GRAY No. 53: The Warrior Issue

DESIGN DISRUPTORS

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THE WARRIOR ISSUE

ISSUE

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N O 53 : THE WARRIOR ISSUE

12. HELLO 14. MASTHEAD 15. CONTRIBUTORS

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INTEL

DESIGN DNA

25. F I R S T L O O K Designers around the world have rallied with support and innovation during the pandemic. Here are just a few of the new products, solutions, and acts of kindness that emerged over the past few months.

35. C H A N G E M A K E R Meet the husband-and-wife team running one of Australia’s most prolific, socially driven architecture firms.

44. G E N E S I S With its holographic finishes and ultra-’80s-inspired patterns, the Italian ceramic tile company 41zero42 shows it isn’t afraid to break through boundaries in an industry shaped by decades of tradition.

on the cover

Architect Mariam Kamara, founder of Atelier Masōmī, is redefining architecture in her home country of Niger.

By Rachel Gallaher SEE PAGE 7 8

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48. O B J E C T S O F D E S I R E Pining for a change of indoor scenery? GRAY has a surefire solution for every style, and every surface, in your home.

54. O N T H E R I S E Spirited London-based womenswear designer Katie Ann McGuigan is fearless in her use of print, fashioning everyday pieces that are anything but ordinary.

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59. Q U I E T B E A U T Y Japanese industrial designer Naoto Fukasawa captures the sublime side of simplicity.

87. C O N T R A C T H I G H From Vancouver to Kyoto, exceptionally designed spaces in which to dine, shop, visit, and stay.

68. C O L O R Q U E E N Even after 20 years of global success, interior designer India Mahdavi still deals with gender disparity in design.

7 8. B O U N D L E S S P O S S I B I L I T Y Architect Mariam Kamara is addressing the political nature of public space while reclaiming the Nigerien architectural vernacular.

98. T R A N S P O R T New York’s LaGuardia Airport unveils its new Terminal B, an expansive steel-and-glass salute to the city’s grand tradition of civic architecture.

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HELLO

resilience wins

A

year and a half ago, when we locked in issue themes for 2020, we had no idea how relevant “The Warrior Issue” would be by the time we began its production. As we scouted stories to include, the world around us was reeling from a growing pandemic, job losses, economic uncertainty, and civil unrest.

To us, in the context of design, warriors are designers who just don’t quit. They exhibit true grit and determination as they push themselves and their work to the next level to effect positive change. In this issue, we’ve invited creatives at every career stage to share their stories: a Japanese industrial designer who challenged the tenet of form versus function and went on to become one of the most prolific and influential designers of the 21st century; an internationally acclaimed interior designer who still deals with gender disparity; and designers from around the world who united around a common goal during mandatory quarantines, and whose relentless creativity sprouted new products, messages of hope, and limitless inspiration.

BEFORE YOU MOVE INTO THE REST OF THE ISSUE, I’D LIKE TO TAKE A MOMENT TO SAY THANK YOU to our readers, social media followers, and advertising and sponsorship partners who have taken the time to send notes of encouragement and gratitude, and who have stayed with us during this unprecedented time in history. Your outpouring of recognition is so heartwarming and validates the tremendous amount of hard work and long hours that our team pours into GRAY to ensure that our work is meaningful.

For GRAY, like many small businesses, this year has been the most challenging we’ve ever faced. But we moved quickly at the onset of the pandemic to assess how to best support the design industry with our platforms. We immediately dropped our subscription rates and removed the paywall from the digital version of the magazine to enable even more people to discover its stories and resources. As stay-at-home orders extended, we sought to keep our audience engaged and to provide as much face time as possible by launching our Virtual Design Expo and symposium on April 1. The digital event, which included live talks with local and international designers, new product galleries, and more, was so successful, it will continue indefinitely on our website. As businesses began to reopen, we redesigned our weekly e-news to arrive on Monday mornings, and we completely redesigned our website to better accommodate video and other media content. In late August, we’ll be rolling out a new video series, “In the Design Lounge,” featuring roundtable discussions about today’s design business climate.

And when it comes to the much-anticipated GRAY Awards, we’ve decided that the competition is more important this year than ever, so we’ve been busy imagining an alternative to a large, in-person gathering that will still provide a live presentation and celebration of this year’s winners.

We miss you and eagerly await the day when we can see you all again in person. Until then, we offer this moment of escape and inspiration.

Enjoy,

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Shawn

SARAH DONOFRIO One Imaginary Girl Portland

B R I A N PAQ U E T T E Brian Paquette Interiors Seattle

Designers around the world came together for GRAY’s Virtual Design Expo.

Thank you to all the designers who spent time chatting with us recently.

Watch their videos to hear about how they stayed creative during quarantines and their outlook on the future of design. graymag.com

K E L LY O G D E N Elk Collective Portland

ERIC TRINE Amigo Modern Los Angeles

C O U R T N E Y R OW S O N + A M Y PA S T R E SDCO Partners Charleston

B RYO N Y R O B E R T S Bryony Roberts Studio New York

JOHANNES CARL STRÖM Note Design Studio Stockholm

MICHAEL GREEN Michael Green Architecture Vancouver

YVES BÉHAR Fuseproject San Francisco

MICHELLE DIRKSE Michelle Dirkse Interior Design Seattle

ALEEM KASSAM + PHYLLIS LUI Kalu Interiors Vancouver

KARIN BOHN House of Bohn Vancouver

HOPIE STOCKMAN Block Shop Textiles Los Angeles

S T E FA N S AG M E I S T E R Sagmeister New York

FIONA MORRISON Wolf Circus Vancouver

PA T R I K S C H U M AC H E R Zaha Hadid London

T E D VA DA K A N Poketo Los Angeles

LEAH RING Another Human Los Angeles

KATRINE GOLDSTEIN Norm Architects Copenhagen

ANDEE HESS Osmose Design Portland

G A B R I E L E C H I AV E Marcel Wanders Amsterdam

S T E FA N H O F M A N N + DUFFY DE ARMAS Electric Coffin Seattle

ROSS BONETTI Livingspace Vancouver

MASTHEAD

Publisher Shawn Williams EDITORIAL

HEADQUARTERS

INQUIRIES

Deputy Editor Rachel Gallaher rachel@graymag.com

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No. 53. Copyright ©2020.

Published bimonthly (FEB, APR, JUNE, AUG, OCT, DEC) by GRAY Media, LLC. All rights reserved.

Reproduction in whole or in part without written permission is strictly prohibited. While every attempt has been made, GRAY cannot guarantee the legality, completeness, or accuracy of the information presented and accepts no warranty or responsibility for such.

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THE VANGUARD ISSUE IAN GRIFFITHS G I OR G I O G U I D OT T I PAULA SCHER JENNY E. SABIN ANDEE HESS T H OM A S I N G E N L A T H JEAN PAUL GAULTIER T OL U C OK E R TADAO ANDO RENZO PIANO + M OR E

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Subscribe today and get 50% off your first year of GRAY. graymag.com

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Michelle Ogundehin is internationally renowned as a thought-leader on trends, color, and style. She is the lead judge on the BBC Two/Netflix series Interior Design Masters, as well as the author of the new book Happy Inside: How to Harness the Power of Home for Health and Happiness—a game-changing approach to well-being (released October 1 in the United States). Originally trained as an architect and the former Editor-in-Chief of ELLE Decoration UK, Ogundehin now contributes regularly to the Financial Times’ How to Spend It magazine, and Dezeen, as well as many other prestigious publications worldwide.

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NAOMI POL L OCK (“Quiet Beauty,” Page 59) Naomi Pollock, FAIA, is an American architect who writes about design in Japan. Her work has appeared in numerous publications on both sides of the Pacific, including A+U, Dwell, Jutakutokushu, Kinfolk, Wallpaper*, and Architectural Record, for which she is the Special International Correspondent. In addition, Pollock is the author of several books, including Modern Japanese House, Made in Japan: 100 New Products, Jutaku: Japanese Houses, and Sou Fujimoto, as well as the coauthor of New Architecture in Japan. She was also a contributor to Architecture: The Whole Story, Shigeru Ban: Humanitarian Architecture, and City with a Hidden Past. Her upcoming book, Japanese Design Since 1945: A Complete Sourcebook, will be released in autumn 2020.

SUBSCRIBE TODAY graymag.com

DIGITAL GRAY

NEW LOOK, NEW FEATURES We’ve all adapted to using technology in new or expanded ways this year.

In response, we’ve retooled our website and e-newsletters to deliver the freshest design news (that you actually want to read) and the latest insights and inspiration from the ever-evolving world of design.

MONDAYS

WEDNESDAYS

ONGOING

Rise and shine with GRAY. We’ll be there for you every Monday morning with a refreshing rundown of design news and inspiration to jump-start your week. Sign up for our e-news online. graymag.com

From floral-arranging classes to immersive design fairs, we post a selection of top happenings in the design world every Wednesday, just in time for your weekend planning. graymag.com

GRAY’s virtual global design show and symposium takes place on our website, where you’ll find video chats with designers and industry leaders, new product launches, and more. graymag.com

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EPISODE 1 CHEERS TO

BRANDING

Let’s talk about image from a business stand point: How are individuals and their companies perceived within their industries and by their desired clientele?

During a pandemic and rogue economy, is rebranding necessary, or are consumers comforted by familiarity?

EPISODE 2 RAISE YOUR GLASS TO

LEADERSHIP

In a time when laying low is not an option to secure success, let’s discuss what it means to be a leader, either as a business leading an industry or as an individual within a company. How important is it to rise to the occasion, and what are the steps to sustaining leadership at a time of financial uncertainty and civil unrest?

IN THE DESIGN LOUNGE with host Brandon Gaston

EPISODE 3 A TOAST TO

GROWTH + INNOVATION

It is possible to grow and scale your business even in a constantly changing climate. We’ll discuss why now is the time for businesses to assess and adapt to a quickly evolving market. How do we use innovative concepts to move a business forward and gain market share?

The prerecorded series will air on GRAY’s IGTV and YouTube channels, and on graymag.com FOR MORE INFO, VISIT GRAYMAG.COM

Thank you to our sponsors

In challenging times, it’s important to think big picture.

GRAY invites you to listen in on what others are doing to rise to the occasion. Join us for In the Design Lounge, a video series of roundtable conversations among industry experts exploring the current climate as it relates to the world of business. Each episode focuses on how to assess today’s market and adapt in this topsy-turvy environment—all over a favorite cocktail and a few fun surprises.

