In Dan Fink’s Handsome New York Studio, Structure Meets Serenity

Fifteen years into leading his practice, Fink has unveiled a sleek and serene new studio at the former Beauvais Carpets showroom inside Manhattan’s iconic Fuller Building that distills his refined, quietly confident approach into physical form. Fink has long favored natural materials—walnut, marble, fluted glass—that evoke a sense of quiet grandeur, and the new studio follows suit with clarity and control. Japanese-inspired slatted screens softly divide workspaces, mirrored ceilings play with perception, and arched doorways clad in exuberantly veined Truffle marble signal the kind of rigor that underpins his entire practice. It also marks a personal full-circle moment for Fink, who sang at Carnegie Hall as a child and fell in love with design while perusing the wealth of glossy tomes at the Rizzoli store around the corner.

The studio also reflects Fink’s long-term vision, with every element embodying his long-standing belief that a well-structured environment can nurture both creative and professional momentum. “The studio sets a stage for the imagination,” he tells Galerie. “When clients are in a beautiful environment, they automatically open up to what’s possible.” In a conversation that has been edited and condensed for clarity, he recounts his most treasured memories on 57th Street, how the studio reflects his evolving priorities, and why physical presence still matters in a world shaped by screens.

How did you envision the new studio so it balances its use as a creative laboratory while reflecting the elegance of your interiors?

I always want a room, no matter its personality, to embrace the breadth of what design can be across cultures and ideas. I love designing spaces that feel complete, that touch on many influences while finding harmony among them. I always think about combining classical and modernist thinking, how those live together materially. It’s about striking a balance—tailoring and calibrating those ingredients so they come together in a way that feels warm. I want everything we design to feel like that.

Beautiful naturalistic walnut paneling envelops the studio, but it’s very simple in its detailing. It’s minimally treated but very tailored in how it fits every corner. We use harder, more industrial elements like steel and glass and fluted mirrors that are more optical and industrial, and balance those with softer things. It’s all about that balance.

The walnut is by our friend and colleague Sylvain Frey, who makes beautiful millwork for us. It’s a defining element, as are the Japanese-inspired slatted screens that divide the space. But there’s also this marble we found called Truffle. It’s a beautiful beige stone with blue veining that forms the arched casing at the studio entrance. It looks like Japanese calligraphy—really expressive and graphic.

The palette feels very intentional. What story were you trying to tell through these materials?

I wanted to touch on the materials we’re drawn to most regularly. We use walnut for its richness and its beautiful graining and color. We love hardware—cabinetry hardware, door fittings, metalwork. Our glazing systems really celebrate metal. Our conference rooms have mirrored ceilings that are quite special. They double the room’s height and create a fun way of seeing what’s happening below. Because we’re on the third floor of the Fuller Building, someone can look up from the street and see what’s on the table.

Your studio in the Fuller Building was occupied by Beauvais Carpets. What drew you to this space in particular?

So much to say! I love 57th Street—it has an incredible legacy and reminds me of one of the great European boulevards. My grandmother went to the Art Students League. The day we moved in, they removed the scaffolding that had been up for years. It felt like a wink from her. I sang at Carnegie Hall as a kid. I fell in love with design looking at books at the old Rizzoli store. And of course, that famous Breakfast at Tiffany’s scene.

The Fuller Building has this majestic quality. It’s a deco landmark with real presence that inspires awe. I’d admired the building walking past it my whole life. I remember seeing Beauvais Carpets through the window. When the space became available, I jumped on it. Walking through the lobby into this landmark building is the most glorious way to start every day. It makes you stand up a little taller! It’s a beautiful example of what great, time-honored, lasting design can do for the spirit. I always pinch myself.

You also designed the studio for a growing team. How did collaboration shape its functionality?

This is our 15th anniversary. Over time, we’ve come to know how we function best. I wanted to ensure the team was working together in an open space. I spend most of my time on client meetings, so the conference room was a priority. I love to cook, so we have a big open kitchen. I bookended the kitchen with the resource library—they’re both laboratories of creativity. Between them is a dining area where the team eats lunch together. We have breakout spaces for private meetings. We maximized every inch of the space around how we actually work.

I’ve been struck by how inspiring the space has been for clients. The studio sets a stage for the imagination. When clients are in a beautiful environment, their minds automatically open up to what’s possible. We live in a time when people are questioning the need for a physical office. But design is tangible. The more we can be together in a space that reflects what we do, the better it is for creativity and business.

You have a background in human biology and studied classical voice. How do those disciplines inform your design work today?

I’ve always had a hunger for a creative life. I grew up in New Jersey, a stone’s throw from Manhattan, and imagined that one day I’d live creatively in New York. I was also a serious student. My father commuted to the city every day and had a career I admired. So I’ve always had both left- and right-brain inclinations—drawn to creative pursuits but also to business and science. Studying biology at Stanford was intellectually driven. Design is an opportunity to experience a cross-section of so many wonderful things that can lead to a really fulfilling life. You engage with the arts, with beauty, with people—and it’s a serious discipline. It’s deeply rewarding.

You started off in Silicon Valley. What principles from that experience have you carried into how you run your studio?

There’s a rational mindset in tech—everything needs to make sense. People run their companies around finding greater efficiencies. My early clients were in that world, and I spoke their language. They weren’t familiar with the institutional ways the design industry worked and were drawn to my practical mindset to bringing projects to life. I offered a more forward-thinking approach, from how materials are presented to how projects are executed. At the time it felt new, but now the culture has caught up.

Your team comes from various fields—tech, law, PR, consulting—and many came to design as a second career. Why was that important to you?

People with life experience bring a different depth to this work. So much of design involves critical thinking and problem solving. That plus emotional intelligence makes a great team member. It’s not just about putting a room together. We make hundreds of decisions every day.

You’ve said that a design studio should operate like a modern business. What does that look like in practice?

Interior design is serious business! It’s often the largest discretionary cost in someone’s life. You don’t get many chances to practice. I believe the industry should operate with rigor not just in design thinking, but in managing budgets, schedules, and expectations. Clients tend to hire designers based on images, but the real experience is the process. That experience should be sound, thoughtful, and responsible, and offer real value.

Fifteen years in, how has your definition of good design evolved?

When I started, I was drawn to specific styles or vintage pieces that I found appealing. Over time, I’ve established a greater breadth of interests and developed a broader understanding of what great design can be. It’s like a chef learning new ingredients and techniques. Having those tools at our fingertips allows us to create uniquely beautiful projects. We can draw from many traditions and create something deeply personal and tailored to each client. That makes every project endlessly fascinating and endlessly challenging—as well as a very rewarding way to spend your day!