Interior Design November 2020

NOVEMBER 2020

face time

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CONTENTS NOVEMBER 2020

VOLUME 91 NUMBER 14

ON THE COVER At China Ma, a Cantonese café in Kyiv, Ukraine, by Yod Group, ¼-inch rubber cable has been trimmed for bangs and coiled into pigtails for the 20-foot-tall digital avatar composed of LED video-screen modules.

Photography: Andrey Bezuglov.

features 104 LIGHT SHOW

by Edie Cohen

Rand Elliott Architects bends diurnal rhythms for Oklahoma Contemporary Arts Center in the state’s capital.

112 AT FIRST BLUSH

by Liz Morris

Inside the pink walls of Clarens, a Cape Town building by KLûK CGDT Property, is a fashionable apartment by and for Establishment’s South African founder, Dawid Augustyn.

120 EASTERN INFLUENCE

by Craig Kellogg

China Ma by Yod Group serves up flavors of traditional and modern Asia to Ukraine.

126 SPECIAL DELIVERY

by Edie Cohen

Genlser transforms Chicago’s Old Post Office, a 1920’s art deco landmark, into a multimilliondollar, mixed-use complex for today.

134 EVERYTHING IS ILLUMINATED

by Annie Block

From a Jewish education center to an Asian art museum, institutional projects across three continents shed light on history, religion, and culture.

144 SOUL PROVENÇAL

by Ian Phillips

Pernod Ricard’s southern French heritage suffuses the distiller’s new Paris headquarters by Saguez & Partners.

BOYSPLAYNICE

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ch24 wishbone chair, 1949 by hans wegner - made in denmark by carl hansen & son

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carl hansen & son bensen knoll artek vitra kartell herman miller os artifort foscarini moooi moroso and more!

CONTENTS NOVEMBER 2020

VOLUME 91 NUMBER 14

walkthrough 47 THE LANGUAGE OF TREES

by Georgina McWhirter 53 EXTENDED STAY

by Nicholas Tamarin

hospitality giants 87 A WELCOME SURPRISE

by Mike Zimmerman

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departments 23 HEADLINERS 28 SHOPTALK 31 DESIGNWIRE

by Annie Block 34 BLIPS

by Carlene Olsen 40 PINUPS

by Rebecca Thienes 65 CROSSLINES

by Ashlee Beard Woven in Time

Celebrating 65 years at the loom, textile icon Hanne Vedel has secured a place in Danish design history.

73

MARKET

by Rebecca Thienes, Georgina McWhirter, Colleen Curry, and Wilson Barlow

100 CENTERFOLD

by Colleen Curry Spreading the Word

182 BOOKS

by Stanley Abercrombie 184 CONTACTS 187 INTERVENTION

by Wilson Barlow BEPPE BRANCATO

11.20

The C-19 Poster Series by Studio O+A infuses life-saving messaging with positive vibes.

Photo Michel Gibert, for advertising purposes only. Flower arrangement by Thierry FĂŠret.

In celebration of the brand’s 60th anniversary, renowned Portuguese artist Joana Vasconcelos imagined a line of seating and accessories for Roche Bobois. The Bombom collection presents her interpretation of comfort and interior design: playful, generous and resolutely optimistic.

Bombom, designed by Joana Vasconcelos.

Collection of sofas with entirely removable slipcovers, upholstered in different shades of Stretch fabric. Sets of mobile backrests, can be positioned freely on the seats.

Tutti Frutti. Rugs, designed by Joana Vasconcelos.

Manufactured in Europe.

1

editor in chief chief content officer

Cindy Allen, hon. IIDA

System S ystem 1224

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Helene E. Oberman

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Elena Kornbluth CONTRIBUTING EDITORS

Raul Barreneche Mairi Beautyman Aric Chen Laura Fisher Kaiser Craig Kellogg Jane Margolies Mark McMenamin Murray Moss Jen Renzi Larry Weinberg CONTRIBUTING PHOTOGRAPHERS

Benny Chan/Fotoworks Jimmy Cohrssen Art Gray Eric Laignel Michelle Litvin Garrett Rowland

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PRESIDENT

Amanda Schneider DIRECTOR, BUSINESS DEVELOPMENT

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CHAIRMAN AND CEO OF SANDOW

Adam I. Sandow PRESIDENT

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2020

B&N Industries, Inc.

AJ Paron INFORMATION TECHNOLOGY DIRECTOR

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System 1224 is an endlessly customizable system of panels, shelves, cabinets and accessories – all with integrated LED lighting.

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SANDOW was founded by visionary entrepreneur Adam Sandow in 2003 with the goal of building a truly innovative media company that would reinvent the traditional publishing model. Today, SANDOW is a fully integrated solutions platform that includes leading content, tools, and services, powering innovation for the design and luxury industries. Its diverse portfolio of media assets includes Interior Design, Luxe Interiors + Design, and NewBeauty.

Materials Innovation brands include global materials consultancy Material Connexion, game-changing material sampling and logis­ tics platform Material Bank, and materials reclamation program Sample Loop. SANDOW brands also include research and strategy firm ThinkLab. Additionally, SANDOW was selected by the New York City Regional Economic Development Council to be the offi­cial operator of NYCxDESIGN Week.

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BLOCKS

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Elevate with Durkan Introducing Up Color, a multi-category carpet collection created in response to recent paradigm shifts, perplexing cultural overtones and current events, to brighten our outlook and inject visual stimulation into hospitality interiors through color and movement.

Scan to learn more about Up Color and take your next hospitality project to new heights.

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e d i t o r ’s welcome

a new day Behold! Through a miracle of telekinesis, pixel storms, and what would have been communication hyperbole just a year ago—plus copious amounts of holding our breath and crossing our fingers just the right way—voilà, November 2020! And provided that press, bindery, and distribution all work without hitches and hiccups (did you change your subscription to your home address yet?), it should land in your Sancta Sanctorum right at your moment of greatest need. Exactly when the emotional upheaval of our presidential election reaches its most deafening climax, I offer our most recent work as a quiet oasis and, most importantly, your own personal talisman. This chock-ablock issue will surely ward off all sorts of bad juju, big and small evils, runaway anxieties, distress, and fears. Here’s why. Just dwelling for a few moments in features like the historic reno of a glorious art deco post office in Chicago, a pretty-in-blush home in Capetown, South Africa, or a Parisian workplace with outdoor space for days (and I recommend total scrutiny of all, BTW), you see a world that inevitably gets...simply better. Month after month, year after year, architecture and design—and all of us in the craft—inevitably continue solving problems, creating better living and working environments, and moving forward, always. And that is what I confidently call a selfevident truth. No matter your views—whether you wear the pinkest of goggles or you’re sure the Klingons have landed or something in between—here’s my pledge and promise to you for the next four years: Design will continue undeterred, it will be an agent for growth and progress, and it will, thankfully, improve our world.

MONICA CASTIGLIONI

Follow me on Instagram

thecindygram

NOV.20

INTERIOR DESIGN

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LESS CARBON IN THE ATMOSPHERE MORE BEAUTY ON YOUR FLOOR.

The Embodied Beauty™ carpet collection shows that the pursuits of great design and sustainability are inseparable. The collection features a range of beautiful carpet tile designs, including three styles that are our first-ever carbon negative products.

PRODUCT SHISHU STITCH [-CO2] COLOR 106643 INDIGO PRODUCT VINTAGE KIMONO COLOR 106595 INDIGO INSTALLED HERRINGBONE

View the collection at interface.com/embodiedbeauty or visit interface.com/carbonnegative for more details.

ÂŽ The Cherner Chair Company

chernerchair.com

KLûK CGDT Property “At First Blush,” page 112 owner: Malcolm Kluk. owner: Christiaan Gabriel du Toit. firm site: Cape Town, South Africa. firm size: Three designers. current projects: Apartment and mixed-use buildings in Cape Town. role model: “That’s like asking a child which is your favorite sweet! They range from László Moholy-Nagy and William F. Cody to Studio KO and Adèle Naudé Santos and Antonio de Souza Santos.” three: Starting out in fashion, Kluk and du Toit have been named African designers of the year in 2017, 2018, and 2019, their clothing worn by Beyoncé, Naomi Campbell, and Shakira. many: They’ve been life and business partners since 2003. klukcgdt.com

headliners “We like our projects to be layered and multidimensional. Inside talks to outside. Curvy talks to geometric. Drama talks to charm. It’s almost like a painting, balance and chaos are working together” NOV.20

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Gensler “Special Delivery,” page 126 principal, design director:

Russell Gilchrist. principal, global office buildings repositioning and landlord services leader:

Sheryl Schulze. office site: Chicago. office size: 300 architects and designers. current projects: YWCA Metro Chicago

headquarters; Harbin Bank headquarters in Beijing. honors: Chicago Tribune Chicagoans of the Year in Architecture Award; Chicago Building Congress Renovation/Adaptive Reuse Merit Award. active: Gilchrist used to be a semiprofessional soccer player. restorative: Schulze is an avid yogi and gardener. gensler.com

Rand Elliott Architects “Light Show,” page 104 president, principal: Rand Elliott, FAIA. principal: Bill Yen, AIA. firm site: Oklahoma City. firm size: Seven architects and designers. current projects: Heartland Headquarters in Oklahoma City; Pottawatomie County Administration Building in Shawnee, Oklahoma; OSU Engineering South in Stillwater, Oklahoma. honors: Interior Design Best of Year Awards; Chicago Athenaeum International Architecture Award. pencil: Elliott is currently working in his 51st sketchbook. plane: Yen and his wife Celia are planning a trip to Argentina once travel restrictions are lifted. randelliottarchitects.com

h e a d l i n e rs Saguez & Partners “Soul Provençal,” page 144 founder: Olivier Saguez. creative director: Jean-Philippe Cordina. firm site: Paris. firm size: 102 architects and designers. honors: Interior Design Best of Year Awards; Red Dot Design Award. role model: Bernard Astor, former creative director at Saguez & Partners, for his ability to mix style and brand and to inspire us every day for the last 15 years. previous life: Saguez began his design career working with Raymond Loewy. home chef: Cordina loves cooking meals with his three children. saguez-and-partners.com

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INTERIOR DESIGN

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Made in Italy - Made by SICIS

RedeďŹ ning Regenwald Artistic Mosaic Collection

Interiors

SICIS The Art Factory Showroom and Warehouse: 150 Bruckner Blvd Bronx NY 10454 Inquiries: sicis@sicisna.com Tel: 917 291 0399

Peggy round side table

Siam floor lamp Prestige sofa

Celebrity armchair

h e a d l i n e rs Yod Group “Eastern Influence,” page 120 co-founder: Dmytro Bonesko. co-founder: Volodymyr Nepiyvoda. firm site: Kyiv, Ukraine. firm size: 24 architects and designers. current projects: Samna restaurant in Kyiv; Hay Boutique Hotel and Spa in Bukovel, Ukraine; Buddha Bar in New York. honors: IIDA Awards; Restaurant & Bar Design Award. role model: Interior Design Hall of Fame member Patricia Urquiola for her gentle artistic touch and ability to mix textures, ideas, and details in right proportion. origins: Nepiyvoda and Bonesko founded their firm 16 years ago. oenophiles: In 2016, they also launched Kyiv’s Win Bar. yoddesign.com.ua

Establishment “At First Blush,” page 112 founder, managing director: Dawid Augustyn. firm site: Cape Town, South Africa. firm size: One designer. current projects: Residences in Cape Town.

role model: “The design world is filled with many inspirational people

and mentors, among them for me are Jean-Louis Deniot, Albert Hadley, Jean Nouvel, and Charles Zana.” solo: Augustyn enjoys practicing yoga in the mornings. together: He’s recently engaged to be married. establishment.co.za

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INTERIOR DESIGN

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The St. Regis Residences, Boston feature Sherle Wagner International custom ďŹ ttings Design by BAMO Principal Billy Quimby Developer: Cronin Development sherlewagner.com srresidencesboston.com

shop talk

“Since the outbreak, we’ve reviewed the circulation design for this office project west of Paris. The building already had Firms in the issue share their pandemic design solutions balconies and terraces, but now there are also as few doors as possible, and hardly any you open with a handle. Everything’s activated with badges using microchips and facial recognition.

We’ve also reduced the number of elevators to encourage people to take the stairs and created outdoor spaces where employees can make phone calls.” —Saguez & Partners SEE “SOUL PROVENÇAL,” PAGE 144, FOR MORE.

“Torii started out as a three-dimensional, interactive light installation. But with the pandemic, it became clear it was more important than we anticipated. Where it once functioned as a sculptural piece to evoke balance, peace, and inclusion, it could now be reimagined as the Torii Pod—a practical distancing solution to promote safety, sanity, and sociality.”

—Luis Pons Design Lab

“For the China Ma café in Kyiv, Ukraine, which we’d already com­ pleted and had opened last November, we created a new version of the female avatar video installation in March to reflect the current reality. We worked with Motion GG again to make a new 2-minute loop in which the avatar face now always wears a mask—its colors and pattern slowly change as do her expressions.” —Yod Group SEE “EASTERN INFLUENCE,” PAGE 120, FOR MORE.

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FROM TOP: YVES DURONSOY; STEPHAN GÖTTLI CHER; MOTION GG (2)

SEE “TORUS RISING,” PAGE 187, FOR MORE.

PHOTOGRAPHY TREPAL PHOTOGRAPHY/CLEVELAND CAVALIERS

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design wire edited by Annie Block

hope springs eternal

COURTESY OF AÏDA MULUNEH, NATIONAL GALLERY OF VICTORIA, MELBOURNE, AND BOWNESS FAMILY FUND FOR PHOTOGRAPHY, 2018

Since mid-August, the number of new COVID-19 cases reported each day in Australia has been decreasing, and some cities are slowly moving out of the country’s strict stage 4 lockdown. But, as this issue went to press, entertainment and cultural venues remain closed. One such is National Gallery of Victoria in Melbourne, which, despite the pandemic, has proceeded with planning its NGV Triennial 2020. Presenting a star-studded array of some 100 international contemporary artists, designers, and architects, the exhibition is centered on illumination, reflection, conservation, and speculation—themes that preoccupy the participants, many of whom, such as Porky Hefer and Kengo Kuma, have been commissioned for site-specific installations.

They draw on intimacy and awe, sadness and beauty, ruination and inspiration; Patricia Urquiola, for example, has fashioned felted wool, recycled PET bands, and recycled poly­ urethane foam into the room-size Recycled woollen island. Others amid the featured works reveal a thought-provoking view of the world at this unique moment, particularly a print from the Memory of Hope series by Aïda Muluneh, an Ethiopian photographer who addresses the post-colonial ex­ perience in Africa and its ongoing ramifications.

Speaking of hope, the triennial is scheduled to welcome in-person visitors December 19.

Amusement at the gate, an inkjet print by Aïda Muluneh, is among the 86 artworks and site-specific installations in NGV Triennial 2020, at Australia’s National Gallery of Victoria in Melbourne, December 19 to April 18.

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Although this year’s Biennale Architettura in Venice is an online presentation, one coinciding exhibition is open to visitors: “Unbreakable: Women in Glass,” at the Fondazione Berengo.

Included in the show are 64 artists and designers from around the world—Kuwait’s Monira Al Qadiri, Argentina’s Silvia Levenson, and U.S.A.’s Anne Peabody, among them—all of whom have worked with Berengo Studio at its Murano furnaces in the last 30 years. Some of the 77 works were made specially for Unbreakable—and reflect the times—such as Lucy Orta’s Masking and Laure Prouvost’s Vegetables Falling From the Sky, while some date back decades, like the late Kiki Kogelnik’s Lemon Head from 1996. All, however, are “a metaphor, a paradox, and a symbol,” curator Nadja Romain says, referring to how females have been historically sidelined in the art world. Adds co-curator Koen Vanmechelen, “The invisibility and transparency of glass can shape a new generation while healing scars from the past.”

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Clockwise from top: Karen LaMonte’s Reclining Nocturne 4 from 2018 is part of “Unbreakable: Women in Glass,” at the Fondazione Berengo in Venice, Italy, through January 7. All Ambiq, 2011, by Patricia Urquiola.

