GRAY No. 22

INTERIORS • ARCHITECTURE • FASHION • ART • DESIGN ™

baja, fiji, san francisco:

The Design Magazine for the Pacific Northwest

36

unexpected design destinations (YOUR SUMMER ROAD-TRIP SHORTLIST)

pacific northwest designers leave their mark on the world

inspired by Travel: homes, gardens, & MORE Stylish stays: 9 New hotels you need to know

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cont 19

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60

june–july.15

8. hello

Sense of place.

SCENE 19. news

GRAY rounds up the newest and most noteworthy places to stay throughout the Pacific Northwest.

24. ask

Ideas guy Surya Vanka predicts the future of design and previews the global conference of the Industrial Designers Society of America, coming to Seattle this August.

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GRAY ISSUE No. TWENTY-TWO

STYLE 27. travel

Jonathan Teng opens his sketchbook, revealing architectural drawings that serve as a visual diary of journeys near and far.

28. travel

Design-minded adventure-seekers, are you ready for a road trip? We’ve polled our intrepid coterie for 36 off-the-beaten-path destinations in the Pacific Northwest that you might otherwise miss.

38. profile

The duo behind Grain launches a new line of rugs and reflects on an early trip to Guatemala that changed the course of their lives and the future of their company.

42. fashion

Inspired by the colors of summer, Mitch Kristjanson debuts his second handbag collection.

44. interiors

Seattle interior designer Andrew Gath revamps a sophisticated San Francisco townhouse for a single guy, filling it with masculine furniture and playful pop art.

FEATURES 54. from sand to sea

The Arizona-based architect who crafted a stunning vacation home on a cliff in Cannon Beach, Oregon, muses about designing in the Pacific Northwest.

tents 66

60. heirloom quality

A family of five completes their dream house in West Vancouver, filling it with kids, antiques, a menagerie of pets, and a lifetime’s worth of collections.

BACK OF BOOK 66. architecture

While designing a remote spa on a Fijian isle, Architecture Building Culture gets clever with indigenous materials and building forms.

72. architecture

For five British Columbia families, Campos Leckie Studio created a modern mirage rising out of the desert sands of Baja.

84

84. context

Landscape designer and avid lensman Richard Hartlage recalls his journeys abroad and their impact on his work.

90. architecture

Nestled beneath a canopy of firs, a minimalist Mercer Island structure

by SHKS Architects is a serene spot for yoga and meditation.

94. resources

Your guide to the designers, shops, furnishings, craftspeople, and suppliers featured in this issue.

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✤

On the Cover

Four off-the-grid vacation homes in Baja, designed by Vancouver firm Campos Leckie Studio, nestle into their desert setting.

See page

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98. my northwest

Lawyer-turned-restaurateur Mitsumi Kawai finds fresh inspiration on an Oregon road trip.

GRAY ISSUE No. TWENTY-TWO

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hello

Belathée Photography

sense of place

This spring, we launched our five-part series, “GRAY Conversations: The Sorrento Sessions,” with a panel discussion (moderated by yours truly) called “Pacific Northwest Design Now.” For more information about our next two conversations, at Hotel Sorrento in Seattle on June 11 (focusing on PNW fashion) and July 9 (art and landscape), go to graymag.net.

I am a chronic forward-looker. (Or is it “look-forwarder”?). I’m not nostalgic, and I’m not that great at living in the present, either—though I’m working on it. Instead, what really sparks my imagination are things that haven’t yet happened, places I haven’t yet seen—in short, what’s next.

Travel is the activity in which my insatiable hunger for novelty manifests most intensely. Visiting new places is my greatest joy; a close second is imagining visiting new places.

Our annual Travel issue offers rich fodder for my own armchair travel—and, we hope, ample inspiration for your adventures, too. I know it’s got me mapping out my next road trip.

Seeing a place through a creative person’s eyes is the next best thing to being there yourself, so we turned to our region’s most inspiring designers to share stories of their journeys.

Richard Hartlage generously opened his photo album to share images he’s captured on his international travels and to muse on how the landscapes he’s explored—from South Korea to Arizona—have shaped his own garden designs (page 84). In Jonathan Teng’s sketches of Copenhagen—in which he limns the mundane items on his breakfast plate alongside the transcendent Brick Expressionist–Gothic lines of the Grundtvigs Kirke—you both view a designer’s hand at work and glimpse the authentic, living city (page 27).

Our My Northwest subject, restaurateur Mitsumi Kawai, describes “places where your surroundings pull you in and capture you in the moment.” I live for those places, too, however rare they may be. Pausing our hungry, noisy brains— letting go of the longing and connecting to the present—is travel’s greatest gift, and its greatest challenge. You don’t have to travel far to get there. You just have to travel deeper.

Overheard on social media “Wallpaper’s Handmade exhibition opened today in Milan, pairing up-and-coming designers with artisanal producers to make things like this conceptual air hockey table by Ladies and Gentlemen studio. ” @tmagazine

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GRAY ISSUE No. TWENTY-TWO

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Lindsey M. Roberts lindsey@graymag.net Landscape and Culture editor

Debra Prinzing debra@graymag.net Market Editor

Jasmine Vaughan jasmine@graymag.net Associate Editor

Nicole Munson nicole@graymag.net Assistant Editor

Courtney Ferris courtney@graymag.net Portland contributing editor

Brian Libby copy Editor

Laura Harger Assistant to the Publisher

Tally Williams InternS

Laura Aguilera-Flemming, Nessa Pullman Contributors

Jeremy Bittermann, Case + Arzt, Jen Hawk, Alex Hayden, Amara Holstein, Drew Kelly, Janis Nicolay, John Sinal, Nate Watters, Lindsay J. Westley ACCOUNT EXECUTIVES

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ADVERTISING: info@graymag.net Submissions: submissions@graymag.net Subscription: subscriptions@graymag.net No. 22. Copyright Š2015. Published bimonthly (DEC, FEB, APR, JUNE, AUG, OCT) by GRAY Media, LLC. All rights reserved. Permission to reprint or quote excerpts granted by written request only. 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. GRAY is not responsible for loss, damage, or other injury to unsolicited manuscripts, photography, art, or any other unsolicited material. Unsolicited material will not be returned unless accompanied by a self-addressed stamped envelope.

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GRAY ISSUE No. TWENTY-TWO

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These architecture and design firms are doing outstanding work in this region.

They also support GRAY and our efforts to advance the Pacific Northwest’s vibrant design community. Please contact them for your next project. Visit their portfolios at graymag.net or link directly to their sites to learn more.

Ben Trogdon | Architects bentrogdonarchitects.com

Emerick Architects

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Lane Williams Architects

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EIGHTEEN GRAY GRAY ISSUE ISSUE NNo.o. TWENTY-TWO

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Visit the Jonathan Adler Pop-Up Shop at IDSwest: featuring a fantastic selection of hard-to-find accessories and designs

Jonathan Adler: Potter, Designer and Author See Jonathan Adler address the IDSwest crowd on the Caesarstone Stage at 1pm on Sat Sept 26

Purchase your tickets online at IDSwest.com Complimentary trade registration now open Sponsors

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GRAY ISSUE No. TWENTY-TWO

Thurs Sept 24 Opening Night Party

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GRAY ISSUE No. TWENTY-TWO

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I N S P I R AT I O N • P A S S I O N • I N NOVA T I O N • P E R F O R M A N C E • D E D I CAT I O N

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GRAY ISSUE No. TWENTY-TWO

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scene

What’s hot on the Pacific Northwest hotel scene....

Thompson Seattle

A team of design royalty is bringing the first Thompson Hotel to the Pacific Northwest. With architecture by Olson Kundig and Jensen Fey, interiors by Toronto’s Munge Leung, and management by the hip Commune Hotels—and a killer sound-side setting next to Seattle’s Pike Place Market—the Thompson is poised to up the region’s style quotient when it opens in spring 2016. �� thompsonhotels.com »

courtesy commune hotels & resorts

For more on the region’s hotel-building boom, VISIT Graymag.net/newhotels

one to

GRAY ISSUE No. TWENTY-TWO

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scene

| news

Hotel Sorrento

SEATTLE (1) Seattle movers and shakers

have long patronized Hotel Sorrento for its historic elegance and clubby atmosphere. To inject youthful vibrancy into the centuryold structure, the hotel restored and renovated the lobby’s Fireside Room and invited local designers to make over three suites. The former Hunt Club restaurant, now the Dunbar Room, also got the highdesign treatment and now boasts a sophisticated French bistro-esque atmosphere as well as a new menu and head chef. Don’t worry: the drinks are as strong as ever. �� hotelsorrento.com 2

3

4

Hotel Zed

VICTORIA, B.C. (4) Thanks to an overhaul and the

touch of local interior designer Kimberly Williams, an outdated motel in Victoria, British Columbia, has emerged as the vibrantly colorful Zed. Rates are affordable, but amenities are plentiful and playful, ranging from a vinyllistening station in the lobby to typewriters in the business center.

To explore the island, guests can ride a 1967 Volkswagen shuttle bus or hop on a complimentary vintage bicycle. �� hotelzed.com

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GRAY ISSUE No. TWENTY-TWO

Palladian Hotel

SEATTLE (2) Opened in 1910 as the Codor Design Loft Calhoun Hotel, Kimpton’s recently SEATTLE renovated Palladian seamlessly (3) You don’t have to be an artist blends modern décor into its to live like one for a weekend: historic shell. Interiors hint at Seattle’s Codor Design has listed nostalgia with vintage rotary-dial its bohemian Pioneer Square studio phones, claw-foot bathtubs, and as an Airbnb accommodation. This pillows emblazoned with pop-star light-filled urban loft, decked out icons (David Bowie, Dave Grohl). with Codor’s sculptural mirrors, The hotel’s Old World–inspired bar, furniture, and lighting, features Pennyroyal, and high-end seafood soaring ceilings, original brick restaurant, Shaker + Spear, are walls, and a wrought-iron spiral destinations in their own right. staircase leading to a mezzanine �� palladianhotel.com » sleeping area. Staying here will win you serious design-insider points. �� airbnb.com/ rooms/4574039?s=xdLz

newly

1. andrew giammarco; 2. cris Molina; 3. BRIAN OH; 4. courtesy hotel zed

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scene

newly opened

| news

Hotel Vintage

PORTLAND (5) Kimpton Hotels’ new concept for

Skwachàys Lodge

VANCOUVER (6) With 18 boutique-style rooms

created by six local interior designers collaborating with six First Nations artists, Vancouver’s Skwachàys offers guests a bevy of opportunities to engage with area Aboriginal culture. All profits from the hotel and the on-site Urban Aboriginal Fair Trade gallery go to the Vancouver Native Housing Society, which provides safe, secure, and affordable housing to the city’s Aboriginal residents. �� skwachays.com

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The Lark

BOZEMAN, MT (7) What was once a rundown,

1960s-era motor inn is now the über-cool Lark. The retro-inspired digs in downtown Bozeman, Montana, celebrate local artists in 38 rooms, and the on-site restaurant is a taco truck in a retrofitted vintage trailer. It’s a low-key destination hotel with hipster style and a sense of humor. �� larkbozeman.com

Fairmont Pacific Rim

VANCOUVER (8) Light and art come together in

the new permanent installation at Vancouver’s Fairmont Pacific Rim hotel. Designed by Bocci cofounder Omer Arbel, the titanic glass-andsteel entrance sculpture, 16, evokes branches with shining-glass leaves and is sure to become a landmark work in a city with a blooming public-art persona. �� fairmont.com/pacific-rimvancouver h

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GRAY ISSUE No. TWENTY-TWO

5. courtesy Kimpton Hotels & Restaurants; 6. Craig Minielly at Aura Photographics; 7. courtesy The Lark; 8. Gwenael Lewis

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Hotel Vintage in Portland celebrates a certain type of vintage—that of wine. Each of the 117 remodeled rooms is named for an Oregon winery, and the two-story lobby features the Bacchus Bar, a 60-seat Italian cocktail lounge, and, as a striking centerpiece, a blackened steel spiral staircase that floats you up to a game room. Seattle’s Dawson Design Associates drove the new look, which deploys wine’s rich colors in a chic modern way. �� hotelvintage-portland.com

Design: Aldo Saetta Interiors. Installation: MaxUrbanMillworks. Photo compliments of Roos International.

