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Nº121 MAR — APR 2018

HEALTHCARE spaces that actually heal EMMANUELLE MOUREAUX divides with colour Design for a CLEAN PLANET Hospitality moves from site-specific to SURREAL

BP BX €19.95 DE €19.95 IT €14.95 CHF 30 UK £14.95 JP ¥3,570 KR WON 40,000

BetteLux Oval Couture Steel can wear anything

Design: Tesseraux+Partner


Courtesy of Studio Orijeen





15 OBJECTS 35 THE CHALLENGE Five creatives envision a clean planet

Antoine Doyen


ELLEN VAN LOON Returning to port


SEBASTIAN COX Making (the) most of the day






GIUSEPPE PEDRALI Automation leads to innovation


MOMENT Simplifying space


DOMOTEX The future of flooring


Is ‘out of this world’ the new ‘local’ in hospitality?

Lesha Yanchenkov





Ronald Smits

129 FRAME LAB Healthcare


130 Heralding in humanism 134 Jos Stuyfzand’s hospital of the future 140 Spaces that heal

153 REPORTS Sanitaryware

From bathroom play to wellness in the wild 160 VOLA History revised 171

DORNBRACHT Neri&Hu rethinks bathroom culture

172 IMM Highlights from the fair 176 IN NUMBERS The New Raw’s XXX bench in facts and figures


Max Zambelli, courtesy of Tubes Radiatori

Alex de Rijke




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EDITORIAL For editorial inquiries, please e-mail or call +31 20 4233 717 (ext 921). Editor in chief Robert Thiemann – RT Managing editor Tracey Ingram – TI Editor Floor Kuitert – FK Research editor Anouk Haegens – AH Editorial intern Sofia Lekka Angelopoulou – SLA Copy editors InOtherWords (D’Laine Camp, Donna de Vries-Hermansader, Jesse van der Hoeven) Design director Barbara Iwanicka Graphic designers Zoe Bar-Pereg Cathelijn Kruunenberg Translation InOtherWords (Donna de VriesHermansader) Contributors to this issue Will Georgi – WG Grant Gibson – GG Leina Godin – LG Harry den Hartog – HdH Kanae Hasegawa – KH David Keuning – DK Shonquis Moreno – SM Cathelijne Nuijsink – CN Alexandra Onderwater – AO Jessica Renée Smith – JRS Jane Szita – JS Michael Webb – MW Crystal Wilde – CW Cover Concept and photography Thomas Brown Set design Andrew Stellitano Retouching Recom Farmhouse Assistants Will Bunce, Tom Skinner Lithography Edward de Nijs Printing Grafisch Bedrijf Tuijtel Hardinxveld-Giessendam

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‘We were inspired by a Diane Arbus photograph taken behind the scenes at Disneyland. The image shows huge boulders on wheels against the vast Californian landscape – an artificial backdrop at second sight. It’s a spellbinding scene that puts our expectations of reality into flux’ THOMAS BROWN AND ANDREW STELLITANO, COVER ARTISTS

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For their third cover in a series of four, photographer Thomas Brown and set designer Andrew Stellitano created an ‘outdoor’ environment that doesn’t play by the normal rules of physics. Rocks become easily transportable objects, and panels function as portals to an alternative reality.

New ege collection: ReForm Artworks Ecotrust Mark-making, collage and the aesthetics of chance transfer readily to the floorscape. The multi-level loop construction defines shapes, brushstrokes and layers in three co-ordinated patterns. Made of regenerated ECONYLÂŽ yarns from used fishing nets, Artworks is a truly green choice. Available as tiles and broadloom. THE URGE TO EXPLORE SPACE



Hospitable Hospitals EVERY SPACE has its KPIs. Shops have to sell merchandise, while being an active part of a community, offering experiences, dovetailing with a dot-com and satisfying other current requirements. Hospitality venues need to be fully booked and to do pretty much the same things that shops do. Offices must provide staff with a congenial work environment that also allows for focused tasks – and that makes a lasting impression on visitors. Each location operates according to its own programme of demands. It’s an entirely different story, though, in the field of healthcare, where the impact we expect from correlated institutions is to make sick people better. A crucial goal, yet little money and attention are given to the interior design of hospitals and clinics. As a result, we enter what are too often surroundings so shabby that if we weren’t already sick, a day or two in this dismal atmosphere would do the job. Hard light, bare corridors, no personal or interesting features, and a lack of imagination in terms of form, materials and colour. I’m exaggerating, of course, but only a few years ago my description of the average healthcare centre would have fit the bill. Fortunately, we’re seeing a gradual change, especially now that so many of us have developed a fetish for health and wellbeing. We can probably thank insurers and other stakeholders, too, who have discovered that the quality of hospital interiors bears a direct relation to the speed of the healing process.

