Design Bureau Issue 27 by Alarm Press

NATE BERKUS TALKS TARGET AND TELEVISION, P.44

DESIGN BUREAU

The Informer

May/June 2014

ZAHA HADID GENSLER RENZO PIANO

Five trends guiding the luminance of our spaces, art, clothing, and more, P.64 Lorem Ipsum Omnim qui comnistis molorpore nonectatis esciet iuntorest

ÂŠ 2014 Devine Color

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CONTENTS Issue 27 FEATURE

PUBLISHER & EDITOR-IN-CHIEF Chris Force chris@alarmpress.com ----MANAGING EDITOR Scott Morrow scottm@alarmpress.com

The Landscape of Lighting /p64

ASSOCIATE EDITORS Amanda Koellner akoellner@alarmpress.com

How five trends are guiding the luminance of our homes, workplaces, museums, art installations, clothing, and more

Emma Janzen ----DESIGN DIRECTOR Sara Stewart DESIGNER Michael Bodor michael@alarmpress.com ----CONTRIBUTORS Samer Almadani, Lincoln Eddy, Steven Fischer, Melanie Francis, Brandon Goei, Brandy Kraft, Jill McDonnell, Margaret Poe, Patrick Sisson, Timothy A. Schuler, John Taylor, J. Michael Welton ----MARKETING DIRECTOR Jenny Palmer jenny@alarmpress.com MARKETING COORDINATOR Elli Gotlieb elli@alarmpress.com COMMUNICATIONS & RECRUITING COORDINATOR Vanessa Nikolic vanessa@alarmpress.com CLIENT SERVICES MANAGER Krystle Blume krystle@alarmpress.com ----SENIOR ACCOUNT MANAGERS Brianna Jordan, Natalie Valliere-Kelley ACCOUNT MANAGERS Gail Francis, Matthew Hord, Kaitlynn Kelly, Bianca Richier, Drew Samuel, Courtney Schiffres ----BUSINESS DEVELOPMENT Ellie Fehd ellie@alarmpress.com Kellan Hegedus kellan@alarmpress.com Amanda Herzberg amanda@alarmpress.com

INTERVIEW:

Nate Berkus /p44

Shannon Painter shannon@alarmpress.com Mike Runkle mike@alarmpress.com -----

Oprah Winfreyâ&#x20AC;&#x2122;s right-hand man tells us about his current primetime TV show, recent updates to his Target collection, and his new gig as artistic advisor for LG Studio.

Top: Photo by Norbert Miguletz , miguletz.de. Bottom: Photo by Tyler Golden / NBC.

CONTROLLER Bob Achettu bob@alarmpress.com OPERATIONS DIRECTOR Nathan Krout nathan@alarmpress.com ASSISTANT TO THE PUBLISHER Lauren Kiddy lauren@alarmpress.com

COME VISIT OUR STORE AND EXPERIENCE THE PRODUCTS IN HAND.

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May/June 2014

CONTENTS Issue 27 FAIR PREVIEW

ON THE COVER Photography: Samer Almadani Prop stylist: Melanie Francis, melaniefrancisstylist.com Photo assistant: Stuart Heidmann, stuartheidmann.com Producer: Jamie Hartley Lamps: Chio by Ligne Roset, ligne-rosetusa.com; Olive by Ligne Roset, ligneroset-usa.com; Tatou by Flos, flosusa.com; Tube Top by Pablo Designs, pablodesigns. com; Dancing Squares by Nendo, nendo.jp. All lamps courtesy of their respective companies; Dancing Squares courtesy of Luminaire Chicago. ----A one-year subscription to Design Bureau is US $24 (international $48). Visit our website at wearedesignbureau.com or send a check or money order to: Design Bureau 900 North Franklin Street Suite 300 Chicago, IL 60610

ICFF, Illuminated /p40

(T) 312.386.7932 (F) 312.276.8085 info@alarmpress.com

Design Bureau (ISSN 2154-4441) is published bimonthly by ALARM Press at: 900 North Franklin Street Suite 300 Chicago, IL 60610

Navigating NYC /p42 DESIGN THINKING

Periodicals postage paid at Chicago, IL and additional mailing office(s). POSTMASTER: Send address corrections to Design Bureau at 900 North Franklin Street Suite 300 Chicago, IL 60610 -----

MUSEUM SPOTLIGHT:

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Zaha Hadid /p49

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PLUS

DB RECOMMENDS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 DESIGN THINKING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 NOTES FROM THE BUREAU . . . . . . . . . . . . . . . . . . . . . . 70 EYE CANDY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 GUEST COLUMNIST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 COMMUNITY:

ARCHITECTS & ARTISANS. . . . . . . . . . . . . . . . . . . . . . . . 93

Renzo Piano /p60

BEST NEW ALBUMS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 FOR HIRE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

ICFF photo courtesy of Bec Brittain. Zaha Hadid photo by Hufton + Crow, huftonandcrow.com. Gensler photo by Nick Merrick, Hedrich Blessing Photography, hedrichblessing.com. Renzo Piano photo by by Nic Lehoux, niclehoux.com.

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Solus >> Brushed Aluminum with Light Kit

May/June 2014

LETTER FROM THE EDITOR

It’s both visible and invisible. It can contain all colors in the spectrum while appearing to emit only one. It sometimes commands attention or goes completely unnoticed and wholly taken for granted. More often than not, we unconsciously appreciate light without understanding or fully realizing the design and craft that went into its creation.

and cons behind wearable lights. Schuler Shook, a Chicago-based lightingdesign firm, walked us through the benefits to maximizing daylight for human health. Licht Kunst Licht, a German lightingdesign studio, explained how it lit an underground art-museum wing with a series of almost 200 skylights. And the list goes on.

In making this luminositythemed issue, we talked to lighting designers and professionals from all around the world to learn about the most unique trends that are shaping their industry and changing the way we live. This search catapulted our editors outside of the realm of traditional home and commercial lighting and into the worlds of public art installations, upcycling materials into Olympic Park-caliber installations, 3D printing, and more.

The relationship between lighting’s mass consumer appeal (and the fact that it’s a necessary component of modern life) and the complex design that the industry demands makes it an ideal topic for Design Bureau. I hope you walk away from this issue with a greater appreciation for the thinking behind the application of light and a better understanding of its many dichotomies.

Moritz Waldemeyer, a renowned lighting designer and technician who has crafted LED clothing for the likes of Rihanna and U2, taught us of the pros

Cool by Design

Light can be defined by a series of dichotomies.

----Chris Force Publisher & Editor-in-Chief chris@alarmpress.com Photo by Jim Krantz, jimkrantz.com

Celebrating the modern idiom modernfan.com

May/June 2014

DESIGN BUREAU

FOR THE RECORD

FACTUALLY SPEAKING Stats, factoids, and random info from behind the scenes of this issue.

Issue 27

THREE ATOMS

“Something custom should not be more expensive.”

The thickness of the world’s thinnest LED (10,000 times smaller than the thickness of a human hair), recently built by The University of Washington

— MIKHAIL GLADCHENKO, CO-FOUNDER OF ASTERISKOS, P. 28

33 The number of countries that will be represented by 500 exhibitors at this year’s International Contemporary Furniture Fair

DESIGN BUREAU ON INSTAGRAM

A CENTURY The amount of time that the American Institute of Graphic Arts, which now has 25,000 members, has been active

12 On set with @designbureaumag gearing up for the cover shoot #light

Witnessing design magic at @gentnerfab

Our Milan issue makes its way into the hands of the @florsquares ladies

An awesome @ALARMmag release party at @iomamerica

The number of prominent artists and designers who brought their individual aesthetics to the rooms of New York’s Playland Motel

See more of our photos on Instagram. follow us @designbureaumag ISSUE 26 ARCHITECT DAVID ADJAYE MAKES HIS MARK ON MADISON AVE. P.37

Milan Furniture Fair Preview “I can’t even express how amazing the coverage was in your pre-Salone issue!” — M.C., VIA MAIL

Inspiring Dialogue on Design

“The Detroit story taught me that you don’t have to move to New York or a traditional design hub to work in the field. Inspiring for a current college student!”

PREVIEW

MILAN FURNITURE FAIR Eight premier Italian design houses on the world’s biggest design event P.50

M A RCH / A PRIL 2014

MARCH/APRIL 2014 $8 USA/CAN

— L.S., VIA E-MAIL

DESIGN IN DETROIT: A NEW FRONTIER? P.30

TWITTERVERSE: 140-character shout-outs to Design Bureau

@White_Good Great article from @DesignBureauMag on the design rebirth in Detroit ow.ly/uywx2 @MNML Nice to hear about design opportunities taking shape in Detroit via writer @freqresponse. Excited to see how this evolves over time @Studioby3form Thinking Outside the Cubicle on @DesignBureauMag @RaptStudio #thenewoffice #design#architecture

26-11-2013 09:29:52

1/21/14 8:00 PM

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DESIGN BUREAU CONTRIBUTORS

Award-winning commercial photographer Samer Almadani, driven by the passion to visually replicate his own dreams, strives to create compelling conceptual narratives with vivid imagery to bring his concepts to life—whether it be in his advertising, editorial, conceptual, or portraiture work. sameralmadani.com

Chicago-based stylist Melanie Francis was trained as a photographer at Art Center in Southern California but became captivated with the art of styling. She found that shopping for just the right piece was not like trying to find a needle in a haystack, but more like finding the perfect needle in a stack of needles. She also enjoys working with other creatives to transform ideas into photographical reality. melaniefrancisstylist.com

great lights for great spaces Eurolite | Featuring Lucitalia Milano Eurolite is a full-service lighting consultancy & showroom, specializing in architectural & designer lighting since 1988. Toronto | Canada

www.eurolite.com Timothy A. Schuler is the managing editor of Green Building & Design magazine and the creator of Cap Gun, an online music journal. He often can be seen writing at the Map Room in Chicago. When not there, he is most likely at the Revolution Tap Room with his wife, Allison, and the people who make this city home. timothyschuler.com

Margaret Poe is a Chicagobased freelance writer and editor. Her writing career started in junior high, when she began contributing to her hometown newspaper in Iowa. She has continued to cover the stories of colorful characters ever since. When she’s not interviewing inspiring designers, she’s scouting out the best sushi to be found in the Midwest.

DESIGN BUREAU

May/June 2014

Design Bureau Recommends... Our staff is always on the lookout for cool gear. Got a tip? E-mail us at letters@wearedesignbureau.com. 01

01 Stainless-steel 3-in1 ECOlunchbox, $25, containerstore.com

“Lunch at the office is infinitely more fun and healthy when packaged as a miniature, multi-course meal.” — Sara Stewart, design director

02 Handmade camera lamp with built-in touch dimmer by RetroBender, $175, etsy.com

“I love the whole camera-lamp series from Texas artist Milan Bender. What a clever way to bring new life to old technology.” — Emma Janzen, associate editor

03 Muuto salt and pepper mills, $82, muuto.com

“I’m a sucker for objects that are both beautifully designed and functional. These salt and pepper mills not only look charming on my tabletop, but their supersmart design is reflected in their great grip.” — Jenny Palmer, marketing director

04 Parrot Zik wireless

headphones by Starck, $400, parrot.com

“With active noise control, a touchcontrol panel, and zero cords, I can’t bring myself to take these off.” — Amanda Koellner, associate editor

05 Henk lamp by Jos Blom, $277, josblom.com

“Simple, honest, and functional—plus it’s got a handle! I might carry this lamp around everywhere I go.” — Michael Bodor, designer

06 Boots by Deus Ex Machina

and Oak Street Bootmakers, price upon request, deuscustoms.com

“These boots are made to be worn on a motorcycle, and the elongated cap toe for shift-lever ease is pretty unbeatable.” — Chris Force, editor-in-chief

All images courtesy of the companies featured

planet side table - designed by c. bimbi windsor sofa - designed by manzoni & tapinassi showroom - two hundred lexington avenue, new york, ny 10016 +1 (212) 696 0211 www.atelier-nyc.com info@atelier-nyc.com

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SWITCHES & OUTLETS Forbes & Lomax, creators of the Invisible Lightswitch 速 NEW YORK www.forbesandlomax.com

LONDON

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THE INFORMER News & musings from the world of design

May/June 2014

IF THE SHOE FITS Chilean-born and New Yorkbased artist Sebastian Errazuriz immortalized 12 past lovers with a shoe design for each. He debuted the collection, which includes this design—“Jetsetter” Jessica—at Art Basel 2013.

Image courtesy of Sebastian Errazuriz Studio, meetsebastian.com

AIGA TURNS CELEBRATE AIGA BY CELEBRATING DESIGN JOIN THE CELEBRATION AT 1OO.AIGA.ORG FOLLOW THE CELEBRATION #AIGA1OO

May/June 2014

The Informer

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FASHION & BEAUTY

Twelve Ways to Leave Your Lover New York artist Sebastian Errazuriz commemorates 12 ex-girlfriends with a shoe for each By Brandy Kraft Idiosy ncratic lovers

ed have inspir countless paintings, love songs, and statues throughout history. Even the Taj Mahal was built to honor a lover. But has the museartist relationship ever inspired a shoe? In this case, yes—not one but twelve pairs, and they could just as easily decorate your mantle as they could don your feet. New York-based artist Sebastian Errazuriz turned to 12 failed relationships and immortalized them with ready-to-wear art.

