Page 1

2 — 2018


Nook is a publication by the BNI and the AiNB on interior architecture.



Refettorio Felix Photo - Tom Mannion

London designer Ilse Crawford redesigned the historic St Cuthberts community centre in Kensington to create a warm and welcoming home for Refettorio Felix. This new community kitchen, dining hall and drop-in centre aims to reduce food wastage by creating healthy meals for those living in socially vulnerable conditions, using surplus supermarket ingredients. www.studioilse.com



Ruud, Meester Lakmaker



STAP MEE IN DE CIRCULAIRE ECONOMIE Steeds meer bedrijven laten met hun professionele interieur zien wie ze zijn. En waarvoor ze staan. Inspireer uw klanten om lef te tonen. Om duidelijk te kiezen. Voor later. Met circulair tapijt. Want daarmee maak je pas een ĂŠcht statement. Voor een mooiere toekomst. Tapijt in de remake Donkersloot neemt hierin het voortouw. Want voor ons is dit geen trend of toekomstdroom. De circulaire economie, dat is de nieuwe werkelijkheid. Met trots introduceren wij BT40: circulair tapijt met de unieke NiagaÂŽ-technologie. Het eerste tapijt dat volledig te recyclen is tot een nieuw tapijt. Keer op keer. Van dezelfde topkwaliteit. Een game changer. Een Donkersloot. www.donkersloot-tapijt.nl







NOOK 1 — 2018 theme Heritage

publisher Nook is a publication by the AiNB and the BNI. AiNB, Brussels info@ainb.be www.ainb.be BNI, Amsterdam info@bni.nl www.bni.nl

edition 1500 copies

ISSN 2589-8442

editors Bureau Bax, Amsterdam info@bureaubax.nl www.bureaubax.nl

featured in Nook 2 – 2018 Concrete, Malissa Geersing, Nina Hemmerijckx, KOGAA, Agnes Nijholt, Red Deer, UNStudio and Kurt Wallaeys.





NOOK 2 — 2018 theme Europe

cover Refettorio Felix was conceived by Food for Soul, a non-profit organization founded by renowned chef Massimo Bottura. Supermarket surplus is sourced by The Felix Project.

translation Production, La Hulpe welcome@production.be www.production.be concept Specht Studio, Antwerpen hello@spechtstudio.com www.spechtstudio.com

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NOOK 3 — 2018

subscriptions AiNB and BNI members receive Nook free of charge. Not a member, but would like to receive Nook? The subscription price is EUR 49.00 per year. Your subscription entitles you to four editions, two of which are in Dutch and two in English. For EUR 25.00 per year you will receive the English numbers only. Go to www.bni.nl or www.ainb.be and sign up. After you have signed up, you will receive an invoice. As soon as your payment is received, Nook will be sent to you. Cancellations must be received no later than two months prior to the end of the subscription period. Without notice of cancellation, the subscription will be renewed for one year. Changes of address may be e-mailed to secretariaat@bni.nl.

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6 interview with Jan Geysen from Belgium

Look at Europe

8 interview with ECIA chairwoman Anja Dirks

‘Connecting and sharing knowledge are essential’

16 interview with Margit Argus from Estonia

‘We experiment a lot’

20 project in focus, Brno

Fluid space

22 project description, Paris

Affordable luxury concept

28 interview with Carmen Gasser from Switzerland

Responding to what exists

32 project in focus, London

Bakelite, formica and chrome

34 Scandinavian design

The Big Five

40 internship and work in England

‘The art is to exploit your opportunities’

42 Master’s in Geneva

Unmissable experiences

44 project in focus, Almuñécar

La Casa Blanca

48 project description, Munich

Three themed areas of activity

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Look at Europe Text

Bureau Bax

Interior architect Jan Geysen, member of the board of the ECIA, mapped out what is happening in Europe in the ďŹ eld of interior architecture. He asked all members of the ECIA to submit a number of projects from interior architects affiliated with them that are representative of the quality of the interior architecture in their country. Looking for a common identity, Geysen analysed the similarities and differences.


Universal quality

Joy of design

“I outline a few findings. It is interesting to see that Scandinavia is working very strongly with local materials, especially with all kinds of softwoods. There are clear differences between the Scandinavian countries. The Swedish interior architecture is very sophisticated, in Norway the profession is developing rapidly, Finnish interior architects continue to work on their rich design culture in a contemporary way, and the Icelandic interior architecture is very small-scale and focused towards the private market. In Estonia, which lies at the pivot point between Scandinavia and Eastern Europe and became independent in the 90s, you see an incredible joy of design, a fresh dynamic. I find the creativity and energy emanating from Estonian designs, which are probably accomplished with much smaller budgets than Dutch and Belgian projects, very impressive. Spain is very busy with design. I was in Barcelona recently and you clearly feel that playing with design is in their DNA. From the French architecture, I pick up the stylishness and elegance each time. France has a strong restaurant and hotel culture, and that is reflected in the French designs. It speaks of a particular luxury or grandeur. Precious metals, beautiful woods and marble are favourites. In Germany, the level is very high. The interiors are always very well integrated. Interior architecture is a profession that will stay. To be honest, I think the German interior architects are a lot more creative than the German architects. I do not know exactly why, but the German

Eye for detail

“By looking beyond our own borders, we can learn from each other. For example, Dutch interior architects are very strong in the sector-based approach. The Netherlands is one of the founders of the New Way of Working and does a lot of research into interior solutions in healthcare and in public spaces. Belgian interior architects who mainly focus on the private market can learn from this. In Belgium the quality is more in craftsmanship. Belgian interior designs are refined and made with great care and attention to detail. Switzerland is also a good example for others. The quality is very high and very consistent there. In Switzerland, substantial investments are being made in interior projects, and this is reflected in subdued and timeless concepts, sustainable materials and refined detailing. I think it's wonderful to see that Swiss clients want good quality on all fronts. Natural stone, solid wood, it can cost what it costs. There is a lot of trust and respect for the profession.” Zeitgeist

In summary, I think that there are various themes at European level, from functionality, spatial quality and design to sustainability, in which we can work together. The differences between countries also give fascinating accents to our common European culture. It is remarkable to recognise that as an interior architect you contribute to a common European identity. You are working on your own projects, but at the same time you work within that larger whole, both national and European. You create and shape culture. You contribute to the zeitgeist. I think that's a nice thought.”

2 — 2018

“In 2013, the ECIA prepared a charter to serve as a reference document for the interior architecture profession and educational institutions to define objectives and scope of interior architecture training, and to describe the standard of the entry level to the profession. The members of the ECIA have signed this charter and are therefore in agreement about what the interior design profession entails. That also explains the universal quality and the professional way of design that speaks from the collected examples. Naturally, this similarity can also be explained from history. Europe has a rich joint history and cultural baggage that can be felt in every country. However, there are also countless differences in interior architecture when you compare European countries. Differences that are easy to understand from the culture of a country and local conditions. A house on the Mediterranean Sea looks very different from a house in the High North.”

architecture has something cold and sometimes lacks the liveliness that is present in German interior architecture.”