GRAY

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JUDGING PANEL Anishka Clarke +

Niya Bascom

To m D i x o n Jeanne Gang Mphethi Morojele Guo Pei Martha Schwartz P i e r r e Yo v a n o v i t c h

C AT E G O R I E S Architecture - Commercial Architecture - Residential Interior Design - Commercial Interior Design - Residential ​L a n d s c a p e D e s i g n - C i v i c , R e s i d e n t i a l ​P r o d u c t D e s i g n - L i g h t i n g , F u r n i t u r e ​P r o d u c t D e s i g n - O t h e r ​F a s h i o n D e s i g n - A p p a r e l , A c c e s s o r i e s ​S t u d e n t D e s i g n - O p e n C a t e g o r y ​W i l d C a r d - O p e n C a t e g o r y + DESIGN FOR GOOD G R AY w i l l r e c o g n i z e a p r o j e c t , p r o d u c t , o r individual that makes a positive impact through d e s i g n o n a s o c i a l , h u m a n i t a r i a n , c o m m u n i t y, or environmental issue. No entry fee. + LEGACY and BEST OF SHOW In honor of the elite design region that G R AY c a l l s h o m e , w e w i l l p r e s e n t t w o a d d i t i o n a l awards: a Legacy Award will go to a designer based in the Pacific Northwest region of the US and Canada, and a Best of Show will be identified among the submissions from the region.

AWARDS

LAST CALL ENTRIES DUE BY MIDNIGHT, AUGUST 14, 2020 grayawards.com

ARCHITECTURE + INTERIORS

The following design firms are among the best in the world, and are included here on an invite-only basis. We are proud to call them our partners.

Consider them first for your next project.

Learn more about each firm, visit graymag.com

Baylis Architects baylisarchitects.com

BC&J Architecture bcandj.com

Eggleston | Farkas Architects eggfarkarch.com

Emerick Architects emerick-architects.com

GATH Interior Design gathinteriordesign.com

Guggenheim Architecture + Design Studio guggenheimstudio.com

Atelier Drome atelierdrome.com

babienko ARCHITECTS pllc babienkoarchitects.com

BjarkoSerra Architects bjarkoserra.com

Designs Northwest Architects designsnw.com

Evoke International Design evoke.ca

First Lamp firstlamp.net

H2D Architects h2darchitects.com

Hoedemaker Pfeiffer hoedemakerpfeiffer.com

Hoshide Wanzer Architects hw-architects.com

Hyde Evans Design hydeevansdesign.com

SCOTT | EDWARDS ARCHITECTURE LLP seallp.com

SHKS Architects shksarchitects.com

Stephenson Design Collective stephensoncollective.com

Studio AM Architecture | Interiors studioamarchitects.com

Works Progress Architecture worksarchitecture.net

Workshop AD workshopad.com

Janof Architecture janofarchitecture.com

RUFproject rufproject.com

skylab skylabarchitecture.com

Steelhead Architecture steelheadarchitecture.com

Tyler Engle Architects tylerengle.com

WILLIAM / KAVEN williamkaven.com

Architecture: MW Works Builder: Dovetail Photo: Kevin Scott

INTEL

STUDIO PRECHT

New and noteworthy in global design.

RETHINKING URBAN ENVIRONMENTS IN THE MIDST OF THE PANDEMIC, Austrian architecture firm Studio Precht proposes Parc de la Distance: a social-distancing-friendly park laid out in the wandering pattern of a fingerprint. The concept offers a gated outdoor space lined with tall hedges and features paths that circulate guests from the edge of the park to its center and back around again. Sound a little too isolated?

Cofounder Chris Precht explains that the height of the hedges

will vary so that visitors are intermittently immersed in nature or able to see across the garden.

Once COVID-19 retreats, the park will provide a safe haven where visitors can escape the noise and bustle of the city, and even enjoy some alone time—should the need arise again in a post-pandemic world. “I have lived in many cities,” Precht says, “but I think I have never been alone in public. I think that’s a rare quality.” precht.at

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FIRST LOOK

INTEL

New products, creative solutions, acts of kindness, and words of wisdom. Designers around the world have rallied with support and innovation during the pandemic. Here are just a few of the things that came across our radar. #designmustgoon

UNTAINTED LOVE

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DRINKING AND DANCING ARE POSSIBLE IN THIS HAZMAT SUIT CONCEPTUALIZED FOR PANDEMIC NIGHTLIFE. The novel coronavirus has had a devastating impact on the music, hospitality, live events, and nightlife industries. To help revitalize them, designers Miguel Risueño, Sagdas, Juan Civera, and Francisco Zurita of Production Club (the team behind art installations and events for Skrillex, Riot Games, and others) created the Micrashell Futuresuit, a solution that allows people to safely interact in close proximity to one another.

The airtight personal protective suit has an extensive filtration and breathing system that employs regulators with N95 filters, and also offers seemingly unlimited features—from phone and sound integration to a supply system that allows wearers to consume beverages. As of press time, the patent-pending suits are in the prototype phase as the design team collaborates with medical-device experts to fine-tune the invention. Production Club has already received requests for orders and hopes to bring the next-level garment to market in the near future. production.club/micrashell

MARCO BAROTTI

WE WILL NOT DESERT YOU PERSONAL BUBBLE

Inspired by 1950s sci-fi comics and the utopian movements of the 1960s that coincided with the first moon landing (visualize Haus-Rucker-Co’s 1967 Ballon für Zwei, a spherical “room” cantilevered off the side of a building, several stories above the street), Plastique Fantastique’s iShield design is perhaps the most amusing piece of personal protective equipment inspired by the pandemic so far.

From their studio in Berlin, director Marco Canevacci (Dr. Trouble) and

Yena Young (Ms. Bubble) modified transparent PVC hemispheres, available at art supply stores, to create the iShield. The project is an open-source design that anyone can download, produce, develop, and improve. “It is pop and it belongs to everybody,” Canevacci says. On the firm’s website, you’ll find how-to instructions and suggested personal modifications, such as the addition of a sunshade, speaker, snorkel, or integrated microphone. plastique-fantastique.de

In a show of encouragement and community support, the collaborative art studio Electric Coffin offered a limited-run print and donated 30 percent of sales proceeds to Seattle Kitchen Collective, a group of restaurants, bakeries, and chefs that provided food for the hospitality industry and others in need during the government-mandated lockdown.

“We Will Not Desert You,” a quote from a Walt Whitman poem, is a reassurance Washington State Governor Jay Inslee shared with fellow citizens at the beginning of the COVID-19 outbreak. electriccoffin.com

ART IN THE TIME OF CORONAVIRUS

By March 19, 2020, Barcelona-based advertising creatives Emma Calvo, José Guerrero, and Irene Llorca had launched The COVID Art Museum on Instagram. A virtual gallery of art born during COVID-19 confinement, CAM represents artists from around the world. Scroll through the feed and you’re just as likely to find work from Banksy as that of new and emerging creatives. In reference to the museum’s catalyst, themes of isolation, face masks, toilet paper, and the virus play out among the ongoing collection. @covidartmuseum

TWO-FACED JANUS

To give the travel industry a much-needed boost, aircraft cabin designer and manufacturer Aviointeriors proposes Janus (named for the ancient Roman god of doors, gates, and transitions, often depicted with two faces, one looking forward, one looking backward), a row of airplane seats with a reversed middle seat. Tall, transparent shields wrap around each seat, ensuring maximum isolation from row-mates, as well as from passengers walking up and down the aisle. Seats and passenger amenities, including the flip-down meal tray and literature pocket, remain accessible, and passengers are protected even when seats are reclined. aviointeriors.it GRAY

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FIRST LOOK

“For hundreds of years now, Chilkat blankets have documented history, clan migration, and stories for the Indigenous peoples of the Northwest Coast of America and Canada,” says artist, teacher, and community facilitator Lily Hope (Tlingit).

“Chilkat Protector will serve as a record of this time. In the future, people will know we were here, and we survived. We are still weaving.” Created by Juneau, Alaska-based Hope as a way to document the pandemic, Chilkat Protector is a mask featuring Chilkat weaving on thigh-spun merino and cedar bark warp and merino weft yarns, with tin cone and ermine tail embellishments. The piece will be on display through October 25, 2020, as part of the Washington State Historical Society’s 15th annual In the Spirit: Contemporary Native Arts virtual exhibition. lilyhope.com washingtonhistory.org

NO TOUCHING

Designed to mitigate the inadvertent spread of COVID-19 and other pathogens, the Sigma Touch Tool is an instrument for interacting with high-touch surfaces. Named for its shape, the fluid brass form features an eyelet for attaching to a key ring, a hooked surface for pulling door handles, and a subtle protrusion for use as a stylus for elevator buttons or keypads. craighill.co

DOMESTIC JUNGLE

Italian multimedia artist and designer Matteo Cibic’s series of rugs—inspired by the forests of the Andaman Islands, which form an archipelago in the Bay of Bengal between India and Myanmar—was designed while he quarantined at his home in Vicenza, Italy, where he was “dreaming of pure, untouched wilderness.” The collection, woven from wool and silk in vibrant colors, is hand-knotted by the master artisans of Jaipur Rugs in a remote village of Rajasthan. matteocibicstudio.com

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SYDNEY AKAGI PHOTOGRAPHY

WE WERE HERE

This dinner

started here.

The Sub-Zero, Wolf, and Cove Showroom will help you create a kitchen that’s uniquely yours. On-site chefs, product experts, and inspiring designs will help you envision the possibilities for your home – and all of the delicious moments to come.

SCH E DUL E A S H O W R O O M APPOI NTM ENT 1400 Elliott Avenue West, Seattle, WA 98119 • 206-284-8400 • subzero-wolf.com/seattle

FIRST LOOK

INTEL

RISE ABOVE 30

GRAY

In the early months of the pandemic, the art collective Electric Coffin brought Seattleites levity, joy, and hope with its large-scale projections of custom Mylar balloons scattered across the city. Working with the Paper Crane Factory for mobile projection, its Rise Above images appeared on landmarks, a hospital, and other buildings, and included uplifting messages such as “Thinking of You” and “We Will Dance Again.” electriccoffin.com

THE COVID KEY

Shape Design Lab in Victoria, British Columbia, introduced the COVID Key, an acrylic, light-duty tool that opens doors, pushes buttons, picks up groceries, and helps with everything in between.

And, in a dual support initiative, 50 percent of the proceeds were used to purchase gift cards from local small businesses, which were then distributed to the area’s frontline workers. shapedesign.ca

EVERYDAY CHAMPIONS

Shinola designed the limited-edition Champ Detrola watch to commemorate the 2020 Summer Olympics, but then everything changed. Still a celebration of the grit, beauty, and endurance of the human spirit, the timepiece is also now an ode to frontline nurses, mask makers, essential workers, and other everyday champions who rose to the challenge of battling the pandemic while helping others along the way. In partnership with the Community Foundation for Southeast Michigan, Shinola sent all sales proceeds from the watch to healthcare workers in Detroit, where the company is headquartered. The Champ is sold out, but you can still contribute by donating online. shinola.com/champ

A RAPIDLY DEPLOYABLE MECHANICAL VENTILATOR

Earlier this summer, Vox—a ventilator design by Fuseproject in collaboration with Cionic and with continual input from respiratory therapists, ICU nurses, and doctors—was selected by the CoVent-19 Challenge competition’s organizers for potential production.

