Canadianinteriorsseptoct14

September/October 2014

years

BEST OF CANADA

Winners of our 17th annual design awards Plus: NeoCon hits a home run

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September/October 2014

Official publication of the Interior Designers of Canada

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11

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COVER — 21 Best of Canada’s Project of the Year: Lake Cottage, in Balsover, Ont., designed by UUfie.

Photo by Naho Kubato & Irene Gardpoit

CONTENTS FEATURES

© 2014 Hansgrohe, Inc.

BEST OF CANADA — 21 The winners of our 17th annual design awards.

By David Lasker OH, THE HUMANITY — 43 As evident at NeoCon 2014, the contract furniture industry continues to recognize the worker’s right to – and need for – privacy, comfort and mobility.

By Michael Totzke

DEPARTMENTS INSIDE — 9 WHAT’S UP — 11 SHOW BIZ — 17 From Paris to Singapore Highlights of Maison & Objet’s premier Asian show.

By Enrico G. Cleva and Alessandra Laudati

17

WHO’S WHO — 49 THAT WAS THEN — 50 Best of Best of Canada KPMP Architects, the top winner of our annual design awards through the years, we salute you – along with notable runners-up.

By Michael Totzke

Following page 50

SEPTEMBER/OCTOBER 2014 CANADIAN INTERIORS 7

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Inside

Climbing the ladder to success The moment I laid eyes on the Lake Cottage by Toronto’s UUfie Design (gracing our cover), I knew it was a candidate for Project of the Year in our 17th annual Best of Canada design competition. It arrived rather late in the process, close to the final deadline. When I popped in the CD and opened the images, I felt a shiver of delight. How singular, I thought, how imaginative. And so I was inordinately pleased, on “judgment day,” when our three judges agreed and named it Project of the Year.

Here’s what they had to say.

Tim Wickens (principal at Tim Wickens Architect in Toronto): “This is a really pretty space. It’s a charming, whimsical and bizarrely minimal Gesamkunstswerk [total work of art]. They edited flawlessly.

The project integrates interior design and architecture seamlessly. As an architect, a lot of these things wouldn’t have occurred to me, yet this is fundamentally an architectural project.”

Caroline Robbie (partner at Torontobased Quadrangle Architects): “This beautiful little cottage is inventive as an overall design piece, with interior and architecture completely integrated.

Thought was given to iconography and symbolism. There’s so much going on in here, such as the found space in the attic, and it all hangs together so well.”

Vincent Hauspy (associate at Moureaux Hauspy Design in Montreal): “The cottage is really fresh: I’ve never seen anything like it. It’s delightful. Everything is simple and thought out.”

In total, Wickens, Robbie and Hauspy named 21 entries (20 projects and one product) the Best of Canada. Turn to page 21 and prepare to be dazzled. c I Michael Totzke mtotzke@canadianinteriors.com

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SEPT./oCT.

A brand-new IIDEXCanada

There’s a really Big Show coming to Toronto. This year, IIDEXCanada will co-locate with six other high-profile annual real-estate events, to create The Buildings Show, North America’s largest annual exposition, networking and educational event focussing on design, construction and real estate. Together with Construct Canada, PM Expo, Home Builder & renovator Expo, Concrete Canada, Construct International and the Toronto real Estate Forum, IIDEXCanada will help anchor the threeday event, to be held a both the North and South buildings of the Metro Toronto Convention Centre, Dec. 3-5, 2014. Hosted again this year by the IDC (Interior Designers of Canada) and the rAIC (royal Architectural Institute of Canada), IIDEXCanada will take up two days of the event in the North Building: Wed., Dec. 3, and Thurs., Dec. 4, 2014.

IDEXCanada is Canada’s National Design and Architecture Exposition & Conference.

The event brings together the multidisciplinary design and architecture communities for a comprehensive event celebrating creativity and best practices. Annually, it attracts more than 15,000 trade professionals.

IIDEXCanada comprises 11 expos-within-the-expo. of these, two are brand-new: the Educational and Institutional Expo, and the Terrazzo Tile & Stone Expo. The other nine expos cover a wide variety of subjects: Architecture Canada, Healthcare Canada, Hospitality Canada, Landscape Architecture, Workplace Design, retail Design, Textile Design. Material World and – in the spotlight this

year – Light Canada (see below).

The exhibition includes over 80 professionally accredited seminars, run by the IDC, rAIC and 25 association partners. It features innovative products from 350 exhibitors (including Altro, Gispen, Interface, Levey, Magic Lite Ltd., Make It Metal, Materials Inc., Metro Wallcoverings, oW Hospitality, Philips, richelieu, Shaw Contract Group, Sooncho Textiles and Tarkett).

Special attractions abound.

This year’s Light Canada offers an expanded space for 50+ exhibitors showcasing the latest lighting products from around the globe. It includes a special installation and four seminars. Delivering the Lighting and Hospitality Keynote is David rockwell, in conversation with Ilana Weitzman, editor of Air Canada’s enRoute magazine. rockwell is the founder and

Clockwise from top Rendering of a potential StartupSpace, a brand-new IIDEXCanada attraction; starchitect Daniel Libeskind, who will deliver the Architectural Keynote; lobby of the W Retreat & Spa – Vieques Island, Puerto Rico, designed by the Rockwell Group; and Rockwell president David Rockwell, who will deliver the Lighting and Design Keynote.

president of rockwell Group, a multi-disciplinary architecture and design practice based in downtown New York with satellite offices in Madrid and Shanghai; the firm specializes in a wide array of project types, from hospitality, healthcare to institutional to entertainment, interactive and theatre.

Delivering the Architecture Keynote is Daniel Libeskind, an international figure in architecture and urban design. Libeskind is renowned for his ability to evoke cultural memory in buildings of equilibrium-defying contemporaneity, informed by a deep commitment to music, philosophy and literature.

New this year is StartupSpace, a feature exhibition showcasing innovative concept workplace spaces for startup tech companies, created by local design studios and workplace manufacturers. This year’s participants include Quadrangle Architects partnered with Herman Miller; Modo; and

What’s Up

Denegri Bessai Studio.

Popular returning attractions include the 2nd annual IIDEX Woodshop, showcasing 15 innovative wood prototypes that utilize Toronto’s untapped ash-wood resource; International Pavilion, featuring 50+ companies from all over the globe, with a focus on Italy, Spain, the Netherlands and other European countries; and THINK:Material, presenting the world’s most inventive, cuttingedge and sustainable materials.

Events include the IDC/IDA Toronto Leaders Breakfast, featuring keynote speaker Cameron Bailey, artistic director of the Toronto International Film Festival, better known as TIFF; PechaKucha, a lively presentation in which 20 slides are shown for 20 seconds each; and parties at the city’s hottest and newest furniture and design showrooms.

IIDEXCanada runs at the Metro Toronto Convention Centre North Dec. 3-4.

SEPTEMBEr/oCToBEr 2014 CANADIAN INTERIORS 11

Politics, fashion & the DX

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Under the leadership of president Shauna Levy over the past two years, the Design Exchange (DX) has hosted travelling exhibitions from prestigious cultural institutions across the globe, including Stefan Sagmeister’s “The Happy Show” and Design Museum London’s Christian Louboutin retrospective, alongside its own “This Is Not A Toy,” guest curated by Pharrell Williams. This fall’s main attraction, which opened recently and runs into January, is “The Politics of Fashion/The Fashion of Politics,” curated by international fashion force and personality Jeanne Beker.

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Fashion inspires political debate, helps elect politicians and plays an important role in image on the international stage. For decades, fearless and passionate designers have used this forum as a tool to express their own ethics and ideologies, as well as to created a wardrobe for like-minded people to do the same. Says Beker, “Whether or not fashion has the pier to change the world may be questionable. But it certainly has the power to change the way we see the world, and ultimately ourselves.”

“The Politics of Fashion/The

Clockwise from above Paper dress from 1968; show curator Jeanne Beker; dress by Jean Charles de Castelbajac; protest at Nina Ricci show; Maison Martin Margiela’s bejewelled masks; Stella McCartney’s “Plastic, Glass and Linen” jacket for Chloe; and MAC Cosmetic’s Frank Toscan, 2014 DX awardee.

Fashion of Politics” will evaluate the social and political issues faces at the beginning of modern dress alongside those we’re facing now.

Informed by Beker’s 25 years as host of FashionTelevision, the exhibit spans six decades and explores five themes: Ethics/Activism; War/Peace; Consumption/Consumerism; Campaign/Power Dressing; and Gender/Sexuality. Over 20 pieces from 1960 onward will be on display, including apparel from the collections and archives of participating

designers (among them, Mary Quant, Rudi Gernreich, Vivienne Westwood, Alexander McQueen, Jean Paul Gauthier and Stella McCartney); TV footage and photography; and large-scale, site-specific installations. Intriguing items include 1960s paper dresses made from disposable cellulose fabric; Vivienne Westwood’s 1977 “God Save the Queen” T-shirt, prized

by London’s punk subculture; a Narciso Rodriguez dress worn by Michelle Obama in 2008 on the night Barack Obama was elected the first African-American president of the United States; and androgynous designs from Montreal designer Rad Hournai’s Unisex Haute Couture collection.

Taking its cue from the fall exhibition is the DX’s annual fundraiser, “DX Intersection: Rise Up” (Nov. 7). This year’s awardee is Frank Toskan, co-founder of MAC Cosmetics; while serving at the helm of the company, Toskan has propelled the brand as a powerful communication tool for social change, inspired by design and creativity as communication vehicles. Always one of the year’s most madcap and memorable design events, “Rise Up” promises interactive installations and experiences, with creativity exploding at every corner and on all three floors of the museum.

“The Politics of Fashion/The Fashion of Politics” runs at the DX through Jan. 25, 2015. “DX Intersection: Rise Up ” takes place on Nov. 7.

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september/october 2014 CANADIAN INTERIORS 13

orgatec savvy “The transformation of the working world.” Such is the wide-ranging theme of this year’s orgatec, the leading international trade fair for the modern working world, held every two years, at the end of october, at the sprawling Koelnmesse in Cologne.

Using data from orgatec 2012, exhibitor count is expected to surpass 600, hailing from 40 countries.

Spread out over a million square feet of space, they will cover all the major product segments, from furnishings and flooring to acoustics and lighting to conference technology. Taking it all in will be 50,000 visitors (about 48 per cent of the total from outside Germany, from 120 countries).

A half-dozen of the Koelnmesse’s expansive halls will be devoted to orgatec 2014.

Halls 6 to 9 encompass the orgatec Trend Forum, with innovative solutions for office furnishings from the likes of Dauphin, Giroflex, Haworth, Interface, Interstul, König + Neurath, Sedus, Tobias Grau, Unifor, Vitra and Wilkhahn.

Hall 10 is home to orgatec Contract, with comprehensive furnishings for public spaces, including transit lounges, hotel lobbies and restaurants; exhibiting are such high-profile companies as Andreu World, Arper, Carpet Concept, De Sede, Fritz Hansen, Hay, Poltrana Frau and Walter Knoll.

Hall 11 houses two Competence Centres: orgatec Space, which covers lighting, flooring walls, climate and acoustics solutions; and orgatec Mobile, showcasing software modules, mobile terminals and others means facilitating today’s dynamic work on the go. It also

“O” is Offices, at Orgatec, in October Held every two years at Cologne’s Koelnmesse (the city’s exhibition centre), Orgatec encompasses innovative office furnishings; furnishings for public spaces; lighting, flooring, walls, climate and acoustics; and solutions for the mobile working world.

houses a Speakers’ Corner, a brand-new attraction.

Two crown-pleasing supporting programs – ogatec Boulevard and Insight Cologne – make a return engagement. orgatec Boulevard offers an ideal place to network, with its four different communication zones and lounge areas with a feel-good vibe in the midst of the hustle and bustle of the fair; this year’s theme, fleshed out by Dutch designer Dick Spieren-

14 CANADIAN INTERIORS SEPTEMBEr/oCToBEr 2014

burg, is “out of office.” Insight Cologne (oct. 24) takes the visitor even further afield, offering evening tours of 15 offices and buildings in the city centre of Cologne.

Part of the pleasure mixed with the business of orgatec it to be had exploring all parts of charming, historical, low-key Cologne in the mild month of october. orgatec runs at Cologne’s Koelnmesse from oct. 21-25.

our mistake In a feature in our July/August issue (“Sacred ground,” page 23), Superkül’s Andre D’Elia was incorrectly identified as Andre A’Eliam. We sincerely regret the error.

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Show Biz

From Paris to Singapore Highlights of Maison & Objet’s premier Asian show.

—By Enrico G. Cleva and Alessandra Laudati

Premiering in Paris in 1995, Maison & Objet is now recognized as a major design event worldwide – a place to discover trends and products, do business, promote creativity and find emerging talents in the many sectors of furniture design. M&O has proved so bankable that the organizers decided to extend the brand to Asia in order to reach lucrative new markets.

The first M&O Asia took place in Singapore this past March. Spread over 6,000 square metres in the deliriously luxurious, futuristic Marina Bay Sands hotel, 272 exhibitors from 24 countries (30 per cent from Asia) showed their products. With a flow of 4,000 local and international visitors – including buyers and specifiers, architects, designers and journalists – the show was a resounding success, boding well for its future as an annual event.

The Southeast Asian market is one of the most interesting on the global scene, with high-end hotels, luxury residences and commercial malls popping up in every major city. The economic downturn of Europe and North America seems not to have touched this part of the world. With construction booming, owners are looking for the best products to accommodate their new modern spaces. Added to that, an increasingly affluent middle class is hungry for European brands and modern, contemporary design.

Rumour has it that the floor plan for next year’s event will double. Maison & Objet Asia takes place Mar. 10-13, 2015.

LITTLE GEMS Italian designer Silvia Marilia, who for the past five years has lived and worked in Hong Kong, excels in furniture for kids.

Her inspiration? The Montessori schools she attended in Italy in her childhood.

Her Sand label offers beds, chairs and tables in materials and shapes designed for maximum kiddie comfort. sandforkids.com

SEPTEMBER/OCTOBER 2014 CANADIAN INTERIORS 17

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1—BRIGHT COMPOSTION From Melogranoblu’s Hydra collection comes Alpha: blown-glass shapes, transparent or satin, hanging on a special tubular mesh of metallic fabric.

