The Boston waterfront skyline lit at dusk, with Rowes Wharf and its arched harbour entrance seen across the water, the setting for the Rowes Wharf Apartment marquetry panels.
Residential — Marquetry & Mother of Pearl

Rowes Wharf
Apartment

Location Boston, Massachusetts
Interior DesignAnthony Baratta
Residential — Marquetry & Mother of Pearl

Bespoke marquetry panels for a Boston waterfront apartment

At Rowes Wharf in Boston, we were invited to take part in a very special apartment project alongside New York–based interior designer Anthony Baratta. Known for his bold use of pattern, colour and classical references, Baratta’s interiors feel both grand and deeply personal — and this waterfront home is no exception. Our role was to translate a key element of his vision into reality: a series of bespoke marquetry panels that would sit at the heart of the apartment’s joinery and set the tone for the entire space.

An interior elevation drawing for the Rowes Wharf Apartment in Boston, showing marquetry pilaster panels flanking a dining wall marked open to living room, with a console table and framed plates indicated.
01 / 22Interior elevation drawing
The Language

Pattern, presence and a quietly theatrical harbour home

Rowes Wharf is an iconic location, and the apartment needed to feel as though it truly belongs to the harbour — elegant, polished and quietly theatrical. Baratta’s design language leans into this sense of occasion, with strong motifs and a classical structure underpinning the scheme. Our marquetry work was conceived not as simple decoration, but as a series of statement pieces that would anchor the room and give the joinery a distinct, almost jewellery-like quality.

Close view of the digital pattern artwork for the Rowes Wharf Apartment panels, showing a pale shell rosette and small hearts set against a red-brown veneer ground with a diamond lattice.
02 / 22Detail of the pattern artwork
The Panels

Pommele Sapele, Satinwood and New Zealand mother of pearl

The focal point of our contribution is a set of marquetry panels crafted from Pommele Sapele and Satinwood veneer. Pommele Sapele brings a rich, figured grain with a subtle movement across the surface, while Satinwood introduces a lighter, glowing contrast. Together, they create a luxurious base palette that feels both timeless and glamorous.

To heighten the sense of opulence, sustainably sourced mother of pearl from New Zealand was inlaid into the design. As the light moves across the room, the shell catches it and throws back a soft shimmer, giving the panels a dynamic quality that changes throughout the day and into the evening. The effect is quietly spectacular — all the more powerful because it is integrated into the fabric of the joinery rather than sitting on the surface as an applied detail.

A laser head cutting a scrolling foliate outline into a sheet of light veneer on the cutting bed, part of the marquetry production for the Rowes Wharf Apartment in Boston.
03 / 22Laser cutting veneer
A copper laser nozzle tracking across a dark sheet on the cutter bed, with the beam's red spot visible, during the cutting stage of the Rowes Wharf Apartment marquetry.
04 / 22Laser head over dark sheet material
A white tray holding dozens of laser-cut dark veneer leaves, stems and berries awaiting hand assembly into the Rowes Wharf Apartment marquetry panels.
05 / 22Cut leaf and berry pieces
Laser-cut mother of pearl rosettes and eight-pointed stars resting in a tray, their iridescence catching the light, cut for the Rowes Wharf Apartment marquetry in Boston.
06 / 22Cut mother of pearl rosettes
A maker using tweezers to lay small cut veneer and shell pieces onto a taped paper layout drawing, hand-assembling a section of the Rowes Wharf Apartment marquetry.
07 / 22Placing pieces with tweezers
The Motif

A classical quatrefoil, hand-drawn then vectorised

At the core of the design is a striking quatrefoil motif. This classical shape, frequently found in historic architecture and decorative arts, resonates strongly with Baratta’s love of traditional references reimagined for modern life. The motif repeats across the panels in a rhythm of curves and intersections, creating a sense of order and movement that sits beautifully within the larger architectural framework of the apartment.

The pattern began as a series of hand-drawn sketches, working closely to capture Baratta’s vision and the precise flow of each line. These sketches were then carefully translated into vector files, ensuring absolute precision and consistency across every panel. This digital stage was critical: it allowed us to refine the geometry to the smallest detail, while still preserving the character and energy of the original hand-drawn artwork.

Two hands pressing a white mother of pearl quatrefoil into its recess in a pale veneer field, part of the hand assembly for the Rowes Wharf Apartment panels.
08 / 22Seating a shell quatrefoil
A maker positioning a run of mother of pearl quatrefoils along satinwood veneer border strips on the bench, with trays of cut pieces alongside, for the Rowes Wharf Apartment marquetry.
09 / 22Laying quatrefoils along a border
The Substrate

From artwork to aluminium

Once the designs were finalised, they were transferred to aluminium sheets, which serve as the structural base for the marquetry. Aluminium was chosen for its strength, stability and ability to support the complex inlay work without risk of movement or distortion over time. It creates a solid, dependable foundation for the delicate veneers and mother of pearl, allowing the decorative surface to remain immaculate in a demanding residential setting.

This combination of engineered substrate and fine materials is typical of how we like to work: balancing technical performance with the sensual, tactile quality that designers and clients respond to.

