Soft Interiors WORK 6 ÂŠ2013 Parsons The New School for Design 66 5th Avenue New York, NY 10011 All rights reserved. No part of this publication may be reproduced in any manner without permission. All images of student work appear courtesy of the students. Copyright Parsons The New School for Design ISBN 978-0-9820433-9-4 Cover Image: Branding Exercise ID 3 Fall 2012 Faculty: Greico + Siebert Front columns left to right: Mori, Sayakumane, Hogan, Siegel Back columns left to right: Orihara, Gray, Chevalier, Chen
Table of Contents
CODE by ALEXA WINTON GRIFFITH
40 LETTERS: DEAN & EDITOR
UPSIDE DOWN: HSIEH SMELL: HUDSON
CANDLES: PATHEJA & KAUFMAN
MUSHROOM: HEMETSBERGER & MORI
INSIDE OUT: BURKE
COTTON: SAYAKUMANE & SUCHATLAMPONG
FEATURED FACULTY: ANURAG NEMA
FEATURED ALUMNA: CAROLINE MEERSSEMAN
Letter from the Parsons SCE Dean
David J. Lewis
As the Dean of the School of Constructed Environments, Iâ€™m very pleased to introduce this next volume of Work, the sixth in a series of publications which documents the best student work of the Associate in Applied Science (AAS) in Interior Design at Parsons The New School for Design. The AAS program plays an instrumental role in the school, providing clear and compelling education for students who seek to enter into the increasingly complex and dynamic field of interior design in the heart of New York City. Consistent with the mission of The New School, the AAS program provides opportunities and career changing potential for students, many of whom bring to their study of interior design diverse and varied backgrounds in many fields. While the AAS program in Interior Design provides a balanced education in the practice of interior design, it equally explores unique and timely themes germane to a given year. Work 6 chronicles a theme, Soft Interiors, that has woven itself through the designs and studios of the academic year. By highlighting the textural nature of these designs, this issue of Work establishes a link between contemporary engagement of the interior with the wide range of historical associations and practices that have cloaked, framed and wrapped interior space. Here, new materials are deployed to create distinct spaces, or known materials are inventively re-assembled, challenging expectations through processes of defamiliarization. Soft Interiors privileges a tactile understanding of design, one that is often counter to the privileged ocular structures of presentation techniques. Soft Interiors combines seduction with making, asking students and interior designers to recognize the interplay between the labors of fabricating materials to the fabrication of effects. Enjoy-
Letter from the Editor
I remember some time ago being struck by the luxurious “soft architecture” that enhanced the interior of the Red Monastery from fifth-century CE Egypt, where fabric curtains that hung between spaced columns was painted to create the illusion of an extended solid wall. In fact, “soft interiors” have always intrigued me. They allow designers to utilize textiles, sound, motion and even smell to serve an imaginative interior design. This issue of Work has been organized around the dynamic potential of “soft” concepts in contemporary design. Each of the student projects highlighted here has been developed using objects and actions with soft physical properties such as motion, paper, and versatility. And each exemplifies the rich concept development and designs completed in the Parsons AAS Interior Design Program. For the tunnel connecting New York’s 42nd Street subway station and the Port Authority Bus Terminal, Hirofumi Orihara designed a library annex using the “soft” qualities of motion and light to increase the appeal of this underground space. In a community-center project, Chen Chao Hua exploited the quality of versatility in a furniture piece that could function as a chair, table, bandstand, display and screen wall. And for this year’s Parsons entry in Dining By Design, the Design Industries Foundation Fighting Aids (DIFFA) benefit, Tyvek, a paper used in construction (and FedEx envelopes), was the primary material, crushed and backlit. Hirofumi Orihara also uses Tyvek sewn into a Baroque “dress” to make a simple stool more elegant. Work 6 also includes an article by Alexa Griffith Winton, from the Parsons faculty, who writes about three contemporary designers, Mette Ramsgaard Thomsen, Rachel Wingfield and Mathias Gmachl working as Loop.pH, and Carole Collet, each of whom engages textiles via issues of technology, biology, and craft. This year’s Featured Faculty is Anurag Nema, principal of Nemaworkshop. The Hospitality Design award winning L’espresso is featured, as are other examples of his commercial and hospitality work. Lastly, our featured alum is Caroline Meersseman, a senior designer with the renowned interiors firm Yabu Pushelberg. Yabu Pushelberg offered a workshop on hotel design at Parsons this year, and Caroline Meerssman played a major role in preparing students for reviews with Glen Pushelberg. We are delighted to show a few highlights from the work she has done at this distinguished Interior design firm.
Soft Interiors Design Proposals
Lanktree Marion Art Center For Seniors
Mission: To create a space for artists to have a personal studio, collaborative spaces; a gallery area; a research and resource area; and spaces to connect with others. Inspired by the Carter Burden 307 Art Gallery located in New York’s premier art-gallery area, the gallery is devoted to showing re-emerging senior artists. The goal of the program was to create a space for artists to work and collaborate together under one roof - interior space allows for gathering, eating, research , gallery space, presentations, group work, and individual work. Concept: To navigate a tension between two states (delicate and stronger components) and the push/pull between the states inner/outer and physical/emotional states of growing old. Delicate, seemingly limp components are held up, pulled, and stretched, expressing a tension between material and form, wrapping structural elements with tactile materials, stretching a “skin” over the skeleton of the structure. Material Description: 1. concrete, dark finished 2. steel, treated polished charcoal grey 3. mesh, synthetic textile 4. mesh, knitted textile 5. pine, reclaimed whitewashed 6. special finishes powder coated wood & stainless steel
SCHACHTER + TEETER
Employment: Interior Designer and Interior Stylist, Toronto Ontario Canada Degrees: OCAD University - BFA Material Art & Design Carleton University - MFA Interdisciplinary Design Research marionlanktree.com
Orihara Hirofumi Port Authority Public Library
This public library is incorporated into New York Cityâ€™s 42nd Street subway station, which links three New York subway lines to the Port Authority Bus Terminal; combined, they serve more than 62 million passengers each year. The concept is the movement of the constant rush of people and trains. The moving book wall of the library addresses the issue of the narrow and seemingly endless passageway between the Bus Terminal and the subway station. Eyecatching moving books amuse people who are walking down this long corridor. The wall aims for not only entertainment but also creates an optical illusion that makes the narrow space appear wider than its actual width. Chasing the moving light, passengers spontaneously enter into reading spaces for relaxation, occupying what used to be dead space in the station. After looking at the paper-based books in the colorful acrylic cases, guests download the book on their tablet at touch panel vending machines. The design of the lighting fixtures is inspired by the gears and wheels that operate the subway trains.