Nancy Burson’s DNA Has No Color, 2019. Flicker, 2016, by Shirazeh Houshiary.

d e s i g n w ire

CLOCKWISE FROM TOP: FRANCESCO ALLEGRETTO/COURTESY OF KAREN LAMONTE; FRANCESCO ALLEGRETTO/COURTESY OF PATRICIA URQUIOLA; FRANCESCO ALLEGRETTO/COURTESY OF NANCY BURSON; FRANCESCO ALLEGRETTO/COURTESY OF SHIRAZEH HOUSHIARY AND FACTUM ARTE; ALL COURTESY OF BERENGO STUDIO (4)

a woman’s touch

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it and forget it.

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In 2019, MoCA Westport relocated to larger quarters—the former TV studio of Martha Stewart Living— renovated by Sellars Lathrop Architects. But it was before then, and the pandemic and racial justice protests that have come to define 2020, that the impetus for “World Peace,” the Connecticut museum’s exhibition on view through January 17, was already taking shape. The highly topical show examines the role of art as a form of social activism, featuring multimedia works by 33 local and world-renowned artists. Among them are such equally portending pieces as 2012’s Things Are Looking Native, Native’s Looking Whiter by Nicholas Galanin and Marilyn Minter’s Resist Flag from 2017.

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INTERIOR DESIGN

NOV.20

FROM TOP: COURTESY OF MARILYN MINTER AND SALON 94, NY; JASON WYCHE/COURTESY OF NICHOLAS GALANIN AND PETER BLUM GALLERY, NEW YORK

From crafts to social activism…

Dialogue is the language of culture.

In a world that often feels fragmented, we yearn to connect. To bond with local culture and people. To feel at home. To exchange ideas and experiences.

To talk. To listen. To learn. Dialogue is a custom rug and broadloom collection—all of the styles can be adapted to suit your project, including a variety of patterns in all different scales, textures and constructions.

Explore Dialogue at shawcontract.com

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p i n ups text by Rebecca Thienes

the next wave Martin Zelonky sites Wendell Castle and Isamu Noguchi as inspirations for his sculptural indoor/outdoor perch

THEO COULOMBE

Blue Bench, Red Bench, and Yellow Bench in CNC-cut solid beech and acrylic epoxy by Zelonky Studios. zelonkystudios.com

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INTERIOR DESIGN

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pi n ups

early adapter Martin Duchêne and Charlotte Gigan transform extruded clay from primitive building material to thoroughly modern seating

GWENAËLLE DE SPA

Balik stool in glazed and unglazed clay brick and powder-coated steel in White & Blue and Brick & Black by Studio Biskt. studiobiskt.com

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INTERIOR DESIGN

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walk through

the language of trees firm: asaggio site: brixen, italy At Forestis, a boutique wellness hotel and spa, a penthouse suite has its own private plunge pool.

PATRICIA PARINEJAD

NOV.20

INTERIOR DESIGN

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PATRICIA PARINEJAD

w a l k through

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INTERIOR DESIGN

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PATRICIA PARINEJAD

For years, hotelier Alois Hinteregger had spied a mysterious roof high on the Plose, a forested mountain with an elevation of nearly 6,000 feet in the Italian Dolomites resort town of Brixen. But no one seemed to know anything about it. On a mission to discover the origins of the woodand-stone building, he learned it had been built as a sanitorium in 1912

by Austrian architect Otto Wagner. His interest piqued, Hinteregger, along with his son, Stefan, and Stefan’s wife, Teresa Unterthiner, bought the property, with a plan to turn the abandoned edifice into part of Forestis, a soaked-in-nature retreat for wellness-minded city slickers.

Stefan Hinteregger then tapped architect and Asaggio founding partner Armin Sader to help expand the project, which managed to open in July, in the midst of the COVID-19 pandemic.

Sader conceived three southClockwise, from opposite top: The facing towers to contain 46 of the stone-and-clay composite enveloping resort’s 62 suites. Appearing to the spa comprises local Dolomite rock grow straight out of the alpine termilled into a fine sand. Circular ban­ rain, “The wooden facades have quettes populate the hotel’s restaurant. simple lines, and the colors draw Backdropping the restaurant building, a century-old former sanitorium, are on the hues of the surrounding three new timber-clad towers con­tain­ tree trunks,” Sader says. “They’re ing most of the property’s 62 guest unadulterated, clean, and purist.” suites. A spiral staircase is finished in Whereas the towers soar, the a similar custom coating as the spa, historic main building, where the hand-smoothed and sealed with wax. restaurant and remaining suites In the spa, pools inside and out over­ are located, appears rooted in look the forest.

NOV.20

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the earth. That’s because in addition to Asaggio sensitively renovating the structure, the firm linked it to the three towers via subterranean corridors.

Indigenous Dolomite rock sourced from a nearby river was ground into a powder in a mill brought on-site for the velvetto-the-touch stone-clay composite coating the floors and walls in the spa and the suite bathrooms; tubs and sinks are cast from a similar mixture. The furniture, simple in style, is crafted of local wood, making use of trees felled by the previous year’s storms.

“People are no longer looking for marble bathrooms with goldplated taps,” Stefan Hinteregger notes. “The new luxury is nature.”

Detoxes, sound meditation, and “forest cuisine” are also on offer, and rather than import Far Eastern teachings, he and Unterthiner opted for Wyda, a form of yoga derived from Celtic Druidry that fosters connection to the forest. In that same vein, for any tree felled during construction, which had to halt in March due to the pandemic, two were planted in its stead. —Georgina McWhirter

THROUGHOUT FRENER DESIGN: CUSTOM FURNITURE. MOLING: STONEWORK. SUBSTANZ DESIGN: BRANDING.

Clockwise from top left: Suites are south-facing for all-day sunlight and have balconies overlooking the Dolomites mountain range, a UNESCO World Heritage Site. Saunas are finished in natural wood and stone.

The spa’s indoor/outdoor stone pool is filled with the waters of the Plose mountain. Furnishings in the spa’s silence rooms and throughout Forestis are made of local wood from trees felled by storms.

PATRICIA PARINEJAD

w a l k through

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S A LVAT O R I _ O F F I C I A L

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wa l k through See page 58 for the spa at Menorca Experimental in Sant Llorenç, Spain, by Chzon.

extended stay Refuges from Mexico to Menorca are immersive and restorative

KAREL BALAS

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SARGENT ARCHITECTURAL PHOTOGRAPHY

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Denton House project Chileno Bay Golf and Beach Club spa, Cabo San Lucas, Mexico. standout Hand-troweled skylights, oak-slat ceilings, and a calming palette of ocean blues and sandy-beach

SARGENT ARCHITECTURAL PHOTOGRAPHY

whites blur the line between indoors and out and nourish chi as does the relaxation lounge with marble chaises longues overlooking a reflexology pool.

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11/17/20 6:29 PM

Clodagh project Miraval Berkshires, Lenox, Massachusetts. standout The Interior Design Hall of Fame member channeled a New England country house in her third commission from the brand, this project encompassing the design of the property’s 100 guest rooms as well as the Life in Balance Spa, where a bluestone-clad lounge’s 60-foot-long custom banquette centers on a gas fireplace.

COURTESY OF MIRAVAL BERKSHIRES

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RESIDENTIAL ST YLE .

C O M M E R C I A L C A PA B I L I T I E S .

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Chzon project Menorca Experimental spa, Sant Llorenç, Spain. standout Inside the hotel, which was conceived as the summer residence of an imaginary artist, the massage rooms, hammam, and sauna draw on the region’s style and substance, specifically stone, concrete, tile, and wood, rendered in half-moon shapes and saturated

KAREL BALAS

colors, inspired by the works of Joan Miró and Pablo Picasso.

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info@41zero42.it

� Futura Half Rose / Rose / Drop White / Grey / T Rose / Drop Rose 6”X6”

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Equipo Construcción project Aire Ancient Baths, Copenhagen. standout At Arkitema’s Hotel Ottilia, a former Carslberg brewery from 1881, the boutique spa chain maintains its antique feel with preserved brick walls, beams, and columns enclosing seven pools, ranging from the icy Frigidarium to the scalding Caldarium.

RAÚL ROSILLO

—Nicholas Tamarin

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TUFTED

Designed in collaboration with Emanuela Frattini Magnusson

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Experience advanced design with the Clark Street Collection Bring finely crafted geometric forms into your next project with Sloan’s new touch-free faucets and soap dispensers. The smooth curves and defined angles make this pairing ideal for catching light and turning heads.

See them in action as part of our Clark Street Collection.

Learn more about the Clark Street Collection at sloan.com/collections

c r o s s lines

woven in time Celebrating 65 years at the loom, textile icon Hanne Vedel has secured a place in Danish design history

Even a pandemic can’t slow down this 87-year-old. In early September, weaving artist Hanne Vedel was a star presence at Copenhagen’s 3 Days of Design fair, one of the first industry events to go live—IRL— since COVID-19 hit. Her one-of-a-kind rugs were exhibited at a pop-up show mounted

by Kjellerup Væveri, the mill that produces Vedel’s minimalist upholstery fabrics (including those covering the Finn Juhl chairs at the U.N. Trusteeship Council Chambers in New York). Not to mention the octogenarian still works the loom daily as creative chief of Spindegården, the studio founded by famed weaver Paula Trock in 1948 and helmed by Vedel since 1970. Over the decades, Vedel has main­ tained the atelier’s celebrated legacy of handcraftsmanship and cemented its commercial success via industrially pro­ duced textile collections. Along the way, she’s collaborated with some of the most prominent modernist luminaries—Juhl, plus Grete Jalk and Hans J. Wegner—and today counts the Danish royal family and clergy members among her devoted clientele.

Vedel’s signature style stands the test of time: solids and stripes rendered in a bold, happy palette grounded by muted tones and skillfully constructed of wool, cotton, or silk. Renewed interest in midcentury Danish design and sustainable production methods have boosted demand for—and shed a global spotlight on—her oeuvre. We caught up with Vedel, who is based in the southern town of Aabenraa, to hear how she got her start—and where she’s headed next.

MARIE VEDEL DALL

Weaving artist Hanne Vedel of the celebrated Danish studio Spindegården.

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How did your career begin?

Hanne Vedel: My sister saw a newspaper ad posted by a lady who was looking for an apprentice weaver. I called and told her I’d studied the craft in folk high school (Scandinavian version of continuingeducation classes) and that my grandma had also sewn and weaved. Later, I went to study at the School of Arts, Design and Architecture in Finland under Kaj Franck and Uhra-Beata Simberg Ehrström.

What was the most important thing you learned under those luminaries?

HV: Kaj told me that you should only put your best

work into production and it must always be of topmost quality. Only the best is good enough.

What came next?

HV: While there, I got a job at the SwedishFinland Textile Archive.

In the early 1950’s, I returned to Denmark and started working with Paula Trock and eventually started my own studio.

You later ended up taking over Trock’s studio. Which other collaborators have inspired you?

HV: The sculptor Erik Heide, with whom I often work on ecclesiastical textiles, such as antependia.

Because we know each

Clockwise from top left: Vedel at her loom in the 1960’s. Galleri Feldt’s display of her wool, silk, and linen rug at Design Miami/ Basel 2016. Poul Volther’s 1958 PV daybed, now produced by Klassik Studio, upholstered in Blans, Vedel’s wool-cotton for Kjel­ lerup Væveri. Blans-upholstered Finn Juhl chairs in the Trusteeship Council Chamber of the U.N. Conference Building, New York.

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CLOCKWISE FROM TOP LEFT: COURTESY OF THE ARCHIVE, HANNE VEDEL; COURTESY OF GALLERI FELDT; COURTESY OF KLASSIK STUDIO; HANS OLE MADSEN/COURTESY OF ONECOLLECTION AND HOUSE OF FINN JUHL

Opposite, clockwise from top left: Vedel’s rug at the Klassik Studio showroom in Copenhagen during 3 Days of Design. The 87-year-old artist, who still weaves daily. Her double-sided rugs, handwoven of wool.

CLOCKWISE FROM TOP LEFT: COURTESY OF KJELLERUP VÆVERI; CT PRODUCTIONS; SVEN DALL (3)

other so well, we know what we want—and how to execute it. Another inspiration has been conservator-restorer Jens Johansen. He’s a craftsman, like me, so we discuss things. He’s in his 70’s and retired, but he still recommends my work to many churches.

You have woven alter hangings and chasuble vestments for churches throughout Denmark.

How do you design for sacred sites?

HV: I look at the existing details and try to make something that complements and lifts the surroundings. It’s important to find colors that fit the space yet are timeless. I also only collaborate with a few people, such as Erik,

Jens, and the embroiderer Gunhild Eeg, because we work so well together and share the same standards.

What weaving techniques are you best known for?

HV: At Spindegården, we produce double-woven rugs in wool originating from breeds of old Nordic sheep. The technique makes it possible to produce a reversible rug: decorative stripes on one side and solid on the other, offering two designs in one. Not many, if any, others do this in Denmark.

Who handles your textile production?

HV: Rugs and custom designs are handwoven at Spindegården by Elin Bjerregaard and me. Uphol-

stery fabrics are produced industrially by Kjellerup Væveri in Denmark, and the home textiles by Swedish linen mill Klässbols Linneväveri.

How involved are you in the development of new fabric collections?

HV: Very. Apart from the design, I like to oversee the quality and expression of the yarns, which is very important.

How was it being the guest of honor at Kjellerup Væveri’s exhibition at the Klassik Studio showroom during this year’s 3 Days of Design?

HV: Very satisfying.

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What are some current projects?

HV: I’m working on new upholstery designs for Kjellerup and in discussions with Galleri Feldt in Copenhagen regarding a possible exhibition next year. I would also like to find a mill that can weave my rugs.

What’s the secret to your long-lasting success?

HV: There’s no secret, other than dedication and the fact that I’m always seeking the best solution.

I’ve also been lucky enough to meet people with whom I’ve had great collaborative working relationships and have very skilled employees. . .and a long life. —Ashlee Beard

c r o s s lines

Clockwise from top left: Swatches of the wool-cotton Blans.

Juhl’s Japan sofa, chair, and footstool, all upholstered in Blans, at the House of Finn Juhl showroom in Copenhagen.

Vedel at her Spindegården headquarters in Aabenraa, Den­ mark. Linen towels for Klässbols Linneväveri named after her granddaughters Anne, Marie, and Line.

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CLOCKWISE FROM TOP LEFT: COURTESY OF KJELLERUP VÆVERI; COURTESY OF ONECOLLECTION AND HOUSE OF FINN JUHL; CT PRODUCTIONS; CARL-ERIK WILLMAN/KLÄSSBOLS LINNEVÄVERI

I don’t usually attend the fair, but Kjellerup asked if they could show my rugs alongside their collections of upholstery fabric.