Designed by Massimo Crema and Ermanno Rocchi. melogranoblu.com

2—INSIDE & OUT Pigalle, from Kenneth Cobonpue, is an indoor/outdoor collection that includes easy armchair (shown), loveseat, dining tables (rectangular or square) and barstool. The indoor versions are constructed of abaca fibre, nylon and steel; the outdoor versions replace abaca with polyethylene. Seating options include upholstered cushions that don’t interfere with the elaborately curved design. kennethcobonpue.com

3—ROMAN VALUES For Paolo C, acclaimed Spanish artist-designer Jaime Hayon has designed New Roman, a collection inspired by the vessels of the Roman Empire. His handsome Titus vessels – in pink, green, blue or transparent glass – come in three sizes; they rest on silver-plated, copper or gunmetal stands. paolac.com

4—EVERYTHING IN ITS PLACE Portugal’s Wewood is known for solid wood furniture that combines craftsmanship with high technology. Its BS01 desk, designed by Bruno Serrão, is built of solid French oak without using any screws or nails. Its top is the centerpiece; the set of drawers occupies all remaining interstices of the structure. wewood.eu

18 CANADIAN INTERIORS SEPTEMBER/OCTOBER 2014

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1—SIMPLY RED The principality of Monaco was represented at the show with Monte Carlo–based Garbarino Collections. Designer Adriano Barbarino presented the Bob collection, which included a bar – coated in glossy China red lacquer – featuring a lighted gap in which to display an art piece. garbarincocollections.com

2—NO SHRINKING VIOLETS Missoni Home’s Papavero Filigrana (Watermark Poppy) range brightened up the place considerably with large and small florals on sofas, armchairs, ottomans and cushions. missonihome.com 3—INCREDIBLE LIGHTNESS Indonesian designer Budiman Ong created his furniture and lighting company, Ong Cen Kuang, in May 2008, to reflect his own design principles, which respect the process and the characters of materials. Thistle, he says rather poetically, “focusses on the combination of tactile materials, infusion of self-develop technique and traditional origami, defusing emptiness and lightness.” ockdesigns.com 4—GARDEN ROMANCE Jaime Hayon created the Gardenias collection of cast-aluminum outdoor furniture for BD Barcelona in 2010. Now he’s adapted it for indoor use, including the iconic armchair available with or without pergola. Stylish colours include Blue Royale, Red Ming, Green Versailles and Black Edo. bdbercelona.com

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SEPTEMBER/OCTOBER 2014 CANADIAN INTERIORS 19

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Best of Canada The winners of our 17th annual design awards.

17

Canadian Interiors’ Best of Canada design competition is Canada’s only design competition to focus on interior design projects and products without regard to size, budget or location. We welcome submissions from interior designers, architects, decorators, crafts persons and design students.

This year, we received 173 entries from across Canada (up significantly from last year’s 125), in nine categories: Office, Institutional, Hospitality, Condo Public Areas (new this year), Residential, Retail, Exhibit, Marketing and Product. The projects and products were each judged anonymously and on their individual merit.

Our judges are architect Tim Wickens of his eponymous Toronto firm; architect Caroline Robbie, partner at Toronto-based Quadrangle Architects; and interior designer Vincent Hauspy, associate at Moureaux Hauspy Design in Montreal. All three offered perceptive comments during the judging process, which we’re delighted to share with you in our online Best of Canada section (canadianinteriors.com/ bestofcanada/), along with more information and images, plus a video.

After careful consideration and lively discussion, the judges chose 21 winners.

These included Project of the Year: Lake Cottage in Bolsover, Ont., by UUfie, a Toronto firm making a welcome debut on these pages. Toronto’s Figure3 is the big winner all around, earning three awards in total, for Mediabrands and Eli Lilly in Toronto, and Simons Anjou in Montreal.

And kudos to Baie-Saint-Paul, Que., a small town with big design ambitions, boasting two winners: Hotel La Ferme

by Quebec City–based LemayMichaud; and the International Symposium of Contemporary Art exhibit by Montreal’s Architecturama.

Congratulations to all 21 winners.

—By David Lasker Their better judgment Tim Wickens and Vincent Hauspy flank Caroline Robbie

Photo by David Lasker

september/october 2014 CANADIAN INTERIORS 21

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PROJECT OF THE YEAR

Lake Cottage, Bolsover, Ont. UUfie, Toronto

There’s a dreamy, theatrical quality to the 700-square-foot Lake Cottage

by UUfie, an addition to a house set among birch and spruce trees on the Kawartha Lakes: this could be the setting for the Wicked Stepmother’s cottage in the woods in a production of Hansel and Gretel.

A 23-foot-tall standing-seam pitched roof (the witch’s hat!) caps the A-frame’s siding of charred cedar, an ancient Japanese technique that preserves wood siding by burning it to enhance its resistance to insects, rot and fire.

A gable appears in the profile of the wall, then repeats at smaller scale in the fireplace surround. Scale also confounds our perception of the room’s size because the firebox is smaller than we would expect, to judge from the size of the logs in the adjacent firewood storage bin. Nor is a definitive clue as to the room’s size offered by the windows, which lack the customary sashes or muntin bars, or the deep-set skylights. Is this a two-storey great room or a dollhouse?

One of the designers’ stated goals was to layer spaces to blur the distinction between interior and exterior. This was achieved where the stairs ascend into the sleeping loft, whereupon we suddenly find ourselves in an M. C. Escher drawing. We’ve apparently disembarked upside down, in peril of falling off the steep roof. The ceiling’s fish-scale shingles, which we all know and love as roof cladding, causes this momentary disorienting jolt.

The stairway itself seems more like an apparition of a stair than the real thing because the runner was hewn from a single log, the stair lacks a railing and during the climb, one walks into a mirror.

Abstracted trees screen the dining-room windows, while out in front, an overhang shelters a terrace with a mirrored wall that helps the house disappear into the real trees.

Photos by Naho Kubato and Irene Gardpoit

september/october 2014 CANADIAN INTERIORS 23

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Reviewing Knoll’s San Francisco showroom, Architectural Forum noted the “space modulating colored inserts,” animating the furniture manufacturer’s otherwise stark, white-on-white interior.

That 1956 prototype in Mondrianesque colour-blocking lives on in Figure3’s design for Mediabrands, which updates Knoll’s Mad Men modernism with walnut surfaces in the lunchroom and grey framing elements. Mediabrands’s pops of colour act as wayfinding devices that draw people through the space, and as iconographical links to other companies within Interpublic Group, the New York–based advertising giant with 45,000 employees.

There’s subtle wit in the reception desk: a wide, floating empty picture frame, detached from the Toronto-skyline photomural rising behind the receptionist.

The project was completed under budget. The parent holding company exploits the office as a sales tool for major client pitches and as a draw for recruiting the best and brightest new hires. The preponderance of benching stations appeals to Gen Y’ers, who tend to prefer collaborative, informal workspaces.

In a four-year campaign, Figure3 modernized Eli Lilly’s 186,000-square-foot facility in Scarborough, making the big pharma’s sprawling, disjointed campus feel more connected. New wellness areas – including a gym and yoga, spinning and games rooms – help draw staff members out of their silos. Glazed fronts on meeting rooms and a lowered panel height on workstations make for a friendlier, more open workplace.

In one lounge, a pod of Arne Jacobsen Egg chairs nestles against wallpaper patterned in drawings of chemical structures, paying light-hearted tribute to the intellectual property that makes the company tick. The new customer-service lounge feels residential, thanks to the fireplace, comfy seating with throw pillows, harvest table, soft lighting and warm-toned wood floors.

Further reinforcing esprit de corps is the museum devoted to the history of the 138-year-old brand. Display cases house historic products and packaging, photos and vintage advertisements. The central chandelier, composed of stacked, upsidedown pill bottles, makes a humorous crowning touch.

Photos by Steve Tsai

OFFICE

Mediabrands, Toronto Figure3, Toronto

OFFICE

Eli Lilly, Toronto Figure3, Toronto

september/october 2014 CANADIAN INTERIORS 25

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A few years after renovating the Toronto home office of Torys, KPMB got the summons to renovate the law firm’s 17,000-square-foot Calgary office. To maintain brand continuity, KPMB used the same planning principles in Calgary as in Toronto. Corridors are open-ended instead of terminating in offices. This gesture brings daylight into interior workspaces and offers glimpses out to the spectacular views of the Rocky Mountains to the west and the prairies to the east. Translucent glass fronts on private offices for partners contribute additional daylight that permeates into internal workstation areas.

Art consultant Fela Grunwald invited submissions. The winning artist, B.C.-based Graham Gillmore, covered two walls in the reception area with full-height panelized paintings. One features Latin legal terms, the other is an abstract composition of diagonally poured paint in primary colours evoking a space-frame lattice.

The curving wall of the caucus room, adjacent to the reception area, adds a touchy-feely quality with its sculptural cladding of vertical walnut-veneered fins, conjuring up a topographic map of Alberta’s rolling prairie landscape.

For those of us who remember public school as a necklace of separate classrooms strung along a dark corridor, Arcola Community School, with its central, daylight-flooded atrium, is an eye-opener. Assemblies, classes, indoor play and training for visually impaired students all take place in the atrium space, often simultaneously. The floor plan ensures that students will mingle throughout the day, thereby enabling the school to fulfill the great socializing mission of public education.

Students in grades six through eight have a dedicated, second-storey commons area overlooking the atrium. These more-mature students work collaboratively and learn to network. Eventually, when Arcola alums seek employment, they should feel right at home working at the benching stations prevalent in today’s open offices.

The facility boasts radiant heat, a green roof and terrace, a glulam structure of pine-beetle-killed lumber, rainwater cisterns, a living wall, readout screens for energy monitoring and natural light in every area of the school, not to mention a gymnasium and kitchen accessible to the community after hours.

Photos: top by Tom Arban; bottom by Patricia Holdsworth

OFFICE

Torys LLP, Calgary KPMB Architects, Toronto

INSTITUTIONAL

Arcola Community School, Regina P3Architecture, Regina

september/october 2014 CANADIAN INTERIORS 27

Large and small squares, planks and skinny planks.

human nature

™

a collection of skinny planks

NATURE’S SELECTION

Finding the space to thrive.

Every ecosystem has a new cast of species found in nature with lessons to teach its students of design. At Interface, we seek out the connections that exist in our world’s living systems to bring environmental responsibility into spaces of every size. It’s harmonious innovation.

The Human Nature™ Collection by Interface®.

A Foundation for Beautiful Thinking. interface.com/human-nature

INSTITUTIONAL

Casino de Montréal Menkès Shooner Dagenais LeTourneux Architectes / Provencher_Roy; Montreal

The swooping futuristic modernism of Expo ’67 lives on in the Casino de Montréal, which occupies the former France Pavilion. The casino recently underwent a sweeping renovation. To increase the gaming area and make the casino easier for visitors to navigate, the administrative offices were moved out of the building and into a newly built wing (wrapped in aluminum triangles). The previous multiplicity of entrances have given way to a single majestic front door. The oversize marquee framing the entry shimmers with lighting diffused through backlit perforated panels.

From the lobby, visitors follow a walkway to the four gambling floors, each identified by a different colour. Lights play on the vertical lattice connecting the gaming levels, adding to the festive visitor experience.

Bars and lounges are located in a central hub rising through the building. Stylized logos of the playing-card suits (clubs, diamonds, hearts, spades) are worked into lampshades, upholstery, bar fronts and other surfaces.

INSTITUTIONAL This 2,400-square-foot multipurpose room is a simple brick-box addition to school for junior kindergarten through sixth grade. Inside, vertical slots of acoustic concrete block embellish concrete-block walls. Floors are surfaced in standard, foot-square vinyl composition tile; interior window surrounds are painted wood.

Acoustic tile covers the ceiling.

The designers worked magic on this no-frills materials palette. Random slots flank the ceiling lighting, the slot edges painted in bright colours. Multi-hued floor tiles reflect, in a higgledy-piggledy way, the ceiling plan. Windows big and small, some with clear glass and some with coloured film on the glass, dance haphazardly across the walls.

Deep surrounds of colour framing the windows add depth to the wall. The windows and the frames cast coloured shadows onto the floor and walls that move with the sun’s position, making students aware of the passage of time.

Indeed, the happy users have dubbed this space the “Rainbow Room.”

Photos: top by Marc Cramer; bottom by Ben Rahn/A-Frame Studio

West Preparatory Junior Public School, Toronto Taylor Smyth Architects, Toronto

september/october 2014 CANADIAN INTERIORS 29

Š

teknion 2014. ÂŽ trademarks of teknion corporation. sabrina is sold under license from okamura corporation. in canada call 866.teknion. in the usa call 877.teknion.

sabrina

www.teknion.com

INSTITUTIONAL

Royal Ontario Museum, Currelly Hall Washroom Renewal, Toronto Superkül Architect, Toronto

At the Royal Ontario Museum, the public ladies’ and men’s washrooms adjoining Currelly Hall are the most prominent and heavily used in the building. Renovated in time for the ROM’s centennial in 2014, the 1,050-square-foot facility is robust enough to withstand the daily wear and tear of visiting school groups, yet elegant enough to serve the myriad evening galas, weddings and other affairs the museum hosts in the hall.

The new washrooms are as stylish and memorable as those in any restaurant or nightclub. A custom-formed all-in-one Corian counter with sleek ‘60s retro rounded corners integrates an ADA-compliant trough sink at two heights (for kids and adults) and a baby change station with diaper disposal. The vestibule was enlarged to receive wheelchairs and strollers. By accommodating kids, the elderly and the disabled instead of relegating them to that ugly sink in the corner, the washrooms epitomize universal (or accessible) design.

a

INSTITUTIONAL

Bridgepoint Active Healthcare, Toronto Diamond Schmitt Architects / HDR Architecture / Stantec Architecture / KPMB Architects; Toronto

The prison that administered Canada’s last hanging lives on as part of an institution dedicated to prolonging life: Bridgepoint Active Healthcare, a 464-patient facility overlooking Toronto’s Don Valley Parkway. The derelict Don Jail, dating from 1864 and one of Toronto’s oldest intact buildings, was adaptively reused as administration offices. For the first time, the public can enter the lovingly restored Don Jail rotunda.

To mitigate the new facility’s scale, each floor is organized into two neighbourhoods of 32 beds configured in one- and two-patient rooms.

Shared therapy space is centralized on each floor at the cores with lounges at the north and south ends. The building envelope’s projecting vertical fins incorporate full-height windows enabling supine patients to see out.

Patients typically stay for three months. Features promoting recovery include a calming colour and materials palette incorporating wood ceilings, quiet meditation spaces, a terrace and green roof with fabulous views, and a walkable labyrinth inspired by the medieval prototype at Chartres cathedral.

Photos by Tom Arban

september/october 2014 CANADIAN INTERIORS 31

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INSTITUTIONAL

François Dupuis Recreation Centre, Ottawa GRC Architects, Ottawa

You know a public swimming pool is au courant when the floor plan shows an alternate needs changing area as large as the male and female changing areas combined. The François Dupuis Recreation Centre s 25-metre, six-lane pool is accessible, too, with its beach (gently sloping, walk-in) entry and oversize bold black lane markers on the pool bottom that are big enough for even the visually impaired to see.