Interview with Jan Geysen

“The idea came from the previous chairwoman of the ECIA, Joke van Hengstum. It seemed interesting to her to examine the quality of the interior architecture in Europe. I then drew up this project and gave it the name Examples, because that is it, examples no more and no less. A presentation of the projects can be found on the ECIA website: ecia.net/about-ecia/projects. The remarkable thing is that for the first time there was an overview of what happens in the field of interior architecture in Europe.”

— JAN GEYSEN In 1999 Jan Geysen (1976) studied as an interior architect at the Henry van de Velde Instituut in Antwerp. Then he gained experience at various agencies in Antwerp. He also travelled to Amsterdam to join the creative agency Inside Outside, working for the Dutch designer, Petra Blaisse. In 2003 he founded his own firm, PUUR interior architects, where he has worked with a team on very different assignments ever since. His firm is active in Belgium and the Netherlands and has won several prizes, including the ARC Interior prize in 2012 for the interior design of Lodewijk, the university restaurant of Utrecht University. Since 2012, Geysen is a board member of ECIA (Vice President since 2015) and since 2013 board member of AINB (Vice President since 2015). www.puurinterieurarchitecten.be



‘Connecting and sharing knowledge are essential’



Bureau Bax


Jan Lauer/Jordi S. Carrera/Thomas Gundersen/Åke E:son Lindman

Kandora Meyer Architekten Innenarchitekten, Kinderclub Westend, Frankfurt am Main, Germany, photo: Jan Lauer. Published in the bdia Handbuch Innenarchitektur 2017/18.

What does the ECIA do?

What kinds of issues are involved? “They are diverse - from issues to do with education, for example, or membership and organizational structure. One current issue that is arising in many countries concerns the domain of the profession. There are four countries in Europe - Germany, Spain, Iceland and the Netherlands - in which the title of interior architect is protected, but there are also other countries that



2 — 2018

“The ECIA is a European platform that represents and promotes interior architects/designers. We have twenty members, comprising fourteen regular members: national organizations such as the BNI and the AiNB; three institutional members, including the French Council of Interior Architects and the Dutch Architects Register Bureau; and a number of educational members. Indirectly, the ECIA represents over six thousand interior architects/ designers. Given that the profession is not confined to national contexts, the added value of the ECIA is increasing. The organization has a six-headed board with board members from different countries. As a board, we set the course for the ECIA, but it always has to be approved by the members. Ongoing themes within the board are the development of the profession, education and monitoring of associated members. At the members’ annual general meeting, we feed back on the ongoing and new issues. We maintain intensive contact with the members, responding to the issues that they are encountering. We also bring members into contact with each other when they are working on the same kinds of issues.”

would like better recognition and positioning of the profession. France is very engaged with this issue, as is Belgium and Romania. The ECIA is bringing these countries into contact with one another, sharing knowledge and thus starting a dialogue, which can help the countries progress, both individually and collectively. In fact, title protection or a form of delineation of the discipline is not an issue or ambition for every member.”

interview with Anja Dirks

“Interior architecture is doing well in Europe”, says (interior) architect Anja Dirks. “I'm seeing further professionalisation of the field, great projects and research. And in education, the number of available Master’s, and even PhD programmes, is increasing.” As Chair of the European Council of Interior Architects (ECIA), Dirks outlines the developments within the profession, and the role of the ECIA within it.


What are the priorities of the ECIA? “Our core activities are mainly in the area of the profession itself and in education. For example, with respect to the development of professional requirements, we have written a charter establishing the education level that members of ECIA members should meet. We also developed a code of conduct: ECIA members aim to set standards regarding the way associated interior



architects practice their profession. Additionally, we work on current themes on a project basis. In the past year we worked hard on charting the educational field. Every member supplied a list of schools which provided insight into the educational field within Europe. At the moment, the list is an internal one, but we are now looking into how we can deploy and distribute this list. As a last example, in the past year we made an inventory of how the profession is regulated. We have looked at points such as how the sector is regulated by law, the role of the national organization, title protection and liability. This showed that various ways to organize the sector are possible. There are a lot of similarities, but also clear divergences. There is no blueprint, in any case. That



The European Council of Interior Architects (ECIA) is the representative body for the European professional organizations in interior architecture and design. Founded in 1992, ECIA currently represents 14 members: national organizations with over 6,000 professional interior architects/ designers. The ECIA provides a common platform for the exchange of information on best professional practice. It endorses minimal common standards of education and professional profile for the associated interior architects/ designers in the member organizations. The ECIA was founded to establish and strengthen the European network for interior architects/ designers, and to develop the profession. This is done through constant communication about the profession, by sharing views and having an ongoing dialogue with the members, partners, sister organizations, institutions and the European parliament. The ECIA is a European platform representing and promoting the qualified profession of interior architects/designers. The profession is embedded in various forms and ways within the different member countries. Different by law, type of protection, professional requirements and education. The ECIA thereby wants to achieve general recognition of the profession through public and legislative bodies at local, national and EU level. The ECIA embraces the diversity within the profession and has developed a vision in which there is a common view on the profession of interior architects/ designers as a vital part of society, culture and economics. The ECIA board consists of President Anja Dirks (NL), Vice President Jan Geysen (B), Secretary General Elke Kaiser (DE), Treasurer Marianne Daepp (CH), Board member for PR & Communication Tüüne-Kristin Vaikla (EST) and Board member Teresa Casas (ES). www.ecia.net

is why our role - to connect, share knowledge and join forces to work on specific themes - is so essential.

Does this mean that the professional organizations have different profiles? “Yes, that's correct. In countries where there is no title protection, for example, membership of a professional organization is seen as a mark of quality. By being a member of a professional organization, you show the outside world that you have the right level of quality. That is also the impetus for becoming a member. Professional organizations can respond to this by matching quality levels with degrees that have been completed and the number of years of experience. In countries where there is title protection, this is less of a factor. You already distinguish yourself by holding a professional title. In that case, the professional organization can fulfil more of a network or support role, for example. That doesn't take away from the fact that in all countries it remains important to keep communicating about why you are there as a professional organization, what you do and why interior architects/designers should become members.”




Do the professional organizations have difficulty keeping member numbers up? “That is indeed a challenge in a number of countries. Above all, it is difficult to attract and retain the younger generation. The question is: what holds them back? Do they need another kind of organization that unites them in a different way? Do they not feel that they are represented by the current organizations? Are they less interested? That has to be researched. It used to be that professional organizations were mainly intended to bring people together through various gatherings. That has, I think, lapsed slightly. These days there are much better, faster and more enjoyable ways to come into contact with each other. But for many professional organizations that is still the basis for establishing the membership fees. I think that young people have a lot of difficulty connecting with that. Overall, finding people to fulfil a board or committee function within the organizations remains a challenge.”

interview with Anja Dirks

Studio Teresa Casas Disseny d'Interiors, residential house, Amporda, Girona, Spain, photo: Jordi S. Carrera.

