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CONTRACT

ISSUE 2 | 2O16


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Every Issue Celebrates Your Membership...

ELLE DECOR’s

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ELLE DECOR’s most popular online resource is now available as a free app, with hundreds of images, searchable by room and by style. Save your favorites in “My Design File” and share them with clients. An archive of our best images at your fingertips… AMAZING. We publish remarkable articles from every member of our Chapter, and rely on you to contribute to our Quarterly. Everything we can fit into our pages benefits us all. Everything makes the cut! We hand-craft each issue to include all of your insights, experiences and knowledge. Thank you and please help keep your Quarterly growing! Send your contributions to asidoffice@asidla.org iPad ® is a trademark of Apple Inc., registered in the U.S. and other countries. App Store is a service mark of Apple Inc.

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LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter


ISSUE 2 | 2O16

CONTRACT DEPARTMENTS PAGE SIX

6

PRESIDENT’S LETTER

8

LETTER FROM THE EDITOR

12

CHAPTER EVENTS

14

MUST-HAVE READS

38

INDUSTRY PARTNER CORNER 52 CHAPTER NEWS

58

CONTRACT

CONTENTS

18 22 26 30 36 44

ST. PATRICKS AT PIRCH A fullhouse LEEDS presentation and celebration at Glendale’s amazing Pirch showroom, benefitting The Santa Monica Conservancy MODERNISM WEEK Another spectacular tour of midcentury marvels in Palm Springs DESIGNER SPOTLIGHT An interview with commercial designer Sandra Costa and her philosophies about design

REPURPOSED RENEWAL The offices of Life Rolls On re-use and renew with clever materials TEXTILES Hot new commercial wallcoverings – new categories with remarkable textures DESIGNER TOOLS Ernie Roth demonstrates how he uses rendering software to build business

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PAGE SIX

the dish

T

HE APPLE OF MY EYE

Water Garden is a step towards the living office complex. I had not been in the project for several years and I found myself fully engaged in the public spaces of a remodeled and reimagined environment for living and working. It is interesting how this transformation has emerged from the conceptualized interactive office spaces championed by Apple and the tech culture in general. For all designers who work in the contract field, it is a worthy fieldtrip. Without major structural changes, the architect and designers have redefined spaces utilizing lighting, color and furnishings. Their intent was to both direct travels through and among the buildings, and to create inviting user-friendly interactive space in the public areas. I sat and tried to fully appreciate what these newly defined spaces did for the users of the building and it became apparent that in the disconnected society in which we live, there is a desperate need for someplace to make connections on a human (or humane) level. As interior designers we are aware of the importance of human scale and efficient, comfortable, inviting spaces, but this is something more. This is a recognizable convergence of apparently dissimilar societal requirements. Gobbledygook, perhaps, but this new kind of space may be the cure for the smartphone’s intrusion in our lives. Maybe it is as simple as making sure there are interactive capabilities built into our working and daily utility environments that promote real human experience. As I said, it’s worth a visit to sit and think about what the next challenge for savvy designers might truly be. n

’Til next issue, Cindi!

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LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter


W re e c a sp a ne tta on nn w ch sib ot RE me le be ED n fo t ki to r ex tc y tr he ou e n ! r me

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LETTER FROM THE PRESIDENT

Los Angeles Greetings and Happy Spring! We hope this issue finds you well, and that 2016 has been good to you thus far! What a wonderful event-filled year our chapter has been having! This year has already kicked off with some great events and I am thrilled to see so many new faces joining our events from all levels of experience and design sectors as we continue to thrive and grow as a design community. It has been exciting to connect and share with so many friends, colleagues, industry partners, students and emerging professionals at our recent gatherings. We have been busy this year as we continue to expand our reach to members from Santa Barbara and Ventura County to Palm Springs. So far, such events have included: A “Sunday Afternoon with the Arts” - a gorgeous day in Camarillo spent embracing unique artists sharing their craft in their own creative spaces, with a magical and intimate evening of live music and a fantastic dinner filled with creative vibrant conversation; a very green St. Patrick’s Day event hosted by PIRCH, which included an art competition, a Green Building CEU and of course green cupcakes; of course, we wouldn’t miss our annual participation in Modernism Week in gorgeous Palm Springs; the 10th Annual Mix-it-Up hosted by the UCLA Extension Arc_ID ASID Student Chapter; and our Annual LA Design+Build Expo which included an incredible Student Career Day! With our continued strong intention to educate and inform the community on the value and definition of interior design and the designer, we focus our attention in this issue on the Commercial and Contract designer. We hope you will enjoy some of the creative new ways that LA Design is now being structured, and there are even more new and exciting ideas coming to fruition this year in our trendsetting magazine, and we look forward to hearing your feedback and continue to see you at future events! We also continue to embrace the “O ne Voice” campaign as we come together nationally to advocate for our profession, designers, students, industry partners and our design industry as a whole. In addition, our National Team took a very up front stance on the HB2 bill signed in North Carolina. I say BRAVO to our CEO Randy Fiser and the entire National Team for speaking up! You can read the full statement here: www. asid.org. So, dear members, we need your voice. We want your input. We encourage you to stand with us and embrace the strength that is ASID. Watch your emails for some VERY exciting events taking place in the near future and I thank you all for your continued commitment to excellence, education, our chapter and to DESIGN! n Blessings, Laura Schwartz Muller

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LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter


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Project2_Layout 1 4/13/16 3:27 PM Page 1

Stacy Nochenson, Account Executive with Arc-Com Fabrics

Where hy Where healthy health meets meets sustainable sustainable

ISSUE 2 | 2O16 Editor in Chief Cynthia Burnett, ASID

ASID LOS ANGELES

Brad Haan

8687 Melrose Avenue, Suite B245 West Hollywood, CA 90069-5701 310-659-4716

Associate Copy Editors

www.asidla.org • asidoffice@asidla.org

Design Director

Brad Haan & Will Myers

Contributing Writers Kelly Azzarello, Allied ASID

BOARD OF DIRECTORS

President Laura Schwartz-Muller, Allied ASID

Sarah Barnard, ASID MattĂŠo Bitetti - MIA, Allied ASID Cynthia Burnett, ASID Sarah Glass, Shaw Contract Group

President-Elect Darra Bishop, Allied ASID

Brad Haan Michael Jouaneh, Lutron Carol Lemlein

Financial Director Ernie Roth, Allied ASID

Dale Luckwitz Will Myers

CONTRACT

Stacy Nochenson, Arc-Com

Cloudia Rebar, CID, ASID, SDSA

Kelly Azzarello, Allied ASID

Laura Schwartz-Muller, Allied ASID

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Membership Director Cathryn Taylor, Allied ASID

Communications Director

Duff Tussing, Publisher

Mitch Sebolsky, Industry Partner

Art Director Dawn Lyon

Rep for Costantino

Advertising Sales Mike Watt DSA Publishing & Design, Inc.

At-Large Director Shelby Fowler, Industry Partner

972-989-2208

Rep for Sherwin-Williams

Student Rep to the Board Natasha D’Souza, Student ASID

LADESIGN Quarterly is a publication of the American Society of Interior Designers, Los Angeles Chapter. More than 1,300 designers, industry partners and students are members making us one of the largest chapters in the country. The views and opinions expressed in the LADESIGN Quarterly are not necessarily those of the ASID Los Angeles Chapter. Please feel free to comment on features and articles by sending your thoughts to the Editor via the ASID LA Chapter Office. Š2016 ASID Los Angeles Chapter 8687 Melrose Avenue, Suite B245 West Hollywood, CA 90069-5701 310-659-4716 FAX 310-659-9189 www.asidla.org asidoffice@asidla.org

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PUBLISHED BY

          more information,  For mor e informat ion, visit our   

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 or contact General       la@naturepedic.com. la@natur epedic.com.