In healthcare design, the crux of the matter is fairly simple. Make sure that both patients and hospital staff feel comfortable. Create rooms that give patients a certain amount of control, even if it’s only the colour and intensity of the light. Another key point is the presence of adequate distraction in the form of experiential art, play facilities for children and the like. Abundant daylight is essential, as are easily accessible pathways that allow staff to work as efficiently as possible. In brief, interior designers involved in healthcare should take a human-centric approach to their work. Put patients and their families first. Make spaces that let staff do their work unhindered. Then build a room that meets all other objectives. This way of working is the exact opposite of what architects (and many interior designers) are doing at the moment: they begin with the shell, insert the programme, materialize it with form and colour, and finally stop to consider the user. Recently, the desire to give people a major role has been taking an increasingly stronger hold in the design of retail, hospitality and office environments – prompting me to predict, without hesitation, that within five years more and more architects will visit hospitals. Not because of stress or illness. Purely for inspiration. ROBERT THIEMANN Editor in chief


Perfection in detail – that is what AXOR stands for. The AXOR shower products underline this demand. They are the ultimate for the shower. A perfect example: AXOR ShowerHeaven 1200⁄300 4jet with gently enveloping innovative PowderRain. Water taking center stage. Unique. In every dimension.



‘Throughout the shoot, I kept telling Sebastian Cox how much he looked like his designs and vice versa – organic, linked to nature and so earthy. I love when designs mimic the look of their creator’ ANNA HUIX, PHOTOGRAPHER

Born in Nancy, France, ANTOINE DOYEN dropped out of university, where he was studying sociology, and flew to West Africa to check out filmmaking in that part of the world. The trip produced the series of images that sparked him to pursue a career in photography. After Metro commissioned him to shoot the Cannes Film Festival, he found himself engaged in portrait photography and enrolled in a photojournalism class at the EMI-CFD in Paris. Among his clients are Le Monde, L'Express, Le Parisien Magazine and The Wall Street Journal. Doyen is currently documenting tractor-pulling competitions and the lives of Catholic priests. His portrait of the duo behind Studio Briand Berthereau is on page 56.

Specializing in health, wellbeing and beauty, JESSICA SMITH is a writer and a creative researcher at The Future Laboratory, which she joined in 2014 after completing a master’s in trend forecasting at the Polimoda Institute of Design and Marketing in Florence, Italy. She regularly speaks at external events such as the Global Wellness Summit in Miami and London’s Balance Festival. She has worked with Nike, Nikon, Royal Salute and QIC and has been featured as an expert by The Sunday Times, The Independent, BW Confidential, Elle, Stylist and Condé Nast Traveller. For this issue’s Frame Lab, Smith researched the future of healthcare.

Documentary and editorial photographer ANNA HUIX lives and works in two cities: Barcelona and London. She earned a BFA at Parsons School of Design in New York City. Previous commissions include those for The New York Times, The Sunday Times, Telegraph Magazine and Financial Times. Huix’s personal projects and portraits have appeared in The Independent, Time and El País. The results of her shoot with Sebastian Cox are on page 54.

Based in London, architectural photography duo FRENCH+TYE is a partnership with a complementary aesthetic that leaves room for self-criticism. Thanks to a background in design, the studio has an understanding of spaces and visual narratives that involve everything from interiors to the built environment. Interest from publications in Europe and America has led to commissions from The Architects’ Journal, Blueprint, i-D and Dezeen. French+Tye’s pictures of Faye Toogood’s multi-material Carhartt store can be found on page 118.

Now this is living

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Courtesy of Atelier Luma

FORMAFANTASMA upgrades e-waste. MATERIALS are in disguise. STUDIO KLARENBEEK & DROS prints with algae. Discover new directions in the world of products.



Formafantasma delves into the afterlife of ELECTRONIC WASTE

REUSE – Formafantasma addresses the shortcomings of e-waste recycling with a presentation of recent work that places design thinking at the crux of the global problem. Commissioned by the National Gallery of Victoria, Ore Streams is a furniture showcum-video installation: together they form an ecological metaphor for the complex circulation of electronic waste that spans the world, without regard for political boundaries. Ore Streams features collage-like office furniture made from an array of repur-

posed items, including old microwaves and keyboards. Displayed in a workplace context, the pieces highlight the themes of efficiency and organization. Images of the surface of Mars add to the show’s alien atmosphere. Visitors are encouraged to contemplate production in all its guises. An 18-channel video installation depicts the afterlife of electronic devices – an estimated 70 per cent of which never reach an appropriate recycling facility – and outlines design strategies that can make recycling safer,

such as the creation of more efficient connections and a universal colour-coding system. By 2080 the largest metal reserves are predicted to be no longer underground but in ‘ingots stored in private buildings’ or in a wide range of consumer electronics. Formafantasma demonstrates the power of design to close the e-waste loop by tackling both ends of the production line. – AS Ore Streams is open until 15 April 2018





Screen-based or tangible: is it a MATTER OF PERCEPTION? FINISHES – From smart devices to smart homes, technology is embedding itself into every aspect of our lives, adding layers of interaction and visual play to the surfaces that surround us. In theory, the shift towards digitized environments ought to render

inanimate objects stale and monotonous, were it not for designers experimenting with colour and low-tech techniques in an attempt to hoodwink human perception. It’s all about adding analogue layers to everyday objects to produce a sense of interaction. – SLA

Jeroen van der Wielen

The dynamic visual effect of Flux resembles that of a digital screen, yet the process behind it is completely analogue. Design Academy Eindhoven graduate TAMARA VAN ROIJ embroidered three layers of viscose yarn in different directions and colours – yellow, magenta and cyan – to make a rug that plays with perception when viewed from different angles and in different types of light.