Degree: Parsons - AAS Interior Design
SCHACHTER + TEETER
2013 IIDA Student Jurorâ€™s Award
Thompson Molly Community Library
The “community library” has new meaning in the twenty-first century. As the function and meaning of the library has changed, how can the library itself evolve to the changing nature of the information and of emerging technologies, and their impact on social and spatial realms and relationships? I wanted to consider the idea of exposing different ways of looking and seeing by creating a Library of Film. I believe that the full experience of going to the movies has been lost and this library’s purpose is to inspire people to step away from their computers and televisions, and go back to where the true experience of movies begins—in theaters. I am inspired by the way one sees something and looks around, and I designed the library with the idea of moving through the space, always finding oneself in a new area with a different view. Almost every view is based on an angle that defines the perspective of the viewer. The first floor holds a collection of films to be watched in the library or to check out, with screening rooms ranging from individual rooms and group screening rooms to a large theater. The second floor consists of two reading rooms stocked with books involving films, directing, producing, and people of importance who have made an impact on the film industry. Each wing has a viewing deck outside, while also having views looking down inside the space below.
NIXON + TEETER
Employment: ASH NYC Degrees: University of Texas - BA Studio Art email@example.com
Doughty Megan Community Library
New York City’s opulent City Hall subway station was closed in 1945, but it is given new life here as an underground branch of the New York Public Library. Informed by the concept of an urban park being pulled below street level, the library’s relationship to the park above is continuously explored as the space descends deeper underground. The ground-level glazed entrance entices visitors while retaining City Hall Park’s visual and physical integrity. Vertically sliding bookcases in the atrium, operable by the library-goer, break through the sidewalk to give street-level passersby a glimpse of what is hidden below. Water from the iconic Mould fountain is re-routed to drizzle down interior walls in the fountain room, the treelined promenade invites patrons to nestle in one of its reading nooks, and a combination of new and existing skylights allow sunlight to pour into the library even at its deepest level. Large-scale black and white photographs along the promenade’s curved wall pay homage to the New York Public Library’s rich history as they lead patrons into the City Hall station - the light at the end of the tunnel. The original architecture and famous subway tiling are carefully preserved and integrated into a new technology room and raised workstations on the platform where visitors will get a glimpse of the 6 train as it passes through on the same track as it has since 1904.
SCHACHTER + TEETER
Degrees: Tufts University - BA Sociology, Minor Communications and Media Studies firstname.lastname@example.org
ATRI U M
CITY HALL STATION LIBRARY
CITY HALL STATION LIBRARY
Hudson Kathleen Library of Smell
Our sense of smell is one that is arguably under-developed; we are not taught to identify or distinguish smells in any formal way, and our understanding is therefore largely experiential. This library enables users to learn about and study smells in a precise and authentic manner and to provide a “catalogue” of smells to explore. Distinct spatial conditions allow for different experiences of scent: mixed, isolated, absent, and encompassing. The entrance features a folding glass wall that allows the scents of the city and environment to mingle with a curated selection of smells, replicating the experience a user might have in everyday life. Traveling deeper into the space, users can choose specific smells off shelves and at the “scent bar,” or utilizing the individual smell chambers – based on the a concept by perfumer Frederic Malle – to experience the essence of singular smells. Seating areas allow users to collaborate and smell things in pairs, groups, or alone, adding the element of human scent to the mix.
NIXON + TEETER
The final zone of the space combines two extreme experiences of smelling: a sterilized absence of smell and a saturated physical experience of smell. Users enter into the “no-smell” space to observe the scent installation happening in the glass box. A scent installation could be anything from a pile of grass clippings, to a swimming pool, to an invisible gas pumped into the space. This final experience of being “within the smell” when inside the cylindrical glass chambers, is meant to enhance our understanding of the complexities of scent beyond the boundaries of our casual understanding of smells.
Employment: Solis Betancourt & Sherrill Degree: University of Virginia - BA Psychology email@example.com
Burke Maria Library
The Inside Out library is near New York City’s High Line, a public park built on an historic rail line elevated above the streets of Manhattan’s West Side. The library entices visitors to explore and discover the knowledge within. A green and white marble pattern, inspired by garden designs, flows through the building, growing across the floor and climbing walls. The pattern guides the library’s visitors through the space, leading them through the space and inter-weaving the outdoor environment inside. The glass and mirror ceilings of the second floor reflect and distort the patterns from the floor. The library’s design challenges the user’s normal understanding of a library’s social environment, particularly how one experiences the public and private areas of the structure. Glass walls melt away to confuse one’s sense of privacy, and iron doors serve as space dividers, while still allowing air, sound and smell to flow through the space. As they explore the library, users will come upon small study areas and reading nooks, some hidden behind tall stacks and others on small balconies overlooking the first floor. They will also find screens of all different sizes where the projected pages of books can be shared visitors. The Inside Out Library serves as an inspiring place for people of all different backgrounds to come together and experience learning in a new way.
NIXON + TEETER
Employment: Victoria Hagan Interiors Degree: University of Virginia - BA Art History firstname.lastname@example.org
Poitevent Mary Bourbon Showroom
The color and translucency of bourbon was the starting point for this showroom, designed for a bourbon distributor. It was important to me that the conference room serve as a point of full translucency, and for the surrounding office and showroom walls to envelope the glass with a warm, caramel-colored tone to evoke the warmth of bourbon. That space is also multi-functional, implementing movable doors to accommodate the purpose of the space as either a conference room or an employee lounge/ work/lunch space. The use of leather and brass accents throughout also brings a sense of warmth to the space. Wood floors and overhead beams were implemented throughout the office and showroom to bring continuity to areas that serve different functions, while also bringing a rustic element to the space. Light was an important element that allowed me to evoke a sense of warmth in the showroom/bar area. The use of exposed industrial light bulbs, a custom fireplace, and brass accents throughout the space strongly encourages conversation and camaraderie, which I associate with bourbon.
Employment: MMR Interiors, New Orleans Degree: University of Georgia - BA Art History email@example.com
DIFFA Dining by Design Benefit
The Parsons 2013 installation for DIFFA Dining by Design Benefit focused on creating an environment of transformation and changeâ€”of topography, of materials and of space. The student investigations in material studies worked with common materials such as Tyvek, and through surface manipulation and connections transformed the materials into a continuous all-encompassing setting. This contoured form was then suspended over a concealed structural frame and illuminated from within as well as backlit with LED lighting translating an ebb and flow of material and light as memory in a space. The design team also fabricated the furniture: single and double stools, as well as a faceted birch plywood table painted with a topographic pattern and overlaid on the similarly painted plywood floor.
Design Industries Foundation Fighting Aids.