Professional Development Director

LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter

Executive Director Will Myers

If you have a new product, innovation or some professional tips for our chapter, please submit them to The Quarterly at asidoffice@asidla.org. We look forward to your submissions!


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designcr CONTRACT MESSAGE FROM THE EDITOR

W E C E L E B R AT E A L L DISCIPLINES OF DESIGN

WHERE WE D I N E WO R K I hope you enjoy our first issue with topic specific focus. We LEARN have attempted to hit several relevant products that are contract design driven and hopefully answer questions you might have had about how to approach contract work if it is not currently L I V E your base of design. We also are highlighting a few of our designers who have chosen to share their expertise in varied G R OW specialties within the contract realm. Our next issue is directed toward custom design, artisan TEACH products and art. Again, we are searching for designers and IP’s to share projects and products they have designed and HOST their insights and motivation for the work they execute. Please contact our ASID LA office if you would like to share your work P R AY or your product line if it is appropriate for the next issue’s topical goals. Our final issue for the year will be “What’s next?” which LEAD will include new concepts, Green issues and products of the future, so begin to think about sharing for that issue as well. We look forward to the continued participation of our HEAL membership to help ASID LA DESIGN to improve and produce issues that are relevant and helpful to readers. P L AY Thank you and I look forward to making connections with all of you. CURE Thanks, S TAY Cindi Burnett, ASID Editor, ASID LA DESIGN Magazine Please contact me at the ASID-LA Office asidoffice@asidla.org

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LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter


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CHAPTER EVENTS

A Sunday A with the A By Kelly Azzarello, Allied ASID and Cathryn Taylor, Allied ASID

Let’s tell a story… For ages we have learned history through folklore and folktales. knowledge, literature, art and language were passed on through these stories. This is exactly what our clients seek in the fine art they collect for their homes. They want to “tell a story”: where they acquired the piece, who is the artist, what inspired the artist to create the work, and what it means to them.

Michael Clinite, Artist

Daniel Stern, Artist

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“A SUNDAY AFTERNOON WITH THE ARTS” was held on Sunday, January 17, at Studio Channel Islands Arts Center in Camarillo. Studio Channel Islands is a nonprofit organization dedicated to advancing the creative life of Old Town Camarillo and the communities within Ventura County, fostering connections between artists and visitors, and celebrating the cultural identity of their community. Ongoing programs include Artists-In-Residence open studios, arts education classes, diverse Blackboard Gallery exhibitions, cultural events, and festivals. The event was a great success as ASID LA designers had a chance to collaborate with some leading local artists and reconnect with designers from Santa Barbara to Culver City.

LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter


y Afternoon e Arts The event started with a panel discussion by several prominent artists at the Studio Channel Islands Art Center. Dania Gutierrez, the Gallery Manager at the Art Center, was our host. On the panel were: Mary McGill – moderator, “…My sculptural work continues to be female and feline figures within pottery vessels and how they relate symbolically, narratively, and emotionally. They are representational of the struggles, joys and journeys of life…” Dania Gutierrez – Gallery Manager at Studio Channel Islands Art Center, has a degree in Art History, Criticism and Conservation from California State University Channel Islands. Regina Vorang – A professional graphic designer since 1980, has garnered awards for her design projects and built a successful graphic creative design studio in Stamford, Connecticut. Formally trained in traditional arts along with graphic design, she was always intrigued by the art and craft of weaving. She found her love of weaving with wool and making rugs and tapestries. Daniel Stern – well known for his acting work; an accomplished sculptor working primarily in bronze – Daniel and his wife, Laure, founded Malibu Foundation for Youth and Families that opened Boys & Girls Club Malibu Teen Center. In September 2009 he received our nation’s highest award for volunteerism from President Obama, “The President’s Call to Service Award,” in recognition for his extraordinary commitment to volunteerism and his work in his community and beyond. Michael Clinite – “...After retiring from dentistry eight years ago I have had the good fortune to set up a printmaking studio and a mixed media painting studio in order to pursue a full time career in art making. I consider the entire journey a gift and a blessing. I agree with Henry Miller’s philosophy that artists are the “lucky few.” Miller also stated: “Paint as you like and die happy!….”

Panel, left to right: Mary McGill, Dania Gutierrez, Regina Vorang, Daniel Stern, and Michael Clinite.

Mary McGill, Artist

Left, Regina Vorang, Artist, speaking with Elizabeth Ribons, Interior Designer LADESIGN | ISSUE 2 | 2O16

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CHAPTER EVENTS Marion Wood, Artist

T

Left to right: Cliff Muller, General Contractor, Laura Schwartz-Muller, Interior Designer and President of ASID-LA, and Arlene Mead, Artist

Mark LeVang, piano, Dave Marotta, bass, Beverly Staunton, vocals, and Paul Gonzalez, percussion

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he panel discussion was quite informative, as the artists were able to present their personal journeys and describe how their unique experiences influenced their art careers. They also discussed their individual perspectives regarding how designers and their clients should view and select fine art. They all agreed that typical commercial galleries are not very good for artists – they are isolating and limiting, and don’t often accommodate the desire of both artist and buyer to engage. The artists were very enthusiastic about meeting with designers and want to continue to develop ways to engage with us and our clients. They are eager to find larger and more accessible audiences for their art and seek direct contact with designers and art buyers. This type of interaction is beneficial for all – it increases designers’ knowledge and sophistication about contemporary working artists and their projects, and allows our clients access to the artists and their works in friendly, welcoming environments. The intersection of art with interior design is a natural and synergistic one – the expertise in our respective fields overlap and complement each other for the benefit of our clients. After the panel concluded, the panel members and two additional artists (Marion Wood and Arlene Mead), led us on a tour of their studios. It was a very rewarding and inspirational experience to walk through the artists/ studios. We could see how the artists evolve based on their past works and the various stages of their works in process. Marion Wood is a painter with European roots. “…I have always been drawn to the unexpected beauty of mundane objects, shapes, colors and nuances that are often overlooked or taken for granted…. I enjoy the physical nature of working on large pieces, building up layers of color and texture as I strive to form a relationship with the work. It is that empathy I offer the viewer, a glimpse into my own personal sensibility...” Arlene Mead is known for her acrylic on paper. “…My current work finds its genesis in phases and quotes that I collect from reading and listening…. These words are painted repeatedly on the canvas until they form the architecture from which I build a composition…” This is very apparent when you view Arlene’s work. The ASID members received a fabulous introduction to the artists and their work. If you were not able to attend the event, the Studio Art Center has an Artist Open Studio Day on the first Saturday of every month, open to the public. Camarillo is a bedroom community with a wonderful Spanish Heritage that is reflected in its architecture and farming culture. It

LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter


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is also blossoming into an artist mecca, so it is not surprising that it is becoming known for performing arts in addition to fine arts. Many industry musicians are making their home in this beautiful community. Given the concentration of musicians who live here, it seemed only natural to connect our “Sunday Afternoon with the Arts” with a walk across the street (literally) to Sessions at the Loft, a professional recording studio that also hosts music events and art exhibits. Don Harper, owner of Sessions at the Loft, pulled together a group of professional musicians for a private concert. The musicians were: Beverly Staunton (vocals) – Many of you have heard Beverly’s beautiful voice on radio, television and the big screen. She is known in the music industry and sought out for her versatility. Mark LeVang , (piano and vocals) – Having just finished touring with Neil Diamond, Mark LeVang joined the group as a vocalist and pianist. He is also known for scoring major motion pictures, composing and serving as a musical director. Dave Marotta (bass) – Dave’s bass playing can be heard on other artists’ albums, several of which have gone platinum. He also mentors other bass players through seminars and workshops. Paul Gonzalez (percussion) – Paul is a leading percussionist who works with many other artists. The band performed several pieces ranging from modern pop songs to some great old standards. Several of the musicians had recently completed concert tours or live performances for television shows, and the quality of the session showed it. It was a wonderful and intimate musical experience. To finish a great afternoon, we all walked down the street to Twenty88 Wine Bistro for an early dinner. Great service, food and ambiance allowed people to socialize a bit and provided an enjoyable end to our outing. We look forward to visiting the Art Center regularly in the future. It is an organization rich with artists, art and education in a welcoming and stimulating environment. The fact that it is in the center of the charming town of Camarillo only enhances its appeal. Now that the door is open, we encourage you to expand your “fine art” knowledge by taking a trip to Studio Channel Islands Art Center in Camarillo. ■

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CHAPTER EVENTS

St. Patrick’s Day Celebration at PIRCH

(and a bit o’ the Green, too!)