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market edited by Rebecca Thienes text by Rebecca Thienes, Wilson Barlow, Colleen Curry, and Georgina McWhirter

Previously producing accessories and lighting, 3-year-old Ukrainian company Noom ventures into furniture with a collection dedicated to the 100th anniversary of the founding of the Bauhaus School. Gropius, as in Walter, the Bauhaus founder, is an eye-catching chair by Sokolova Design’s Kateryna Sokolova, a Noom co-founder, formed from shapely yet sturdy cylinders. Its plywood frame is topped with foam rubber and polyester wadding, then fully upholstered in wool, providing ample cushioning for an ergonomic sit. A wider version of Gropius is available, as is a spherical pillow, an ottoman, a Gerrit (as in Rietveld) sideboard, and two tables named after a Bauhaus department head, Marianne Brandt. Through Minotti Los Angeles.

what a knockout

noom-home.com; minotti-la.com

GROPIUS

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Ana Milena Hernández Palacios and Christophe Penasse of Mas Creations

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2

4

3

Sabine Marcelis for Established & Sons 1

product Ball Pot. standout To kick off their new design brand, the Masquespacio founders debut a stained ash and marble flowerpot, with 20 water tubes inside, plus a lid. mas-creations.com

1

Susan Thompson of Lightspace

2

product Aura. standout Translucent bio-epoxy resin made from agricultural byproducts forms the body of the Dutch designer’s ambient linear pendant fixtures fitted with LEDs. establishedandsons.com

Rebecca Atwood of Rebecca Atwood 3

product Duplex. standout A smooth concrete base, an opaque glass orb, and a wood collar ring between the two compose the 8-inch-tall table lamp by the industrial designer. lightspace.space

4

products Blocks, Horizon, Blair, and Lattice. standout For her fall upholstery collection, all woven in Pennsylvania, the designer devised a trio of nature-inspired color palettes including dawnlike Twilight. rebeccaatwood.com

m a r k e t scape

5 8

Cristina Celestino for Billiani 5

product Frisée. standout The designer riffs on a chair style that was popular in her native Italy in the 1930’s, offering it in mattelacquered or stained beech or ash, with an optional upholstered seat. billiani.it

6

7

Ross Gardam of Ross Gardam 6

product Breeze. standout Each of the Australian designer’s aluminum tables is buffed to a mirrorlike reflectivity, finished in beeswax, numbered, and limited to a run of 10. rossgardam.com.au

Mario Alessiani for Bogaerts Label 7

product Blossom. standout Acoustical foam padding or a whiteboard surface can cover the LED-backlit wall panel, which the Italian designer conceived in five different sizes. bogaertslabel.com

Daniel Lefkowitz of 9 & 19 8

product Double Rainbow. standout According to the studio founder, the arches supporting his bench in bleached maple or ash need little explaining: “I’d rather perch on two rainbows than one.” 9and19.com NOV.20

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market

DOMNA

“We reinterpret cultural symbols and pass on the story” VICTORIA YAKUSHA

goddess pose

BABETH ALBERT

While conceiving the Domna, Kyiv-based architect and Yakusha Design namesake Victoria Yakusha looked to her region’s ancient Trypilian civilization, known not only for its distinctive pottery and circular buildings but also for its reverence for women. Which explains the lounge chair’s feminine curves and strong grounded profile (its name is actually an early Ukrainian word for homemaker). Part of the firm’s Faina furniture line, its frame is wrapped in foam rubber and polyester wadding and upholstered in a wool-polyester blend.

A coordinating ottoman is also available. yakusha.design

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Capri Lounge + Reverse occasional

by Piergiorgio Cazzaniga

Visit our showrooms

Chicago New York

San Francisco Washington, D.C.

Boston Denver Toronto

m a r k e t collection

SELCE

the shape of history The stratification of rock formations and other effects of time on the environment inspired Selce, a series of five rugs handmade by artisans at Carpet Edition. The debut floor coverings of Milanese interior architect Alessandra Salaris and her team at Studio Salaris, they consist of what she calls eroded shapes with irregular borders, tufted in yarn spun from such natural fibers as New Zealand wool, linen, and Tencel, resulting in each rug boasting various textures. Their tonal colorways—Marcasite yellow, Goethite blue, Pyrite gray, Emathite red, and Dolomite greige—are named after minerals.

“There are decomposed geometries, a tactile mix of overlapping colors and graphic cuts”

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RIGHT, TOP AND BOTTOM: BEPPE BRANCATO (2)

carpetedition.com

A sense of color Series 7™ now in 16 new hues.

© 2020 Design Within Reach, Inc.

The entire Fritz Hansen assortment is available through DWR Contract.

1.800.591.6965 | DWRCONTRACT.COM

m a r k e t collection

ION

NEUTRON

lighting the way In Greek, ion means going. It’s a word that calls to mind molecules, laboratories, and science fiction. It also signals the futuristic approach Lara Bohinc took to her Ion collection for Bohinc Studio. The three pieces are celestialinspired studies in brushed brass that reflect the designer’s fascination with Jupiter’s rings. Take the double-arch form of the Ion desk lamp, or the atomic Neutron wall sconce with its half-moon shape supported by double rings. The new pieces are presented in photography that imagines urban town houses reclaimed by nature. To wit: the Electron table lamp, with its uneven branches flanked by tropical plants. bohincstudio.com

“During the quiet of the pandemic, I’ve been reflecting on what the future might look like”

PHILIPPE FRAGNIERE

ELECTRON

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LARA BOHINC

DOUBLE SHADE EXOS PENDANTS 866.398.1530 | VERMONT USA | DESIGN@VTFORGE.COM | HUBBARDTONFORGE.COM All Designs and Images ©1989 - 2020 Hubbardton Forge, LLC. All Rights Reserved. Hubbardton Forge is the registered trademark of Hubbardton Forge, LLC.

“As our group of collaborators grows, I reached out to creatives whose work I’ve long admired”

m a r k e t collection

YINKA ILORI, LOVE IS BLIND DECAGRAM AMBER KHOKHAR

heart on hide Leather has been gilded, painted, and embossed for millennia.

Bill Amberg Print pushes the ancient art form by digitally printing bull hides for upholstery and interior architectural use, apparent in his Designer Collection 2020, a collaboration with Moore & Giles and international creatives. Fusing his British and Nigerian heritage, Yinka Ilori offers color-laden Love is KESEWA ABOAH, A PIECE OF ALBA Blind, a response to For Every One by Jason Reynolds. Amber Khokhar’s print Decagram explores geometries emanating out from a 10-pointed star. Bethan Gray offers up ultramarine-striped Inky Dhow, inspired by the sails of dhow boats. GhanaianBritish Kesewa Aboah’s A Piece of Alba layers dry pigment to portray imagery derived from The Rime of the Ancient Mariner by Samuel Taylor Coleridge. billamberg.com

INKY DHOW

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TOP, CENTER, BOTTOM RIGHT: HELEN CATHCART (3)

BETHAN GRAY

Meyer Davis Studio is well known for the relaxed luxury the firm has brought to such hospitality projects as 1 Hotel South Beach and New York’s Vaucluse restaurant. Now, founders Will Meyer and Gray Davis showcase that same aesthetic in William Gray, their inaugural line of furniture, lighting, and bath products. “High-end hotels require strict standards in form, function, and comfort, and, likewise, most private clients desire the same,” Davis explains. “This assortment emerged from our vast archive of custom designs from two decades of work,” Meyer adds. There’s Teddy, a contemporary take on the wingback man­ ufactured by partner Stellar Works that can be upholstered in myriad fabrics and leathers, such as Opuzen’s nubby sheepskin. The mid century– inflected Varick sofa features tailored wood or

VARICK

modern gentleman

TEDDY GRAY DAVIS, WILL MEYER

leather arms flanking cushions covered in Maharam copper velvet. Inspiring wanderlust, Hugo updates campaign furniture with a leather seat and an oak or walnut frame, and pairs well with Eclipse, a cocktail or side table topped in marble from Spain (black Nero Marquina) or Greece (white Volakas). mrwilliamgray.com

“We distilled our archive into an edited, informed, and sensual collection”

ECLIPSE HUGO

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Style, Safety & Sustainability NEOLITH® STRATA ARGENTUM Space I NEOLITH® Urban Boutique Milano (Italy) I Designed by Héctor Ruiz I Photography: Damaso Perez Fototec

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hos pi ta li tygiants

a welcome surprise The Wyndham Grand Rio Mar Puerto Rico Golf & Beach Resort is by Baskervill [20].

ANGEL OLSON PHOTOGRAPHY

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DLR Group [23] designed Canopy by Hilton Minneapolis Mill District.

Doesn’t 2019 seems like a long time ago? A fair time of maskless shopping, sold-out sporting events, and a drink with friends at the bar of your choice. It turns out—as we parse the latest business trend data from the Interior Design Hospitality Giants—that 2019 was a very good year for the design business. In some respects, record-setting.

Of course, 2020 being 2020, these numbers may not be much of a consolation. Hotels, bars, restaurants, essentially all places and people and things hospitality, have been devastated by the COVID-19 pandemic.

The fact is, we just don’t know exactly how the numbers will play out in next year’s survey, rendering the forecasts the Hospitality Giants made in this year’s survey hopeful, at best.

Next year will no doubt be a game-changer. But this year’s data shows just how robust the hospitality design business had become.

The 75 firms making up our Hospitality Giants collected a record $1.25 billion in design fees in 2019. Not only is that the first time breaking the billion-dollar ceiling, it also crushed 2018’s

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total of $829 million, as well as the $852 million forecast.

At the time of our survey— which does not reflect COVIDrelated business downturns— the Hospitality Giants may have considered their billion-dollar largess to be a fluke, as they forecast 2020 at a slightly-lessexciting-but-still-impressive $1.02 billion. Grain of salt officially taken here, of course.

Where did all this new money come from? Luxury hotels. Overall, hotel work didn’t jump—it remained a healthy but steady 54 percent of the overall hospitality pie, in line with previous years. But the luxury segment grew from 24 percent of all business to 32. The Hospitality Giants didn’t see this coming, as they forecasted luxury work to remain steady or rise slightly. But now they expect it to be even bigger business, rising to 36 percent of their work in 2020.

The Hospitality Giants saw another big jump in the multiuse segment (hospitality/residential/ retail). In 2018, it accounted for a mere 5 percent of business.

This year it hit 18 percent.

Again, there is a flukiness to this total, as the Hospitality Giants see this total dropping back down to 7 percent.

Which segments took a hit? In hotels, the economy sector fell back quite a bit, down to 10 percent from a routine level in the mid-teens (17 percent in 2018).

Boutique hotels also slipped, but restaurant work was cut in half (from 15 down to 8 percent of all work, with no rebound in the forecast) and resorts dropped from 11 percent to 7.

Here’s where the data gets interesting. While fee totals are eye-popping, the total number of design jobs dropped from nearly 5,000 in 2018 to 4,519 this year.

Which means firms are getting much higher fees for each job, which is terrific news.

This part of the data set also reinforces where the big money is right now. Consider: Restaurant

work accounted for 23 percent of all jobs (more than 1,000), yet only brought in 8 percent of the fee pie. Meanwhile, economy hotels were 17 percent of the total jobs (785) while bringing in 10 percent of the total fees. But luxury hotels?

One out of five jobs was a luxury property (889 total), but they brought in 54 percent of all fees. Yes, half of all fees came from 20 percent of the jobs. No surprise, then, that the Hospitality Giants are looking for bigger things in this segment. More data backing up the higher-fee-per-job angle: The total square footage for all these jobs was only 14 percent higher than the previous year, 263 million from 229 million.

Total number of design staff rose only slightly to 11,178, but has risen every year since 2016.

Most of the additions were designers and project managers/ directors. They expect to add another 1,082 staffers in 2020, but again, we’ll see.

The Hospitality Giants tallied an average of $223,000 in fees per employee, the highest ever by far and beating 2018’s total of $176,000 (the median fees per employee were $156,000, up from $149,000). That number historically rises and falls but has ticked upward for three years straight now.

Design work outside the U.S. has been declining. Back in 2014, the Hospitality Giants did a third of their work abroad.

This year it was just 15 percent, the lowest amount in a decade.

That said, a dozen firms do 90 percent or more of their business outside the U.S., so that’s the core business for some despite the overall declines. They predict that business in most global regions to remain steady but predict a decline in China and potential gains in Europe and Mexico. Domestically, the Hospitality Giants expect growth to continue, particularly in the Northeast and

Midwest, and a potential drop in the South.

The furniture and fixture/ construction product business also remains robust at $19.4 billion installed. That’s a “modest” $200 million gain from 2018 but still well below the $23.7 billion logged the year before. The Hospitality Giants forecast $20.2 billion.

The areas where Hospitality Giants say they’ve seen the biggest innovation leaps are fabric, wall covering, furniture, kitchen/bath, and acoustical products. Lighting also continues to impress (as it does annually), but the Hospitality Giants were noticeably less impressed with smart tech this year. That said, tech innovations continue to be widespread in the industry, specifically 3-D printing, virtual reality, and artificial intelligence—all of which are transforming how firms interact with clients. “The evolution of technology has expanded our design process immensely,” a NicoleHollis rep says. “The ability to 3-D print a design draft allows us to show our clients various custom fixtures and hardware options without the added material cost and production time. Virtual reality and fly-through renderings have become integral to our process as well.”

We’re pleased to report all this good news, of course, but it remains problematic because by the time we turn the page on 2020, the record fees and robust numbers will be old news. It’s anyone’s guess if and when hospitality as an industry will rebound—and how well it can. It’s currently impossible to know if we’ve seen the worst or—as new infection numbers grow in the U.S. and abroad—a cold-weather next wave is about to break.

Until the day when we can have that relaxing drink indoors at our favorite bar, all we can do is stay resilient—and stay safe.

—Mike Zimmerman

KRUGER IMAGES

h o s p i t a l i t y giants

A R T E R I O R S C O N T R A C T. C O M

h o s p i t a l i t y giants RANK 2019 FIRM  headquarters, website 1 HKS Dallas, hksinc.com

WORK INSTALLED

HOSPITALITY FEES

VALUE

SQ. FT.

(in millions)

(in millions)

(in millions)

DESIGN STAFF

RANK 2018

NR

NR

184

$136,144,000

$7,922.7

75.454

1,600

15 1

3 CHENGCHUNG+DESIGN Hong Kong, ccd.com.hk

$74,858,089

NR

NR

495

3

4 GENSLER San Francisco, gensler.com

$45,439,672

NR

NR

3,230

2

5 DALTON STEELMAN ARIAS & ANDERSON (DSAA) Las Vegas, dsaainteriors.com

$42,000,000

$985.7

2.224

43

9

6 ROCKWELL GROUP New York, rockwellgroup.com

$39,500,000

NR

NR

198

4

7 WILSON ASSOCIATES Dallas, wilsonassociates.com

$33,750,000 NR NR 290 5

$265,336,399

2 HIRSCH BEDNER ASSOCIATES (HBA) Santa Monica, CA, hba.com

8 NELSON WORLDWIDE Minneapolis, nelsonworldwide.com

$31,635,000

NR

NR

423

9 PERKINS EASTMAN New York, perkinseastman.com

$29,041,055

NR

NR

309

7

10 HOK St. Louis, hok.com

$29,000,000

$950.0

10.700

371

10

6

11 POPULOUS Kansas City, MO, populous.com

$25,979,141

NR

NR

53

17

12 PREMIER PROJECT MANAGEMENT Dallas, premierpm.com

$25,000,000

$200.0

NR

23

35

13 PIERRE-YVES ROCHON Chicago, pyr-design.com

$22,602,790

$437.5

NR

NR

11

14 LEO A DALY Omaha, NE, leodaly.com

$20,900,000

$120.0

NR

83

8

15 JCJ ARCHITECTURE Hartford, CT, jcj.com

$19,500,000

NR

NR

23

14

16 GETTYS GROUP Chicago, gettys.com

$17,500,000

$175.0

NR

65

19

17 AVROKO New York, avroko.com

$17,420,950

$2.0

1.059

99

26

18 STONEHILL TAYLOR New York, stonehilltaylor.com

$17,100,000

$2,299.0

7.204

72

18

19 WIMBERLY INTERIORS New York, wimberlyinteriors.com

$16,900,000

NR

NR

107

12

20 BASKERVILL Richmond, VA, baskervill.com

$16,016,897

$372.2

16.847

53

13

21 JEFFREY BEERS INTERNATIONAL New York, jeffreybeers.com

$16,000,000

NR

NR

56

36

22 SPACE MATRIX DESIGN CONSULTANTS Singapore, spacematrix.com

$12,260,000

$408.0

4.200

372

2 3 DLR GROUP Minneapolis, dlrgroup.com $12,163,500 $48.0 2.700 142

20

24 YABU PUSHELBERG New York, yabupushelberg.com

$11,500,000

NR

NR

99

24

25 DAROFF DESIGN + DDI ARCHITECTS Philadelphia, daroffdesign.com

$11,475,000

$124.0

2.423

28

23

26 ROTTET STUDIO Houston, rottetstudio.com

$10,900,000

NR

NR

59

22

27 DILEONARDO INTERNATIONAL Warwick, RI, dileonardo.com

$10,710,000

NR

NR

69

25

28 MEYER DAVIS STUDIO New York, meyerdavis.com

$10,502,490

NR

NR

71

21

29 BLINK DESIGN GROUP Singapore, blinkdg.com

$10,100,000

$936.0

5.200

38

3 0 SHEA Minneapolis, sheadesign.com $10,000,000 $104.0 0.450 22

40

31 CHAMPALIMAUD DESIGN New York, champalimaud.design

$9,500,000

NR

NR

37

31

32 SIMEONE DEARY DESIGN GROUP Chicago, simeonedeary.com

$9,080,000

NR

NR

54

27

33 HFS CONCEPTS 4 Long Beach, CA, hfsc4.com

$8,955,000

$132.0

NR

39

28

34 EDG DESIGN Novato, CA, edgdesign.com

$8,900,000

$340.0

0.917

66

34

35 ARIA GROUP ARCHITECTS Oak Park, IL, ariainc.com

$8,800,000

NR

NR

119

32

36 CHAMBERS Baltimore, chambersusa.com

$8,765,500

$11.2

1.200

32

29

37 RESORT INTERIORS Myrtle Beach, SC, resortinteriors.net

$8,598,985

NR

NR

12

30

38 LOONEY & ASSOCIATES Dallas, looney-associates.com

$7,400,000

$167.0

5.500

52

33

39 STEVE LEUNG DESIGN GROUP Hong Kong, sldgroup.com

$6,346,000

NR

0.300

448

4 0 SHEPLEY BULFINCH Boston, shepleybulfinch.com $6,338,933 $58.9 0.168 18 4 1 KLAI JUBA WALD ARCHITECTURE + INTERIORS Las Vegas, klaijuba.com $5,900,000 NR NR 30 42 ICRAVE New York, icrave.com