Aiming for a viable, affordable option that would be available to medical facilities facing ventilator shortages, the team optimized the design—which can be assembled in under four hours—for COVID-19 health care, making it easy to transport and store. fuseproject.com

GETTING BACK TO THE OFFICE

Global design firm Stantec surveyed its clients in April about working remotely, getting back to the office, and the workplace of the future. They followed up with Getting Back to Business: A Workplace Transformation Guidebook, which is filled with recommendations based on survey results, and is available on their website. stantec.com

Whatever the future of workplace brings, things aren’t likely to go back to the way they were.

Most people want to get back to the office.

Changes will be many, and although people yearn for in-person collaboration, there will likely be fewer people around at the office.

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INTEL

DINING VISOR FIRST LOOK

“I imagined, during the nocturnal creative wanderings of months of confinement, a new way of welcoming customers of bars and restaurants in search of outings.”

So says Christophe Gernigon, of Paris-based Christophe Gernigon Studio, who used that inspiration to help eateries safely reopen.

Plex’Eat is an enormous Plexiglas face shield. Hung from the ceiling, it hovers just above a tabletop— allowing a diner’s hands to move freely—and has an opening in the back that makes it easy to sit down and get up. christophegernigon.com

HIGH-FASHION SHADES

Worn like sunglasses, Joe Doucet’s Vue Shield was designed to boost enthusiasm for wearing protective face coverings in public. The comfortable and barely-there design features a curved polycarbonate guard that fronts dark sunglass lenses.

As of press time, Doucet was taking preorders in three styles: men’s, women’s, and clear. vueshield.com

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CO-COVID DIVIDERS

“I never expected that a divider could become the socialization tool of tomorrow,” Matteo Cibic says. Nonetheless, the Italian creative ran with the idea and upped the design game for protective shields.

Solanio, shown, is among Cibic’s latest collection of dividers in multiple shapes and finishes developed for restaurants, office spaces, and other public areas. matteocibicstudio.com

THE GREAT DIVIDE

Raydoor, a New York–based sliding-door company, responded to the COVID-19 crisis by developing a lightweight, easy-to-install system of partitions for corporate and small businesses. The Barriers collection is produced locally, and turnaround time is just four weeks. raydoor.com

Photo Michel Gibert, photograph used for reference only. Zulma editions. 1Conditions apply, contact store for details. 2Program available on select items, subject to availability.

French Art de Vivre

Temps Calme. Modular composition per element, designed by Studio Roche Bobois.

Leaf. Cocktail table and side table, designed by Antoine Fritsch & Vivien Durisotti.

Farouche. Rug, designed by Alessandra Benigno.

Manufactured in Europe.

SEATTLE 1922 Fourth Avenue - Tel. (206) 332-9744 – PORTLAND 1025 SW Washington Street - Tel. (503) 459-0020

In-store interior design & 3D visualization services.1 Quick Ship program available.2

Landscape Design and Installation Architectural Planters for Commercial and Residential Applications 517 E Pike Street Seattle WA 98122 206.329.4737 www.ragenassociates.com

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DESIGN DNA

BRETT BOARDMAN

The concepts and creatives shaping our lives.

PUNMU ARTIST JAKAYU BILJABU sits in front of the screen she designed for the Punmu Aboriginal Health Clinic in the Western Australian desert. The clinic was designed by Kaunitz Yeung Architecture in deep collaboration with the local community, taking into consideration its unique cultures and customs.

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PASSION PROJECTS Meet the husband-and-wife team running one of Australia’s most prolific, socially driven architecture firms.

By Rachel Gallaher

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BRETT BOARDMAN

CHANGEMAKER

DESIGN DNA

An aerial view of the Parnngurr Health Clinic in the Western Australian desert. One of two clinics designed by Kaunitz Yeung Architecture to replace a set of 1980s-era medical centers, it serves some of the most remote communities in Australia.

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n April 4, 2007, a devastating earthquake hit the Solomon Islands, leaving more than 35,000 residents—about 10 percent of the nation’s population at the time—displaced. Given the archipelago’s remote location (the chain of more than 900 islands sits about 1,000 miles off the northeastern coast of Australia) and the dearth of resources in some areas (no electricity, paved roads, water, or sanitation), recovery and rebuilding efforts were projected to be especially difficult.

Nevertheless, relief teams and nongovernmental organization workers started to arrive shortly after the disaster. One of the young volunteers, Australian architect David Kaunitz, had returned to Australia after running a commercial architecture firm in London, and had been looking for ways to use his skills beyond typical design studio commissions. Working through various nonprofit entities, including World Vision, UNICEF, and the New Zealand Agency for International Development, Kaunitz spent four months traversing the islands, not only helping to build houses and schools, but also teaching Solomon Islanders how to work with the materials and resources available to them to repair their own infrastructure.

“It was important to us to train local builders,” Kaunitz says. “We used regional materials and tools and built centrally located demonstration schools with groups of locals, who then went out and were able to train others in more remote areas. In that way there were 134 schools rehabilitated in three to four years.”

Kaunitz continued to work with various nonprofits in the Solomon Islands, the Cook Islands, and Papua New Guinea through 2011 (in 2007, he cofounded the post-disaster relief organization Emergency Architects Australia, which focuses on shelter reconstruction), when he decided to form his own firm with his wife, architect Ka Wai Yeung (the two met after Yeung attended a lecture Kaunitz gave about his work in the Solomon Islands). Kaunitz and Yeung had both worked for large, successful architecture firms, but were looking to create a studio that went beyond institutional structure and projects that came in from the top. Kaunitz Yeung Architecture was formed as a way for the husband-and-wife team to pursue more socially conscious projects, such as »

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“WE REALLY ENJOY HANGING OUT WITH THE COMMUNITIES AND LEARNING FROM THEM, EVEN ON THINGS THAT ARE NOT NECESSARILY RELATED TO THE PROJECT—WHETHER THAT BE WEAVING WITH ELDERS IN WANARN OR COOKING TOGETHER IN THE SOLOMON ISLANDS. I THINK WHEN YOU LIVE IT RATHER THAN WORK ON IT, THAT MAKES A DIFFERENCE TO THE OUTCOME.” —KA WAI YEUNG, ARCHITECT AND COFOUNDER, KAUNITZ YEUNG ARCHITECTURE

BRETT BOARDMAN

CHANGEMAKER

DESIGN DNA

The Wanarn Clinic is a treatment venue operated by the Ngaanyatjarra Health Service in Western Australia. Located in the desert, the facility needed to be able to resist high temperatures and dusty conditions but, because of limited resources, operate at a low cost. OPPOSITE, FROM TOP: A metal screen designed by a community artist for the Parnngurr Health Clinic. Ka Wai Yeung and David Kaunitz, the husband-and-wife team behind Kaunitz Yeung Architecture.

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THIS PAGE AND OPPOSITE: The Biripi

Aboriginal Corporation Medical Centre’s Purfleet Clinic sits on the site of the former Purfleet Mission, which was created by the government in 1901 for means of “protection and segregation.” It is now under aboriginal ownership. The clinic’s entrance screen depicts the saltwater/ freshwater tidal zone, and when backlit at night, becomes a beacon of light within the community.

BRETT BOARDMAN

schools, health clinics, and childcare centers for communities throughout Oceania, often located on far-flung islands or in remote, hard-to-reach areas.

“Doing the work in the way that we wanted to do it would have been impossible at another firm,” Kaunitz says. “We spend a lot of time with these communities before we even start to build, and most practices wouldn’t just OK us to go off the grid for two or three weeks. It’s important to understand their culture and way of life and integrate that into our work.”

The firm’s first project, a school in the Republic of Vanuatu (an island nation located about 2,250 miles off the eastern coast of Australia), was commissioned by AusAid, in partnership with the Vanuatu Ministry of Education and Training, the New Zealand Aid Program, and UNICEF. Completed in 2012 in the town of Takara, the two-classroom building was constructed from local materials (which reduced costs by 50 percent as compared to a cement build). Its design, based on a timber portal structure that meets cyclone and earthquake standards, incorporates a handwoven natangura (sago leaf) roof, bamboo window hatches, and dead coral infill walls, all of which embody local design principles.

“Our process varies depending on the particular community we work with,” Yeung says, “but the key is to listen. There »

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ROBERT FRITH, ACORN PHOTO

CHANGEMAKER

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built last year in the Western Australian desert show, the firm’s work seamlessly blends modern high-end design with utilitarian function and local vernaculars. Each of the two clinics, built in different towns for the Martu, is partially modular, with a sculptural pergola that supports 60 flexible photovoltaic panels that provide 30 percent of the clinic’s power. Both communities chose local artists to create work that was integrated into indoor and outdoor metal art screens. It’s this attention to detail, and insistence on a deeply collaborative process that recognizes the dignity and humanity of the people they design for, that put Kaunitz and Yeung at the forefront of socially oriented design. As Kaunitz, who notes that the firm is currently working on a cultural center, a large health clinic, and a purpose-built Aboriginal-elder-care facility, sums it up, “it’s a profound experience to be satisfied with a finished project and then watch it be loved and embraced by the community for which it was built.” h

THIS PAGE: Commissioned by the

Munupi Arts and Crafts Association, the Art Centre at Pirlangimpi (Garden Point) is located on Melville Island in the Tiwi Islands north of Darwin, Australia. OPPOSITE, FROM TOP: The Puntukurnu Aboriginal Medical Service clinic in Newman, Western Australia, sits about 870 miles from Perth and is the first primary health care facility to be constructed in Newman. A screen in the entryway incorporates a design from a community-based artist.

BRETT BOARDMAN

is always a deep, genuine, mutual learning and respect. We spend a lot of time up front with the communities so that we can really understand what is needed. Throughout the process the design is ‘naked,’ and decisions are made together with the community.”

These decisions can include selecting the materials used in a project (rammed earth serves desert climates well, as it naturally regulates heating and cooling; the Solomon Islands schools were built with local timber milled near projects, which is more affordable and easier to transport than imported material), prioritizing the use of art created by community members, and ensuring that building programs respect social norms (in some Aboriginal communities it is requested that men and women have separate entrances at health clinics).

Since the completion of the school in Takara, Kaunitz Yeung Architecture has designed 50 community-focused projects for more than 230 communities for more than 230 Indigenous communities in Oceania (it also takes on the occasional residential brief). As two award-winning health clinics

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GENESIS

DESIGN DNA

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The 41zero42 team at its Fiorano Modenese office.

Company cofounder Martino Manni sits at the table.

GLAZING SUCCESS

With its holographic finishes and ultra-’80s-inspired patterns, the Italian ceramic tile company 41zero42 shows it isn’t afraid to break through boundaries in an industry shaped by decades of tradition.