If you were there, you learned a lot, sampled Irish delicacies, caught-up with friends and celebrated our local IP artists... if you weren’t, well, you missed a real pot of gold.

T

he event was green, very green! It began with our speaker Kelly Ingalls, a LEED® and sustainable design and construction consulting specialist located in Glendale, California. Next, the voting took place for the Pop-up Art competition utilizing green materials supplied by our Industry Partners, highlighting the talent and creativity of our participating designers. First Place for the art competition was taken by Tim Ferrie of Lightscultptures with his playful, creative use of leftover bits of material he utilizes daily in his beautiful custom lighting designs. The funds raised by this event allowed us to provide $2,000 in donations to the Santa Monica Conservancy, edifying the slogan ”The greenest building is one that’s already built.”

We were fortunate to be hosted by Pirch in Glendale, a magnificent showroom whose talented chefs and assistants created an updated approach to traditional Irish fare, feeding our spirits and our bodies with a delicious array of delicacies! n 18

LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter


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LEED RESTORATION

THE SANTA MONICA CONSERVANCY

S

ince its inception in 2002, the nonprofit Santa Monica Conservancy has raised awareness of the benefits of historic preservation by offering educational programs, assistance, and advocacy. It is known for its popular and informative docent-led tours of the Annenberg Community Beach House and weekly historic downtown Santa Monica walking tours, as well as events in historic private homes and neighborhoods and an annual lecture series. Recently, the Conservancy moved to permanent headquarters in a turn-of-the-20th century shotgun house which it has rehabilitated and is expected to earn LEED Gold certification. The house, a Santa Monica city landmark removed from its original site in 2002, is operated as a Preservation Resource Center where the public can learn about the methods and benefits of preserving historic buildings. The project demonstrates not only that even

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the simplest historic structures can find new use and purpose in contemporary life, but that it can be done sustainably as well. The Preservation Resource Center is located at 2520 2nd Street, Santa Monica, 90405, next to the Ocean Park Branch Library. It is open to the public from 11 am to 2pm on Wednesdays, Saturdays and Sundays, and by appointment. See www.smconservancy.org for details on Conservancy programs, membership, and local preservation updates. n

Carol Lemlein President, Santa Monica Conservancy www.smconservancy.org lemlein@aol.com 310-729-1165

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CHAPTER EVENTS

Modernism Week

I

By: Cathryn Taylor, Allied ASID

n continuation of a delightful tradition, the Los Angeles Chapter of ASID organized its fourth journey to Palm Springs with a wonderful package of events for Modernism Week. The Chapter sold out all 35 tickets offered for the weekend of February 13 and 14 in the desert. Members were offered a package that included a Saturday morning two-hour tour of six magnificent homes in the Indian Canyons Neighborhood, located in the southern end of Palm Springs. Originally known as the Canyon Country Club, the first homes in this neighborhood “were built along the fairways of a new, private 18-hole championship golf course on land owned by the Agua Caliente Band of Cahuilla Indians. The resort’s 1962 clubhouse was designed by architect Donald Wexler, and faces the Walt Disney Fountain, with its 100 foot jets… During its half-century existence, most of the Neighborhood’s homes have been refurbished to reflect its modernist roots. Designed by Stan Sackley, Dan Palmer and William Krisel, among others, the houses feature characteristic open floor plans coupled with expansive use of glass. “Sunshine, golf, and celebrities are woven 22

LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter


2016

in the Neighborhood’s history. Above all, the integration of the desert’s natural beauty is the Indian Canyons Neighborhood’s trademark.” (text from Modernism Week website, based on “Our Neighborhood Today and Yesterday” by Linda Meierhoffer). It was such a treat to tour these distinctive and beautiful modernist homes, most of which were sited on or had stunning views of the golf course. The clean lines of the architecture, open floor plans, bountiful use of light and seamless transitions between indoor and outdoor spaces were well represented in these lovely homes. After the tour, Los Angeles and Palm Springs ASID members who purchased separate tickets to the Christopher Kennedy Compound Showcase House were treated to a VIP luncheon at the compound, hosted by Christopher, Cosentino and Bosch. Prominent designers and tastemakers, including Martyn Lawrence Bullard, Bravo’s Carson Kressley, Michel Boyd, HGTV’s Jamie Durie and Kelli Ellis, Justin Shaulis, Style Blogger Kelly GoLightly, Trellis Home, and Bradshaw Orrell, created the unique and stunning rooms displayed for the tour. The home is sited on a fairway of the Indian Canyons Golf Resort, a favorite


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LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter


of Hollywood Stars including Frank Sinatra, Walt Disney and Bob Hope. Christopher welcomed the ASID and its members and guests, and everyone enjoyed a delicious luncheon with champagne while basking in the sunshine overlooking the emerald golf course. Those who were able to arrive on Friday were able to access the Palm Springs Fine Art Fair at the Convention Center for free (courtesy of arrangements made by Frank Slesinski, former Membership Director of ASID LA), as well as the multitude of other offerings available to Modernism Week attendees on the event’s website. As part of the package, members were also offered the opportunity to reserve hotels rooms at an attractive discounted rate at the lively modernist Saguaro Hotel. Continuing their generous tradition, Fernando Diaz, past president of ASID LA, and Gary Petrisak hosted a soiree for our members on Saturday evening. Members and their guests were treated to delightful cocktails and hors d’oeuvres at Fernando and Gary’s lovely desert home. Frank Slesinski, currently nominated president-elect of ASID LA, and Neil Tadken also extended their hospitality once again, by hosting our members for a sumptuous and relaxing brunch with mimosas and Bloody Mary’s at their beautiful Palm Springs home. It was the perfect ending to a very enjoyable mid-century weekend. n

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DESIGNER SPOTLIGHT

Contract Design: Restaurants & Beyond Interview with Sandra Costa - ASID, CID By Mattéo Bitetti - MIA, Allied ASID

Commercial, sometimes also referred to as contract design, focuses on the design, professional design team coordination, planning, budgeting, specifying/purchasing and furnishings installation of interior environments used for commercial, government or educational purposes. I met Sandra Costa in 2008 when I was studying interior design at UCLA’s Arc ID program. During a break, I went to shop for a rug at the Design Expo across the street from the Westwood campus. After looking at about 30 different selections, a resounding voice from behind me affirmed ‘that one’. Needless to say, we struck up a conversation and found that we were both interested in music, art and Interior Design. Sandra then left me, but not without handing me her card and asking me to look her up after graduation, which is exactly what I did. With our common interests and love of design, Sandra became my mentor and I eventually became her Senior Interior Designer, a relationship we have maintained over the years. During our time together, I have learned that Sandra is very much like a director on a movie set — going by her natural instincts and her feel for the visual world of Interior Design. I hope the reader will glean from this short interview some of the special insights I have received from Sandra, that are now grounded in my own approach to Interior Design.