Ronald Smits, courtesy of Dutch Invertuals


Chromatic Ray, a collaboration between MILA CHORBADZHIEVA and ADRIAAN DE MAN, explores how light interacts with material and colour. Commissioned by Dutch Invertuals for Dutch Design Week’s Luxaflex exhibition, the installation features polyester-resin prisms in transparent blue, which filters light, and opaque red, which reflects it. Motors move the prisms up and down and rotate the installation on its axis, creating a spatial interplay with both surroundings and observers.


Sara Regal Alonso

DESIGN FOR A CLEAN PLANET In the lead-up to each issue, Frame challenges emerging designers to answer a topical question with a future-forward concept. A World Health Organization air-quality model revealed that 92 per cent of the world’s population lives in places where air-quality levels exceed WHO limits. Pollution affects more than the air, of course: more than 8 million tonnes of plastic are dumped into the oceans each year, while toxic waste unloaded by factories contaminates the soil. We commissioned five makers to conceptualize a product, space or service that tackles these issues at the source.




Nº 1

A Problem Shared

Realizing the negative impact of households on the environment, ANDREAS TJELDFLAAT suggests a co-living environment to lessen the load.

A communal space suspended above the street in an urban neighbourhood consolidates household amenities while strengthening bonds between residents.

How did you prepare for ‘The Challenge’? ANDREAS TJELDFLAAT: I studied reports by the World Health Organization and Eurostat that identified households as the single largest contributor to emissions of ozone precursors. As the most significant sources of domestic pollution are closely connected to the city's infrastructure, utility services and air space, it was clear to me that the effectiveness of a solution would depend on the extent to which it interfaces with a building’s envelope – and with the city as a whole. What’s your solution? A communal space suspended above the street in an urban neighbourhood. By consolidating household amenities among residents; utilizing sustain-

able, high-efficiency fixtures and equipment; and tying into social programmes and civic services, we could minimize the total impact of household pollution, while strengthening bonds between residents with communal dining, co-ops and community board meetings. What kinds of sustainable fixtures and equipment do you propose? Everything from water-recycling bathroom fixtures and induction cooktops to internal waste- and recycling-management facilities. Smart ventilation and heating/cooling systems and wind-turbine energy collection would reduce energy consumption. Civic services could include drone delivery, urban farming and food subscriptions.

How would people access shared facilities? Multistorey volumes suspended above city streets could feature bridges that connect households in adjacent buildings. The centralization of the various functions would allow the installed fixtures and equipment to be upgraded to high-efficiency units – waterless toilets, for example – while the supply of food and resources could be consolidated and products chosen for their low environmental impact. You’ve also made the building itself more efficient . . . Yes. The optimized interior space targets water pollution, soil contamination and interior air pollution. The exterior fights air pollution with a titanium dioxide coat-


ing that breaks down nitric and nitrogen oxides when it’s hit by sunlight. Finally, the outer surface will have PVC panelling that harvests solar power, while the underside will accommodate deliveries and waste/recycling disposals – think airline-catering deliverytruck access. Do you think people are ready to share facilities on this scale? Or does your proposal reflect the idealism needed to change the world for the better? I certainly recognize the idealistic ambition in what I’m proposing. At a surface level, I’m not sure if somewhere like New York City is ready to embrace communal housing. But I do think a cultural shift is already taking place in which the effects of

the information economy are fundamentally disrupting social structures. Perhaps it’s more noticeable in cities. A good example is the explosive proliferation of co-working spaces and car-sharing programmes. These initiatives show that people are increasingly willing to trade ownership for access. With this in mind, I don’t think it’s that radical to talk about communal living spaces as well. – WG

ANDREAS TJELDFLAAT’s technology-driven – and optimistic – approach to the use of space secured his inclusion in ‘The Challenge’.




Nº 3

Writing a Wrong SARA REGAL ALONSO envisions a new process to help combat waste in the fast fashion industry.

You want to clean up the fashion industry . . . SARA REGAL ALONSO: Yes. After oil, fashion is the second most pollutive industry in the world. Its impact isn’t just due to the manufacture and transportation of products, but also to the millions of tonnes of clothes that are dumped worldwide: 15 million tonnes in the EU alone in 2016. Only a tiny percentage of these clothes are recycled – in a process that involves more transport and pollution. How do you propose changing this situation? With a new method of upcycling textiles based on a worldwide network of local artisans trained to use a special machine – the Textilegrapher – to make functional products from the vast amount of discarded fabrics generated by the fast fashion industry. The result is more environmentally responsible clothing. How does the machine work? My Textilegrapher combines the technology of a 3D-printing pen with the recycling method of a Protocycler, a machine that converts waste

SARA REGAL ALONSO’s materialfocused methods – and her research into fusing modern mass production and craft – led to her selection for ‘The Challenge’.

plastic into valuable 3D printer filament. Discarded textiles would be dumped into my machine, trimmed into smaller pieces and melted before emerging from the pen. So it’s creative and sustainable? Yes. I see this future craft as a union of handwork and machine. In terms of environmental impact, minimum transport of the discarded textiles is required, and as the application is done by hand, it offers plenty of creative opportunities, too. How do you envision your concept being employed? Firstly – and most simply – the new material would be used to create patterns and graphic styles on a textile’s surface. It’s also possible to treat the material as a binder, which would replace the stitching in traditional garments. Discarded material could be ‘glued’ together to make new articles of clothing. Think of it as a paper collage, but with old garments replacing the paper and the recycled raw material acting as the glue. The converted waste plastic could also be used for 3D printing everything from new garments and knitted structures to accessories, such as buttons, buckles and soles for shoes. The latter would be similar to Adidas’s Futurecraft 3D-printed polyester soles. The flexibility of the resulting material depends on the composition of fabrics mixed by the local artisans, so the possibilities are endless. – WG


The use of the Textilegrapher involves melting down discarded textiles into a new material that’s reintroduced to the fashion industry.