One easily could see this project getting very dark very quickly, but Errazuriz didn’t take a malicious path. Cutely christened with nicknames such as “Cry Baby” and “Ice Queen,” the designs are well thought out, lighthearted, and witty. Each shoe was presented at Art Basel 2013 with a photo and a short snippet of dialogue between artist and muse—just enough to give us a glimpse into the doomed relationships. Feedback from ex-lovers has been positive for the most part and even a bit surprising. “I received a

To lead the shoes to fruition, Sebastian worked with a team of designers who relied heavily on 3Dsoftware and -printing methods. The consequential creations are prototypes that are currently (and unfortunately) not for sale. Five of the shoes live on at the Kunsthal Rotterdam’s SHOES exhibition, and the rest shall, for the time being, continue to be admired from afar—much like a muse. aZ

1. “GI Jane” Barbara 2. “Cry Baby” Alexandra 3. “Hot B” Caroline 4. “Gold Digger” Alison 5. “Ice Queen” Sophie 6. “Heart Breaker” Laura 7. “Honey” Natasha 8. “The Rock” Alice 9. “Jetsetter” Jessica 10. “The Ghost” Valentina 11. “The Virgin” Anna 12. “The Boss” Rachel

few messages from exes who were disappointed because they were not part of the 12,” Errazuriz says, “but ultimately, I had to pick the 12 most inspiring stories. ‘Heart Breaker’ wrote me an E-mail to say she didn’t know if she should feel embarrassed or honored, but was finally very happy to have been included—although she threatened that if I ever revealed her real name, she would kill me.”

Images courtesy of Sebastian Errazuriz Studio, meetsebastian.com

DESIGN BUREAU

The Informer

May/June 2014

LIGHTING

LUSTROUS LAMPS From vintage-looking table adornments to modern suspensions, here’s a collection of light fixtures we love right now

AURORA BOREALIS By MARTHA STURDY

These pillar lamps designed by Martha Sturdy are made from solid resin, and like the Northern Lights after which they are named, they come in a spectrum of colors. A dimmer system allows complete control over the LED lights inside the fixtures, which will stay illuminated for 30,000+ hours.

PARACHUTE

By LIGNE ROSET Composed of three wiry steel elements, this lamp designed by Nathan Young is not only an eye-catcher—it’s flexible too. Each wire element can be turned upside down or right side up to change the appearance, and up to six wire elements per composition can be employed.

GOLDMAN By FLOS

The Goldman table lamp, designed by Ron Gilad for Flos, takes inspiration from old bankers’ lamps to manifest a modern interpretation of the classic look. With a more compact frame and direct light provided from a strip of LED lights, the lamp comes in two colors: green/gold and black.

Images courtesy of the companies featured

May/June 2014

The Informer

FINO

DANCING SQUARES

The FINO lamp from Amerlux shines in its simplicity. At 5/8â&#x20AC;? deep, the thin strip of LED lights appears almost embedded into walls, without the need for cutting into the wall itself.

Originally part of Japanese designer Nendoâ&#x20AC;&#x2122;s 2011 Dancing Squares exhibit, these geometrically patterned steel lamps cast light in different directions, and though it appears like they might roll away, they remain stable thanks to the precise execution of their planes. Each sphere is rigged so it can be used as a floor, table, or suspension lamp.

DESIGN BUREAU

By NENDO

By AMERLUX

STAR FLUSH MOUNT

By CIRCA

This cosmic-inspired fixture is ready for the wall or ceiling and comes in bronze, handrubbed antique brass, antique silver, or polished nickel.

FROM THE COVER 01 02 03 04 05

04 03

Chio lamps by Ligne Roset Olive lamp by Ligne Roset Tatou lamp by Flos Tube Top lamp by Pablo Designs Dancing Squares lamp by Nendo

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The Informer

May/June 2014

MECHOSYSTEMS LIGHTING

LUMENPULSE

TECH LIGHTING

Spreading the Language of Light Lightfair International’s 25th anniversary attracts bright stars to the annual event Lightfair International turns 25 this year, and with the quartercentury celebration comes much change for the event, which takes place in Las Vegas this June. What was once simply a trade show and conference now includes educational forums in addition to workshops and lectures in both architectural and commercial lighting. Here are three companies worth checking out during the annual event. LUMENPULSE

You might have seen the work of Lumenpulse illuminated in the lights at landmarks like Soldier Field in Chicago, The BC Place Stadium in Vancouver, or Are Ski Resort in Sweden. The LEDlighting manufacturers snag large-scale lighting projects thanks to their multi-faceted approach to design. Lumenpulse brings both industrial design

experience and electronics expertise together under one roof, helping them produce innovative interior and exterior lighting options for a wide variety of projects both large and small. Public-relations manager Sal Ciolfi says that the company will unveil several new products at the show this year, featuring interactive installations that attendees will be able to play with and test, as well as “new approaches to cove and linear in-ground lighting.” MECHOSYSTEMS

One of the new forums featured at Lightfair this year is lighting in healthcare systems. Mechosystems has implemented shading systems in healthcare, commercial, and institutional interiors for more than 50 years, and marketing manager William Maiman notes that one of

Mechosystems photo by Robert R. Gigliotti. Other images courtesy of the companies featured.

window treatments.” Mechosystems will have a booth on the show floor and will hold a class during this year’s annual event. TECH LIGHTING

the most important aspects of designing lighting for the healthcare industry is empowering the patients to control the lighting in their rooms themselves. “In a healthcare setting, having patient control of shades provides the control of environment,” he says, “thereby fostering feeling of empowerment and saving staff time from adjustment of

Another new forum conversation at Lightfair this year—hospitality lighting—will feature Tech Lighting, a leader in indoor decorative-lighting schemes. President Josh Weiss says that though the company has been one of the larger exhibitors at Lightfair for years, this year it has invested in the “largest booth ever to accommodate our growing number of new-for-2014 introductions.” The company will release an array of new pendant and suspension lights as well as a specifier-grade general and task illumination system that it believes will “revolutionize the category.”aZ

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May/June 2014

The Informer

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PIXELS & PRINT

Fill in the Blank: Wayne White In the 2012 documentary about artist Wayne White’s life (Beauty Is Embarrassing), The Simpsons creator Matt Groening lovingly calls him “a little Zach Galifianakis, a little Snuffy Smith, a little Unabomber.” White is a painter, sculptor, cartoonist, puppeteer, set designer, art director, animator, and illustrator whose elected mission in life is to bring humor into fine art. He took home three Emmys for his work as a set and puppet designer on PeeWee’s Playhouse, gained notoriety for his word paintings (in which he splashes playful phrases like “Dude or Chick?” over thrift-shop-scooped landscapes), and released a Todd Oldham-edited anthology of his work that serves as a paper companion to the award-winning documentary. Here we attempt to figure out if White is everything that Groening claims. aZ

MY BEST IDEAS COME TO ME WHEN… I least expect it.

IF I COULD HAVE DINNER WITH ANY ARTIST DEAD OR ALIVE, IT WOULD BE…

PEOPLE TELL ME THAT

Buster Keaton.

Civil War soldier.

IN THE YEAR 2100, DESIGN

I REMIND THEM OF… a

WILL BE… still design.

IF I WEREN’T AN ARTIST, I WOULD BE… miserable.

IN THREE WORDS, MY STUDIO IS… small, messy, mine.

IF I ONLY HAD ONE WEEK

LEFT TO LIVE… I would be fraught with terror.

MY FAVORITE EXPRESSION MY FAVORITE THING ABOUT MY PROFESSION IS…

dreaming. CLOCKWISE FROM TOP: Drop the Act, Country Boy; Nobody Wants Sculpture; Good-Looking People Having Fun Without You; Dude or Chick?

IN MY WORD PAINTINGS IS…

“ Good-Looking People Having Fun Without You.”

MY SPIRIT ANIMAL IS…

a hound dog.

Images courtesy of Wayne White; portrait by Neil Berkeley, brkly.tv.

DESIGN BUREAU

The Informer

May/June 2014

OBJECTS & GEAR

CRAZY FOR CUBES

These fun yet chic geometric furnishings are anything but square

01 Sebastopol Tables by Coalesse Possibility is the name of the game for these simple tables from Coalesse. Available in two heights and shapes, the angular collection serves as both trendy table and storage unit. The smooth interior gloss comes in three colors to contrast and complement the chosen exterior veneer. For an additional $99, you can include a six-outlet power pod to turn the tables into charging stations, making them even more functional. $979–1,129

02 The Cube by Spark Modern Fires Not all outdoor fireplaces are rustic extensions of nature. Spark Modern Fires makes an array of fireplace features—like the fully customizable Cube, which comes in shiny stainless steel or fiery red—that have a distinctly sleek, contemporary, and elegant flair. Patio lounging just got a bit more fancy. $5,900 (red) to $6,700 (stainless steel)

03 03 The Float Collection by RockPaperRobot Put pressure on this segmented coffee table, and you’re in for a surprise. Composed of hollow cubes with magnets on the interior faces adjacent to neighboring cubes and held in suspension by a system of tensile steel cables, the table bends and moves under applied pressure. “It’s basically a very expensive, big wooden jello cube that you shouldn’t put your cell phone down on top of,” says RockPaperRobot founder Jessica Banks. “Just kidding—cell phones are fine. But I wouldn’t let your cat up on it.” Price upon request

RockPaperRobot photo by Marcin J. Muchalski for Diamond Shot Studio. Other images courtesy of the companies featured.

May/June 2014

The Informer

DESIGN BUREAU

a design laboratory PIXELS & PRINT

Draped in the Beautiful: Maya Romanoff A new book celebrates the late Maya Romanoff, master of taking walls from empty to vibrant By Lincoln Eddy Maya Romanoff was a man who could speak volumes with expertly placed pieces of vibrant fabric, a deceptively simple texture, or just the right color on a wall. Born Richard Romanoff, he turned a passion—ignited by seeing a tie-dyed shirt at Woodstock—into a way of life that lasted until his passing in January of 2014. His pieces draped buildings in Chicago, became functional through partnerships with theatre, and covered the walls of homes and galleries. Romanoff worked beyond simple fabric as well. Many of his draperies incorporated a tactile element: beads, shells, or—in the case of some of his larger outdoor installations—interaction with wind or water. While mourning his loss, Romanoff’s company also is

celebrating his legacy; under his wife, Joyce, it continues to design some of the most innovative wall and floor coverings available. In the works for two years, the first biography and retrospective of Maya Romanoff and his work, Multifarious: Maya Romanoff’s Grand Canvas, was released earlier this year by CityFiles Press. A coffee-table-style volume, it contains an insight into the man who thought that “the core of it all” was that “it’s got to be beautiful.” aZ Photo courtesy of Maya Romanoff

1133 Broadway | Suite 1607 | New York, NY 10010 646.823.9335| joefranza@studiogreener.com www.studiogreener.com

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The Informer

May/June 2014

OBJECTS & GEAR

Forging Forward Adam Rogers builds a bridge between Thos. Moser’s past and future By Jill McDonnell

It’s a challenge that many long-standing, successful brands eventually find themselves up against: how do you please your loyal fans and simultaneously appeal to new generations of customers? For Adam Rogers, it’s a heady task that he’s ready to take on, as he now oversees product design and development for Thos. Moser—makers and designers of fine solid-wood furniture. Last year, Rogers became the first person outside of the Moser family to have such a strong leadership role in the company. It was Thos. Moser’s commitment to craft and its combination of design and manufacturing—a one-stop shop that sees an idea all the way through to completion—that first captured Rogers’s attention years ago. “Our design approach historically has been a timeless one,” he says. “We’re known for our quality craftsmanship and our close association with the historical styles; our customers know that regardless of buying trends, it’s a good investment to purchase our furniture.” Under Rogers’s helm, the Images courtesy of Thos. Moser

hallmarks of Thos. Moser will continue: its absolute respect for and celebration of wood as a beautiful natural material as well as efficient design solutions with an emphasis on proportion, scale, and detail. With Thos. Moser’s 42nd anniversary coming up this year, Rogers plans to build on the company’s legacy by continuing its recent use of outside designers. “At Thos. Moser, a design is simply a product of assigning form to the established set of ideals,” he says. “The form or ‘style’ is informed by the individual perspective of a given designer. With the intention of stretching the company’s aesthetic bandwidth, we’ll seek out partnerships with designers whose ideals are compatible with those of Thos. Moser and collaborate in the design of our new products.” As a result, Rogers looks forward to a future that contains many interpretations of the company’s traditional ideals. “Optimistically, we’ll continue to become a part of the design dialogue,” he says, “and push the envelope on craft and manufacturing in this country.” aZ

DESIGN WITH INTEGRITY.