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Q: Sandra what is your Interior Design philosophy as it applies to Contract Restaurant and Hospitality Design? SC: I arrive at my design concepts by absorbing global creativity. I have been told that I have lived many lives. I believe that my natural ability to envision interior space, including restaurants, arrives to me from who I may have been, who I have become, or who I may be in the future. My inspiration comes to me from everything past, present and the imaginary future. Q: How do you come by your restaurant contracts? SC: Interestingly enough, a great deal of my contracts come from residential clients who were happy with the homes I have remodeled for them. For instance, 20 years ago I was working as a residential designer for Mark Fleischman, the owner of Studio 54 in NYC and the Century Club in Los Angeles. He was taking over Wolfgang Puck’s restaurant Tribeca in Beverly Hills and I was asked if I would like to design the under ground Speak Easy & VIP room. From that one invitation, I went on to design many other nightclubs and restaurants. Q: In your opinion, what is the difference between Contact Restaurant Design and Residential Design? continued...

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SC: Having worked extensively on both Contract Commercial Design and Residential Design, the difference is in the building and permitting code requirements. All of my projects focus on innovation and sustainability. The selections I make must be functional and include a certain lyrical quality based on reason, rhyme and rhythm. I believe all projects should reflect good taste and cutting edge ‘smart’ technologies that allow each project to reflect its own individuality and personality.

Q: How do you decide on materials, products, furnishings, lighting, plants etc?

Q: How do you come up with the ideas for your restaurant designs?

Q: If someone was thinking about going into Contract Restaurant Design what would be your advice?

SC: From the moment I start to work on a project, I have a vision that is dancing before my eyes, much like a movie that flashes to me on a minute by minute basis. I walk into the space and all the pieces lay before me like a jigsaw puzzle that just hasn’t been put together yet. The client sets the tone and I find a reason and an idea that helps to bring everything forward. I believe my success comes from my ability to take the components within my consciousness, and my being able to arrange them effectively within the environment and the surrounding landscape — inside and out. I somehow just know how a project should be built. The rest is just putting together the right team to bring a project into fruition. 28

SC: First of all, I think of the material’s application. After that, the design decisions and selections come to me with ease and rarely do I have to vary from my initial choices. By staying within the boundaries of clean, smart eco-friendly products, all of my projects have a similar quality that remains consistent throughout.

SC: Aside from the necessary design courses and studies, I’d suggest that one take an introductory cooking course and they learn about kitchen technology. A good restaurant designer needs know about how a chef thinks. After all, most of the world’s best restaurants come from a chef’s soul and philosophy of cuisine. Thank you Sandra. I hope our readers will get to know you as I have and that they experience your insight and ingenuity first hand by going out to dine at one of your restaurant projects! n

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LIFE ROLLS ON, a subsidiary of the Christopher and Dana Reeve Foundation, works to inspire others to see the boundless possibilities beyond paralysis through adaptive sports programs such as surfing, skateboarding and skiing. Giving careful consideration to the organization’s fiscal limitations and environmental responsibilities, Sarah Barnard Design re-used the building’s existing carpet, specified inexpensive materials and rallied donations of recycled items and labor. Inspired by LRO’s signature adaptive surf/skate program, the design is a catalyst of hope, creating a fun, energetic space that includes columns and counters made from salvaged skateboards and surfboards painted by LRO youth and a graphic timeline chronicling LRO’s history and achievements. Combining local and non-toxic materials with salvaged finishes and fixtures, SBD’s design reinforces the organization’s core purpose of promoting accessibility, interaction and wellness. SBD worked closely with the organization to understand their specific needs, as well as their core mission so that the design solutions would promote that mission. Throughout the design process, SBD sought to create better working environments, focusing on ergonomics, daylighting, indoor air quality and human connectivity. The space is designed to foster community within the organization and by extension to the people they service. n Sarah Barnard is a member of the American Society of Interior Designers (ASID), is certified by the National Kitchen and Bath Association (NKBA), and is recognized by the International Institute for Bau-Biologie & Ecology as a Building Biology Practitioner (BBP) and by the United States Green Building Council as a Leader in Energy and Environmental Design Accredited Professional (LEED AP). She has served on the Santa Monica Conservancy’s board of directors and specializes in sustainable interior design and historic preservation. Resources: Interior Design: Sarah Barnard Design www.sarahbarnard.com Custom Skateboard Tile: Art of Board www.artofboard.com Signage: Signarama Santa Monica www.signarama-sm.com Life Rolls On: www.liferollson.org Christopher & Dana Reeve Foundation www.christopherreeve.org Photography: Chas Metivier www.metivierphoto.com

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S ON

REPURPOSED/RENEWAL

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SUSTAINABILITY

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Organic: Customer Appreciation on So Many Fronts

’ve heard industry discussions about how best to position organic in messaging, but the truth is, organic materials offer multi-faceted benefits for people and planet. As designers, understanding this range of benefits can add richness to client interactions and build added value in the entire design process. Why? Because home furnishings using organic materials are not a gimmick, but offer many real factors that can boost customer satisfaction.

Materials for Healthier Air, Healthier People Of primary concern is a reduced personal exposure to questionable chemicals. Certified organic cotton fabrics, for example, are grown without synthetic pesticides and processed without the toxic chemicals found in many traditional, non-organic fabrics. The end result is the consumer brings in fewer chemicals into the home. Of course you need to be careful about brands greenwashing benefits (outside of the scope of this post) by simply adding organic materials to unhealthy materials. With mattresses, sheets, and fabrics, you can look for reputable certifications like the Global Organic Textile Standard (GOLS) which certifies an entire mattress, but currently there is no recognized certification for couches and chairs.

Pesticides In addition to meaning those pesticides are not in the final product, organic cotton means a HUGE reduction in pesticides that would otherwise pollute our lands and waterways, and traditional cotton uses a lot of pesticides and herbicides. By some estimates, traditionally grown cotton accounts for more than 10% of the world’s total pesticide use.

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Non-GMO Supporting non-genetically modified organisms (GMOs) is important to many people. Did you know that crops certified by the USDA as organic can NOT be GMO? That means certified organic cotton was required to be grown with non-GMO cotton seeds. This is significant, given that well over 90% of U.S. cotton crops use GMO seed.

Birds, Bees & Butterflies Organic crops help support song birds and endangered bees and butterflies. The most obvious reason is a reduction in toxic pesticides that outright kills birds and insects, but that’s not all. A report in 2015 by the Organic Center suggested that organic farming may help alleviate Colony Collapse Disorder (CCD) in bees for a variety of reasons, including a reduction in sub-level doses of pesticides that weaken the bee. Additionally, organic crops often promote hedgerows and biodiversity of plant life such as milkweed that support migratory butterflies and birds.

Worker Protection Another important aspect of organics is the social benefits to farm workers in being exposed to fewer pesticides. There are a variety of studies showing the ill effects of traditional cotton pesticides on workers resulting in both immediate death and non-lethal health problems.

Healthier Soils/Carbon Sequestration Traditional farming in essence often kills the biological life of soil, requiring supplementation with synthetic fertilizers. Living “friable” soil, meanwhile, the kind found with organic farming, sequesters carbon emissions, so much so that the Rodale Institute suggests that a global switch to organic farming methods could capture in excess of 100% of the amount of current annual CO2 emissions. In other words, supporting organic farming helps fight climate change.

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Flammability Natural fibers like cotton and wool are less flammable overall than synthetics. While not specifically relating to organics, the fact that cotton tends to smolder but not burn is one more reason to consider its use.

Cool factor While not a quantifiable benefit, organics have moved from the niche of “tree huggers” (and there’s nothing wrong with hugging a tree), to now imparting an aura of luxury and quality. Providing your customers with organic options, particularly in regards to cotton, offers ways they can feel great about their choices. By viewing organics outside of the narrow lens of healthier products, suggesting organic choices to your customers can help them satisfy their needs to promote social, environmental and health justice. It really is a choice that helps both people and planet. n Author Dale Luckwitz Dale is a writer, blogger, and antique aficionado. In addition to serving as Sustainability Advisor and in-house writer for Naturepedic, maker of certified organic luxury mattresses and bedding, Dale is also Vice President of the Ohio Sustainable Business Council.