Flex Corporate + Reverse by Piergiorgio Cazzaniga



Anna Huix


EMMANUELLE MOUREAUX divides with colour. It’s boats to buildings for OMA’s ELLEN VAN LOON. Moment makes space obsolete. Meet the people. Get their perspectives.



Artist, architect and designer EMMANUELLE MOUREAUX makes colour her only material. Words



Chroma Queen A VISIT TO TOKYO in the 1990s changed Emmanuelle Moureaux’s life forever. Falling in love with the city and its colourscapes, she decided to move there after completing her architecture studies in France. Her dream was to open her own design office in Tokyo, even though the need to learn the language and obtain Japanese qualifications meant starting from scratch. In 2003 she finally opened her studio, from which she has worked on a wide range of projects – including a bank, an entire train line in Taiwan and numerous art installations – ever since. United by their use of colour as a main spatial principle, an approach she calls shikiri, her creations use as many as 1,000 different hues, each of which is custom made. Moureaux teaches at Tohoku University of Art and Design. When did your obsession with colour begin? EMMANUELLE MOUREAUX: When I saw Tokyo for the first time. As a student back home in France, I’d never really been aware of colour, and as soon as I got off the train, I saw it with fresh eyes. There’s just so much colour

here. It’s also the way it manifests itself as layers floating in space. That effect is created by the combination of neon signage, overhead cables and different building heights – and it’s unique to Tokyo. When I realized how little colour actually features in Japanese design and architecture, which is mostly monochrome, I decided I wanted to establish my own studio to explore it. What’s the appeal of colour for you? The emotions it generates. It makes the heart sing; it fills you with energy. Through my work I want people to feel what I felt on my first visit to Tokyo. What was your first project? A small interior for a cosmetics company. I got the commission through one of my students – I’d been teaching French while learning Japanese. I didn’t want to work in anyone else’s design studio. I just wanted to work for myself. That interior was a tiny space, but I used lots of colour. When it was completed, the client said she felt purified by colour. That’s when

I knew I was on the right track and wanted to continue. How did you develop your concept of shikiri? I was inspired by Tokyo and by the way that colour defines depth in the cityscape. The term shikiri basically refers to the traditional Japanese screen. I adapted the characters so that it means ‘divide with colours’ – that’s what I base all my projects on. I use colour in a three-dimensional way, not as a finishing touch. Art, architecture, design – you work in all three. Is there a difference in the way you approach them? No, it’s all the same to me. I don’t see architecture, design and art as different disciplines. Instead, I see my work as travelling between different scales. The process is always identical. Can you describe it? I start with the concept. At the beginning, I decide how many colours I’m going to use – not precisely but roughly, say 20 or 100. Then I work on the name »


‘My studio is filled with colour,’ says Emmanuelle Moureaux, ‘so generally I wear black or white.’




Created for the 100th anniversary of NSK, the largest manufacturer of bearings in Japan, Color Mixing (2016) saw small flower motifs spin on their axes. The installation is the 17th in Moureaux’s 100 Colors series.





‘Pantone has lots of colours, but not enough for me’

and the concept, in words – both of these are very important to me. When thinking about the concept, I design small spaces based on the idea, so I’m working with words and visuals at the same time. The second step is to develop the design by making models – which can be small or 1:1 – and lots of drawings. Then I develop the colours, which is the hard part. Where do your colours come from? I mostly mix them myself. Sometimes I use Pantone colours, but that’s an exception. I’m using them for the train line I’m doing in Taiwan, for example, because of the distance involved. Pantone has lots of colours, but not enough for me. Luckily, I find my colours everywhere. It might be a page in a magazine that’s a beau-

tiful blue, so I’ll give that to the paint or dye factory – which one depends on the material we plan to use. I check colour samples at the factory until they’re right. It’s a difficult process. How do different materials affect the colours in your projects? They don’t. Materials are absolutely not important to the outcome. Only colours matter. I don’t want people to recognize the materials I use, because I want them to focus solely on the colours. If I use wood, people can’t tell it’s wood. I always hide the texture. What’s the maximum number of colours you’ve used? I used 1,000 for 1000 Colors Recipe, the installation I completed last year


for Imabari, a city famous in Japan for its dyeing industry. The brief was to showcase the techniques of eight dye factories, so I decided to do something that would be impossible otherwise – hence the 1,000 colours. It was a big challenge. To select that many colours, you need several thousand to choose from. Because dyeing is like cookery, the installation takes the forms of symbols that refer to the temperature, timing and percentage of ‘ingredients’. Prior to this installation, my colour limit was 100, as demonstrated by my 100 Colors series, which I began in 2013 to celebrate my studio’s tenth anniversary. One of my goals was to prove you can see 100 colours in a space. While it’s a large figure, it’s also a familiar number, and the colours are easy to distinguish. I’ve made many different versions of 100 Colors in various countries. Does colour play an equally big role in your home and wardrobe? Not really. My studio is filled with colour, and I spend lots of time there, so generally I wear either black or white. My home is very neutral and simple, but that’s partly because you’re not allowed to paint rentals in Japan. Do you think you’re more colour-sensitive than other people? Because of my work, I’m always looking for new colours, but I don’t