Student Design Team: Eleonore Pillet, Nathan Cuttle, Reilly Townsend, Michael Gerber, Sabine Hertzog, Kim Shaves
Photography by Zach Barr
Sayakumane Troy + Suchatlampong Varunya Nick Cave Light Design
The assignment was to create a light object from everyday and/or found objects. The light object needed to be inspired by an artist. We chose performance/ installation artist Nick Cave. Cave is known for his sound suits. The suits are designed to make sounds when worn based on the materials they are composed of. Ultimately, the suits are a vehicle for performers to become someone or something else. We used found drift wood from the upper west side of Manhattan, cotton swabs from a drug store and small soft-light bulbs from a local hardware store.The cotton created a soft ethereal feel much like under water/ or the ocean. To achieve movement, we positioned some of the cotton swabs at an angle. The combination of the softness from the cotton and illusion of movement conjure up the sounds of the ocean to spectators of the piece. And of course the small illuminating bulbs represents the peering eyes of the creature. Like Caveâ€™s sound suitsthe materials create sound, movement and comes a live when lit/used.
Employment: Yabu Pushelberg Degree: University of Texas - BS Communication firstname.lastname@example.org Degree: Chulalongkorn University - BA major Japanese email@example.com
Patheja Rupam + Kaufman Staver Nagi Noda Necklace Design
This lighting object was inspired by the work of contemporary Japanese artist Nagi Noda, who made sculptural hats using human hair. The intended irony in Nodaâ€™s choice to use hair as a material for hats resonated in the choice to use candles as the structure of this light object. Candles were selected not for their illuminating properties but for their aesthetic value. This object was created using 250 birthday candles, bound by changing the state of matter with heat. In addition to using melted wax to bind the candles, the object includes a few copper wire joints so that it may be worn as a neckpiece. The light source, battery operated LED lights, was placed between three layers of candle halos.
Degree: Penn State University - BA Marketing and Minor
Economics and International Business firstname.lastname@example.org Degree: Wake Forest University - BA Psychology email@example.com
Bullosa Maria Community Center
In this class, we used a favorite childhood object as a springboard for our design. I used crayons as I always had one in my hand. My goal was to transform a Long Island warehouse into an environment where children and adults can feel free to explore, play and use their imaginations. My concept is based on a transition from the raw materials of a box of crayons through the process of applying heat, melting the crayons on a white fabric, resulting in a product that comes alive in texture and volume. Using these ideas I created five crayon-colored zones, with platforms supported by orange columns with â€œmelted-waxâ€? bases. The first zone (light green) is an incline that lends movement, color and texture to an area where people chat or have a bite to eat. In the second zone (a stronger green) children sit or play or jump while adults observe from nearby. The blue zone is a bar/cafeteria that turns into a platform for activities that can be shared by children and adults. A pink area (light and dark) connects the third and fifth zones. In the fifth zone adults can socialize while enjoying New York City skyline and the Hudson River views. It is a magical space that is both a playground that fosters creativity and imagination, and an oasis where parents can play with their kids or simply take a break from the daily routine. Rambunctious children are welcome and noise and laughter are not only expected but encouraged!
VINAS + HUXOL
Employment: Deleite Degree: Universidad Iberoamericana, Mexico BA Major Architecture and Urbanism firstname.lastname@example.org
Hsieh Zoe Community Center
The flow of water is changeable like a child’s imagination is limitless. As adults (as surfers) we learn that imagination is hard to catch, but we still keep dreaming. For my design, I have made the world upside down. People feel the movement of water above their bodies and the clouds floating around them and beneath their feet. It stimulates their imagination and gives them a playful feeling. Clouds and sunset: I still love to see the clouds changing and am impressed by a beautiful and colorful sunset. This has been my favorite thing since I was little. Floating, swimming and diving: I love experiencing the flow of water, and the relationship between the movement of my body and water. Speeding, spinning and flying: A powerful wave gives the surfer the opportunity to experience the feeling of flying! When I am standing on my board I feel and hear the air blowing on my face and my ears. For a community center, a translucent mirrored, backlit hung ceiling supports a thin layer of water, casting a blue, “watery” reflection on the floor. Cloud-shaped chairs and furniture with mirrored bottoms reflect the changing “sky” and water. When the furniture is used in different places and people wearing different colors of clothing move around the space, the effect is like the changing sky. I used transparent polycarbonate for the furniture’s legs, so furniture pieces would appear to be floating as clouds.
VINAS + HUXOL
Employment: LKP Design Degree: Aletheia University - Management Information System email@example.com
Hemetsberger Barbara Community Center
The program for this project is to design a community space for children and adults in a warehouse space in Long Island City that is used as a market for the local community and visitors. The organizing element in the Imaginary Twist project is a series of white pillars that can be transformed into surprising, playful and colorful elements. They reveal different textures and functions as soon as users interact with them. To create the design I drew from the imaginary worlds that I pictured as a child: fascinating spaces and things that seemed so real to me, places where everything I dreamed of was possible and colorful spaces without limits. And as I planned the project it was also important to remember what â€œplayâ€? means for us today as adults. The aim is to create a space that inspires its users, a place that surprises and plays with scale and color as well as textures. Movement is an essential element of the design. The design is delicate and light and leaves space for manipulation by users as well as the environment. It engages the interaction between objects and users as well as interactions between children and adults in a playful way.
Degrees: Vienna University of Economics and Business
VINAS + HUXOL
Administration - MA International Business Administration University of Sussex - MA Governance and Development firstname.lastname@example.org
Chen Chao Hua Community Center
The concept was inspired by my childhood memories of playing with dolls and picking up random objects to use as furniture for them. The refined result of this playing experience is to allow people to encounter something random/unexpected and then by interacting and playing with it instill new meaning in the object. The way people interact with the object defines its shapes and features. A chair is designed to follow this concept. Users can combine and recombine these units, to scaling and transforming them to create new functions. Possible layouts vary from a basic coffee table to a bookshelf, a sales counter and a platform. This object is best for a multi-program space where one basic unit type can be combined to create different layouts for a wide variety of usesâ€”as illustrated, a bar, a cafĂŠ, a library, a retail store, and a private dining room.
Employment: Ghislaine Vinas Interiors
VINAS + HUXOL
Degree: National Taiwan University BBA Business Administration email@example.com
Orihara Hirofumi Tyvek Chair Dress
Who wants to sit on an unstylish chair? This white Tyvek dress, created from FedEx envelopes, makes a chair stylish and the person seated, more elegant. (The skirt can be also flipped up for a footrest.) One side of the â€œdressâ€? is white, and the other side shows the colorful FedEx logo and type. Which one do you like?