“There is no good or bad way for professional organizations to organize themselves. But it is interesting to see how other countries do it. Great Britain has set up quite a corporate organization, in terms of income, sponsoring and events. The role that has been taken there diverges substantially from that of the professional organizations in other countries. Countries like Spain are so large that there is an additional, decentralized structure, in which a great deal is managed and organized. There, the regions have a lot of power and possibilities. In Estonia the structure is much more compact and the percentage of members is very high. The different structures can inspire or offer tools for an individual country’s own approach.”

How can the ECIA support this? “By making connections. The ECIA has oversight into what is current and relevant in different countries and sees how the profession can be developed in a broader sense. Keeping the dialogue going and making connections is crucial. Additionally, we are continually working on our own structure and image. We recently renewed our brand identity with a corresponding website and newsletter. Within the board as well, there is a clear division of tasks and issue priorities, so that we can maintain focus and achieve things. We do all of this to better support our

members, and, on a European level, to project a professional and mature image, which also helps our members.”

2 — 2018

What can ECIA members learn from each other?

How is interior architecture faring in Europe? “Interior architecture is, in comparison with architecture, a relatively young, independent discipline, in which I see a great deal of positive developments. Interior architects are an active group that is growing quickly, and one that is increasingly claiming more domain for itself. That is shown by educational developments whereby the number of Master’s programmes is increasing, research is being done and even PhD programmes are possible. There is also a shift in emphasis from aesthetic merit to the added value of the design. That is important, because interior architecture is so much more than the 'look and feel’ of an interior. In European society, there is an increasing clarity and recognition with respect to the qualities of the profession. For example, clients are asking for specific knowledge and content more frequently, and want an interior architect or designer for their commissions.”

That all sounds extremely positive… “Certainly! But obviously there are still a number of challenges facing countries. When the title of architect



Zink, office Idemitsu Petroleum, Filipstad, 2012, Norway, photo: Thomas Gundersen, www.zinc.no. This image was published in the ECIA presentation Examples. www.ecia.nl.



The aims of the Charter of Interior Architecture Training are: to serve as a reference document for the interior architecture profession and for educational institutions; to define objectives and scope for interior architecture training; and to set the entry-level standard for the profession. The aims and objectives of the ECIA Charter of Interior Architecture Training are to define the skills and the training necessary for a qualified practitioner to competently engage in the profession of interior architecture, and in so doing to provide a guideline for curriculum development by educational institutions. The European Charter of Interior Architecture Training is modelled on the Bologna Declaration (Joint Declaration of the European Ministers of Education, 1999), and based upon national and international standards and agreements on the entry level to the interior architectural and design professions.

is legally protected, and with that the associated activities, then these activities can relate significantly to the discipline of interior architecture. Consider constructional activities, or issues concerning fire safety. Those tasks, however, have to be carried out by an architect. So as an interior architect you are forced to collaborate with an architect. If you don't do that, you become limited in what you can do in your field. Your domain becomes smaller, your assignment changes and can tend more towards styling. But overall, I chiefly see opportunities, possibilities and growth on all areas of the field.”




“It is particularly essential to continually show what interior architecture and design is, and what it is about. Whether or not it is important for interior architects to have a European orientation is more an individual strategy, which will be more evident to the one agency than it will be to the other. The majority of agencies are nationally oriented. For relevance within Europe, distinctive capabilities are important. Interior architects must judge that for themselves. We can make it simpler for our members, and in so doing make working at a European level simpler for this group too, by ensuring that the frameworks for the profession have a certain equivalence, by providing information, by sharing knowledge and connecting them.”

— ANJA DIRKS Anja Dirks graduated in the Netherlands with special mention as an interior architect at the art academy in Utrecht and as an architect at TU Delft. Since 2010, she runs her own firm in Utrecht: Studio id+. Besides that, Dirks is actively involved in developments surrounding her profession. Since 2015, she is also the chairwoman of the European Council of Interior Architects (ECIA), and she is a member of the professional experience committee of the Architects Register Bureau. www.studioidplus.nl

interview with Anja Dirks

Is it important for interior architects to orient themselves more towards Europe?

2 — 2018

Elding Oscarson, Office No Picnic, 2011, Sweden. 2011, photo: Åke E:son Lindman, www.eldingoscarson.com. This image was published in the ECIA presentation Examples. www.ecia.nl.


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‘We experiment a lot’



Bureau Bax


KAOS Architects

What kinds of projects do KAOS Architects carry out?

and have underground parking. We will retain and respect the beauty that is already there, like the limestone walls and historical multi-paned windows, and add some new elements. Conversion projects intrigue us.”

Are there strict rules in Estonia for heritage projects? “Indeed, there are, Estonian heritage is strictly safeguarded. But the extent to which that determines the work we do depends a bit on the commission. For some projects a total restoration is required, but more often it is possible to have a mix of old and new. The latter is most interesting for us. One official rule that we must adhere to when doing a conversion, is that what is added has to be clearly distinct from what currently exists. You have to be able to see what is old and what is new.”

2 — 2018

“We engage in all kinds of projects, from homes to retail spaces and exhibitions. Public projects, like museums or hotels, are what we enjoy doing most. Recently, we have been designing the Estonian embassies in London and Moscow for the Ministry of Foreign Affairs. This has been a special experience. We also like to do, and are doing a lot of, conversion. An example of this is the Fahle Park project in the centre of Tallinn that we are currently working on. The first phase was 15,000 m² and the second phase will again be 15,000 m². It is an old industrial park with factory buildings that will be transformed into offices, restaurants and shops. The area will be pedestrianised

interview with Margit Argus

Interior architect Margit Argus has been running the Estonian firm, KAOS Architects in Tallinn, together with architect Margit Aule, since 2010. They have been doing one exceptional project after another, including the Pilgrims’ House in Vastseliina, the interiors of the Estonian embassies in London and Moscow, and the remodelling of the medieval Episcopal Castle in Haapsalu. Argus: “We are not afraid to show our clients crazy ideas.”

What are the relationships between the client, architect, interior architect, builder and other specialists in this kind of project? “For the projects that we handle, our firm usually has full responsibility. We are, you could say, the chief designer. We choose the experts with whom we work – from the engineers to the research historians or restorers – and we bring a team of specialists together. If we don’t have full responsibility, we still advise our clients about who they could work with to get good results.”

As an interior architect, do you literally restrict your work to the interior part?

KAOS Architects, The Pilgrims’ House, Vastseliina, south-eastern Estonia.

“At KAOS there is no real barrier between interior and exterior. Our firm has six architects and six interior architects, led by Margit Aule and myself.



