Such openness is echoed in the residences’ open spaces and expansive views, while a focus on materiality alludes to the more nature-focused roots of Six Senses. “We use materials like wood and marble as a way to give you a view of nature that you don’t really have in New York,” Boissier explains. “When you have a material, it has its own message. The way the marble vein is selected is important. The mix of matte and polished in the kitchen is important. You need to see, to touch, to take a little break from your screens.” This sense of irregularity is one reason Boissier found The Eleventh so interesting. “In Europe, you have much older buildings where the architecture is sometimes layers of different architectures,” she says. “Sometimes there are unusual rooms. This building is, in a way, like that because of its shape. You have some awkward moments and moves and you have to play with it. That gives it soul. Humanity is never perfect. And we love imperfection.”

In the master bath, marbles in contrasting hues balance each other out. “What we really tried to achieve with the buildings—which almost feel as though they are moving and are very complicated to work with inside becasue each room is different—was to get a sense of peacefulness and stability,” says Boissier. It’s a feeling Gabellini echoes a few yards west: “The building is attached to the High Line and what’s going on around it, but inside, it’s its own tranquil oasis.”