By Rachel Gallaher Photographed by Christian Daolio and Punto Immagine

OPPOSITE, FROM LEFT: The Franz line is part of the Paper41 Lux collection, which is made with high-definition digital prints in cold-glazed porcelain, and the Pulp collection’s marble-esque look is seen here in the gold colorway with a double-polished finish. The Louis line (right) is also part of the Paper41 Lux collection.

SEVEN YEARS AGO, 41ZERO42 WAS LITTLE MORE THAN THREE PEOPLE SHARING ONE CROWDED DESK AND THE IDEA TO TRY SOMETHING DIFFERENT IN THE CERAMIC TILE INDUSTRY. Founded by Martino Manni and Antonello Leonardo—who met at a dinner party in Bologna in the late 2000s— the company launched with one strict rule: Rather than focusing on market trends, it would allow the staff creative freedom to develop and define the company’s style and product lines based on their aesthetic leanings and interests.

“41zero42 was born from a desire to do something different; to try [to look] outside the ceramic field and interact more with interior design,” Manni says.

“Over the years our research has evolved to bring our audience one step at a time toward an increasingly current and experimental language.”

The son of the owner of Colli Ceramics— a five-decades-old tile company located just outside of Modena, in northern Italy’s ceramic tile producing region— Manni was looking to uphold the legacy and quality of Italian tile, but also to infuse the aesthetic with a more contemporary edge. His company’s name, 41zero42, is the postal code for Fiorano Modenese, the region in which it is

located. According to Manni, it was chosen “specifically to identify us to a place we belong and all the values that are related to it.”

Manni may have been born into the tile industry, but his path didn’t always follow his father’s footsteps. “I studied graphics during my university days,” he says, “and if someone had asked me then if I would work in ceramics, I would have definitely answered, ‘No way.’” But life after university eventually brought him back to Fiorano Modenese, where Colli Ceramics was looking to create a brand solely for the North American market.

In 2013, 41zero42 presented its first collection at Coverings, the annual tile and stone show in Atlanta. Named Burlington after the slate quarries in northwestern England, the collection of porcelain tile was digitally colored to look like quarried stone: The heterogeneous pattern featured the differential shading and inclusions made by nature— and proved so popular that the brandnew company came away with 15 projects, which included a mix of residential and commercial designs.

Continuing on the tile show circuit that year, 41zero42 upped the ante at Cersaie, the decades-old international tile and fixture show held annually in Bologna, » GRAY

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CLOCKWISE FROM TOP: Black double-polished Pulp wall tile is seen here in 4-by-24-inch strips; the Pack collection has boldly irregular patterns inspired by the fragmentation of polar ice floes; green Pulp tile with a raw finish.

GENESIS

Italy (just 30 miles east of Fiorano Modenese), with the debut of its second collection, U-color. Inspired by the industrial wood floors of the 1970s, the innovative, cold-glazed porcelain series featured punchy tones—grassy greens, deep grape purples, spicy chili reds— that previously hadn’t been seen in, or considered appropriate for, ceramic tile.

Nevertheless, U-color was a hit, and the collection won the Good Design Award in 2014.

At tile shows and international design fairs, it’s not hard to find the 41zero42 booth. Hip-hop or pop music sets an upbeat tone as a team of stylish young people gives tours of the company’s latest styles and lines, which are never just subtle variations on last year’s designs. The creatively acrobatic team has presented everything from largeformat photograph-printed tile (think: panels in sizes as large as 2-by-4 feet) to 3D patterns to last year’s wildly popular, holographic Spectre collection: The iridescent pastel-hued tiles are the result of a study that examined various glaze applications’ reactions to light.

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“Every time we plan or talk, we always try to find an element of surprise or an out-of-place aspect that would give an intensity and contemporaneity to the aesthetic,” Manni says. “There is always a way to experiment. One time it can be with just a picture, other times through technology, and other times [with] an idea. There is always a new road or a different point of view that you can take.

When blocks come your way, sometimes you just have to go around them or wait to see if something might happen.”

Earlier this year, the entire world experienced a roadblock when the COVID-19 pandemic led many countries to declare strict quarantines. In northern Italy, when manufacturing plants temporarily closed, the economy came to a screeching halt. Despite the closures’ impact on 41zero42, Manni says that the team forged ahead creatively, producing two new lines, one of which the company plans to launch by the end of the year.

“It’s the mind and the passion that have to never stop.” h

“CRAFTSMANSHIP IS THE RESULT OF THE CREATIVITY OF PEOPLE WHO HAVE DEVISED A TECHNOLOGY TO PERFECT PRODUCTION PROCESSES THAT ALLOW THE PRODUCT TO HAVE AESTHETIC QUALITIES WHILE RESPECTING WORK ETHICS.” —MARTINO MANNI, COFOUNDER, 41ZERO42

After studying various glaze applications’ interactions with light, 41zero42 developed a finish capable of drawing on the light spectrum to create a holographic appearance. Here, the wall is covered with Spectre tile with a rose hologram finish, the desk with Spectre in rose with a glossy finish, and the floor with black tile from the Futura line.

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OBJECTS OF DESIRE

DESIGN DNA

LAYER UP

Pining for a change of indoor scenery?

GRAY has a surefire solution for every style, and every surface, in your home.

Don’t be afraid to pile on the layers with these top picks, from de Gournay to Christian Lacroix.

FLIGHT + FANTASY Part of the L’Odyssée collection of fabrics and wallpapers from Christian Lacroix Maison (available through Designers Guild), Oiseau Fleur Bourgeon is an enigmatic jacquard weave with a soft shimmer, embroidered details, and a grand botanical scene.

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WHEN FASHION MEETS INTERIORS Fashion designer Erdem Moralioglu— known for his sumptuous floral patterns and feminine silhouettes—partners with de Gournay on luxurious silk wallpaper and fabric so gorgeous, you’ll want to wear it. The Imperial Yellow colorway (shown) is created when watercolor is painted onto hand-dyed silk, which is then backed with paper.

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DESIGN DNA

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OBJECTS OF DESIRE

ART UNDERFOOT Himalayan wool blended with Chinese silk and subtle dye variations give the Sina carpet a velvety, almost painterly quality. Handwoven and hand-dyed, this limited series is only available at Driscoll Robbins’ Seattle showroom.

GARDEN WALL Virginia Johnson, a Toronto-based artist and textile designer whose clients include Vogue, New York magazine, Kate Spade, and John Derian, launched her first wallpaper collection in May. Cabbage Allover (shown in Midnight) captures one of Johnson’s favorite subjects to paint (flowers) and is printed on clay-coated paper in the United States.

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OBJECTS OF DESIRE

DESIGN DNA

AN ODE TO WANDERLUST Artist and painter Serena Dugan launched her eponymous collection of fabrics and wallpaper, Serena Dugan Studio, earlier this year. A highlight is this modern but feminine pattern (available in three colorways; textile shown on bench), which captures the vibrancy of the famed Italian island of Capri and was inspired by an Italian midcentury botanical sketch.

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PERSIAN RUG COMEBACK ›› Inspired by the extraordinary Polonaise carpets— woven in Esfahān and other weaving centers of Persia during the late 16th century and throughout the 17th century, with only 300 surviving today—Jan Kath’s Polonaise collection, done in his signature unconventional style, offers contemporary, reimagined versions. h

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DESIGN DNA

ON THE RISE

“IF PEOPLE FEEL CONFIDENT [IN MY DESIGNS], THEY WILL ALLOW THEM TO BECOME PART OF THEIR WARDROBE WITH EASE, ALLOWING THEIR INVESTMENT TO BE A FOREVER PIECE. I THINK THAT’S THE MARK OF GREAT DESIGN.”

A look from Katie Ann McGuigan’s AW20 collection features a nylon coat atop a tulle dress, patterned silk shirt, and ’80s-inspired joggers.

Geometric-printed shoes in a matching green hue complete the ensemble.

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COURTESY KATIE ANN MCGUIGAN

—KATIE ANN MCGUIGAN

TOP: A body suit is

layered with a dress, silk top, long leather coat, and scarf. BOTTOM Womenswear designer Katie Ann McGuigan.

FINE PRINT

Spirited London-based womenswear designer Katie Ann McGuigan is fearless in her use of print, fashioning everyday pieces that are anything but ordinary.

By Lauren Mang IF YOU HAD TO CHOOSE THREE WORDS TO BEST DESCRIBE A KATIE ANN MCGUIGAN DEVOTEE, THEY WOULD BE: MUST. LOVE. PRINT. (And then love it some more.)

The London-based designer—who, just one year after graduating from the University of Westminster, debuted her first-ever womenswear collection (AW17) during London Fashion Week— indeed covers her designs with patterns galore: silk crepe de chine and organza digitally printed dresses; skirts and tops in geometric patterns that evoke a modern chevron; hand-printed puffer jackets atop layers of delicate tulle. “In my world, fabric can make a garment,” the Irish-born McGuigan says. “When printed, fabric can completely transform

an idea or a look. Working with print is a hands-on process that I have fallen in love with—from the initial print design, to the printing methods and options, to cutting and seeing the finished garment.”

The boldly printed and colorful pieces in her AW17 collection nabbed her the 2017 Merit Award from the United Kingdom–based international design showcase Fashion Scout. The award is given each season to an exceptionally talented rising fashion design star and provides business development support for their fledgling brands.

That same year, McGuigan took home an Absolute Prize for the Most Creative Collection during the 24th edition of Milan-based International Lab of

Mittelmoda’s fashion competition.

Design, it seems, was McGuigan’s destined métier. And she knew it from the beginning. “Growing up in an environment that was filled with hardworking craftspeople—my parents run [Northern Ireland brand Orior Furniture]—was the most integral part to being creative,” she says. “I always loved the fabrics I saw, and watching something being created.” That love led her to study—and earn a Bachelor of Arts degree in—fashion design at university. She interned at New York– based fashion brand Marc Jacobs, which offered an insider’s look into the well-oiled fashion machine, which she credits as an invaluable, eye-opening experience. “I was able to see how »

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ON THE RISE

DESIGN DNA

CLOCKWISE FROM TOP LEFT:

A look features a bodysuit, a silk dress, an organza dress, a leather top with a modern chevron print, and shoes; a patterned organza coat tops a tulle dress, leather skirt, and knit sweater; a bold leather dress is accented with a jacket, hoodie, patterned scarf, and shoes; tailored trousers are combined with a leather dress, organza dress, silk top, and a blazer.

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everyone’s work schedules interlinked, and [how] efforts came together to create the final product,” she says.

“To this day, that is still my favorite part—even in my own studio. It’s the symbiotic working of so many different departments, people, and entities that I strive for, both with my work and my brand.” She also landed in the print department (naturally) at British label McQ by Alexander McQueen, where she had the opportunity to experiment with different print techniques to create fresh ideas and samples.