By approaching projects integrally from the start, the interior and exterior can be perfectly attuned to one another. Since we are sitting together in the same office, the lines of communication are short and we can adapt quickly. In our experience, that yields the best results. For that matter, in Estonia it is very common for interior architects to be involved from the initial phase of a project.”

How would you define your role as an interior architect? “We work collaboratively on projects at KAOS. We go for the best results as a team. Margit and I are the team builders, the generators and also the office managers. We are a kind of supervisor with multiple roles.”

The Pilgrims’ House in Vastseliina in south-eastern Estonia is a combination of architecture, interior architecture and also exhibition design. Can you tell some more about this project? “It is a good example of our integral approach. From the outset, we saw the exterior, interior and exhibition as a whole. The Pilgrims’ House is part of a complex of buildings including the ruins of a 14th-century castle and an old pub house. The castle complex, which used to be a popular


KAOS Architects, Estonian Embassy, London

pilgrimage destination after a miracle was reported to have occurred there in 1353, has now been revived as an experience centre to exhibit the medieval mode of living. We completed the Pilgrims’ House in 2018 as an addition to the castle ensemble. It is about the Middle Ages, pilgrims and pilgrimages. We were looking for an ambience that would be medieval yet modern, featuring high rooms and doors, seemingly mural stairs and secret niches, brick floors and plastered interior walls. The small window apertures here and there in the mostly blind walls, reminiscent of early castles, offer scenic views, the finest of which are framed by larger windows. The reddish brown weathering steel fabric of the Pilgrims’ House is aimed at toning in with the red brick and granite of the castle ruins. This results in a special space, simple and peaceful, where you can feel at ease.”

Another, quite different project was the Estonian embassy in London … “The neoclassical building of the Estonian Embassy in Kensington was originally built in 1857. We enhanced the well-preserved Victorian interior with a modern touch. We wanted to intertwine this typically British house with something from Estonia. Reflections of Estonia’s nature – we are a country of wetlands and forests – seemed to serve this purpose quite well. Balance between the modern and the traditional differs by room and by floor. Where the preserved historical details are special or

interview with Margit Argus

Now it appears that it is not as durable as we had hoped and therefore we will have to look for something else. We test and make models, sometimes on a 1:1 scale. We try things out before making a final decision.”

Jan Geysen says on page 7 that Estonian interior architecture is remarkably fresh and dynamic. Do you think that too?

“I think it may have something to do with the fact that Estonia regained its independence only in 1991, after a long period of occupation. As a result, there are no rigid rules about how this or that has to be, and there is plenty of scope to experiment. Estonia is also doing well economically, and there have been a lot of opportunities and developments coming rapidly, one after the other. Our discipline is dominated by relatively young designers in their thirties. We have ten or more years of experience, and we are confident, ambitious and we dare to show crazy ideas to our clients. There are, moreover, many competitions locally, which motivates us to work extra hard.”

“I think so, yes. The Estonian design language is, in a number of aspects, closely related to that of other European countries, and in a wider sense, European interior architecture can be seen as a whole. In our international projects, we have always worked in close and productive cooperation with – and been inspired by – our local partners in different countries.”

abundant, they have been accentuated by lighting, for example. Where the historical side of the interior has less to offer, contemporary minimalism prevails. The new design features bog images on the walls, furniture and curtains; chandeliers inspired by birch trees and carpets resembling peat moss. All — KAOS ARCHITECTS furniture is modern, simple and minimalistic. The large bog view in the reception KAOS Architects, based in Tallinn, Estonia, was established area is printed on glass. The playful mirin 2010. They do architectural design, including remodelling ror wall in the relatively small cloakroom and conversion projects, interior projects, exhibition design, produces an optical effect. The toilets commercial spaces and offices. The partners in charge are Margit hidden behind the mirror welcome the Aule (architecture) and Margit Argus (interior architecture), guest with thicket (also printed on glass) assisted in the office by 13 employees and associates. Some and birdsong.” of the completed projects are the extension to the building of the Permanent Representation of Estonia to the EU in Brussels, interior architecture for the Estonian Embassy in London, the extension to Hotel Tartu in Tartu, the Pilgrims’ House in Vastseliina How do you make (south-eastern Estonia) and Park Hotel Viljandi (southern choices regarding, for Estonia). Projects currently under construction include the example, materials? exterior and interior of the Estonian Embassy in Moscow, and the remodelling of the medieval Episcopal Castle in Haapsalu (western “We often look for custom-made Estonia). Larger projects under design are Fahle Park in Tallinn, solutions. For the remodelling of the the remodelling of the Foundry building in Noblessner Marina medieval Episcopal Castle in Haapsalu, neighbourhood in Tallinn and a kindergarten in Pärnu (southwe had a certain material in mind. And western Estonia). www.kaosarhitektid.ee we kept it out in the open air for a year.

2 — 2018

Do Estonian interior architects consider themselves European?



Fluid space





Lukáš Pelech and Dominik Šmuhař

THEO&CO. is a Brno-based concept store selling unique local designer pieces as well as international brands. KOGAA worked together with THEO&CO. to prepare a custom-made solution for their new interiors, which would reflect the clean, linear and craftsmanship direction of their brand. This new store features a wooden podium that acts as a connecting element between two existing areas: the selling space and the backstage. The podium gives shape to a new functional area where all primary needs of the store, such as the sales counter, the cabin, storage and the display are fused into one piece. The custom-design object allows for freedom of usage in other unexpected ways, such as catwalk shows, exhibitions or a place to rest.

project in focus 2 — 2018

project location client completed creative agency website

shop interior Brno, Czech Republic THEO&CO. 2017 KOGAA www.kogaa.eu



Affordable luxury concept Text



Richard Powers

citizenM Gare de Lyon is the third citizenM hotel in Paris. The hotel is around the block from one of Paris’s major transportation hubs, Gare de Lyon train station. Located within a former office tower block, this particular hotel offers 338 rooms, topped with a Parisian apartment-style sky bar. The Dutch studio, concrete amsterdam, co-created the concept of citizenM from the earliest beginnings in 2005 as a holistic plan, which has set the boundaries for every creative process in all the disciplines involved. As for the citizenM Gare de Lyon project, concrete itself is responsible for the interior design of all the public areas and guest rooms.


Located at the heart of the living rooms is canteenM, a lively space to eat, drink and socialize. The walls are decorated with specially commissioned artworks, including a mural by French street artist, Mast Cora, and a fresco created by local artist, Romain Froquet. The space also includes an open-air patio with hanging lanterns dividing the bar from the meeting rooms, bringing light into the space.

project description

citizenM Gare de Lyon opened shortly after citizenM La Defénse in May 2017 and is the third citizenM in Paris. On the ground level of the hotel is a double-height entrance area which houses ‘Reflecting Holons’, an installation by artists Jetske Visser and Michiel Martens. From here, the elevators ascend to the second floor where guests can self-check-in and enter the living rooms where they can work, rest, meet and play.