A fully glazed, canopied entrance greets visitors with generous views into the building. Inside, the glass wall between the pool deck and lobby lets visitors vicariously enjoy the pool experience.

Superimposed on the inner glass wall is an installation of black wave silhouettes by artist Jennifer Stead. Outside, her waves align with her red jumping fish on the lobby facade to make up a light-hearted, three-dimensional wayfinding supergraphic about aquatic sports.

The natatorium is glazed at the outside corners, where the slender V-shaped structural members play off against the slender birches and poplars beyond.

INSTITUTIONAL

Monte Clark Gallery, Vancouver D’Arcy Jones Architecture, Vancouver

The Monte Clark Gallery was carved from the shell of a derelict bulldozer paint shop in an aging industrial complex. The reno began as an archaeological excavation stripping away layers of grime to uncover the bones of the 1963 concrete-block building. These were cleaned with an eye to preserving the patina of age, including such imperfections as the partially exposed steel-grid reinforcement in the eroded concrete floor.

A new drywall liner partially clads the old shell and breaks the floor plate into small and large viewing spaces. The double-height areas have a monumental quality that lends dignity to the largest art installations.

The juxtaposition of the rugged, gritty “before” and the smooth, pristine white “after” introduces a tension that energizes interior views.

A new folded steel stair and mezzanine were inserted into the east bay. The steel is left raw, with welds, warts and stains exposed. The Douglas fir flooring was reclaimed from a nearby warehouse undergoing demolition.

ER, ASE

Photos: top by Younes Bounhar & Amanda Large, DoubleSpace Photography; bottom by Sama Jim Canzian

september/october 2014 CANADIAN INTERIORS 33

Pub Canadian Interiors 9" x 11.25"

TURN DOWN THE ROOM.

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Imagine the footfall, the chatter, the rolling equipment in the hallway, all softened to a more tolerable level. We don’t think it’s so

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far-fetched. Next time you talk about long-term facility plans, ask for nora,® the flooring leader in acoustical performance. You might have more volume control than you think.

HOSPITALITY

Hôtel La Ferme, Baie-Saint-Paul, Que. LemayMichaud, Quebec City

The Charlevoix is a charming region along the St. Lawrence, a favourite of day-trippers setting out from Quebec City. Here, Hotel La Ferme takes its name from, and stands on the site of, the largest wooden farm building in Canada, which burned to the ground in 1997. The design and decor represent the culture of the area. Accordingly, barn- and country-inspired features, such as exposed wood beams and pillars, and milk crates, appear throughout the 153,600-square-foot space. Cabinets, curtains, bedding and carpets are local finds. The abundance of hand-weaved pillows depicts the Bright Star of Charlevoix, a local symbol.

Guest rooms fall into distinctive types: the railway-themed Les Dortoirs de la Gare, with pull-down beds; Le Clos, with 39 rooms around a quiet courtyard, in tribute to a nearby monastery; Le Moulin, with a four-storey tower and a botanically themed decor alluding to the original farm; La Bergerie, piling on the charm with quaint woven rugs and wooden rocking chairs; and La Basse-Cour, featuring playful, animal motifs.

HOSPITALITY

Generator Hotel Barcelona, Barcelona DesignAgency, Toronto

In the renovated shell of a ‘60s office building, steps from Antoni Gaudi’s iconic Casa Batlló apartments, stands not just a new hotel but a new brand. Generator Barcelona is the first of its kind, a prototype as well as a flagship.

The designers collaborated with local architects, suppliers and artists to create signature supergraphics, light fixtures and logo “G” sculptures that will reappear in upcoming Generator locations.

One memorable feature, however, is rooted in place. The main staircase pays homage to Barcelona’s seafaring past with its splayed, 23-footlong lengths of lumber evoking the ribs of a ship’s hull.

Guests can mingle in lounges offering diverse seating options and design styles. All aesthetic hell threatens to break loose in the rear bar, where the dazzling array of textures and patterns includes brightly coloured, ornate Hungarian floor tiles laid on the diagonal. The tiles vie for attention with the extravaganza of 300-plus custom retro pendant lights inspired by the city’s annual Festa Major de Gràcia.

Photos: top by André-Olivier Lyra, Lyraphoto; bottom by Nikolas Koenig

september/october 2014 CANADIAN INTERIORS 35

STYLE: CODE SERIES

800.248.2878 | tandus-centiva.com

•

SHOWN IN: MODULAR

HOSPITALITY

El Catrin, Toronto Munge Leung, Toronto

Located in Toronto’s historic Distillery District, El Catrin pays homage to Mexican cantinas (taverns). Rather than trot out the familiar bullfightand-sombrero kitsch that screams “Mexican restaurant,” the designers drew on the country’s glorious tradition of mural painters (Orozco, Rivera, Siqueiros) by commissioning Mexican street artist Oscar Flores.

He painted and sculpted an intricate two-storey bas-relief mural along the main wall, backlit with neon light. He depicts smiling sugar skulls, headdresses and other images associated with the Day of the Dead holiday as celebrated in southern Mexican regions like Oaxaca and Yucatan, from where the eatery’s tapas-style menu derives.

Papel picado (“perforated paper”), a decorative craft of layered tissue paper chiseled with elaborate designs, inspired the filigree on the oversize custom laser-cut lampshades, as well as the skeletons in the steel screen that opens onto a private dining room. Here, a long yellow farmhouse table reposes on accent flooring of imported Mexican ceramic tile, overlooked by a feature wall gridded with hand-painted, backlit skulls.

HOSPITALITY The gym as the temple of the body versus the church as the temple of the soul; the ritualistic 10 reps in a set of bicep curls vs. the 10 Hail Marys in each Mystery of the Rosary; “no gain without pain” vs. mortification of the flesh. Gyms and churches alike demand devotees’ disciplined devotion. So it was not such a stretch to convert the derelict, deconsecrated former Dominican Saint Jude’s Shrine, built in 1907 on Montreal’s bustling rue St-Denis, into Le Saint-Jude Spa and Wellness Centre.

The designers preserved the historic shell and most of the Gothic windows, so users are constantly reminded of the structure’s original function. Glass partitions instead of opaque walls open up the interior. Some areas of the club conjure up churchly emotions. The hot tub, for instance, sits in a grotto-like room with the light source concealed in coves, and small blue tiles covering walls, floor, ceiling and the tub, making for a space conducive to quiet meditation.

Le Saint-Jude Spa and Wellness Centre, Montreal

Photos: top by Eugen Sakhnenko/A-Frame Studio; bottom by Thomas Balaban Architect

Thomas Balaban Architect, Montreal

september/october 2014 CANADIAN INTERIORS 37

A2 Design was charged with planning and designing the public areas in Cité Cosmo, a new nine-storey condominium tower in the Centropolis district of Laval. The firm aimed to give the building a distinct identity with the feel of a contemporary boutique hotel while respecting the branding image already established by an earlier phase of development at Cité Cosmo by its client, Groupe Cholette.

The main and penthouse-floor lobbies are remarkable spaces created fundamentally with drywall and paint and a rigorously executed graphic palette. In the doubleheight ground-floor lobby, an oversize bulkhead is incised with lighting slots that emphasize the thickness and ponderous quality of the bulkhead; the bulkhead frames a mirror behind pendant lights.

Suspended at different heights, the lights dramatize the tallness of the space.

Erupting up through the lobby, a giant drywall trapezoid is embellished with a long, narrow mirrored gas fireplace. Inside the trapezoid, the designers buried, and artfully integrated, that big ugly workaday item in apartment buildings, the mail slots.

In renovating a 1,280-square-foot groundfloor apartment in an 1887 Montreal triplex, Anne Sophie Goneau gutted the space to reveal the original steel beams, and walls of raw brick and hemlock planks.

Then she devised an open plan anchored by the glossy black galley kitchen along the long wall and white-surfaced island running in parallel. The cooktop’s downdraft exhaust, in lieu of the customary overhead hood, sustains the sleek low datum line of the kitchen worksurface and maximizes exposure of the brick wall.

Goneau installed radiant heating under a concrete slab floor with a matte grey epoxy finish. The bedroom and bathroom floors have a glossy white finish to distinguish them as private areas.

The living room features the obligatory high modernist trophy pieces, in this instance Hans Wegner teak-frame chairs (1949) and a custom knock-off of Florence Knoll’s coffee table (1961). The sectional sofa’s rich green velvet fabric provides the dwelling’s principal colour hit.

Photos by Adrien Williams

CONDO PUBLIC AREAS

Cité Cosmo Lobbies, Laval, Que. A2 Design, Laval, Que.

RESIDENTIAL

Espace St-Denis, Montreal Anne Sophie Goneau Design, Montreal

september/october 2014 CANADIAN INTERIORS 39

RETAIL

Simons Galeries d’Anjou, Montreal Figure3, Toronto

The 115,00-square-foot Simons specialty store at Galeries D’Anjou in east-end Montreal is the ninth location for the 170-year-old Quebecbased retailer. Like the others, it offers a mix of global, status-symbol fashion labels such as Balmain, Missoni and Paul Smith, and house brands, as well as a range of home furnishings. Unlike the other Simons branches, the new location boasts a restaurant-café.

From the exterior, the architecture by LemayMichau draws attention, at twilight, with its thousands of twinkling LEDs embedded in the facade. Figure3’s interiors are just as distinctive, with detailing including metal sculptures, plaster wall coverings with geometric motifs in high and low relief, and gritty urban graffiti.

Each area has a different key motif that sets the tone for its identity.

To wit, kelly-green wood screens in the women’s department; pod-like fitting rooms in corals and purples in Twik (young women’s); tongue-incheek faux deer-head hunting trophies in men’s; and a serpentine alley of Port-A-Potty fitting rooms in Djab (young men’s).

EXHIBIT

International Symposium of Contemporary Art, Baie-Saint-Paul, Que. Architecturama, Montreal

40 CANADIAN INTERIORS september/october 2014

Every August, artists from Canada and abroad congregate in the hockey arena at Baie-Saint-Paul for the grandiloquently titled “International Symposium of Contemporary Art.” Montreal architects Sylvain Bilodeau and Nicolas Mathieu-Tremblay were regular visitors to the event when, in 2010, they decided that there was room for improvement in the design of the artists’ booth. In short order, they presented their product-design and space-planning pensées to symposium sponsor Musée d’art contemporain de Baie-Saint-Paul, which secured funding to carry out the designers’ vision in time the symposium’s 30th-anniversary in 2012.

The booth design uses a lightweight modular prefabricated panel system manufactured at the Wax Constance Workshop, a local non-profit training school. The triangular side panels can flip up or down according to the artist’s preference for light and privacy. Inexpensive materials – timber studs, Masonite, nuts, bolts and metal plates – fasten in a rudimentary way, making it possible for unskilled museum volunteers to assemble the booths with basic tools. The panels can be easily painted (black on the outside, white on the inside) and repaired.

Photos: top by Marc Cramer; bottom by James Brittain

MARKETING This sales centre in Roncesvalles Village in Toronto’s west end is not the glistening white-on-white, high-tech Futurama that Johnson Chou does so well. Peter Clewes of ArchitectsAlliance, perhaps Canada’s best-known condo architect, who practically invented the glass point tower, will clad the proposed 10-story condo building in – are you sitting down? – brick, a material heretofore considered uncool for condo towers, but more in keeping with the street’s industrial heritage. Ergo, a materials palette for the presentation centre that is more matte than glossy and more gritty than slick, featuring raw, unadorned materials such as oil-finished wood and hot-rolled stainless steel.

The exposed webs and flanges of the building’s structural steel, the heating ducts hanging from the naked ceiling joists and the aluminum Emeco Navy chairs at the dining table all reinforce the industrial-loft feel of the display suite. It helps, too, that the base building looks like its previous incarnation was as an auto-body shop.

383 Sorauren, Toronto Johnson Chou, Toronto

PRODUCT

Talk Keilhauer, Toronto

The past few years have seen a cultural shift in the workplace.

People feel comfortable meeting in casual environments, secure in the knowledge that their activity will be seen by their bosses as real work rather than goofing off. A new category of furniture arose to support this work style: the high-back sofa that creates a smaller, more intimate space within a much larger space.

Enter Talk, Keilhauer’s seating system of benches with backs, chairs and tables, designed by EOOS (Gernot Bohmann, Martin Bergmann and Harald Gründl) to enhance face-to-face meetings outside the conference room. The benches have backrests high enough to double as privacy screens and sound barriers. At the heart of the system is the two-seater with a shallow inward bend in the middle. This configuration offers more support for conversation than does an inline bench.

The table’s hexagonal shape –­­ nature’s most efficient – presents numerous opportunities for ganging.

Photo (top) by Ben Rahn/A-Frame Studio

september/october 2014 CANADIAN INTERIORS 41

Best in show The Openest Collection by Patricia Urquiola for Haworth

Oh, the humanity As evident at NeoCon 2014, the contract furniture industry continues to recognize the worker’s right to – and need for – privacy, comfort and mobility.

—By Michael Totzke

What do we want? Privacy! When do we want it? Now! According to research presented by Steelcase, “Ninety per cent of today’s workers say they need quiet, private places in the workplace. Over 40 per cent say they don’t have them.”

Steelcase also identifies our need, in the ubiquitous open-plan office, for comfort (“Thirty-one per cent of full-time employees do most of their work away from their employers’ location. Workers are looking to eliminate distraction, but also seek physical and emotional comfort and familiarity that is often found more at home than in the office”) and mobility (“Moving while working makes for healthier, more-engaged workers. A palette of postures and stretching of muscles

supports creative thinking, problem solving and idea generation”).

The best new products introduced at NeoCon, held this past June in Chicago, satisfy all three needs. Steelcase’s Susan Cain Quiet Spaces supports five different options for workers to control their environment and free themselves from interruption. Haworth’s Openest –­ awarded NeoCon’s Best of Competition – comprises lounge elements that create an environment of approachable comfort, adapting to people’s need for interaction or time alone. And Inscape’s Veil gives the worker control of his or her space in terms of acoustic and visual privacy.

Speaking of Inscape, the company based in Holland Landing, Ont., stole the

show, winning awards for all five products it entered in NeoCon’s product competition: Gold for Veil, Inscape Bench, Interval+ and Teri Tory, and Silver for Aria.

Says Inscape CEO Jim Stelter, “Winning one Silver and four Gold awards was wonderful validation we are providing workspace solutions that meet the needs of the constantly changing workplace.”

Inscape couldn’t have picked a better NeoCon to steal. Attendance was up 20 per cent from last year, with close to 50,000 industry professionals gathering to see the latest product introductions, network with industry peers, and take in a stellar lineup of keynote and educational offerings.