Color of Time (2017-2018), another 100 Colors project, was Moureaux’s first – and potentially only – installation to incorporate black.


think I see more colours than anyone else. I’m just more attuned to them. I believe it’s a universal ability and that almost anyone can distinguish millions of colours. What I find from talking to architects, designers and students – because I also teach – is that people often say it’s too difficult to use colour and that they’re not brave enough. You need courage, so I teach my students not to be afraid of colour. Do you have a favourite colour? How can I possibly choose? But if I have to, then it would be white. That’s because whenever I use whites, they make the other colours appear even more beautiful. I’ve used black only once, in Color of Time, but that installation was based on a special concept about the colours of one day and night. Whose work inspires you? Tokyo is my main inspiration, but there’s one person, too: Issey Miyake. I love his concepts and the way he treats clothes like architecture or products in such a three-dimensional way. I’ve worked with him twice on installations, and I loved it. Where do you want to take your work next? I’d like to continue working on lots of different scales. In particular, I want to do a 100 Colors building. ●

Raising the Floor

Visitors to the Living Spaces zone entered a gigantic kaleidoscope, where they were invited to personalize the space by rearranging squares of coloured carpet from Carpet Concept.



From biometric rugs to customizable carpets, DOMOTEX’s Framing Trends area reflected the future of flooring. Words


AT DOMOTEX IN JANUARY, Hannover’s Deutsche Messe was packed floor to ceiling with design that continues to integrate the floor into the rest of the interior. Domotex 2018 shone a spotlight not just on personalized flooring products and services in a time of deepening uniformity, but also on the industry’s potential to generate uniqueness, artistry and even wellbeing. With more than 1,400 exhibitors from 61 countries, the trade fair debuted an exhibition layout in which product segments were presented in clusters to give a clarified overview of the market. ‘Brands are expanding their offerings, and we’ve followed suit by adapting and restructuring the fair’s scheme,’ says Andreas Gruchow, project director of Domotex. To attract the attention of architects and interior designers, Framing Trends – a special area at the heart of Hall 9 – accommodated experimental areas and interactive showcases based on the theme Unique Youniverse. Curated by brand experience agency Schmidhuber, Hall 9 stretched the boundaries of the floor, up the walls and over the ceiling, with a mix of design and art that turned commercial flooring into a multisensory experience. Divided into four zones, Framing Trends explored the potential of product and service individualization and envisioned how new technologies are taking us into a more widely accessible, customizable and expressive design-suffused experience. Why? ‘Domotex has to move from a productcentred to a trendsetting fair that’s redefining flooring,’ says Susanne Schmidhuber. In the Living Spaces zone, interior designers teamed up with companies and brands to imagine the future of flooring. In numerous ways, presentations demonstrated how cutting-edge tech is already involving consumers in the development of new products, sometimes even encouraging them to ‘finish’ a product through its use. Here, a gigantic kaleidoscope immersed visitors in a mirrored space and invited them to rearrange squares of coloured carpet, thus individualizing their surroundings.

The Flooring Spaces zone emphasized the same ‘make it mine’ megatrend, presenting floor coverings through the broader lens of concepts currently driving interior design, furnishing and art. Like an inhabitable M.C. Escher drawing, German-American architect Sophie Green’s surreal trompe l’oeil space for Belgian labels Limited Edition and 2tec2 responded to the current penchant for cocooning, which makes strong interior design crucial to our wellbeing. Inspired by Mies van der Rohe’s Barcelona Pavilion, Munich-based interior architect Konstantin Landuris designed Future Loft for Classen; the futuristic, holistic display comprised a sleeping tube, a water feature and a vertical garden. Flooring with a marble look and a graphic pattern extended onto one wall. The pattern is the result of digital printing, which is allowing brands to offer more personalized flooring designs, even in small batches. ‘Whereas before,’ says Classen’s Heinz-Dieter Gras, ‘individualization was exclusive, in the future it will become standard.’ The mainstream-spanning, forwardlooking concepts in the NuThinkers zone were designed and produced by students from a trio of German design schools. Master’s students from the University of Applied Sciences Mainz conceived VR software that relies on body movement to design customized interiors in real-time, while Claude Schmitt from the Saarland University of Art and Design presented a self-operating

robotic painter that can personalize a client’s floors. Nele Ratjen, a student at the Hannover University of Applied Sciences and Arts, contributed a new type of floor-heating system inspired by reptilian thermoregulation. Visitors to the Art & Interaction zone found flooring poised on the cusp of art and design. With Bauhaus Revisited, artist Hansjörg Schneider and creative director Thomas Biswanger elaborated on the designs of architectural icons like the Masters’ Houses in Dessau, employing a ‘highly emotional’ upcycled material: Solid Textile Board developed by Really. Their installation appeared to be an architectural drawing, but window cutouts pierced the drawing to reveal a wall behind. Biswanger says that he and Schneider ‘looked for fresh definitions of how to experience the relation between wall and floor. We treated the two in a nonhierarchical way. They both serve as art, and both are made from the same material. Art on the walls makes the walls look light and weightless, whereas art on the floor looks strong and fragile at the same time. The floor can be seen as a landscape. The message? There is no limitation in finding new ways to live with art and design.’ Like the Schneider-Biswanger alliance, other collaborations at Domotex gave brands an opportunity to view the flooring market from new perspectives, while adding significant depth to a well-grounded fair. ●

Future Loft – a design by Konstantin Landuris for Classen – featured a sleeping tube with digitally printed flooring that covered the platform inside.