This past February, during London Fashion Week, McGuigan debuted her latest collection, AW20, featuring designs inspired by the works of Irish street photographer Tom Wood—particularly his snapshots of working-class people from the early 1980s in Liverpool, England. Prints, colors, graphics, and items (plastic bags and bright 1980s-era sportswear, for example) captured in Wood’s subjects’ furnishings and homes were her muse, inspiring a modern chevron print on skirts and tops, and jogger-and-hoodie sets with a decidedly ’80s twist. Her past collections reference more of these obscure yet powerful subcultures: 1970s footballers and Japanese bōsōzoku biker women. In SS20, neon pink, vivid teal, and citrusy shades of orange dominated flowing skirts and dresses and highwaisted and wide-legged trousers—all in punchy patterns—recalling the heyday of Florida’s roller-discos in the early ’70s. “I draw inspiration

from subcultures, worlds, and times I have never been a part of, almost as though I am an outsider looking in,” McGuigan explains. “Picking subjects that have aspects of color, print, and garment/apparel that inspire me is the deciding factor, and it allows me to bring them to light and integrate them into my world.”

McGuigan’s next collection for SS21 is currently in the works, though she’s not yet revealed which wild bunch is potentially serving as inspiration. She’s also collaborating with her parents’ furniture business—which opened a New York City showroom in 2019— and is launching a second collection.

Whatever she’s working on, her fashion design brand remains firmly rooted in a love for London: All designs are made in London, and she secures local sewing technicians, pattern drafters, shoemakers, and factories, and sources most fabrics from the area. “It seems like the creatives in London really love what they do—even if there are hurdles along their journey—and therefore work incredibly hard at their craft,” she says. “Everyone here is ambitious and has their own style and aesthetic.

It makes London so unique in regard to the fashion scene—anything is possible.” h

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ARCHITECTURE / HOEDEMAKER PFEIFFER PHOTOGRAPHY / KEVIN SCOTT

THE WARRIORS Perseverance, resiliency, and determination in design.

AFTER MORE THAN TWO DECADES of working for large entities including Seiko Epson and ID Two (now Ideo), industrial designer Naoto Fukasawa launched his eponymous studio in 2003 and went on to become one of the most prolific and influential designers of the 21st century.

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“I wanted to be an international designer, but I also wanted to be Japanese.”

—Naoto Fukasawa

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A 1998 prototype for the Seiko Kinetic Auto Relay wristwatch.

QUIET BEAUTY

EMBRACING THE CORE ESSENCE OF AN OBJECT, JAPANESE INDUSTRIAL DESIGNER NAOTO FUKASAWA CAPTURES THE SUBLIME SIDE OF SIMPLICITY.

HIDETOYO SASAKI

By Naomi Pollock

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simple circle encased in a small square, Naoto Fukasawa’s wall-mounted CD player was a dramatic departure from convention.

Unlike the usual nondescript box with its blinking lights and buttons, his unadorned device was modeled after the familiar Japanese kitchen fan. While its exposed, spinning disc echoed the fan’s whirling blades, a pull-cord served as its on-off switch. Instinctual yet innovative, functional yet fun, Fukasawa’s clever idea was conceived in 1999 and subsequently produced by Muji, becoming one of the Japanese retailer’s most popular items and catapulting Fukasawa into design stardom.

What distinguishes Fukasawa’s products is the thought he puts into each one so that it can be used, as he puts it, “without thought.” Fukasawa does not strive for invention or personal expression. Instead, his straightforward shapes, neutral colors, and rounded corners are encoded with information based on the designer’s keen observations of human behavior. The study of the unconscious ways in which the body naturally engages with an object is fundamental to Fukasawa’s design process. This approach yields products that practically anticipate the user’s next move—even before a finger is lifted.

Fukasawa began his career as an inhouse designer at the Japanese electronics giant Seiko Epson, which he entered following his 1980 graduation from Tama Art University’s Product Design department. After eight years, he was ready to leave. Cognizant of differences in design practices worldwide, he was eager to go overseas and landed a job with the San Francisco firm ID Two (now Ideo).

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Fukasawa’s California stint coincided with the rise of Silicon Valley and provided a chance to work on cutting-edge, computerrelated projects for Apple and other tech companies. Fukasawa could have stayed on in the United States, but instead chose to return to Japan in 1996, first running Ideo’s Tokyo office and then launching his own studio in 2003. “I wanted to be an international designer, but I also wanted to be Japanese,” he explains.

Today, Fukasawa has found a perfect balance between the two. With half of his clients in Europe, he is active globally— a testament to the universal appeal of his work. Yet Fukasawa’s design sensibility remains rooted in Japan. Ironically, a major benefit of time spent abroad was Fukasawa’s development of a deep appreciation for traditional Japanese aesthetics. “Because I was out of the country, I could better see the beauty in Japan,” he explains. And in that beauty he found kernels of inspiration. It was while reading haiku—17-syllable poems highlighting a single moment—that Fukasawa realized that design could also underscore the joy of small, ordinary actions, like sipping coffee or picking up a pen.

Take the Hiroshima Armchair. Its rounded back and arms wrap the body supportively, inviting the user to sit back and settle in. Created for the Japanese furniture-maker Maruni Wood Industry in 2008, the design began with Fukasawa’s empirical study of chair comfort. He noted that the seat angle needed to buttress the body and that people tend to lean sideways while relaxing, then incorporated these observations into his scheme. As if carved from a single chunk of wood, the chair is made of separate components that fit together seamlessly. Unsurprisingly, »

COURTESY DRIADE

The stone-shaped fiberglass Koishi pouf, designed by Fukasawa for Italian furniture company Driade, pairs the tranquil forms found in traditional Japanese gardens with a vibrant, modern color palette.

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ABOVE: Fukasawa designed the ceramic Tetra vase for B&B Italia in 2005.

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HIDETOYO SASAKI; HIDETOYO SASAKI; AKIHIRO ITO / UN(AMANA GROUP)

BELOW: A humidifier designed for Fukasawa’s own appliance and sundries brand, ±0. MIDDLE: The prototype for an LED watch.

MASAYA YOSHIMURA (COPIST); AIOI PRO PHOTO CO., LTD.

BELOW: Fukasawa designed the interiors of the Issey Miyake boutique in Japan’s Ginza district. There, aluminum panels, spaced to allow garments to be displayed according to different themes, are imbued with a traditional nasukon (purplish-navy) color.

ABOVE: Opened in 2020, the Kagoshima Bank Head Office

Building features streamlined interiors by Fukasawa.

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the design became a best-seller for Maruni. Now the company’s art director, Fukasawa extends his vision beyond creating his own products.

Working with manufacturers like Maruni is just one way in which Fukasawa has broadened his impact on the design industry. He is a member of the Muji advisory board, a director of 21_21 Design Sight (a hub of design-related events and exhibitions in Tokyo), and a former chairman of the Japanese government– sponsored Good Design Award. But among his most far-reaching contributions are the Super Normal workshops and exhibitions, which he curated with British designer Jasper Morrison.

The two designers have been good friends since the mid-1990s, when Fukasawa first visited Morrison’s London studio. Fukasawa recalls that they had lunch together at a casual, self-service café, where Morrison ordered one bowl of soup with two spoons. “He didn’t say anything. He just gave me a spoon so we could eat together,” Fukasawa recalls.

“I was so touched.” There was no need for words nor explanation. They were already on the same page.

“Jasper is the rare person who really understands the simple culture of Japan,” Fukasawa explains. This shared way of thinking became the basis of Super Normal, a project that selected everyday items from various places—such as a blue plastic kitchen basket from Japan or the Bialetti espresso pot from Italy—and exhibited them in Tokyo and London in 2006. The show neither celebrated the objects’ appearances nor championed their designers. In fact, many of the items were created anonymously. Instead, it singled out objects so completely integrated with daily life that they are practically

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invisible. Through the eyes of the exhibition’s curators, the audience could see these items anew. Many exemplified the inherent, though unintentional, beauty of a form inextricable from its function.

Though machine-made and massproduced, these Super Normal items share this and other qualities with the daily-use goods historically made by local artisans in Japan from wood, bamboo, and other materials. “They were not trying to make beauty,” Fukasawa says.

“They were just trying to make the best tools they could.” These traditional items are categorized as mingei, a term meaning “arts of the people” coined by Sōetsu Yanagi, the philosopher, critic, and father of one of Japan’s design pioneers, Sori Yanagi. Concerned that industrialization might render them extinct, the elder Yanagi gathered mingei ceramics, textiles, and tools and used this collection to launch the Japan Folk Crafts Museum in Tokyo in 1936. Fittingly, Fukasawa became the institution’s director in 2012.

Bringing two of his passions together, 21_21 Design Sight hosted a show curated

by Fukasawa titled Mingei – Another Kind of Art in 2019. It presented 146 traditional and contemporary items selected by Fukasawa from the Japan Folk Crafts Museum collection. Because of COVID-19, exhibitions and other public activities have been curtailed throughout Japan. Yet there may be a small silver lining to this pandemic. As Fukasawa notes, sheltering in place has been a boon for Japan’s flagging furniture industry. “Now people care more about the quality of life at home,” he says. And nothing accomplishes that better than thoughtful design. h

MASAYOSHI HICHIWA / HUE(AMANA GROUP)

Designed in 2004 for the annual Takeo Paper Show, these juice packages embodied the show’s theme, “Haptic.”

Each design replicated the look and feel of the fruit whose juice the package contained.

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Interior designer India Mahdavi in her Paris atelier.

COLOR QUEEN EVEN AFTER 20 YEARS OF GLOBAL SUCCESS, THE SUPERSTAR AESTHETIC-DEFINING INTERIOR DESIGNER INDIA MAHDAVI STILL DEALS WITH GENDER DISPARITY IN DESIGN.

SABINE MIRLESSE

By Michelle Ogundehin

AFTER SEVEN YEARS OF WORKING IN PARIS WITH CHRISTIAN LIAIGRE—THE KING OF DISCRETE FRENCH MINIMALISM—INTERIOR DESIGNER INDIA MAHDAVI MOVED TO THE BRIGHT SIDE OF THE DESIGN SPECTRUM AND LAUNCHED HER EPONYMOUS CREATIVE STUDIO IN 1999.

Shelving the simple lines and toneddown neutrals favored by her former employer, Mahdavi spent the next 20 years honing a distinctive, trailblazing (and color-embracing) aesthetic that strongly influenced the international design scene. In those two decades, she’s created exquisite wallpaper for de Gournay and sumptuous bath suites for Bisazza, designed striking bars, hotels, and restaurants from Miami to Mexico, and outfitted unique private homes for the likes of fashion supremo Alber Elbaz and Swiss philanthropist and art collector Maja Hoffmann. In 2015, she was awarded the insignia of France’s Officier Ordre des Arts et des Lettres.