NeoCon 2015 runs at the Merchandise Mart in Chicago June 15-17. september/october 2014 CANADIAN INTERIORS 43

NeoCon 2014

Lifting the Veil The well-named Veil is an accessories collection that allows workers in an open plan to adjust their level of acoustic and visual privacy to suit their work style. These accessories include Cloak (designed to “hug”) and Wave (refers to its shape) freestanding screens; the Cove mounted (and movable) privacy screen; Mask fabric panel; Pivot fabric partitions; and Ease structured lounge seating.

Inscape’s Really Big Year inscapesolutions.com A song coming on Designed by Italy’s Babini Office, Aria offers a choice of laminated and tempered glass, and connects vertically with polycarbonate or aluminum profiles that guarantee a perfect union with variable, three-way and 90-degree connection angles. Integrated storage walls are optional. Aria is durable and reconfigurable.

Two for the show A pretty pair from Keilhauer: Syz and Lo, both designed by longtime collaborator EOOS. Syz is series of table available in three heights: occasional (15 inches high) lounge meeting (26 inches) and conference (29 inches). Tabletops (round, square and rectangular) come in 21 sizes and in various finishes. Lo is a charming elevated floor cushion that allows the casual meeting to stay casual and comfortable. keilhauer.com

44 CANADIAN INTERIORS september/october 2014

The way we work

Open-hearted Spanish designer Patricia Urquiola brings her magic touch to the Openest Collection by Haworth. Comprising sofas, pouf seating, tables and space-dividing screens, the playful yet practical collection can be configured in a range of applications that create visual privacy in collaborative areas.

Curved lines and upholstery stitching invoke the craftsmanship of residential furniture. haworth.com

Zoning in European-designed modular system Teri Tory allows workers to define their space with storage.

Boxes stack for just the right amount of privacy: single level for touchdown seating; double stack for desk-height storage access; three-high stack for seated privacy; and four-high stack for standing-height area division.

In between Interval+ is a dynamic, comprehensive post-and-beam system that provides a skeletal framework for everything from collaboration zones to enclosed private offices. A wide range of options includes storage, privacy screens, writing surfaces, wall or panel sections, work surfaces and interactive technology.

Benched Offering a broad range of options, Inscape Bench is a customizable system for open-plan environments. Options to personalize the spine include planters, frameless glass, various storage units, tackable screens and whiteboards. Work surfaces are both pneumatic and electric height-adjustable.

Quiet, please In her bestselling book Quiet: The Power of Introverts in a World That Can’t Stop Talking, Susan Cain noted that companies fail to provide environments that bring out the best in workers who make up to one-half of the workforce. Cain and Steelcase got together, and voila, the result is Steelcase’s Susan Cain Quiet Spaces, offering five diverse spaces supporting specific postures, work modes and expectations for quiet and privacy supported by a carefully chosen range of architecture, furniture, materials and technology. Each space is designed with Steelcase’s V.I.A. (Vertical Intelligent Architecture) walls, providing superior acoustic performance. steelcase.com

september/october 2014 CANADIAN INTERIORS 45

NeoCon 2014

Fits like a glove Bernhardt Design pitched Mitt, a fun, multifunctional lounge chair designed by Claudia + Harry Washington. Its hidden, weight-activated, locking casters and integrated handles make it easy to move around. Loop master stitching is worthy of a Rawlings Heart of the Hide baseball glove. bernhardtdesign.com

Be seated

Cool customer Graphic, lightweight and fluid, Zinta is a modular sofa system whose hallmarks are smooth lines and warm materials.

Designed by Lievore Altherr Molina for Arper, the collection features a wood shell lined in pads for contact or cushions for a more accommodating seat in a select group of fabrics. Zinta comes in diverse lengths. arper.com

The right moves Designed by Allsteel in partnership with Bruce Fifield of Milan-based StudioFifield, Mimeo promotes the individual movements of the user. Its IntelliForm back technology allows for optimal flexibility and responsive movement; a 3D knit layer distributes pressure across the back, adding a level softness and breathability. The weight-activated synchronized tilt control automatically responds to each user. allsteeloffice.com

46 CANADIAN INTERIORS september/october 2014

Building block Davis’s Modo bench collection comprises benches, backless benches, and L-shaped pieces ranging from 48 to 96 inches. The welded tubular steel of the legs frames the space beneath the seat and is available in both chrome and powdercoated finishes. davisfurniture.com

On the surface

Screen star Jeffrey Bernett and Nicholas Dodziuk designed the Lite Wall series of lightweight screens for the open office.

Using magnets, the wall easily reconfigures without tools or any visible connections.

Varying screen heights accommodate standing, seating and lounging. teknion.com

Flex hours The Flex Char from Andreu World was designed for extended use in public spaces. The new and generous Flex Corporate version features a fully upholstered shell with wide seating, a higher backrest and thicker foam. andreuworld.com

With the grain Plank, the latest kiln-glass collection from Vancouver-based Joel Berman Glass Studios, exhibits the characteristics of a natural wood-grain species with translucency. Says Joel Berman, “We wanted to play with the idea of a truly organic surface based on nature.” jbermanglass.com

Remix it up Knoll’s Remix pairs upholstered comfort with an innovative Flex Net Matrix technology for all-day support. The work and high-back chairs feature a Tandem Back comprised of intelligent layers of contrasting materials to provide movement and active support; the side and activity chairs have resilient yet pliable flexors built into their structure for greater flex in an upholstered side chair. knoll.com

Creating a buzz Designed by Belgian furniture designer Alain Gilles with the team at BuzziSpace, the BuzziPicNic table and bench system provides a collaborate desk option for any office space. Electrical strips are hidden inside the rustic wooden structure, allowing for sleek connectivity and wire management. buzzispace.com

september/october 2014 CANADIAN INTERIORS 47

NeoCon 2014

Sheer delight Carnegie’s first collection of acoustic sheers – made of Trevira CS polyester – encompasses three patterns: Alphacoustic, with a subtle ribbed texture; Betacoustic, with a more pronounced texture and dimension; and Gammacoustic, reminiscent of glass. carnegiefabrics.com

It’s only Human Interface’s latest global carpet-tile collection – Human Nature – takes its cues from the visual, tactile textures found in the most elemental of floor coverings: forest floors, grassy fields and pebbled garden paths.

Made with 100-per-cent recycled content nylon yard, it will be manufactured on four continents in six Interface factories. interface.com

The unexpected Dissemblage, designed by Cresta Bledsoe for Milliken, features tailored woven ribs that veil precise geometries and bold super graphics. The pattern is revealed as people move around the woven metallic design, which reads as a solid ground except in the area in which you stand. milliken.com

Go figure

Test patterns The Designtex + Wallace Sewell collection features the characteristic bold geometric patterns and sophisticated colour work of U.K.-based textile designers and expert weavers Emma Sewell and Harriet Wallace-Jones. The four luxurious upholsteries (stripes and plaids) are made of 100-per-cent lambswool. designtex.com

48 CANADIAN INTERIORS september/october 2014

Modern geometry KnollTextiles presented the lower-cost Spirit Collection of upholstery, wallcovering, privacy/drapery curtains and panel fabrics. Included is Tower Grid, (shown) a multi-colour cut velvet combining geometric elements to create a modern stripe. knolltextiles.com

Who’s Who UMBRA LAUNCH

1

2

1

Umbra threw a party in its flagship store off Queen West to launch its Umbra Shift collection, winner of the Best Accessories Editors’ Award 2014 at New York’s ICFF this past May. 1—Nick Fox, graphic designer for the Much TV channel; graphic designer Philipp Boltz; and Ron Ruiz, creative director, interface design, at Bell Media.

2—Industrial designer Jano Badovinac, creative director at Fugitive Glue, who designed the Shift’s Felt House Slippers; Jerry Salonen, designer at Commute Design (Byblos, Patria); and Umbra product designer Laura Carwardine.

3—Jonathan Sabine and Jessica Nakanishi, partners at design firm MSDS, who created Shift’s Pleated series of terra-cotta vases and planters; with Umbra’s design director Matt Carr and its president and co-founder Les Mandelbaum.

2

3

August affairs

3

—Text and photos by David Lasker 1

2

KARIM RASHID AT SUITE 22 22 Interiors, the furnishings showroom and store opened in the Toronto suburb of Markham in 2006 and selling Italian lines from Alivar to Zanette, launched its new, whitewashed premises in the Big Smoke.

The guest of honour, Toronto-born design star Karim Rashid, jetted in from New York to charm the crowd and sign copies of his new book, My First Biography.

1—Designers Naghmeh Mohammadioun (who recently graduated from the Academy of Design) and Sogol Mousavi (who recently moved from Iraq) flank the ever-affable Karim Rashid.

2—Dion, a single-monikered business consultant; Will Poho, founder and creative director of sportswear maker Moose Knuckles; and Joseph Tassoni, who has designed coats for the firm.

3—Suite 22 in the house: designers Yan Lili, Ralph Sheu, Liane Appelton, Nareh Ghookassian and Mandy Wian flank owner Roberto D’Ulisse, natty in bow tie.

3

DESIGNAGENCY PARTY DesignAgency (DA), the interior-design firm whose high-profile projects include Momofuku restaurant at the Shangri-la Hotel, hosted its annual summer block party in and outside its west-end Toronto digs.

1—DA partners Matthew Davis, Anwar Mekhayech and Allen Chan.

2—DA designers Jamie Phelan, Kelli Brown and Anna Chuong.

3—DA designer Ali Khaja; Ariel Cooke, architectural intern at Partisans architecture firm; DA project designer Lauren Cole; and Rob Gates, general manager at Cherry Street Restaurant.

september/october 2014 CANADIAN INTERIORS 49

That Was Then Four KPMB projects have won Project of the Year (clockwise from top left): Lexus Lounge (2004), waterfront penthouse (2001), CIGI Campus (2012) and The Royal Conservatory (2010).

Best of Best of Canada

KPMB Architects, the top winner of our annual design awards through the years, we salute you – along with notable runners-up.

—By Michael Totzke In 1997, Sheri Craig, then publisher and editor of Canadian Interiors, created the Best of Canada design competition. As she notes in her May/June 1998 editorial, announcing the winners of the first awards, “In the beginning, there was a small idea that kept growing. It started off as a concept to help Canadian designers market their work internationally. A special magazine issue to promote Canadian design was proposed. Then a competition was suggested to select interesting products and projects.” Cut to present day, with 17 years of awards under our belt (including 2014), honouring a total of 257 projects and 101 products. Craig would be proud.

KPMB Architects has won the most project awards – 19 in total – from the very first installment of the awards in 1998 (for the Ammirati Puris Lintas ad agency in 50 CANADIAN INTERIORS september/october 2014

Manhattan) to the very latest this year (for Torys LLP Calgary law office and for Bridgepoint Active Healthcare in Toronto).

Of the remaining 16 projects, four were named Project of the Year (originally known as Best of Show): a waterfront penthouse in Toronto (2001); Lexus Lounge in Toronto’s Roy Thomson Hall (2004); The Royal Conservatory in Toronto’s Telus Centre for Performance and Learning (2010); and CIGI Campus in Waterloo, Ont. (2012).

KPMB, of course, stands for its founding members: Bruce Kuwabara, Thomas Payne (who left the firm in 2013 to launch his own practice), Marianne McKenna and Shirley Blumberg. In the firm’s own words, “KPMB is one of Canada’s leading architectural studios. Founded in 1987 as a hybrid studio model, KPMB offers an alternative to either the sole practitioner of the large corporate

firm, merging individual creativity, collaborative team work and professional practice.”

With just two wins less than KMPB (17 in total), Burdfilek is the runner up. Tying for third place are II BY IV and Giannone Petricone Associates, with 10 each. And tied for fourth, with nine awards each, are Johnson Chou and Dialogue 38.

Other multiple winners (three or more) include 3rd Uncle, Ædifica, Bartlett & Associates, Cecconi Simone, Core Architects, Drew Mandel Architects, Dubbledam Architecture + Design, Figure3, Gow Hastings Architects, Kasian, LemayMichaud, MacLennan Jaunkalns Miller Architects, Menkes Shooner Dagenais Letourneux Architectes, Munge Leung, Plant Architect, Taylor Smyth Architects and Teeple Architects.

My best to them – and to all Best of Canada winners through the years. c I

dimensions V O L . 3 /2014

Motivating Millennials Motiver la génération Y How to use generational stereotypes to your advantage Comment utiliser les stéréotypes générationnels à votre avantage

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contents/ sommaire

dimensions magazine VOL. 3 /2014

12 pg.

idc board of management conseil d’administration Ada Bonini, President, BC/Présidente, C.-B. Denis Chouinard, 1st VP, QC/Premier vice-président, Qc Aandra Currie Shearer, 2nd VP, BC/Deuxième vice-présidente, C.-B. David Gibbons, Past President, ON/Président sortant, Ont. Clinton Hummel, Director/Treasurer, ON/Directeur/Trésorier, Ont. Ellyn Berg, Director, SK/Directrice, Sask.

Anne-Marie Legault, Director, QC/Directrice, Qc Lori Arnold, Director, NS/Directrice, N.-É.

Denise Ashmore, Director, BC/Directrice, C.-B. Kimberley Murphy, Director, NB/Directrice, N.-B Karla Korman, Director, MB/Directrice, Man. Michele Roach, Director, AB/Directrice, Alb. Peter Heys, Director at Large, ON/Administrateur général, Ont. Kara MacGregor, Director at Large, NS/Administratrice générale, N.-É.

Sarah Parker Charles, Director, Provisional, NL/Directrice, provisoire, T.-N.-L. Susanne Koltai, Director, Education, QC/Directrice, éducation, Qc Meryl Dyson, Director, Industry, BC/Directrice, industrie, C.-B. Nicole Cormier, Director, Intern, NB/ Directrice, stagiaire, N.-B. Trevor Kruse, IIDEX Liasion, ON/Liaison avec IIDEX, Ont. Donna Assaly, Chair, Board of Governors, AB/Présidente du conseil des gouverneurs, Alb. Susan Wiggins, Chief Executive Officer, ON/Chef de la direction, Ont.

Dimensions is the official magazine of IDC (Interior Designers of Canada) ©2010 Dimensions est le magazine officiel des dic (Designers d’interiéur du Canada) ©2010

features/ dossiers

departments/ département

12. motivating millennials motiver la génération Y For better or worse, our birth years proclaim who we are, how we behave and what we believe in. Can using your generational stereotype to your advantage help you succeed in the workplace?

Pour le meilleur ou le pire, notre année de naissance ce révèle que nous sommes, comment nous nous comportons et ce en quoi nous croyons. Utiliser votre stéréotype générationnel à votre avantage vous aidera-t-il à réussir sur le marché du travail?