THOSMOSER.COM

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May/June 2014

PIXELS & PRINT

Celebrating a Century

AIGA launches a digital platform to celebrate 100 years of graphic arts By Emma Janzen

In 1914, the board of the National Arts Club in New York City formed a professional association for design, made up of a small group of typographers, publishers, masters of commercial printing, designers, and more. Fast-forward 100 years to today—with over 25,000 members, what came to be known as the American Institute of Graphic Arts (AIGA) is one of the oldest and largest organizations for design in the country. To celebrate a century of good design, the organization is hosting dozens of activities across its 67 chapters throughout the year. In addition to exhibitions, receptions, and parties, the most recent event—the Centennial Gala, which took place in late April in New York City—honored 24 design visionaries in the fields of typography, motion design, branding, product design,

Top: Photograph of Paul Rand, Lou Dorfsman, and jurors at work judging an AIGA design show. Bottom: Photograph of Henry L. Gage, Mrs. W.A. Dwiggins, and G.P. Emery at a William A. Dwiggins opening. Images courtesy of AIGA.

and more with prestigious AIGA medals. AIGA also launched an interactive online platform, called “100 Years of Design,” documenting significant design works that have impacted the collective visual experience. Pieces drawn from 100 years of AIGA design archives are woven together with additions from students, designers, and design enthusiasts to create an ongoing dialogue about design’s growing impact— something that the organization hopes to continue for another century to come. aZ

May/June 2014

The Informer

DESIGN BUREAU

SHOP TOUR

The Multilingual Metalsmith Gentner Design’s founder balances a designer’s mind with a technician’s know-how By John Taylor Covered in brass shavings, Christopher Gentner stands in front of a milling machine. The dust, coarse leftovers from what will eventually become lean, elegant candlestick holders, flies out at tens of miles per hour. “Careful!” he shouts, closing the furnace doors that he later apologizes for having left open. Sometimes, Gentner says, he enjoys pausing for a moment to watch the sparks fly. Ever since Gentner Design first opened up its doors in Chicago’s River North neighborhood three years ago, the response has been voluminous. The secret? Gentner, a New York native with more than two decades of experience in metalsmithing, continuously looks for new ways to innovate. Between sips of freshly brewed espresso, Gentner paces up and down the annals of his workshop at 37th and Kedzie, mulling over various ways he can improve his upcoming collection of eight pieces, simply titled 2014. He’s also redesigning the espresso machine in the break room. “I tend to get wrapped up in rebuilding and refurbishing old machinery,” he says. “These things range from Swiss watches that I rebuild to an old dentist chair to a 1968 MGB GT and a 1973 Lotus Europa, and—” he catches his breath, “a 1973 BMW motorcycle.” It’s the classic style, he says, that harkens

him “back to a different time in design and technology.” The world of design is one that, today, consists of many moving parts, and Gentner, who is involved in every stop of the design process, runs an operation that is as austere and honest as the art it yields. “I think what makes my furniture different,” Gentner says, “is that I really have a foot in both worlds. I have the language of designers and builders, but at the same time I can just as easily talk to some guy who runs a shop that specializes in laser cutting. It’s a lot like somebody who grows up being bilingual—they switch back and forth between the two languages without even thinking about it.” Harmony, Gentner says, is what inspires him to create. Whether he’s casting a limited run of candlestick holders, dreaming up new ways to construct wall hooks, or simply polishing a bottle opener to call his own, harmony is key. “I enjoy putting dissimilar forms together and the tension they create,” he says. “It’s almost like atonal music. Together, they create this great harmony.” Gentner’s upcoming collection, 2014, will be showing at ICFF and later this year in showrooms in Chicago, New York, LA, London, and Paris. For more information, visit gentnerdesign.com. aZ Photos by Kaitlyn McQuaid, kaitlynmcquaid.com

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May/June 2014

STRUCTURES & SPACES

Multidisciplinary Madness Customized bus stops and next-level concert stages inspired by Tic Tacs are just part of what makes this Phoenix design duo so good By Patrick Sisson

Fast, good, and cheap—excellent design means that we’re supposed to pick only two of these. But pose that dilemma to Mikhail Gladchenko and Keegan Quick of Phoenix design and fabrication studio Asteriskos, and they’d probably ask why you’d ever make a choice. “Something custom should not be more expensive,” Gladchenko says. It’s a bold boast by a pair of tech-obsessed Southern California Institute Photos by Evan Emery

of Architecture grads, but they’ve already built up an impressive track record of finding smart solutions with computational modeling. One of the first projects that the duo took on after arriving in Phoenix in 2012 was building a stage set for the Brooklyn band Yeasayer—a web of fractals that mirrored the group’s psychedelic synth rock. Brought into the fold with only a month to finish, Quick and Gladchenko

had the equivalent of napkin sketches to work with before a fabricated stage was set to debut on Late Night With Jimmy Fallon in New York. The duo utilized computational and algorithmic design to deliver something fast and f lexible. They fabricated shapes and hinges—inspired by the top of a Tic Tac box—out of a cheap, durable, and lightweight industrial thermoplastic, creating a modular system that was ideal for film projection. Saving thousands on shipping didn’t hurt either. Collaborating with designers Casey Reas, Chris Lash, and the band serves as an example of exactly how the Asteriskos guys like to work. “The collaborative process brought forth innovative results that wouldn’t have happened if we did it alone,” Quick says. “We look to create that unique atmosphere.”

For the firm, Asteriskos (Greek for asterisk) represents the “notion of the infinite” and working on the edges where architecture, art, design, construction, and fabrication intersect. Moving to Phoenix offered the chance to experiment and build a community in a city without a more established design scene. One of their latest jobs, creating bus stops for their chosen metropolis, exemplifies the process and projects that they want to pursue. Each station, made out of the type of plastic used in playground material, is not only cheaper, lighter, and more graffiti-proof than its metal predecessor, but it’s also customized via solar analysis to maximize shade based on its location. “We’re not governed by a formal agenda,” Quick says. “That allows for infinite types of formal or aesthetic solutions. We’re a bit like a branding firm in that way— we’re able to be flexible.” aZ

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May/June 2014

OBJECTS & GEAR

Free From the Frame These artists take abstract patterns and transform them into gallery-worthy accents for the home

Tai Ping Chroma Collection Neutral-colored rugs provide a blank canvas for splotches and splatterings of color in the newest collection from international woven-carpet manufacturer Tai Ping. Aptly titled the Chroma Collection, the series features 15 unique designs made in combinations of wool, silk, and flax. Finding ways to translate visual strokes of â&#x20AC;&#x153;paintâ&#x20AC;? to textiles made this project one of the most significant collections that global

Images courtesy of the companies featured

design director Yasmina Benazzou has created for Tai Ping. Inspired by the various hand movements used during painting, the rug designs explore both free and controlled gestures. The Phenomena I mimics a dry-brush effect (where the texture and color move horizontally across the canvas), and others like Immersion I and Progression I emulate a dip-dye effect, as if the rug were dipped into a pool of color. Each one is unique and unpredictable.

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Atelier Lapchi featuring Zoë Luyendijk Studio Zoë Luyendijk doesn’t consider herself an artist, but one look at her designs reveals an uncommon and imaginative vision. A former interior designer, Luyendijk builds schemes from a wide array of inspirations—free from the confines of conventional rug design—including colors, places, moments, photography, collages, and sketches. The eclectic Zoë collection landed at the Atelier Lapchi showroom in Chicago’s Merchandise Mart earlier this spring. Showroom director Nathan Tucker agrees that Luyendijk’s work is more than simply good design. “So much thought and effort went into getting her concept realized into a difficult craft medium like a Tibetan rug,” he says. “With that in mind, it’s truly visionary what she accomplishes in her creations.”

In order to translate her work from concept to final product, Luyendijk searched ruthlessly for the perfect overseas mill to produce the carpets—one that would execute her vision technically while also supporting fair wages and working conditions. She now works closely with a unit in Kathmandu that is part of the GoodWeave certification program, which works to end child labor in the carpet industry. Each carpet is made to order from Tibetan wool, silk, hemp, linen, or cotton and can be woven in a range of sizes.

Black Crow wallpaper featuring Brenda Houston Inspired by the inherent texture and nuance found in minerals, stones, and jewels, designer Brenda Houston usually focuses on making tables and accessories with her naturally sourced materials. While collaborating with custom wallpaper-design company Black Crow Studios, Houston selected photos of her favorite minerals for Tracy Hiner from Black Crow to transform into large-scale wallpaper, each one custom made

to fit the intended order. “Black Crow Studios is known for doing largescale murals that, while colorful, are still very organic in feeling,” Hiner says. “I believe that is why working with Brenda makes so much sense for us. Brenda Houston for Black Crow Studios takes both of our strengths to develop a stunning series of designs that we think people will really respond to.”

Images courtesy of the companies featured

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May/June 2014

PIXELS & PRINT

FINDING HARMONY IN CONTRAST Unison offers a clean take on modern design, rooted in America but steeped in Scandinavia

When is a sailor stripe more than a sailor stripe? “When you combine the whole package—bedding, pillows, and the artwork—it’s not just looking at the one pattern,” says designer Robert Segal. “It’s unison—everything working together.” With his wife, Alicia Rosauer, Segal is co-founder of the aptly named Unison—an eightperson operation producing printed textiles and bedding that are showcased alongside other designers’ work in their Chicago storefront. From the studio’s close relations with producers in Portugal Photos by Kaitlin McQuaid, kaitlynmcquaid.com.

and Rhode Island, to daily check-ins with the sewing team across the street from their headquarters, everyone works together to produce the final products. That extends, of course, to Segal and Rosauer themselves, who are both responsible for designing striking prints and discovering new products to feature in their airy store and on their website. Unison’s clean designs are influenced by Marimekko— the Finnish design house where the duo spent nearly five years under the tutelage of the legendary Kristina Isola and Fujiwo Ishimoto— as well as Crate and Barrel,

the Chicago-based retailer that brought Scandinavian design to the masses (founded by none other than Segal’s parents, Gordon and Carole Segal). Like their predecessors, the customer is always top of mind for Segal and Rosauer. “We’d like to believe that products can be democratic and consumers can feel that it’s approachable,” Segal says. Unison’s approachable aesthetic is gaining ground in the Windy City, where it launched a new location last fall. Whether it’s their own work or pieces by guest artists including Susan Dwyer or

Stephen Eichhorn, the overall theme is about contrast, Segal says. He loves unexpected pairings like Dwyer’s delicate gold papier-mâché bowls with Eichhorn’s black-andwhite pillows evoking aerial photos of earth. They’re just two of the pieces that convince Segal he’s in the right place at the right time. “This concept of supporting American-made goods has taken off in the last two years,” he says. “There’s a lot of young talent out there. It’s a really fantastic moment to be a designer, to be a creator, and [to be a] consumer.”aZ

May/June 2014

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PIXELS & PRINT

A Rogue Museum Sets Roots With an eye on the world design community, the Chicago Design Museum looks to bring a first-class design hub to the Second City By Lincoln Eddy

Though it previously only made its presence known through pop-ups and rail cars, the Chicago Design Museum is determined to make an impact on the design community at large this year. A physical location, which will house exhibitions and the museumâ&#x20AC;&#x2122;s growing archives, opens this June, but its team of founders, volunteers, and board members wasted no time in starting their mission. Since being conceived in 2012, Chicago Design Museum has hosted events that range from a pop-up held in a century-

old manufacturing warehouse to a unique mobile gallery that was set up on a six-car Chicago Transit Authority elevated train. The ultimate goal? To be a no-limits hub for the local, national, and international design communities. With a plan that includes a premiere exhibition later this year, receptions in conjunction with Chicago Design Week, and events powered by their dedicated volunteers, the Chicago Design Museum will add another facet of cutting-edge culture to the Windy City. aZ Photos by Alex Ha, alexqha.com.

Place Matters

June 9 – 11, 2014 The Merchandise Mart, Chicago NeoCon.com North America’s largest design exposition and conference for commercial interiors

PRODUCED BY

Photograph by Hufton+Crow

Image courtesy of HOK

May/June 2014

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01 DESIGN SURVEY

MADE IN THE U.S.A. Here at Design Bureau, we love furniture and the many who make it from each and every corner of the globe. But there’s something about the classic craftsmanship of American furniture makers that’s simply undeniable. To get at the heart of what sets the U-S-of-A apart from everyone else, we asked four designers: “What does American furniture offer that European brands do not?”

Drew Stuart Principal and field director at Incorporated Architecture & Design New York City, NY incorporatedny.com

“Good American design is very, well, American: straightforward, unencumbered, unostentatious when luxurious, process oriented, and thoughtful without being pedantic. It’s useful without being overly constrained by functionality, open to satisfying the needs of the top of the market and the mass market, inventive, interested in new technologies, and unburdened by tradition. It is, in a word, democratic.”