Even with such auspicious beginnings, it was arguably her 2014 renovation of the Gallery at Sketch, the hyper-trendy centralLondon tearoom, that jet-propelled her to international stardom. Unapologetically colored, as Mahdavi calls it, “the perfect essence of pink,” from its walls and intricately detailed ceiling to every stick of furniture inside (including Mahdavi’s now-signature chubby Charlotte armchairs, with a configuration similar to six sponge fingers arranged in an embrace), it became the must-have background for the selfie generation. Today it remains the mostInstagrammed restaurant in the world.

But for the Tehran-born Mahdavi, the middle daughter (with four siblings) of an Iranian academic father and an Egyptian-English mother, it was just another reinvention on a creative journey that started at birth. »

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©REBECCA REID

A 2020 design collaboration with French luxury wallpaper company de Gournay, “Abbâssi in the Sky” was inspired by the 16th-century miniaturist who illustrated Persian poet Ferdowsi’s Book of Kings.

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“NOW WE WILL PAY MORE ATTENTION TO WHAT’S NOT SEEN; WHAT’S BEHIND THE PRODUCT, THE VALUES, HOW AND WHERE THINGS ARE PRODUCED. WE WANT TO SUPPORT WHAT’S REAL AND AUTHENTIC.”

ROB WHITROW

—INDIA MAHDAVI, INTERIOR DESIGNER

The Gallery at Sketch London undoubtedly launched Mahdavi to design superstardom.

With only three months to reinvent the space, she transformed it into the most Instagrammed restaurant in the world and officially clinched the popularity of the color pink. Mahdavi’s Charlotte chair, as seen tucked into each table, is now her signature piece.

MATTIA IOTTI

Named after Nina Yashar, founder of Milan’s Nilufar Gallery, Chez Nina was designed as an exclusive, invite-only club during Salone del Mobile 2018.

Outfitted with custom-designed glass tables, a geometric silk wall mural by de Gournay, Gio Ponti chairs, and more, the color-saturated space is a dark and sexy iteration of Mahdavi’s work.

“COLOR IS IMPORTANT BECAUSE WE NEED THE JOY AND THE ENERGY TO CONTINUE.” —INDIA MAHDAVI, INTERIOR DESIGNER

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where diners step into what Mahdavi describes as “a love song dedicated to travelers.” Replete with tall arches, brass details, and cobalt blue and mossy green upholstery, it’s a world away from the bland ubiquity of the usual airport diners.

Starting in 2016, Mahdavi designed a trio of Ladurée tea rooms, one apiece in Geneva, Los Angeles, and Tokyo. Each shop immerses visitors in “a sensorial and ultra-contemporary voyage” that leads directly to the pastel-hued heart of the almond-paste macarons. In Geneva, a play on curves and angles is swathed in rich purple and green hues; the Beverly Hills outpost embraces a “Garden of Delights” aesthetic with latticework walls and garden-party-inspired furniture. The Tokyo tea salon returns to purple and green tones and Mahdavi’s signature scalloped velvet furniture. As with everything she does, Mahdavi’s cartoony furniture designs serve a purpose, in this case to “exaggerate space.”

Despite their appearances, not all of Mahdavi’s projects are focused on luxury. A recent fashion and home décor collaboration with the French department store Monoprix developed because the designer was excited to work with Creative Handicrafts, a social enterprise that provides women from the slums of Mumbai with training for fair-trade manufacturing jobs—and a path toward economic self-sufficiency. “The association allows them not only to live, but to reinvent their lives,” Mahdavi says. The textile offerings include 1970s-inspired caftans, button-down dresses, and twopiece matching pant-and-top sets—all in wavy and striped patterns in blues, pinks, and greens.

Although her studio is based in Paris, Mahdavi credits her personal heritage— and specifically her birthplace, Iran—with influencing her work, although she admits that it wasn’t until much later in life that she fully embraced the country. “When I started visiting regularly in 2012, there was this amazing recognition of things I was doing in my work, this twisting of pop culture that was right there,” she says. She cites her early adoption of rattan, when it was not considered even remotely cool, or her continuing

love of Formica. “I’m not scared of going into these forgotten materials and using them in a very different way. And this irreverent mix and match is everywhere in Iran.” It chimes with her approach to color—think ripe greens contrasted with prune purple, and that pink: “I like putting colors in danger.”

In contrast to her obvious creative bravado, Mahdavi is often referred to as a very feminine designer, implying a softness or delicacy that she refutes.

“I think my work is sensual,” she posits.

“Is sensuality feminine or masculine?”

While she concedes that there’s great comfort and joy in her designs, she also suggests a divide between the approaches of male and female designers. “I don’t think men always think about comfort.

They think more about ego.” In contrast, Mahdavi likes to consciously extract herself from her work, asking instead, “How can I define an identity for this space?

How can it belong to itself?”

Even with her undisputed global success, Mahdavi believes her gender has prevented her from receiving larger-scale commissions. “Most of the clients are male: the insurance people, the bankers, all male. As [a woman], as soon as you come to bigger projects, you’re out. There’s an assumption that you’re just a decorator.

I’m not. I’m trained as an architect. I know what I’m doing.” She speaks without frustration, although she may have felt it in the past. For now, she says, the best projects are about “having a conversation with the right people. Projects don’t have to be big to be precise. You can say a lot with small places, and for me that’s enough.” h

CLOCKWISE FROM TOP LEFT: Ladurée Tokyo, the

third in a trio of international tea rooms designed

by Mahdavi for the brand, is a Marie Antoinette– meets–kawaii chic mashup. Mahdavi’s collaboration with French retailer Monoprix features striped tunics and beachy, ’70s-inspired prints. A second collaboration with Italian glass mosaic company Bisazza eschewed sterile whites in favor of ice-cream hues and bold mosaic walls.

GORTA YUUKI; COURTESY MONOPRIX AND INDIA MAHDAVI; COURTESY INDIA MAHDAVI

“You either have it within you or you don’t,” she says of her artistic prowess.

A peripatetic, globe-traversing childhood that took Mahdavi and her family to Cambridge, Massachusetts, Germany, and the South of France undoubtedly fed any nascent visual curiosity. During this time, Mahdavi dabbled in a little bit of everything, from painting and drawing to sewing—her progressive school in the South of France, École Freinet, dedicated every afternoon to artistic activities.

Today, she calls herself “a polychrome polyglot, because I’m a mixture of so many different things.”

Ever influenced by her surroundings, Mahdavi describes the trajectory of her youth in a typically sensorial fashion: “My first memories are [of] the crazy American cartoons of the mid-1960s,” she recalls. “I remember them as being very pop, very joyful, and with color all around.” Whereas in Heidelberg, “my life went from color to black and white.

It’s not to say that I was unhappy; it’s just how I remember it.” At age seven, Mahdavi and her family landed in the artistic enclave of Saint-Paul de Vence on the French Riviera, where, according to the designer, “the light came back again. I wanted to be a filmmaker at first, or a photographer.” Instead she chose architecture, training at the École des Beaux-Arts in Paris before studying for a trimester each at the School of Visual Arts, the Cooper Union, and Parsons School of Design in New York City. When she wasn’t in class, Mahdavi still fueled for passion for film. “I spent one year going to movies twice a day instead of studying!” she admits.

In a sense, this helps to explain the immense depth and resonance of her work, which sits in marked contrast to the two-dimensional, cookie-cutter interiors so prevalent today. Whereas such copycat spaces are seemingly designed only to chase social media approval—no doubt attempting to ape the success of Sketch— Mahdavi’s aesthetic virtuosity has always been the result of a narrative process that’s firmly focused on the user. She tells stories with her designs. Consider Guy Martin’s 100-seat I Love Paris brasserie at Paris Charles de Gaulle Airport,

Architect Mariam Kamara transformed a derelict mosque into a library that shares its site with a new mosque (pictured here) for the village of Dandaji in Niger. OPPOSITE: Kamara, who grew up in Niamey, Niger, founded her architecture firm, Atelier Masōmī, with the goal of maintaining an intimate dialog among architecture, people, and context.

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BOUNDLESS POSSIBILITY

JAMES WANG; ATELIER MASŌMĪ

Drawing inspiration from her childhood in Niger, architect Mariam Kamara is addressing the political nature of public space while reclaiming the Nigerien architectural vernacular.

By Rachel Gallaher

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rowing up in Niamey, Niger, in the 1980s, architect Mariam Kamara became aware of the concept of boundaries at a young age. As a teenager living in a French-colonist-designed capital that lacked an urban language that accommodated socializing for women (traditional gathering places, such as the village square or community water source had been eliminated), she, like many women, found it difficult to find her place in the public realm. Although women and teenage girls aren’t confined to their houses (they run errands, attend school, visit one another), it’s solely men and adolescent boys who participate in faada, or the gathering in front of someone’s house to play cards, talk politics or sports, and drink strong mint tea, often until very late at night.

Faadas are an important part of social life in Niger, and the exclusion of women creates a social divide along gender lines.

“I remember being annoyed that I couldn’t sit out with the men,” Kamara recalls of her teenage years, “but as a girl, if someone drove by and saw you, they might consider you loose.”

To get out of the house and have some private time with her friends, Kamara took advantage of the custom of walking guests at least halfway home after they had visited her place—an unconscious loophole that allows girls in Niger to participate in public life. “If my friend came over, then at the end of her visit I would walk her to her house, as is the custom, and stand in front of her house to talk for a bit and then go on my way.” Using their daily routines of shopping, errands, and paying visits to friends, women are able to keep a pulse on the neighborhood, see and be seen, and catch up on news, but always appear as if they are in motion or on their way to the next destination.

What was once everyday life for the young Kamara would eventually become the basis for her thesis as she completed her Master of Architecture degree at the University of Washington, and have a strong influence on the very foundation of her practice, Atelier Masōmī, which is rooted in the belief that architecture is political, and that it has the power to elevate, dignify, and provide a better quality of life.

“Like most children, I grew up drawing,” Kamara says. “In Niger we didn’t have art classes or art-related assignments, so I spent »

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The mosque and cultural center in Dandaji, Niger, serve as a hub for culture, education, and religion.

It is a place for the community to gather and strengthen the ties among individuals of all ages.

Kamara tapped into the local architectural style, materials, and manpower (the masons who built the original mosque were invited to join the team) to complete the project.

JAMES WANG

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a lot of time at home drawing. As I got older, I started to attract attention from the adults with my drawing, and soon I was sketching portraits of my friends and giving them to their parents. I came from a very science-dominated family, however, and in my mind, pursuing something creative wasn’t an option, even though architecture was the perfect intersection of those two things.”

Both of Kamara’s parents were engineers, and after graduating from high school she decided to pursue a field that she thought was “reasonable.” It was the late ’90s, and the tech industry was booming, so Kamara enrolled at Indiana’s Purdue University to study computer information systems. That was followed by two years at New York University, where she earned a master’s degree in computer science. At the time, she recalls, “computers were king.”