8/9 consider this/ considérez ceci…

15. people first design le design pour les gens d’abord A people first approach to designing therapeutic environments for individuals with neuro-diversities Une approche pour les gens d’abord dans le design pour les environnements thérapeutiques tenant compte de la neurodiversité des individus

dimensions team l’équipe de dimensions Publisher/Éditrice : Susan Wiggins, Chief Executive Officer, IDC Chef de la direction, DIC swiggins@idcanada.org Editor/Éditrice : Julia Salerno, Manager, Communications, IDC Directrice des communications des DIC dimensions@idcanada.org Editorial Advisory Board/ L’Équipe éditoriale : Donna Assaly, AB Lise Boucher, MB David Chu, SK Ron Hughes, ON Johane Lefrançois-Deignan, ON Carolyn Maguire, NS Susan Steeves, BC canadian interiors team l’équipe de canadian interiors Publisher/Éditeur : Martin Spreer, mspreer@canadianinteriors.com Deputy Editor/Éditeur : Peter Sobchak, psobchak@canadianinteriors.com Art Director/Directeur artistique : Ellie Robinson erobinson@bizinfogroup.ca French Translation/Traduction française : Pierre-Éric Villeneuve

10/11 Q + A/ Q&R 18/19 legal corner/ le coin juridique 20/21 marketplace/ le marché 22/23 trade talks/ pourparlers 24 industry members/ membres d’industrie

idc staff l’équipe des dic Susan Wiggins Chief Executive Officer Irma Kemp Executive Assistant Maya Vnukovsky Administrative Assistant Tony Sienes Manager, Accounting Jamie Shea Director, Business Development Sue Gravelle Director, Professional Development Gustavo Espinola Member Services Coordinator Debora Abreu Manager, Marketing Barbora Krsiakova Marketing Coordinator Julia Salerno Manager, Communications Sarah Bradbury Communications Coordinator/Coordinnatrice des communications

Interior Designers Of Canada C536–43 Hanna Avenue Toronto ON M6K 1X1 t 416.649.4425 f 416.921.3660 tf 877.443.4425 dimensions@idcanada.org www.idcanada.org

dimensions 05

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As Canada’s national advocacy body for the interior design profession, it’s our job to educate, promote and communicate the value and expertise of Canadian interior designers to governments, stakeholders and the public.

When you put this into the context of your own practice, you could easily surmise that if you had figured out how to do all that, and had twice as many hours in a day, you could retire a millionaire. So, you can imagine IDC’s challenge of finding the right message, the right means and the right venues to advocate on behalf of the more than 4,500 practitioner members across Canada who work in all sectors of design.

Over the past few years, one way that has proven to be successful is to secure speaking opportunities at various conferences and trade shows. IDC’s president or CEO moderates a panel made up of two to four interior designers. After all, who better to sell the value proposition than you - the member? For some of these events, one of IDC’s Board members (the president whenever possible) presents on a specific topic as requested by the organizer.

Recently, our president Ada Bonini presented to approximately 50 members of the public at the Dwell on Design Trade Show in LA. The goal was to promote the value of hiring residential interior designers by demonstrating how best to design small spaces. IDC CEO Susan Wiggins just moderated a panel discussion with three interior designers from across Canada at the Accessibility Summit in Ottawa. The panelists successfully demonstrated the knowledge and skill that interior designers bring to a project, ensuring that their designs go beyond the basic standards of the Building Code. A large audience of 100 plus from municipalities, design and architecture practices and accessibility advocacy groups soaked up the case study presentations and dialogue that followed.

In almost every instance, our experience with conference/trade show presentations has been successful. Some of the ones we did this year were repeat performances, and others, we hope become repeat performances. Alternatively, using the accessibility

Ada Bonini, President/Présidente Susan Wiggins, Chief Executive Officer/Chef de la direction

Nous sommes l’entité de promotion nationale du Canada pour la profession du design d’intérieur. C’est notre mandat de former, de promouvoir, de communiquer la valeur et l’expertise des designers d’intérieur canadiens auprès des gouvernements, des parties prenantes et des membres du public.

Lorsque vous considérez ces facteurs dans le contexte de votre propre pratique, vous pouvez facilement imaginer que si vous aviez pensé comment accomplir tout cela, et que vous aviez le double des heures dans une journée, vous seriez millionnaire à votre retraite. Vous pouvez alors imaginer le défi des DIC pour trouver le message le plus adéquat et les meilleures méthodes et véhicules pour promouvoir la profession au nom de 4500 membres praticiens à travers le pays, des gens qui travaillent dans tous les secteurs du design.

Dans les dernières années, une des méthodes qui a réussi est le fait de favoriser les occasions de conférences dans le contexte de symposiums et de salons. La présidente et la chef de la direction des DIC ont été modératrices de sessions composées de deux ou quatre designers d’intérieur. Qui pourra mieux vendre la valeur de la proposition mieux que vous, les membres? Pour certains de ces événements, un membre parmi ceux du conseil d’administration des DIC (la présidente quand elle est disponible) présente une conférence sur un sujet particulier sollicité par l’organisateur.

Notre présidente Ada Bonini a récemment présenté une conférence auprès de 50 membres du public dans le contexte du salon Dwell on Design de Los Angeles. Le but était de promouvoir l’importance d’engager des designers d’intérieur pour le milieu résidentiel en démontrant comment créer le meilleur design pour des espaces restreints.

Susan Wiggins, la chef de la direction des DIC, a été la modératrice d’un groupe de discussion avec trois designers d’intérieur de différentes régions du Canada dans le cadre

dimensions 08

presentation as an example, we were struck by the impact of the message on the audience and now feel that we should take this presentation “on the road.”

Where else could we share this message? Our first thought would be at an upcoming conference of Canadian municipalities.

Using case studies to deliver the value proposition message makes sense, but what more can we do? What if we were to add the client to our value proposition presentations? A client speaking about the impact the new design has had on their organization would certainly help drive home our message.

Conducting research to demonstrate results is also something we can add to our toolkit. Using funds, generously donated by a member and matching those funds with industry support, we will conduct a small research study to measure the impact of corporate design. The results will be published for use by members, real estate professionals, developers and end-users.

Our advocacy efforts are the most challenging in terms of finding the right message and audience.

We will, however, continue to make it a priority to look for new opportunities.

If you have any ideas, want to be a panelist, or have an amazing client who would be willing to share their story, you know who to call and as always, we’d

“One way that has proven to be successful at promoting members is to secure speaking opportunities at trade shows and conferences.” du Accessibility Summit, qui a eu lieu à Ottawa. Les conférenciers ont su démontrer avec brio comment les connaissances et les aptitudes que les designers d’intérieur apportent à un projet sont valables, en plus de prouver comment leur design vont au-delà des normes de base indiquées dans le Code du bâtiment.

Une audience composée de plus de 100 personnes provenant des villes, des pratiques du design et de l’architecture, des groupes militants pour une plus grande accessibilité, ont ainsi pu profiter des présentations d’études de cas et des échanges qui ont suivi les conférences.

Dans la plupart de ces événements, nos expériences dans les présentations lors de conférences ou lors de salons ont été des réussites. Certaines présentations ont été données plusieurs fois durant l’année, et d’autres, nous l’espérons, feront aussi partie des conférences que nous répéterons dans le futur. Pour parler de la présentation sur l’accessibilité, par exemple, nous avons été saisi par l’impact du message auprès du public. Nous croyons que nous devons donner cette conférence partout au pays.

Où pourrons-nous partager ce message? Notre première pensée serait dans les conférences à venir

love to hear from you!

We hope you had a wonderful summer! We will see you at the IDC Annual Meeting, Friday, September 26, 2014 in Vancouver.

Continue the conversation: @idcanadatweets

«Une des méthodes qui a réussi est le fait de favoriser les occasions de conférences dans le contexte de symposiums et de salons.»

des diverses municipalités canadiennes.

Le fait d’utiliser des études de cas pour livrer l’importance et la valeur du message est une bonne idée, mais que pouvons-nous faire de plus? Et si on ajoutait le nom de notre client aux propositions de nos présentations ? Un client qui témoigne de l’impact qu’a eu le nouveau sur leur organisation aiderait certainement à faire circuler notre message.

Faire des recherches dans le but de démontrer les résultats est également une chose que nous pouvons ajouter à notre boîte à outils. L’usage des fonds généreusement donnés par un membre et avec l’équivalent du même montant provenant de l’industrie, nous pourrons faire une recherche qui nous permettra de mieux mesurer l’impact du design d’entreprise. Les résultats seront ensuite publiés et utilisés par les membres, les professionnels du milieu de l’immobilier, les entrepreneurs et les usagers finaux.

Nos efforts de promotion représentent de gros défis car il faut trouver le message et l’audience appropriés. Nous continuerons par ailleurs à prioriser ces efforts afin de trouver des opportunités nouvelles.Si vous avez des idées, voulez être un de nos conférenciers ou un client extraordinaire qui souhaite partager ses expériences, vous savez comment communiquer avec nous et, comme d’habitude, nous seront heureux d’avoir de vos nouvelles!

Nous espérons que vous avez eu un bel été! Nous vous retrouverons dans le cadre de la rencontre annuelle des DIC, qui aura lieu le vendredi 26 septembre 2014 à Vancouver.

Suivez les DIC sur twitter : @idcanadatweets

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Q+A Q&R

Dimensions speaks with IDC member Michele Gunn, BID, FIDA, ARIDO, IDC, Licensed Interior Designer, AAA. Dimensions échange avec Michele Gunn, BID, FIDA, ARIDO, IDC, Licensed Interior Designer, AAA. By / Par Julia Salerno

How did you decide on a career in interior design? What path did you take through your career to get to where you are today?

I have always been very artistic, which led me to study fine arts at the University of British Columbia. I quickly realized that a degree in fine arts was not for me, so I decided to move back to Ontario and study interior design at Ryerson University – one of only two universities offering degree programs in Canada at the time.

Following graduation, I worked hard to get a job in corporate design, which took me to Calgary where jobs were plentiful. I was able to establish myself in the (then) small design community and become an advocate for the profession through volunteer opportunities with Interior Designers of Alberta, IDA. How long have you been working as an interior designer?

I’ve worked as an interior designer for 35 years! I was working odd freelance and contract jobs for a bit in Toronto until hearing that there was work in Calgary. Soon after my 25th birthday, I packed my bags and moved west.

My first job experience was incredible! I was working with Rice Brydone Ltd. which had opened an office in Calgary to work on the new Petro Canada Centre, a 52 floor project. Nine years later, they closed their Calgary location. I opened my own firm, which I ran for 10 years. During that time, one of my clients was Sizeland Evans Interior Design Inc. In 2000, I went to work for them full-time and after 13 years, and a move back to Ontario in 2013, I still work with them remotely thanks to technology.

What tips or advice can you offer emerging design professionals on the path to becoming a fully qualified interior designers?

Challenge yourself. Be curious. Stand by your design choices, but don’t be stubborn. Know that you don’t know everything and that there is always something new to learn; so never stop learning. Attend lunch-and-learns and supplier and

Name: Michele Gunn What I like the most: Every project is unique and I am doing something different every day.

What I like the least: Lack of value for an interior designer’s expertise.

Nom: Michele Gunn Ce que j’aime le plus: Chaque projet est unique et je fais des choses différentes tous les jours.

Ce que j’aime le moins: Le fait que l’expertise d’un designer d’intérieur ne soit pas valorisée.

Comment avez-vous décidé de faire carrière en design d’intérieur? Quelle trajectoire avez-vous privilégiée dans votre carrière pour arriver là où vous êtes aujourd’hui?

J’ai toujours été très artistique et cela m’a conduit à étudier les arts plastiques à l’Université de la Colombie-Britannique. J’ai rapidement réalisé qu’un diplôme en arts plastiques n’était pas pour moi. J’ai alors décidé de revenir en Ontario et d’étudier en design d’intérieur à l’Université Ryerson, une parmi les deux universités au Canada qui offraient des programmes de baccalauréat dans ce domaine à cette époque.

Après ma graduation, j’ai travaillé fort pour obtenir un emploi dans le domaine du design pour les entreprises, ce qui m’a fait déménager à Calgary où les emplois étaient nombreux. J’ai été ensuite capable de m’établir et de m’intégrer à la petite communauté du design et de devenir une porte-parole pour la profession grâce à des occasions de bénévolat au sein de l’IDA (Interior Designers of Alberta).

Depuis combien de temps travaillez-vous comme designers d’intérieur?

Je travaille comme designer d’intérieur depuis 35 ans ! J’ai fait du travail à la pige pendant une courte période, à Toronto, jusqu’au moment où j’ai entendu dire qu’il y avait beaucoup de travail à Calgar y. Peu de temps après mon 25e anniversaire, j’ai fait mes valises et je suis déménagée dans l’Ouest.

Ma première expérience de travail était incroyable! Je travaillais pour la firme Rice Brydone Ltd., qui avait ouvert un bureau à Calgary pour la réalisation du bâtiment du nouveau Petro Canada Centre, un projet de 52 étages. Neuf ans plus tard, ils ont fermé leur bureau de Calgary. C’est à ce moment-là que j’ai ouvert ma propre firme, dont je me suis occupée pendant 10 ans. Durant cette période, un de mes clients était la firme Sizeland Evans Interior Design Inc. En l’an 2000,

dimensions 10

manufacturer open houses. I still look forward to learning new things even after all this time in the profession. Treat your work as a career and not just a job – you and your employer will benefit.

I would also recommend getting involved in the profession. If you are just in it from 9 to 5, you will lose out on so much. Volunteer for an Association committee. Not only will you feel good about what you’re doing, but you will meet some wonderful people along the way.

lastly, being valued for your expertise and getting paid accordingly.

Continue the conversation: @idcanadatweets

What makes a successful interior designer?

I know everyone says this, but I think it holds true: Have passion for what you do. I could never imagine any other work I would rather be doing. Honesty, ethical behavior, and respect for your peers and those you come in contact with on a daily basis are all essential attributes to ensure your longevity in the profession.

What are your hopes for the future of the profession?

My hope for the future is for interior design to be recognized as a profession by means of a Practice Act in each province. Another would be that when you tell someone you are an interior designer, they know exactly what you do for a living. Oh, and

“Honesty, ethics, respect and passion are all essential attributes to ensure your longevity in the profession.”

«L’honnêteté, le comportement éthique et le respect de vos pairs ou des gens que vous fréquentez tous les jours sont des atouts essentiels. Ils assureront votre longévité dans la profession.»

j’ai commencé à travailler à temps plein pour eux et, après 13 années, je suis revenue en Ontario.

Je travaille encore pour eux à distance, parfois, grâce à la technologie.

par ce que vous faites, mais vous aurez aussi l’occasion de rencontrer des gens extraordinaires.

Quels conseils donneriez-vous aux professionnels débutants qui deviendront bientôt des designers d’intérieur pleinement qualifiés?