$5,900,000

NR

0.419

29

43 DENTON HOUSE Salt Lake City, dentonhouse.com

$5,890,000

$3.5

0.068

72

42 37

4 4 BAR NAPKIN PRODUCTIONS Phoenix, bnp-llc.com $5,555,000 $170.0 1.700 25 45 HBG DESIGN Memphis, TN, hbg.design

$5,100,000

NR

NR

39

33

4 6 STUDIO 11 DESIGN Dallas, studio11design.com $5,055,000 NR NR 52

90

45

47 GREYMATTERS Singapore, grey-matters.com

$4,905,563

$300.0

2.750

54

41

48 CHIL INTERIOR DESIGN Vancouver, British Columbia, childesign.com

$4,690,000

$26.5

NR

NR

43

56

49 KCCT ARCHITECTURE Washington, kcct.com

$4,674,000

NR

NR

50 STUDIO DADO Coral Gables, FL, studiodado.com

$4,500,000

$1,000.0

2.950

20

52

51 CBT Boston, cbtarchitects.com

$4,180,000

NR

NR

68

38

52 PARKER-TORRES DESIGN INC. Sudbury, MA, parkertorres.com

$4,100,000

NR

NR

27

50

53 //3877 Washington, 3877.design

$4,000,000

$85.0

3.000

26

68

54 FLICK MARS Dallas, flickmars.com

$3,797,734

NR

55.000

21

53

INTERIORDESIGN.NET

NOV.20

*NR - not reported

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WORK INSTALLED

HOSPITALITY FEES

VALUE

SQ. FT.

(in millions)

(in millions)

(in millions)

DESIGN STAFF

RANK 2018

55 KAY LANG + ASSOCIATES Los Angeles, klangassocs.com

$3,700,000

$750.0

0.385

19

51

56 DESIGN DEVELOPMENT COMPANY Agoura Hills, CA, designdevelopment-group.com

$3,500,000

NR

NR

NR

48

57 HVS DESIGN Rockville, MD, hvsdesign.com

$3,500,000

$48.0

3.200

17

67

58 DAS ARCHITECTS Philadelphia, dasarchitects.com

$3,400,000

NR

0.800

18

71

59 JOI-DESIGN Hamburg, Germany, joi-design.com

$3,308,850

$45.0

NR

45

46

60 AREEN DESIGN London, areen.com

$3,301,414 $1.5 0.045 84

6 1 PARTNERS BY DESIGN Chicago, pbdinc.com $3,245,000 $8.5 NR 59 6 2 INDIDESIGN Los Angeles, indidesign.com $3,200,000 $15.0 NR 15

55

63 NICOLEHOLLIS San Francisco, nicolehollis.com

$3,200,000

$11.0

0.270

68

56

64 BG STUDIO INTERNATIONAL New York, bgstudio.com

$3,200,000

$5.0

0.550

15

73

65 MERRIMAN ANDERSON/ARCHITECTS Dallas, merriman-maa.com

$3,105,000

$320.0

1.250

15

61

66 C2 LIMITED DESIGN ASSOCIATES Fairfield, CT, c2limited.com

$3,095,691

NR

NR

13

49

67 C+TC DESIGN STUDIO Atlanta, ctcdesignstudio.com

$3,008,789

NR

NR

27

44

68 HATCH DESIGN GROUP Costa Mesa, CA, hatchdesign.com

$2,985,973

$116.3

0.193

28

54 60

69 SMALLWOOD Atlanta, smallwood-us.com

$2,957,639

NR

NR

49

70 API(+) Tampa, FL, apiplus.com

$2,700,000

NR

NR

16

75

71 DAWSON DESIGN ASSOCIATES Seattle, dawsondesignassociates.com

$2,700,000

$0.2

NR

18

64

72 DESIGN DIRECTIONS INTERNATIONAL Marietta, GA, designdirectionsinternational.com

$2,655,000

NR

3.400

12

59

73 ENV New York, env-team.com

$2,636,500

NR

NR

93

7 4 MANCINI DUFFY New York, manciniduffy.com $2,560,000 $30.7 0.400 59 7 5 BBGM | MONOGRAM Washington, bbgm.com $2,500,000 NR NR 24

65

*NR - not reported

h o s p i t a l i t y giants

new to the list

corporate $818.913

hospitality $777.698

residential $155.538

healthcare $118.524

retail $89.512

educational $83.702

cultural $79.868

government $62.954

transportation $53.200

other $17.489

firm (rank)

*in millions fees

Space Matrix Design Consultants (22)

$12.260

BLINK Design Group (29)

$10.100

Steve Leung Design Group (39)

$6.346

Shepley Bulfinch (40)

$6.339

Denton House (43)

$5.890

HBG Design (45)

$5.100

KCCT Architecture (49)

$4.674

Areen Design (60)

$3.301

Partners by Design (61)

$3.245

ENV (73)

$2.637

Mancini Duffy (74)

$2.560

forecast actual

Kona Village, A Rosewood Resort, in Hawaii, is by NicoleHollis [63].

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DOUGLAS FRIEDMAN

other $24.589

transportation $50.940

government $76.361

retail $83.062

educational $83.717

cultural $93.113

resident $155.440

healthcare $166.764

*in millions

hospitality $766.664

corporate $793.560

fees by project type

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How has the pandemic affected your business and your outlook on the industry overall?

“There are signs of life out there, and those clients are able—either financially or motivationally—to take a long-range view.”

Jeffrey Beers, Jeffrey Beers International

“Design matters.

“I have always “With current guest People are looking been a big believer occupancies so low, for restorative in diversity, not we have several spaces that are only with our clients who are also logistically personnel but also doubling down on smart for working with our business remodeling efforts and schooling lines and locations. now.” with the This is what has Dina Lamanna, importance of helped us through HOK health and the past seven wellness.” months—and will be the focus of the Natalie Ellis, next few years.”

Denton House Laurent Rottet, Rottet Studio

COURTESY OF EQUINOX HOTELS

“From weekly calls with members of our design studio to countless Microsoft Teams channels, there’s a much higher level of communication than there was before.”

Nikki Fraser, Stonehill Taylor

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Rockwell Group [6] designed the Equinox Hotel in New York.

“Leisure-minded business has been important for our clients, as guests seek drive-to destinations for accessible get­ aways. If history proves itself, we will be back stronger than ever.”

Tom Ito, Gensler

“Eight of our projects have completed this year so far, which has presented some interesting takeaways: We’re seeing an interest amongst owners and operators toward investing in art collections or custom lighting—items with lasting value.”

Lisa Simeone, Simeone Deary Design Group

“We’re paying “Finding positivity more attention to brings out the best automation in our of what designers designs, like do. When the touch-free faucets economy turns the and elevators with corner—and we’re no buttons, to strong believers it further that aspect will—we very much of safety and look forward to cleanliness.” finding solutions for a new way of Ed Bakos, being together.”

Champalimaud Design David Rockwell, Rockwell Group

“Early action prevented many of our worst-case scenarios from becoming a reality.

This solid foundation helped us make critical investments in technology to support remote working.”

Mary Alice Palmer, HKS

NOV.20

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international

most admired hospitality firms

Yabu Pushelberg Rockwell Group AvroKO forecast

(2020)

fees by hospitality project type

Canada

18%

south

58% 62%

Mexico

30%

west coast

Central/South America

21%

northeast

42%

Caribbean

34%

midwest

66%

Europe

39%

Middle East

30%

China

23%

India

11%

Other Asia/Australia/New Zealand

27%

Africa

11%

Other

3%

$541,860,314

hotels (total) $621,443,745

$328,034,542

luxury hotels $372,954,576

$115,344,410

mid-economy hotels $134,624,122

$98,481,361

boutique hotels $113,865,046

$90,109,757

resorts $81,379,740

$84,425,470

restaurants $98,308,120

$68,436,003

condo-hotels/timeshare $210,141,006

$34,224,675

gaming $38,581,679

$30,310,421

bars/lounges/nightclubs $30,588,889

$25,759,699

gaming $20.560

u.s.

global growth potential for next 2 years

actual (2019)

*in millions

$16,838,611

h o s p i t a l i t y giants

$10,930,460 $7,188,750 $10,478,194

country clubs $15,947,551 spas $11,594,368 other $9.428 multiuse $8,798,843

firms with largest increase in fees

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2020 (forecast)

2019

$265,336,399

HKS

$14,349,760

$74,858,089

ChengChung+Design

$43,228,257

$42,000,000

Dalton Steelman Arias & Anderson $22,800,000

$25,979,141

Populous

$12,989,571

$25,000,000

Premier Project Management

$6,305,000

$17,420,950

AvroKO

$9,644,896

$16,000,000

Jeffrey Beers International

$6,000,000

$10,000,000

Shea

$4,817,474

$4,000,000

//3877

$2,334,500

$3,200,000

BG Studio International

$1,840,000

MICHAEL WILSON

The Ritz-Carlton in Dallas is by ForrestPerkins, a design studio of Perkins Eastman [9].

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Inspiration isn’t always obvious, but the right partner should be.

Order your complimentary samples and create your digital account at CrossvilleInc.com.

Countertop: State of Grace by Crossville

What Inspires You, Inspires Us.

Top 3 Growth Segments (next 2 years)

Hotels (BOUTIQUE) Multiuse

(HOSPITALITY/RETAIL/RESIDENTIAL)

Hotels (LUXURY) h o s p i t a l i t y giants

hospitality project types worked on in 2019

overseas projects 15%

domestic projects 85%

SILENCE ILLUMINATED new construction 48%

renovation 42%

refresh previous projects 10% methodology

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The annual business survey of Interior Design hospitality Giants ranks the largest design firms by hospitality design fees for the 12-month period from July 2019 through June 2020. Hospitality design fees include those attributed to: 1. All hospitality interiors work.

2. All aspects of a firm’s hospitality design practice, from strategic planning and programming to design and project management.

3. Fees paid to a firm for work performed by employees and independent contractors who are full-time staff equivalent.

Hospitality design fees do not include revenues paid to a firm and remitted to subcontractors that are not considered full-time staff equivalent. For example, certain firms attract work that is subcontracted to a local firm. The originating firm may collect all the fees and retain a management or generation fee, paying the remainder to the performing firm. The amounts paid to the latter are not included in fees of the collecting firm when determining its ranking. Additionally, where applicable, all percentages are based on responding hospitality Giants, not their total number. The data was compiled and analyzed by Interior Design and ThinkLab.

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INTRODUCING | ORAI By surprising yourself, unsurprisingly, creative flair will strike you in everyday life.

This is Allermuir.

O R A I BY M A R K GA B B E RTAS

allermuir.com

spreading the word The C-19 Poster Series by Studio O+A infuses life-saving messaging with positive vibes

c e n t e r fold Left: Poster designs by Studio O+A brand director Elizabeth Vereker employ friendly cartoon characters to illustrate hygiene and testing messaging.

With COVID-19 persisting throughout the U.S., and select offices beginning to slowly welcome back employees, the question of how to do so safely is on everyone’s minds. It’s an especially daunting task in crowded cities like San Francisco, where some buildings are normally occupied by thousands of workers. The predicament has led hometown firm Studio O+A, known for designing knockout offices for such big-tech clients as Slack and Uber, to devise a solution. Co-founders and Interior Design Hall of Fame members Verda Alexander and Primo Orpilla collaborated with members of their graphics team—Elizabeth Vereker, Paulina McFarland, Chelsea Hedrick, Sarah Hotchin, and Minnee Pham, plus writer Al McKee—on a series of vibrant, upbeat posters that promote pandemic-busting behavior, like wearing a mask, distancing, and getting outside, but happily. “They’re meant to reflect a sense of optimism as we all prepare to reenter the workplace,” Orpilla says.

“The messages are important, but we convey them with a bit of humor,” Alexander adds. The 97 designs can be downloaded for free from o-plus-a.com, in a standard 8½-by-11-inch PDF format intended for regular color printers. Landlords and their corp­orate tenants are encouraged to use them in tandem with CDCregulated public-health policies.

“Sometimes,” Vereker says, “the best way to get people to read a sign is to disguise it as art.”

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—Colleen Curry

COURTESY OF STUDIO O+A

Opposite, from top row: Senior brand designer Paulina McFarland nods to psychedelic music posters from 1960’s San Francisco. Brand designer Chelsea Hendrick opted for a pared-down palette, graphic shapes, and cheeky messaging.

Sarah Hotchin, brand team project designer, drew inspiration from bright colors and sharp angles to express joy. Brand designer Minnee Pham juxtaposed saturated gradients with dark grounds and minimal text.

COURTESY OF STUDIO O+A

NOV.20

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WOODGRAIN LAMINATE View the entire collection at www.formica.com

nov20

Drama is in the details

BOYSPLAYNICE NOV.20

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light show Rand Elliott Architects plays with diurnal rhythms for Oklahoma Contemporary Arts Center in the state’s capital

text: edie cohen photography: scott mcdonald/gray city studios

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Previous spread: Rand Elliott Architect’s Oklahoma Contemporary Arts Center and its adjacent studios building occupy a 4-acre campus in downtown Oklahoma City, next to a railway line.

Top: In reception, where flooring is polished concrete, the face of the custom desk has inset maple slats as does the wall in the adjoining café. Bottom: In the director’s office, Charles and Ray Eames guest chairs front the desk by Marc Krusin.

Opposite top: Robert Irwin’s fluorescent Lucky You faces a neon work by Tavares Strachan in “Bright Golden Haze,” the center’s inaugural exhibition; photography: Alex Marks. Opposite bottom: A folded steel canopy marks the entrance, which is at the rear of the 54,000-squarefoot building.

When it comes to Oklahoma, if anyone can sense a place and create a sense of place, it’s Rand Elliott. The state’s culture, nuances, and history are engrained in the architect’s DNA. He still has vivid memories of childhood tractor rides on the farm where he was born and raised until, at age 5, he moved with his family to Oklahoma City. He’s lived and worked there ever since, establishing Rand Elliott Architects in 1976. Three decades later, having produced a distinguished portfolio of mostly regional projects, he was inducted into the Interior Design Hall of Fame. Given that resume, Elliott’s winning the commission for a new building for the relocating Oklahoma Contemporary Arts Center, the region’s leading institution for contemporary art education and exhibitions, was all but a forgone conclusion.