A narrow marquetry border strip of satinwood veneer set with mother of pearl quatrefoils, held together with gummed paper tape before pressing, for the Rowes Wharf Apartment in Boston.
10 / 22Taped border strip
A maker lifting a flexible assembled veneer border set with mother of pearl quatrefoils across the workbench, part of the Rowes Wharf Apartment marquetry.
11 / 22Handling an assembled border
Two makers smoothing and aligning quatrefoil marquetry borders laid over a board substrate on the workshop bench, during assembly of the Rowes Wharf Apartment panels.
12 / 22Aligning panels on the bench
The Making

Laser-cut precision, hand-assembled craft

Production was a careful blend of advanced technology and hands-on craftsmanship. Each piece of Pommele Sapele, Satinwood veneer and mother of pearl was laser cut using state-of-the-art equipment to follow the complex curves of the quatrefoil pattern. The laser allowed us to achieve razor-sharp accuracy, ensuring that every element would slot perfectly into place with clean, crisp joints and minimal tolerance for error.

But the true character of the panels comes from the hand assembly. Each tiny component was placed individually by our team, working methodically to bring the pattern to life. This process demands a deep understanding of how the materials behave — the way veneer responds to humidity, the brittleness of mother of pearl, the subtle variations in colour and grain that need to be balanced across the surface so the finished panel feels harmonious rather than busy.

A scalpel blade easing a shell piece into a corner of a mid-brown veneer panel patterned with tulips, foliage and stars, during hand assembly of the Rowes Wharf Apartment marquetry.
13 / 22Inlaying a corner section
An assembled marquetry panel of Pommele Sapele veneer inlaid with a mother of pearl rosette, stars, hearts and satinwood tulips, laid flat before pressing for the Rowes Wharf Apartment.
14 / 22Assembled panel before pressing
Angled view of the mother of pearl rosette at the centre of a diamond lattice, surrounded by satinwood tulips and dark foliage sprigs, in a Rowes Wharf Apartment marquetry panel.
15 / 22Rosette and lattice detail
Marquetry panels of Sapele veneer with satinwood flowers, edges held with gummed tape and stacked on the bench between stages of the Rowes Wharf Apartment build.
16 / 22Taped panels stacked
The Finish

A high-gloss, mirror-like surface

Once fully assembled, the panels were lacquered with a high gloss finish. This final stage is both protective and aesthetic. The lacquer seals the natural materials, making them suitable for daily use within a busy apartment, while also enhancing the depth and richness of the wood and the iridescence of the mother of pearl. The glossy surface catches reflections from the water and the room beyond, adding a sense of drama and movement that suits the waterfront setting.

Finished marquetry panels sanded, sealed and lacquered to a high gloss, resting on bubble wrap and showing mother of pearl rosettes, stars and scrollwork, for the Rowes Wharf Apartment.
17 / 22Lacquered panels on packing
Integration

Part of the architecture, not art on a wall

When complete, the marquetry panels were shipped to PGS Millwork, our trusted joinery partner on this project. Their team integrated the panels into the wider joinery package within the apartment, ensuring perfect alignment with doors, frames and surrounding timberwork. This stage is where all the collaborative effort comes together — the designer’s vision, our marquetry, and PGS Millwork’s cabinetry all combining to form a cohesive architectural language.

For the interior designer, this kind of integration is key. The panels are not treated as art hung on the wall, but as an integral part of the millwork — part of the architecture of the room. This gives the space a sense of permanence and craftsmanship that is difficult to achieve with off-the-shelf solutions.

A completed rectangular marquetry panel with a wide Sapele frame around a lattice field centred on a mother of pearl rosette, made for the Rowes Wharf Apartment in Boston.
18 / 22A completed marquetry panel
Two tall marquetry pilaster panels installed either side of a doorway in the Rowes Wharf Apartment, photographed mid fit-out with protective tape and floor boards still in place.
19 / 22Panels installed during fit-out
The finished curved lobby at the Rowes Wharf Apartment, with marquetry pilasters between pale blue panelled walls, a patterned marble floor and framed plates on the wall.
20 / 22The finished curved lobby
The Result

A celebration of collaborative craft

The Rowes Wharf apartment project is a clear example of what can be achieved when strong design thinking meets advanced making and careful collaboration. Working with Anthony Baratta allowed us to explore a distinctly decorative, pattern-driven approach to marquetry that still sits comfortably within a modern luxury interior.

For hospitality and residential designers, the project demonstrates how specialist techniques such as marquetry can be used to create identifiable focal points within a scheme — pieces that feel like heirloom objects but are robust enough for everyday life. It is this blend of artistry, engineering and partnership with likeminded makers and designers that continues to define our work at Rowes Wharf and beyond.

Night view across Boston harbour towards the lit Rowes Wharf archway and downtown towers, their reflections on the water, the location of the apartment fitted with the marquetry panels.
21 / 22Rowes Wharf across the water at night
Specification

Material logic

Veneers
Pommele Sapele & Satinwood
Figured grain against a lighter, glowing contrast
Inlay
New Zealand Mother of Pearl
Sustainably sourced; iridescent under moving light
Substrate
Aluminium Sheet
Stable structural base for complex inlay
Motif
Quatrefoil
Hand-drawn, vectorised, laser-cut, hand-assembled; high-gloss lacquer
Scroll to zoom
Work with us

Have a scheme
you'd like to build?

Commission Something Similar