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GRAY ISSUE No. TWENTY-TWO

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scene

| ask Go to Graymag.net/ idsa for the full interview.

future

now

Surya Vanka, spark plug and chair of an upcoming global design conference in Seattle, wants to ignite a new industrial revolution.

Interviewed by jaime gillin Photographed by nate watters

Surya Vanka, former director of user experience at Microsoft, moved to Seattle 15 years ago, drawn to the city’s natural beauty and inherent “sense of possibility.” Those qualities also make it the ideal host city for the Industrial Designers Society of America’s 50th annual global conference, “Future of the Future,” happening August 19–22. As the conference chair, Vanka is spreading a Seattle-centric gospel of good design. “Many cities are reinventing themselves to be relevant to the 21st century, but no other city is in the midst of such a design-led renaissance as Seattle,” he says. “It is the perfect crucible for reinventing design for this century.”

Why did you leave the corporate world and devote yourself to shaping this conference? Creating the IDSA conference is a labor of love.

I’m convinced there is an urgent need to bring together the best design minds from around the world to learn from one another and define their sense of purpose. My ambition is to catalyze a broad dialogue across the global design community.

What’s distinctive about this conference? It’s about sharing great ideas as well as creating great ideas together. We’ll hold thematic days—on the future of design education, the rise of the third industrial revolution, design for social impact, and the future of design leadership— and “design swarms,” opportunities to collaborate with others through a mix of charrettes and hackathons.

There is a lovely African saying that captures the spirit of this conference: “If you want to go fast, go alone. If you want to go far, go together.”

Surya Vanka, photographed outside Seattle’s EMP Museum, left a career at Microsoft to shape “Future of the Future,” the IDSA conference coming to Seattle later this summer.

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Why is Seattle the right place to discuss these topics right now?

Design is becoming an important part of the rise of Asia, and this city is a nexus between the East and West. We now live in a softwarepowered world, and Seattle has been the garage where the digital world is created. The entire world is deeply concerned about the climate crisis, too, and Seattle has long held nature in reverence, and it’s one of the centers of green design. Once considered a sleepy town isolated on the Pacific Rim, Seattle is now the cauldron where arts, architecture, creativity, music, digital worlds, biotechnology, maker culture, multiculturalism, entrepreneurial energy, and citizen engagement are coming together. It’s the irreverent, energetic frontier spirit that led to Seattle’s formation that will propel the bold reinvention of design today.

How has industrial design evolved as a discipline over recent years—and where do you see it going? Even a decade or two ago, industrial design meant creating beautifully styled and comfortable mass-manufactured products. But its challenges have since moved to designing the entire experience: the systems, the software, and the services that such products are just one part of. The scope of design work continues to expand, and it now includes organizations, policies, and governance.

In the past, we understood good design to be good business. In the future, we will agree that good design is good citizenship. h

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GRAY ISSUE No. TWENTY-TWO

Wolf Induction Cooktop

style

travel

Drawn Abroad Written by rachel gallaher

Like an intricate roadmap, Jonathan Teng’s sketchbook traces his travels—each drawing in the modest black Moleskine brims with his intriguing observations of daily life around the world.

A designer at Mahlum Architects and a member of Urban Sketchers Seattle—a local chapter of an artist collective that spans five continents—Teng saw his passion for drawing blossom during a studyabroad trip to Rome in 2009 while he was pursuing a degree in architecture at the University of Washington. Back in the States, he took up sketching on an almost daily basis and posted his drawings

on Tumblr and Instagram. A glimpse at the feed reveals his eye for details and the way that his quick gestures telegraph a sense of place—how shadows fall in an Italian church, say, or the texture of a poolside tree in Palm Springs. Teng’s favorite time to sketch is on vacation (the above sketch is from a 2014 trip to Copenhagen), when the pages of his notebook fill with layered drawings that offer more vivid reminders of places than a photograph ever could.

“There’s something about capturing small details,” Teng explains.

“Re-creating them with your hand imprints them in your memory.” h GRAY ISSUE No. TWENTY-TWO

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style

| travel

design off-roading:

Expeditions for Great Design Although most of us would prefer to keep our favorite remote destinations secret (hello ferry lines in the summer), we coaxed our well-traveled design-world friends, along with GRAY editors, to divulge their favorite off-the-radar design spots. These hidden gems, all in unexpected pockets of the Pacific Northwest, will inspire you to take that mysterious detour on your next road trip. »

Created by Portland and New York City–based architect Brad Cloepfil, of Allied Works Architecture, the Maryhill Overlook is a climbable 150-foot-long concrete sculpture that offers visitors fresh viewpoints on the dramatic topography of the Maryhill Museum of Art’s 5,300-acre site.

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GRAY ISSUE No. TWENTY-TWO

co l u m b i a r i v e r gorg e

“Much of the unique flavor of Pacific Northwest design can be summed up in a study of the Columbia River Gorge—

a landscape that has inspired generations of designers. Start with a tour of the 75-acre Shire by renowned architect and preservationist John Yeon, who purchased it in the early 1960s to protect it from industrial development. He spent years carefully shaping the landscape into meadows, wetlands, and vista points overlooking Multnomah Falls and other scenic sites. Impeccably cared for, the Shire serves as an educational site for landscape and ecology students at the University of Oregon. It’s open only by appointment.

From there, drive an hour east to the Maryhill Museum of Art, in Goldendale, Washington, to check out Allied Works Architecture’s Maryhill Overlook. The 150-foot-long earthwork-scale sculpture is a concrete ribbon emerging from the rocky landscape perpendicular to a bluff overlooking the Columbia River. Cuts and dips in its concrete forms allow you to wander in, around, and atop the sculpture and create views toward the high desert.

Perhaps the sculpture’s key moment is the point where all its forms line up to frame a stone outcropping miles away on the gorge’s far side—a detail easily overlooked without a bit of guidance.”

—Courtney Ferris, Assistant Editor, GRAY

Sally Schoolmaster GRAY ISSUE No. TWENTY-TWO

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M . crow & co . l ost i n e , or e gon

“Tyler Hays, founder of the luxury

furniture brand BDDW, bought this tiny, 107-year-old general store in a one-stoplight town close to where he grew up. I love BDDW’s furniture, and its showrooms in Manhattan and Milan are gorgeous, so I was excited to see Tyler bring his design flavor to rural Oregon. My partner, David, and I stopped there on a recent road trip to Wallowa, and we certainly weren’t disappointed—we spent an hour looking at all the beautiful artisan objects and purchased a very cool handmade ladder that we use to display our towels at home.

There are high-end accessories ($200 cutting boards) mixed with shotgun shells and hunting gear. You can even pick up snacks and a six-pack!”

—Holly Freres, owner, JHL Design

“Saffron Fields’ tasting room is such an escape. The light-filled, refined interiors

by Portland-based interior designer Jessica Helgerson are an appreciated departure from the typical winery aesthetic. Every elegant detail is right.

The hanging pendants by Esque, for example, are jolts of color in the earthtoned interior. I love that reclaimed wood from the property’s original barn was utilized in the ceiling and bar.

Surrounding the building is a knockout meditation garden by the designers of the Portland Japanese Garden. And to drink? Gotta love that it’s rosé time, so I suggest you try theirs.”

—Stacy Kendall, Special Projects Director, GRAY

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David Phelps Photography

saffron f i e l ds w i l l a m e tt e va l l e y , or e gon

THIS PAGE, TOP: COURTESY M. CROW & CO.; BELOW: LINCOLN BARBOUR; OPPOSITE: KEVIN SMITH

“An appreciated departure from the typical winery aesthetic...”

style

| travel

“I lived in Walla Walla for a year

before moving to Portland in 2012, and many people don’t know its great gems. The Walla Walla Foundry is one of America’s top foundries, producing pieces for some of the best contemporary artists in the world, including Thomas Houseago, Deborah Butterfield, and Matthew Barney. At any given time, the artisans might be working on abstract bronze sculptures, life-size wax pieces, or 14-foot-tall black walnut ‘bookends.’ Down the street, the Foundry Vineyards tasting room features artwork both inside its tasting room and in its outdoor sculpture garden. I always bring guests to the Olson Kundig Architects–designed Charles Smith Wines tasting room in a beautifully renovated auto garage right off the main street—everyone gets a kick out of the fun atmosphere and cheeky wine names. My friend Zibby Wilder recently opened Chillville Walla Walla, a cool hotel alternative with six restored Airstream trailers, petanque courts, and a common area with picnic tables and party lights on its 3.5 acres.

If you have time to explore, hit the outskirts of Walla Walla. About 10 miles south, you’ll find the most amazing chocolates you’ll ever eat, at Petits Noirs in Milton Freewater, Oregon.

Or, if you are itching for a great cocktail and a charming atmosphere, head 20 miles north to Jimgermanbar in Waitsburg. The bar is run by Seattle transplants Jim German and his wife, Claire Johnston, and I guarantee it will be a highlight of your trip.” » —Delia Tethong, owner, House of Commons

Charles Smith Wines hired Olson Kundig Architects to reshape a former Walla Walla, Washington, automotive garage into a flexible, industrialchic space for wine tasting.

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T IE T O N , wash i ngton

“Tieton has a reputation as an art center, but its core is creative entrepreneurship.