Elliott begins every project with a singular approach. Not with a sketch or a maquette but with what he calls “word paintings.” For OCAC, his verbal picture was “folding light,” which he came up with almost 10 years ago while participating in the project’s early impact studies and focus groups. “Every place has unique considerations,” Elliot reasons.

“In Oklahoma, we have Native Americans, the Dust Bowl, Woody Guthrie, the 1995 bombing, the ups and downs of the oil and gas industry.” But in formulating his concept, he eschewed references to any of these; he was looking for something more timeless. What is timeless in Oklahoma City is the quality of light and the constantly changing weather. In fact, extreme conditions, including 50-degree temperatures, 2 inches of snow, and 60-mile-per-hour winds, occurred during the OCAC’s eight-day photo shoot last winter.

The REA team, led by Elliott and principal Bill Yen, devised a four-story structure of angular planes as the gutsy centerpiece of the 4-acre campus. In accord with the embryonic image, “the building folds, and light moves over its surface,” Elliott explains.

For that surface, he sought a matte material that would allow “the light to be captured and let it stand, not reflected.” That substance is recycled aluminum, crafted as extruded fins in nine different shapes, their flat or angled surfaces assembled 106

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randomly to form a skin. The vertical members lock together and screw onto horizontal battens at various attachment points on the structure. “They’re unique, not static,” Yen notes. “They’re constantly changing. Every day they look different.” Elliott likens the assemblage to that of a rain screen, incrementally expanding and contracting: “Water goes through the metal and drains to the bottom. The building can cool itself, making it energy efficient.”

The steel and concrete structure has minimal glazing and is sealed with a waterproof membrane to protect artworks that are stored temporarily before they’re exhibited.

Another component of the architectural composition, which explores folds at both macro and micro scales (the planes and the fins, respectively), is a corner beacon. Light from LEDs streams out through its fins. In fact, it’s the first thing seen when approaching the center from the street. Curiously, there is no front entry; that’s around the corner at the rear, off the parking lot—a scheme that makes perfect sense for “a city of 600 square miles with lots of cars,” Elliott notes.

Oklahoma Contemporary Arts Center is precisely that: a participatory nexus for various cultural activities.

Sure, at 54,000 square feet overall, there’s plenty of interior space given over to exhibitions, corridors included. “It allows the building to be porous,” Elliott explains. Otherwise, the program plays out as follows: The ground floor is mostly a gathering space, with conjoined lobby and café, lounge, gift shop, and classrooms, none of them square and each with its own gallery for budding artists of all ages.

The main gallery, which, at 8,000 square feet, occupies most of the second floor, extends onto a terrace that overlooks the great lawn and has already hosted outdoor performances. Nearby is the learning gallery,

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Top, from left: The center’s LED-illuminated beacon and acrylic-finished aluminum signage. The four-story stairway’s steel and concrete treads and risers. Olafur Eliasson’s Black Glass Eclipse, part of “Bright Golden Haze”; photography: Alex Marks. The stairway’s polycarbonate-tube balustrades. Star Ceiling 2 by Leo Villareal; photography: Alex Marks. Bottom: Steel canopies act as sun shields for the separate studios building, its kiln surrounded by a polycarbonate cube.

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Top: Recycled-aluminum fins are affixed at random angles to create the skin on the center’s folded planes. Bottom: Camille Utterback’s Entangled incorporates cameras, projectors, theater lights, fabric scrims, and custom software; photography: Alex Marks.

Opposite top: The dance studio with maple sprung flooring will also be used for events. Opposite bottom: The brickwork and ceiling in the 10,000-square-foot studios building, a former lightbulb factory, were cleaned and repaired.

presently displaying Elliott’s sketchbooks and photographs illustrating “how to make architecture”; a small sound studio for podcasts and classes; and an artists-in-residence space, currently in development. The third floor comprises a 200-seat black-box theater adjoining a dance studio with a mirror wall, sprung floor, and huge windows, enabling it to double as an events space.

The fourth floor is reserved for administrative offices, including that of director Eddie Walker, who gets a view of the state capitol’s dome. Connecting all the levels is a ceremonial staircase that, with its angles and balustrades of illuminated polycarbonate tubes, is “like an M.C. Escher work,” Elliott suggests. Completing the campus, a 1910 former lightbulb factory across the street has been annexed, restored, and turned into studios for ceramics, jewelry making, and woodworking.

OCAC’s opening gala for donors was March 12. The public launch, slated to begin the following day, didn’t happen because of the COVID-19 shutdown. At the moment, the center is open to ticketed attendance so visitors can see the inaugural exhibition, fittingly called “Bright Golden Haze,” taken from a song in the Rodgers and Hammerstein musical Oklahoma! Artworks by Olafur Eliasson, Robert Irwin, Camille Utterback, and Leo Villareal are among those interpreting the theme. Just like the building, they conjure magic with light.

PROJECT TEAM CODY PISTULKA; MICHAEL HOFFNER: RAND ELLIOTT ARCHITECTS. J&B GRAPHICS: CUSTOM SIGNAGE. AUDIO VIDEO DESIGNS: AUDIOVISUAL CONSULTANT. SCHULER SHOOK: THEATER CONSULTANT. WALLACE ENGINEERING: STRUCTURAL ENGINEER. ALVINE AND ASSOCIATES: MEP. CIVIL & ENVIRONMENTAL CONSULTANTS: CIVIL ENGINEER. WOOD SYSTEMS: WOODWORK. W&W STEEL: METALWORK. SMITH & PICKEL CONSTRUC­ TION CO.: GENERAL CONTRACTOR. PROJECT SOURCES FROM FRONT HERMAN MILLER: CHAIRS (OFFICE). KNOLL: DESK, WORKSTATION. OLDCASTLE: DOORS (STUDIOS BUILDING).

LSI: LINEAR CANOPY FIXTURES. VISION­ EERING: PENDANT FIXTURES. THROUGHOUT ARTFORM: EXTERIOR FINS. VITRO: GLASS. ARDOR SOLUTIONS: FLOORING. ACME BRICK; ENDICOTT: BRICK. POLYGAL: POLYCARBONATE. FORMICA: LAMINATE. KAWNEER: CURTAIN WALL. VULCRAFT: CEILINGS. USG: DRYWALL. BELL & M C COY; CONTECH ENGINEERED SOLUTIONS; INSIGHT; KLUS; LIGMAN: LIGHTING. ALLIANCE STEEL: CUSTOM CANOPIES. MODERN MASTERS; SHERWIN-WILLIAMS COMPANY: PAINT.

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at first blush Inside the pink walls of Clarens, a Cape Town building by KLûK CGDT Property, is a fashionable apartment by and for Establishment’s South African founder, Dawid Augustyn text: liz morris photography: greg cox/bureaux production: sven alberding

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Previous spread, left: Clarens, a new apartment building in Cape Town, South Africa, developed and designed by KLûK CGDT Property, features a concrete facade punctuated by brick screens, all tinted with a custom pigment.

Previous spread, right: Inside Clarens, the duplex apartment of Dawid Augustyn, founder of design company and retailer Establishment, has a 3-D steel sculpture by South African artist Gaelen Pinnock on the wall of the staircase’s upstairs landing.

Top, from left: The ground-up building, which contains nine apartments, was executed by Hours Clear Architects. Sealed slate floor tile, granite countertops, and photography by Cape Town artist Thandiwe Msebenzi define the galley kitchen. Bottom: The downstairs landing, which is stone, in the living area hosts a marble table lamp by Lars Tornøe.

Opposite: Beyond the green canvas armchair by Shane Schneck, the living area opens to a private terrace with a small above-ground pool.

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Happily for Dawid Augustyn, the chance to set up home in Fresnaye, a desirable waterfront suburb of Cape Town, South Africa, happened seamlessly. An interior designer and founder of design company Establishment, Augustyn is also a quantity surveyor, and one of his recent projects in that role was Clarens, a new nine-unit apartment build­ing in Fresnaye developed and designed by KLûK CGDT Property. “I’d been watching its journey from an insider’s perspective from the ground-up,” Augustyn recalls. “Their vision of a community lifestyle, based on a nonstandard approach to the look and feel of the building and interiors, resonated well with me.” He’s referring to the vision of Malcolm Kluk and Christiaan Gabriël du Toit, the celebrated African fashion designers who’ve expanded their bold aesthetic for couture under the label KLûK CGDT to entire environments. “We love crossing new frontiers, and property design and development is the natural progression,” Kluk says. “We’re not scared of color or pattern, and we use both of them in contemporary, international ways as we continue our exploration of what is African,” du Toit adds.

That attitude is immediately apparent at Clarens.

The four-story, low-profile building is contained within concrete and open-bond brick walls that have been pigmented a signature KLûK CGDT pink, one that’s reminiscent of a sunset—and eye candy for the tony neighborhood, where many of its elegant avenues are now fringed with new-build boxy gray blocks that reinforce a generic real-estate trope. “We hope our building will add to the architectural richness of Cape Town, like a gallery or museum,” du Toit says. “I appreciated that, architecturally,

Clarens has character, that it was carefully considered and curated,” Augustyn notes. “Plus the interiors have compelling aspects that align with how I like to live, offering a strategic connection to the outdoors and spaces that don’t feel heavy or energy-sapping because they’re open, naturally lit, and charming. Lastly, I bonded bigtime with the color palette of the shell.” That palette is unusual yet beautifully muted, thus easy to work with when Augustyn was selecting furnishings, fabrics, and finishes. A feature wall coated in millennial pink is juxtaposed by others in charcoal, stone, caramel, maize, and buff tones. “It’s grounding and cocooning,” he adds.

Augustyn’s company, Establishment, now in its 16th year, represents a roster of international design brands, plus produces its own pieces; he also conceives original contemporary furniture, lighting, and accessories under the label DA Design. All of these harmonize with the interiors of Clarens overall, and with Augustyn’s duplex specifically. “How we live now,” he muses, “is very adaptive. We’re a generation of natural nomads, able to detach quickly from nearly any setting. I like that a chair can be around a dining table one day, at your desk or even outside on the terrace the next. Then, you can take these pieces on to your next home and use them in a different way. That’s the modern way to live now.” The furniture in his apartment, a mix of pieces by global and local South African designers, were selected with this exact modus vivendi in mind. He calls it “easy to be around.”

In fact, beyond the entry to his duplex, which encompasses 1,400 square feet, two bedrooms, and 2 ½ baths, is a generous table that is currently used for dining

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“Interiors are open and charming, with an unusual yet beautifully muted palette”

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Opposite: Rosie Mudge’s glitter glue and automotive paint on canvas backdrops a sofa and cocktail table by Norm Architects.

This page: A Simon Schmitz pendant fixture hangs over the dining area’s marble-topped table by Alain Gilles.

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but could easily transform to a desk for a home office. Its curved metal legs echo the sculptural motif of the interior architecture, and its black-and-white marble top synchronizes with the grayand-white slate floor tile inside and on the terrace. Farther in, in the living area, which opens onto said terrace, an armchair riffs on a classic mid-century leather design re-contextualized in green canvas, making it the perfect transitional piece between indoors and out.

The open-plan first floor is anchored by a compact yet luxe galley kitchen in one corner and a powder room in another.

Up the apartment’s stairs, which have stone treads, risers, and landings, are the two bedrooms and en suite bathrooms. For his bedroom, which has views over the terrace and Clarens gardens, Augustyn mindfully appointed it to avoid bulky forms. An open four-poster bed is grand yet airy. One bedside table is highly functional, offering open shelving in varying widths to accommodate whatever he needs close by, while the other is a cleverly combined standing lamp and small table. The guest quarters are more enveloping, thanks to a plush upholstered headboard that partially wraps around the bed.

Cohesive examples of witty flexibility are numerous in all the rooms, contributing to an emotive comfort that comes with spaces that are well-planned. Artwork figures in substantially, too. Almost all are by South Africans represented by Smith, a Cape Town gallery focused on pieces by artists who disregard convention to produce brave, joyous, and timeless work that values and contributes to the discourse of contemporary art in the region. One such is a 9-foot arched panel by young Cape Town artist Rosie Mudge that, like the Clarens palette, is also reminiscent of a sunset. But this one is by way of Cuba—it’s titled The Way (Havana). Nomadic, indeed.

PROJECT TEAM HOURS CLEAR ARCHITECTURE: ARCHITECT OF RECORD. SQUARE ONE LANDSCAPE ARCHITECTS: LANDSCAPING CONSULTANT. DE VILLIERS & HULME CONSULTING ENGINEERS: STRUCTURAL ENGINEER. R&N MASTERBUILDERS: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT WOMAG: COUNTERTOP (KITCHEN).

SIEMENS: APPLIANCES. FFC: CUSTOM CABINETRY. NEW WORKS: TABLE LAMP (LIVING AREA). MAE ARTISAN RUGS: RUG. HAY: GREEN CHAIR. LA GRANGE INTERIORS: TWEED CHAIR. MENU: SOFA, COCKTAIL TABLE. POLIFORM: TV CONSOLE. MINIFORMS: TABLE (DINING AREA), DESK (MAIN BEDROOM). MEUBLE: CHAIRS (DINING AREA). DCW ÉDITIONS: PENDANT FIXTURE. SHF HOME: BED (MAIN BEDROOM). WOUD: SHELF UNIT, WHITE LAMP. JOE PAINE: CHAIR. YOUR SPACE BATHROOMS: SHOWER FITTINGS (BATHROOM). CIELO: BED (BEDROOM). TUSKER TRADING: SIDE TABLE. ESTABLISHMENT: LAMPS, CEILING FIXTURES. THROUGHOUT BANG & OLUFSEN: SPEAKERS, TV. BELGOTEX: CARPET. MAZISTA TILES: FLOOR TILE. PLASCON: PAINT.

Opposite top, from left: In the main bedroom, a Claire Johnson artwork hangs near the four-poster bed. The steel pendant in the stairwell is custom. Opposite bottom, from left: A Paper Clip chair

by Johannesburg designer Joe Paine joins a Paolo Cappello desk and second Johnson artwork in the main bedroom. Its bathroom includes a tub clad in acrylic that mimics granite.

Above: A black-and-white artwork by Dale Lawrence joins a padded headboard and marble side table in the guest bedroom.

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eastern influence China Ma by Yod Group serves up flavors of traditional and modern Asia to Ukraine 120

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text: craig kellogg photography: andrey bezuglov

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Previous spread: On the mezzanine of China Ma, a two-story restaurant in Kyiv, Ukraine, by Yod Group, custom furniture includes chairs combining Soviet and Scandinavian influences and a brass tabletop that rotates for family-style dining.

Top, from left: Pendant fixtures by local industrial designer Kateryna Sokolova illuminate the main dining area downstairs. The restaurant’s avatar, made from LED video screen modules, has been masked since the onset of COVID-19. Bottom: The kitchen connects to the dining room through a stainless steel–lined aperture inspired by traditional Chinese design.

Opposite: Electrical cable has been positioned to form three-dimensional bangs and pigtails for the avatar model, a local actress.

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Chinese plump dumplings and succulent kung pao shrimp were not entirely unknown in Kyiv. But international fastcasual chains like Wagamama and Panda Express somehow bypassed the Ukrainian capital. So, after founding a trendy Georgian food group, a local restauranteur decided to switch her focus to Asia, dishing up her own fast-casual Cantonese concept for her sophomore outing. In 2019, China Ma was born, with Yod Group bringing the physical space to fruition last November.

The 2,100-square-foot café anchors a new mall ideally located across the street from Kyiv’s buzzing city center, which contains the main train station, and down the street from reportedly the world’s third-busiest McDonald’s.

Anticipating that same heavy pedestrian traffic, the debut China Ma required exceptional durability, according to Yod cofounder Volodymyr Nepyivoda.

A self-described specialist in “HoReCa”—hotels, restaurants, cafés—Nepyivoda used the commission to explore such technical architectural finishes as MDF paneling tinted the same “cardboard” color all the way through the café, anticipating, and camouflaging, the dings and scrapes expected from rail traveler suitcases.

Frothy sprayed-on acoustical foam akin to mid-century airport ceilings lends a softness to the two-story environment.