Charles de Lisle Owner of Charles de Lisle San Francisco, CA charlesdelisle.com

“European vs. American furniture—I feel the biggest inference could be foam. European companies have utilized methods of working with foam that the US pioneered but did not seem to keep current. Ironically, contemporary taste is leaning back toward older construction methods: hand carving, hardwood frames, down upholstery, and furniture that uses less foam technologies. These are all things that American small-furniture producers excel at.”

Samantha Knapp Designer at Tiger Lily’s Greenwich, CT tigerlilysgreenwich.com

“Made in the USA is a true celebration of the American spirit. It signifies what is possible when innovation of mind and creativity meet one on one. At my workroom, we produce one-of-akind furnishings and a unique contemporary collection that mixes textures with metal and organic materials. The fact that I can hand-touch everything I make is the pinnacle of Made in America, which is a proud stamp of approval for me.”

Sherrie Hope Interior designer and proprietor at The Modern Market, co-owner of M2 Studio New Orleans, LA modernmarketlifestyle.com

“It offers cultivation of new ideas to solutions of our own issues. The diversity of cities in the US provides an array of possibilities, and the support of the designers working to resolve these problems promotes innovation among ourselves. Design should be focused on where it comes from and what its intentions are. We are seeing a pattern of craftsmen, local materials, and manufacturing reemerge in the US, promoting sustainability, individuality, and a sense of place and time.” a

Pictured above: 1. Butch table. 2. Table #8. 3. Ash table. 4. Metal sheepskin hexagon ottoman. Incorporated Architecture & Design photo by Chad Robert Springer of White Door Photo, chadrobertspringer.com. Other images courtesy of companies featured.

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May/June 2014

HOTEL SPOTLIGHT

Rough Luxury in the Windy City Tara Bernerd brings her industrial-chic style to the Thompson Chicago By Amanda Koellner

Tara Bernerd sees hotels as “the lifestyle places of today.” The British designer and founder of Tara Bernerd & Partners recently tackled the Thompson Chicago in the city’s Gold Coast neighborhood, taking on the full interior architecture and design for the hotel’s public areas, two restaurants, bar, and all 246 guest rooms. “Chicago is a global destination go-to city, yet somehow it remains understated,” Bernerd says. “Brimming with trophy architecture, it sets a high benchmark for any designer hoping to be embraced by such a city.” After pitching

the project in the spring of 2012 and seeing it to completion in December of last year, Bernerd helped the Thompson achieve an easy-to-embrace, “rough luxury” design. The space originally opened in 1988 as Hotel 21 East and later converted to the Sutton Place Hotel in 1995. Bernerd and her team added 1,690 square feet to the floor plan by extending and filling in the porte-cochère, and the complete demolition of the first and second floors resulted in a new layout and a complete reconfiguration of the gallery areas. Industrial finishes such as

Top: Photo by Philip Vile. Bottom: Image courtesy of the Thompson Chicago.

steel, brick, and concrete are lightened by velvets, leathering, and panels. “In many ways, we tried to embrace the feeling of industrial glamour,” Bernerd says, “yet with a personality that we hope is warm and welcoming.” She also sees the hotel as a hybrid of vintage and modern design. “Scattered throughout are furniture, lights, and elements of Pierre Chareau’s work, where we have paid homage

by the use of the steel in the staircase,” she says. “Even the glass atrium harks back to the 1930s and traditional arcades.” On top of that, the rooms feature artwork by Wes Lang (who designed Kanye West’s Yeezus tour merchandise), wi-fi and car services are complimentary, and the hotel restaurant is helmed by 2013 James Beard Outstanding Chef Paul Kahan. A luxurious balance, indeed. aZ

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May/June 2014

IN THE DETAILS An Austin eatery gets its inspiration from Paris and a smalltown apothecary By Margaret Poe

MICKIE SPENCER: HILLSIDE FARMACY The cabinets came first. From the first picture that she saw of the fully intact 1920s-pharmacy shelving units for sale in Elgin, Texas, designer and owner Mickie Spencer knew she had to have them. They were the perfect foundation for her next project, a farm-to-table restaurant down the road in Austin. She even had part of the name figured out—it would involve “Farmacy,” a riff on her devotion to local farms. Spencer had long admired a building on the east side of town, and when she finally got a meeting with the owners, she learned about its origin as Hillside Drugstore—the first African-American pharmacy in Austin. It was, as Spencer puts it, “kind of a weird twist of fate.”

Many design details in the restaurant were sourced from antique stores and fairs, or from Jones’ Drugstore in Elgin (where the cabinets came from). Spencer hand-crafted almost everything—from the furniture and tile floors to the oyster rack, booths, and light fixtures. The only thing she doesn’t claim credit for? The chairs—some of which were original to the building, and others sourced from Craigslist.

When Spencer first saw the vintage cabinets that now line the walls of the café, she knew that wine would fill the shelves where elixirs were once stored, and the interior’s sea-foam patina would set the tone for the whole space. Gold lettering painted on the cabinets lends an additional vintage vibe to the units.

Photos by Mark Calley

May/June 2014

When going through items in the attic of Jones’ Drugstore in Elgin, Spencer found cigar boxes filled with prescriptions, some dating back to the 1930s and ’40s. She framed a handful of them in antique gold frames, which hang on the wall behind the booth in the front room. She also saved medicine and tincture bottles, old newspapers, and other paraphrenalia from the drugstore, which can be found strategically placed around the restaurant.

Spencer also built the booth in the front room out of scrap wood from old cabintrey, and the lamps extending out of the booth are made from scratch using copper piping and school-house globes.

Left: This vintage scale was discovered at an antique fair in nearby Round Top, which happens twice a year.

Right: Spencer, a certified welder, created light fixtures from industrial mixing bowls that she found at an antique fair. She covered the inside of the bowls with copper leaf, infusing the room with a warm glow at night, when the sunny bistro transforms into a more intimate atmosphere. They’re complemented by another found light source—copper ashtrays turned lamps affixed to the cabinets.

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May/June 2014

ICFF

ICFF, Illuminated LOOK FOR THESE LIGHTING COMPANIES TO SHINE AT THIS YEAR’S INTERNATIONAL CONTEMPORARY FURNITURE FAIR

epresentatives from 33 countries will gather in New York City over the course of four days this May for the International Contemporary Furniture Fair (ICFF). Architects, interior designers, retailers, manufacturers, and more will converge at the fair for talks, awards, parties, and exhibitions featuring the most buzz-worthy contemporary furniture, carpeting, flooring, materials, textiles, and accessories. Out of this year’s 500 exhibitors, here are a handful of companies doing particularly illuminating things with light. aZ

PABLO DESIGNS For the last 21 years, industrial designer Pablo Pardo and his company Pablo Designs have crafted contemporary lighting solutions with an “uncompromising devotion to simplicity and utility.” Designed with versatility and portability in mind, the new Circa series features a flat panel LED shade that tilts and rotates in various positions thanks to a central axis point at the base of the head. For the digital-savvy consumer, the table, f loor and wall models include a USB charging port for mobile devices. Photo by Tolleson Photography, tollesonphotography.com

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BEC BRITTAIN Brooklynâ&#x20AC;&#x2122;s Bec Brittain has crafted an array of whimsical light fixtures since 2011. Drawing inspiration from architecture, philosophy and product design, many designs, like the SHY light, manifest in unconventional geometric forms. The SHY light was inspired by a study of crystalline structures; a new variation will debut at the fair this May. SHY 21 will the largest lamp in the series yet, featuring a series of nesting modules in mixed finishes.

FORBES & LOMAX No light fixture would be complete without a good switch, an often-overlooked accessory that Forbes & Lomax have focused on creating since 1988. Catering to the small but necessary market of designer light switches, dimmers and outlets, the London-based company pioneered what they call the Invisible Lightswitch. A transparent acrylic panel sets the stage for wallpaper or paint to continue uninterrupted behind the fixture. The central metal toggles are designed with 1930s glass switches as a source of inspiration.

CERNO Southern California furniture and lighting design and manufacturing company Cerno has created sturdy and efficient products since forming in 2009. With the intention of creating lasting, efficient and sustainable products, Cerno focus on employing a minimal material palette and LED light technology. Based on the design of their original Silva table lamp, Silva Giant stands at 84â&#x20AC;? tall, making it a standout feature of any room. Situated on a tri-leg base, the looming lamp is a statement piece with a fun personality. Top: Photo courtesy of Bec Brittain. Middle: Photo courtesy of Forbes & Lomax. Bottom: Photo by Bret Englander.

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May/June 2014

SITE UNSEEN OFFSITE

ICFF

200 Lafayette St.

Navigating New York

eaded to the Big Apple for ICFF and hoping that the city’s bright lights will inspire you? Make the most of your stay by checking out (or in the case of the dreamy Playland Motel, checking into) these NYC hot spots during the fair.

Previously billed as the NoHo Design District, a curated series of events and installations in New York’s NoHo neighborhood, Site Unseen Offsite will launch May 16, run through the 20th, and bring the formerly sprawling event into one space for the first time. Helmed by online magazine Sight Unseen, this satellite design exhibition will feature works by the publication’s chosen emerging design talents, established cutting-edge design brands, a series of pop-up shops, a showcase by the American Design Club, and more, all within two floors of raw space in a 17,000-squre-foot loft.

MINGLE HERE

STAY HERE

PLAYLAND MOTEL 97-20 Rockaway Beach Blvd. This early 19th Century building, located in Rockaway Beach (just a quick ferry, bus, or train ride from Brooklyn), was restored using reclaimed Virginian barn wood and local reclaimed church materials. Playland asked 12 prominent designers and artists to bring their individual aesthetic to the guest rooms, and each season, inspiring artists and designers will be given the opportunity to work on a room for the upcoming months. “If I had to pick my favorite, it would be Fede Saenz Cactus Room,” says hotel founder Robin Scott. “His creation is a calm experience, super comfortable, and it has amazing views of the ocean.” Left: Photos by Cari Vuong. Right: Photo by Will Steacy, willsteacy.com/notebook.

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PLEASE DON’T TELL 113 St. Marks Pl. “Beauty’s in the eye of the beholder, and I’m not going to brag about my own bar,” says Jim Meehan, famed bartender and managing partner at Please Don’t Tell, an East Village speakeasy accessed by a phone booth in the adjoining hotdog joint, Crif Dogs. “But I’m bold enough to say that I’m proud of what we serve and how we do it.” Opened in May of 2007, PDT offers up classic cocktails with an unusual twist as well as local beers and wines. The no-standingallowed room features only 13 bar stools and six tables, so we recommend making your reservation early.

DRINK HERE

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2 oz. Benton’s Bacon-Infused Four Roses Bourbon 0.25 oz. Deep Mountain Grade-B Maple Syrup 2 Dashes of Angostura Bitters Stir with ice and strain into a chilled rocks glass filled with one large cube. Garnish with an orange twist.

A&G Merch SHOP HERE

111 N. 6th St. Brooklyn home-furnishings store A&G Merch boasts that the pieces you’ll find within its walls represent your personality and design aesthetic, not theirs. Considering that its “small merch” includes beard brushes, aluminum skulls, and bedazzled robots, and “big merch” spans couches, beds, and consoles (among myriad other pieces), we believe that there’s a reasonably priced ware for just about everyone— come one, come all.

Top: Photo by Michael Taft. Middle: Photo by Nick Brown. Bottom: Images courtesy of A&G Merch.

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May/June 2014

Nate Berkus launched his Target home collection in 2012, and the designer recently updated his line of bedding, bath, accessories, lighting, rugs, and more to reflect recent travels and new inspiration.

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NATE THE GREAT

May/June 2014

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The recent premiere of his primetime TV show, an update to his Target line, and a new gig with LG Studio all beg the question: is there anything that Nate Berkus can’t do? BY AMANDA KOELLNER

hen Nate Berkus sat down for an interview with Oprah Winfrey a little more than a year ago, she bluntly asked him, “Can we talk about the show?” After featuring Berkus as The Oprah Winfrey Show’s resident interior-design expert for more than a decade, she was comfortably referring to The Nate Berkus Show—the designer’s short-lived daily talk program, which ran for two seasons before its cancellation in 2012. In that interview, Winfrey reveled that she tried to discourage her dear friend from entering the world of television five days a week. “I also knew that you were in that space and in that moment where you really CONTINUED g wanted it,” she said. Berkus’s response? “I’m ambitious.”

Photo courtesy of Target

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May/June 2014

INSIDE NATE BERKUS’S TARGET LINE

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hat single word quite accurately describes the 42-year-old designer (of both products and interiors), whose résumé also includes author, actor, and, of course, TV personality. “To host a daytime talk show means that you need to try to be everything to everybody, and design has always been my first love and my strongest interest,” Berkus says over the phone from his New York City apartment. We go on to discuss his new primetime designcompetition show, American Dream Builders, his recently acquired gig as artistic advisor for LG Studio, his constantly evolving collection for Target, and, naturally, his old pal, Ms. Oprah Winfrey. “Even though I have all of these things happening—the Target collection, the LG partnership, the launch of the show, the upcoming wedding— strangely I feel like my life has never been more in balance,” Berkus says. “It’s also nice to not have to try to make a chicken every day on TV.” How did the idea for American Dream Builders come about? What can we expect from the show?