We are more about design businesses than pure art.” —ed marquand, Paper Hammer

piece for City Arts magazine a few years ago. It’s a sleepy square-mile town in eastern Washington that’s experiencing an economic and cultural revival thanks in large part to Ed Marquand of Paper Hammer, a bindery and letterpress. Dozens of artists and craftspeople manufacture their goods here, including Graypants, Paper Hammer, and the Tieton Mosaic Project. Sound artist and kinetic sculptor Trimpin has a studio here, too. Now Marquand’s launching a Kickstarter campaign to clad the façade of the Tieton Post Office with a glass postage-stamp mosaic. And there’s Santo’s—a stellar Mexican bakery—and Tieton Cider Works. Flaky, creamy bakery goodness paired with freshly bottled cold cider…need I say more?” » —Rachel Gallaher, Editor, GRAY

Clockwise FROM TOP left: A former fruit storage facility, the Mighty Tieton warehouse has housed many creative businesses in recent years. Renowned sound artist Trimpin has a studio in Tieton. Paper Hammer Studios produces high-quality letterpress paper goods.

Ed Marquand in the Tieton Mosaic studio with studio manager Steve Morgan. Seattle’s Graypants utilizes Mighty Tieton’s production capabilities to make Scraplights.

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CLOCKWISE FROM TOP LEFT: NATE WATTERS; ELIZABETH WOODWARD; ELIZABETH WOODWARD; NATE WATTERS; ED MARQUAND

“I discovered Tieton when I wrote a travel

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SHOPPING DETOUR

While you’re in the Skagit Valley...

e d i so N & Bow , wash i ngton

“I’ve lived just over the border of Edison since 2002, and the magic of this beautiful little town is in the way it has evolved since it was settled in 1869. It’s next to the

Samish River, it has stunning views of Mount Baker, and it’s surrounded by farms on all sides. It has stayed virtually the same size—150 people—and has had the same basic street layout for the past 100 years. It’s rooted in smalltown farming values: visit the Edison Café, where you will find three generations of farmers having coffee every morning. In Edison, as well as in neighboring Bow, farm culture has seamlessly blended with a steady stream of newcomers, such as storefront gallery Smith & Vallee, the artisan bakery Breadfarm, and restaurants operated

by Seattle-trained chefs (Tweets Cafe and Mariposa).

My favorite place is Slough Foods, which has a great patio on the slough looking at Samish Bay and Lummi Island. Here two cultures, farming and art, come together to celebrate the best of both worlds in a very credible way.

The slab yard operated by Smith & Vallee Woodworks has small raw wood slabs for homeowners at great prices, as well as an unbelievable stock of larger pieces.

I also frequent Duluth Timber Company, which has an acre of wood piled 10 feet high. All the reclaimed fir in our Seattle projects comes from here. It’s a must-tour for anyone involved or interested in architecture.”

—Scott Edwards, managing principal, Dovetail General Contractors

TOP and bottom right: Smith & Vallee Gallery, in a former turn-of-the-century schoolhouse, features established and emerging Northwest artists, including Tyree Callahan. middle: Wesley Smith and Andrew Vallee also sell live-edge slabs in their woodworking studio. bottom left: Cookies at artisan bakery Breadfarm.

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“A favored place to find nicely designed objects is Go Outside in La Conner. The owner has a wonderful eye, and it’s full of great objects related to gardening, but also household items and cooking and architecture books. I swing by anytime I’m near—it’s a pleasant and relaxing place, and I usually wind up finding a great book to read. Twenty minutes north is the always inspiring Marine Supply and Hardware in Anacortes, Washington. It has nautical hardware and antiques along with all sorts of rope and boat gear. What designer wouldn’t like poking around in here?”

—Trygve Faste, cofounder, Something Like This Design

“Here two cultures, farming and art, come together to celebrate the best of both worlds in a very credible way.”

let’s talk

design GRAY Conversations The Sorrento Sessions in partnership with

July 9 | Art, Landscape, & the Public Realm Aug. 20 | Next-Wave Graphic Design & Branding Don’t miss this conversation series at Seattle’s historic, newly updated Sorrento Hotel. Come for the conversation and stay for the cocktails!

Space is limited; RSVP required.

Creative Entertaining & Tabletop Design Sept. 15 | Seattle Alchemy Collections

Join us at the GRAY Stage for

GRAY Conversations

Sept. 24–27 | Vancouver Vancouver Convention Centre West Set within the largest interior design show on the West Coast, GRAY presents an exciting series of dynamic and informative panel discussions with Pacific Northwest design luminaries. Topics range from innovations in kitchens and baths to the new look of luxury in residential and commercial design.

Tickets: idswest.com

For more details and to rsvp, visit:

graymag.net

The Design Magazine for the Pacific Northwest GRAY ISSUE No. TWENTY-TWO

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| travel

TOP AND MIDDLE LEFT: Tofino’s rustic-chic style is evident at the restaurant Wolf in the Fog, which includes a wolf sculpture made from driftwood.

MIDDLE: Kuma, a restaurant that serves modern Japanese comfort food in an equally modern setting, opened earlier this year. BOTTOM: Caravan Beach Shop specializes in hip beach and camping gear.

TOFINO, VA N C O U V E R I S L A N D , B R I T I S H C O LUMBI A

highway on Vancouver Island’s west coast, on the edge of one of the world’s largest tracts of temperate rainforest. And there is definitely an end-of-the-road culture here. I spent summers in Tofino a dozen years ago as a 20-something, and since I moved here full-time in 2010, there’s been an influx of young creative folks who are launching the town’s current restaurant and retail boom. Caravan Beach Shop is a little place with great beach and camp-inspired lifestyle stuff. A contemporary shop called Merge just opened, featuring the work of local artisans. New restaurants such as Kuma—which I designed with a pared-down Japanese aesthetic but with coastal warmth (see page 98 for more)—and the Fish Store and Oyster Bar have a clean, minimal look. Wolf in the Fog restaurant has artfully detailed lighting, and a lot of the building’s materials are reclaimed.

There are standout architectural spots here.

Instead of the standard saltbox house on the water, people add cool, modern touches. Cougar Annie’s has a beautiful garden and outbuildings for which the owner hand-milled every plank. I designed our own cabin, Lucky Eagle Guest Lodge, utilizing reclaimed materials throughout—an old dock became the house’s stilts and bedframes, for example. We rent it out on Airbnb so people can experience Tofino’s amazing cabin culture for themselves.”

“an influx of young creative folks is launching tofino’s current restaurant and retail boom.”

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—Lauren Aikens, founder, FLO DesigN

FROM TOP: CHRISTOPHER POUGET; CHRISTOPHER POUGET; SCOUT MAGAZINE; Graeme Owsianski

“Tofino is about as far west as you can go in Canada. It’s at the end of the

D EE P C O V E , O N R T H VA N C O U V E R , B R I T I S H C O LUMBI A

“My husband and I moved to Deep Cove three years ago from

Sunnyside, in North Vancouver’s Deep Cove neighborhood, is stocked with modern tea implements, linens, handmade ceramics, contemporary soaps, and more.

downtown Vancouver—it’s a big contrast, but this is where we feel most at home. People come to Deep Cove for the scenery and outdoor activities, but after a good hike or paddle, they usually check out the great shops—that’s my routine, anyway. Local residents Megan and Rich Curren opened three of the best shops: Sunnyside, a tea and homegoods boutique, launched last year, and I am a huge fan of its perfectly curated ceramics, especially Kalika Bowlby’s work. Every time I go into Room6, I find something I want, and I love their “Fresh Flower Fridays.” My last stop on the retail round is A’hoy, a collaboration with the owners of Herschel Supply Co. If this place could become my personal closet, I would be one happy girl!”

—Jen Hawk, founder, Occupy Design

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tight-

knit

The history and traditions of Guatemalan artisans are woven into the fabric of Grain’s new rug collection.

Charlie Schuck

Written by Lindsay J. Westley

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Kristen Tourtillotte; portrait: grain

i

n a high-country village in western Guatemala where locals still keep time according to the 260-day Mayan calendar, a group of women send wooden shuttles racing through old-fashioned foot looms. The artisans move their hands and feet rhythmically to produce the woolen textiles, made with yarn sourced from village sheep, for which Momostenango is famed. Elsewhere in Guatemala, cotton weavers brew flowers and herbs to dye skeins of soft cotton in muted hues, attributing slight variations in color to a dry growing season or to the angle of the moonlight on the night before the plants were harvested.

For designers Chelsea and James Minola, of Grain on Bainbridge Island, Washington, these myths and materials are part of the beauty of collaborating with traditional artisans. The couple met nine years ago in a Rhode Island School of Design class that toured Guatemala, which sparked a romance that bloomed into marriage and a successful design studio. It also marked the beginning of many long-term collaborations with textile makers in Guatemala, which Chelsea and James continue to foster today.

The Minolas’ other designs—furniture, lighting, jewelry, and ceramics—are produced exclusively in the Pacific Northwest. But despite the challenges of working across cultures, long »

TOP LEFT AND RIGHT: Weavers in a studio in Antigua, Guatemala, prepare spools of cotton thread from skeins that have been washed and dried. Washing the thread before weaving helps to strengthen the fiber and keeps it from shrinking or warping once woven. ABOVE: James and Chelsea Minola in San Antonio Palopó, Guatemala. RIGHT: Steam from pots of boiling water fills the room in Grain’s natural-dye workshop in San Juan La Laguna.

Artisans use natural plants and herbs to dye the thread.

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“Working in Guatemala is challenging. But whenever we ask ourselves, ‘Why Guatemala?’ the answer is always the relationships we’ve built there.” —Chelsea Minola, designer

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distances, and language barriers, they still return to Guatemala for their textiles, which include pillows, towels, and scarfs as well as their new line of rugs.

“Whenever we ask ourselves, ‘Why Guatemala?’ the answer is always the relationships we’ve built there,” Chelsea says. “We’ve seen what a difference long-term connections between designers and artisans can make, and we want to play a part in keeping these craft traditions alive.”

The pair’s latest work, three wool rugs named after Highlands villages, premiered at the Architectural Digest Show in New York City in March 2015, and one is on view through August at the Bellevue Arts Museum. The designs—El Prado, Momostenango, and Zacapa—are woven on traditional foot looms in simple grid-like patterns. The textiles enjoyed a gratifyingly positive international debut, yet for Grain, trends and acclaim are secondary to their primary goals: to build sustainable income opportunities for artists and to invest in relationships for the long term.

“Would we want to find someone locally who could use the same techniques to make these textiles? Sure,” says Chelsea. “But ultimately we’re most interested in investing in the types of high-quality craft we find in Guatemala. Working this way, we also have the reward of knowing we have an impact on people’s lives.” h

CLOCKWISE FROM TOP LEFT: Charlie Schuck; Charlie Schuck; Kristen Tourtillotte; GRAIN; GRAIN

LEFT: Named after Guatemalan high-country villages, Grain’s new hand-dyed rugs were woven on a traditional foot loom using wool from local sheep. While makers use dyes to color the rugs called El Prado (left) and Zacapa (shown on page 38), the Momostenango (far left) is made from virgin wool that draws its hues from various species of sheep native to the region. BELOW LEFT: In Grain’s natural-dye workshop in San Juan La Laguna, women add chilca, an indigenous plant that’s also used in medicines, to a pot of boiling water to create ochre-yellow dye.