Ticking clock The first living room is fitted with an oversized fireplace and a carpet designed to evoke the ticking clock of the Gare de Lyon station. The public areas are designed with the aesthetic of chambre en suite, which is a series of living areas that are all sub-divided. Dotted around the space are black cabinets filled with colourful and quirky accessories and objects from all over the world, while official furniture partner, Vitra, showcases its furniture in all the public areas.




2 — 2018



Stunning views societyM is citizenM's business club for business nomads and those who want to work differently. All five meeting spaces, one located on the top floor, are fitted with smart TVs for media streaming, super-fast Wi-Fi and chalk or whiteboard walls. Moving up to the top floor of the hotel, guests will find a sky bar allowing them to enjoy stunning views of the river





Seine and the city. Designed to evoke the appearance of a Parisian apartment, the bar features light colours, deep-coloured oak wooden cabinets and soft furniture to make visitors feel at home. The marble bar top and glass bottle shelves add a typical Parisian touch.

Every guest room features a huge bed, powerful rain shower and tablet mood pad that controls the entire room: the temperature, lighting moods, blinds, alarm and entertainment. New in Paris, is a soft and cosy headboard which can turn a bed into a great sofa. Here, guests can watch movies, work, or just snuggle up and contemplate the view. The headboard is fully equipped with integrated light switches, a bedside lamp and a shelf for books, postcards or pictures. A soft pendant light hangs in the corner

Rob Wagemans (1973, Eindhoven, the Netherlands) graduated from the architecture programme at the Academy of Architecture in 2003. In 1997 he founded Concrete. After his breakthrough with the Amsterdam bar-restaurant Supperclub in 1999, he went on to realize many exceptional projects, both in his own country and abroad. They include: citizenM; W hotel; Urby; ZOKU; INK Hotel Amsterdam; La Cave de Epicérie de Bon Marché in Paris; Noble Restaurant, Den Bosch; KLM business lounge at Schiphol; Spice Market in London; Julius Bar & Grill, Amsterdam; Andaz Hotel, München; URL, New York; and more. www.concreteamsterdam.nl

project description


Soft and cosy

2 — 2018

above the bed. Guests can also stream their own content to the wall-mounted television from their tablets or smartphones, from music to movies. Each room is also equipped with a small desk and a variety of plug sockets to charge any mobile device.

project client location executive architect interior design

citizenM Gare de Lyon citizenM Paris arep concrete





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Responding to what exists



Bureau Bax


Bodo Mertoglu/Benjamin Hofer/Ralph Feiner/Bowie Verschuuren

Modern residence in an old stable, Scharans, photo: Bodo Mertoglu

sitive materials have been harmoniously assembled and radiate tranquility and homeliness, enhanced by a sense of subtle modernity.” 2 — 2018

How do you transform an old stable into a modern residence without detracting from the authentic character of the extant? That question was the starting point for Gasser, Derungs in 2016 with the repurposing of a stable from approx. 1850 in the Swiss town of Scharans. The agency devised a solution whereby three wooden ‘cubes’ of varying dimensions were fitted with precision into the existing natural stone and wood structure. “Circulating from one volume to another”, Gasser Derungs explains, “again and again one finds oneself in the space in between: in the old stable.”

interview with Carmen Gasser Derungs

The transformation of an indoor swimming pool into a theatre or an empty stable into a house are projects in which the Swiss interior architects Carmen Gasser Derungs and Remo Derungs like to be involved. “Dealing with existing structures and integrating and adapting them to the needs of today fascinates us”, says Gasser Derungs. “In all our projects we search for and find answers to what has been there before.”




Tranquil, homey and modern Gasser, Derungs tackles projects integrally with a selected team of specialists: interior architects, architects, designers, scenographers and artists. “The differences and varieties between disciplines, especially interior architecture and architecture, should not be underestimated. These are separate disciplines that each offer specific knowledge. But the boarders between disciplines are fluid. For us there are no ‘walls’. It is about the total and the whole. The future is interdisciplinary.” The stable in Scharans has two floors and a surface area of 110 m2. On the ground floor a cube has been placed, within which are the entrance, the cloakroom and other functional areas. A second cube contains a guest room and a bath. On the upper floor there is a large, open cube with kitchen, eating area, living room, and bedroom with bath. All the new wood-constructed elements have been executed in spruce. Walls and ceilings have been finished in white oiled ash plywood. The floor was cast in granolithic concrete, polished and impregnated. The generously glazed windows rest in oiled larch frames. Gasser Derungs: “The selected sen-

Intense thinking “Interior architects are responsible for dealing with spaces. They must have social skills, design competencies, and be able to see what the effects are of their interventions. Conscious action and intensive thinking are major skills an interior architect should have.” Gasser, Derungs works, plans and react with care when the reuse of historic building substance is necessary. “We see ourselves, in a constructive and positive way, as ‘lawyers’ of the existing structure and we search for ways to give that structure a new future, with a new content and a new function. Through the complex, suspenseful, and creative process of transformation, new spatial experiences are generated at the old site. As formulated by Heraclitus (520–460 BC): ‘There is nothing permanent except change’.” Another good example of a redevelopment project is the transformation of an indoor swimming pool into a



theatre for the Alpinum Lyceum in Zuoz. The pool was built in 1912-1913 by the swiss architect Nicholas Hartmann. For hygiene reasons, it fell into disuse and was empty for twenty years until Gasser, Derungs was commissioned in 2010 to make it into a theatre – the first theatre in the Engadine. The indoor pool was not demolished, but was the starting point for the development of the interior design of the theatre. Gasser and Derungs devised a construction of larchwood from the Engadine, which forms both the stage and the spectator stand. Zuoz Globe Theater, photo: Benjamin Hofer




Spectators on stage The wooden structure is made in such a way that makes the spectators part of the set design, as it were. So when the curtain falls, they are still on stage. For their design, the interior architects were inspired by the Globe Theatre in London, where many of William Shakespeare's works were performed for the first time. “Shakespeare would be very amused if he could see the new theatre in Zuoz”, says Gasser Derungs. “In the 16th century he influenced in many respects the way the theatre building was used. We found the change of a traditional frontal stage into a theatrical space and the idea of spectators becoming part of the stage set design a thrilling concept.” People are central to all their projects. What are the needs? How do the users behave in the room? How does it work? How do they feel? Why do they stay, or not stay, in the room? What is the atmosphere? Is it possible to control this atmosphere? In addition, before the first sketches are made on paper, the location, environment, culture, tradition, present and past, are thoroughly examined. “In the overall process, the first idea is as important to us as solving detailed issues or supervising the implementation.”