Remettez-vous en question. Soyez curieux. Assumez vos décisions, mais ne soyez pas entêté. Vous ne savez pas tout et il y a des nouvelles choses à apprendre, alors apprenez sans cesse. Participez à des activités de formation et aux événements publics des fournisseurs et des fabricants. J’ai toujours envie d’apprendre des choses nouvelles, même après toutes ces années dans la profession. Considérez votre travail comme une carrière, pas seulement comme un emploi. Vous et votre employeur en bénéficieront.

Je recommanderais aussi une implication dans la profession. Si vous le faites uniquement entre 9 et 5, vous passerez à côté de plusieurs choses importantes. Soyez bénévole pour un comité d’association. Non seulement vous serez valorisé

Qu’est-ce qui fait qu’un designer d’intérieur a réussi?

Je crois que tout le monde dit cela, mais que cela reste une vérité: soyez passionné par ce que vous faites! Je ne peux imaginer faire aucun autre travail. L’honnêteté, le comportement éthique et le respect de vos pairs ou des gens que vous fréquentez tous les jours sont des atouts essentiels. Ils assureront votre longévité dans la profession.

Quelles sont vos espérances pour l’avenir de la profession?

Mon espoir pour le futur est que le design d’intérieur soit reconnu comme profession par les méthodes de l’Acte de pratique dans chacune des provinces. J’ai aussi l’espérance que lorsque vous dites à des personnes que vous êtes un designer d’intérieur, elle savent exactement ce que vous faites. Finalement, je pense aussi qu’il est important d’être valorisé et payé en conséquence pour son expertise.

Pour continuer la conversation: @idcanadatweets

dimensions 11

motivating millennials motiver la génération Y

How to use generational stereotypes to your advantage Comment utiliser les stéréotypes générationnels à votre avantage By / Par Leslie C. Smith

dimensions 12

Boomers, Gen Xers and Millennials – for better or worse, our birth years proclaim who we are, how we behave and what we believe in. Take the two generations with the widest gap, Boomers (those born before 1960) and Millennials (those born after 1980), throw them into an office setting, and conflict is bound to occur.

Boomers are often viewed by the younger cohort as rigid rule-followers, uncomfortable with change. Millennials – rightly interpreting older attitudes towards them as judgmental – are seen as

Les baby-boomers, les individus de la génération X et de la génération Y, pour le meilleur et pour le pire, notre date de naissance révèle ce que nous sommes, comment nous nous comportons et ce en quoi nous croyons. Prenons les deux générations avec l’écart le plus grand, les baby-boomers (ceux nés avant 1960) et la génération Y (ceux nés après 1980), mettez-les ensemble dans un bureau et une zone de conflits émergera.

entitled, self-absorbed individuals who lack focus.

This discord, according to Renee Safrata, “will grow by 2020 as the Millennials hit the workforce like a tsunami,” crashing into a bulwark of middle-aged managers and near-retirement bosses. Chief executive of Vancouver-based Vivo Team Consulting (teamplatform.com) and a Boomer herself, Safrata is an experienced conflict facilitator whose company specializes in increasing workplace productivity.

“All generations need to figure out next steps towards collaborating cross-generationally,” she says.

At an IDC conference last February, Safrata demonstrated through a role-playing exercise how generational misunderstanding can lead to office tensions. “The scenario is a client presentation that’s due the next day for which the drawings are incomplete. The Boomer expects the Millennial to stay overtime and work on the presentation. The Millennial says, ‘I can’t. I have plans for this evening.’ The Boomer gets upset and does the job themself.

This happens a lot of times, where one

party will abort the conversation before getting to the real problem-solving part.

By taking the conversation deeper, the Millennial will add, ‘Let me do what I’d planned to do tonight, and I’ll come in early next morning to finish the presentation.’ This points to how Boomers were brought up: work first and play second. Millennials weave work and social life together, all day long.” Both think that theirs is the better way, but the point is the work gets done, one way or the other.

Safrata indicates further sources of friction. Millennials have grown up receiving acclaim for everything they do, no matter how well they do it. The reality of having to deal with failure or negative feedback comes as a shock to their system of belief in themselves.

And, although for the next few years at least, Millennials’ digital competence will help them get ahead, other important skills for success – social, problem-solving, presentation and time management – can be in limited supply. Understanding their own shortcomings and others’ points of view will go a long way towards

Les baby-boomers sont parfois vus par les plus jeunes comme des gens rigides qui obéissent aux lois, inconfortables avec le changement. Les individus de la génération Y, qui interprètent justement les attitudes de leurs aînés et qui portent facilement des jugements envers eux, sont vus comme des individus ayant tous les droits, narcissiques et incapables de se concentrer.

Selon Renee Safrata, cette mésentente «sera florissante vers 2020 alors que la génération Y arrivera sur le marché du travail comme un tsunami » et qu’elle se confrontera à une majorité de gestionnaires d’âge moyen et de patrons au seuil de leur retraite. Safrata appartient elle-même au groupe des baby-boomers. Elle est la chef de la direction de la firme Vivo Team Consulting (teamplatform.com) basée à Vancouver. Elle est une médiatrice de conflits expérimentée dont la compagnie se spécialise dans l’augmentation de la productivité dans le milieu de travail. Elle précise: « Toutes les générations doivent réfléchir aux prochaines étapes de la collaboration transgénérationnelle.»

L’année passée, dans le cadre d’une conférence des DIC, Safrata a démontré comment les malentendus générationnels peuvent provoquer des tensions au bureau, grâce à un exercice de jeux

de rôles. « Le scénario consiste en une présentation au client qui doit être livrée le jour suivant et les croquis ne sont pas encore terminés. La baby-boomer assume que la personne de la génération Y fera du temps supplémentaire et complétera la présentation. Le jeune insiste: «Je ne peux pas, j’ai d’autres plans pour la soirée.» La baby-boomer est insultée et fait le travail elle-même.

Cela se passe très souvent, une des deux parties sabordera la conversation avant d’en arriver à l’étape véritable de la résolution de conflits. En poussant plus profondément la conversation, le jeune de la génération Y dira: «Laissez-moi faire ce que j’avais planifié ce soir et je vais rentrer tôt au bureau demain matin et finir la présentation.»

Cela prouve comment les baby-boomers ont été formés: travaillons d’abord, amusons-nous ensuite. Les gens de la génération Y combinent les éléments de leur vie au travail et de leur vie sociale, toute la journée.» Les deux croient que leurs méthodes sont les meilleures, mais l’essentiel est que le travaille se fasse, d’une manière ou d’une autre.

Safrata indique d’autres sources de friction. Les individus de la génération Y ont constamment reçu des félicitations pour toutes les choses accomplies lorsqu’ils grandissaient, peu importe

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helping them find their feet.

Greg Quinn, principal of Toronto’s X Design, a full-service firm with global interests, hires and mentors several interns at a time. A Gen X-er himself, his viewpoint straddles the two conflicting demographics. To him, understanding people’s varied perspectives is key. “If you want to be heard, you’ve got to be able to listen to what others say. I think the biggest skill for success in any generation, but particularly for younger people just starting out, is having empathy,” he says “Our staff, suppliers, clients – they all come from different backgrounds. We have to put ourselves in everyone’s shoes, absorb everything around us.

Then we can be thrown into any situation and know how to respond.”

Quinn adds that older managers have a responsibility to guide newcomers down the right track. Young staffers, however, must learn “there are mundane parts to every job you’ve got to get through. You want to change the world and maybe you will, but you also have to do account reconciliation and detailed drawings. A good manager will instill in them a healthy respect for the entire process.”

According to another Gen X-er and an expert in leadership coaching, Greg Witz, president and CEO of Witz Education, Boomers have only

themselves to blame for Millennials’ low tolerances and sky-high expectations: “We have to remember that Boomers are the ones who brought them up this way, invalidating authority figures, overinflating their kids’ selfesteem, as a way of counteracting perceived difficulties in their own childhood. It’s not surprising then if some of these children end up bringing their parents along to a job interview or leaving a job because it’s not exactly what they expect, or exhibiting an attitude of ‘I don’t need to fit in – they need to fit in with me.’”

When it comes to motivating all but the most intransigent of Millennials, Witz advises everybody to relax.

Boomers started off their careers with a lot of high ideals and dreams, some of which they achieved and some that have faded over time. Millennials yearning for creative involvement in the greater good will likewise be assuaged. Moreover, as they continue to mature and take on their own family responsibilities, most Millennials will figure out that having a steady paying

job in an interesting profession often proves rewarding enough.

qu’elles soient bien réalisées ou bâclées. Le simple fait de devoir se mesurer à des échecs ou à des commentaires négatifs surprendra leur confiance en eux-mêmes. De plus, même si pour les prochaines années la compétence informatique des gens de la génération Y leur permettra de se placer au premier rang, d’autres atouts importants de la réussite, les compétences sociales, la résolution de problèmes ou encore la gestion du temps et des présentations peuvent être des ressources limitées. Le fait de comprendre leurs lacunes et le point de vue des autres pourra les aider à trouver leur équilibre et à mieux trouver leur place.

Greg Quinn, est président de la firme X Design, à Toronto. Cette firme offre divers services généraux, engage et accompagne différents stagiaires en même temps. Il appartient lui-même à la génération X et son point de vue est de marier les deux angles démographiques conflictuels. Selon lui, le fait de comprendre les perspectives variées des individus est essentiel. Il affirme : «Si vous voulez qu’on vous entende, vous devez aussi être capable d’écouter ce que disent les autres. Je pense que le plus grand atout pour la réussite, pour toutes les générations, mais surtout pour les jeunes qui débutent, c’est le fait d’avoir de l’empathie. Nos employés, nos fournisseurs et nos clients ont diverses formations.

Nous devons nous mettre dans les souliers de tout le monde, absorber toutes les choses autour de nous. Nous pouvons alors faire face à toutes les situations et savoir comment réagir. » Quinn ajoute que les gestionnaires les plus âgés ont la responsabilité de guider les débutants pour qu’ils restent sur la bonne voie. Les jeunes

employés doivent en revanche apprendre «qu’il y a des aspects désagréables dans tous les types d’emplois et qu’il faut les dépasser. Vous voulez changer le monde et peut-être que vous pourrez le faire, mais il importe aussi d’accomplir des résolutions de mandats et des dessins détaillés. Un bon gestionnaire saura instaurer un sain respect pour l’ensemble du processus.»

Selon un autre individu appartenant à la génération X, expert en mentorat et en accompagnement des employés, Greg Witz, président et CEO de la firme Witz Education, les baby-boomers peuvent commencer à prendre le blâme pour la faible tolérance et les hautes attentes de la génération Y : «Nous devons nous rappeler que ce sont les baby-boomers qui les ont élevés comme ça, en invalidant les figures d’autorité, en exagérant l’estime de soi de leurs enfants, balançant ainsi les difficultés qu’ils avait dûes fréquenter dans leur enfance. Cela ne surprend en rien si certains de ces enfants finissent par amener leurs parents dans une entrevue pour un travail ou qu’ils laissent un travail parce qu’il ne correspond pas à leurs attentes, ou qu’ils démontrent une attitude qui laisse entendre qu’ils ne doivent pas me soumettre à l’employeur, mais que c’est l’employeur qui doit se soumettre à lui.»

Lorsque vient le temps de moti-

ver tous les individus incluant le plus intransigeant de la génération Y, Witz recommande à tout le monde de relaxer. Les baby-boomers ont débuté dans leur carrière avec plusieurs idéaux élevés et des rêves, certains ayant vu le jour pendant que d’autres ont été relégués aux oubliettes, avec le temps.

Les individus de la génération Y, qui ont soif d’une implication créatrice pour le bien en général, seront probablement amenuisés. Cependant, alors qu’ils continueront à grandir et à prendre leurs responsabilités familiales, la plupart des individus de la génération Y réaliseront qu’avoir un emploi avec un salaire assuré dans une profession intéressante s’avère satisfaisant.

Continue the conversation: @vivoteams @gregwitz

Continuez la conversation: @vivoteams @gregwitz

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people first design le design pour les gens d’abord

Interiors for individuals with neuro-diversities Les intérieurs adaptés à la neurodiversité des individus By / Par Rachael Factor

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In the past few decades, the understanding of the role of an interior designer has evolved from one of creating spaces that are aesthetically attractive, to creating environments that enhance the lives of the people who use them.

Some of the concepts to come out of this shift include universal design, designing for everyone, regardless of their ability, and evidence-based design which emphasizes design decisions based on real-world research.

Now, interior designers are looking to neuroscience to inform their practice. “Neuro-architecture” explores the relationship between the human brain and the design of buildings and other man-made structures that make up the environments in which we live. More specifically, neuro-architecture seeks

Dans les dernières décennies, la compréhension du rôle du designer d’intérieur a évolué. De la perception de créateur d’espaces esthétiques, il est devenu concepteur d’environnements conçus pour améliorer la vie des gens qui les utilisent.

Quelques-uns des concepts qui marqueront cette évolution incluent les principes de conception universelle, soit le design pour tout le monde, et cela, sans tenir compte des aptitudes du designer ou du design basé sur des données probantes, qui met l’emphase sur des recherches sur le terrain.

De nos jours, les designers d’intérieur examinent la neuroscience pour informer leur pratique.

La « neuro-architecture » explore la relation étroite entre le cerveau humain et le design de bâtiments et autres structures faits par l’homme et qui constituent la fabrique des environnements où nous vivons.

to understand the human response to built environments, and to assess the impact that these structures have on the human nervous system and brain.

For individuals with intellectual or developmental diversities (I/DD), understanding the interaction between human behaviour and the built environment is especially important.

Angela Bourne is an interior designer, researcher and professor, and president of Neuro-Environments, an interior/environmental design company that specializes in the design of built and natural spaces for individuals with neuro-diversities. She recently completed her PhD in Environmental Design with a research trajectory in neuro-architectural design for vulnerable populations. Dr. Bourne’s research and practice focuses on designing for adults with I/DD, specifically, autism and Down Syndrome.

“Growing up with a brother with Down syndrome, I saw first-hand the impact the physical environment can have on a person with cognitive differences,” says Bourne. “When I went

back to school to become a specialist in designing for this population, it was because I knew that there was so much more designers could do to improve quality of life for people like my brother.”

Dr. Bourne’s research aims to provide design guidelines for the development of therapeutic living communities that enhance the quality of life for adults with I/DD. Through her research, she is seeking to determine which physical design features best support and develop cognitive processing, accommodate sensory sensitivities, and encourage independent lifestyles for this population.

Since many people with I/DD have sensory sensitivities, designs must take into account how the experience of being in a space will affect all the senses. Glare and clutter can be visually confusing, so it is important to choose non-reflective surfaces and to use forms and finishes that are uncomplicated and visually uniform.

Clear wayfinding minimizes an individual’s dependence on being guided by a caregiver, allowing them to have

Plus spécifiquement, la neuro-architecture cherche à comprendre la réponse humaine à l’environnement bâti et aussi d’accéder à l’impact qu’on ces dites structures sur le système nerveux et le cerveau.