Niamey was established in 1926 and within a decade, the master plan for the city had the colonizers primarily settled on the west side of the valley, building Eurocentric infrastructure and housing that favored nuclear families. (In Africa, family units tend to be amorphous.

Extended family will often come to live with other family members for months at a time, and families will often take in a cousin or other relative to permanently live with them. The houses built by the French were not conducive to the local family structure or culture.) Indigenous Nigeriens, especially those without financial means, were forced to the east, segregated on their own land.

“That divide essentially created two cities,” Kamara says. “On one side you had the European, economic, and political elite, and on the other were struggling neighborhoods. Even today, all that comes with that divide remains a part of the social fabric “I CANNOT BE AS STRAIGHTFORWARD of Niamey, as well as AS SAYING THAT WHAT I DO IS JUST almost every single African capital affectARCHITECTURE. I AM WORKING WITH ed by colonialism.”

PEOPLE AND PLACE AT THE CORE, BUT Tapping into this THERE IS ALSO EVERYTHING THAT GOES history, as well as her experience as a young INTO THAT, FROM CLIMATE TO THE woman in Niamey, Kamara wrote her thesis, ENVIRONMENT TO CULTURE. IT’S SO “Mobile Loitering,” as MUCH MORE THAN JUST BUILDINGS.” a response to public —MARIAM KAMARA, ATELIER MASŌMĪ space needs in Niger’s contemporary, postcolonial society.

Post-university, Kamara entered the She credits two of her advisers, Elizatech sector, working as a software develbeth Golden and Vikramāditya Prakāsh, oper and a software engineer, but, she with having a strong influence on her admits, she could not shake her “desire academic career, especially Prakāsh, who to become an architect. It followed me introduced her to theoretical, postcolonial the whole time.” texts and encouraged Kamara to explore By 2008, Kamara and her husband had ideas outside of the colonial, Western relocated to Seattle, where he had accepted paradigms and narratives. a job with Microsoft. Two years later she During her last year at the University enrolled in a master’s degree program in of Washington, Kamara began receiving architecture through the University of job offers, but soon realized that she Washington, where the curriculum focused wasn’t interested in working at a big on subject areas that Kamara already had architecture firm. a deep interest in, including sustainability, “I was interested in doing work in regionality, place identity, and materiality.

Niamey, and I kept joking that I was just “I started becoming aware of the imporgoing to start my own NGO,” she recalls. tance of space in community and the ways “I repeated it so many times that Elizabeth in which the built environment has been [Golden] and my studiomate Yasaman used historically, often for harm,” she says.

Esmaili said, ‘You know what, maybe Take Niamey, for example. The capital that’s not such a crazy idea.’” city, which is located in the southwestern In July 2013, Kamara, Golden, Esmaili, outcropping of Niger, is split by the Gounti and German architect Philip Sträter Yenna Valley—a geographic divider that launched United4Design, an architecture the French took advantage of when they collective that, for its first venture, started to colonize the area in the 1890s designed an urban revitalization project with the sole purpose of extracting and in Niamey. “My whole plan had been to exploiting the its natural resources. graduate, take a month off, and work on

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a project in Niger,” Kamara says. “I had already been talking to some investors about designing modern housing that was affordable for buyers but would still make economic sense to developers as well.”

The finished project, the award-winning Niamey 2000 housing complex, was completed in 2016. Its design was a response to a housing crisis in Niamey.

Rather than using the more-accepted concrete for the 18,000-square-foot building, the United4Design team utilized local materials (including unfired earth masonry) and passive cooling techniques to protect against Niger’s scorching temperatures. Taking inspiration from the region’s precolonial cities, the structure reintroduces the concept of intertwined housing, while also providing individual families with privacy. It positions six units where, traditionally, a single-family house would stand.

Kamara had officially launched her own firm in Niamey in 2015 (she has spent the past few years splitting her time between Niger and Rhode Island, where she previously had an adjunct associate professorship at Brown University) with the goals of investing in the local economy and culture through her projects, and treating architecture as a social act. If existing boundaries were the result of a corrupt, exploitative system, then looking beyond those boundaries (and even breaking them down) could be a defiant act of not only resistance, but resilience as well.

Kamara’s 2018 Regional Market project in Dandaji (a city about 300 miles east of Niamey) made her an architect to watch.

Designed around an ancestral tree, the market features aesthetic references to the area’s traditional market architecture of adobe posts and reed roofs, but pushes the typology forward by using compressed earth bricks and metal for durability. A colorful canopy comprising individual, recycled-metal shading structures provides shade for shoppers and sellers and elevates the experience with panache.

Months of extensive research, including an understanding of culture, religion, gender roles, and economy, guided Kamara and her team during the design process.

For each public and cultural project, she holds meetings with the community she is designing for to better understand its needs and how it will use a space. As a pre-design exercise for a religiousand-secular complex, also in Dandaji, Kamara asked local teenagers to write down and draw their ideas for the kind of gathering place they would like to use.

The finished project turned a derelict mosque into a library that shares its site with a new mosque for the village—the proximity of the two spaces allows local »

COURTESY UNITED4DESIGN; MAURICE ASCANI

TOP: The Niamey 2000 housing project, designed by the United4Design architecture collective (of which Kamara is a founding member), sought to address the housing crisis in Niamey, Niger.

The design increases density (placing six units in a space that would traditionally hold one single-family house) and reintroduces locally sourced materials into the urban vernacular.

ABOVE: The regional market stalls in Dandaji, Niger.

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“THERE IS A GENERAL ISSUE IN THE ARCHITECTURAL PROFESSION, WHICH IS FINALLY BUBBLING TO THE SURFACE, ABOUT THE LACK OF GENDER PARITY IN THE CREATION OF OUR BUILT ENVIRONMENT. I THINK IT IS A VERY RELEVANT AND PROFOUND DISCUSSION THAT NEEDS TO BE PLAYED OUT. MARIAM IS CRUCIAL TO THE EVOLUTION OF THIS CONVERSATION. I KNOW SHE WILL CONTINUE TO BRING HER VIEWPOINTS ON AFRICAN MODERNITY AND ARCHITECTURE TO THE FORE.” —DAVID ADJAYE, ADJAYE ASSOCIATES

Architect David Adjaye with Kamara in Niger. In 2018, as part of the Rolex Mentor and Protégé Arts Initiative, Adjaye chose Kamara to be his mentee for a yearlong project collaboration. The pair designed a youth cultural center in Niamey, and hope to break ground on the project in the near future.

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©ROLEX/THOMAS CHÉNÉ; COURTESY ATELIER MASŌMĪ

youth to positively engage with both education and religion.

In 2018, Kamara was chosen by architect David Adjaye to participate in the Rolex Mentor and Protégé Arts Initiative.

The program pairs gifted creatives who are early in their careers with internationally recognized masters in the areas of architecture, dance, film, literature, music, theater, and visual arts, for a year of collaboration in a one-on-one mentoring relationship. Born in Dar es Salaam, Tanzania, and based in London, Adjaye is widely known for his design of the National Museum of African American History and Culture in Washington, D.C., and the Ruby City arts center in San Antonio, Texas. Kamara and Adjaye worked together to design a youth cultural center in Niamey.

“I felt an affinity with Mariam’s outlook and aspirations,” Adjaye recalls. “When

we went to Niger, we did a series of workshops with the community and listened and learned from their insights. This community engagement set the foundations for the project and informed the design of the Niamey center. Through these conversations, the need for meeting spaces and for cultural spaces—and particularly public spaces for women—became clear.

Public buildings and communities in a Muslim country are essential, and providing the first municipal library, as well as performance and art spaces, is vital to the continuing development of the people and the community as a whole.”

As with many architecture projects around the world, the start of construction has been delayed by the COVID-19 pandemic. In the meantime, Atelier Masōmī is keeping busy with design work. Kamara is currently working on plans for two residential projects and an office building,

and is in the negotiation phase of two cultural projects—all in Niger.

Although she isn’t opposed to eventually taking on commissions in the United States or elsewhere outside of Africa, she has deep convictions about the influence of the built environment on individuals and society as a whole. Reflecting on the cultural center she designed with Adjaye, she recalls showing teenage focus groups the drawings: “Before I unveiled it to anyone else, I showed the kids,” she says.

“They were taken aback and had a hard time imagining a building like that could be in their city. That utter disbelief [stems from having] a self-esteem that is constantly bombarded by the message that things made by you or your people, with your local materials, aren’t good enough, or can’t possibly have anything to offer.

[So when they] see an example of how it can look, that is incredibly powerful.” h

CLOCKWISE FROM TOP: A sketch by Kamara of the youth cultural center she designed with Adjaye; Adjaye and Kamara with an architectural model; Adjaye and Kamara with a group of architectural models and a drone-view image of the youth cultural center’s site in Niamey.

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TO THE TRADE IN THE SEATTLE DESIGN CENTER dfgseattle.com

LAST CALL

COURTESY KARIN BOHN AND HOUSE OF BOHN

One more round of inspired design.

Bright and bold terrazzo colors the walls inside CMMN GRND’s shared, gender-neutral washroom.

ALL INCLUSIVE

A come-as-you-are philosophy fuels Vancouver’s CMMN GRND, the gender-neutral fitness and social wellness collective where a playful, nostalgiainspired design encourages community.

By Lauren Mang

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he typical fitness facility brings to mind a hyperathletic, overtly sexualized, and often-intimidating atmosphere. For CMMN GRND, a new 3,600-square-foot fitness and social wellness collective in Vancouver’s mixed-use Olympic Village, mother-andson owners Cheryl and Dylan Archambault sought the exact opposite. “The jumping-off point for the design was the desire to create a space that celebrates all body types and orientations and brings people together,” says Karin Bohn, Founder and Creative Director at Vancouver-based interior design firm House of Bohn. The nostalgic interiors reference a 1970s mid-century modern aesthetic—from a time before social media when people connected IRL—and feature retro materials such as terrazzo, walnut, stacked stone, and brass accents.

In the reception area, a living room concept, complete with brown vegan-leather lounge chairs, a coffee table, and a large communal table, encourages gathering and provides space for events.

CMMN GRND’s shared, genderneutral washroom is clad in colorful terrazzo, and several of the tiles’ hues

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(orange, yellow, teal, and black) make appearances on paint-slicked hallway ceilings and arches. “For some people who don’t identify with either gender, it can be intimidating to have to choose one particular space,” Bohn says. “Having the washroom area be open to everybody really creates a sense of community.”

A stacked-stone wall in the yoga studio doubles down on the 1970s aesthetic.

It’s like a throwback to your grandma’s basement, if she were super chic and wore Halston. The rest of the room is painted black to spur inward reflection rather than a focus on the reflection in the mirror.

“The space does exactly what it was intended to do: bring people together,” Bohn says. “It’s all about community and breaking down barriers and is the epitome of come as you are.” h

The reception area features bold terrazzo paired with walnut cabinetry for a retro look not typically found in a fitness facility.