Digital workstations


Zurich Central Library, photo: Ralph Feiner

In 2010 Gasser, Derungs was assigned to reorganise the reading room in the Zurich Central Library so that it would meet the needs and requirements of today's digital age. The project was realised in close collaboration with the client and cantonal historic preservation authorities. They created inviting modern work and

interview with Carmen Gasser Derungs 2 — 2018

Theater Space for Origen Festival Riom, photo: Bowie Verschuuren

learning places, and space was made for exhibitions. “Old and new were combined in such a way that the historic institution was given a modern look with clear lines, subdued colours and respect for the extant. In this way, Zurich gained an attractive place to freshly experience ‘the memory of words’."

to appreciate the site, the environment and its history: asking questions and being curious to learn from the process. From these dialogues we draw our answers. "





In the context of re-use, the commonly used term of sustainability must be interpreted, according to Gasser, Derungs, not only ecologically but also in terms of content and the constructive aesthetic. "In the case of reuse projects, the expressive appearance of the new can change in relation to the existing substance. Not every part needs to be placed on a pedestal. In other words, a building project is not a museum. We offer answers to the existing substance by responding to what once was and to what evolved. Not to push aside, but rather

The Zürich-based firm of Gasser, Derungs was established in 2000, consisting of a team of interior architects, architects and designers led by interior architects Carmen Gasser Derungs and Remo Derungs. Remo Derungs is also chairman of the swiss association of interior architects (vsi-asai.ch). Their work is diverse and ranges from redevelopment projects and exhibitions to scenographic installations and furniture designs. Derungs: “Sensuality and precision are the basis in all that we do”. Recent projects include the Theater Space for Origen Festival Riom, the Restaurant Stall Valär in Davos, the Exhibition Trilogie Sky Tram Happiness in Flims, Stans and Zürich. www.gasserderungs.ch



Bakelite, formica and chrome Text

Red Deer


Mariell Lind Hansen

Lina Stores is an evolution of an existing London institution. The restaurant draws from the neighbouring shopâ&#x20AC;&#x2122;s timeless brand to create a Soho-based osteria serving fresh pasta from a buzzing exposed kitchen counter on the ground ďŹ&#x201A;oor. The 75-year-old art-deco history of the shop is brought forward in everything from the counter fronts to the door handles, respecting a feel that is rooted in Soho history. Bakelite, formica and chrome are celebrated throughout, whilst Italian newspapers hang over the engraved carrara marble table tops.


project in focus 2 â&#x20AC;&#x201D; 2018

project location completed (interior) architect website

Italian restaurant 51 Greek Street, London 2018 Red Deer www.reddeer.co.uk



The Big Five Text Images

Agnes Nijholt JoseďŹ na Eikenaar/Warm Nordic/Keld Helmer Petersen

We all know Billy, Klippan, and Lack. The IKEA classics. However, furniture from brands such as Hay, Muuto and Gubi also ring many bells. How can it be that designs from Denmark, Sweden, Norway, Finland and Iceland rake in the top prizes every year? Is it the endless summer days in which the pearls of design come about, or is it the Scandinavian sobriety that ďŹ lls living rooms worldwide? An attempt to discover the secret, the latest trends and special projects.




the time are leaders of the design world today, whether that be IKEA or the Finnish Marimekko. However, the beginners are also making their mark. An excellent example of this is the Danish Hay, established in 2002. The owners, Mette and Rolf Hay, aspired to have a company that produced timeless furniture with an eye to the modern way of life. And it worked. Although the price tags differ from those on the IKEA products, they are nonetheless affordable for a wide public.

Scandinavian design

In a quest for the secret of Scandinavian design, the Simply Scandinavian | Nordic Design 1945 – 2018 exhibition is a good starting point (to be seen at the Textile Museum in Tilburg until November 2018). It explains how Scandinavian design has developed over the years. As the title of the exhibition suggests, the fifties were the start of decades of success. The economy was challenging, and consumers were looking for simple items for everyday life. Above all, furniture had to save space and be functional. The Danes, Swedes, Norwegians and Finns saw a golden opportunity and decided at various conferences where they came together that design should become the export product of Scandinavia. It was not by coincidence that Scandinavian design became a goldmine – it was pre-planned.

Slow living That public will be treated to different trends in 2018, because - although Scandinavian design generally carries the stamp of timelessness - this style is equally subject to trends. The companies continue to develop


For everyone

2 — 2018

In the years that followed, the pieces that were destined to become major icons rolled off the design conveyor belt. In the fifties and sixties, the Egg Chair by Arne Jacobsen, furniture by Hans J. Wegner and designs by Bruno Mathsson, among others, became immensely popular. The Swedish department store, Nordiska Kompaniet, set its sights on drawings by designers such as Sven Markelius. Not surprising, therefore, that in the Milan triennials the avalanche of prizes landed in the hands of the northerners. Scandinavia had broken through. At around that time, IKEA made its entrance. Although the furniture giant was founded in 1943, it only achieved success in the sixties. The affordable and simple furniture was precisely what Scandinavian design stood for: design for everyone. A leap forward into the twenty-first century, and the furniture that was popular in the fifties is still popular. Whether vintage or not, they are still icons that shine in any interior. The companies that were established at

— AGNES NIJHOLT Agnes Nijholt is a copywriter and creator of Scandinavian website, Fika Magazine. Whether you are looking for inspiration for a trip to the far north or want to dream about Nordic interiors, Fika Magazine is the place where Scandinavian lifestyle aficionados can find everything that makes these countries so appealing. www. fikamagazine.com Exhibition Simply Scandinavian, photo: Josefina Eikenaar (TextielMuseum)



and must go along with the customer's whims - which last only briefly. In Sweden, for example, there is the term lagom. This is nothing new, because the country’s inhabitants have long been living by this principle, and a whole book could be written about a Scandinavian word that is heavy with significance, but lagom is suddenly booming in 2018. Lagom, in short, means ‘not too much and not too little: just right’. When it comes to interior design, it is mainly about making sustainable choices: ‘slow living’, if you will. Beautiful materials, fine fabrics: furniture that is not only good to look at, but also takes our earth into account. Another striking trend is the manufacture of storage eye-catchers. While clothes racks have been allowed to be visible for some time, in 2018 nothing need be tucked away. Exit the dull cardboard or plastic bins, and enter the smart and aesthetic solutions. Glass trays that can be mounted on the wall for hats; cabinets for curiosities: things may be seen, but neatly displayed. IKEA has even designed a complete collection for it: Sammanhang. And finally, a new wind is blowing through the high north: Warm Nordic. The Dane Frantz Longhi was tired of Scandinavian design always being dismissed as ‘cool Nordic’, in other words neutral, cold tones that dominate. Which is why he founded Warm Nordic, a webshop in which well-known and unknown designs from the fifties and sixties are revived: warmnordic.com. A preconceived plan to make design the most important export product may not sound romantic, but it is unquestionable that Scandinavia is bursting with design talent. Five beautiful projects in a row:

At Six


One of the most talked-about hotel openings in recent times was At Six in Stockholm. The doors opened in the spring of 2017, but long before the ribbon was cut, this design jewel was a topic of discussion. It was up to Universal Design