Degree: Parsons - AAS Interior Design
2013 IIDA and HD Award Recipient
Kim Jae Woun un Hotel, United Nations
The concept of the project started from a potluck restaurant idea: Every traditional Korean potluck table is arranged according to a strict diagram, where the main dishes stand in a row down the length of the black rectangular table. When I first considered the traditional Korean potluck table, I was struck by the contrast between black and white, but as I looked at it more I became aware of the variety of colors. The delegatesâ€™ hotel rooms are white, with drawers with colored interiors, which represents the interesting facts and elements that I found, as I looked at the picture of the Korean Potluck table at length. While the delegatesâ€™ hotel rooms are white, the first floor rooms for other visitors, are mostly black. Here the colors appear in the form of lighting. Black gives these rooms a feeling of luxury and sophistication. Once the visitors stay longer, they can also find more colors by changing the intensity of the ceiling lighting. The entrance of the restaurant shows the contrast between the black translucent box of the restaurant and the curved wall of the Security Council. As someone moves from the restaurant to the lobby, the walls gradually shade from black to white and then back to black again in the hotel. The wall has round windows in a pattern based on the Korean table diagram; through the windows can be seen the vivid colors of the U.N. flags. Like the central area of the place, the self check-in/ out area brings people together.
Employment: ARVELO Architecture+Design Degrees Kang Nam University in South Korea. BA major English firstname.lastname@example.org
Navarro Laina The Steward Hotel
The design of the hotel is inspired by exploring the pattern of fish netting recreated in an enormous scale, then focusing on cutting and peeling back openings to reveal smaller spaces within the very large open space. The interaction of pattern and light creates an atmosphere that is light and airy. The three-story central lobby is completely open, but conceptually divided by the “fishnet” elements. This most public space is an area where guests can see and be seen. In contrast, the surrounding areas at the sides are designed to feel more private—they are partially concealed. The restaurant and coffee bar, which are designed with communal tables, are partially concealed by an outer layer of netting that wraps the core of the three floors of the public spaces of the hotel. This netting also functions as lighting. The layering of materials and light is used to create distinct spaces within the hotel that are conducive for work and play. The design incorporates a minimal palette of wood, lacquered panels, steel, and plush green upholstery. The entire shell is wrapped with oak boards, complemented by a layer of lacquered white panels. Blackened steel mullions, railings, and lighting not only give the space visual strength and physical structure; they are a subtle nod to fishing boats. The maritime concept is further evinced by sea foam upholstery, which takes its cue from the original netting, and serves to bring in some color to an otherwise neutral space.
Employment: Olson Kundig Architects Degree: Chapman University - BA Communication Studies email@example.com
Mori Tomoko + Hemetsberger Barbara Mushroom Hotel
The Mushroom Hotel is designed for travelers as a “starting point” to dive into the city. It has several branches in a city that create a network, connecting its hot spots. Once visitors arrive in the city and join the hotel, they will be a part of the city. The concept of the hotel is “make the city yours” with five concepts that are strongly related to integrating visitors into the urban experience: choose your spot, stay connected, move around, be in the middle, and look over the city. We started by translating these ideas into ten conceptual models that we developed into the spatial programs, material concepts and color schemes for the hotels. This leads to hotels that are iconic and visible in the city and occupy unusual spaces. These hotels can grow like mushrooms in any big city around the world. In New York, the first Mushroom Hotel is located on rooftops and in-between buildings in West Soho, flowing through space and providing unique city experiences from surprising angles. Employment: Nemaworkshop Degrees: Waseda University - M. Architectural Engineering
GREICO + SIEBERT
BA Architecture firstname.lastname@example.org Degrees: Vienna University of Economics and Business Administration - MA International Business Administration University of Sussex - MA Governance and Development email@example.com
Orihara Hirofumi Artificial Nature: Hotel Brand
Our target customer is a single guest who seeks an escape from everyday life after work. The design concept is artificial nature, which comes from the idea that it is impossible to recreate “real” nature— the hotel is conceptually natural, but nothing like nature. The colors and materials imply nature through manmade objects. For example, in the restaurant a “forest” atmosphere is created with green light projected as a tree motif on white objects, instead of using real plants. The circulation pattern moves guests through each space. The linked Forest restaurant and Cave entertainment space allow guests to move naturally to the club next after eating dinner. The entertainment space leads to elevators to the guest room Canyons. The spiral shape of the “tornado” elevator shaft implies a strong wind that drives the circulation of the entire hotel. The main entrance—the Time Tunnel—and the secondfloor Sky lobby are connected by an 180-degree spiral that divides the real world of the street and the “unreal world” of the hotel. The restaurant is above the lobby, but its “trees” pass through the floor surface of the restaurant and into the lobby. The sculptural sofa in the lobby plays two roles: it forms a mini tornado in the sky—the lobby—and is also formed by the root of the trees in the forest—the restaurant. And the reflective layers of the guest-room Canyon allow a guest to reflect on a particular moment in time.
GREICO + SIEBERT
2013 HD Student Award
Degrees: Parsons - AAS Interior Design firstname.lastname@example.org
UP TO GUEST ROOM FLOOR
DOWN TO 1F DOWN TO 1F
DOWN TO MAIN HALL
PROPOSAL FOR BIOLACE DOILY, Detail of proposal for biolace doily made from strawberry plants. Carole Collet Image courtesy of designer
Alexa Griffith Winton is a design historian specializing in the visual and material culture of the last century. Her research engages issues of craft in the industrial and computer ages, the role of technology in modern domestic design, and the continued articulation of the theoretical implications of the domestic interior. Winton is a part-time Assistant Professor at the School of Constructed Environments at Parsons. She is currently co-editing a volume of essays on technology, textiles and the interior with Deboarh Schneiderman, Fabrication/Textile/ Design: From Interior Space to Outerspace, (Bloomsbury, 2015.)
COD E D Computers, Crafting and Radical Textiles for an Uncertain Future
by Alexa Griffith Winton
SHADOW PLAY Part of the installation Transformative Textiles At the Danish Architecture House, Copenhagen, 2012 Mette Ramsgard Thomsen
COD E D Computers, Crafting and Radical Textiles for an Uncertain Future by Alexa Griffith Winton The phrase â€œtextiles for interior designâ€? conjures any number of images: chintz curtains, deeply tufted upholstered sofas, and handmade carpet, to name just a few. It may even call to mind the technologically advanced laser cut and pieced fabrics Hella Jongerius has created for Maharam or the semi-structural, modular felt designs designed by Ronan and Erwan Bouroullec for Kvadrat, North and Cloud. While the more conventional images of the interior and its soft surfaces are both accurate and important in the context of interior design and its history, a number of designers today are embracing the use of textileâ€™s spatial, technological and even biological capabilities, with particular resonance in the area of the interior. Emerging technologies, parametric design, rapid prototyping and even genetic modifications in agriculture all enable designers to imagine radical new ways in which textiles interact with bodies, create space and transform the built environment. It is in these explorations that the boundaries between technology and textile are challenged, questioning traditional definitions of inside and outside, craft and industry, craft and biology, as well as the implications of designing and creating both textiles and buildings in a world of ever-diminishing resources. New and rapidly developing fabrication and computation technologies are changing the way textiles, objects, and buildings are designed, facilitating new ways of addressing the human body at every scale, from nano-objects to large-scale buildings. Designers and artists are capitalizing on this technology in provocative ways and consequently
envisioning new means of connecting humans to our built environment. There are strong parallels between the types of patterns and mathematical logic inherent in both computer and textile design, and it is these similarities that designers attempt to exploit through the combination of the two. Within both the design of computer code and the design of textiles exist codes, patterns, repetitions, and the potential for infinite variations. The French weaver Joseph Maria Jacquard’s 1801 unveiling of what is now known as the Jacquard loom, capable of producing its patterns via wooden punch cards, inspired the English mathematician and inventor to create the first mechanical computer in the mid nineteenth century, Charles Babbage, leading eventually to the highly complex computational design programs used by architects and designers today, including Rhino and Grasshopper.1 Just as Jacquard’s innovation made it possible to create a seemingly endless array of woven patterns on the loom, designers now can visualize a future designed via the limitless possibilities of parametric design. This essay looks at the work of three contemporary designers, Mette Ramsgaard Thomsen, Rachel Wingfield and Mathias Gmachl working as Loop.pH, and Carole Collet, each of whom engages textiles via issues of technology, biology, craft. Their work places textiles and the implications of soft space at the center of their investigations into textile design and craft at all scales, from decorative surfaces to tectonic structures. The challenges of increasingly strained natural resources in an overcrowded world are addressed directly, though distinctly, by each of them.