Outdoor Alchemy is the pursuit of a smooth relationship between nature and living spaces. In this philosophy, Maestro is the top project: the opportunity to choose between two types of coverage - sliding canvas or adjustable blades - makes it uniquely versatile. Performance, aesthetics and thinking outside the box: this is Corradi’s interpretation of outdoor space.

Shao Feng

PA S MVRDV builds with books. FAYE TOOGOOD materializes CARHARTT. TOYOTA delivers a car-sharing café. Step inside the great indoors.




FAYE TOOGOOD exposes the utilitarian core of Carhartt in a flexible retail space





LONDON – Clothing brand Carhartt is proud of its rich history while still being completely contemporary. The label was established in 1889 when founder Hamilton Carhartt began manufacturing overalls in duck and denim with the help of two sewing machines and five employees. His firm went on to thrive, producing uniforms, coveralls and other sturdy apparel for the military during both world wars. The brand’s Work in Progress (WIP) evolution, which targeted European consumers, materialized in London in 1997 with the opening of the first store to sell Carhartt WIP products exclusively. By then, the label had successfully tapped into the skater and streetwear aesthetic. A little over 20 years later, the company opened its fourth store in the UK capital – this time in the distinctly up-andcoming area of King’s Cross, joining the likes of Nike Central, & Other Stories and Jigsaw in this newly created quarter of the city.

In many regards, the interior by Faye Toogood mirrors the merchandise: hardy and unfussy, yet savvy and street smart. The floor, for instance, is made from a concrete aggregate, while geometrically shaped shelving is finished in a tactile canvas. Recalling the curves of Carhartt’s logo, chunky display units on casters can be wheeled around the interior, perhaps to hug a large concrete column that breaks up the floor plan. Elsewhere, neatly folded clothes are stored in cage-like cabinets, notable for their black steel grilles. In the wrong hands, the utilitarian palette of deep brown and tan could feel staid and stuffy – a nod to the remnants of a ’70s camping trip – but Toogood defies the odds. The adjoining Allpress coffee bar appears almost edible, as if dripping with sticky caramel. It’s just one of the tricks she uses to pull off a marriage of elegance and grit. – GG

Despite their sturdy appearance, Carhartt’s display units are mobile to allow for various spatial configurations.



Toogood contemporizes her brown-on-brown palette through various material treatments, including a coffee bar seemingly coated in caramel.


THE OTHER OFFICE 3 Creative Workplace Designs

Developed with a knowledge of what is at the heart of a creative workforce, 100 outstanding projects demonstrate the current trends in office design. â‚Ź69


Mike Bink

B Science and technology are pushing healthcare forward at a fast pace, and spaces devoted to healthcare need to follow suit. As the effects of a patient’s physical surroundings become more and more evident, traditionally designed medical facilities are being replaced by HUMAN-CENTRIC, SERVICE-ORIENTATED HEALING ENVIRONMENTS that are created to ease treatment and, ultimately, to stimulate recovery.




JOS STUYFZAND, senior creative director at Philips Design Healthcare, sees the hospital of the future as an empathic environment with a focus on the individual experience. Words




Spaces That Heal



TOO SICK TO MOVE A MUSCLE? What a load of nonsense. The latest data, however, show that most of you reading these words will not escape illness. And I’m not just talking about a touch of flu. ‘Unfortunately, cancer and cardiovascular disease are still the most likely causes of premature death and most probably will remain so in the future,’ says Jos Stuyfzand, senior creative director at Philips Design Healthcare. ‘Technologically, from a medical point of view, a lot is possible, but real progress is made by looking at the environment in which healthcare is provided.’ The challenges facing Stuyfzand and his multidisciplinary design team are complex. They have to determine the needs of the hospital staff – how can a space facilitate optimal performance, accurate diagnostics and quality treatment? – as well as the experience of the patient. The more emotionally supported a patient feels, the quicker their recovery. The team has to contemplate the wants and needs of the individual, and personalization plays an important part in this. They must also consider cultural conventions and customs. In the Middle East, for instance, the family room is a must. The fact that all these concerns simmer within a pressure cooker of cost-efficiency (time is money) only adds to the stress. To be successful, design-

ers need close collaboration with hospital organizations and with experts in medical workflow planning, technology, operation and, last but not least, what Stuyfzand calls ‘people researchers’ – in order to better understand both the functional requirements of a space and, especially, the emotional needs of patients, relatives and staff. Stuyfzand attended Design Academy Eindhoven, where he learned to make a good product. The starting point was usability. When he joined Philips – working first at Philips Lighting and, for the past eight years, at the company’s HealthTech Division, now the company’s core strategic focus – his attention shifted from a product’s usability to its performance. ‘Talking about good lighting no longer meant talking about the design of a product but about whether the lighting effect creates the right atmosphere – about Ambient Experience solutions aimed at using technology to influence the human perception of spaces,’ he says. Although the impact of lighting has been a hot topic for well over a decade, and although ‘ambience’ is an immaterial notion, the use of lighting remains prominent in the design of clinics and hospitals. How do patients experience each moment, from intake process and admission to treatment and aftercare? How can a designer make sure that every space, »

Rens van Mierlo


A concrete vision of the future is Philips’ Reading Room 2020, a tool for exploring how technology-enabled healthcare environments can improve patient care and clinical workflow.