Pour les individus avec des diversités développementales ou intellectuelle(I/ DD), le fait de comprendre l’interaction entre le comportement humain et l’environnement bâti est particulièrement important. Angela Bourne est designer d’intérieur, chercheure et professeure, et présidente de la firme Neuro-Environments, une compagnie de design d’intérieur/environmental qui se spécialise dans le design d’espaces naturels et bâtis qui respectent la neurodiversité des individus. Elle a récemment complété son doctorat en design environnemental avec une trajectoire de recherche en design neuro-architectural pour les populations vulnérables. La recherche et la pratique valorisent le design pour les adultes souffrant d’I/DD, plus spécifiquement l’autisme et la trisomie 21.

Angela Bourne le précise: «Comme j’ai grandi avec un frère trisomique, j’ai vu d’emblée l’impact que peut avoir l’environnement physique sur les personnes qui ont des différences sur le plan cognitif. Lorsque je suis retournée à l’école pour apprendre à faire le design

pour cette population, c’était parce que je savais que les designers pouvaient faire beaucoup plus pour améliorer la qualité de vie de gens comme mon frère.»

La recherche de Dr. Bourne a pour mandat de fournir des directives de design développées pour les communautés de milieu de vie thérapeutique afin d’améliorer la qualité de vie des adultes avec I/DD. Elle cherche à déterminer quels aspects du design soutiendront et aideront aux processus cognitifs, en accommodant les sensibilités sensorielles et en encourageant les styles de vie et l’indépendance pour cette population.

Puisque plusieurs personnes avec I/ DD ont des sensibilités sensorielles différentes, les designs doivent considérer dans quelle mesure l’expérience d’être dans un espace aura un impact sur les sens. La lumière et les formes peuvent créer une confusion sur le plan visuel, alors il est important de choisir des surfaces non réfléchissantes et d’utiliser des formes et des finitions qui sont faciles et uniformes visuellement.

L’orientation claire minimise une dépendance individuelle dans le fait d’être guidé par un aidant, ce qui donne plus d’indépendance et atténue les frustrations. Même si le système de panneaux d’orientation est souvent vu

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greater independence and helping to minimize their frustration. While wayfinding is often thought of as signage, most signs are not helpful for individuals who cannot read, are colourblind, or have trouble interpreting symbols. For this reason, design for populations with I/DD relies heavily on sightlines: open spaces and different levels that allow individuals to see what they can expect from an environment before entering it, as well as where to find something within a space.

“Being able to see from anywhere within a space where the bathroom is, for example, is very helpful for adults with I/DD,” says Bourne. “A direction like ‘down the hall, second door on the left’ can be difficult to follow, and it’s frustrating to always have to ask.”

Texture is also important, and subtle textural cues can help orient people. For example, a change from one type of flooring to another at a transition point can serve as a memory cue.

Other cues that help people identify the purpose of a room are also helpful, such as having food or dishes visible in a kitchen or eating area.

While these design elements are essential for individuals with I/DD to be able to navigate a space comfortably, anyone, regardless of ability, would benefit from their use.

“We all use our senses more than we think we

do,” says Bourne. “The use of sensory cues in design could help everyone use space more effectively. Don’t we all prefer entering a building and being able to see exactly where to go, rather than having to ask someone or find a directory?”

Bourne’s approach to design is informed by her work with I/DD populations; however, she stresses that it can and should be applied to any design project.

“I always try to understand the person first, before even starting the design process,” says Bourne. “I won’t even look at a space before understanding the client. If you look at the space first, you’re always fitting the people in rather than fitting the space to the people.”

“People first” is the approach Bourne teaches her students in the interior design program at Fanshawe College in London, Ontario. She hopes that this attitude will become a universal norm, resulting in built environments that are a lot more welcoming – to everyone.

comme une forme de signalisation, la plupart des signalisations ne sont pas aidantes pour les individus qui ne peuvent pas lire, qui sont daltoniens, ou pour ceux qui ont de la difficulté à interpréter les symboles. Pour cette raison, le design pour les populations souffrant d’I/DD dépend grandement des lignes de visibilité: des espaces ouverts et plusieurs niveaux qui permettent aux individus de voir ce qu’ils peuvent faire dans un environnement avant d’y entrer, ou encore trouver ce qu’ils cherchent à l’intérieur d’un espace.

Angela Bourne mentionne : «le fait d’être capable de voir à partir de tous les lieux d’un espace où se trouve la salle de bain est très facilitant pour les individus qui souffrent d’ I/DD. Une orientation qui implique « au bout du couloir, au deuxième étage à gauche » peut être difficile à suivre et c’est frustrant de devoir toujours le demander.»

La texture est aussi importante, car les textures subtiles servant de marqueurs peuvent aider les gens à s’orienter. Par exemple, un changement d’un type de revêtement de sol sur un point précis peur servir de marqueur de mémoire. D’autres marqueurs pouvant aider la fonction d’une pièce sont aussi facilitants, comme le fait d’avoir de la nourriture ou de la vaisselle visible dans une cuisine ou dans une aire de restauration.

Même si ces éléments de design sont essentiels pour que les individus souffrant d’I/DD soient capables de circuler confortablement dans un espace, tous les gens, peu importe leurs habiletés, pourront aussi en profiter.

Angela Bourne insiste: « Nous utilisons beaucoup

plus nos sens que nous le croyons.

L’usage de nos marqueurs sensoriels dans le design peut aider tous les individus à utiliser l’espace plus efficacement.

Ne sommes-nous pas tous comblés lorsque nous entrons dans un immeuble et que nous savons où aller, au lieu de le demander à quelqu’un ou d’utiliser un plan des lieux?»

L’approche du design d’Angela Bourne est bien documentée par son travail avec les populations qui souffrent d’I/DD. Cela dit, elle insiste et affirme que ses méthodes peuvent être appliquées à tous les projets de design.

Elle ajoute: « J’essaie toujours de comprendre la personne en premier lieu, même avant de commencer le processus de design. Je ne regarde jamais l’espace avant de m’assurer de bien comprendre le client. Lorsque vous regardez un espace en premier, vous accommodez toujours les gens à l’espace au lieu de regarder l’espace en fonction des gens.»

«Les gens d’abord» est l’approche qu’Angela Bourne enseigne à ses étudiants dans le programme de design d’intérieur de Fanshawe College, à London, en Ontario. Elle espère que cette attitude deviendra la norme universelle, soit de rendre les environnements bâtis plus accueillants, pout tout le monde.

I DC c o n g rat u late s A n g ela o n b e c o m i n g o n e of o n l y a fe w C a n a d i a n i n te r i o r d e s i g n e r s who have successfully obtained their PhD.

Les DIC félicitent Angela, qui fait par tie des quelques designers d’intérieur canadiens à avoir obtenu un doctorat

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legal corner le coin juridique How to succeed at succession Comment réussir son plan de relève By / Par Rob Wilson, Canadian Federation of Independent Business (CFIB) / Fédération canadienne de l’entreprise indépendante (FCEI)

Rob Wilson is Vice President, National Accounts at the Canadian Federation of Independent Business (CFIB) – Canada’s voice for small business.

With most of the baby boomers looking to retire over the next decade, there is a good chance that you have thought about what happens after you decide to leave your interior design business to pursue other opportunities or simply enjoy the fruits of your labour.

All good things come to an end, but not all things come to a good end. That’s where succession planning comes in. In order to make the most of the investment you’ve made in your business, planning is needed, and the right time to start planning is right now.

A 2012 report from CFIB entitled Passing on the Business to the Next Generation reveals some startling statistics when it comes to succession planning among Canada’s small business owners. For example, although almost 70% of CFIB members plan to exit their businesses in the next ten years, less than 10% have a formal succession plan.

If you are among the large majority of small business owners that don’t have a plan, this could mean you will not enjoy the retirement you’ve always wanted.

But don’t despair, you can start today. Here are some of the questions you will have to answer: 1. When do I want to exit my business?

2. Who will take over my business when I’m gone?

3. How much money do I want to get out of my business to fund my future goals?

4. How do I manage the transfer?

Question two is likely the first question that needs answering. You may have someone in mind to take over, but never assume you have a successor if that successor doesn’t know about it. Identify potential buyers. A competitor who is looking to expand? Perhaps people who already work with you and know the business? They may not even think of the possibility if you don’t mention it, and you never know who might be interested until you ask.

Communication is critical. Make sure the person you choose as your successor

Rob Wilson est vice-président des comptes nationaux pour la Fédération canadienne de l’entreprise indépendante (FCEI) : la voix du Canada pour les petites entreprises.

Avec la plupart des baby-boomers qui pensent prendre leur retraite dans la prochaine décennie, il y a de bonnes chances que vous ayez réfléchi à ce qui se passera après avoir pris la décision de quitter votre entreprise de design d’intérieur pour faire autre chose, ou pour pleinement profiter des fruits de votre travail accompli.

Toutes les bonnes choses ont une fin, mais pas toutes les choses se terminent bien.

C’est alors que la planification de la succession s’impose. Dans le but de profiter pleinement des investissements de votre entreprise, une planification est de mise et le meilleur temps pour planifier est maintenant.

Un rapport fournit par FCEI en 2012 intitulé Transfert de l’entreprise à la prochaine génération révèle des statistiques étonnantes lorsque vient le temps de planifier des successions pour les propriétaires de petites entreprises au Canada. Par exemple, même si presque 70 % des membres FCEI planifient de laisser leurs entreprises dans les 10 prochaines années, moins de 10 % des gens ont un plan de succession formel.

Si vous faites partie de la vaste majorité des propriétaires de petites entreprises qui n’ont fait aucun plan, cela peut vouloir dire que vous ne pourrez pas profiter de la retraite que vous avez toujours voulue. Mais ne désespérez pas, vous pouvez le faire dès aujourd’hui! Voici quelques-unes des questions auxquelles vous devez répondre: 1. Quand vais-je quitter mon entreprise?

2. Qui prendra mon entreprise quand je ne serai plus là?

3. Combien d’argent voudrais-je retirer de ma compagnie pour financer mes projets futurs?

4. Comment dois-je composer avec la gestion du transfert?

La deuxième question est inévitablement celle qui a besoin d’une réponse. Vous avez peut-être pensé à quelqu’un pour prendre la relève. Cela dit, n’assumez jamais que vous avez un successeur, surtout si le successeur ignore vos intentions. Identifiez des acheteurs potentiels. Avez-vous un compétiteur qui souhaite élargir son entreprise? Peut-

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shares your vision of how and when the transfer will happen, what it will cost, how much of your expertise is needed, and how the business will look when all is said and done.

Once you have chosen a successor – and he or she has chosen you – you are ready to get down to the nitty-gritty of planning. This will bring back many of the same questions above, but now the answers need to work not just for you, but for your successor as well.

• Perhaps the person you’ve chosen has less experience than you would like. This could affect how long you need to stay on as a mentor. If you identify your successor well in advance, you may be able to get a head start on the needed knowledge transfer; • Is the price you imagined realistic? Both parties will probably want a formal valuation done; • Does the buyer require special payment terms to make the transfer work? Will ownership be transferred over time, or all at once?

• At this point, you will also want to think about taxation and legal considerations. These will affect how you decide to execute the transfer.

Together with a number of partners, CFIB has developed a guide to Building a Succession Plan, that can help you get started. It’s easy to think of succession as something that happens

“Almost 70% of CFIB members plan to retire in the next 10 years.

Less than 10% have a formal succession plan.” être que des gens qui ont déjà travaillé avec vous et connaissent déjà l’entreprise sont intéressés? Ils ne penseront peut-être pas à cette possibilité si vous ne le mentionnez pas. Vous ne pouvez savoir qui sera intéressé si vous ne le demandez pas.

La communication est primordiale. Assurez-vous que la personne que vous choisirez comme successeur partage votre vision concernant la période et les manières de procéder au transfert de l’entreprise, ce que cela coûtera, combien d’années d’expertises seront requises et quelle envergure aura l’entreprise une fois que tout sera accompli.

Une fois que vous avez choisi un successeur (et que lui ou elle vous a choisi) vous êtes prêt à vous mettre au travail de planification. Cela vous fera revoir plusieurs des questions mentionnées ci-dessus mais, maintenant, les réponses doivent satisfaire les deux parties de l’entente, vous et votre successeur.

• La personne que vous choisissez a peut-être moins d’expérience que vous aimeriez. Cela pourra avoir un impact sur la période où vous devrez rester dans l’entreprise comme mentor. Si vous identifiez votre successeur longtemps en avance, vous serez capable de prévoir la transmission des connaissances nécessaires;

tomorrow, but if you want to succeed, it’s always best to get started today.

This document is intended for informational purposes only and is not legal advice or a substitute for consultation with a licensed legal professional in a particular case or circumstance.

IDC and CFIB have recently partnered to help members effectively navigate the entrepreneurial business environment. IDC members receive discounted CFIB membership and access to resources. To access CFIB’s guide to Building a Successful Succession Plan, visit cfib-fcei.ca. To learn more about how IDC and CFIB are working together, visit idcanada.org.

«Presque 70 % des membres FCEI planifient de prendre leur retraite dans les 10 prochaines années.

Moins de 10 % des gens ont un plan de succession formel.»

• Le prix que vous avez imaginé est-il réaliste? Les deux parties prenantes voudront sans aucun doute une estimation légitime; • L’acheteur a-t-il besoin d’un mode de paiement spécial pour accomplir le transfert des pouvoirs? La propriété de l’entreprise sera-t-elle transférée sur une période de temps prolongé ou entièrement et immédiatement?

• Rendu là, il sera important de réfléchir aux questions de la taxation et aux considérations légales. Ces facteurs détermineront comment vous souhaitez effectuer le transfert des pouvoirs.

FCEI a développé avec plusieurs partenaires le guide Élaborer un plan de relève, qui pourra vous aider dans cette démarche. Il est facile de penser à une succession comme une chose qui viendra plus tard, mais il est préférable de la prévoir dès aujourd’hui.

Ce document est prévu à titre d’information uniquement. Il ne représente pas un conseil légal et ne tient pas lieu de consultation avec un professionnel des questions légales, dans aucun cas ou sous aucun prétexte.

Les DIC et la FCEI ont récemment créé un partenariat pour aider les membres à naviguer plus efficacement dans l’environnement des affaires entrepreneuriales.

Les membres des DIC reçoivent un rabais exclusif pour l’adhésion à la FCEI. Pour en savoir d’avantage sur comment les DIC et la FCEI travaillent ensemble, visitez la section réservée aux membres des DIC sur le site Internet idcanada.org.

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marketplace Le marché

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1. Inscape – InscapeBench Inscape Bench supporte la transition des travailleurs dans des espaces de collaboration. La possibilité de créer facilement des espaces de travail personnalisés, les surfaces réglables en hauteur ainsi que les différents choix offerts pour l’intimité visuelle et acoustique font d’Inscape Bench un choix populaire pour les designers.