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I got together with Universal, and we brainstormed what a design show could and should be. The one thing we felt strongly about in development was that somebody somewhere decided that design was about how fast and cheaply you can do a project. The truth is that design is about resources, creativity, having access to

in their towns or cities. We wanted people who had been published, who had done books, who had product lines, who won awards for building, and who had been recognized on some level for the contribution they were making to American design. That brought the level of quality for every renovation through the roof. It seems as though traveling and your overall happiness right now had a huge influence on your current Target collection. How have all of your recent experiences played into the designs seen in the line? My favorite thing about my partnership with Target is that the line is constantly changing, constantly evolving, and constantly refreshed. I’ve been designing products for

“ I’m really into the brass-facetted lamp. It’s one of my favorite things. It literally was based on a vintage lamp that I have the original for.” GOLD-PLATED LAMP W/ METALLIC-LINED SHADE $24.99–54.99 (sold separately)

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wonderful things that no one else has seen before, and about combining all of that in a way that provides high-level inspiration. The other decision we made was that rather than go out and try to discover new talent, we scoured the country to find 12 people who had really established reputations

the home for the past 10 years, and it’s a true extension of how I live my life. I can’t go to an antique mall here in New York or on a vacation without taking a million photos of textiles and patterns and stone floors and furniture and objects from flea markets. For me, the line is the opportunity to take everything

that I feel is the best from these cultures, and Peru was a huge influence here. The most interesting ideas for me are the time, the fashion, and the culture that was happening at any given place at any given time. Whether that’s Italy in the 1970s, Peru in the 19th Century, or Manhattan right now, I love to edit that and create something that is a collection that hopefully doesn’t feel like one note because there are so many different influences. I like the idea of people being able to start assembling collections of things that they just like, and living with those objects and letting their eyes land on something that moves them and makes them feel like they’ve done a good job. Can you tell me about your partnership with LG Studio? I was actually approached by LG, and I’m now the new artistic advisor for their studio line of appliances. They’re so great with technology, and they brought me in because the appliance end of LG isn’t that bold. They’ve only been in the American market for 10 years, but they’re already an industry leader because people had such a great experience with their LG phones [and because] the brand stands for innovation, technology, and sleek, highly functional design. They brought me in to consult about what I think the trends are for the kitchen, and more importantly, to find out what I think is trend-proof and trendless. We all sort of reach for the stainless-steel appliance, but

May/June 2014

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American Dream Builders premiered March 23 on NBC and features 12 word-class designers who face off each week in a makeover competition show.

what does that really mean? And should we be exploring other finishes? Should we be working with brass? Should we be working with lacquer? How can I bring my background in design to this company that stands for “anything’s possible”? I really, of course, love that philosophy. When you first came aboard at LG, you asked your fans on your site, “What makes a kitchen beautiful?” What do you think makes a kitchen beautiful? I don’t like bells and whistles when it comes to kitchen finishes. I’m into white or black cabinetry, mixing metals, unlac-

quered brass hardware, baker’s marble, honed marble, subway tile with contrast grout, beautifully crafted, highly functional appliances, and great accessories. I have on my backsplash in my kitchen in New York a 16th Century Peruvian painting in a mirrored frame. It’s sitting on a white tile that’s 39 cents per foot. For me, it’s about keeping the bones of the space classic and the portions correct while letting the layout remain as functional as possible. But then you’ve got to bring in bowls that you’ve collected from your travels or hang something odd on your backsplash and showcase photographs in silver and leather and stone frames. I have a beautiful marble lamp

from the 1920s sitting on my counter as well. I like the idea of treating that room as another space to decorate, even though it needs to be highly functional. Are you still doing any work with Oprah? We’re actually working on something now that I cannot discuss at this time. We’re still very, very good friends, and we’re still very much in touch. I will forever be grateful for the 10 years that I was a part of The Oprah Winfrey Show. It was the most interesting, most acutely educational time for me to work with those people, who were undoubtedly the best in the business. aZ

“Design is about resources, creativity, having access to wonderful things that no one else has seen before, and about combining all of that in a way that provides high-level inspiration.”

Opposite page: Images courtesy of Target; all products available at Target stores and at target.com. This page: Photo by Tyler Golden / NBC.

LIGHT DEFINES THE EXPERIENCE

Photographer: Olof Thiel

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Renovation / Gensler

Interiors / Devine Color

Community / Renzo Piano

Americaâ&#x20AC;&#x2122;s biggest architecture firm taps its employees for a new office, p55

Gretchen Schauffler infuses her work with a spectrum of light and color, p58

A prize-winning architect defers to an eccentric art collector, p60

Design Thinking BENDING EXPECTATIONS A bold museum from Zaha Hadid uses new technology to shape inspiring design

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Architect Zaha Hadid says that the interior spaces of the Broad Art Museum are not just a collection of sequentially connected rooms but instead places where visitors can discover new relationships and connections between movement, light, and diversity.

BY EMMA JANZEN

Museum architecture usually falls into one of two categories: cleanlined, passive structures that present a blank canvas to showcase the art inside, or museums where the building itself is a work of art. When it comes to the case of the Eli & Edythe Broad Art Museum, designed by internationally acclaimed architect Zaha Hadid, the building falls squarely in the latter category.

The 46,000-square-foot museum, which sits on the Michigan State University campus, presents a striking façade of pleated stainless steel and glass emerging from the traditional Gothic-style buildings of the north campus, creating a gateway between the university and the East Lansing community, Hadid says. The external design was influenced by a set of movement paths that traverse and border the

site, helping the museum to both reflect and fit into the surroundings on a very basic level, Hadid says. “Its outer skin echoes these different directions and orientations—giving the building an ever-changing appearance that arouses curiosity yet never quite reveals its content.” Creating the angles and directional pleats that define the project was no easy feat. “Generating twodimensional planes from CONTINUED g these lines

Left: photo by Hufton + Crow, huftonandcrow.com. Right: photo by Iwan Baan, iwan.com.

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of circulation and visual connections, the formal composition of the museum is achieved by folding these planes in three-dimensional space,” Hadid says, “to define an interior landscape that brings together and negotiates the different pathways on which people move through and around the site.” (CONTINUED)

To help negotiate the logistical issues with creating such an unusual, angular metal surface, Hadid partnered with the A. Zahner Company. The engineering and fabrication company had to develop an entirely new process of machining large stainless-steel plates to deliver the final product. “The Broad Art Museum was one of the most exacting architectural-metal projects we have ever undertaken,” Bill Zahner says. “The challenge was to take thin metal plates and make it look as if it was milled from a large block of stainless steel. We were able to achieve a highly refined stainlesssteel surface by scaling up technology that once was stuck in the confines of fine machinery or jewelry.” Through her audacious design and innovative implementation, Hadid succeeded at creating a work of art that reflects the university’s priorities. MSU president Lou Anna K. Simon agrees, saying, “Great art deserves great architecture, and so does a great university. The Broad Art Museum’s bold concept and design reflect Michigan State’s ethos of connecting both campus and community to world-class innovation, global vision, and transformative opportunity.” aZ

May/June 2014

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“ Great art deserves great architecture, and so does a great university.” Photo by Hufton + Crow, huftonandcrow.com

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Practice What You Preach

Workplace experts at Gensler renovate a Newport Beach office for an informed set of clients: themselves

BY PATRICK SISSON

How many architects and designers does it take to create a new office? It’s about 80 in the case of Gensler’s recently completed Newport Beach space. Utilizing the same user-research strategies and design theories that it applies to normal client work, the global design firm drew from its own employees’ experiences to create a more efficient,

agile building that would be an authentic showcase for its own processes and practices. “We’re looking for individuals to be able to collaborate and express themselves, and we feel like we’ve accomplished that,” says Kim Graham, principal and managing director of Gensler’s Newport Beach office.

Lead architect Jim Young started the project by turning to his colleagues, organizing a workplaceperformance index survey (WPI), activity analysis, and culture-mapping sessions—all open forums for making a truly open office. The group consensus suggested that there was a desire for a more flexible community space to communicate and collaborate.

Young and his team’s solution fused feedback with a layout that celebrated the firm’s three decades in Newport Beach. A modern beach-house concept was crafted with a residential feeling in mind, with lots of natural light, a polished concrete floor, and a neutral, sandy palette (all the better to contrast with the company’s red logo). Numerous CONTINUED g meeting

Photo by Nick Merrick, Hedrich Blessing Photography, hedrichblessing.com

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Perfect Partnership The Newport Beach office design was a true collaboration for Gensler—not only with the company’s employees and design team but also with outside companies that were hired to help bring the final vision to life. For one of these companies, Birchwood Lighting, it was the company’s first time to work with Gensler, but it resulted in five subsequent collaborations. Vice president of sales Steve Koch says that the teamwork “truly brought out Birchwood Lighting’s strength in our ability to make modifications of our products to bring the designer’s vision to fruition.”

spaces, from the landing between the first two floors to the design lab— an easily configurable space ideal for design critiques, events, and trying out new products and layouts—fulfilled the desire for more room for collaboration and actually cut private office space in half. Workspaces utilized the Knoll AutoStada system, and the entire building—including the public gallery, café, and on-site gym—is pursuing LEED Platinum certification. (CONTINUED)

The “front door” of this house, so to speak, has proven to be one of the office’s most popular features. Opening up to the fountain motor court in front of the building, it provides an almost retail feeling and has created a locus of activity, with neighbors and passersby literally walking into the office to inquire about what Gensler does. It’s certainly not as popular as a true beach house, but the renovation has shown that the wisdom of a crowd can make public spaces better. “You would think it would be hard to coalesce around 80 opinions,” Graham says. “But we really had people focus on innovation, sustainability, and design.” a

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PAINTING WITH PIZAZZ Gretchen Schauffler infuses a spectrum of light and color into interiors

BY JILL MCDONNELL

When Gretchen Schauffler left Puerto Rico to move to the Northwest US as a child, it took some time to adjust to the local color palette. “There was an incredible resource of color wealth [in Puerto Rico], and then I came to a place where the color was literally on mute nine months a year,” Schauffler says. Out of this contrast, and armed with a desire to introduce these tropical hues to the Northwest canvas, her philosophy on color and company was born. For Devine Color Creamy Wall Coatings, it’s more than just paint. It’s paint, illuminated. When working on a color scheme for a client, Schauffler’s process revolves around gut feelings and the process of discovery—so much so that she refers to what other paint designers might call “color swatches” as “discovery cards.” “If you’re a designer who is working closely with a Photos courtesy of Devine Color

client,” she says, “looking at the cards helps you better understand your client and can give you a revelation that may have taken hours to arrive at—whereas if you’re choosing colors on your own, you can really connect to your own intuition and have confidence in what you’re selecting.” Schauffler’s blog (gretchenschauffler.tumblr.com), which features a vivid amalgamation of sources of inspiration (think: fine art, Pinterest posts, interviews, and more), is a further extension of this philosophy. “I want people to see what colors they love and what colors can do for you,” she says. So how exactly do you determine what color is right for your design project or

interior-design overhaul? Schauffler often focuses on the colors that already exist in a person’s home life, no matter how small or insignificant they might seem. The goal is to enhance with color, not distract. “I like to equate choosing colors for our homes to choosing cosmetics,” Schauffler says. “Just as selecting the right red lipstick for your complexion makes the difference between beautiful lips and a crazy bright mouth overwhelming the wearer, so does picking the perfect color for a room’s lighting, décor, and inhabitants. This is key to creating a look that feels not only perfect but beautiful.”

Schauffler cites an example of a client who once was set on the color yellow for a room. When Schauffler was brought into the mix, she saw that because the room already had such an abundance of yellow in the material, using the color on the walls as well would create an overwhelming lemondrop effect. “Instead, I advised her to consider red or green on the walls to enhance the yellow, instead of being the accent,” she says. For those living in the Northwest, life truly does begin again in the summer—but with Schauffler’s colors, one can create that vibrancy indoors all year long. a

May/June 2014

When choosing colors for an interior-design project, Devine Colorâ&#x20AC;&#x2122;s Gretchen Schauffler works to find tones that will enhance others that already exist in the home, so the whole picture feels perfectly in sync.

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Brick by Brick The detailed masonry featured in the new wing of the Isabella Stewart Gardner Museum— completed by The Belden Brick Company— complements and continues the architecture of the surrounding area. Brian Belden, manager of marketing and thin-brick sales, notes that the project’s biggest challenge was making several different-sized bricks and having to match the color for each size. In the end, however, he was proud that the family-owned business continued to showcase the merits of masonry in such an impressive project. “We think it is important to show that masonry continues to be a vital part of the design process and provides strength and stability to any project, especially a project of this nature.”