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DESIGNER SPOTLIGHT

Set Decoration and Design By Cloudia Rebar, ASID, SDSA, CID

A

s one of the founding officers of the Set Decorators Society of America, and many years in the film industry, I realize that our training as professional interior designers serves one well in motion picture set decorating. The objectives and solutions will vary in the character driven sets, while the need to further the drama of the film visually can result in bold choices and elements of design to tell the story. Often a master shot of the entire set is on screen for only seconds, then only actor close ups remain, so conveying the character and the essence of the scene as succinctly as possible is vital to the story telling. I recently returned from many months filming a Glen Close project in Romania (Imagine “Diary of Anne Frank” set in “Blade Runner .”) Set in 2073, The European attic set where the characters are sequestered for years needed to be claustrophobiac as well as functional. The pair of grey mid century chairs beneath the drying laundry in the set would be considered antiques at 123 years old, but remain timeless in this environment. The red and black chaotic design studio space reflects the youthful character of the designers who work there. It was one of 16 sets designed, shopped , installed and filmed that week. This grey tone Wilshire corridor condo set reflects the edginess of the scene about to unfold and the personality living there. Often we need to have 3 or 4 additional carpets standing by to change out in minutes when there is a shoot up and blood in the scene. Oval offices I’ve created always reflect the scripted temperament of that particular president thus the softer yellow tones and textures when it’s a Mme. President . Top center: the brown leather seating area off Tom Cruise’s kitchen in “ Vanilla Sky ” was an inherited look from his mogul father’s Fifth Avenue apartment… and the only thing we saw of this very expensive kitchen and seating area was an extreme close up of Cameron Dias’ derriere! Top, middle right: the brown and orange palette of the CTU offices reflect the cutting edge headquarters of the counterintelligence agency in the fast moving drama “24.” Bottom right, This trendy yellow hotel suite includes bold color to contrast with the dark grisly industrial scenes that came before it and change up the energy. When a set decorator gets a call to scout Greystone Manor for a film, it generally means designing, shopping and installing the ENTIRE house in about three weeks for only two days filming. Speed becomes an invisible element one must incorporate at all times! n 34

LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter


TEXTILES

Contract Textiles T in the 21st Century By Stacy Nochenson, Account Executive with Arc-Com Fabrics

here has always been an obvious difference between contract and residential textiles. The hand was rougher, the design specific for healthcare, education, or corporate, and several codes and performance criteria had to be met. ACT (Association for Contract Textiles) provides guidelines for contract fabrics to meet durability and performance standards. While the standards and expectations of contract fabrics has increased over the years, the technology of fibers has improved; providing the softness of chenille’s, and velvets with the durability, strength, and stain protections required by today’s tough environments. Here are some of the durability criteria most contract designers refer to: THE WYZENBEEK TEST – This test uses a cotton duck covered plate that goes up and down on the face of a fabric which equates to one double rub. The minimum requirement for a contract fabric is 15,000 double rubs. Today’s fibers easily meet 50,000+ double rubs (recommended for high public traffic) with many averaging over 100,000. It is important to know that there is no known value, or expectation of extended life of the fabric, for any fabric testing beyond 100,000 double rubs. The other pieces of the durability puzzle are the finishes. There are many finishes that can be added to a fabric, and most contract fabrics have at least one finish on them by the time they go to market. The most common finishes are the stain resistant products, which can include moisture and oil resistance, or barriers and anti-microbial. Below are the most common name brand finishes. They all use a similar process that submerges the fabric into a chemical bath, and once heat is applied the finish becomes an inherent part of the fabric, which does not need to be reapplied. NANO-TEX – Stain and moisture resistant finish that is environmentally friendly and recyclable. CRYPTON – Stain resistant finish with anti-microbial and a moisture barrier. INCASE – A Crypton product without the moisture barrier. GREENSHIELD – An environmentally safe stain and moisture resistant finish that uses less flourochemicals than most other finishes. TEFLON – Stain resistant finish which allows dry stains and soil to brush right off. With design being more universal, and fibers and finishes providing both beauty and durability, today’s contract fabrics are used everywhere, including the home. n

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RESOURCE LIBRARY

BUNNY WILLIAMS’ POINT OF VIEW by Bunny Williams, Author Hardcover – October 31, 2007

Part memoir and part how-to manual, Bunny Williams’ Point of View showcases many of the drop-dead chic but always cozily comfortable residences whose interiors Williams has designed during her astounding career. As Williams tells it, every design decision she makes is based on a bedrock principle: “Knowing what you value is essential.” Her conviction that every person’s home should manifest their personality guides her as she creates environments that fit each client precisely, “like a couture suit.” By showing you how to plan and then accomplish that plan for each room of your house, Williams inspires you to take account of your own values—and to realize your personal vision of how you want to live. As she says about the book: “My point of view will help you discover yours.”

ALBERT HADLEY: THE STORY OF AMERICA’S PREEMINENT INTERIOR DESIGNER

FURNITURE: WORLD STYLES FROM CLASSICAL TO CONTEMPORARY

Here, in his own words, is the first complete look at the career of Albert Hadley, legendary interior designer. A lavishly illustrated celebration of more than half a century of stunning interiors work, the book explores Hadley’s personal and professional influences. It traces the path of a career that brought him into contact with all of the major figures in twentieth-century design: First as a student and then a professor at Parsons School of Design, where he became a close friend of Billy Baldwin and was by turn a student, friend, and colleague of Van Day Truex; to his working with Eleanor Brown at McMillen, Inc.; to his influential partnership, Parish Hadley, with the venerable Sister Parish; to his current work as the head of Albert Hadley, Inc. Exploring Hadley’s design philosophy and process in great detail, the book covers the rooms that made design history, from the magnificent Rosedown Plantation to the Kennedy White House to Mrs. Vincent Astor’s library. Enriched with dozens of new and archival images, as well as Hadley’s acclaimed sketches and a catalogue raisonné listing every major article and book written about Hadley’s work, Albert Hadley is the definitive, exclusive look at one of the most brilliant designers this country has ever seen.

A glorious encyclopedia from expert Judith Miller, showcasing more than 3,000 years of design. From priceless Baroque cabinets and glittering Venetian mirrors to the elegant modernity of Philippe Starck, Furniture provides a unique global perspective of the history of furniture design from ancient times to the present day. This is not just a book for enthusiasts and collectors, but the definitive reference for anyone interested in the very best of style and design. Judith Miller and her team of specialist consultants show you how to recognize the key elements of style for each period, and examine the fashions, new materials, and techniques that influenced furniture style and design. From cabinets and commodes to bureaus and bookcases, every conceivable form is illustrated on a countryby-country basis, including expert analysis of key pieces. There are feature profiles of influential designers, craftsmen, workshops, and key movements, and themed collections of chairs, sofas, tables, and cabinets, many with price guidelines.

by Adam Lewis, Author Hardcover – October 11, 2005

by Judith Miller, Author David Linley, Foreword Hardcover – October 6, 2005

must-hav 38

LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter


LUMINOUS INTERIORS: THE HOUSES OF BRIAN McCARTHY by Brian McCarthy, Author Hardcover – November 5, 2013

In the tradition of Parish Hadley alumni such as Bunny Williams and David Easton, renowned interior designer Brian J. McCarthy creates dynamic personalities within each home he designs. Known for his attention to detail and love of texture, he brings a refreshing, unique perspective to each of his projects, living and working by the motto that no two homes are ever alike. This beautiful volume explores nine of his favorite projects around the country, from the Hamptons to Southern California. Gorgeous, inspiring photographs, alongside McCarthy’s personal, informative text, take the reader through his creative process, offering insight into his inspiration and the design decisions by which his plans become reality. Meticulously layering interior architecture, finishes, furniture, art, and decorating objects, McCarthy creates rooms that seem to have lived lives of their own.