2. Ican Tile Distributors – RE-WORK RE-WORK et un design contemporain et polyvalent qui crée une transition fluide de l’intérieur à l’extérieur. REWORK est disponible dans quatre tailles, deux finitions, et en 20 mm pour l’installation sur des piédestals surélevés et pour l’installation sèche sur l’herbe ou le gravier.

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The products showcased are by IDC Industry member companies and respond to the question: “why do interior designers love this product.” Products are selected by IDC’s editorial committee. To submit your product for consideration, please contact industry@idcanada.org.

Ces produits des membres d’industrie des DIC ont été sélectionnés par le comité éditorial des DIC. Ils répondent à la question suivante: « Pourquoi les designers d’intérieur aiment-ils ce produit? » Pour publier vos produits, communiquez avec industry@idcanada.org.

3. Samsung – Chef Collection 4-Door Refrigerator The Samsung Chef Collection 4-Door Refrigera­tor represents the next generation in food reservation, storage, organization and design. The fridge’s LED Star Display enhances its stainless steel finish and its 4-pillar LED lighting beautifully illuminates its interior.

4. Mohawk Group – Hot & Heavy Hot & Heavy’s over-sized, loose-lay luxury vinyl features realistic wood and concrete look patterns without the need for adhesives or underlayments. Product highlights include exceptional dimensional stability, installation over high moisture slabs, and excellent acoustics for quick installation.

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3. Samsung – Chef Collection 4-Door Refrigerator Le réfrigérateur à 4 portes de la Collection du Chef de Samsung représente la prochaine génération de produits de rangement, de conservation et d’organisation des aliments. Le Star Display du réfrigérateur est de conception DEL, une haute technologie qui rehausse la beauté de sa finition en acier inoxydable, et son efficacité d’éclairage DEL à 4 piliers éclaire magnifiquement son intérieur.

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4. Mohawk Group – Hot & Heavy La solution de recouvrement en vinyle de luxe de Hot & Heavy, abondante, crée des motifs de bois et de béton d’aspect réaliste et s’installe facilement sans adhésif ni sous-couche. Les produits les plus prisés offrent une stabilité dimensionnelle exceptionnelle, une installation sur des dalles en béton à haut taux d’humidité et une excellente acoustique pour une installation rapide.

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trade talks pourparlers By / Par Julia Salerno

Dimensions asked three interior designers “Which of your design solutions has made the greatest impact to a client’s way of life?”

Dimensions a demandé à trois designers d’intérieur : «Lesquelles de vos solutions de design ont eu l’impact le plus important sur le mode de vie d’un client?»

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Fran Underwood, Underwood & Moore Interior Designers, Chester, NS

Good design is about function! A client of mine who lives in a wheelchair is self-sufficient in his home because of the layout of space and the way I designed kitchen, bathroom and work areas specifically for him. Another client with vision problems lives independently because I designed his space with bold colour contrasts, textured surfaces and natural light, all strategically placed to help him function more easily on his own.

Mike Isbister, LM Architectural Group | Environmental Space Planning, Winnipeg, MB

Brenda Bjarnason, Bjarnason + Associates Interiors Inc., Toronto, ON

In a recent project for Deloitte, a portion of the criteria called for sections of the exterior curtain wall to be opened. The utilization of glass office fronts injected an abundance of natural daylight. By incorporating non-paneled low height workstations, it was possible to create great views to the city with natural lighting for improved staff morale and wellbeing.

The relocation of Plan Canada allowed for a review of functional and technology-based needs in the workplace. Formerly, staff took meetings outside of the facility due to shortage of space and to seek refuge from the disruptive international Skype calls being made at nearby workstations.

The need for quiet space, with emphasis on varied meeting spaces - from solo rooms for personal work and calls; conversation rooms for small meetings; and flexible rooms with movable, acoustic wall systems for mid-size, large and town hall sized meetings has had the greatest impact on the organization’s 220 staff.

“The need for quiet space, with emphasis on varied meeting spaces has had the greatest impact.”

Fran Underwood, Underwood & Moore Interior Designers, Chester, NS

Fran Underwood, de la firme Underwood & Moore Interior Designers, Chester, NS Un design de qualité implique le fonctionnalisme!

Un de mes clients qui vit dans une chaise roulante est autonome dans sa maison parce que l’aménagement de l’espace et mes dessins de la cuisine, de la salle de bain et des autres espaces de travail sont réalisés spécifiquement pour lui. Un autre client ayant des problèmes de vision est aussi autonome chez lui parce que j’ai fait le design de son espace avec des couleurs voyantes, des surfaces texturées et une lumière naturelle, l’ensemble étant adapté stratégiquement pour l’aider à fonctionner seul plus facilement.

Mike Isbister, LM Architectural Group | Environmental Space Planning, Winnipeg, MB

Mike Isbister, de la firme LM Architectural Group | Environmental Space Planning, Winnipeg, MB Dans un récent projet pour Deloitte, nous avons dû ouvrir des parties du mur-rideau extérieur. L’usage de fenêtres frontales a ajouté une abondance de lumière naturelle.

En incorporant des postes de travail sans panneaux ou avec des murs bas, nous avons pu offrir des vues imprenables sur la ville avec lumière naturelle, le tout améliorant la santé morale et le bien-être des employés.

«Le besoin d’espaces tranquilles, en mettant l’accent sur diverses salles de réunions, ont a eu l’impact le plus significatif»

Brenda Bjarnason, Bjarnason + Associates Interiors Inc., Toronto, ON

Brenda Bjarnason, Bjarnason + Associates Interiors Inc., Toronto, ON La relocalisation de Plan Canada a permis la revision des besoins technologiques et fonctionnels dans le milieu de travail. Les employés ont traditionnellement tenu leurs réunions à l’extérieur du bâtiment en raison des espaces restreints et pour s’éviter les téléphones internationaux sur Skype opérés dans les bureaux avoisinants et qui dérangent. Le besoin d’espaces tranquilles, en mettant l’accent sur diverses salles de réunions — allant des petites pièces pour le travail solitaire et pour les conversations téléphoniques aux salles de conversations pour les réunions de petits groupes, en plus des salles polyvalentes avec des systèmes d’acoustique parfaits pour des salles de réunions de grandeurs moyennes, plus larges ou très grandes, comme des salles municipales — a eu l’impact le plus significatif sur les 220 employés de l’organisation. dimensions 23

Interior Designers of Canada C536–43 Hanna Avenue, Toronto ON M6K 1X1 t 416.649.4425 tf 877.443.4425 f 416.921.3660 www.idcanada.org dimensions@idcanada.org

*Industry members

*Membres d’industrie IDC Industry / Industrie DIC Partner / Partenaire des DIC Architex Caesarstone Canada Hunter Douglas LP. Interface Knoll North America Corp.

Levey Industries Inc. Shaw Contract Group Tandus Centiva Teknion Limited The Mohawk Group Williams-Sonoma Inc. Designer Marketplace Patcraft Philips Renin Canada Corp.

IDC Industry / Industrie DIC Tier III / Niveau III 3M Canada - Architectural Markets Allseating American Standard Brands Ames Tile & Stone Ltd. Commercial Design Interiors Elite Crete Systems Canada ELTE & Ginger’s Formica Canada Inc. GLOBAL GROUP Haworth Ltd. Ican Tile Distributors Inscape Kravet Canada Lutron Electronics Canada Inc. Milliken & Company Mirolin Industries Richelieu Hardware Tailored Living featuring Premier Garage Richway Furniture IDC Industry / Industrie DIC Tier II / Niveau II Accoustics With Design Allsteel Arborite Beaulieu Commercial Benjamin Moore & Co. Ltd. Cambria Natural Quartz Surfaces Ceragres Tile Group Contrast Lighting M.L. Inc Crown Wallpaper & Fabrics Dauphin North America DIRTT Environmental Solutions Ltd. Distinctive Appliances Inc. DORMA Canada Hettich Canada L.P. Julian Ceramic Tile Inc. Kinesik Engineered Products Kohler Canada Co. MAPEI Inc. MARANT Construction Ltd. Metropolitan Hardwood Floors Inc. Momentum Group Odyssey Wallcoverings PC350 Royal Lighting RUNWAY FLOORING COUTURE Steelcase Canada Stone Tile International Inc. Three H. Furniture Systems TORLYS Smart Floors Vintage Flooring Zawadee.com

IDC Industry / Industrie DIC Tier I / Niveau I 3form 3G Lighting Inc. Abet Corp.

Acoustics With Design Actual Design & Decor Advance Marble & Granite Aeon Stone & Tile Inc. Alendel Fabrics Limited Atlas Carpet Mills Altro Canada Inc. Amala Carpets Anti-Slip Anywhere Appliance Love Applied Electronics Ltd. Arconas Armstrong World Industries Astro Design Centre Avant Garde division of Master Fabrics Baldwin | Pfister | Weiser Banner Carpets Ltd. BARAZIN Barrisol Canada Bay Resource Group Inc. Beckwith Galleries BerMax Design Ltd. Beyond the Mold - Concrete Artistry bf workplace BL Innovative Lighting Black Rock Studio Blackburn Young Office Solutions Inc. Blue Sky Agency Blum Canada Ltd. BRC Canada Brunswick Manufacturing Co. Ltd. Buckwold Western Ltd. Burritt Brothers Carpet and Floors Business Interiors by Staples Buy Rite Office Furnishings Source California Closets Canadel Cantu Bathrooms & Hardware Ltd. Carlisle Wide Plank Floors Inc. Carpenters Union, Local 27 Cascadia Design Products CDm2 LIGHTWORKS Centanni Tile Inc. Century Wood Products Inc. CGC Inc. Chase Office Interiors Inc. Cherrywood Studio Ciot CMDS Agencies Coast Wholesale Appliances Cocoon Furnishings Colin Campbell & Sons Ltd. Commercial Electronics Ltd. Connect Resource Managers & Planners Inc. Convenience Group Inc. Coopertech Signs and Graphics Creative Custom Furnishings CTI Working Environments Custom Chic Cyan Design c/o Norlite Inc. Canadian Distributor Daltile Canada Décor-Rest Furniture Ltd. Dell Smart Home Solutions Denison Gallery DesignDocs Inc. Design Lighting Design Living Centre Digital Smart Homes Diversified Technology System Inc. (DTS)

Dominion Rug & Home DPI Construction Management Drechsel Business Interiors DuPont Canada The Ensuite Eden Textile Entertaining Interiors Environmental Acoustics Envirotech Office Systems Inc. Erv Parent Co. Ltd. European Flooring Group FloForm Countertops FLUX Lighting Inc. Fontile Kitchen and Bath Forbo Flooring Systems Canada Greenferd Construction Inc. Grohe Canada Inc. Grosfillex Inc. Heritage Office Furnishings Ltd. Herman Miller Canada Inc. High Point Market Authority hitplay Holmes & Brakel Humanscale Icon Flooring Inc. International Design Guild Ireland and Company Isted Technical Sales JCO & Associates Johnsonite Jones Goodridge KAARMA KANDY Outdoor Flooring, Inc. Kartners Bathroom Accessories Keilhauer Kitchen & Bath Classics (Wolseley) Krish Deco Ltd. Kraus/Floors with More Krug La Scala - Home Automation and Integrated Audio/Video Leber Rubes Inc. Lee Wilder Design/Art Space Studio Leonardi Construction Ltd. Leon’s at the Roundhouse Light Resource LightForm Livingspace Interiors Linea Ceiling & Wall Systems LSI Floors Mac’s II Agencies Maharam Malvern Contract Interiors Limited Manchee Leather Mannington Commercial Marble Trend Ltd. Marco Products (W Group) Maritime Window Film Specialists Marketing Your Design Marshall Mattress Martin Knowles Photo/Media McKillican Canadian Mega Furniture Imports Ltd. Melmart Distributors Inc., Atlantic Division Mercury Wood Products Metro Wallcoverings Inc. Caplan’s Appliances & Miele Gallery Caplan’s Miller Thomson LLP MOEN Inc. Monk Office Interiors M-Tec Inc. Muskoka Living Interiors Inc. Nester Furniture Inc. NewWall

Novanni Stainless Inc. NUCO System Inc. Nuvo Sales Group Octopus Products Ltd. The Office Shop Office Source Inc. OfficeMax Grand & Toy Oi Furniture Olympia Tile International Inc. Panolam Surface Systems Pentco Industries Inc. POI Business Interiors Powell & Bonnell Home Inc. Prevaleo Pravada Floors Prolific Marketing Inc. Robert Allen Fabrics Canada Roman Bath Centre Royal Decor Steel Inc. Salari Fine Carpet Collections Samsung Electronics Canada SaveMore Plumbing & Lighting Schluter Systems Canada Inc. Showcase Interiors Ltd. Skyfold smitten creative boutique SOFA - Source of Furniture and Accessories SpecConnect Square Inc. Star Building Materials Stone Port Stonequest Inc. Streamline Sales & Marketing Inc. The Sullivan Source Inc. Sustainable Solutions International SwitzerCultCreative Symmetry Lighting TA Appliances and Barbecues Tapis Rugs & Carpets Taymor Industries Ltd. Textile Trimmings The Brick Commercial Design Centre Midnorthern Appliances The Interior Design Group The Michael Thomas Group The PENTACON Group The Sliding Door Company Tierra Sol Ceramic Tile TOR The Office Resource Toronto Refurbishing Limited Trail Appliances Tremton Construction Inc. Trespa Tri-Can Contract Inc. Trigon Construction Management Turkstra Lumber Company Ltd. Tusch Seating Inc. Valley Countertops Industries Ltd. Vantage Controls Vestacon Limited Vifloor Canada Ltd. W Studio Decorative Carpets Westport Manufacturing Co. Ltd. Weston Premium Woods Willis Wilsonart Canada Workplace Essentials IDC Media Partner / Partenaires des médias des DIC Canadian Interiors Homes Publishing Group * As of July 16, 2014 * À partir du 16 juillet 2014

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EVERYTHING ABOUT THE LEXUS ES SUGGESTS INCONSPICUOUS CONSUMPTION. YES, EVEN THE MILEAGE.

The clean lines, the finely tuned accents and most notably the fuel consumption on the Lexus ES Hybrid are the very definition of restraint. Yet open the door and you get another picture: an incomparably spacious and sumptuous interior, 10-way adjustable ventilated leather seats, a leather-wrapped heated steering wheel. In fact, you’ll be amazed – even baffled by how a hybrid can offer such a comfortable and indulgent ride while delivering better fuel economy than most subcompact cars. For details, visit lexus.ca/es or go to a Lexus Dealership to see the car in all its ever-so-discreet glory.

AMAZING IN MOTION

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2014-04-29 10:47 AM