Such industrial solutions are a world away from the antique temple carvings and Chinese red napkins at Bao, a finedining restaurant Yod previously completed across town.

“We refused all typical Chinese decor this time,” explains Yod co-founder Dmytro Bonesko.

“A modern atmosphere goes with the democratic prices at China Ma.”

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At Bao, Bonesko employed his “lazy Susan” turntable concept, borrowed from traditional Chinese dim sum palaces.

He gives it another, more contemporary spin at China Ma, with the rotating central platforms, which encourage familystyle sharing of dishes, banded in sleek brass. In another nod to Asia, admittedly a more esoteric one, he and Nepyivoda referenced the electrical cables that run, often exposed messily, across cities in China but also in Japan and Thailand.

Translating the phenomenon into decor, the Yod team strung up miles of black rubber cables—only some electrified, of course—across the mezzanine ceiling. This spaghetti of wires swags over the tables, with individual lengths dropping down into slender pendants, each tipped with a tiny LED. Though simple in appearance, the fixtures required three iterations to achieve sufficient brightness. “Ukrainians want good lighting for Instagram posts,” Bonesko notes. Illumination is more Soviet inspired downstairs in the main dining area, where a constellation of geometric green pendants recall early 20th–century suprematism. Seating on both levels also nods to vintage Soviet aesthetics.

Back upstairs, the same black wire not only wraps randomly around steel wire-frame globe armatures of various sizes but is also used in the “hair” for China Ma’s godlike digital avatar—the café’s most stunning feature. Forming enormous round pigtails and face-framing bangs, Nepyivoda himself climbed a 15-foot ladder with clippers to demonstrate the length workers should trim the wire for her final “haircut.”

The avatar concept seemed straightforward at first but ultimately proved a hard-won tech triumph. Bonesko began by asking a casting agent to find a local actress. “We weren’t concentrated on her nationality, more on general mood.”

His instructions directed the chosen model to run through a range of expressions on camera, and the video production company stitched them together later. So, following a few minutes of resting-face, she flashes a look of charmed surprise or licks her red-painted lips. Guests can view the 20-foot-tall avatar from nearly anywhere in China Ma, including close-up on the glass bridge Yod installed upstairs to access the restrooms, or from the bar, where Chinese characters spelling out messages like “always good” scroll digitally across a decorative pipe.

Her red lipstick is fiery today, but the video initially appeared washed-out in daylight—even when projected using the latest laser gear. Graciously, the restauranteur agreed to delay China Ma’s grand opening while Yod retooled the avatar.

Its new 3-D curved steel framework got tiled with a matrix of 10-inch LED video screen modules sourced from China.

Another refresh and pause were a result of COVID-19. Since March, the avatar has been updated to appear wearing a face mask. But like all else during the pandemic, patience, particularly coupled with a healthy dose of wit, is a virtue.

PROJECT TEAM NATALIYA TIMOSHENKO; NIKOLAY DOTSENKO; ALEXANDR KRAVCHUK: YOD GROUP. PRODUCT SOURCES FROM FRONT KITASS: CUSTOM TABLE (MEZZANINE), CUSTOM SEATING. PLAN B LABORATORY: CUSTOM TABLES, CUSTOM BAR COUNTER, CUSTOM PLANTERS (DINING AREA). NIC DESIGN: TOILET (RESTROOM). THROUGHOUT RUKI.IO: CUSTOM MEDIA SCREENS, CUSTOM CEILING INSTALLATIONS. MOTION GG: CUSTOM MEDIA CONTENT. NOOM: PENDANT FIXTURES.

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“We refused all typical Chinese decor for this project” Opposite, from left: The avatar reflects in the glass floor of the bridge, which leads to the restrooms. Chinese characters spelling out friendly slogans crawl down an LED screen in a restroom.

Top: More LED Chinese characters scroll digitally across a decorative pipe downstairs. Bottom: Custom stools stand near the bar, topped in stainless steel.

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Genlser transforms Chicago’s Old Post Office, a 1920’s art deco landmark, into a multimillion-dollar, mixed-use complex for today

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That Gensler was tapped to renovate and repurpose the Old Chicago Main Post Office into a mixed-use hub for business and commerce comes as little surprise. After all, it’s the city’s largest building—encompassing 2.8 million square feet—and the largest adaptive-reuse project in the U.S., so it makes sense that it was masterminded by the world’s largest design firm. Though the nearby Merchandise Mart boasts more square feet, 4 million, according to Gensler principal and design director Russell Gilchrist, “the Mart could actually fit inside the post office.” That’s because the post office is not a skyscraper, it’s what he calls a “groundscraper,” spanning three city blocks.

For more of the backstory, Gilchrist hands the envelope to Gensler principal and global office buildings repositioning and landlord services leader Sheryl Schulze. “Designed by Graham, Anderson, Probst & White, it was built in two phases,” she begins. “In 1921, came the east building, a six-story brick structure to house the early post

office days.” Phase two, erected between 1932 and 1934, added two limestone buildings that bookend the existing structure. The 12-story, north-facing edifice has the main entry. Its larger counterpart to the south rises nine floors.

Everything is conjoined to create a unique complex, albeit one that presents some offset floor levels. But that’s good. The result are “large floor plates that I like to think can be designed similar to residential lofts, with one culture per level,” Schulze says.

It was 1997 when the USPS moved to a smaller building nearby, leaving the Old Post Office vacant for years. In 2016, it was purchased by 601 West Companies. By that time, the structure had been placed on the National Register of Historic Places and later accorded status by the Commission on Chicago Landmarks. Ergo 601 West’s overarching words to Gensler: Don’t cut a lot of holes, use the lightest touch possible. Gensler’s concern was “transform­ ing a factory warehouse into a modern workplace,” Gilchrist says, “and being able to move people around a floor 128

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Previous spread: In the lobby of the Old Chicago Post Office, the former Old Chicago Main Post Office that Gensler has restored and renovated into a mixed-use commercial building, the checkered Tennessee marble flooring, marble walls, and gold mosaic tile date to 1934.

Opposite top: At the escalator land­ing, vinyl wall covering was made from scans of vintage postcards. Opposite bottom: The landmarked limestone facade, which includes the main entrance, was restored and cleaned.

Top: Actual ’20’s and ’30’s postcards are adhered to wood board, then dry-mounted to the wall covering.

Bottom: Lit by its original lanterns retrofitted with LEDs, the lobby is 350 feet long by 40 wide, open to the public, and conceived as an events space for beyond the pandemic.

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plate roughly the size of an airport terminal.” Further, the Eisenhower Expressway bifurcates the building at grade, a railway line covers the entire footprint below, and both transportation modes needed to be operational throughout the renovation.

In the broadest of strokes, the program for what’s now officially called the Old Chicago Post Office, nearly five years in the making, entailed cleaning, polishing, and organizing the ground floor with new points of entry, including for Walgreens, the first tenant, and another along the Chicago River bank for access to the food hall, still under construction. Also needing access was the second floor, given over to a sweep of new amenities— a gym and a cocktail lounge among them—and the elevator banks leading to upper-level offices. Leasing space to tenants began in 2018, and interest has remained steady through the COVID-19 pandemic. So far, 81 percent of the building has been snatched up, by such companies as Ferrara Candy Co., Uber Freight, and Cisco (the latter two commissioning Gensler to design their offices).

Starting outside, the limestone faces were cleaned and restored. Some 2,200 windows received new glazing, their old steel framing replaced with aluminum. Inside, the lobby, a 350-foot-long grand hall that’s open to the public, reveals gems of the art deco era: flooring of amber and white checkered marble, brass grillwork, alcoves clad in gold mosaic tile—all of it retained and extensively cleaned. Slight alterations happened on the ceiling—newly plastered for the installation of and access to new HVAC systems but its gold leaf replicated—and the 6-foot-long 1920’s pendant lanterns newly fitted with LEDs. More of the past appears farther in, in the concierge area, where the envelope and mood skew more industrial. Marble flooring gives way to concrete and the ceiling is exposed. (Yes, one hole was cut.) Behind the reception desk, brass-finished, floor-to-ceiling shelving displays relics salvaged from the building as well as vintage objets interspersed with oversize images of the interiors captured just prior to demolition. A sprawling Lindsey Adelman pendant fixture presides over the sitting area, furnished with roomy leather-upholstered sofas and lounge chairs.

But it’s perhaps the second floor that’s the real draw here.

Escalators transport tenants, expected to eventually tally 12,000 workers, up to 63,000 square feet of amenities rarely seen in a workplace. En route, a stylized brass eagle, abstracted from one on the facade as the building’s new logo, hints at what’s to come. The upper landing platform is pure charm. The Gensler team sourced vintage postcards, scanned them to create wall covering, and then mounted some of the real ones on top for texture.

Beyond that installation, it’s all modern-day charm. There’s Boxcar, the 26,000-square-foot fitness center, which Gensler named after the train cars that used to enter the building to deliver and retrieve mail, and includes, among other features, a regulation-size boxing ring. For the more recreationally minded, Telegram Lounge offers a bocce court, billiards table, fireplace, and a showstopper of a bar. For quiet types, the Library is actually a 1,700-square-foot co-working space, its name a nod to the division of the Chicago Public Library formerly on-site, outfitted in stunning, acoustics-dampening wool rugs from Pakistan. As if these perks weren’t enticements enough, Telos Group, the leasing agent, has equally attractive sales quarters, a clubby setting with leather-upholstered seating and a Calacatta Tucci–clad fireplace.

The enormous $800 million endeavor is still a work in progress. The 3½-acre rooftop park boasting a ¼-mile running

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Opposite left, from top: Jason Miller light fixtures in the leasing office. The 3½-acre rooftop park; photography: Tom Rossiter. A silk-screened photographic mural in the gym, on the amenities floor. Opposite right, from top: One of the lobby’s two restored 1934 clocks. The bocce court in Telegram Lounge, also on the amenities floor. An eagle, in backlit polished brass mounted on oak veneer, adapted from one on the facade as the building’s new signage.

Top: Its logo CNC-cut into white oak, the gym is called Boxcar, derived from the train cars that once entered the Old Post Office to deliver and retrieve mail. Bottom: In the concierge area, custom millwork showcases historic artifacts and ephemera, including backlit silk-screened enlargements of images by local photographer Lori Swerdlow of the building just before demolition.

“The building is well-positioned for the new reality posed by the pandemic”

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track, basketball and paddle courts, and bee colonies was just completed. Forthcoming is the food hall. “The building is well-positioned for the new reality, integrating fitness, opportunities for socialization and focused work, and ample access to the outdoors,” Schulze explains. It’s Chicago’s—and Gensler’s—21st-century answer to you’ve got mail.

PROJECT TEAM GRANT UHLIR; ANGELA HARPER; BECKY CALLCOTT; JEFFREY LAWRENCE; NATHAN ENGEL; ASHLEY ROGOW; EMILY HANDLEY; NIMROD GUTMAN; RILEY ATLAS; LETY MURRAY; PAUL HAGLE; BRENDA WENTWORTH; STEPHEN MILLER; SOO CHAE; WANWAN HAO; YUYING CHEN; RYAN SISTI; ANDREW BROSSEIT; MELISSA GARCIA; FRANCESCA POMA-MURIALDO; SABRINA MASON; PIA SACHLEBEN; TRACY WANG; HILARY INGRAM; JULIA ASARE; KELLY VANOTEGHEM; IRENE URMENETA; ALYSSA FRIEDMAN; LISA CHUNG; LES VENTSCH; RYLAND AUBURN; YI WANG; DAN HUTCHINS; SCOTT LAY; EUNKYU CHOI; YIMIN YANG: GENSLER. MCGUIRE, IGLESKI & ASSOCIATES; WISS JANNEY ELSTNER: PRESERVATION ARCHITECTS. HOERR SCHAUDT LANDSCAPE ARCHITECTS: LANDSCAPE ARCHITECT. WSP: STRUCTURAL ENGINEER. MCGUIRE ENGINEERS: MEP. V3: CIVIL ENGINEER. CHEMETAL; MCNICHOLS CO.; T.H. SNYDER: METALWORK. INDIANA LIMESTONE: STONEWORK. NAVILLUS WOODWORKS: MILLWORK. OFFICE REVOLUTION: FURNITURE SUPPLIER. KSA LIGHTING: LIGHTING SUPPLIER. BEAR CONSTRUCTION: GENERAL CONTRACTOR.

PRODUCT SOURCES FROM FRONT ER2 IMAGE GROUP: CUSTOM POSTCARD WALL (LANDING). ROLL & HILL: SCONCES (LEASING), PENDANT FIXTURES (LEASING, CONCIERGE).

A. RUDIN: SOFA (LEASING). ARTERIORS: SIDE TABLES. RH: CHAIRS (LEASING), BLACK TABLE (LIBRARY). KRAMER DESIGN STUDIO: CUSTOM BENCHES (LEASING), CUSTOM COMMUNAL TABLES (LIBRARY). VONDOM: FURNITURE (ROOFTOP). DIRECT FITNESS SOLUTIONS: EQUIPMENT (GYM). MOSS: MURAL. TECH LIGHTING: PENDANT FIXTURE (BOCCE). TERRAMAI WOODS: PANEL (ESCALATOR). ARCHETYPE: CUSTOM SIGNAGE. OSCAR ISBERIAN RUGS: RUGS (CONCIERGE, LIBRARY). CROSSVILLE: FLOOR TILE (CONCIERGE). HOUSE OF ROLAND: DRAPES. CARNEGIE: PANEL FABRIC (LIBRARY). REJUVENATION: SCONCES. BERNHARDT DESIGN: ARMCHAIRS. GUBI: GREEN CHAIRS. CROSSVILLE: FLOOR TILE (GYM). SPECTRUM LIGHTING: PENDANT FIXTURES. ANDREU WORLD: STOOLS (BAR). THROUGHOUT MILLIKEN: CARPET. ARCHITEXT; DESIGNTEX; FITZFELT; INNOVATIONS; MAHARAM; TIGER LEATHER; WOLF-GORDON: WALL COVERING. USAI LIGHTING: LIGHT FIXTURES. ABET LAMINATI; FORMICA; LAMIN-ART: LAMINATES. DIRESCO; D U PONT; HANSTONE; T&M SUPPLY; WILSONART: SOLID SURFACING. ECORE ATHLETIC; PALLADIO FLOORING; PLITEQ: FLOORING. ACOUSTICAL SURFACES; ARMSTRONG CEILINGS; INTERNATIONAL CELLULOSE: CEILINGS. STATE STREET SALVAGE CHICAGO: VINTAGE ACCESSORIES. AUBURN GLASS: WINDOWS. ARMOURCOAT; BENJAMIN MOORE & CO.; PPG PAINTS; SHERWIN-WILLIAMS COMPANY: PAINT.

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Opposite top: The 26,000-squarefoot Boxcar aptly includes a boxing ring, plus a vintage pommel horse turned bench. Opposite bottom: Pakistani wool rugs rest on flooring of engineered white oak the Library, a co-working space for tenants.

Top: The bar at Telegram Lounge seats 30 in stools by Lievore Altherr Molina . Bottom: Nicknamed the Meadow, the rooftop features basketball and paddle courts amid acres of Blue Grama, Prairie Dropseed, and Eastern Bee Balm, among many other plantings; photography: Tom Rossiter.

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From a Jewish education center to an Asian art museum, institutional projects across three continents shed light on history, religion, and culture

everything is illuminated text: annie block See page 140 for the Church of Beatified Restituta in Brno, Czech Republic, by Atelier Štěpán. Photography: BoysPlayNice.

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“Different interpretations of unveiling and exploring layers of history shaped the interiors”

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NArchitekTURA with Imaginga Studio project Oshpitzin Jewish Center, Oświe˛cim, Poland. standout In a city known for the Auschwitz concentration camp, the complex of restored early 20th–century buildings focuses on the multicultural city prewar, particularly in the public square and museum, where copper, bronze, or Cor-Ten panels are sanded, streaked, rusted, or polished, the archaeological effect inspired by the lives, suffering, and achievements of the people represented in the center’s artifacts and archival photography. photography Clockwise from bottom: Jakub Certowicz (2); Bartosz Haduch (3).