1: See for example James Eisinger, Jacquard’s Web: How a Hand-Loom Led to the Birth of the Information Age (London and New York: Oxford University Press, 2004).
Mette Ramsgard Thomsen Transformative Textiles There are numerous examples of the melding of space, body and textile in the history of the interior, perhaps most dramatically in Art Nouveau gesamtkunstwerk interiors, in which tightly coordinated interiors rendered the physical body completely defined by its spatial envelope.2 This ambiguity between cloth and structural surface in the interior, and the corresponding definition of the interior as fashion — personified by Walter Benjamin as an inconstant, volatile “creature
2: Amy F. Ogata, Art Nouveau and the Social Vision of Modern Living: Belgian Artists in a European Context (Cambridge: Cambridge University Press 2001).
LOOP.PH’S KENSINGTON LACE, London, 2012. Image courtesy of Royal Historic Palaces
3: Howard Eiland and Kevin McLaughlin, trans., Walter Benjamin, “The Interior, The Trace,” The Arcades Project (Cambridge and London: Belknap Press, 2002), 216
4: Terry Peters, “Mette Ramsgard Thomsen Knits, Weaves and Sews The Buildings She Designs”, Mark, October/November 2009, p.200-204.
of moods”3 — is today transformed, particularly through emergent design technologies and fabrication methods employed by designers such as Mette Ramsgard Thomsen who combine parametric computations and handwork in the realization of their projects. Trained as an architect and possessing a PhD in computer programming, Thomsen directs the Center for Information Technology and Architecture (CITA) at the Royal Danish School of Architecture in Copenhagen. Her research directly and simultaneously merges textile handwork such as weaving and knitting with the formal possibilities of parametric design, resulting in work that she has termed “digital crafting.” Through this fusion of highly advanced parametric design and the endlessly repeatable patterns found in weaving drafts or knitting patterns, Thomsen seeks to understand the logic of materials as well as to explore both the physical and digital dimensions of space.4 Thomsen’s practice-led research projects are often collaborative in nature, joining together researchers, students, and textile experts in order to explore the questions that drive her work. The interior often figures prominently in her work, notable in Strange Metabolisms, a 2007 research collaboration with textile designer Toni Hicks of the University of Brighton, which envisions an urban environment that knits itself via computer plots. In this project, distinctions (and ambiguities) between inside and outside, public and private materialize in the form layers, slits, folds and other surface variations. The surfaces of this city, whether interior or exterior, are soft: knitting in the round implies a seamless construction technique, yet one that can unravel if the fiber from which the knit is pulled or damaged. While Strange Metabolisms relied on code to create the knitted logic of its generative patterns, other examples of Thomsen’s work engage the notion of the handmade directly. Shadow Play, part of the interdisciplinary collaboration between CITA, the Bergen Academy of Art and Design, and HV Atelié - a very old and established weaving studio in Stockholm that often collaborates with artists and designers on textile projects - explores the idea of material logic in the context of on interior, floor to ceiling drape made of interwoven slats of wood veneer. Shadow Play is a curtain-like window hanging that, due to the thinness of the veneer, appears to dematerialize when suspended perpendicular to the window surface against which it is hung.
Instead of concealing the interior within, the wood forms react with the changing daylight of the interior, reflecting off the specular window and floor surfaces, and creating a lively and time-based performance of light and shadow. Shadow Play explores how a stiff material such as wood behaves when subjected to the textile logic of weaving, and challenges the conventional purpose of a window treatment, providing protection and privacy to the interior. Through her questioning of what the experience of interior space is through the creation of her “behavioral architectures” that react and respond to external stimuli. In this sense the interior is now closer than ever to Benjamin’s changeable “creature of moods,” but in this case the mood is determined not only by human desire, but by material and computational logic as well.
Loop.ph: Archilace and the Urban Interior Loop.pH is a London-based design studio directed by partners Rachel Wingfield and Mathias Gmachl. Their work engages notions of technology, handwork, and environmental concern, interior and urban conditions, and science. Their installations often play with the notion of scale, with large-scale realizations of intricate lace-like structures, often made of light-emitting fibers. Fusing their interest in technology and materials with a deep appreciation of traditional textile making techniques, Loop.pH developed Archilace, which they defines as, “lacemaking on an architectural scale with strong composite fibers and is a method to craft space and reflect on the materiality and fabrication processes within the architectural practice. Archilace combines a parametric design process with a hands-on crafting technique.”5 Loop.ph’s Archilace structures are typically modular and often based on forms and patterns found in the natural world. Their site-specific installation created for the light festival created Lichtströme, in Koblenz, Germany in 2012, for example, consisted of three-dimensional interlocking and luminous woven forms based on radiolaria, the microscopic protozoa that form highly complex mineral skeletons; these tiny fossils provide essential information to scientists geological dating as well as researching ancient climatic conditions. Loop.pH found inspiration in 19th-century biologist Ernst Haeckel’s highly detailed drawings of the creatures, first published in 1862, which they see as embodying the multi-disciplinary and scientifically-informed methods they employ in their work.
5: Loop.ph, Volume 12, p. 28. Available digitally at www.loop.ph
STRANGE METABOLISMS, A research collaboration between Mette Ramsgard Thomsen, CITA, Royal Danish Academy of Arts, Schools of Architecture, Design and Conservation, and Toni Hicks, Constructed Textiles, University of Brighton, 2007.