Courtesy of Philips



By transforming treatment rooms into engaging environments, designers can reduce anxiety during medical procedures, such as MRI scans.

The hospital is becoming a service centre, a highly specialized environment that hones in on the individual’s experience



As senior creative director at Philips Design Healthcare, Jos Stuyfzand works on the optimization of hospital environments.

HOW TO SUPPORT HEALING ➀ DISTRACT THE PATIENT Offering the patient an iPad or another visually enticing interactive device during a stressful procedure reduces anxiety, which can translate to reduced brown-fat intake and more accurate scans. ➁ ALTER THE ANTICIPATED EXPERIENCE Transform the waiting room and change a long wait into a pause. Current waiting rooms make people nervous and restless as the wait gets longer, whereas a moment’s rest boosts energy levels and promotes relaxation. The outcome is a more receptive patient and a less strained consultation. ➂ KEEP IT SHORT Everything in a hospital is aimed at keeping the stay as short as possible. After all, the duration of the time away from

home influences the speed of recovery. ‘Short’ is a word that also applies to wayfinding inside the building, for patients, visitors and medical staff. A wayfinding design that benefits pedestrian flow is essential. ➃ USE DAYLIGHT TO HEAL Daylight is crucial to the healing process. The architects of most new-build hospitals pay attention to the orientation of patient rooms, which should face west. Direct daylight has a positive effect on the wellbeing of physicians and visitors. ➄ STIMULATE THE SENSES Replace static lighting with dynamic lighting. Experts on hospital design are convinced that people thrive in environments in which light, image, sound and touch merge to form a holistic experience.

➅ MAKE IT PERSONAL Adaptive healing rooms with highly intuitive user interfaces help patients to create soothing environments tailored to personal needs.

Private lounges help surgeons to relax between operations in a reality-like environment that features family photos, livingroom acoustics and artificial daylight.

➆ REDUCE STRESS Children who have to undergo an MRI scan are often less anxious when their favourite cuddly toy goes into the ‘tunnel’ with them. Stress reduction also provides a more accurate scan and thus better treatment.

➈ FACILITATE COLLABORATION Healthcare is a co-creative field based on patientcentric thinking. Facilitating cooperation among patients, relatives and clinical teams is important. Healing that occurs in such a climate should be supported by service provision and consumer thinking.

➇ PROVIDE SUPPORTIVE AIDS Integrated ‘reading rooms’ engage medical professionals in meaningful discussions on the next generation of technology-enabled healthcare environments. How can such spaces be designed to stimulate team interaction and collaboration?


whether it be a waiting room or an operating theatre, generates optimal conditions for recovery? If it promotes wellbeing, it promotes healing. The success of a treatment relies on more than the medical intervention, however, as seen in a hospital landscape that’s evolving by leaps and bounds. Hospital stays are sure to become shorter now that only the most specialized medical care will take place on the premises. ‘Treatment in outpatient settings will increase,’ says Stuyfzand. ‘Medical innovations are advancing rapidly, and treatments that once required surgical intervention can now be done using minimally invasive techniques in many cases.’ Less invasive surgery is leading to a rethinking of the services hospitals have to offer. This is laudable, says Stuyfzand. ‘The longer you remove a person from their social environment, the more negative the effect on their healing.’ The question, then, is where, with whom and how will we get well? Besides the individual care provided by visiting nurses and recovery centres, organizational options that fast-track recovery include the creation of an online profile and the submission of external laboratory data, such as blood and urine analyses, made at the request of the hospital. Another recent position is that of the case manager, a consultant who is involved with a patient’s care from the moment of intake and who acts as

a mediator between the patient and the medical team. ‘Information and emotions can sometimes overwhelm patients and make it difficult for them to make the right choices,’ says Stuyfzand. ‘Our whole conception of healthcare is being overhauled. Designers play a key role in this process, because they are quintessential in visualizing data – from patient satisfaction to productivity per square metre – and in translating the information into empathic environments. Design can facilitate spaces that heal.’ The patient, certainly in the future, is a consumer with choices, says Stuyfzand, who sees a starring role for the empathic designer. ‘Designers are good at bringing people together. Unlike specialists such as architects, designers have their fingers in every pie. Empathy comes naturally to the designer, who recognizes what people want and knows how to translate, visualize and explain intangible elements. Intuition helps the experience designer to respond to the hospital patient’s individual needs. The strength of design lies in its holistic attitude, but design also plays an important facilitating role in a co-creation process that directly involves caregivers and all key stakeholders in hospital organizations.’ What does this mean in practice? The hospital is becoming more and more of a service centre, a highly specialized environment that hones in on the individual’s experience while being efficient as well. Chances are that