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Neri&Hu Design and Research Office project Junshan Cultural Center, Beijing. standout What began as a clubhouse and sales facility for a Miyun District residential development has morphed into a destination for lectures, art exhibitions, and private functions, drawing in community members with its veil of wood-patterned aluminum panels, sculpted Venetian plaster ceilings, and geometric cuts carved out to interact with the sky, daylight, courtyard, and gardens. photography Pedro Pegenaute.

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“Moments of the exterior screens connect with each interior space and create a facade that’s spontaneous and different at every angle”

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Atelier Štěpán project Church of Beatified Restituta, Brno, Czech Republic. standout Named after early 20th–century martyr Maria Restituta Kafka, who was born a mile away, symbolism abounds here: The circular floor plan represents heaven and eternity, the domed ceiling’s matrix of wooden planks resembles God’s fingerprint, and the rainbow streaming through the upper annular window of 120 foiled glass panels is God himself—but the yellow aperture capping the 100-foot tower nods to Le Corbusier. photography BoysPlayNice.

“Diffuse light and shadow fall inside but the source is veiled, representing the existence and

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mystery of God”

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project Seattle Asian Art Museum. standout The renovation encompassed restoring the landmarked art deco portion to its original splendor, which entailed cleaning and sealing the historic 1930’s sandstone facade, and constructing a 14,000-square-foot precast-concrete addition, featuring a 2,600-square-foot gallery—large enough to accommodate Do Ho Suh’s 24-foot-diamater Some/One—and extensive glazing cantilevering over and connecting with Volunteer Park. photography Clockwise from bottom: Tim Griffith (2); Adam Hunter/LMN Architects (3).

LMN Architects

“With the new contemporary piece, now everyone in the park, and the community overall, can get a sense of what’s happening inside”

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text: ian phillips photography: eric laignel

Pernod Ricard’s southern French heritage suffuses the distiller’s new Paris headquarters by Saguez & Partners

soul provençal

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Olivier Saguez is far from convinced that the office is dead.

“I don’t think you work best from home,” the Saguez & Partners founder asserts. “You don’t come into contact with others. So, you stay stuck with the same ideas.

Working today is a collaborative experience and you need a place that creates connections.”

The firm’s latest project—new Parisian headquarters for the Pernod Ricard wine and spirits group—is designed to do exactly that. Housed in a building by Ferrier Marchetti Studio, the office stands contiguous to Saint-Lazare train station and spans almost 200,000 square feet across eight floors. There are planted terraces and a few beehives on the green rooftop, and while none of the firm’s 900 employees has an assigned workstation, they do have a choice of some 2,400 different seats. They also have access to an almost dizzyingly long list of amenities, which include an in-house packagedelivery counter, a game room, a travel lounge with a nap room, and a “Health Village” comprising a gym, hairdressing salon and barber’s shop, massage parlor, and an infirmary.

Not bad, you may think. But the real highlight is the breathtaking 360-degree panorama the building affords over the City of Light. It’s hard to think of a single Parisian landmark that can’t be seen. There’s the Sacré Cœur to one side, the Eiffel Tower to the other and, oh yes, isn’t that the Pompidou Center all the way over in the distance? Not surprisingly, the most popular spots to work are the series of long tables that run along the windows. “You’re transported elsewhere,” Saguez & Partners creative director and associate Jean-Philippe Cordina enthuses. “It’s like a haven of peace and security at the heart of the city.” He, Saguez, and their team were also careful to maximize the influx of natural light. Partitions are kept to a minimum and shelving systems deliberately conceived to be see-through so as not to block the sunshine.

Currently number two worldwide in the wine and spirits sector, Pernod Ricard boasts such brands as Absolut vodka, Jameson whiskey, Martell cognac, Havana Club rum, and Perrier-Jouët Champagne. Yet it is the two aniseed-based aperitifs that make up the company’s name for

Previous spread: Green roofs and spacious terraces lend a Mediterranean—and pandemic-conscious—vibe to wine-and-spirits giant Pernod Ricard’s Paris headquarters by Saguez & Partners.

Top, from left: A sofa and tables by Patricia Urquiola face chairs by Nanna and Jørgen Ditzel on the game-room terrace. In the French aperitif lounge, LucidiPevere rattan chairs, Xavier Pauchard stools, and woven-cane paneling evoke a beachside hotel terrace. Bottom, from left: Reception’s custom desk has a marble top and oak cladding.

On a custom rug, Ronan and Erwan Bouroullec chairs flank the boardroom’s custom conference table. The mail room looks directly onto the tracks of Saint-Lazare train station.

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which it is best known. The second was formulated in 1932 by Paul Ricard, and it is one of his grandsons, Alexandre Ricard, who heads up the group today. Grand-père Ricard was born in Marseille and the DNA of the conglomerate he started there remains very much linked to the south of France. So much so that the Paris headquarters has been nicknamed the Island after the Île des Embiez, a tiny haven off the coast of Provence, which the distiller acquired in 1958.

The designers were particularly keen to infuse the workplace with a laid-back, convivial, Mediterranean mood. The color palette is dominated by hues associated with the French Riviera—sea blues, saffrons, sand tones—and there are numerous other nods to the region, too.

The abundant vegetation includes orange and lemon trees, there are terra-cotta pots from the Provençal town of Aubagne, and extensive use of wicker, cane, and rattan for furniture and finishes. The team also sourced vintage posters from the Ricard archive, as well as an enormous Salvador Dalí painting, which hangs to the right of the barlike reception desk on the ground floor. The canvas has a colorful history, having been stolen in 1973, hidden in a boat’s mast, and finally recovered five years later in a Paris airline baggage facility.

Yet the spirit of conviviality is perhaps best captured by the numerous cafeterias, lounges, and barlike areas throughout the building, each of which has been conceived to encapsulate the identity of one of the group’s liquor brands. The one for Havana Club features a Cuban

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Below: The top-floor Sky Bar is populated with cane-sided sofas and lounge chairs, Gordon Guillaumier’s oval cocktail tables, and a custom brushed stainless-steel bar, all backdropped by unrivaled city views.

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ghetto blaster and rum chests, while the French aperitif lounge (for Pernod, Ricard, and Suze) was imagined like a terrace of a beach hotel, with a sunny mix of bright yellow tones and woven-cane wall panels. On the top floor, meanwhile, is the immense Sky Bar, its shelves laden with bottles filled with fake alcohol since drinking liquor is strictly forbidden in the French workplace.

If there is one word to sum up the project as a whole, it must be diversity. Not only through the juxtaposition of so many different brands but also in the great variety of work spaces offered. They range from silent rooms and phone booths to lounge areas and zones with high tables intended for making quick-fire de­ cisions while standing up. For Saguez, the aim is to encourage people to move around. “It’s not only good for your health but also gives rise to fortuitous encounters,” he says. “According to several theories, it’s from informal meetings that the best ideas arise.” And they’re certainly not going to happen sitting at home with your computer on the kitchen table.

PROJECT TEAM VALÉRIE PARENTY; PIERRE-OLIVIER PIGEOT; MARINE KEMPF; MAUD BIANCHERI; DOMINIQUE NEEL; CÉCILE DELAHAIE; GIACOMO VOLPE; MARIE ANJUBAULT; CHARLOTTE LE GOUVELLO; ARNAUD LALY: SAGUEZ & PARTNERS. IMLC: STYLING. MUGO PAYSAGE: LANDSCAPING CONSULTANT. SEPELCO: CUSTOM SIGNAGE. META: ACOUS­ TICAL CONSULTANT. QUATORZE-IG: ARCHI­ TEC­T URAL FEASIBILITY CONSULTANT. DURIEZ AGENCEMENT: WOODWORK, METALWORK, STONEWORK, CUSTOM FURNITURE. HAUTER LIBRE: PROJECT MANAGEMENT. PROJECT SOURCES FROM FRONT KETTAL: BASKET CHAIRS, SOFA, MESH TABLE, PILLOWS (TERRACE). ARPER: OTTOMAN (TERRACE), CHAIRS (MEETING ROOM). HAY: SOFAS, WHITE TABLES (APERITIF LOUNGE), STOOL (JAMESON LOUNGE). NORMANN COPENHAGEN: COFFEE TABLE (APERITIF LOUNGE). CASAMANIA & HORN: RATTAN ARMCHAIRS. TOLIX: STOOLS. KASTHALL: RUG. MOROSO: WOVEN LOUNGE CHAIRS. CARAVANE: BAMBOO PENDANT FIXTURES. MARSET: ROUND PENDANT FIXTURE. &TRADITION: ARMCHAIRS (RECEPTION), RUG (JAMESON LOUNGE). VITRA: STOOLS (RECEPTION), CHAIRS (BOARDROOM).

ACTISOL: CUSTOM RUG (BOARDROOM). STUA: ARMCHAIR (MAIL ROOM), SOFA, ARMCHAIR (SITTING AREA), TABLES (SITTING AREA, JAMESON LOUNGE). INCLASS: SIDE TABLE (MAIL ROOM, JAMESON LOUNGE), TABLE (MEETING ROOM).

FERM LIVING: CUSHIONS (MAIL ROOM, SITTING AREA), TABLE (SPECIALTY BRANDS LOUNGE). RED EDITION: SOFAS, ARMCHAIRS, STOOLS (BAR). TACCHINI: OVAL TABLES. LA CHANCE: SIDE TABLES. POLIFORM: WOOD TABLES. GUBI: BLACK TABLES. CASSINA: CHAIRS (SPECIALTY BRANDS LOUNGE). TONONE: PENDANT FIXTURES. POLTRONA FRAU: ARMCHAIRS (JAMESON LOBBY). VIBIEFFE: SOFA. MULLAN LIGHTING: PENDANT FIXTURES. ALDO BERNARDI: SCONCES. CLASSICON: LAMP (SITTING AREA). THROUGHOUT DURIEZ: CUSTOM FURNITURE.

Top, from left: In the Specialty Brands lounge, the recycled-glass bar is separated from a meeting area by custom partitions. A vintage Lillet poster hangs above a sitting area’s Jon Gasca sofa and tables. Bottom, from left: Jean-Marie Massaud armchairs and a Gianluigi Landoni sofa, all leather-upholstered, gather on a rug by All the Way to Paris in the Jameson lounge. A doubleglazed wall with decals depicting wine and liquor bottles encloses a meeting room. Herbs, edible flowers, and native plants grow on the green roof.

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A 2 - W E E K V I RT UA L D E SIG N F E ST I VA L C E L E B R AT I N G T H O U G H T L E A D E R S H I P, THE BEST OF THE BEST IN DESIGN, AND A VISION OF THE FUTURE

TUNE IN 11.30–12.11

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CROSSVILLE, INC. Porcelain countertops 12 millimeters thick use indoors or out

16 colors and finishes won ’ t stain , crack , or yellow

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LAUNCH EDITORS' NOTE

LAUNCH

™

into the future As editors, we are kindred spirits with you, dear readers: forever on the hunt for the latest and greatest products, so we can share them with you—the top minds in the design industry. We reach out to manufacturers big and small, iconic and emerging; we research intriguing innovations; we chase down hot tips; and we attend (virtually, for the time being) as many press previews and trade shows as possible. We do this to inspire and excite you and to help ease the specification process. Not so long ago, we were limited to doing this solely through words and images on glossy magazine stock. But now, thanks to cutting-edge technology, we are additionally able to showcase the coolest and most effective products, in all categories, through other channels, too, so we can meet you wherever you are: Instagram: interiordesignmag Facebook: InteriorDesignMagazine Online: interiordesign.net/launch Twitter: interiordesign Pinterest: intdesmag …and now LAUNCH! We are especially excited about how LAUNCH has been able to bring together the very best of the print and the digital experiences.

And because we know you will #goforthanddesign no matter what life throws at you—even a pandemic!—we’re making it even easier for you to discover new products. In 2021, we’re doubling down on LAUNCH, and we’ve got some more surprises coming your way. Hint: copious amounts of new product to explore on the printed page, on your laptop, or on your phone. And we’re about to introduce an evolution of LAUNCH based on input from you! In 2020, LAUNCH has already brought you more than 200 products—both editorially (in the blush pages we love so much) and through our sponsor partners.

And in 2021, well, you’ll see just how industrious the design industry has been!

So keep on activating those LAUNCH CODES, contacting manufacturers, and visiting Interior Design’s social and digital channels for new and iconic LAUNCH products.

Show me the LAUNCH love! What do you think? Tag us or drop me a line at hellocindy@interiordesign.net.

Love, Cindy Allen and the Interior Design editors

P.S. Just a reminder: If a LAUNCH product is available through Material Bank, and you're a member, you can order a sample with the touch of a button, up until midnight, and get it by 10AM the following day. In fact, you can order as many samples from as many different LAUNCH partners as you like, and get them all in the same box!

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EDITORS’PICKS LAUNCH EDITORS' PICKS

standouts sconce , chandelier , and table and floor lamp versions pvd - finish brass organic finish process

Soap bubbles and botryoidal hematite inspired a lighting collection including this clustered ceiling fixture in a colorful PVD spectra finish that renders each piece unique. rosieli.com

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BLACK & STEIL

ROSIE LI STUDIO Rainbow Bubbly

LAUNCH EDITORS' PICKS

standouts

200 x 300 cm and custom sizes

3 colorways : cloud

blue , pistachio, and silver pink

75.5% wool , 24.5% silk broadloom or area rug

LIMITED EDITION Fearless Living

All eyes are on Belgian interior designer Jean-Philippe Demeyer’s ovoid rug, its Surrealist, watchful symbols purporting to offer protection against evil, misfortune, and fear. le.be

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LAUNCH EDITORS' PICKS

COBRA STUDIOS Santa Maria Dei Clarici

A postmodern resin coffee table by the Brussels-based studio of Kenny Decommer and Hugues Delaunay abstracts classical Roman architectural forms into shapely supports that pierce the silk-gray tabletop. cobra-studios.design

standouts

105 x 27.5cm bespoke leg colors available

JEROEN VERRECHT

collection includes dining, coffee, and side tables plus floor lamp

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LAUNCH EDITORS' PICKS

standouts hand tufted

100% wool , semi - worsted custom colors and structure available

STUDIO FOUR NYC Paris Tiles

A floor-tile pattern that brand cofounder Stacy Waggoner glimpsed on a visit to a Paris flea market sparked a farout rug produced in a riot of hues. studiofournyc.com NOV.20

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standouts

ANOTHER HUMAN Stacks Denim

colored contrast welt

Designer Leah Ring’s bench, an interpretation of meditation cushions, was originally outfitted in elegant velvet, but a casual reverse-jean version offers a flexible perch for urban living. anotherhuman.la

custom colors and com sold as set of five fabricated in l . a .