ARCHITECTURE

Bosworth Hoedemaker INTERIORS

Rocky Rochon Design PHOTOGRAPHY

Benjamin Benschneider GRAY ISSUE No. TWENTY-TWO

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| fashion

Mitch Kristjanson thought he

true calling

Rising-star designer Mitch Kristjanson debuts his second collection: bags that celebrate the colors of summer.

Written by rachel gallaher : Photographed by Case + Arzt

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would be a furniture designer, and for a while he was one. “My pieces were aesthetically interesting—modern with a medieval twist,” the 29-year-old designer recalls. “I took rotting, tattered wood off my father’s fishing-boat decks and wrapped the pieces with leather so you could sit on them.” Yet they weren’t functional, and they weren’t scalable.

Left with several unused hides after an ill-fated attempt at building a Chesterfield sofa, Kristjanson began making small-scale accessories, starting with a work bag for himself, crafted from natural hide and yellow and brown leather. Soon friends and strangers were asking where he’d bought it.

With that, Kristjanson launched a line of eight bags, their aesthetic inspired by his childhood in farmy Woodinville, Washington, where horses were his pets. His designs included oversized pony-hair clutches, large totes, and a café au lait–colored bucket bag.

His second collection, Rad Summer, launched this spring. The handcrafting and basic structure of his inaugural line endure, but his vibrant new hues aim to capture Northwesterners’ excitement for summer: bright punches of juicy red, grassy greens, and the blue of a cloudless August sky. Kristjanson subtly incorporates precious crystals and minerals into his pieces for their beneficial “metaphysical properties.” Accents of black tourmaline deflect negative energy; selenite evokes creativity and positive energy.

His next collection is hush-hush, but Kristjanson’s been experimenting with a stiffer leather that will hold its shape longer and a palette that includes classic nudes and peaches, which promise to be as chic and timeless throughout the year as Rad Summer’s colors are in its namesake season. h

ALCHEMY C O L L E C T I O N S MODERN

FURNITURE

STORE

2 0 2 9 2 N D AV E . SEAT T L E , WA 9 8 1 2 1 T. 2 0 6 . 4 4 8 .3 3 0 9 WWW. AL C H EM Y C O L L EC T I O N S .C OM 9 0 9 WE ST E R N AV E . SEAT T L E , WA 9 8 1 0 4 T. 2 0 6 . 6 8 2 .7 5 7 5 WWW. C AM E R I C H SE AT T L E.C OM

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| interiors

balancing

act

In a San Francisco townhouse, Seattle-based interior designer Andrew Gath pulls off a perfect counterpoise among seemingly clashing styles.

Written by rachel gallaher Photographed by drew kelly

San Francisco is a cultural midpoint between New York and Seattle. It’s urban but not too crowded, professional but laid-back. And it has a high-low sense of style that just looks cool.

Interior designer Andrew Gath tapped into that vibe when revamping a townhouse in the city’s Corona Heights neighborhood.

The Seattle-based Gath, whose career has taken him from Chicago to New York City to Austin, Texas, draws on his multi-city background when tackling design projects. “I learned to think outside the box in New York while working at Huniford and at Bilhuber and Associates. Those projects gave me exposure and access to items from around the world, and they helped train my eye.”

His San Francisco client, a young, enthusiastic bachelor looking to decorate his first home, lacked a New York–size budget but made up for it in moxie.

Both in their 30s, designer and client quickly bonded after their initial planning meeting. “As children of the late ’80s and early ’90s, we share a lot of the same references,” Gath says. “Cartoons, arcade games, electronics—typical nerdy boy stuff, which became the foundation of the project. We were building a fun collection where every piece has its own little story.”

The 1,600-square-foot, three-level townhouse was built in 2001, but the client purchased it last year. Gath retained the structure’s modern architectural feel—its exposed steel rafters, polished concrete floors, gallerywhite walls—while updating the light fixtures and staining the red-tinged wooden stairs a dark charcoal. »

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Overlooking the Castro and Mission districts, the living room of this San Francisco townhouse mixes modernism with a laid-back organic look. The Bennet sofa is from Mitchell Gold + Bob Williams, the teak coffee table is from Noir, and the leather lounge chairs are Lawson-Fenning. The silver Gem Side Table is by Tom Dixon through Inform Interiors, and the rug is Charette by Atelier Lapchi through Driscoll Robbins. Interior designer Andrew Gath found the hanging panels at Kirk Albert Vintage Furnishings.

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As for the interiors, “the client wanted a mix of styles,” says Gath. “We ‘narrowed’ it down to midcentury modern, art deco, brutalism, and neo-modernism, all with a touch of 1970s California.” In Gath’s deft hands, the mélange of design influences ended up sophisticated rather than sloppy. Neutral tones dominate the larger, big-ticket items, while colorful art and accessories act as conversation starters. A collection of vintage toy ray guns mounted on a yellow-painted board offers a slightly menacing, slightly playful greeting as visitors enter and climb the ink-colored stairs.

On the top level, an open layout connects the living and dining areas to the kitchen. The organic lines of the teak coffee table from Noir subtly contrast with the angles of the brushed cotton–blend sofa and worn leather chairs. The coffee-and-cream-colored area rug’s sharp spiked pattern nods to midcentury Japanese textiles, and four vintage industrial rubber–wrapped panels from Kirk Albert Vintage Furnishings above the couch proudly sport paint, frays, and years of wear and tear.

The showstopper in the dining area is Matt Phillips’s Waves, a sunny-hued, large-scale collage that holds court over a walnut Corbett table by Room & Board, Knoll’s Risom chairs, and leather Lewis chairs from HD Buttercup. Though not initially a conscious decision, yellow percolates through the project, adding arcadeesque pops to the elegant décor. »

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THIS PAGE: The dining area features a walnut table from Room & Board under a collage

by Matt Phillips through Kate Alkarni Gallery in Seattle. The candelabra is by BoConcept.

OPPOSITE PAGE, CLOCKWISE FROM TOP LEFT: On the ground floor, Gath created a media and guest room that doubles as a study. Above the Mitchell Gold + Bob Williams fold-out sofa hangs Supervolcano Yellowstone (Fear of Volcanoes 3) by Ryan Molenkamp from Linda Hodges Gallery in Seattle. A rug from West Elm, a Papa Bear lounge chair from Modernica, and a circular coffee table by Blu Dot round out the room. Vintage toy ray guns hang in the stairwell. Parade of Steaks by Carrie Mae Smith steals the show in the otherwise minimal kitchen. The small painting, Blue Spout, is by Whitney Shaw Zordan.

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TOP: Gath selected restrained, masculine furnishings for the master bedroom, including a Room & Board Wyatt bed, a Stacy Logan area rug, a Toro lounge chair from Blu Dot, and a gray Owen side table from Schoolhouse Electric & Supply Co. The nightstand is by Tom Dixon through Inform Interiors. Bottom: The powder room features a glass pendant fixture from Niche Modern and a painting by an unknown artist, found at Red Snapper in Portland.

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In the kitchen, Gath spruced up the original cabinets and contrasting dark soapstone counters with bold, eye-catching art—not least Carrie Mae Smith’s Parade of Steaks, a painting of 15 slabs of raw meat against a light-turquoise background. “On many projects, I pull a large group of paintings and present them to the client,” Gath says. “He initially hated the meat painting, but later he admitted that he couldn’t stop thinking about it. I love it when a client develops a kind of connection to a piece out of left field.”

Moving away from ray guns and meat paintings, Gath made the bedroom minimalist at the client’s request. To focus on texture, he set the linen-covered Room & Board bed on a copper-and-teal Stacy Logan shag rug. “Copper and teal are pretty much my least favorite words,” he says with a laugh, “but in this piece they were just so right together.”

Not every designer can create cohesive interiors out of styles as far-flung as the East Coast is from the West, but in this project, Gath proves that distance means nothing: fusing disparate elements requires only a little imagination and choosing items you just can’t live without. h

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2013 AIA Portland Design Award 2014 National Institute of Building Sciences Beyond Green Award GRAY ISSUE No. TWENTY-TWO

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promotion

qa Dana anderson +

whether building training pools for professional athletes or bringing a water park to your backyard, PortlanD’s Anderson Poolworks leads the Northwest in design and innovation.

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opposite: For a luxury home in Portland, Anderson Poolworks installed laminar jets— the same type used at the Bellagio in Las Vegas, in which light travels through the streams. right, from top: Anderson designed a two-sided vanishing edge pool with an automatic safety cover for clients in Portland. Firm owners Brody (left) and Dana Anderson stand at their latest designbuild project, the Cove, which is Sunriver Resort’s newest facility. A residential spray pad features timed splashes of water that are fun for kids of all ages.

Pools may not be the first thing one thinks of when envisioning Pacific Northwest design, but Anderson

OPPOSITE: Fabienne Augustine. THIS PAGE FROM TOP: Billie Macy; Jason Schallock; Billie Macy

Poolworks is on a course to change that. The 17-year-old Portland-based company, run by two brothers, offers full-scale design-and-build services for projects across the Northwest. With its emphasis on innovation and personal service, the company has worked with top architectural firms—Skylab and Ankrom Moisan, among others—to create custom pools for houses, condos, hotels, professional sports facilities, water parks, and more. President Dana Anderson dives into what sets Anderson apart in its niche industry.

Tell us a bit about Anderson Poolworks’ evolution over the years. We started in 1997 by plastering swimming pools. Within a year, we broke away from the industry norm—installing premade designs—and began creating custom pools and bringing national trends to the area. More recently, we’ve become active in industry organizations that are at the forefront of establishing regulations and codes and design review. Lighting, pump, and filter companies send us new products to beta test. That’s a gratifying development because now we’re not just watching trends—we’re setting them.

What sets Anderson apart from other pool companies? We orchestrate the whole process from concept and design to installation and maintenance.

Even if it’s been two years since we installed your pool, we will make sure it’s working properly, and most people have us come back for weekly cleanings.

We also collaborate with architects around the country. Additionally, our work with large water parks enables us to scale their elements—such as manmade rocks, slides, waterfalls, and fountains—down to residential applications. We can bring a water park to your backyard.

What’s the trend in pools in the Pacific Northwest? People want as few chemicals in their pools as possible. We were early adopters of ultraviolet water purification in our region, and as the technology has gotten more affordable recently, we’re using it to replace salt systems. As far as aesthetics, glass tile and vanishing edges are the most sought-after looks.

What’s next for Anderson? We’re constantly evolving. We’re now working with athletic teams such as the Ducks and the Trail Blazers to create chilledwater pools, which are becoming popular as part of their training regimen.

We’re getting calls from athletic directors all over the country, too—it’s a growing segment of our business. h andersonpoolworks.com

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promotion

THIS PAGE: Armen Gharabegian, founder of Lounge22, pushes furniture design forward with his innovative American-made pieces. “Our design goal is always to produce an absolutely beautiful object that makes sense and has personality, comfort, and ergonomics,” says Gharabegian.