GARDNER’S ART THROUGH THE AGES

Fred S. Kleiner, Christin J. Mamiya, Authors Hardcover – March 17, 2004 The market-leading text for the art history survey course, Gardner’s Art Through The Ages has served as a comprehensive and thoughtfully crafted guide to the defining phases of the world’s artistic tradition. With this book in hand, thousands of students have watched the story of art unfold in its full historical, social, religious, economic, and cultural context, and thus deepened their understanding of art, architecture, painting, and sculpture. By virtue of its comprehensive coverage, strong emphasis on context, and rich, accurate art reproductions, Gardner’s Art Through The Ages has earned and sustained a reputation of excellence and authority. So much so, that in 2001, the Text and Academic Authors Association awarded both the McGuffey and the “Texty” Book Prizes to the Eleventh Edition of the text. It is the first art history book to win either award and the only title ever to win both prizes in one year. The Twelfth Edition maintains and exceeds the richness of the Gardner legacy with updated research and scholarship and an even more beautiful art program featuring more color images than any other art history book available.

TIME-SAVER STANDARDS FOR INTERIOR DESIGN AND SPACE PLANNING

by Julius Panero and Martin Zelnik, Authors Hardcover – July 4, 2001 The “Silver Bible” – a wealth of information related to the design and planning of residential and commercial interiors. But now, Time-Saver Standards for Interior Design and Space Planning, Second Edition goes even further to truly make the classic interior design reference the standard in its field. From standard furniture dimensions to architectural woodwork details, you’ll find a vast array of time-saving data and details. Editors Joseph DeChiara, Julius Panero, and Martin Zelnik have brought together contributions from well-known architectural and interior design firms to give you details derived from actual designs and working drawings, showing various solutions for typical design problems encountered in interior architecture.

ave reads Our next president elect Frank Slesinski poured through his library of reference to share his favorites. All book descriptions adopted from Amazon.com.

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MATERIALS FOCUS

Floored by the Options Variety is Key for Commercial Design – Design mentality continues to shift in regard to commercial spaces. More often, flooring serves as primary basis for the project palette. Designers and end users are gravitating toward using a variety of surfaces on the floor. Carpet, hardwood, resilient, ceramic and laminate are all in demand as spaces are built to suit by segment, performance requirements and aesthetic preference. Carpet tile is still a dominant preference in the marketplace, while the demand for hard surface continues to increase.

H

istorically, specific market segments have driven product selection, but we’re experiencing a collective shift toward a more blended aesthetic, relying on the existing architecture, natural lighting and moments of color to add interest within the space. Education and healthcare still embrace broadloom and carpet tile, but hard surface products with antibacterial properties, excellent cleanability and ease of maintenance are allowing designers to create an entirely new experience for patients, residents, students and staff. Hard surface products now translate beautifully in hospitality and retail environments as new developments in technology yield modern and rich design elements to the floor. The corporate workplace continues to be the primary driver of trends. Diverse budgets and cultures continue to make revealing statements about what’s most important - from both a design perspective as well as a globally merging culture. One observation is clear: Spaces are no longer cookie cut for the workplace and 9-5 employee, the academic, the patient or the consumer. Structures are evolving into a succinct experience for those traveling through the space so that

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LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter

while in it, they are allowed to relish the moment, and when they exit, they will remember the moment.

Sense of Place As both carpet and hard surface products evolve into new dimensions of scale and movement, there’s a simultaneous response from the design community pushing flooring manufacturers for more options – to do more within a space. Sophistication is trending, along with thoughtful workplace strategies, and well-designed flooring enhances both of these factors. A sense of place is increasingly important to all individuals, and now, more than ever, employers are prioritizing workspaces that fit the lifestyles and enhance the productivity of their employees. Considerations such as maintenance, performance, durability and cost are also big drivers when designing for particular client needs or space requirements. Dedicated workspace per individual is shrinking, while community-focused environments are becoming larger. Work-life integration continues to drive these efforts, as the trend toward collaborative space, serendipitous work zones and quiet focus areas. Employees are spending more time in the office, and amenities such as interactive cafes, all-hands space, social hubs and active areas are a requirement –especially in today’s environment where talent attraction and retention is imperative. Interior spaces continue to lean toward understated design elements. A modern cool is achieved through clever use of daylight, ambient lighting, translucent finishes and tasteful hints of color. Sustainable features become more visible through use of natural materials and living walls, branding efforts are incorporated through smart and functional detailing.


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Catalyst for Design In the past, floors were not considered as part of the design strategy. But that perspective has drastically shifted. We now look at flooring design as a catalyst for the various ways of moving through a space. Current carpet collections feature styles that range in scale and pattern but can be used alone or together to create movement, inject color, assist in way finding, enhance the architecture and meet the overall design intent. Carpet tile remains a popular option due to the varied benefits it provides (from maintenance, durability, cleanability, ease of replacement, comfort and variety of aesthetic.) Carpet collections and hard surface collections are now launching as coordinates – as clients are frequently employing a mix of products within the project. Hard surface continues to make a place for itself among all market segments, and new product collections give clients opportunity to select from a palette of warm and cool tones, bold color options and metallics to inject energy. Wood visuals remain a preference with some clients, but there is also demand for additional aesthetic to enhance user experience. With less color variation between planks, designers can create a clean, smooth idea across the installation plane to create clean, bold, uninterrupted lines. Integrated palettes can be mixed to nuanced transitions with a subtle textural shift or bold contrasts of color – making the installation options limitless. We’re also seeing porcelain on the floor more frequently. When properly installed, porcelain tile has a long life and appeals to clients because it is lowVOC, chemical and stain resistant and serves as a fire retardant.

Material Health Sustainability remains an important driver for design firms and end users selecting flooring products, as many companies strive for LEED certification and abide by missions which embrace environmental stewardship. 42

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Within the flooring industry, commitment to material health has become a standard. Manufacturers have taken a stance for environmental responsibility, and continue to develop innovative systems to create products made from responsible materials, ensuring viable options for reclamation, recycling and reuse. We believe in continuous improvement and innovation. Leading by example Shaw Contract Group developed a very successful reclamation and recycling program that has collected more than 800 million pounds of used carpet since 2006 –more than all of our competitors combined. Transparency and product ingredient disclosure are areas of focus as manufacturers and specifiers both aim to ensure the products they manufacture or select are made with product ingredients that are sustainable and safe for use within commercial spaces. Standards such as Cradle-to-Cradle Certified™ Product designation is a comprehensive approach for companies to employ. Although it requires extensive commitment and investment, this standard ensures a product meets stringent certification criteria and is continually evaluated and optimized to meet or exceed future sustainable requirements. As a leader in sustainable design, Shaw Contract Group introduced the first pvc-free, bitumen free, fully recyclable carpet tile – the first Cradle to Cradle Certified carpet system in the industry. More than 300 carpet styles in our product line (that’s 90%) are Cradle to Cradle Certfied Silver (a handful are Bronze). Other protocols such as a Health Product Declaration and Declare (part of the Living Building Challenge) are complementary tools that can provide specifiers, manufacturers and project teams with material and ingredient information as they strive to make the best decision to meet their purchasing need. n

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DESIGNER TOOLS

Realism Realized Creating Accurate Visuals Greatly Aid Clients with Their Understanding of Choices & Transformations

Designer Ernie Roth, Allied ASID has steppedup his presentation of projects with software which completely renders the environment — enabling some of his clients to truly see the scope and design intent of Ernie’s work. It’s still a bit expensive, but most clients are willing to go the extra mile for an extra sense of confidence. By Brad Haan

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LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter

F

irst, a complete site survey, analysis, walk-through and measure takes place. Ernie fully discusses the purpose of the space, the company’s branding and image, and defines his clients’ expectations. Then the project is loaded into his software. “There are several software companies doing this,” Ernie explains, “what I use to build the 3-D models is called Vectorworks Architect and then it’s rendered in 3D Studio Max. But it totally depends on the designer and what they’re comfortable with.” Ernie works up his fixtures, finishes, color palette and equipment, and plots out his space plan. Once this is accomplished, he can then load the surfaces into the computer and begins his magic. “They really love this because they can actually see the finished product before we lift a hammer,” Ernie explains. “Those clients who want to see this level of detail gain a real sense of what they’re getting, which enables us to collaborate more closely — for more successful outcomes.”