“MOST GYMS ARE HYPER-SEXUALIZED AND CAN BE SUPER INTIMIDATING. THIS IS THE OPPOSITE.”

—KARIN BOHN , HOUSE OF BOHN

CLOCKWISE FROM TOP, LEFT: A large

COURTESY KARIN BOHN AND HOUSE OF BOHN

communal table encourages gathering; vegan-leather chairs and a round coffee table in the living room help spur conversation; the open-to-all washroom creates a sense of community; the vibrant spin studio features LED lighting that can change color to the beat of the music; the archways’ vivid colors were inspired by colorful flecks in the terrazzo.

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WORK OF ART

TOP: The recently opened Museum Würth 2 houses an expansive private art collection, as well as a café and foyer. ABOVE: A windowed

belvedere overlooks Germany’s Hohenlohe countryside.

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WITH CONSTRUCTION OF THE NEW CONFERENCE CENTER AND ART MUSEUM WING, Museum Würth 2, now complete, the Würth Group’s Carmen Würth Forum is primed for visitor strolls through its art-filled galleries and sculpture garden. The 143,000-square-foot cultural gem, located in Künzelsau, Germany, and designed in two phases by David Chipperfield Architects Berlin, features a chamber music hall and great hall (completed in 2017), a multipurpose conference area, and museum spaces housing contemporary and modern works from the Würth Collection. (The massive private art collection was founded in the 1970s by Reinhold Würth, whose wife, Carmen, is the Forum’s namesake.)

“This second construction phase will mark the completion of the Carmen Würth Forum, fulfilling Würth’s vision to create a gathering place for [the Würth Group’s] employees and the wider community beyond,” architect David Chipperfield says. “It symbolizes the connection between a place of work, its community, and the surrounding environment, which the company has nurtured so impressively over the years.”

The museum portion features a café and foyer with a large exhibition hall and a smaller, more intimate art gallery. A windowed belvedere (an architectural feature designed to capture a sweeping vista) presents views of the Hohenlohe countryside, where the vast art collection continues in a sculpture park. Visitors can explore works from such notable sculptors as Tony Cragg, Niki de Saint Phalle, Anthony Caro, Jaume Plensa, and Georg Baselitz. —LM h

SIMON MENGES

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David Chipperfield Architects Berlin completes the second and final construction phase of southern Germany cultural and convention center Carmen Würth Forum.

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CULTURE CLUB

THIS PAST JUNE, THE LA-BASED HOTEL CHAIN ACE HOTEL OPENED THE DOORS TO ITS FIRST LOCATION IN JAPAN. The 213-room Ace Hotel Kyoto is part of the Shinpukan development that blends old with new: an existing building originally designed in 1926 by Japanese architect Tetsuro Yoshida to house the Kyoto Central Telephone Company, and a new structure featuring a ground-floor marketplace and access to the Karasuma Oike subway station. Designed by in-house creative agency Atelier Ace in partnership with renowned Japanese architecture firm Kengo Kuma & Associates and LA-based studio Commune Design, the hotel is shaped like a rectangle (the new portion features louvers and timber framework to meld with the existing structure’s

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The newly opened Ace Hotel Kyoto celebrates the work of local artisans, including artwork by Samiro Yunoki in guest rooms and Shigaraki tiles in the bar area.

style), with rooms situated around a lush courtyard garden. The overall aesthetic celebrates handcrafted work with original artworks and custom furnishings by local artists and designers, as well as pieces from US craftspeople. Suspended above the check-in area is a large-scale, boldly colored textile installation by the Shobu Gakuen artist community in Japan’s Kagoshima prefecture. Traditional noren curtains (fabric room dividers) and banners by artist Samiro Yunoki are displayed throughout, and sculptural ceramic Shigaraki tiles line the lobby bar and gallery area. Gibson guitars and custom wool Pendleton blankets from

Portland-based Pendleton Woolen Mills adorn guest rooms, and the low-slung Swift Easy Chair from Stevenson, Washingtonbased Phloem Studio makes a special appearance throughout the hotel. As for other important nods to the Pacific Northwest: Japan’s first Stumptown Coffee Roasters is serving up lattes on the hotel’s ground floor and James Beard Award–winning Portland chef Naomi Pomeroy will open an all-day Americanstyle restaurant near the courtyard later this year. —LM h

YOSHIHIRO MAKINO

The Ace Hotel Kyoto showcases art, materials, and furnishings from both Japanese and American artists.

It’s time to discover the great indoors. With modern amenities, award-winning dining, and design in the heart of downtown Portland, your sophisticated getaway awaits. woodlarkhotel.com

EXPLORE OUR COLLECTION OF HOTELS PROVENANCEHOTELS.COM

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Helsinki’s Savoy restaurant is restored to its 1930s-era splendor, with a few current updates to keep it wining and dining guests for years to come.

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AFTER MORE THAN 80 YEARS IN OPERATION, HELSINKI’S SAVOY RESTAURANT HAS BEEN REFRESHED. Originally designed by Finnish husband-and-wife architects Alvar and Aino Aalto, and opened in the summer of 1937, the iconic eatery’s interiors featured bold fabrics, multiple species of wood finishes (mahogany, oak, pine, and elm), and lush plantings. It also showcased the couple’s love for welcoming and comfortable furniture (two years prior to the opening, the Aaltos had cofounded the iconic furniture company Artek). In 2019, after a series of small refurbishments that departed from the original design—and after decades of wear and tear became impossible to ignore any longer—Ilse Crawford of London interior design firm StudioIlse was commissioned to reenergize the more than 2,200-square-foot space.

“Our work takes its cue from the original 1937 Aalto interior, taking the restaurant back to its original while refreshing it for today,” Crawford says.

“Savoy needed a bit of repair and a bit of love, but it didn’t need reinventing.”

The restaurant’s six-week renovation included the restoration of all original structures, including timber paneling on the walls and ceiling, a painted brick wall near the banquettes, and doors and baseboards, as well as the banquettes and chairs, which were reupholstered

in black and white with soft brown accents. On the indoor terrace, Crawford collaborated with Artek on a custom version of its Chair 611, fashioned in oak with a woven black-leather seat and backrest. Brass lights by Paavo Tynell line the wall, and inside the dining room are Artek A201 pendants—originally designed by Alvar Aalto—and his original brass Golden Bell Savoy lighting, which he created for the restaurant in 1937. A new wall-mounted version hangs in the cloakroom. —LM h

TOP: The original wall above

the banquettes was painted white as part of the major restoration.

ABOVE: StudioIlse designed a new bar cabinet for Savoy.

ANTON SUCKSDORFF

BACK TO THE FUTURE

Savoy’s original dining chairs were restored with fresh fabrics in black and white, with soft brown accents. An Artek A201 pendant—designed by Alvar Aalto—hangs overhead.

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NATURAL WONDER

TOP: Featuring private terraces overlooking lush foliage, the Oaxacan

boutique hotel is immersed in its jungle surroundings. Suites highlight tropical macuil wood and celebrate the work of local artisans.

ABOVE: A concrete bathtub calls for relaxation.

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THE MONTE UZULU HOTEL TAKES RESPECT FOR NATURE SERIOUSLY. Opened this past July in the town of San Agustinillo in Oaxaca, Mexico, the 11-room boutique lodging—whose name is derived from gusulu, which means “the beginning” in the language of the region’s Zapotec Indigenous group—was a collaboration among Mexico City architecture firm At-te, architect Tiago Pinto de Carvalho, and interior design studio Taller Lu’um, which works with artisan communities throughout Mexico to showcase traditional design and crafting techniques in its projects.

Monte Uzulu coexists with its jungle surroundings— no trees were removed during construction—and employs rainwater-harvesting and water-treatment systems to collect and reuse 100 percent of the water consumed by its operations. Inside the hotel, a simple design aesthetic highlights local wood species such as macuil, straw lamps and handmade baskets from artisans in Michoacán, Mexico, hand-carved wood furnishings from Oaxacan cabinetmakers, and textiles crafted in Teotitlán del Valle, a small Oaxacan village known for its handwoven rugs. A wall finish of earth and lime (of the non-fruit variety) lends an organic feel. Simple concrete bathtubs encourage tranquility, while a private terrace in each suite overlooks the Pacific Ocean and the jungle, for nature-marveling aplenty. —LM h

ELKE FROTSCHER AND ALAN FAVERO FOR MONTE UZULU

Eleven sea-facing suites in this Oaxacan boutique hotel beckon with minimalist style, natural materials, and details crafted by local artisans.

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New York’s LaGuardia Airport unveils its new Terminal B, an expansive steel-and-glass salute to the city’s grand tradition of civic architecture.

By Lauren Mang

98

GRAY

E

ven if you haven’t traveled through LaGuardia Airport, you’ve likely heard about its reputation. Opened in 1939 as New York Municipal Airport (and later renamed for former New York City mayor Fiorello La Guardia), the aging airport has long been a source of derision, mocked on social media and Saturday Night Live, and regularly tops “worst airport” lists. But major transformation and modernization efforts are underway as part of a comprehensive master plan aimed at upgrading the transportation hub for the 21st century. This past June, Terminal B was among the first structures to open anew, with a four-story, glass-walled, 850,000-square-foot arrivals and departures hall, 35 gates, and two 450-foot-long steel truss pedestrian bridges—suspended above taxiing planes— that extend to the new eastern and western concourses. (The eastern concourse opened in December 2018; the western concourse and its bridge are slated to open next year.)

Designed by global architecture firm HOK, the terminal emphasizes fluidity and transparency in order to help travelers feel at ease when navigating.

“We took every opportunity to look at surfaces and blend where walls and floors meet, or where walls and ceilings meet, so there’s a curvilinear geometry that contributes to this sense of fluidity and movement,” says Peter Ruggiero, Design Principal at HOK. Materials

including glass and glass-fiber-reinforced gypsum (a moldable, plaster-like material) used on walls, vertical openings, and the exterior fascia achieve that feeling of movement, while visibility through the space is intended to reduce the confusion and anxiety often associated with airport travel. “The only place where you truly encounter a wall in the building is when you go through security,” Ruggiero says.

“From the moment you arrive, you can see right into the check-in hall, and then can see, and easily be directed to, this giant portal where security processing takes place.” Travelers can gather their belongings in a generous post-security area, which features a large window that overlooks the airfield, before taking an escalator or elevator to the retail and dining floor, where once again, large glass windows overlook the airfield. “It’s reinforcing that sense of knowing where you are,” Ruggiero says. “This is also the only place where there is a decision to be made: ‘Do I go to the east bridge or the west bridge?’”

Terminal B’s new look also features inspiring public art, including I NY, a massive, glazed-ceramic mosaic mural by Los Angeles–based artist Laura Owens, which highlights elements from each of the city’s five boroughs. “We wanted to truly celebrate that this is a public building in New York City,” Ruggiero says. “There still is this spirit of getting things done on a grand civic scale.” h

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