“We strive to make timeless signature pieces.” opposite, clockwise from top left:

qa

Lounge22’s furniture line includes the Hudson Chair, Diplomat Sofa, Ripple Coffee Table, and bentbamboo Osaka Chair.

+

armen gharabegian With a commitment to american-made, heirloom-quality design, LOUNGE22 turns out innovative, eco-friendly furniture destined to be future classics.

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Designer Armen Gharabegian founded Lounge22 out of a

need—he couldn’t find the modern, high-quality, American-made furniture he was looking to use in his projects. Instead of settling for less, he decided to create his own sleek, timeless pieces, and so he launched Lounge22, a burgeoning furniture brand that handcrafts every piece in L.A. The company sells to both consumers and trade; in 2014, its contract divison began working directly with architects and interior designers on hospitality projects around the world. Here, Gharabegian sheds more light on Lounge22’s commitment to creating beautiful, heirloom-quality American furniture.

A lot of companies carry the “Made in America” stamp. What’s distinctive about Lounge22? From the get-go, I was adamant about defining us as an American brand. When we launched, in 2004, we were one of the first companies to use the tagline “Handcrafted in L.A.” I’m completely anti-trend.

I don’t think that furniture should be a commodity. We don’t change our look, and we don’t do seasonal pieces or seasonal colors. I want to create pieces that people will remember 20 years from now—that somebody’s children will find in their attic and say, “My god, that is an amazing piece.”

What keeps you motivated as a designer? Process is what excites me.

I might be inspired by plants, insects, or the most mundane objects like erasers. When I was a furniture and exhibit design instructor, I always told my students to try to not get inspired by second-generation pieces. When I’m designing a chair, I don’t look at pictures of chairs. Instead, I might look at a beetle and see how its exoskeleton works, and that starts a chain of inspiration. We’re currently patenting a chair inspired by caterpillars.

What else are you working on now? We spent six years working with a Japanese factory to develop a new way to bend and use bamboo as a luxury material for contemporary furniture, and we’re currently designing an ecologically responsible office chair that’s an ode to Eames. We’re also designing an outdoor line that will come out later in 2015. We’re inspired

by Southern California—the surfing culture mixed with the hot rod culture mixed with postmodern aesthetic.

Our other focus is expanding the reach of Lounge22 and building relationships with multiple stores around the country. We want people to be able to interact with our products. In Seattle, our line is carried at Loft 63—and we’ll be introducing additional locations in the Northwest over the coming months. h lounge22.com GRAY ISSUE No. TWENTY-TWO

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The Basha residence is nestled into a wooded hillside in Cannon Beach, Oregon, on the site of a former motel. “The house really designed itself,” says Phoenixbased architect Eddie Jones.

“I was always working in the service of the Pacific Ocean.”

Designing a house in the Northwest, using local materials and keeping the rainy climate in mind, was “absolutely thrilling, especially for a desert architect.”

DESIGN TEAM

architecture: Jones Studio interiors: Dalton Interiors construction: Don Tankersley Construction

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from sand to sea

Written by BRIAN LIBBY : Photographed by jeremy bittermann

Desert architect Eddie Jones designs a Cannon Beach showplace for his Arizona clients that embraces rain, wood, and all that the Pacific Northwest does best.

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“I

fell in love the very first summer I visited,” says Nadine Basha, a longtime Arizona resident, reminiscing about her early encounters with Cannon Beach, Oregon. “I’ve never seen a more beautiful coastline in the world. It’s so different from the climate at home—a nice juxtaposition—and its beauty is astounding.”

After visiting Cannon Beach friends regularly over the past several years, Basha and her late husband commissioned a vacation home on a wooded hillside perch overlooking the Pacific. They turned to award-winning Phoenix architect Eddie Jones for the design, giving him an opportunity to work in an entirely fresh environment. “All four seasons might occur here before breakfast. I love that,” says Jones, whose firm typically creates high-end desert residences and educational

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and government buildings in Arizona. To learn the local vernacular, he first studied the wood-and-glass houses of legendary Northwest modernists such as Pietro Belluschi and trekked through coastal Oregon towns to soak up local architecture and traditions. “I was all ears and all eyes. I wanted to absorb and feel and discover what the architecture should be.”

The resulting house, built by acclaimed Portland custom homebuilder Don Tankersley Construction, with interiors by Scottsdale’s Dalton Interiors, is both rooted in the Northwest modernist tradition and a departure from it.

LEFT: Wild indigenous landscaping links the house with the Cannon Beach coastline. A metal scupper along the roofline connects to a rain chain. ABOVE: Large roof overhangs in the house’s entry courtyard extend over the walkway to divert rainwater into an underground holding tank. BELOW: Though the house is clad inside and out with wood, its steel framing helps the house resist seismic forces and allows abundant floor-to-ceiling glass.

Windows and doors were custom fabricated by Bergerson Cedar Windows.

“While this home is contemporary architecture, I wanted it to feel like it has always been here,” Basha says. “I wanted it to nestle into nature, to be all about nature.

And it is. The inside becomes the outside and the outside becomes the inside. There’s a synergy.”

Jones chose exterior cedar cladding to echo the conventions of Oregon coastal homes, and the emphasis on wood continues to the interior, which he describes as “just one big piece of furniture,” from its cedar ceiling to its walnut cabinetry. But in a break with local custom, he framed the building in steel to maximize the size of its

floor-to-ceiling windows. “Other houses in the area, they have square holes cut in the walls so you can see out,” the architect explains. “But you have to get out of your chair to see the view.” In contrast, soaring glass on the arcing west façade of Basha’s L-shaped floorplan invites the seaside indoors.

The home’s landward side also offers plenty of visual interest. Here lush plants bloom within a courtyard garden, surrounded by a curving roof overhang outfitted with two metal scuppers that stretch over the walkway, funneling rainwater into an underground holding tank for strategic »

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irrigation. A desert architect’s homage to the rain gods, the over-the-top gutter system expresses Jones’s love of the wet coastal climate. “Everybody focuses on the ocean view. I don’t think that’s fair,” he says. As he designed the home, he explains, he “looked at the inside corner of the L, thinking the opposite of its lines would be a curve. So I sketched a circle inside that pocket of space. I began to understand it could hold a beautiful personal garden.”

The home is also flexible, accommodating visitors in its two guest bedrooms, which are attached to the main house but have private entrances that open onto the courtyard. “I’ve had friends come who hardly want to leave the house,” Basha says. Still, her home’s separation between guests and resident ensures that when she stays here on her own, her 3,500-square-foot residence feels like a spacious one-bedroom apartment. “When I’m up here alone, it shrinks back to feeling intimate,” she says.

“Yet wherever I stand in the house, I’m surrounded by the most beautiful scenery you can imagine.” h

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OPPOSITE TOP: The double-height living area (with a mezzanine office at left) includes an array of low-voltage Cheers pendants by Tech Lighting and a sofa and club chairs customdesigned by interior designer Kim Dalton and manufactured by SR Drost in Scottsdale, Arizona. Opposite bottom: Beneath the cedar ceiling, in a glassed-in corner of the living area, a vintage Sam Maloof table and chairs offer a chance to soak up the light and views. Right: The homeowner and architect selected the log used for the custom live-edge mahogany dining table, which is paired with Seido walnut armchairs

by McGuire Furniture.

The concrete fireplace provides structural support to the house.

“i was all ears and all eyes. i wanted

to absorb and feel and discover what the architecture should be.’’ —Eddie Jones, architect

OPPOSITE: The exaggerated cedar soffits on this West Vancouver house were inspired by Frank Lloyd Wright’s Robie House in Chicago.

In the entryway, a dramatic chandelier greets guests. THIS PAGE: Under the massive set of caribou antlers—a gift from Karen’s brother, along with a load of caribou pepperoni—is a giant piece of fan coral that the couple’s daughter found on a sailing trip in the British Virgin Islands.

Heirloom Quality Taking their cues from Frank Lloyd Wright and their own abundant collection of keepsakes, a family of five constructs a modern home that can handle their active lifestyle.

Written by Rachel Gallaher : Photographed by JANIS NICOLAY

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DESIGN TEAM

architecture: Poskitt Design interiors: Pure by Ami McKay construction: J. Bannister Homes pool installation: Aloha Pools

I

n 2003, Karen and Julian, an adventurous couple with a penchant for international travel, bought a parcel of land in West Vancouver that boasted magnificent views of the Strait of Georgia, Stanley Park, and the skyline of downtown Vancouver. It also boasted a small 1950s house that wasn’t sustainable for a family that would eventually grow to include three children, five pets, and a decade’s worth of family heirlooms and souvenirs picked up everywhere from Egypt to Papua New Guinea.

Karen and Julian lived in the original house for eight years but moved elsewhere after their three children arrived (the

youngest one slept in the master bedroom closet for a time).

Yet the couple held on to the property, always with the goal of creating their dream house here in the future. When they were ready to build, Julian launched the planning, given his years of experience in the custom-home industry. “My original exterior was based on Frank Lloyd Wright’s Robie House, specifically the long lines of its roofs and exterior materials,” he says. “And inside, we wanted it to be an inviting family home filled with memories.”

After demolishing the existing structure, the couple worked with Vancouver architect David Poskitt to design a contemporary 7,000-square-foot house. Since it is on the uphill side of a road, Julian paid close attention to the roof »

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“I think of our home as sort of a cabinet of curiosities that displays our inherited antiques, travel pieces, and natural history collection.”

and other surfaces visible on the ascent from the street and driveway. “I went with a low-pitched roof but exaggerated its soffits from the typical 2 feet to between 4 and 8 feet,” he says. “The large soffits soften the size of the house and protect it from the elements.”

Inside, clean interior finishes show off family collectibles, and travertine stone floors throughout the main level are durable elements in a house full of kids and pets (a dog, a rabbit, a lovebird, a hedgehog, and a fish, to be exact). “We knew stone flooring would work for us because it worked in ancient Rome and is still around today,” Karen says. As for

—Karen, homeowner

the décor, “initially we were drawn to very modern looks, but I realized they wouldn’t work because we couldn’t give up our treasured objects.” Yet with the help of interior designer Ami McKay, she artfully worked their favorite pieces into the spare-lined space, planning the living room to accommodate a 165-year-old burled-walnut grand piano that has been in the family for four generations and a Danish modern chair inherited from Julian’s parents.

Valuable antiques plus children seems like a risky equation, but according to McKay, Karen isn’t concerned about keeping tiny hands away from vintage items. “It was a fun »

ABOVE: Vintage ephemera and meaningful keepsakes, such as feathers gathered at the family’s cottage on Gambier Island and bone-inlaid boxes that Karen and Julian purchased on their honeymoon in Egypt, are peppered throughout the home. OPPOSITE, CLOCKWISE FROM TOP LEFT: The kitchen features a table from Restoration Hardware and lighting from Niche Modern.