Warm Nordic

Studio to turn the former banking headquarters at Brunkebergstorg into a hotel that made art and design enthusiasts sit up. Sune Nordgren, a renowned name in




Scandinavian design

the Scandinavian art world, curated the art for At Six. Within a few months of opening, the hotel had already picked up the Ahead Europe Award in the category of Urban Hotel – Conversion. www.hotelatsix.com

New Noma

2 — 2018

Another much talked-about opening in the hospitality industry was New Norma in Copenhagen, the new child of head chef René Redzepi. When it was revealed that the former Noma - voted one of the best restaurants worldwide - was to close, many culinary hearts were broken. However, they are fully repaired, now that a new branch has opened. Architects Bjarke Ingels and David Thulstrup were assigned to design the new interior. Guests are welcomed into a metal entrance via a paved path. A sandblasted floor extends throughout. A large part of the roof is made of glass, to make guests more aware of the seasons. Ingels: “If it snows, you have the impression that you are walking into an igloo”, as it says on the Dezeen website. From the chairs that the guests sit on to the glasses in which the wine is served: everything is made to measure for Noma. www.noma.dk

Frama CPH Interior and design studio Frama CPH is also in Copenhagen. Frama is located in the historic district of Nyboder, in the centre of the Danish capital. The studio magically transformed the former St. Pauls Pharmacy (established in 1878) into a real design paradise. Frama itself has an office there, and there is also a showroom where collections are shown, varying from furniture and accessories to beauty products (a nod to the history of the building). www.framacph.com

Dennie in the ‘Hanging Egg Chair’ (Denmark), designer: Nanna & Jørgen Ditzel, 1957, photo: Keld Helmer Petersen

Arket A new chain from the H&M group doesn’t exactly make the typical design heart beat faster. But the difference is that Arket, the youngest sister of the family, is in a slightly higher bracket than H&M and is focused on timeless garments. Good jeans. Besides that, there is a lot of attention on design: in each branch, there is a home section where the finest items can be scored. There are also great decorated cafes where fika breaks can be held. www.arket.com

Snøhetta If there is one architectural firm that must be kept in mind, then it is the Nordic Snøhetta. This company

has delivered the most controversial projects in recent years - including the Opera House in Oslo - and has won several prizes. One of the assignments they are currently working on is Under, a restaurant that is largely under water. www.snohetta.com

- SIMPLY SCANDINAVIAN Until 11 November 2018, the Simply Scandinavian | Nordic Design 1945 – 2018 exhibition can be visited at the Textile Museum in Tilburg. The presentation was designed by the Dutch studio Scholten & Baijings and shows iconic Scandinavian design, employing five themes. Entrance fee is 12 euros. www.textielmuseum.nl


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BetteLux Oval Couture Staal kan alles dragen

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‘The art is making the most of your opportunities’ Text Images

Malissa Geersing Mather & Co Ltd (World Rugby Museum, Silverstone Experience)

Malissa Geersing (1989) left in her fourth year of Interior Architecture & Design studies at the Minerva Art Academy in Groningen for an internship in Britain. She enjoyed it so much that she returned after finishing her degree. “In Britain I learned how to be myself and how to tell my own story.”


Mather & Co, Silverstone Experience, Towcester, Great Britain




Belgian beer

“After graduating in July 2016, I wanted to return to Britain. My internship at PRS & GUM opened doors. My first job interview was at Mather & Co in Manchester. Within a few days, I had packed my bags. I began as an intern and advanced to become a junior designer. My first project was one of Mather & Co’s most prestigious projects: The Belgian Beer World in Brussels. I helped with brainstorming sessions, researching, developing the concept, the design sketch and the finalised design. It was really inspiring to work on this project and to tell the fascinating story of Belgian beer.” "The recently opened World Rugby Museum in Twickenham gave me the opportunity to learn more about the exhibiting of objects. And currently I'm working on the fascinating story of St Albans Cathedral in St Albans. There are more interesting projects in the works, like National Paralympic Heritage Trust, the National Trust's Quarry Bank Mill and the Silverstone Experience. Hopefully my future holds even more remarkable stories in store for me."

2 — 2018

"Two years ago I graduated from Minerva Art Academy in Groningen. I arrived at the art academy with the idea that I would be an architect one day. However, during my studies I developed a passion for heritage. The academy gave me the chance to explore that passion further. I also found a direction in which my passion for heritage could be combined with design: Experience lead Exhibition design. As an exhibition designer, I was challenged to make narratives by creating designs that stimulated the senses. I work with (interior) architects, graphic designers, lighting designers, product designers, multimedia specialists and sometimes also scenographers."

internship and work in Britain

experiences. I learned something new every day. PRS & GUM prepared me for my post-graduation career and gave me, as a designer, the tools to tell interactive stories.” “My internship showed me the differences between the Netherlands and Britain. The Netherlands is known internationally for its design and can be seen as a trendsetter. In Britain, that is less important and it is primarily the development of self-identity which is key. It doesn't matter if you are a beginner or a famous designer, it's about being yourself and telling your own story. Britain offers designers an open, international platform and is perfect for starting designers looking to find their own voice. But being an emerging designer in Britain is not straightforward - there is a lot of competition. London is very popular among designers, and you are just one of thousands. It is essential to be original and to distinguish yourself from the rest. Moreover, living in London is really expensive. The art is to expect the unexpected, and to make the most of the opportunities that come your way.”

Thrown in the deep end

"Because I already had a strong connection with Britain, I chose to go there for my internship in my fourth year. Pringle Richards Sharratt & GUM in London was the first design agency that gave me the chance to learn more about architecture and exhibition design. I was promptly thrown in the deep end, and from my first to my last day there I was allowed to work on special projects. From large projects, like the Museum of English Rural Life in Reading and the ‘Crime Museum Uncovered’ in the Museum of London, to smaller exhibition projects like 'Revealing' at the Charter House in London. During my internship, I met inspiring people; every one with their own stories and

Mather & Co, World Rugby Museum, Twickenham, Great Britain



Indispensable experiences Text

Nina Hemmerijckx


Dylan Perrenoud (Aēsop), Michel Giesbrecht (final project Oluhlaza)

Nina Hemmerijckx (1992) is from Antwerp and studied Interior Architecture at KU Leuven in Ghent. This was followed by a post-doctoral degree in Branding and Package design at the LUCA School of Arts in Ghent. During her course, she took part in an Erasmus exchange with the Estonian Academy of Arts and did an internship at KOKO architects in Tallinn. “My experiences in Estonia were pivotal in my decision to do my Master’s abroad.”