Staying in Tune Renzo Piano adds a new verse to this Boston museum’s history while respecting its namesake’s original vision

BY TIMOTHY A. SCHULER

The expansion of Boston’s Isabella Stewart Gardner Museum is a tale of two workshops. One is the Renzo Piano Building Workshop (RPBW), the globally esteemed firm commissioned to construct a new wing for the museum; the other is the new structure itself—a space designed to serve as the “bustling workshop” of the museum’s inner workings.

a style that was unique and a passion that was unparalleled. In 1903, her museum became the first institution created, curated, and designed by one woman. With assistance from architect Willard T. Sears, she modeled the building on Venetian palazzos; its plat de résistance was a central, glass-encased courtyard— another first in the United States.

One of America’s most eccentric art collectors by the turn of the 20th Century, Isabella Stewart Gardner had

When it came time to design the new wing for the museum, despite architect Renzo Piano’s experience

Photo by Nic Lehoux, niclehoux.com

balancing contemporary design with historic architecture—as when he seamlessly integrated the Modern Wing and the 120-year-old Art Institute of Chicago buildings— RPBW was especially deferential to Gardner’s original vision. Since 1903, the visitor experience has been highly choreographed, with landscaped paths leading to intentionally framed views. The new wing seeks to do the same, offering uninterrupted views of the original Palace and its gardens through a spacious,

transparent ground-floor lobby. Above, four volumes clad in patinated copper seem to float, yet rise no higher than the existing building, maintaining the museum’s intimacy. The new building’s role as a “workshop” was born out of necessity. With annual attendance reaching 200,000—versus 2,000 in Gardner’s day—the museum had previously appropriated gallery spaces for operational activities. With the opening of the CONTINUED g new wing,

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conservation labs, educational stations, and musical performances are provided purposebuilt spaces (concerts, for instance, will take place in a unique, multi-level, cubeshaped performance hall), allowing areas such as the historic Tapestry Room to be restored to their original functions.

(CONTINUED)

Gardner was as passionate about the museum grounds as she was about its galleries, and the expansion opens the museum greenhouses to the public, featuring a landscape classroom that serves as a living lab. A new garden will function as a “horticultural exhibition” area, planned by a new artist every few years. Additionally, RPBW and L+A Landscape Architects chose smart landscape elements that naturally filter rainwater—a choice that, along with a geothermal system, daylight harvesting, and materials with recycled content, helped the museum achieve LEED Gold certification. The design team’s emphasis on sustainability—both environmental and curatorial—helps ensure the continuation of Gardner’s unique gift. a Photos by Photo by Nic Lehoux, niclehoux.com

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The

Landscape of Lighting How five trends are guiding the luminance of our homes, workplaces, museums, art installations, clothing, and more By Amanda Koellner

Image of TILT Lorem courtesy Ipsum Omnim qui comnistis molorpore nonectatis esciet iuntorest

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The Landscape of Lighting

There’s a reason that the light bulb is universally symbolic for inspiration. Light lives at the heart of design— most everything found on the pages of Design Bureau needs it to exist and thrive. Arguably, innovation has been on an accelerated path since Thomas Edison invented the commercially viable incandescent light in 1879. As the late comedian George Carlin said, “When Thomas Edison worked late into the night on the electric light, he had to do it by gas lamp or candle. I’m sure it made the work seem that much more urgent.” To survey the current landscape of the lighting industry, we spoke to a plethora of professionals who always treat their lighting work Photo by Norbert Miguletz, miguletz.de

as urgent. From Moritz Waldemeyer, an internationally renowned designer who has crafted LED clothing for the likes of Rihanna and U2, to Schuler Shook, a Chicago-based architecturallighting firm responsible for illuminating the Windy City’s Millennium Park, to Sarah Turner, who used recycled plastic bottles to make a stunning chandelier for Coca-Cola at the London Olympics—we spanned the gamut of the world of light. The result left us with five trends that are shaping the luminosity of tomorrow and causing more of those symbolic light bulbs to turn on over heads all around the globe.

Maximizing Daylight As Jim Baney, a partner in Schuler Shook’s Chicago office says, “Using daylighting in architectural lighting is not new.” Despite this undeniable truth, he also says that studies have confirmed a strong user preference toward natural light and a connection to the outdoors, making the maximization of mother nature’s luminescence, well, trendy. “Exposure to certain wavelengths present in daylight helps to regulate the secretion of many chemicals that play a role in our sleep cycles, our stress levels, and our level of alertness, among other

The Landscape of Lighting

things,” he says. “It seems to be a trend in architectural lighting design that’s here to stay, as, in addition to the health benefits and energy savings it can offer, many building codes are beginning to mandate lighting controls that respond to the level of available daylight.” Using computer programs and algorithms along with historic data, Schuler Shook predicts the amount of useful daylight that will be delivered to a given space through daylighting analysis. This process drove the firm’s design of Loyola University’s Winter Garden, which was based primarily on the amount of light necessary to effectively allow plants to grow for student research within the space. A custom shading system also was designed to

prevent glare and overheating during the most intense periods of direct sun exposure, as well as to keep occupants as comfortable as the plants. Across the pond, German lighting-design office Licht Kunst Licht AG also employed the use of daylight in a recent addition to the Frankfurt Städel Museum (pictured here)—a more than 32,000-square-foot underground expansion located beneath the green grass of the Städel Garden. “Particularly in the presentation of works of art, the invaluable quality of daylight lies in its excellent color rendition,” says Andreas Schulz, CEO of Licht Kunst Licht. He and his team crafted 195 skylights with diameters between

roughly five and eight feet that allow daylight to freely flow into the underground exhibition hall. By virtue of an integrated ring of LED elements, they simultaneously serve as artificial light sources when necessary. “The result is a lighting solution that suits the requirements of a modern temporary exhibition space,” Schulz says, “and creates excellent visual and conversational conditions for the displayed exhibits.” The designer echoes Baney’s sentiment about the lasting appeal of maximizing daylight. “The dynamics of daylight and the unconscious need for information on weather conditions appears to be rooted in us by virtue of our evolutionary-biological disposition,” he says.

DESIGN BUREAU The Landscape of Lighting

Netherlands-based Arnout Meijer Studioâ&#x20AC;&#x2122;s Thanks for the Sun series features strips of LEDs that change in color temperature. The series is designed to feature the light more prominently than the structure of the lamps.

Jan/Feb 2014

The Landscape of Lighting

Unexpected LEDs

London-based Meystyle crafts unique LED wallpaper and fabrics, with each individual light added by hand.

Light-emitting diodes (LEDs) were invented in the 1960s and debuted on the market in the form of digital watches in the ’70s, sold for the small fortune of $2,100. During the past several decades, they’ve decreased in cost and size—the University of Washington recently built the world’s thinnest LED, which comes in at only three atoms—yes, atoms—thick (10,000 times smaller than the thickness of a human hair). LEDs are commonly found in digital clocks, headlights, and traffic stops, but designers around the globe are beginning to find surprising functions for the energy-efficient and longlasting lights. Meystyle LED Wallpaper & Fabric, a London-based company whose first prototype of glowing wallpaper, built in 2003, consisted of 99 lights and a collection of wires stuck between two pieces of material, stumbled into its unique line of work. “The invention of LED wallpaper was absolutely accidental,” says Ekaterina Yaschuk, who co-founded the company with her sister. “It came about one evening when [my sister] Maria was frustrated about her final MA project and couldn’t choose whether to continue developing her passion for wallpaper and pattern or maybe go into lighting,” Ekaterina says. “To cut the conversation short, as it was probably the 100th time we were having it, I said, ‘Why don’t you just put lights into wallpaper and leave me alone?’” The sisters consequently became the first in the world to make LED wallpaper, and, as Ekaterina says, to this day no one makes it like they do. The process begins with hand-drawn sketches that are further developed on the computer, and eventually, each LED light is attached individually by hand. The sisters see the designs as a way to add a bit of drama to a space, and their

paper, which they craft with the help of two part-time staffers, can contain between 1 and 50 lights per square meter. And, as the technology improves, their business expands. “It’s only in the last few years that we’ve expanded into making LED textiles, leather, and we’re looking into even more new materials,” Maria says. Wearable LEDs fall right into the wheelhouse of Moritz Waldemeyer, an internationally renowned multidisciplinary designer whose first foray into fashion came in 2007 when he constructed a video dress for fashion designer Hussein Chalayan. After founding his own studio in 2004, Waldemeyer eventually found himself crafting LED clothing for the likes of Rihanna, U2, and the London Olympics Handover Ceremony performers. He says that even considering today’s technology, each design is quite an undertaking. “To get an optimum look and aesthetic, you really have to customize everything and buy

“I definitely see this taking over the world and changing the way our environments work.”

-Moritz Waldemeyer

the LEDs and circuits,” he says. “One of the challenges is to design for wear and tear, especially for the music world since they’re dancing and doing fast costume changes. The clothes basically get trashed.” Despite the fact that pop stars like Kanye West, Lady Gaga, and Katy Perry all have donned

LED clothing, Waldemeyer says that the prevalence of this fad in everyday wear depends more on social acceptance than available technology. “To make the jump from everyone wearing black and grey to everybody walking around in billboards is a massive shift on a social level,” he says. “If it happened, the technology would certainly catch up, but as it stands, it isn’t really advancing.” That’s not to say that Waldemeyer believes the trend will die or that LEDs lack influence. He points to interiors (and companies like Meystyle), explaining that you don’t have to put wallpaper in the washing machine, and you certainly don’t change it everyday. “Plus, LEDs are super low on power consumption, and they have the ability to interface with other technologies that allow you to do things you can’t do with other lights,” he says. “And the cost is constantly coming down. On that front, I definitely see this taking over the world and changing the way our environments work.”

Opposite page: Image courtesy of Arnout Meijer Studio. This page: Image courtesy of Meystyle.

The Landscape of Lighting

Moritz Waldemeyer teamed up with designer Erevos Aether to craft dazzling light-up outfits for last yearâ&#x20AC;&#x2122;s Audi press event at the 83rd International Motor Show in Geneva.

Lorem courtesy Ipsum Omnim qui Waldemeyer comnistis molorpore Image of Moritz nonectatis esciet iuntorest

The Landscape of Lighting

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The Landscape of Lighting

“I’m excited by the ingenuity that I see coming out of the art and design schools. Young designers are simply not satisfied with the old model.”

-Toby Barratt 3

Increased Sustainability and “Upcycling”

Considering that they consume 75–80% less power, LEDs are a leader in low-energy lighting— but recycling (or “upcycling” to improve quality and value) is on the rise too. For a briefing on the benefits of sustainable

design, turn to Toby Barratt, partner at Vancouver-based multidisciplinary design studio Propeller, who says that throughout human history, using recyclable materials was the norm. “Our disposable culture, which peaked in the late 20th Century, is an anomaly that will necessarily come to an end,” he says. “Industry inventors and designers see the opportunity presented by the necessity to preserve resources, recycle materials, and invent new clean ‘cradle-to-cradle’ processes.” Propeller pulls from a diverse pool of materials for its lighting designs, from rapidly renewable bamboo to repurposed vintage drinking glasses to reclaimed oak salvaged from disused shipping pallets. “Other materials that we use include ecoresin, which is a recyclable plastic, and reclaimed woods like Douglas fir,” Barratt says. “Lighting is a great medium for experimentation and innovation because lighting design evolves constantly, and sustainability is now an essential part of that evolution.” Sarah Turner, an “eco-artist” and designer based in London, supports Barratt’s evolutionary

mindset and has had a passion for making things from waste materials for as long as she can remember. In college, she collected plastic bottles from the coffee shop where she worked as she began to hone her upcycling craft. “For me, I see it as an extra design challenge to make something out of a waste object rather than a new material,” she says. “I think that upcycling is a growing trend in all areas of design, including lighting, as both designers and consumers are becoming much more aware of what their products are made of and are trying to make better choices.” Coca-Cola took notice of the young designer’s work and commissioned her to do the lighting for their Hospitality Centre at the London 2012 Olympic Park. The resultant five chandeliers, done in classic Coke red and white, were each made from 190 plastic CocaCola bottles for a grand total of 950 two-liters. She falls into a camp of people that Barratt believes are driving this trend into the mainstream. “I’m excited by the ingenuity that I see coming out of the art and design schools,” he says. “Young designers are simply not satisfied with the old model.”

Top: Image courtesy of Propeller. Bottom: Image courtesy of Sarah Turner. Opposite page, top: Photo by Toby Andrew. Opposite page, bottom: Image courtesy of Hilden & Diaz.