some people will see it as impersonal, though. You check in online beforehand, spend a brief time in the waiting room, receive your treatment and walk out the door. Aftercare happens at home or elsewhere. ‘Hospitals are extremely cost-intensive environments. If we can have ten rather than five people undergo an MRI or a CT scan per hour, that’s a good thing. It’s also important from an economic perspective to have people in the hospital for as short a time as possible, but you do run the risk that they will feel somewhat depersonalized.’ For inspiration in the fields of service, experience and logistics, Stuyfzand keeps an eye on airports, such as Amsterdam Airport Schiphol. He looks at how lounges are furnished, with seats that are both safe and comfortable for short-term use, and reviews the airport’s logistics. As a passenger, before leaving home you check in online, select your seat, state your dietary wishes, indicate the number of bags – even request a courier service to pick up your baggage, allowing you to hop on the plane, unencumbered. It’s an approach that befits the hospital of the future, he says: intelligent, serviceable, personal, efficient and safe. The patient has uninterrupted access to a care network from home, a neighbourhood medical centre and admission to specialized hospitals. ●

Adaptive healing rooms that offer intuitive user interfaces can be tailored to the needs of both staff and patient.

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Max Zambelli


VOLA mixes with ARNE JACOBSEN. DORNBRACHT goes transitional. WEWORK ventures into wellness. Discover what’s driving the business of design.



Double Take Celebrating tactility and forgoing subtlety or striving for simplicity? New releases at IMM offer both sides of the creative coin. Constantin Meyer, courtesy of Koelnmesse

Guest designer at Das Haus - Interiors on Stage, Brokis’s artistic director Lucie Koldova presented prototypes for Ivy. Individual branches of the nature-inspired luminaire can be combined to create a hanging garden of light.

Josele Castellon Pascual

Rugs become puzzles in the hands of Swedish studio Front, whose team delivered Parquet: three reversible kilims composed of geometric shapes for Gan.

Tasked with reimagining Freifrau’s Amelie bench – originally by Hoffmann Kahleyss – fashion designers Perret Schaad sought to develop a ‘new way of expressing femininity that outlasts trend cycles’.

Doshi Levien explores an interplay of shapes in its Geometrics rug collection for Kettal. Line (pictured) and Block share the same weaving technique, making them compatible yet independent.



Resembling creatures you might find in the depths of the ocean, Doshi Levien’s Tabour collection of ottomans for B&B Italia welcomes an outdoor option.

The latest collection by Sunbrella’s in-house design studio plays with graphic, solid-toned and textured fabrics – all of which are at home both indoors and outdoors.

Dámaso Pérez Ontiveros

Olivier Ribardiere

Neolith by TheSize puts a modern spin on terrazzo with Retrostone Silk, which is characterized by large grains and bold patterns.

Lukáš Legi

‘I wanted a chair that would feel sexy,’ says Lucie Koldova. She’s referring to Chips, her lounge chair for Ton, which combines perforated fabric with manually bent wood.

With a shell designed to reference the striations found in wood and stone, the Zebra chair by Studio Lievore Altherr for Fast is made from strong die-cast aluminium.



Net by name, net by nature: Raffaello Galiotto Design’s table for Nardi is made from recyclable fibreglass resin. The latest addition to the Net seat and bench collection, the table has a mesh-like pattern.

Jung reinvents LS 900 as a flush-mounted product that offers more than meets the eye. LS Zero accommodates over 200 functions, including smart home features.

Henrik Schipper

A relaunch of a 1996 design by Antonio Citterio, Flexform’s A.B.C. armchair – now with a saddle hidecovered metal armrest – celebrates simplicity.

Ramón Esteve’s Vela outdoor furniture for Vondom lights up like lanterns in the night. Able to withstand extreme changes in temperature, the pieces are made from 100 per cent recyclable polythene.



Minotti’s Morgan Marble – a Rodolfo Dordoni design – makes a bold statement in luxurious materials, with options that include Calacatta marble and bronzed metal.

Marc Eggimann

The most important interior trend is that there’s no such thing as right or wrong any more

In the 1970s, Verner Panton explored the possibility of mirrored surfaces for his Panton Chair. Thanks to new technologies, Vitra is now realizing the designer’s aspiration, as well as adding a version that incorporates phosphorescent pigments to achieve a ghostly glow.

Simon Wegener

Mauro Mattioli


Ethimo (literally) stretches the Nicolette range by Patrick Norguet with the addition of a high stool, whose backrest features a micro-perforated pattern.

Vincent Van Duysen raises the storage stakes with a see-through option for the Gliss Master series of wardrobes, a system produced by Molteni.



From Litter to Lounger


is the number of times that XXX can be recycled

The New Raw’s Print Your City! applies 3D printing to plastic waste generated in urban areas. Its first outcome is the XXX BENCH for the Dutch city of Amsterdam.





kg of CO2 emissions and 100 litres of oil are saved by using recycled rather than new plastic


Amsterdammers produce as much plastic waste each year – 23 kg per person in 2015 – as the quantity used for the XXX bench


kg is the weight of the final product


layers of plastic comprise the product

single-use plastic bags were recycled to make the bench

0 kg of waste was produced during the printing process

PREVIEW Frame Magazine #121 - Mar/Apr 2018