Kensington Lace, Loop.pH’s winning entry for a competition to design a light installation within Kensington Palace in London, is an example of their “digital crafting” methods developed specifically as an interior installation. In this project, Loop.pH uses both parametric design technologies and handcraft to create a delicately woven canopy of luminous lace. Highly skilled lace-makers collaborated on this project, using the essential formal methods of lace-making, repetition, reproduction, patterning and layering, to create a room-sized installation based on historic ceremonial lace patterns. Through Archilace, Loop.pH collapses conventional ideas of scale, time, technique and technology, inverting associations of lace with delicate and isolated interiority, removed and protected from the outside world. Archilace renders it instead both physically robust and deeply engaged with the larger questions facing the world today: sustainability, the urban condition, science and technology.
Carole Collet: Hybrid Handcraft Textile designer, researcher and founder of the Textile Futures program at London’s Central Saint Martin’s College, Carole Collet’s work embodies both principles of science and an appreciation of the aesthetic value of traditional textile techniques. Her project, BioLace, explores the potential for plants, as examples of “living technology,” dynamic entities that can be designed to perform specific functions in hybrid agricultural and manufacturing process Collet has termed hydroponic biofacture, a post-industrial vision of manufacturing and farming modeled on biomimicry. Textiles and agriculture are among the most aggressive consumers of natural resources, and industrial production methods cause great damage to the environment globally. Collet’s work posits a not too distant future in which biofacture efficiently supplies nutritionally dense, environmentally sustainable foods while simultaneously providing biological lace, a highly provocative hybrid model aimed at making the most of increasingly scarce resources. For Collet, “nature provides the ultimate model of sustainability where there is no waste, only nutrients, where fabrication happens quietly by actuating sophisticated networks of responsive and genetically programmed living molecules that have been optimized over nearly
STRAWBERRY NOIR, proposal for biolace Carole Collet Image courtesy of designer
6: Carole Collet, “Biolace: An Exploration of the Potential of Synthetic Biology and Living Technology for Future Textiles” Studies in Material Thinking, vol. 7, pg. 5.
7: H. Mallgrave and M. Robinson, trans., Gottfried Semper, Style in the Technical and Tectonic Arts; or Practical Aesthetics (Los Angeles: Getty Research Institute, 2004).
four billion years.”6 For example, Collet’s proposed bioproduct, Strawberry Noir, a nutritionally enhanced strawberry that produces fruit and generates lace via its root system. This project poses radical questions about the boundaries between the natural world and the constructed environment, and re-contextualizes traditional crafts such as lace in within the realm of science, envisioning edible produce as crops that can be genetically coded to respond to nutritional, aesthetic and environmental demands. It also challenges the assumption that lace, and fine textiles in general, are superfluous luxuries, unnecessary in a world struggling to come to terms with increasing strain placed on natural resources in the name of consumption. In the nineteenth century, German architect and theorist Gottfried Semper posited in his highly influential book, Style in the Technical and Tectonic Arts; or, Practical Aesthetics (1860-62), that textiles were the original architecture, and that the residue of their symbolic value is retained in the geometric patterns of brick and stone buildings; tectonic memories of ancient textile patterns.7 At the beginning of the twenty-first century, both technological advances and increasing awareness of the fragility of the earth cast these theories in a new light and challenge both designers and consumers to think hard about the role of textiles in the post-industrial built environment. Each of the designers discussed here addresses and expands Sempers’sideas about the central role of textiles within the principles of architecture. Loop.ph and their use of the ancient radiolaria as a model for archilace extend Semper’s appreciation for the ancient connections between buildings and threads, embedding the notion of deep time within the finely worked patterns of luminous lace; Mette Ramsgard Thomsen, whose digitally crafted behavioral architecture ponders a future in which textile patterns — infused with computer code — become not only tectonic on the scale of buildings, but also work to organize society on the urban scale; and Carole Collet with BioLace, which attempts to address the environmental challenges wrought by the Industrial Revolution by genetically merging and reprogramming two of industrialization’s most damaging products: textiles and agriculture. These designers show us that textiles can no longer be assumed to be passive entities within the context of the interior, serving as a soft and decorative interface between body and space. Textiles now simultaneously embrace technology, science and material advances while retaining their traditional associations with handcraft, becoming poignant and provocative meditations on our past and our future.
For more information on the designers mentioned in this piece, please see: Loop.ph: http://loop.ph/bin/view/Loop/WebHome Mette Ramsgard Thomsen: http://cita.karch.dk/Menu/Projects/ Behaving+Architectures
Carole Collet: http://www.carolecollet.com
STRABERRY NOIR, Proposal for a Strawberry Noir harvest of both fruit and biolace Carole Collet Image courtesy of designer
PROPOSAL FOR BIOLACE, Detail of proposal for biolace doily made from strawberry plants. Carole Collet Image courtesy of designer.
Anurag Nema is principal of nemaworkshop. With 20 years of experience in hospitality design, he has completed over forty projects. Holding architectural degrees from universities in India and the United States, Nema was project manager at Rockwell Group and Partner at Studio Gaia before founding nemaworkshop in 2004. He has won several awards including the Design Award for Best Restaurant from Travel + Leisure for Delicatessen. Nemaâ€™s projects have been widely published in books such as Night Fever 2: Hospitality Design, and Star Interior Designers.
Anurag Nema Featured Faculty
Dâ€™ESPRESSO Nemaworkshop Photography by David Joseph
Dâ€™ESPRESSO by Nemaworkshop Located in New York City, on Madison Avenue, the espresso bar conceptually and literally turns a normal room sideways, creating a striking identity for the emerging brand. Drawing inspiration from the nearby New York Public Library in Bryant Park, the space is lined in a sepia-toned full size photograph of books printed on tiles. The custom tiles run along the floor, up the 15-ft. wall and across the ceiling.
SITARAS By Nemaworkshop The exclusive 8500 sq. ft. private training facility, demands a superior gym for its elite clientele. The project began from a need for data organization and developed into a high-tech fitness laboratory for storing digital records and analyzing physical abilities.
SITARAS Nemaworkshop Photography by Vincent Chih-Chieh Chin
DOW By Nemaworkshop Created to appeal to international high-end fashion houses, the minimal design relies on slick surfaces and a subdued palette that allow the garment to be the primary feature. Dow produces a particular type of fabric and needed a space where they could display their fabric as well as meet with fashion houses to discuss collaborations. Nemaworkshop devised a space, which maximizes the possibilities for interaction. Next to the reception area is a long bar where causal discussions can occur over an espresso. Deeper into the casual space is a comfortable lounge for more serious talks with top fashion houses, albeit in a less formal manner.