The swimming pool, designed by Julian and built by Aloha Pools, stretches out from the main living space. The kitchen island was made from a massive beam salvaged from an old home down the street. The stools and pendant lights are vintage, sourced from a factory in Detroit.

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THIS PAGE, FROM LEFT: One of two back-to-back bathrooms on the main level, this powder room is meant for guests. The sink and faucet are from Blu Bathworks, the mirror is Restoration Hardware, and the lights are from Peridot. One of the boys’ rooms is playful and eclectic, with a light fixture and tent from Restoration Hardware. The bedside table is Ikea, and throw cushions are from West Elm and Pendleton.

OPPOSITE, CLOCKWISE FROM TOP: The upstairs master suite was kept minimal, with neutral décor and cold-rolled steel panels. A lamp from Arteriors sits on a bedside table from Liberty Furniture. The master bath’s maple cabinetry and travertine floors match those on the main level. The pendant lights are from Robinson Lighting and Bath. The couple’s daughter sleeps in a pine Canadiana children’s bed that Karen owned as a child.

challenge to work in a modern space with so many antiques,” says McKay. “Our design became all about balance: contemporary can be cold, but this house has many layers of texture and color to warm and soften it.”

The kitchen table, from Restoration Hardware, is covered in scratches and marks from kids’ art and construction projects, but Karen doesn’t sweat it. “At the end of each summer, we tell our kids that the person with the most scrapes and bruises is the one who’s had the most fun,” she says. “And this table has had lots of fun.”

Upstairs, with the help of McKay, Karen and Julian created a tranquil master suite that is surprisingly sparse.

“We had three kids in less than three years, so we had

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many sleepless nights,” Karen explains. “We really want our bedroom to be a sanctuary where we can relax.” The room’s standout feature is the cold-rolled steel wall behind the bed, designed and installed by Julian.

Throughout the house, dynamic décor is balanced with clever space planning. Karen readily offers that one of their smartest design decisions was to build two back-to-back bathrooms on the main floor. “Getting three kids to school and two adults off to work in the morning is crazy, and this makes a huge difference,” she says. With its specimen-lined shelves and surfaces, the house may be a cabinet of curiosities—but when it comes to daily life, design practicality may be the greatest wonder of them all. h

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architecture

view masters Architecture Building Culture’s latest project, a luxury spa on a remote Fijian island, is a paradigm of how design can shape the human experience.

Vomo Developments Limited

Written by Nicole Munson Photographed by ARCHITECTURE BUILDING CULTURE / Andrew Klaver Photography

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OPPOSITE: Vomo Resort, as seen from above, is part of the Mamanuca Islands group, a 15-minute helicopter ride west of mainland Fiji. Off the smaller island to the left, aptly named Vomo Lailai (Little Vomo), the resort holds world-class snorkeling excursions. THIS PAGE: Portland and West Vancouver–based firm Architecture Building Culture designed the master plan for Vomo Resort, as well as two villas and the new spa, pictured here.

Each treatment room is set on a raised timber platform built around a central courtyard and surrounded by volcanic rock walls and botanical and water gardens.

“The architecture is really there to frame the experience, the richness of the environment,” says architect Brian Cavanaugh. »

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architecture

The traditional big roof of the Pacific region is reinterpreted and reimagined by contemporary geometry and designed to capture cooling sea breezes.

Exposed heavy timber trusses establish a sense of scale to the sheltering nature of the roof form and the interior space of the treatment rooms.

Raised timber platforms define the footprint of each key space—the central courtyard and treatment rooms.

Water and botanical gardens further define the unique experiential conditions of each treatment room.

The spa’s roof marries Fijian design with modern simplicity, and its deep overhang provides a cool refuge from the sun’s harsh rays. An exploded axonometric drawing (right) details the geometry used to plan the spa. Phase 2 of the project will add two more treatment rooms, a pool, and a gym to the spa and expand its central courtyard.

B

rian Cavanaugh and Mark Ritchie know paradise. The two architects and cofounding partners of the Portland and West Vancouver–based firm Architecture Building Culture have spent more than 10 years formulating a new design language for Fiji’s Vomo Resort, helping to transform what was once a chain hotel into a five-star haven.

They started with a master plan for the resort in 2004 and have since designed two villas (one built, another under construction), a restaurant, and a 4,840-square-foot spa for the property. Due to Vomo Island’s remote location, the architects were restricted in their material palette and building techniques. The pair responded by designing indigenously, using traditional Fijian building forms and materials already present on the isle.

For the spa, the resort’s newest addition, Ritchie and Cavanaugh designed a large, steeply pitched roof similar to those on traditional island bures, or huts; its modernist geometry funnels cool breezes into the central courtyard.

Walls clad in local volcanic rock (dug up during construction of a new access road) define and connect the various spaces.

The stone’s dark color and rough texture counterbalance the

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Elemental stone walls provide primary organization to the spa, establishing the armature of its more refined spatial components.

white-painted plaster surfaces, and its inherent coolness offers a sense of respite from the island’s sun-soaked days.

Treatment room interiors are minimalist but feel rich, with dark-stained cedar casework and floors. All views to the exterior were meticulously planned, offering the spa-goer privacy and a variety of unique outlooks. Each room has a courtyard with an outdoor shower, reflecting pools, and gardens planted with fan palms, taro, bromeliads, and hot-pink bougainvillea, all sourced from a nursery on the island.

These elements are only part of the architects’ larger calculated strategy to design an idyllic modern retreat that transcends tropical-island stereotypes. “Visitors come to this location with very specific preconceived notions about going to an island in the South Pacific,” says Cavanaugh.

“Those are interesting things for an architect to address.”

The duo responded by creating spaces that help guests to focus on the nuances of their environment—which is the same approach they take on projects in their hometowns, 6,000 miles and an ocean away. As Ritchie puts it: “Whether in Fiji or the Pacific Northwest, we strive to build strong and meaningful connections between the architecture and the site, between the inside and the outside, and to create work that is culturally relevant to its context.” Sounds like design paradise to us. »

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architecture

“We approach our work in Fiji as we approach our work in the Pacific Northwest: we strive to build strong and meaningful connections between the architecture and the site, between the inside and the outside, and to create work that is culturally relevant to its context.”—Mark Ritchie, architect

A view into a water garden shows the carefully planned juxtaposition of the spa’s volcanic rock–clad and white-painted plaster walls with the lush surrounding greenery. h

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PHOTOGRAPHY

604 669 1301 W W W . J O H N S I N A L . C O M

architecture

desert highs In a 180-degree turn from its designs in damp Northwest climes, Campos Leckie Studio creates a modern desert oasis in Mexico for five Canadian families.

Written by Amara Holstein : Photographed by John Sinal

DESIGN TEAM

architecture: Campos Leckie Studio construction: Ian McGonagle, Thomas Perez

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The four houses that Vancouverbased architects Javier Campos and Michael Leckie built in Los Zacatitos, Mexico, are modernist dreams: streamlined, sleek, and completely off the grid, yet harmonized with both their surroundings and the vacationing needs of the homeowners.

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I

n Los Zacatitos, on Mexico’s Baja Peninsula, four modern homes rest quietly on a dramatic desert landscape. Surrounded by cacti and massive boulders, with volcanic hills and the Sea of Cortez as its backdrop, the place feels worlds away from the lush British Columbia homeland of its residents. And that’s fitting.

After all, when Vancouver-based architecture firm Campos Leckie Studio designed these houses, it was mindful of its Canadian clients’ desire to connect with the local environment.

Created over a period of almost 15 years—from the inception of House One in 1999 to House Four’s completion in 2013—the structures were a long time in the making, their construction slowed by rutted roads, limited access to materials, and the intricacies of the local building industry. First architects Javier Campos and Michael Leckie spent weeks getting to know the area and their clients, all Vancouver-area residents (with the exception of one homeowner from Whistler) who wanted vacation homes that lived lightly on the land. “You can’t design a house in Baja unless you actually experience the place,” says Campos. “What you can do in Mexico and what you can do in Vancouver are very different.”

Forget the rainscreen envelopes, curtain walls, and other fancy building systems that are used in the Pacific Northwest; in Baja, those technologies aren’t necessary for green design. Instead, as Leckie explains, “we’ve integrated relatively unsophisticated building technologies to create architecture that operates with a high degree of sophistication in response to the climate.”

In other words, it’s the super-smart design, not hightech systems, that keeps these houses off the grid.

There’s no A/C: the houses all use passive ventilation— combining good airflow with overhead fans and breezeways—to keep indoor temperatures comfortable, even when it’s 100-plus degrees outside, and to mitigate often intense winds. »

ABOVE AND OPPOSITE: Functional elements of passive ventilation and solar gain are brilliantly integrated into the modern design of House Three. A series of concrete-reinforced insulation panels are artfully arranged to look like a streamlined sculpture—but they act like a smart passive-building system. Two families share the 3,800-square-foot house, sited on about an acre of land.

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BELOW LEFT AND RIGHT: “These sliding glass window walls frame the landscape really beautifully,” says resident Greg Bellerby of the house he shares with his wife, Allyson Clay. “Little vignettes of big rocks and cacti surround the house.” The woven cane pergola is a modern interpretation of a traditional Mexican structure.

In the Pacific Northwest, moisture is a big concern, and architecture aims to capture as much natural light as possible. The opposite is true in Baja, where the weather is arid for the most of the year, broken only by two months of drenching torrential rains. “The challenge is to control solar gain, so the houses were designed first and foremost to create passive solar architecture,” says Leckie. Solar panels provide all the homes’ energy needs. Large concrete masses mitigate temperature swings between night and day by capturing heat when the sun is intense, and deep overhangs create much-needed shade.

The fact that all four houses are streamlined concrete structures is also tied to their location. Emphasizing a strong Mexican modernist tradition, the architects

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stripped the designs to their most basic shapes. “We tried to create forms that are very simple and mirror the desert,” says Campos. “The houses have the most minimal but essential sense of domestic luxury. It’s all there; it’s just very pared down.” The use of concrete— rather than wood—makes sense here, where labor is relatively cheap. A cement plant sits near the housing sites, making the material cheaper still.

Each house is tailored to the needs of the individual homeowners, all of whom visit a few times a year, some staying up to seven months at a time. Sizes and layouts vary, ranging from a modest single-family home to a 3,400-square-foot complex consisting of four structures on 5 acres. Some homes have rooftop decks; others have covered patios. Yet they all share common themes. »

Purple bougainvillea provides a pop of tropical color in House Two’s outdoor courtyard. The deep-set overhead oculus is a sun-shading device, drawing light into the space without overheating the house.

Steps lead up to the roof deck, where the homeowners drink wine and watch the sun set over the ancient volcano cones.

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architecture

“we tried to create

forms that are very simple and mirror the desert. the houses have the most minimal but essential sense of domestic luxury. it’s all there; it’s just very pared down.’’