Pavilion for World Expo

“On top of the 'normal’ experience that an Erasmus exchange offers, I had the chance to take part in something incredible and get a taste of how the design world works. I was allowed to design and realise my own project through KOKO architects in Tallinn. Among its projects, the agency, led by Andrus Kõresaar and Raivo Kotov, has designed pavilions for various World Expos. The project that I was involved in was part of the Estonian pavilion at the Milan World Expo in 2015, and was on view to a very large audience for five months. For me, it was the first time that I designed a project from A to Z, including making prototypes, meeting with designers, collecting material and preparing it for transport, as well as helping to construct the installation in Milan. I think that this kind of experience is essential for a young designer.” “For me, my exchange was an indispensable addition to what I learned during my Interior Architecture Bachelor’s course at KU Leuven. My experiences opened my eyes to another way of learning and working, and were pivotal in my decision to do a Master’s abroad. The international Master’s in Design, Space and Com-

Materials and techniques

“The choice to do my Master’s at HEAD in Geneva was determined by the many studio classes that are offered to students. I had access to a ceramics studio, a wood, metal, 3D and laser, silkscreen, risographic and printing studio. These are opportunities that KU Leuven in Ghent cannot offer, so that students are somewhat limited in their designs and in their self-development. I have learned a great deal from working with different materials and techniques. This also meant that I could effectively create things and not just work on fictive projects. For young designers, it is important to get the opportunity to realise works on a larger scale.” “My two foreign experiences have made me the interior architect/designer that I am today. I know that I would never have emerged as strong as I have if I had only followed the standard Belgian study programme. My knowledge of specific techniques would certainly not be as extensive as it is. Through this article I hope to encourage young designers to take the step of going abroad. It's an educational and fun adventure.”

Nina Hemmerijckx, final project Oluhlaza, HEAD, Geneva, Switzerland, 2018

2 — 2018

“I was one of a very few students on the Interior Architecture course at KU Leuven in Ghent who chose to do an Eramus exchange. For me, the experience was formative. One of the most attractive aspects of the exchange with the Estonian Academy of Arts (EKA) was that I could choose from many diverse courses: from glass processing and the design and construction of a cabin, to creating a fictive concept for a new kind of retail design. Estonia is strongly committed to that diversity of subjects within the curriculum, so that the students build up a strong knowledge base.”

Master’s in Geneva

HEAD students, including Nina Hemmerijckx, under the direction of Simon Husslein, Aēsop window display, Geneva, Switzerland, 2017.

munication course at Geneva School of Art and Design (HEAD) has been my home for the past two years. This programme offers a different approach to studying. You have workshops that have a maximum length of three months. Every year different subjects are offered, which enabled me to expand my insight into design. That is how I came to take a ceramic workshop around rituals together with Matali Crasset, a well-known French designer, and another workshop with product designer, Simon Husslein, to develop a window display for the Aēsop brand. In the second year, the support and new insights I gained through the various workshops helped me improve the design process of my final project. This last year was for me a heavy, but extremely instructive year. As a young designer, creating a project on a subject that appeals to you as well as acquiring enough knowledge to give it a personal touch is more difficult than it seems. I experienced what it is to be responsible for every decision that determines the outcome of a project. I am very proud of it, and I also got to know myself better while doing it.”



La Casa Blanca



Kurt Wallaeys


PSG Studio, Kris Dimitriadis

This villa, perched atop a rock wall in an idyllic bay on the sunny south coast of Spain, has been transformed into a wide and spaciously transparent residence. The villa has been completely stripped back and provided with every contemporary comfort and a modern, timeless look. With white as the dominant note, both the exterior and interior usher the powerful Spanish sun with its magniďŹ cent light into the depths of the dwelling. The whole offers a challenging setting for the interior architectâ&#x20AC;&#x2122;s LED-light concept, which rules throughout in the evenings. High-spec, bespoke work and materials are employed very consistently throughout all of the villa's spaces. This creates a peace and harmony. White, grey and dark oak veneer are the restrained, dominant tones that create a timeless character throughout. Warm accent colours echo in the artworks and in the loose, more decorative elements that soften the whole.

project in focus 2 — 2018

project location completion interior architect website

Renovation of a Holiday Villa Almuñécar, Spain 2017 Kurt Wallaeys www.kurtwallaeys.be


Perfect design is geen kwestie van perspectief



Three themed areas of activity Text



Eva Jünger

The Global Digital Factory in Munich serves as an incubator for the European financial services company, Allianz, testing new ways of working in keeping with the forward-thinking mentality of the corporate brand. The interior design for the Factory, by UNStudio in collaboration with cenceptsued, navigates between focused versus collaborative atmospheres, natural and artificial light conditions, and balances analogue and digital work methodologies and flexible versus fixed workspaces.


2 — 2018

The Global Digital Factory is located at Werk 3 in Munich, and is accessed on the 4th floor, with gallery spaces on the 5th floor. The varying conditions of the space – whether the double-height central spaces or the aligned working zones, or the more remote working areas on the upper level – together with the stunning views offer perfect conditions for alternative workspace design. The organization of the interior space is based on the flow and daily journey of the users. Three themed areas of activity are defined in relation to the type of work zones and the double-height central areas: the market, the arena and the park. Upon entry, the ‘market’ area is the place where knowledge exchange and interaction are enhanced, where a flexible working zone with custom-designed co-creation tables is located. These tables can be split up to work in multiple spaces or assembled for one long

project description

workspace. The co-creation table addresses the flexible needs of the Factory meeting spaces through the creation of one design capable of multiple configurations. The ‘Arena stage stairway’ is the multi-functional heart of the factory, serving both as circulation and presentation space, linking both levels of the Digital Factory and enabling views to all related spaces. In the depth of the office space, the ‘park’ creates a peaceful atmosphere to enjoy moments of relaxation and concentration. Natural materials and greenery give the park a calm atmosphere, fostering opportunities of concentrated work. The Digital Factory hosts teams from all over the world. Allianz entities, digital/computer experts and consultants work together on customer experiences and create innovative products.

— UNSTUDIO UNStudio was founded in 1988 by Ben van Berkel and Caroline Bos in Amsterdam, the Netherlands. It is an international architectural design network with three full-service international offices in Amsterdam, Hong Kong and Shanghai. The studio specializes in architecture, interior architecture, product design, urban development and infrastructural projects. 200 staff from 27 countries are spread throughout the network in a streamlined structure that enables UNStudio to spend less time organizing and more time designing and collaborating with clients. www. unstudio.com

project client location building surface architect

Collaborative work space Allianz SE Munich, Germany 2,600 m2 UNStudio / conceptsued gmbh


partners BNI

partners AiNB

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Biennale INTERIEUR 2018

Hal 1 - Stand 118

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Ontwerp: Grand & Johnson


C L E A F.

Fotografie: Bastiaan Woudt


price EUR 12,50




2 â&#x20AC;&#x201D; 2018

Profile for Elma Media

NOOK 2018#2 - BNI/AINB  

Nook is a publication by the BNI and the AiNB on interior architecture.

NOOK 2018#2 - BNI/AINB  

Nook is a publication by the BNI and the AiNB on interior architecture.