DOW Nemaworkshop Photography courtesy of designer
DOW Nemaworkshop Photography courtesy of designer
WFQ Nemaworkshop Photography by Michael Klienberg
WFQ Nemaworkshop Photography courtesy of designer
WFQ by Nemaworkshop Hidden down cobblestone streets of New Orleans, behind the historical facades and balconies of the French Quarter, a mysterious underground universe lies, where a tarot reader reads cards in the flickering shadows thrown from a gas lamp to the soothsayer. Drawing on the culture of New Orleans and more specifically the subtext of dark arts, tarot and jazz, the guest rooms in this magical hotel capture a particular atmosphere of mystery and intrigue. Anchoring the design to the physical context are the chevron floor pattern and the shutters. The guest rooms illustrated on the previous and following pages illustrate how nemaworkshop has used corners to redefine the rooms architecturally, creating a new volume; this also allows light to spill into the space. The interior graphic is an image that wraps the interior volume while simultaneously asserting one of the projectâ€™s storylines. in one of the rooms shown here, a minibar is presented as a W interpretation of an altar, with a reflective, faceted box that isolates and frames portions of the image. Whereas a traditional altar would have candles lighting the top surface, this top surface is an illuminated plane.
WFQ Nemaworkshop Photography by Vincent Chih-Chieh Chin
WFQ Nemaworkshop Photography by Michael Klienberg
Since graduating from Parsons in 2007, Caroline Meersseman has worked for internationally renowned design firm Yabu Pushelberg, where she currently leads a team of ten interior designers. Born and raised in Cernobbio, Italy, she studied philosophy at Universita’ Cattolica del Sacro Cuore in Milan, graduating with a thesis in film in 2003. After teaching film theory in the philosophy department, she shifted her focus to set design; enjoying the hands-on, high energy nature of the work. In 2005 she moved to New York and enrolled at Parsons. While still a student at Parsons, Caroline started as an intern at Yabu Pushelberg. The first years’ projects included work on the St. Regis Bal Harbour, hotels in Arizona and India, and the Park Hyatt NY. An advantage of working for such a well-established firm is the opportunity to design large, high profile projects like department stores and hotels. The sheer amount of design work that goes into projects of this scale is astonishing – a resort will contain guestrooms, spas, restaurants, retail and so on - and one acquires a great deal of experience in a very short time. The studio is an inspiring creative environment where a talented and committed group of designers strive to produce work that is both consistently innovative and will stand the test of time. Meersseman’s aesthetic resonates with the firm’s rigorous planning, careful material selection and museumlike detailing, and the way in which this core knowledge is inflected by the particularities of a given project – location, brand, architecture. The design teams function like little studios, where projects are developed from concept to documentation. The firm’s principals, George Yabu and Glenn Pushelberg, are great mentors, and very much involved in each project throughout all phases from master planning down to the smaller details, they act as critics of the work, and the first clients. As a Team Leader, Caroline oversees a team of designers working on six to eight projects. Her team’s recent projects include the Park Hyatt Los Cabos, Four Seasons Bangalore, Prato at the Four Seasons Mumbai, Ritz Carlton Gurgaon, and Barneys NYC. An ongoing renovation of Fives Restaurant at the Peninsula New York is scheduled for completion this summer.
Caroline Meersseman Featured Alumna
BARNEYS Caroline Meersseman at Yabu Pushelberg Photography by Evan Dion
BARNEYS by Yabu Pushelberg Drawing on the language of 1960s minimalist art, a very straightforward, subtly detailed museum design that sets a sophisticated mood while placing the focus on the product. Dark stone floors and white open ceilings, blackened steel panels and deceptively simple display fixtures provide a backdrop and frame for clothing and accessories.
BARNEYS Caroline Meersseman at Yabu Pushelberg Photography by Evan Dion
CASSIS by Yabu Pushelberg A NYC designer, a French restaurant, Indonesia. We took this geographic curiosity as our inspiration - France as seen from afar, remembered and imagined, refracted by memory, dream and trace. In dreams we overlay our desires onto our memories, giving great importance to some details while forgetting others; thus classical French details, patterns and materials are reinterpreted in a modern, sometimes whimsical way. The light fixtures in the main room betray only a trace resemblance to the classic brasserie white globes that inspired them, but the effect has the romanticism of the ville lumiere. Waterglass partitions provide impressionist views between the rooms. The highlight is the chefâ€™s table: through an industrial metal and glass door, a view into a perfectly formal period dining room in aquarelle tones; classically proportioned paneling, a pair of wall consoles, mirrors and chandeliers. But as in a dream, the chandeliers transform into floating ovals of a thousand minuscule lights; the painting on the wall depicts the same scene that you see through the imaginary window painted to its left; the wood paneling fades into a hand painted line.
CASSIS Caroline Meersseman at Yabu Pushelberg Photography by Ramadhan
CASSIS Caroline Meersseman at Yabu Pushelberg Photography by Ramadhan
CASSIS Caroline Meersseman at Yabu Pushelberg Photography by Ramadhan
Faculty JOHANNE WOODCOCK
Director of AAS Interior Design Degree(s): M Arch, Columbia University; BFA, Rhode Island School of Design Work: Director AAS Interior Design, Parsons, Founder, Decoration As Composition
Degree(s): M Arch, Princeton University; BS, University of Michigan Work: Principal, Abruzzo-Bodziak Architects Winner 2010 Architectural League Prize 2010: ReSource Award Winner 2011 AIA Best Practices
Degree(s): M Arch, Princeton University; BS, Columbia College. Work: Editor: 30 60 90 Principal: AbruzzoBodziak Architects Winner 2010 Architectural League Prize 2010: Resource Award Winner 2011 AIA Best Practices
Degree(s): M Arch, Parsons; BA, Duke University Work: Principal, 590bc
ADEBOYEGA ADEFOPE Degree(s): BFA, University College Dublin Work: Principal, GBOYEGA designworks
LORELLA BROCKELSBY BrockleL@newschool.edu
Degree(s): BA, Marymount Manhattan Work: Professor of Humanities, SCPS NYU
EGBERT MILES CHU email@example.com
Degree(s): M Arch, Columbia University; BA, UC Berkeley Work: Principal, ATTN ATTN
Degree(s): M Arch, Yale University; MA, The New School, Media Studies; BS, Northeastern University Work: Project Manager, Joel Sanders Architect.