—Javier Campos, architect

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When residents slide back the glass walls, their houses commingle with the sights and sounds of the landscape, as shown here in the living area of House Four. “We tried to create a series of spaces that are neither totally inside nor totally outside,” says Leckie. The houses have been designed with a privacy gradient that places the bedrooms away from the main living spaces. »

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All the houses have a modern, minimalist feel, but the architecture of each one was tailored to its lot.

House Four, shown here, sits on a steep, rocky site. The private rooms are elevated, providing shade for the more public areas below.

Perforated walls keep the solar load off the bedrooms and allow for ventilation. Âť

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architecture

ABOVE AND LEFT: “The light is intense here, so it’s easy to play with shapes in a way that doesn’t work in the soft light of the Pacific Northwest. In Mexico, you can create very strong, crisp shadows,” says Campos. This design element is shown to great effect in the pool/living area and interior hallway of House Four.

Swimming pools mimic the way rainfall naturally settles in wet months. Massive walls of glass slide open to let homeowners live in a semi-outdoor setting, and the houses are integrated into the landscape rather than dominating it. Small lizards skitter through the spaces, and windows frame views of the volcano cones and ocean. And, since there’s limited access to big-box furniture stores in this tiny expat community, the architects built in beds, seating areas, and storage.

Though each home looks and lives slightly differently, all four are perfectly attuned to their setting and ideal for true getaways.

“It couldn’t be more different from Vancouver here,” says Greg Bellerby, a retired art-gallery director and curator who owns House Two with his artist wife, Allyson Clay. Away from the noise and lights of their Pacific Northwest hometown, the couple walks and swims along miles of deserted coastline, enjoys afternoon siestas, and watches the sun set from their rooftop.

As Bellerby explains, “It’s very spare, and that’s what we wanted—a simple place that is part of the landscape.” h

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context

Peripatetic landscape designer Richard Hartlage sees the world as his garden—and usually through a lens.

photo synthes Written by stacy kendall : Photographed by Richard Hartlage

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sis

BELOW: Richard Hartlage stands in the lush landscape he designed for Chihuly Garden and Glass in Seattle, which was completed in 2012. “There are a lot of layers in this garden, and almost 65,000 bulbs,” he says. “The blooms sequence through the seasons; in the spring, they change every five to six days.” left: One of Hartlage’s longest-running landscape projects is the 2.5-acre Mountsier Estate in New Jersey. “I’ve worked on this garden for the past 22 years. It’s a modern garden around a traditional house, with a planting style similar to that of [Brazilian landscape architect] Roberto Burle Marx, but which also recalls the idea of ecological meadow plantings.” The crescent-shaped berm is planted with four varieties of bamboo grass, each a different shade of green.

portrait by Derek Reeves

Richard Hartlage, founder of the Seattle firm Land Morphology, doesn’t travel like your average tourist. Even in the most distant corners of the globe—where the award-winning landscape designer and horticulturist often journeys—Hartlage shoulders a heavy bag of fixed focal-length lenses and not one but two camera bodies (in case one goes out). In his 30-year career, he’s crisscrossed the U.S. crafting public, civic, and private landscapes, including Seattle’s Chihuly Garden and Glass, plantings at the Two Penn Plaza skyscraper in midtown Manhattan, and the herb and vegetable garden at the Brooklyn Botanic Garden. He’s also a passionate international traveler. His wanderlust has taken him from rural terrain to urban ones, from seed-collecting expeditions in South Korea to photo-hunting trips in Rio de Janeiro, where he scoped out the studio and home of his landscape-architect hero, Roberto Burle Marx. Wherever he goes, he snaps photographs to capture the details that catch his eye and inspire his work.

Over the years, he’s become such a proficient photographer that his images have illustrated four books, with a fifth on American planting design, entitled The Authentic Garden, slated to release this October from Monacelli Press. Though Hartlage diligently documents plants and his travels, he is clear that he is not a passive observer. “If you want to understand spatial arrangement and scale, get on an airplane,” he says. “If you are truly interested in design, you need to have a visceral experience of space, texture, and color—you can’t just look at books.” Here he opens up his photo album to share his global influences. »

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context

Chichu Art Museum, Naoshima, Japan “Tadao Ando is on my list of top architects I’d like to work with. What I learned most about his work on this trip is that negative space can be as dramatic as positive forms.

The interplay of light, details, and volume made my head spin.”

South Korea “In the autumn of 1998, a group of friends and I traveled to collect seeds in remote areas where the culture was basic and authentic. The temples are incredibly colorful, and the monks were generous in sharing seeds from their gardens. It was a trip I will never forget.”

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Scottsdale, Arizona “I have admired [Phoenix landscape architect] Steve Martino’s work for 25 years, and I met him a decade and a half ago. His work remains fresh and original, and visiting his Arizona projects with him, like this private garden in Scottsdale, is always illuminating and inspirational. His projects are complex and well designed and crafted, and they express a deep love for plants and a wild, stylized view of nature. I use plants in a more tailored way than he does, but how he uses materials and frames space has influenced my work.”

Burle Marx Studio, Rio de Janeiro, Brazil “The Sitio, or farm, was Roberto Burle Marx’s mother’s property. It became his home, studio, personal botanical garden, nursery, and retreat, which he shared with countless friends from around the world. It’s now open to the public, and I visited in 2003. I love his bold approach to patterns on the land and how he used plants in sweeping, emotive ways, like paint on a canvas.”

Ginkaku-ji, Kyoto, Japan “Kyoto is a place all modernists must visit at some point in their careers. Modernism emerged from the Japanese aesthetic, and a direct experience with that culture is enlightening. The Silver Pavilion, or Ginkaku-ji, is classic—it is several centuries old, but its forms look like they were conceived yesterday. Every day monks rebuild this sand cone, which represents Mount Fuji.” »

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context

Hestercombe Gardens, Somerset, England “Gertrude Jekyll and Sir Edwin Lutyens, the designers of these 1904 formal gardens, influenced my early perceptions of what a garden is: great plants set into an amazing architectural skeleton. I cut my teeth planting in Jekyll’s style, and I learned color theory from her books.”

“If you want to understand spatial arrangement and scale, get on an airplane.

If you are truly interested in design, you need to have a visceral experience of space, texture, and color—you can’t just look at books.”

—Richard Hartlage, landscape designer

Donald M. Kendall Sculpture Gardens at PepsiCo headquarters, Purchase, New York “This landscape, designed by Russell Page, was introduced to me by a former professor, the late J.C. Raulston. I love its expansive space and the celebration of monumental contemporary art among a great collection of trees. I make an annual visit in memory of Raulston, and I am always inspired by how the art sits so beautifully in the gardens.” h

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architecture

Tree Pose

A private yoga and meditation studio sprouts between firs on a Mercer Island estate.

Written by courtney ferris : Photographed by alex haydeN

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Nestled among existing trees and raised onto steel columns and concrete piers to protect subterranean roots, a private yoga studio on Mercer Island appears to float above the ground. Âť

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Collection

TIMOTHY DE CLUE

1307 First Ave Seattle WA 98101 at Harbor Steps Timothydeclue.com | 206.762.0307 GRAY ISSUE No. TWENTY-TWO

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architecture

Lighting and views are essential to any space, but they’re especially important when designing for a meditative yoga experience. Strategically placed windows provide privacy while bringing natural light indoors. A skylight gives yogis a calming view up into the forest canopy.

SHKS Architects designed the retreat with a restrained palette of painted drywall, wood, and tile. Understated accents such as freestanding walls (with metal grommets integrated so the clients can attach yoga straps) and George Nelson Bubble Lamps help to define the space.

a

stone’s throw away from bustling metropolitan Seattle and surrounded by the waters of Lake Washington is the city of Mercer Island—a community known for its marriage of cozy island life and grand dwellings. Tucked within a 4-acre estate on the western end of the island is, appropriately, the very embodiment of upscale tranquility: a private yoga studio designed by Seattle firm SHKS Architects.

Dwarfed by the tall fir trees that surround it, the restrained 500-square-foot structure is a stark contrast to the rich complexities of the clients’ main residence, a short distance away, whose maximalist interiors were designed by Kelly Wearstler. SHKS Architects, which had worked with the residents on the architectural features of the main house, was a natural choice to design a serene studio where the clients could meditate and practice yoga.

A clear and logical organization of space was needed to fit all the programmatic elements— practice area, kitchen, bathroom, and sauna— into a tight footprint. Architect Jonathan Hartung explains, “The design was conceived as three zones: one for quiet contemplation, one for active yoga and stretching, and the third for refreshment.” Freestanding interior walls delineate the activity zones within a single soaring, gabled volume, while 13-foot-tall glue-laminated timber frames provide structural support.

Sensitivity to the surrounding landscape drove many design choices. Not a single tree was removed during construction; instead the studio was tucked between existing trunks and elevated onto 10 steel columns and concrete piers to minimize excavation and protect the sensitive tree roots below. “We wanted to create a very simple form that stood above the forest floor and would not stand out,” Hartung notes. “Something quiet and respectful of the setting.” h

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resources 19. NEWS Airbnb airbnb.com

Thompson Seattle Seattle thompsonhotels.com

Bocci Vancouver bocci.ca

The Lark Bozeman, MT larkbozeman.com

Codor Design Seattle codordesign.com

Urban Aboriginal Fair Trade Gallery Vancouver urbanaboriginal.org

Commune Hotels and Resorts San Francisco, CA communehotels.com Dawson Design Associates Seattle dawsondesignassociates.com The Fairmont Pacific Rim Vancouver fairmont.com Hotel Sorrento Seattle hotelsorrento.com Hotel Vintage Portland hotelvintage-portland.com Hotel Zed Victoria, B.C. hotelzed.com Jensen Fey Architecture & Planning Redmond, WA jensenfey.com Kimberly Williams Interiors Brentwood Bay, B.C. kimberlywilliams.ca Kimpton Hotels & Restaurants San Francisco, CA kimptonhotels.com Munge Leung Toronto, ON mungeleung.com Olson Kundig Architects Seattle olsonkundigarchitects.com Palladian Hotel Seattle palladianhotel.com Pennyroyal Bar Seattle pennyroyalbar.com Skwachàys Lodge Vancouver skwachays.com Shaker + Spear Seattle shakerandspear.com

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24. ASK Industrial Designers Society of America idsa.org 27. TRAVEL Jonathan Teng Seattle tengj.tumblr.com Mahlum Architects Seattle mahlum.com Urban Sketchers Seattle Seattle seattle.urbansketchers.org 28. TRAVEL A’hoy North Vancouver, B.C. ahoygoods.com

The Fish Store and Oyster Bar Deep Cove, B.C. (250) 725-2264 FLO Design Studio Tofino, B.C. flodesign.ca Foundry Vineyards Walla Walla, WA foundryvineyards.com Go Outside La Conner, WA (360) 466-4836 Graypants Seattle graypants.com House of Commons Portland houseofcommonspdx.com JHL Design Portland jhldesign.com Jimgermanbar Waitsburg, WA jimgermanbar.com Jessica Helgerson Interior Design Portland jhinteriordesign.com