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RETAIL CASE STUDY

Space Before

God is in the Details As a project proceeds, special details and additions can then be tried out in the realistic environments providing a true test environment for new choices. This saves many hours and expense, as these additions can be seen on screen to evaluate their successfulness. “It’s a real timesaver... nothing large or small needs to be purchased unless the client approves, and their confidence in our choices is much higher.”

Giving Clients Sight “Having these tools is exceptional. We as designers can “see” what a project will look like in our mind’s eye long before it is fully realized. But the clients generally can’t. That’s fundementally why they hire us in the first place. This just smoothes the path.” n

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LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter


Renderings

Custom Comfort Retail Stores Client Objective: • Reach a higher level customer Designer Design Process: • Evaluate the client’s other stores, analyze business approach, note areas for improvement. • Develop Design Concept for the exteriors and interiors of the stores to reflect quality of the products. • Develop an overall design theme to be used throughout the client’s stores that creates brand.

Results: • Develop a design concept that emphasizes the beds and linens in the best possible environment.

• The customers’ time spent shopping doubled, resulting in higher sales.

• Enhance the customer experience though the use of color, material textures, and lighting.

• The showrooms now attract the level of clientele Custom Comfort were hoping to reach.

• Use architectural elements to create traffic patterns that draw the eye and raise the curiosity of the customers, to travel through the various set-apart spaces in the showroom.

• The two showrooms are now the flagship stores in the chain. • The bottom line sales were improved by 15%.

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CALIFORNIA CA ALIIFO AL FOR FO RN N NIA IA HOMES H OM MES E ES

MA GAZINE OF AR CHITE C TURE THE MAGAZINE ARCHITECTURE AR T S & DISTINCTIVE DIS TINC TIVE DESIGN THE ARTS

The New Traditional SAN FRANCISCO CORONA DEL MAR CARPINTERIA SANTA BARBARA

Thiss is a special off ffer er to subscribe to CALIFORNIA HOMES. It is available in this issue only.

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FASID TWO of the nine are in our Chapter! Join us in applauding them all, but especially our own...

Washington, D.C., April 29, 2016 | Each year, the American Society of Interior Designers awards the title of FELLOW to individuals who demonstrate outstanding service and contributions to the Society, the profession, and the interior design industry. It is the highest distinction a member can receive from ASID, bestowed on less than one percent of ASID membership. This year, the organization selected only nine Fellows from the entire country, and two of them are from our Chapter! “This year’s Fellows have played a key role in shaping the future of the interior design profession,” said Randy Fiser, CEO. “They have not only created interiors that delight, inspire, motivate, support, and awe us, they have designed solutions that modify behaviors and improve the human experience. It is our privilege to honor them.”

Our Los Angeles 2016 Fellows are: Deborah Davis, ASID Fernando Diaz, ASID, CID, NEWH The 2016 Class of Fellows will be honored at Celebration, the Society’s Annual Gala, July 16, 2016, in Minneapolis.

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11630 Tennessee Ave, West Los Angeles 310.478.4438 • www.bobcatcarpetcare.com LADESIGN | ISSUE 2 | 2O16

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DEKTON

SURFACES

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LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter


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The New Surfacing Frontier hen it comes to seamlessly incorporating surfacing into a project, function, innovation, durability and ease of care are just as important as aesthetics – especially with the high-traffic demands posed in commercial spaces from hospitality settings to office complexes. Cosentino, the global manufacturer of natural stone, quartz, and architectural surfacing, has long met these demands since revolutionizing the surfacing category with Silestone quartz surfacing more than 25 years ago. With the introduction of Dekton by Cosentino, a universal architectural application material with extreme strength and performance for interior and exterior applications, the company has further pushed the boundaries of design and performance. Committed to bringing the most innovative technology available to the marketplace, Cosentino dedicated years of research and development to perfect Dekton, an ultracompact surface composed of the inorganic raw materials found in glass, porcelain and quartz. The material is manufactured via a proprietary process called Particle Sintering Technology that mimics the metamorphic change that rocks and stone undergo in nature when subjected to heat and pressure over thousands of years. The press used in the manufacturing of Dekton is 25,000 tons, the largest in the world, and results in an ultra-compact surface with unprecedented slab size (56” x 126”), extreme material performance, and incredibly diverse applications such as countertops, facades and ventilated rainscreens, and largeformat tile flooring. This unique process results in a number of characteristics that make Dekton ideal for use in hightraffic commercial environments, including very low water absorption and high resistance to stains and scratching. Its UV- and thermal-shock resistance also ensures Dekton can be used outdoors in all weather conditions and climates. When combined, these features permit Dekton to be used as the sole hard surfacing solution in a project, resulting in visual continuity and seamless design possibilities for designers and architects. Dekton’s diverse offering of colors and finishes empowers designers to incorporate the look of materials that traditionally requiring high levels of up-keep, such as natural stones or wood, into heavy-use environments. With colors that mimic the look of dramatic exotic marbles, weathered driftwood, industrial concrete, or ultra high-gloss finishes, Dekton is able to achieve any number of versatile design statements without sacrificing performance or longevity. n For more information, visit www.dekton.com. LADESIGN | ISSUE 2 | 2O16

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INDUSTRY PARTNER CORNER

Light Reading

Illuminating the new CA Title 24 2016 Standard— What’s New for Non-residential Lighting By Michael Jouaneh, Lutron Electronics

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hanges to California’s Title 24 Part 6 non-residential standard work to improve the energy efficiency in new buildings, as well as in additions and alterations to existing buildings. All changes to the Standard will take effect on January 1, 2017. Specific to lighting in non-residential buildings, the changes in most cases are. So what is new? For starters, lighting power density (watts per sq. ft. of lighting power) maximum thresholds have been lowered to account for more efficient light sources such as LEDs. And, newly constructed buildings will still need to meet the following interior lighting control provisions: • Area control (manual control in each room) • Multi-level lighting control (depending on the light source most spaces require at least 3 lighting levels or continuously dimmable lighting) • Shut-off controls (lighting must be automatically turned OFF with controls like timeclocks or occupancy sensors). • Automatic daylighting controls (lighting in daylight zones must automatically adjust light levels based on the amount of daylight in the space)

• Demand responsive controls (most spaces in buildings greater than 10,000 sq. ft. have to have lighting capable of being automatically reduced by at least 15% upon receipt of a demand response signal) The new standard also encourages and rewards the use of institutional tuning (setting the maximum light level to less than full output) and daylight dimming plus OFF control (daylight responsive controls that dim lighting from 100% full light output to 0%, or OFF, when there is enough daylight in the space). Up to 10% of the lighting power that uses these strategies can be reallocated as additional lighting power anywhere in the building. This can help designers meet the new, more stringent lighting power densities. The biggest changes from the 2013 Standard occur with respect to alteration and additions. Gut rehabilitations of a space that include removing walls or ceiling and redesign of the lighting will have to meet the same lighting control requirements as in the 2013 Standard (these are the same control requirements for new construction, see table 141.0-E below). Note that lighting alterations that use over 85% of the

TABLE 141.0-E CONTROL REQUIREMENTS FOR ENTIRE LUMINAIRE ALTERATIONS Control requirements that shall be met when 10% or more of existing luminaires in an enclosed space are altered