Emerging Technologies & 3D Printing 3D printing has designers and journalists alike asking if the technology—the process of making a three-dimensional solid object of virtually any shape from a digital model—is ushering in a third industrial revolution. London-based lighting designer George Singer would argue that it just might be. “More and more companies are buying 3D printers, and they’re being used in different ways,” he says. “I think it’s important to progress with technology, and 3D printing is a very important part of that. I think it’s important that we, as designers, immerse ourselves in it and jump at it with both feet.” Singer used 3D printing for the

Using 3D printing to complete the design of this piece, titled “Forms in Nature,” gave the designers a “freedom from and alternative to moulding.”

The Landscape of Lighting

first time on his “Big Sexy Diamond,” a light installation that looks exactly how it sounds. Made with more than 5,000 high-quality LEDs, the fixture features intelligent joints all custom-made by iMakr, a global leader in 3D-printing technology. “3D printing was the best way to create all of the 82 different joints to attach to the ‘ribs’ of the diamond,” Singer says. “The accuracy has to be very high, and iMakr gave me the opportunity to turn around all my components in a month from my 3D files.” Thyra Hilden and Pio Diaz of the Denmark-based art studio Hilden & Diaz ran into a similar issue when creating their “Forms in Nature” light sculpture, inspired by “nesting” the human element back into nature. “At first, the work was intended for graphite moulding through the German manufacturer that makes disk brakes for Porche,” Diaz says. “But the undertaking

was colossal. The project was then handed to a small team of computer geeks.” Despite the seemingly perfect marriage between 3D printing and “Forms in Nature,” the duo has its doubts about the emerging technology, pointing to high costs and lack of

access to machinery as key problems. Even so, they can’t help but enjoy the process. “3D printing gives a freedom from and alternative to moulding,” Hilden says. “The 3D printing set a space for us as artists to be totally unaware of design rules, and that’s fun for us.”

The Landscape of Lighting

French lightingdesign studio TILT focuses on the exploration of light and its interplay with art, architecture, and space.

Light in Public Art Light as a focal point in art dates back beyond the stainedglass windows of the world’s first and finest cathedrals, but new technologies and developments continue to make light’s presence in public art installations all the more prominent. “Light used to just be a practical tool that people didn’t really notice, but they are now realizing how beautiful and precious it can be,” says François Fouilhé, artistic director at TILT, a French art studio established in 2001. “You can see that this is a growing trend with all the light festivals: Lyon, Eindhoven, Prague, Amsterdam, Berlin— many of these didn’t exist a few years ago.”

TILT focuses on the exploration of light and its interplay with art, architecture, and space, and the studio’s work encompasses all aspects of light art, whether for temporary interventions or permanent installations—all with the aim of changing the view and experience that people have of each site the studio investigates. TILT has lit music and light festivals in Singapore, Amsterdam, Eindhoven, Berlin, London, and Sharjah, and its giant light sculptures, which sometimes resemble oversized desk lamps and other times appear as giant, glowing flowers, appear throughout France as well. “Our works are thought to create a dreamlike universe made of humor and poetry,” Fouilhé says. “Social media has created new relationships, but

This page: Image courtesy of TILT. Opposite page: Photos by Hedrich Blessing, hedrichblessing.com.

public light-art installations gather people in the streets to make them travel and dream, and this is something people will always be looking for.” Back in the States, Chicago’s Millennium Park features the glowing faces of the city’s residents on Crown Fountain while the shiny steel of Pritzker Pavilion glows in blues and purples. It’s all a result of the work of Schuler Shook, which found influence in both public expectations and available technology. “I absolutely think that light is becoming a more appreciable element of public art installations,” says Bob Shook, partner at Schuler Shook. “It’s wonderfully ethereal, it’s three-dimensional, and it never feels old. Plus, it’s a very cool thing to do after dark.”

The Landscape of Lighting

In the lighting design of Chicagoâ&#x20AC;&#x2122;s Crown Fountain in Millennium Park, Schuler Shook used LEDs to allow for constant color changes and low maintenance.

The Landscape of Lighting

Lorem courtesy Ipsum Omnim qui comnistis molorpore Image of TILT nonectatis esciet iuntorest

The Landscape of Lighting

TILT enjoys offering the public a new light structure every year and often works with cities that are trying to improve and develop a new image around end-of-theyear celebrations and special events.

Lorem Ipsum Omnim qui comnistis molorpore nonectatis esciet iuntorest

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May/June 2014

Notes From the Bureau Humà Design

FROM INDUSTRY TO RESIDENCY Condo design pays homage to community roots in building overhaul In addition to being the title of an old Peter Allen song, the phrase “everything old is new again” also is the vision that Humà Design principal Stephanie Cardinal embraced when tasked with infusing a new identity into an old textile factory in Montréal. When transforming the existing building into La Fabrique 125, a new residential community composed of 192 condos, Cardinal wanted to integrate elements from the building’s past into the new design. One way she does this is by only implementing minimalistic interventions on the exterior façade (to create better thermal insulation and new texture), and by keeping the original concrete structures exposed on the inside. Another deference to the building’s roots is expressed is through the corridors. “We evoked the past with the use of original materials, while also introducing a new graphic intervention inspired by stitching,” Cardinal says. Carpets in the white and black corridors are dark grey with yellow punches, echoing the iconic pedestrian crossing of the Chabanel neighborhood, where La Fabrique 125 is located. Though much of the building echoes its original use, other elements add a contemporary tone. As residents make their way to one CONTINUED g Photo by Robert Bock, robertbock.com

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Notes From the Bureau

May/June 2014

of the units, they’ll notice that the numbers on the doors aren’t the small and loosely affixed ones that seem to be merely an afterthought in many buildings. Instead, “each unit is distinguished by a large number across the façade,” she says. “The delicate typography for the large numbers contrasts with the rugged industrial surroundings.” Building-sized address numbers also are plastered on the exterior façade, further emphasizing the transformation from garmentindustry building to residential community.

(CONTINUED)

“La Fabrique 125 is a unique project where we had the chance to embody urban-vision architecture, interior architecture, design, and graphic design so that the premises of the story could inspire us all through our work,” Cardinal says. “It really did fulfill the mission of Humà Design to create projects based on stories and designed for humans.” — Jill McDonnell

Infill Planning & Development

PART OF THE NEIGHBORHOOD The team behind this Houston beer hall keeps history a part of the master plan When developing the blueprints for Houston beer hall Mongoose vs. Cobra, Infill Planning & Development (a company that includes some of the owners of the property) honored the wishes of the building’s former owner by working to create a functional and modern space that preserved the history of the existing structure. “In Houston, there is no longer a stock of old buildings,” says Ian Rosenberg, co-founder and owner of Infill, “and while 1011 McGowen is not architecturally notable, we wanted to let the building—vines, rough brick, and all—speak for itself and lend the gravity of its age to the space.” With the goal of designing a bar that would evoke the feeling of a great hall without sacrificing the intimacy that customers look for in a typical lounge setting, Infill ensured that all design decisions were not made as “art for art’s sake” but rather with intention and purpose. “The material selections and finishes are intended to give the impression that the space always has been this way,” Rosenberg says, “without blending or blurring the boundary between container and contained, old and new, past use or present.” One of the main focal features of the space—a glass and steel façade—guides CONTINUED g Top: Photo by Robert Bock, robertbock.com. Bottom: Photos by VJ Arizple, vjarizpe.com.

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DESIGN BUREAU

Notes From the Bureau

natural light into the space, highlighting features that might otherwise be overlooked. “Steel work that is both artful and industrial, original concrete floors, brick walls, beamed roof, and repurposed wood interiors are all in immediate focus thanks to the façade,” Rosenberg says. “In the evening, from the inside, the framed historic streetscape of our vintage neighbors across the street is beautiful and picturesque.”

(CONTINUED)

Of all the notable elements inherent in the final design, Rosenberg says that he is most proud of the way the work respects and revitalizes the neighborhood. And he’s not the only one to note the feat: in 2013, the firm was awarded a Good Brick Award from Preservation Houston, which recognized the craftsmanship involved in preserving the architectural and cultural heritage of the building. — Emma Janzen

Jeffrey Hutchinson & Associates

A MIGHTY GOOD (FIFTH) MAN A new shopping experience caters to both classic and modern gentlemen Looking sharp in the boardroom or out on the town can be an important consideration for the modern man. To capture this desire and curry favor among its male customers, Saks Fifth Avenue brought in Jeffrey Hutchinson & Associates to reinvigorate 40,000 square feet of its flagship store in downtown Chicago. The space, located on two different floors of the building and entitled The Fifth Avenue Man, now reflects both the brand’s traditional association with the “classic” customer on the hunt for a beautifully tailored suit, as well as a new younger, more fashion-focused, and design-savvy customer looking for something more edgy. To cater to the more conventional demographic, the sixth floor represents a modern take on a classic men’s club or library, showcasing clothing apropos to this setting. “We used rich materials inspired by this idea such as dark bronze, brass, and cerused oak,” Hutchinson says, “with an added twist of using men’s suiting fabrics for wall coverings, to give the area additional depth and warmth.” In contrast to that, the seventh floor and its offerings have a cleaner modern style with a palette of silver-stained oak, blackened steel, and stainless steel. Hutchinson likened the different floor aesthetics to creating two differ- CONTINUED g Top: Photo by VJ Arizple, vjarizpe.com. Bottom: Photos by Bill Waldorf.

May/June 2014

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DESIGN BUREAU

Notes From the Bureau

ent rooms in a house, which have varying attitudes but similar style. He carried out this vision by creating a floor opening in the center of the space to join the two atmospheres. A custom bronze-and-steel sculpture also visually connects the two floors. “The metal panels on the sculpture are comprised of a gradation of colors from light steel to dark bronze,” Hutchinson said. “The colors change from dark to light and transform as it moves through the floor opening.”

(CONTINUED)

Thanks to a clever design scheme, whether your style leans more classic or contemporary, fears of a dull shopping experience will definitely be assuaged upon visiting The Fifth Avenue Man. — Jill McDonnell

Nano Design

BRACING FOR THE FUTURE A post-Katrina home in Louisiana gets a modern addition When charged with a complete renovation and 2,000-square-foot addition to a post-Katrina home in one of the oldest areas of Thibodeaux, Louisiana, Terri Hogan Dreyer aimed to capture the uniqueness of the original space while infusing modern conveniences when possible. Dreyer, co-founder of Nano Design, says that the firm’s philosophy—design at every scale—seeps into every project, and the Roth residence was no exception to the rule. Take, for example, one of the most outstanding features of the home, an eight-foot cantilever overhang that creates a covered area for lounging outside and cuts down on afternoon glare from the inside of the home. In order to create the cantilever without any vertical elements, steel plating and beams are tied back into the roof structure. The careful integration helps the addition to the home retain its architectural identity while also preserving the look of the existing house. “It creates tension at the back of the windows from the existing house,” Dreyer says, “and captures the space at the poolside for lounging and watching their children.” The cantilever is merely one example of how Nano maintained the integrity of the modern 1960s structure while modernizing certain areas for a 21st Century family—something that the client appreciated. “They loved the way the space is analogous with the original house,” Dreyer says, “and how it flows throughout as a seamless transition.” — Emma Janzen Top: Photo by Bill Waldorf. Bottom: Images courtesy of Nano.

May/June 2014

DESIGN BUREAU

Eye Candy

The Glass House No stone throwing allowed in this stunning modernist California residence, inspired by Mies van der Rohe BY BRANDON GOEI / PHOTOS BY WILLIAM MACCOLLUM

DESIGN BUREAU

May/June 2014

Eye Candy

t’s a rare occurrence when the flash of vintage-Ferrari red and the gullwing doors of a first-generation Mercedes SL need to compete for attention. But Steve Hermann Design’s Glass Pavilion, which houses these luxurious cars, gives both of them a run for their money. Hermann’s cantilevered modernist residence floats above the grounds of a 3.5-acre oak grove in Montecito, California, and three all-glass walls make living and working in the middle of a sun-kissed forest a reality. The aforementioned vintage-car collection sits in the lower level in a showroom that can accommodate up to 30 vehicles, and complete privacy comes with the touch of a button that activates a seamless blind system embedded in the ceiling. Similarities between the Glass Pavilion and renowned German-American architect Ludwig Mies van der Rohe’s famous Farnsworth House aren’t coincidental. “Today’s best architects just try to keep pace with what they did over 70 years ago,” Hermann says. “I asked myself, ‘How would Mies design a glass house if today’s technology was available to him back then?’”

The answer, seemingly, is carefully and deliberately, in a process that took more than six years of planning and construction. “The simpler a house looks, the more complicated it is to design and build,” Hermann says. “There is no room for mistakes, and you can’t hide poor planning behind mouldings. Everything is on display, and it needs to be right.” The attention to detail is most apparent in the home’s warmly minimalist furnishings, including oversized gathering spaces with low-slung seating and concealed kitchen appliances. “I like simple architecture but believe that a house needs to be livable and inviting,” Hermann says. “People are often surprised that the house feels so comfortable. Simplicity is a luxury in itself.” a

Photos by William MacCollum, maccollum.com

Set in a 3.5-acre oak grove, this modern home is cantilevered over the lawn, creating the illusion that the house is floating on air. From the inside, the residence appears to have landed right in the middle of a forest, as three walls of glass line the living room for beautiful views from almost any angle.