Allied Works Architecture Portland and New York City alliedworks.com

Marine Supply & Hardware Anacortes, WA marinesupplyand hardware.com

Breadfarm Bow, WA breadfarm.com

Mariposa Edison, WA (360) 820-9912

Caravan Beach Shop Tofino, B.C. (250) 266-2466

Maryhill Museum of Art Goldendale, WA maryhillmuseum.org

Cougar Annie’s Tofino, B.C. boatbasin.org

Merge Tofino, B.C. mergeartisancollective. bigcartel.com

Charles Smith Tasting Room Walla Walla, WA charlessmithwines.com

Mighty Tieton Tieton, WA mightytieton.com

Chillville Walla Walla, WA chillvillewallawalla.com

M. Crow & Co. Lostine, OR mcrowcompany.com

Dovetail General Contractors Seattle dovetailgc.com

Kuma Tofino, B.C. kumatofino.com

Duluth Timber Company Bow, WA duluthtimber.com Edison Café Edison, WA (360) 766-6960

Room6 Deep Cove, B.C. room6.com

Carrie Mae Smith San Francisco, CA carriemaesmith.com

Saffron Fields Vineyard Yamhill, OR saffronfields.com

Driscoll Robbins Fine Carpets Seattle driscollrobbins.com

Santos Bakery Tieton, WA (509) 673-1121 Slough Food Bow, WA sloughfood.com Something Like This Design Eugene, OR somethinglikethis design.com Smith & Vallee Gallery Bow, WA smithandvallee.com Smith & Vallee Woodworks Bow, WA smithandvallee.com Sunnyside Deep Cove, B.C. enjoythesunnyside.com Tieton Cider Works Yakima, WA tietonciderworks.com Tweets Café Bow, WA tweetscafe.com Walla Walla Foundry Walla Walla, WA wallawallafoundry.com

HD Buttercup hdbuttercup.com Inform Interiors Seattle and Vancouver informseattle.com informinteriors.com Kate Alkarni Gallery Seattle katealkarnigallery.com Kirk Albert Vintage Furnishings Seattle kirkalbert.com Knoll knoll.com Lawson-Fenning lawsonfenning.com Linda Hodges Gallery Seattle lindahodgesgallery.com Matt Phillips paintingpaintings.com Mitchell Gold + Bob Williams Portland mgbwhome.com Modernica modernica.net

Wolf in the Fog Tofino, B.C. wolfinthefog.com

Niche Modern nichemodern.com

38. PROFILE Grain Bainbridge Island, WA graindesign.com

Red Snapper Portland (503) 939-8967

42. FASHION Kristjanson Seattle kristjanson.us

Noir noirfurniturela.com

Room & Board Seattle roomandboard.com Ryan Molenkamp Seattle ryanmolenkamp.com

44. INTERIORS Gath Interior Design Seattle gathinteriordesign.com

Schoolhouse Electric Supply & Co. Portland schoolhouseelectric.com

Atelier Lapchi Portland atelierlapchi.com

Paper Hammer Seattle paper-hammer.com

Stacy Logan Seattle stacylogan.com

Blu Dot bludot.com

Tom Dixon tomdixon.net

Petits Noirs Milton-Freewater, OR (541) 938-7118

BoConcept Seattle and Vancouver boconcept.com

West Elm Multiple locations westelm.com

Occupy Design Vancouver occupydesign.com

Nate Watters

|

commercial and editorial photographer

206-356-7813 sgioia.com

www.natewatters.com natewatters@gmail.com 360.749.1264

NATE WATTERS.indd 1

5/6/15 2:19 PM

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Letterpress. Laser.

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resources Whitney Shaw Zordan Salt Lake City, UT whitneyshawfurniture.blogspot.com 50. promotion Anderson Poolworks Wilsonville, OR andersonpoolworks.com Sunriver Resort Sunriver, OR sunriver-resort.com Lounge22 Glendale, CA lounge22.com 54. from sand to sea Bergerson Cedar Windows Hammond, OR bergersonwindow.com Dalton Interiors Scottsdale, AZ (480) 948-8383 Don Tankersley Construction Portland dtcportland.com Jones Studio Phoenix, AZ (602) 264-2941 McGuire Furniture Multiple locations mcguirefurniture.com Sam Maloof Woodworker sammaloofwoodworker.com SR Drost Manufacturing Co. Scottsdale, AZ (480) 998-8977 Tech Lighting Skokie, IL techlighting.com 60. HEIRLOOM QUALITY Aloha Pools Burnaby, B.C. alohapools.ca Arteriors arteriorshome.com Blu Bathworks Vancouver blubathworks.com J. Bannister Homes Vancouver jbannisterhomes.ca IKEA Multiple locations ikea.com Liberty Furniture mylibertyfurniture.com Peridot Lighting New York, NY peridotlighting.wix.com

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Pendleton Multiple locations pendleton-usa.com Poskitt Design Vancouver (604) 980-2600 Pure by Ami McKay Vancouver purebyamimckay.com Restoration Hardware Multiple locations restorationhardware.com Robinson Lighting and Bath Multiple locations robinsonlightingandbath.com 66. ARCHITECTURE Architecture Building Culture Portland and Vancouver architecture-bc.com Vomo Island Resort Fiji vomofiji.com 72. ARCHITECTURE Campos Leckie Studio Vancouver camposleckie.ca 84. CONTEXT Chihuly Garden and Glass Seattle chihulygardenandglass.com Land Morphology Seattle landmorphology.com 90. ARCHITECTURE SHKS Architects Seattle skhsarchitects.com 98. MY NORTHWEST Shika Provisions Bowen Island, B.C. shikabowen.com Kuma Tofino Tofino, B.C. kumatofino.com AD INDEX 43. Alchemy Collections Seattle alchemycollections.com camerichseattle.com 93. Autonomous Furniture Collective Victoria, B.C. autonomousfurniture.com 12. B & B Italia Seattle bebitalia.com divafurniture.com

35. Bellevue Arts Museum Bellevue, WA bellevuearts.org 4. Best Plumbing Seattle bestplumbing.com 26. Bradlee Distributors, Inc. Multiple locations bradlee.net 71. Brian Paquette Interiors Seattle brianpaquetteinteriors.com 10. Bright on Presidio San Francisco brightonpresidio.com 69. The Cloud Room Seattle cloudroomseattle.com 83. Collins Portland collinswood.com 93. Colorhouse Portland colorhousepaint.com 89. Dovetail General Contractors Seattle dovetailgc.com 91. EWF Modern Portland ewfmodern.com 99. The Fixture Gallery Multiple locations thefixturegallery.com 91. Gath Interior Design Seattle gathinteriordesign.com 49. Hammer & Hand Seattle and Portland hammerandhand.com 2. Hive Portland hivemodern.com 21. Hotel Murano Tacoma, WA murano.com 16. Interior Design Show West Vancouver idswest.com 23. Interlam interlam-design.com 71. John Sinal Photography johnsinal.com 93. K & L Interiors Seattle kandlinteriors.com 59. KBC Developments Vancouver kbcdevelopments.com

83. Light Matters Seattle lightmattersonline.com 18. Loewen loewen.com Available through: Sound Glass Tacoma soundglass.com Windows Doors & More Seattle windowshowroom.com 100. Lounge22 Los Angeles lounge22.com 11. The Modern Fan Co. modernfan.com 95. Nate Watters natewatters.com 95. Paper Hammer Seattle paper-hammer.com 89. Ragen & Associates Seattle ragenassociates.com 91. Resource Furniture Vancouver resourcefurniture.com 5. Roche Bobois Seattle, Portland roche-bobois.com 9. Room & Board Seattle roomandboard.com 41. Schuchart/Dow Seattle schuchartdow.com 81. Scot Eckley Inc Seattle scoteckley.com 17. Seattle Design Center Seattle seattledesigncenter.com 25. Sokol Blosser Dayton, OR sokolblosser.com 95. Studio Gioia Seattle sgioia.com 91. Timothy De Clue Collection Seattle timothydeclue.com 33. Tufenkian Portland tufenkianportland.com 93. Vanillawood Portland vanillawood.com 83. Vida Design Portland vida-design.net

market The ultimate buyer’s guide. Your resource for everything from design studios and artisans to trades- and craftspeople.

DEMI-LUNE Featuring new and previously employed quality home furnishings acquired through private consignment and owner, interior designer Keven Weber’s unique finds.

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not2big® React. Reduce. Rethink. Recycle. Relax. At not2big, we build modern artisan furniture and accessories one piece at a time. Handcrafted and individually numbered, no two pieces are exactly alike. Our designs combine the warmth of wood with a creative mix of other materials to produce timeless furniture that is functional and beautiful. Whether you choose an in-house design or a custom piece, it will be a true original. Our goal is to inspire, delight, and surprise, bringing our clients a personalized experience and providing them with a unique product not available anywhere else. Rethinking how furniture is made. www.not2big.com (425) 503-0710

Tom Bakker Design Are you building a new home, condo, or office, or are you planning to remodel?

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Jamieson Furniture Gallery For the past 25 years, designer Richard Jamieson has been recognized as a leader in the modern urban plank movement. Jamieson Furniture’s large Bellevue showroom artfully blends handcrafted live-edged tables with unique and custom-designed hardwood furniture for all the rooms in your home.

10217 Main Street, Bellevue, WA 98004 www.jamiesonfurniture.com (425) 577-8627

GRAY ISSUE No. TWENTY-TWO

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my northwest

“I love road trips. Flying to destinations is fun, but you miss all the stuff along the way—the small towns and pit stops and changing landscapes. Driving offers a full travel experience.”

WHO:

mitsumi kawai Co-owner of Shika Provisions and Kuma Tofino, British Columbia

WHERE: Painted Hills, Mitchell, Oregon Written by JEN HAWK Photographed by Rob Leadley

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When she’s traveling, Mitsumi Kawai seeks out “places where your surroundings pull you in and capture you in the moment.” She’s found her Zen while perched on the cliffs of Big Sur, California; watching the ocean in her hometown of Bowen Island, British Columbia; and wandering the Painted Hills in central Oregon with her husband, Rob Leadley, on a recent road trip. The couple took the 10-day journey this past fall to decompress after the intensive work of launching their first restaurant, Shika Provisions, on Bowen. In conversations over campfires and on long drives and walks through the orange-hued hills, “it became clear where we wanted to focus our energy,” says Kawai, who decided to give up her law practice to become a full-time restaurateur.

Renewed and reinspired, the couple swiftly opened their second restaurant, Kuma, in the hip surf town of Tofino. The restaurant’s interiors and menu—much like Kawai herself—draw equal inspiration from Japan and the Pacific Northwest.

Both places “influence me to always look for beauty in nature and to keep designs simple and clean,” she muses. “It keeps me and my work rooted.” h

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