PHILIPPE BAUMANN Degree(s): M Arch, Rice University; BA, Brown University Work: Principal, Baumann Architecture www.philippebaumann.com
LUIGI CIACCIA, LEED AP Degree(s): B Arch, New York Institute of Technology Work: Principal, 590bc www.590bc.com
CORY COLLMAN Cory.Collman@gmail.com
Degree(s): M Arch, Yale University; BS Arch, University of Illinois Urbana-Champaign Work: Gluck+
ANTONIO DI ORONZO
BREN GALVEZ MORETTI
Degree(s): PhD Arch, Sapienza Rome; MS, Urban Planning, City College of New York Work: Principal, Bluarch Architecture Winner: International Interior Design Association Award 2009 and 2009 Hospitality Design Award
RACHEL DOHERTY firstname.lastname@example.org
Degree(s): M Arch, Princeton University; B Arch, The University of Queensland Work: Gluckman Mayner Architects
NADIA ELROKHSY email@example.com
Degree(s): M Environmental Design in Architecture, University of Cambridge, U.K. B Arch, Pratt Institute Work: Assistant Professor of Sustainable Design, Parsons
AMBER FOO firstname.lastname@example.org
Degree(s): M Arch, University of British Columbia, Canada; BA, University of British Columbia, Vancouver, Canada Work: Diller Scofidio + Renfro Architects
NIKOLA GADINSKI email@example.com
Degree(s): B Arch, University of Natal, South Africa Work: Tihany Design and Zeff Design
Degree(s): M Arch, Massachusetts Institute of Technology; B Arch, University of California at Berkeley Work: RAAD
KEITH GELDOF Degree(s): AAS Interior Design and BFA Illustration, Parsons Work: Principal, Keith Geldof Designs www.keithgeldof.com
DOUGLAS GREICO Degree(s): EMBA, London Business School M Arch, Columbia University; BArch, Auburn University Work: Principal, Take Group www.takeworldwide.com
ALEXA GRIFFITH WINTON firstname.lastname@example.org
Degree(s): MA, Bard College; BA, Smith College Work: Faculty Parsons The New School for Design
THOMAS HICKEY Degree(s): M Arch, Columbia University; BA, University of Kentucky Work: Principal, Grade Architecture and Interiors www.gradenyc.com
KENT T. HIKIDA
Degree(s): M Arch, Yale University; BA, Wesleyan University Work: Principal, Slo Architecture 2012 AIA Winner New Practices
Degree(s): M Arch, Columbia University; BA, Bennington College Work: Project Manager, Gensler Architects and Interiors
JAMES Y. LIM
Degree(s): M Arch, Harvard University; BA, Brown University Work: Principal, HUXHUX Design www.huxhux.com
Degree(s): MA, Architectural Association, School of Architecture, UK; BA Carnegie Mellon University Work: Gluckman Mayner Architects
Degree(s): PhD, New York University; MFA, Columbia; BA, Rutgers Work: Assistant Professor of Art History, Parsons
Degree(s): MSAAD, Columbia University; BS, Faculty of Architecture Bari, Italy Work: Senior Associate Solomonoff Architects
Degree(s): BA Linguistics, University of Ottawa; AAS Interior Design, Parsons The New School for Design Work: Principal, C McKeough unLtd
Degree(s): MA, Parsons The New School for Design; BD, York University Work: Faculty, Writer, Graphic Designer and Museum Curator
AUGUSTUS KIM WENDELL
Degree(s): MFA, School of Visual Arts; BS Arch, Northeastern University Work: Partner, Kim Wendell Design
Degree(s): MS, Columbia University; B Arch, University of Southwestern Louisiana Work: Principal, Ricardo Mulero
Degree(s): M Arch, Clemson University, B Arch, National Institute of Technology, India Work: Principal Nemaworkshop
Degree(s): MFA, BFA, Pratt Institute Work: Associate Dean, Associate Professor, Parsons The New School for Design
Degree(s): M Arch, Columbia University; BA, Columbia University Work: Deborah Berke and Partners Architects
Degree(s): M Arch, Yale University; B Arch, Rice University; Work: Principal, Brooklyn Office Architecture + Design www.brooklynoffice.com
M Arch, University of Pennsylvania; B Arch, University of Kansas Work: Partner, Metamechanics llc
Degree(s): BS, Cornell University; NYU SCPS CADA Work: Freelance CSI Artist
Degree(s): MFA, Cranbrook Academy of Art; BFA, Rhode Island School of Design Work: Stylist, Designer and Artist
ROBIN REIGI Degree(s): BFA, School of Visual Arts Work: Principal, Robin Reigi Inc.
Degree(s): PhD, Columbia University; MSAAD, Columbia University, Architectural Association (AA) Diploma, AA, London U.K. Work: Assistant Professor of Interior Design, Parsons
Degree(s): BFA, Philadelphia College of Art Work: Principal, GVInteriors
Degree(s): BA Architecture, California Polytechnic State University, Ecole des Beaux-Arts. Work: Principal, RS Lighting Design www.rsltg.com
AMANDA SCHACHTER-LEVI Degree(s): M Arch, Princeton; BA Work: Principal, SloArchitecture 2012 AIA Winner New Practices
JON SCHRAMM Jonschram3@gmail.com
Degree(s): M Arch, Parsons; BS Arch, University of Maryland www.jonschramm.com
VERONICA SIEBERT Degree(s): M Arch, Harvard University; BA, University of Virginia Work: Designer, Nemaworkshop
ASHLEY SIMON Degree(s): M Arch, Columbia University; BA, College of William and Mary Work: Freelance Writer, Photographer www.ashleysimone.com
JULIAN VON DER SCHULENBURG email@example.com
Degree(s): M Arch, Accademia di Architettura, Mendrisio/Switzerland Work: Principal, VON, Brooklyn, previously Zumthor and OMA www.vonarchitects.com
HILARY ZAIC Hilary.firstname.lastname@example.org
Degree(s): M Arch, Yale University; BA, Princeton University Work: Architect, Skidmore Owens and Merrill
Credits EXECUTIVE DEAN Joel Towers
SCHOOL OF CONSTRUCTED ENVIRONMENTS DEAN David J. Lewis
EDITOR Johanne Woodcock
COPY EDITOR Jim O’Connor
ART DIRECTOR María Alcira González
TYPEFACES Akzidenz-Grotesk by Günter Gerhard Lange Proxima Nova Condensed by Mark Simonson Studio
SPECIAL THANKS TO: Anne Nixon for her work mentoring the students for the 2013 Design Industries Foundation Fighting Aids’ Dining By Design Benefit. And Ioanna Theocharopoulous for her work as consulting editor for the academic text included in each volume.
Recent Awards Congratulations to the following alumni and faculty: 2013 James Beard Award Outstanding Best Restaurant (76 Seats & More) ALEJANDRO BARRIOS CARRERA (graduated 2000) 2013 Jurors Award International Interior Design Association (IIDA) Student Award HIROFUMI ORIHARA (graduated 2013) 2013 Hospitality Design Magazine Student Award HIROFUMI ORIHARA (graduated 2013) 2012 Boutique 18 Award FRANCIS MONG (graduated 2004) 2013 Winner: Cultural Arts Center ‘Tonnenviertel’, Munich/Germany JULIAN VON DER SCHULENBERG 2013 AIA New York Design Award, Projects Category ABRUZZO BODZIAK ARCHITECTS 2012 AIA New Practices New York, AIA/NY Center for Architecture AMANDA SCHACHTER AND ALEXANDER LEVi 2012 AIA New Practices New York, AIA/NY Center for Architecture ABRUZZO BODZIAK ARCHITECTS
Samples of Parson AAS Interior Design Student's work.