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Resulting lighting power, compared to the lighting power allowance specified in Section 140.6(c)2, Area Category Method Lighting power is ≤85% of allowance

Lighting power is >85% to 100% of allowance

Section 130.1(a) 1, 2, and 3 Area Controls

Yes

Yes

Section 130.1(b) Multi-Level Lighting Controls — only for alterations to general lighting of enclosed spaces 100 square feet or larger with a connected lighting load that exceeds 0.5 watts per square foot

For each enclosed space, minimum one step between 30-70 percent of lighting power regardless of luminaire type, or meet Section 130.1(b)

Yes

Section 130.1(c) Shut-Off Controls

Yes

Yes

Section 130.1(d) Automatic Daylight Controls

Not Required

Yes

Section 130.1(e) Demand Responsive Controls — only for alterations > 10,000 ft2 in a single building, where the alteration also changes the area of the space, or changes the occupany type of the space, or increases the lighting power

Not Required

Yes

LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter


maximum lighting power density for the space must meet most control requirements, but those with 85% or less are exempt from daylighting and demand response control requirements. Other types of lighting alterations, such as one-for-one lighting fixture replacements, can comply with the 2016 Standard by either meeting the control requirements on Table 141.0-E or by meeting area control and shut-off control requirements plus reducing lighting power by 35% to 50% (depending on building type) from the previous lighting load. California’s Title 24 remains the “gold standard” when it comes to energy codes, often setting the standard for energy codes in other states, and lighting controls continue to play a vital role in helping to achieve energy conservation goals. For more information on the California building energy code, visit www.energy.ca.gov/title24. For more information on lighting control solutions to help you meet energy code requirements, visit www.lutron.com/energycodes. n About the author: Michael Jouaneh is manager of sustainability and energy standards for Lutron Electronics, a designer and manufacturer of energy-saving lighting controls for residential and commercial applications. He is active in the development of the nation’s top energy building codes/standards. He is a consultant to the ASHRAE 90.1 Lighting Subcommittee and a member of the ASHRAE 189.1, 100, and 90.2 committees.

LADESIGN | ISSUE 2 | 2O16

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SURFACES

Wall Street T oday’s commercial wallcoverings encompasses a wide spectrum of products that are on the cutting edge of style and color. In addition to style and color, designers are looking for products that are produced in a socially responsible, environmentally sustainable manner. Thanks to the new WALLCOVERING SUSTAINABILITY STANDARD NSF 342, we now have a way to quickly and easily identify wallcoverings that minimize environmental impact. NSF 342 is a multiattribute, 3rd-party certified sustainability standard that evaluates product from raw material extraction through manufacturing and distribution, to end of life disposal. The standard allows for transparency into the performance of individual products, manufacturing processes and distribution. The manufacturer and distributor gain points in six key areas: Product Design, Product Manufacturing, Long Term Value, End of Life Management, Corporate Governance, and Innovation. Total points earned in these categories determine if the product qualifies and the level of certification: Conformant, Silver, Gold or Platinum certification. Look for the new NFS 342 certification when evaluating environmental performance.

New Sustainable Wallcovering Options and Earth-friendly Creativity Let’s take a look at what’s new in some of the key wallcovering categories. TYPE II WALLCOVERINGS are known for their durability, affordability and great looks. Here the story is all about unique embossed textures and bold graphic prints.

Geometric embossed texture from Versa Lorenzo and the bold print of Versa Prism 54

LADESIGN is a Quarterly Publication of the American Society of Interior Designers - Los Angeles Chapter

SPECIALTY WALLCOVERINGS like grasscloth and cork laminated to gold and silver foils provide an unexpected juxtaposition where the natural elements seem to float on gleaming metallic.

Naturals Bamboo NAT-CL-97 and Cork NAT-CL-92


HANDCRAFTED WALLCOVERINGS are an increasingly important as designers create statement walls that are as much art as they are wallcovering. The below designs are hand troweled on wallcoverings to create one-of-a-kind masterpiece designs.

Big bold branding is achieved with the use of CUSTOM SCREEN PRINTS AND CUSTOM DIGITAL WALLCOVERINGS. Exercise your creativity by designing at supersized scales.

Options seem to be limitless with today’s wallcovering, whether designing for commercial or residential interiors it’s easy to see why designers are turning to wallcovering as a key interior element. n

TRI-KES Custom for the Le Méridien hotel New Orleans, designed by Meyer Davis Studio

Source One Handcrafted Circle Dance and Ingrained LADESIGN | ISSUE 2 | 2O16

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Proje

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Specializing in Contemporary Stretch Fabric Wall and Ceiling Wide Width Decorative Treatments

Please Welcome Our Chapter’s Newest Annual Sponsors

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Our collection of prints are available thanks to our exclusive and prestigious partnerships with French National Museums such as the Museum of Printed Textiles, The Louvre, Orsay, and Versailles. Custom Printed Wall Upholstery Also Available.

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CHAPTER NEWS

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WELCOME NEW ASID LOS ANGELES CHAPTER MEMBERS New Members in FY 2016

DESIGNERS Dana Eli, Associate ASID Allison Kelsey Good, Allied ASID Doug Hanson, ASID Erica Mcnicholas, Allied ASID Pam Pruitt Mcgeary, Associate ASID Dorian Von Neumann, Allied ASID

INDUSTRY PARTNERS Alderman Bushe Interiors Architectural Detail Group ADG Lighting Bluehaus Interiors Bountiful Brown Jordan Butler Specialty Company Liz’s Antique Hardware / The Loft at Liz’s Loni M designs Luxury Logistics Group Devon Glenn Pride Family Brands

R. Rock Enterprises Schumacher Signature Kitchen Suite Thomas Rug Cleaning Co. Western Lighting and Control Solutions www.draftsmenandartists.com

STUDENTS Sarah B Abbas, Student ASID Natasha Afshar, Student ASID Zaher Arbash, Student ASID Yuliya Bahauidskaya, Student ASID Vidyashree Basavarajappa, Student ASID Aida Bonabi Azari, Student ASID Shoshana Batsheva Botnick, Student ASID Benedicta Sherrine Budiman, Student ASID Jennifer Nicolosi Bye, Student ASID Romina Caceres, Student ASID Raquel Elizabeth Chaves, Student ASID Victoria E. Collins, Student ASID

Adair D. Curtis, Student ASID Linette Dai, Student ASID Kassy J. Dean, Student ASID Masha Defaei, Student ASID Regina Aleece Dias, Student ASID Eric C Faber, Student ASID Farbod Famili, Student ASID Lucy Fisher, Student ASID Jennifer Rachel Fong, Student ASID Kelsey Graeber, Student ASID Katherine Grech, Student ASID Kathleen Grim, Student ASID Autumn Haber, Student ASID Monet Ella Haeri, Student ASID Paulina Hermansen, Student ASID Fleur Hervas, Student ASID Emily Rose Hinkamp, Student ASID Hannah Hofmann, Student ASID Carrie Holt, Student ASID Holly Kane, Student ASID Karen Ko, Student ASID

Parastoo Ahadi Koli, Student ASID Stephanie E Larson, Student ASID Angie Nga To Le, Student ASID Catherine Levis, Student ASID Raquel Mapp, Student ASID Farrah Matovu, Student ASID Megan Bree Mccauley, Student ASID John-Paul Bobby Nelson, Student ASID Linda Nicolas, Student ASID Selene Nieto, Student ASID Brooke Allison Peoples, Student ASID Nicole Taylor Perry, Student ASID Ken F. Perry, Student ASID Marjorie T Rice, Student ASID Kerri Sherman, Student ASID Sasha Singhaseni, Student ASID Seammala Sun, Student ASID Michele Tetenbaum, Student ASID Virginia L. Welch, Student ASID Katherine Winn, Student ASID Farnaz Yashar, Student ASID

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(800) 258-2229

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ASID Los Angeles - LA Design Summer 2016  
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