walking alongside of it. Too much emphasis is often placed on height which frankly disappears from the dialog when a building is complete. We often forget that our eyesight does not allow us to see much above four or five stories as we walk along the street, it is this feeling of intimacy with the lowest levels of a structure that resonates and ultimately determines if you like a building or not. A well-designed tall building should engage itself with the street while being a good neighbor regardless of surrounding building heights.
Boston’s architecture is…often beautiful but conservative. While the city has many fine examples of architecture ranging from its earliest history to the present day, I would like to see Boston’s future architecture be bolder and take more risks with respect to building form and materials used. Our architecture should promote sustainable design where buildings generate their own energy. In other words, Boston’s architecture and architects should lead rather than follow. We are so reliant here on city and community design reviews, which often lead to a design consensus, rather than design boldness. It is therefore understandable why so many buildings end up with designs that are perfectly acceptable, they don’t offend nor push architectural boundaries. We need a mixture of both, a healthy review process that encourages new ideas, technologies and form and the desire to be bold in our place-making. This city has the talent and is one of the world’s most desired places to live and work, let’s make it the most architecturally interesting and beautiful, too.
I see One Dalton as…the most elegant architectural gesture for Boston. Its unique triangular shape accentuated by its soft curving geometry establishes a lyrical gesture that sets this tower apart from any other on the ground or skyline alike. The precision of the 61-story glass façade and the incised “bay windows” of the residential portion of the tower gives way at the street levels where it is sheathed with local granite at its lower four floors. This transition is very important as it establishes the building’s presence within its local neighborhood context by visually reducing its scale while making it feel appropriate and approachable to pedestrians. The character of One Dalton on the skyline of Boston is dramatic, the Hancock and the Prudential now have a new sentinel, one that is looking forward to a great future for the city.
Tiffany & Co.'s newest Paper Flowers collection was featured in the June issue of Boston magazine out now!