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LAUNCH EDITORS' PICKS

standouts upcycled seat from reykjavík ’ s laugardalsvöllur stadium

45 or 65 cm seat height 4 seat /structure color combos

ATELIER TOBIA ZAMBOTTI Fan PATRIK ONTKOVIC

Sports fans will rejoice at the opportunity to take home a repurposed former stadium seat paired with a slender powder-coated metal frame by the multidisciplinary Icelandic designer. tobiazambotti.com NOV.20

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MAISON DADA Jardin de Rocaille N°5 and N°1

A five-piece rug collection by Thomas Dariel, cofounder of the five-year-old brand, reinterprets French artist Clément Vuillier’s illustrations of an imaginary garden. maisondada.com

standouts

60% wool , 40% silk hand tufted cotton backing

170 x 240 cm

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LAUNCH EDITORS' PICKS

BALERIA ITALIA Bermuda

A generous, ergonomic seat beckons bottoms to a triangular lounge (supported by a T-shape three-leg base) from the top minds of Swedish firm Claesson Koivisto Rune. baleria-italia.it

standouts removable seat cushion low arms allow for multiple seating positions myriad upholstery options lacquered - metal or solid wood frame

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LAUNCH EDITORS' PICKS

standouts thermo - lacquered aluminum - tube frame stackable side - and armchair versions , plus bar stool

10 colors

DIABLA Grill

The brainchild of MUT Design Studio’s Alberto Sánchez and Eduardo Villalón, this sculptural outdoor seating in superlightweight welded aluminum mimics the clean lines of traditional iron grills. diablaoutdoor.com 164

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LAUNCH EDITORS' PICKS

standouts neon pink or clear glass solid ash mortise and - tenon base base stained soft orange / pale pink / dark blue or black / brown / white

LA CHANCE Penrose

Mathematician Roger Penrose’s “impossible triangle” research inspired Berlin-based designer Hayo Gebauer’s dining table, its geometric legs overlapping and blending to appear entirely different depending on the viewing angle. lachance.paris NOV.20

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LAUNCH PARTNERS // FABRIC & WALL COVERING

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17 colors industry - leading

14+ weeks hydrolysis results

300,000 wyzenbeek double rubs bleach cleanable scs indoor advantage gold

ULTRAFABRICS Ultraleather Reef Pro

Inspired by sea coral, this performance fabric with understated two-tone texture offers enhanced resistance to tough stains (including ballpoint pen and ketchup) and a sophisticated sensorial experience. ultrafabricsinc.com 166

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KITCHEN & BATH

// LAUNCH PARTNERS

THERMADOR Freedom Refrigeration Collection

Coming this December, best-in-class luxury refrigeration gets even better—from the inside, out. thermador.com

standouts stainless steel or custom panel exterior cool air - flow technology theater - style lighting wi - fi enabled

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LAUNCH PARTNERS // SEATING

L. ERCOLANI Reprise

The chair’s curved back, sloping arms, and roomy seat hit all the right notes for comfort, while its turned spindles and steambent back rail lend a classic tone. dwrcontract.com

standouts exclusive to dwr contract designed by norm architects

6 finishes webbed , hide , or upholstered seat

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FABRIC & WALL COVERING

// LAUNCH PARTNERS

VALLEY FORGE FABRICS Decorative Linen-Like Sheers standouts

57 styles 100% polyester fire retardant oeko - tex certification

This sophisticated collection of wide-width textiles for hospitality environments encompasses linen- and silk-like sheers in patterns ranging from clean-lined geometrics to edgy abstractions. valleyforge.com

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LAUNCH PARTNERS // OUTDOOR

TUUCI TUUCI Equinox Cabana with Automated Louvered Roof

The cabana’s durable aluminum louvers automatically adjust to wind, rain, and snow, creating a cocooning shelter with the accessibility of an open-air room. tuuci.com

standouts aluma - teak finishes premium powder - coat finishes operable via remote control patent pending

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KITCHEN & BATH

// LAUNCH PARTNERS

CEASARSTONE Calacatta Maximus

This sultry quartz surfacing captures the look of real marble courtesy of its fluid, outsize veining designed to align seamlessly from slab to slab. caesarstoneus.com standouts for countertops and backsplashes

120 x 56 1/2 x 3/4 inches polished or natural finish

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LAUNCH PARTNERS // FLOORING

standouts carbon negative ( foreground) carbon neutral across product life cycle postconsumer content nylon

7 plank styles

INTERFACE Embodied Beauty

Designed to help restore the health of the planet and lower the carbon footprint of a space, this high-style carpet-tile collection features the brand’s first-ever carbon-negative products. interface.com 172

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FABRIC & WALL COVERING

// LAUNCH PARTNERS

DESIGN AND DIRECT SOURCE Cev Paloma

Glazed-ceramic tiles mimic the look of handmade Moroccan Zellige styles, but provide greater durability and value—not to mention a more even (and easierto-install) surface. designanddirectsource.com

standouts

24 colors 4 x 4 inches satin and glossy finishes for interior walls

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LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

SUN VALLEY BRONZE Novus Saddle Privacy Set

Conceived in collaboration with Shawback Design and Field Architecture, the sleek set—available in 12 finishes—sits flush with the door face and wraps around its edge. sunvalleybronze.com

standouts

8 styles sand - cast bronze or brass handmade in the u . s . natural antimicrobial and self decontaminating properties

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LIGHTING

// LAUNCH PARTNERS

HUBBARDTON FORGE Hildene

An LED light guide encased in the fixture’s steel frame illuminates metal planes sculpted into voluptuous hills and valleys, lending an elegant and dramatic vision to any space. hubbardtonforge.com standouts

4 styles , 9 finishes height adjustable handcrafted to order made in vermont

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LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

CERTAINTEED ARCHITECTURAL HeartFelt

standouts

A patented design, the uniquely roll-formed linear panels elevate and soften wall and ceiling planes, warming both the visual and acoustical experience of a space. certainteed.com

10 neutral colors

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0.50 to 0.70 nrc 100% recyclable greenguard gold and cradle to cradle bronze certified

MIX

// LAUNCH PARTNERS

UNITED FABRICS Supreen

PENTALQUARTZ PentalQuartz

This innovative technology combines a performance textile with a polyurethane backing plus a silicone topcoat, resulting in a total liquid-barrier upholstery fabric with a surprisingly supple hand and breathability. unitedfabrics.com

Combining the beauty of stone with the superior durability of quartz composite, this low-maintenance surface material provides infinite design possibilities for applications ranging from countertops to tub surrounds. pentalquartz.com

INFINITY DRAIN Universal Infinity Drain

SURFACEWORKS Dax

Compatible with most types of waterproofing, the new shower-drain system—featuring a pitched channel with a clamping collar—simplifies installation and promotes barrier-free bathroom design. infinitydrain.com

This flip-top table for collaborative, classroom-style, and small-group meetings is made to move, courtesy of its smooth-gliding casters, ultra-light aluminum legs, and lean profile. surfaceworks.us NOV.20

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LAUNCH PARTNERS // MIX

PURE + FREEFORM Specular

MODERNFOLD Acousti-Clear

Ranging from classical forms to complex hybrid finishes and featuring varied gloss levels, the brand’s 12 new metal skins harness the transformative power of light. Plus they’re customizable, recyclable, and VOC-free. purefreeform.com

A movable wall system with industry-leading 51 STC provides flexibility, acoustical control, and an ultra-sleek glass-and-aluminum aesthetic within three configurations: motorized, automatic, and demountable. modernfold.com

INOVA Sofa-WallBed Sectional

CALIFORNIA FAUCETS Roxbury StyleDrain

Transforming from sofa to bed in one easy motion— without needing to remove cushions—the freestanding Murphy bed can now incorporate a club chair, ottoman, and illuminated open-shelf cabinetry. inovabed.com

The category pioneer expands its Best of Year Award– winning StyleDrain series with a forged-brass drain (in 28 artisan finishes) created by interior designer Christopher Grubb, its chic zigzag pattern imparting a bold personality. californiafaucets.com

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HOW TO LAUNCH

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ONE TWO THREE pick your product

tap the code

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CALL THE REPRESENTATIVE EMAIL TEXT ASK THEM TO CALL YOU GO TO THEIR WEBSITE GO TO THEIR INSTAGRAM GET QUOTE GET SAMPLE GET PDF

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BENTLEY MILLS Invisible Visionaries 3 coordinating patterns cradle to cradle , nsf 140 , and cri green label plus certified type 6,6 solution - dyed nylon lbc compliant status

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The Mic Hosted by Debbie Millman.

SALVAGE SWINGS BY SOMEWHERE STUDIO. PHOTOGRAPHY BY: JAMES LENG

Let’s talk design with NYC’s most creative minds.

Sponsored by

Visit nycxdesign.com to listen to the first episode.

books edited by Stanley Abercrombie

Dieter Rams: The Complete Works

Mid-Century Modern Design: A Complete Sourcebook

by Klaus Klemp New York: Phaidon, $60 344 pages, 300 color illustrations

by Dominic Bradbury New York: Thames & Hudson, $50 544 pages, 915 illustrations (893 color)

Dieter Rams is one of the most gifted and influential of modernist industrial designers of consumer products. But because his name did not appear on those products, they are better known than he is. This is therefore a very welcome book. It’s divided into five chronological chapters, the first dating to 1947 when Rams, having grown up in Germany with a master carpenter grandfather, was a student of architecture and interior design at the Wies­ baden School of Art, the first image shown being a sketch for an armchair inspired by Marcel Breuer and Mart Stam. The last section ends in 2020, its final image of his recently designed wall-mounted desk.

Between these bookends are almost 300 of his designs. Some of them, notably leather-upholstered seating on fiberglass bases and wall-hung shelving systems, were and are for Vitsœ. But the bulk of Rams’s output was for Braun, where he began designing in 1955, became director of product design in 1961, executive director in 1988, and retired in 1997.

His pieces included all manner of furniture and wall systems, radios and TVs, clocks and watches, bathroom and kitchen equipment, door and cabinet hardware, computers, and lighting.

The book’s fine design is by the appropriately named Order. But the exciting part of it, and of Rams’s work, is not its quantity, variety, nor impeccable minimalism but its consistent high quality. In the preface, Rams himself writes of his “primary insight. . .a simple one: Less, but better. . .Less and less of the products whose production and use squander resources and are a burden on the environment” and better products that offer “the facilitation, enhancement, and strengthening of our lives.”

Perhaps not since Mel Byars’s 832-page The Design Encyclopedia, reviewed here in 2004, has there been such a comprehensive one-volume body of information on modern design and designers as this. It is unsurpassed in its quantity and quality of illustrations.

The subject is approached from three viewpoints. “Media and Masters” examines Furniture (from Eero Aarnio to Edward Wormley), Lighting (Achille Castiglioni to Gino Sarfatti), Glass and Ceramics (Hans Coper to Russel Wright), Textiles (Florence Broadhurst to Marimekko) Product, and Industrial Design (Corradino d’Ascanio to Ettore Sottsass), and finally Graphics and Posters (Saul Bass to Paul Rand). “Houses and Interiors” shows 20 such examples, from Alvar Aalto’s Maison Louis Carré near Paris to a house in Armonk, New York, built for himself by Skidmore, Owings & Merrill’s Arthur Witthoefft. Most of these are given several well-illustrated pages. Last, there is an “A to Z” section providing illustrated biographies of more than 300 designers and manufacturers.

Introducing all this is Bradbury’s six-page history of mid-century modernism. Adding to the factually dense pages is a baker’s dozen of more philosophical essays by such authorities as Steven Heller and Richard Wright. End matter includes brief biographies of these contributors, notes, an extensive bibliography, picture credits, and an index.

What They’re Reading...

Kevin Chan Partner at Nivek Remas

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“I was looking to fine tune my business-management skills when I started reading this e-book. I was instantly drawn to the fact that not only was it about the amazing legacy of Pixar but that it also speaks to the growth and management of a creative company—something that was lacking in most of the books I’d come across, which tended to be very product driven or about business development in other industries.

I was happy to find there's a lot of crossover between an animation studio and an interior design studio—from studio planning, structure, and dynamics to problem-solving and the creative process itself. In the last few decades, there has been a lot of structure that has developed within studios that has defined the way we work and communicate with each other in a creative space. This book examines how Pixar was able to challenge those processes and successfully re-imagine the creative process under ever-changing corporate and economic restrictions—something that applies now more than ever in the unprecedented times of the current global pandemic.

I ended up loving the e-book so much, I purchased a hard copy for my partner and myself. It’ll be a staple in our library as an inspirational re-read.”

BOTTOM: MARK SHORT

Creativity Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration

by Ed Catmull and Amy Wallace New York: Random House, $21 368 pages, 22 illustrations (20 color)

IMAGINE | DISCOVER | RENEW THE WORLD’S LEADING BRANDS WHERE LUXURY DESIGN DEFIES EXPECTATIONS ARTISTIC TILE • B&B ITALIA | MAXALTO • BAUTEAM GERMAN KITCHEN TAILORS • BILOTTA KITCHENS OF NY • BOSCH DESIGN CENTER • CARLISLE WIDE PLANK FLOORS • COSENTINO SURFACES • DACOR KITCHEN THEATER • DRUMMONDS BATHROOMS • EDWARD FIELDS CARPET MAKERS • EGGERSMANN KITCHENS | HOME LIVING • FANTINI USA • FERGUSON BATH, KITCHEN & LIGHTING GALLERY • FISHER & PAYKEL | DCS EXPERIENCE CENTER • FLORENSE KITCHENS | SYSTEMS | FURNITURE • GAGGENAU DESIGN STUDIO • HANS KRUG FINE EUROPEAN CABINETRY • HASTINGS TILE & BATH COLLECTION • HOLLY HUNT NEW YORK • JENNAIR NEW LUXE APPLIANCES • J GEIGER SHADING • LEFROY BROOKS | COOPER & GRAHAM • LISTONE GIORDANO WOOD FLOORS | 3L & COMPANY • MIDDLEBY RESIDENTIAL | VIKING | LA CORNUE • MIELE EXPERIENCE CENTER • NOLTE KÜCHEN • ORNARE KITCHENS | CLOSETS | BATHROOMS • PARIS CERAMICS • POGGENPOHL • POLIFORM • SCAVOLINI USA • SIEMATIC • SMEG • SNAIDERO USA • ST. CHARLES NEW YORK • SUB-ZERO | WOLF | COVE • THERMADOR DESIGN CENTER • WEST | WOOD ARCHITECTURAL SURFACES

VISIT US NOW | ADBUILDING.COM | 150MAG.COM

c o n ta c t s DESIGNERS IN SPECIAL FEATURE Atelier Štěpán (“Everything Is lluminated,” page 134), atelier-stepan.cz.

LMN Architects (“Everything Is Illuminated,” page 134), lmnarchitects.com.

NArchitekTURA (“Everything Is Illuminated,” page 134), narchitektura.pl.

Scott McDonald (“Light Show,” page 104), Gray City Studios, graycitystudios.com.

Tom Rossiter (“Special Delivery,” page 126), tomrossiter.com.

DESIGNER IN WALK-THROUGH Asaggio (“The Language of Trees,” page 47), asaggio.it.

Neri&Hu Design and Research Office (“Everything Is Illuminated,” page 134), neriandhu.com.

PHOTOGRAPHER IN WALK-THROUGH

PHOTOGRAPHERS IN FEATURES

Patricia Parinejad (“The Language of Trees,” page 47), patriciaparinejad.com.

Andrey Bezuglov (“Eastern Influence,” page 120), bezuglov.ua.

DESIGNER IN CROSSLINES

Greg Cox (“At First Blush,” page 112), Bureaux, bureaux.co.za.

Eric Laignel Photography (“Special Delivery,” page 126; “Soul Provençal,” page 144), ericlaignel.com.

Alex Marks (“Light Show,” page 104), alexmarksphotography.com.

Hanne Vedel (“Woven in Time,” page 65), Spindegården, spindegaarden.com.

DESIGNER IN CENTERFOLD Studio O+A (“Spreading the Word,” page 100), o-plus-a.com.

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NOV.20

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A shape that can describe a magnetic field or the flow of the body’s essential energies, the toroid is found in both physics and meta­ physics. It’s also the inspiration for Torii Pod, an 8-foot-high freestanding divider by the multidisciplinary Luis Pons Design Lab that helps gather people together yet keeps them safely apart. “What started as an environmental installation evolved into a social-distancing device,” Luis Pons says.

The product features 32 elliptical fiber­ glass rings, each of which supports a CNCcut panel of Fiberweb, a nonwoven easyto-clean material that can be treated with an antibacterial finish, in a range of solid or translucent colors. It comes packed flat with the central aluminum axis that links all the rings together. Once assembled, each ring moves individually to create three, four, or more separate sections, and the pod can be installed indoors or out.

Torii Pod debuted last year, but it has been recon­cept­ualized with COVID-19 regulations in mind. Depending on the configuration,

torus rising

each section can contain café tables, as they do in a Miami Design District plaza, or be un­ furnished, for standing separated from others in a public space. “In these highly stressful times,” Pons adds, “I want people to feel a sense of security.” That’s the type of energy we could all use. —Wilson Barlow

STEPHAN GÖTTLICHER

i n t er vention NOV.20

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187

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