May/June 2014

Eye Candy

DESIGN BUREAU Steve Hermann, the designer and owner of this modern home, achieved the wide expanses of glass by using copious amounts of structural steel and concrete. Inspired by the modernism of Ludwig Mies van der Rohe, Hermann asked himself how that famed designer would craft a glass house if todayâ&#x20AC;&#x2122;s technology were available to him back then.

We Di dnâ&#x20AC;&#x2122;t I nvent L u xu r y,

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May/June 2014

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ARCHITECTS & ARTISANS

Taking Lighting Cues From Cultural Symbology For Mumbai’s new airport terminal, SOM learns from fashion designers and Bollywood BY J. MICHAEL WELTON

umbai, the financial capital of India,

is roaring into the 21st Century at light speed.

Ten years ago, its Chhatrapati Shivaji International Airport welcomed six million passengers annually. Today, that number has increased five-fold. Thus the new terminal there, designed by Skidmore, Owings & Merrill, has added 4.4 million square feet and allows for a capacity of 40 million travelers, both domestic and international. Most interestingly, the terminal uses natural light as a cultural symbol as well as to guide passengers intuitively from check-in to aircraft. “When you walk in, it shimmers,” says Roger Duffy, design partner at SOM. “It’s almost like the roof floats.”

The airport’s ceiling and columns feature 8,500 holes that light it up, from dawn ’til dusk. At night, artificial lights tucked within those holes offer the same effect. “It’s like peacock feathers—and the peacock is a good-luck charm in India,” he says. “Because of a film that’s a high-tech version of stained glass, you get two colors at once. It’s like sequins in a woman’s dress—very sparkly.” Because he immersed himself in the complexities of the nation’s culture during an intense tour of the country, sponsored by his clients, Duffy knows full well about the importance of peacocks and sequined lighting to India.

“They had historians meet us and choreographers do performances for us in front of temples,” he says. “We developed a collaborative relationship with fashion designers who were well regarded and connected to Bollywood.” All of this helped the architects with patterns and symbology for the building’s carpets and chandeliers, as well as patterns in the fritted glass. But the use of light here makes the difference, particularly for way-finding. After check-in, passengers pass through to a retail area where they can see out to windows on the airfield in the distance, then

past soft glass curves that lead to a boarding area lit by chandeliers. From there, vertical green walls, lush with live plants, lead passengers to planes. The architects’ assignment for the privately funded terminal, a rarity these days, was to create a great and efficient airport, meet the client’s cost parameters, and assure that it looked like no other. “When it was built, it was to look and feel like it belonged in Mumbai,” says Duffy—whose firm achieved just that by absorbing the culture of its hosts. a

J. Michael Welton writes about architecture, art, and design for national and international publications. He also edits and publishes a digital design magazine at architectsandartisans.com, where portions of this column first appeared .

Photos courtesy of Skidmore, Owings & Merrill

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May/June 2014

DESIGN BUREAU

IMAGE, STYLE & DESIGN

Light, Color, and Home Furnishings You may love the color of your new couch, but be sure to test potential purchases in different lighting BY STEVEN FISCHER

ow many times have you bought

a piece of furniture from a showroom where it looked great, only to get it to its planned location and, disappointingly, its color lost its original appeal? With this lighting issue of Design Bureau, it is important to remember that lighting is vital to our perception of color. To better understand that, we need to explore a bit of physics—in particular, how light creates the colors that we see. Color is received in our eyes as wavelengths. Those wavelengths result from light bouncing off objects or come direct from the source. What bounces off the object can be measured on three criteria: hue, chroma, and lightness (HCL). Hue can be considered a gradation or shade of a color; chroma is how strong the color might appear on a surface; lightness is how bright something is when compared to pure light. How those HCL values are perceived is directly related to the source of light used to illuminate the object— hence it is imperative to consider both the object and light at the same time.

in North America, allowing a designer to go through a fan deck to select a color zwith a specific number that is coordinated across ink and cloth makers. The Natural Color System (NCS), which was developed by color scientists in Sweden, is popular in Europe. Its premise is to take the entire color wheel and split it into the three basic colors (red, yellow, and blue), combine that with gradations of white (pure white to no white), and then derive all colors as a percentage of the three basic colors and whiteness. The advantage of the NCS is that it allows greater specificity and is based on scientific percentages.

Though a light source can be chosen and communicated rather easily, it’s more of a challenge to specify a particular color, as there are different systems available for doing so. The Pantone system is popular

No matter which system you use, these are matters to consider when choosing an object for the home—and why it is important to test that object in different light sources before making a decision. a

Steven Fischer is creator of Fischer Voyage and director of Image, Style & Design Studio. Find more information at fischervoyage.com and imagestyledesign.com.

Illustration by Michael Bodor

May/June 2014

THIS ISSUE’S BEST ALBUMS

DESIGN BUREAU

Presented by

RODRIGO Y GABRIELA 9 Dead Alive (ATO) In the five years since of their thrash-metal past than before. Acoustic Rodrigo y Gabriela re- chugging and a darker melody touch “Torito,” flaleased their last f ull- menco turns to hammer-ons and a dueling run in length, the acoustic-guitar “Somnium,” and brisk tempos and palm-muting duo has been anything but mark “The Russian Messanger.” idle—touring the globe, contributing to multiple The album remains squarely in the couple’s soundtracks, releasing an album of alternate wheelhouse with ample melody, harmony, and versions with a Cuban big band, and even col- guitar-based percussion, but it also takes different laborating with former Megadeth guitarist Marty turns—new twists on Spanish and classical guitar, Friedman. an increase in delicate passages, and the use of a 9 Dead Alive finds R&G at their roots, releasing spoken-word sample. In all, it’s classic Rodrigo y a purely two-piece album that channels even more Gabriela—as you’ve never heard them. [SM]

KILLER BE KILLED

ANIMALS AS LEADERS

YOUNG WIDOWS

s/t (Nuclear Blast)

The Joy of Motion (Sumerian)

Easy Pain (Temporary Residence)

02/ A one-off super-group collaboration, Killer Be

03/ Animals as Leaders will almost always

04/ On Young Widows’ fourth LP, the Louisville

Killed brings together the talents of The Dillinger Escape Plan front-man Greg Puciato, Soulfly founder Max Cavalera, Mastodon bassist/vocalist Troy Sanders, and drummer Dave Elitch, who has played with acts as diverse as The Mars Volta, M83, Juliette Lewis, and Miley Cyrus. Puciato, Cavalera, and Sanders all provide lead screams, each bringing different lyrical perspectives and songwriting ideas to the table. (Puciato also contributes half the guitar work and supervised the album’s mixing.) Together, the quartet churns through several decades’ worth of familiar metal motifs, including progressive thrash that would’ve made Beavis and Butt-Head leap off the couch. [SRK]

be known for two things: eight-stringed monstrosities that add sheer weight to the air around them, and the fleet-fingered maniacs who dare to use them. The band’s third full-length, The Joy of Motion, is another addition to the cerebral workouts of the previous albums, with lurid, expressive solos, irregular rhythms, and überlow-tuned riffs. A Latin flair now informs several tracks, and a stronger focus is put on electronic flourishes (ranging from skittering staccato to ambient vista), but a sharp attention to songwriting sets the album apart. The dark tones crush, the bright tones are white hot, and the transitions soar and carve at breakneck pace. [BG]

trio delivers more of the refined abrasiveness for which it is known and revered—think The Jesus Lizard’s reckless bombast harnessed by the tale-spinning sophistication of Nick Cave. Ringleader Evan Patterson brings forth new characters (“Godman,” “Kerosene Girl,” “King Sol”) to play with the ones we already knew (“The Muted Man,” “Miss Tambourine Wrist,” “Mr. No Harm”), and to no one’s surprise, they fit right in. And once more, Patteron’s yowls and reverbdrunk guitar lines and deftly complemented by the larger-than-life rhythmic punctuation of Jeremy McMonigle’s tom-heavy drums and the ever-distorted bass incursion of Nick Thieneman. [DHC]

LITTLE DRAGON

THE FAINT

SO HIDEOUS

Nabuma Rubberband (Loma Vista)

Doom Abuse (SQE)

Last Poem / First Light (Prosthetic)

05/ Straddling blurry lines between dreamy ’80s synth-pop and smooth modern R&B jams, Little Dragon tones down the dance-party beats on its fourth album, Nabuma Rubberband. On the first release since 2011’s breakout Ritual Union, the Swedish quartet hones in on a more subdued, restrained version of the vibe-driven electrosynth that propelled it to collaborate with the likes of Gorillaz, Raphael Saadiq, and SBTRKT. For fans of earlier albums, tune into first single “Klapp Klapp,” which is sure to please with snappy snares and deep electronic pulses, or “Paris,” with similar driving palpitations and a grooving cosmopolitan flare. [EJ]

06/ “Unexpected but also inevitable”—that’s

07/ Independently released last year, the proper

what dance-punk outfit The Faint calls its sixth album, Doom Abuse. Driven by a desire for unstructured spontaneity (some songs were written on the spot in the studio) and lyric explorations of the subconscious, the 12-track record is an amalgamation of The Faint’s signature sounds, presented with a new urgency. The tone is caustic and the beats are frenetic, taking the notion of dance punk to a more appropriately aggressive level. Decidedly more disruptive than previous records, the band leaves little space for reflection between tracks, sending a message loud and clear that it’s back with a vengeance. [EJ]

debut by symphonic blackened hardcore band So Hideous (formerly So Hideous, My Love) was an unsung gem of 2013. Now the album sees release through Prosthetic Records, providing another chance to hear a band as inspired by post-blackmetal outfit Celeste as by post-rock giant Mono and minimalist composers Philip Glass and Arvo Pärt. Enlisting the studio aid of The First Light Orchestra—a collection of 10 string players, a tuba, and four vocalists—the band expands its orchestral reach while maintaining the same fullbore blast of blackened hardcore. If you missed Last Poem / First Light, here’s your second chance. [SM]

[DHC] Dustin H. Currier [BG] Brandon Goei [EJ] Emma Janzen [SM] Scott Morrow [SRK] Saby Reyes-Kulkarni

DESIGN BUREAU

FOR HIRE DESIGN TALENT FRESH ON THE MARKET

May/June 2014

FOR HIRE: Christopher Givens Hailing from New Jersey—what he calls “the oft-scorned Garden State”—this soon-to-be School of the Art Institute of Chicago graduate and current Alarm Press intern has dreamt of a design career since selling his own comics and creating his own versions of album covers as an adolescent. He’s on the hunt for a job in print design and is eager to bring is love of typography, grids, and primary colors to the proper publication. New York Times Magazine, we’re looking at you!

What type of design work would you say is your area of expertise? My expertise lies in typography—I mean that in a few ways. I love that typefaces can carry so much weight in their identity and can become a proxy for so many different personality traits. I’m also interested in identity or “branding” (buzz word!) work. The search for the right allegorical piece of design to convey another’s personality to the world is just as thrilling as finding your own. But I love publication design; it’s the macro-typography to type design’s micro, and nothing feels better than when you successfully lock all the elements of a page together like a jigsaw puzzle. How would you describe your aesthetic? I’m into harsh cleanliness; people have compared my work to Swiss or Dutch design. I try to let the design be simple and bold and let the materials sing. I love making the right rule system for a project and following through with those guides the whole way through. What’s the best/most useful piece of information that you learned in design school? “The guy who makes the nails doesn’t get upset when you don’t look at your finished house and say, ‘Well, would you look at how great he made those nails?’” To many, our work as designers goes unseen. Sometimes it’s best that way, as some of the best design feels so natural that it goes unnoticed. Why should somebody hire you? I work really well in a team—both managing and being managed. I think that I help people bring out the best in their work, and I find that my coworkers bring out the same in me. I’m great at the micro, polishing off the tiny bits often overlooked in a fastpaced environment.

RÉSUMÉ SNAPSHOT: Christopher Givens EDUCATION The School of the Art Institute of Chicago Bachelor of Fine Arts with emphasis in Visual Communication Design, 2014

WORK EXPERIENCE ALARM Press Design Intern, 2014 F Newsmagazine Art Director, 2012–14

FROM TOP: Paragon Sans type specimen, SAIC Holiday Art Sale promotional poster, F Newsmagazine October 2013 redesign

Chris likes: Letter Gothic, audiobooks and podcasts, real (read: NYstyle) pizza, Denmark, the colors red and blue, the word “lovely,” monospaced type

Design Director iFlip4, 2013 Frederick and Froberg Design Offices Intern, 2010–11

Are you a design student or recent grad? Are you interested in being featured in For Hire? E-mail forhire@wearedesignbureau.com.

Chris dislikes: Centered menus, vodka, crowds, mauve and its ilk, deep-dish pizza

Wanna hire Christopher? Check out his website: chrisgivens.de/sign