Interior Design April 2021

APRIL 2021

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CONTENTS APRIL 2021

VOLUME 92 NUMBER 3

04.21

ON THE COVER In the double-height main pool hall—the centerpiece of World Class Alekseevskaya, a Moscow fitness club

by Vox Architects—bands of clerestory windows flank an oval ceiling dome lit by special projectors, creating an interplay of natural and artificial light. Photography: Sergey Ananiev.

features 112 ON THE AVENUE

by Sophia Kishkovsky

World Class Alekseevs­ kaya, a Moscow fitness club by Vox Architects, channels the scale and history of one of the city’s most imposing thoroughfares.

120 ONE WITH THE LAND

by Rebecca Lo

Cheng Chung Design’s interiors for the 50% Cloud.Artist Lounge in southern China unite with the project’s regionally rooted exteriors by Xu Luo. 128 GOING FOR THE WIN

by Rebecca Dalzell

COURTESY OF CHENG CHUNG DESIGN

Connection, sustainabi­ lity, and graphics score big at sport-betting company Fortuna’s Prague headquarters

by Studio Perspektiv.

136 FULL CIRCLE

by Edie Cohen

Peter Pichler Architec­ ture’s namesake founder returns to Italy’s South Tyrol, designing the Hotel Milla Montis to reflect the vernacular of his birthplace.

144 THE ART OF LIVING

by Jen Renzi

VYV, a residential com­ plex in Jersey City, New Jersey, by Perkins East­ man, with interiors by Studios and Arrowstreet, reflects the area’s cultural renaissance.

152 HISTORY IN

THE MAKING

by Annie Block

Modern building technolo­ gies combine with ancient references in a mix of centuries-old and new projects around the globe.

120

T H E U LT I M AT E B L A N K S L AT E

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CONTENTS APRIL 2021

VOLUME 92 NUMBER 3

special section 69 25 BIG IDEAS

Cool concepts span the globe.

departments 25 HEADLINERS 33 DESIGNWIRE

by Annie Block 38 BLIPS

by Annie Block 42 PINUPS

by Wilson Barlow 51 MARKET

by Georgina McWhirter

and Rebecca Thienes 162 BOOKS

by Stanley Abercrombie 164 CONTACTS

04.21

167 INTERVENTION

by Wilson Barlow

ANDY TYE/FRENCH+TYE

69

Photo by Flavien Carlod and Baptiste Le Quiniou, for advertising purposes only. 1Conditions apply, contact store for details. 2Program available on select items, subject to availability.

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editor in chief chief content officer

SYSTEM

Cindy Allen, hon. IIDA

Create Endless Possibilities.

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EXECUTIVE EDITOR

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DEPUTY EDITOR

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Edie Cohen

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FEATURES DIRECTOR

CREATIVE SERVICES

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SENIOR EDITORS

PRODUCTION DIRECTOR

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

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CONTRIBUTING PHOTOGRAPHERS

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SANDOW was founded by visionary entrepreneur Adam I. Sandow in 2003, with the goal of reinventing the traditional publishing model. Today, SANDOW powers the design and materials indus­tries through innovative content, tools, and integrated solu­tions. Its diverse portfolio of holdings includes Material Technologies Corporation, comprised of global consultancy, Material ConneXion, and revolutionary sampling and logistics platform, Material Bank, as well as The SANDOW Design Group, a powerful eco­system of design media and services brands, including Luxe Interiors + Design, Interior Design, Metropolis, DesignTV, research and strategy firm, ThinkLab, and digital and creative consultancy, The Agency. SANDOW is the official operator of NYCxDESIGN, a nonprofit committed to powering the growth and continued success of New York’s design community, per an agreement with the New York City Economic Development Corporation.

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e d i t o r ’s welcome

big ideas abound March Madness has a kindred spirit, and you will find it right here in these wild pages. What we named several years ago our Big Ideas issue has become an established appointment that we have unerringly kept with our readers on creativity and vision. Year after year, each volume we’ve assembled has proven an impromptu laboratory of surprises and wonder...our own imaginarium, if you will. And now we present version #9, unbound. What is downright amazing about collection 2021, however, is that it simply kept expanding in all design latitudes and dimensions. I’m writing this note exactly one year to the day since the COVID lockdown (can you believe it?), but it really seems as if the pandemic, isolation, and strife almost didn’t register at all with this crop of designers in terms of innovating; the ideas just kept on coming.

Themes uniting these 25 big ones do, however, answer to what we are all dealing with right now. There’s health: How about a pneu­ matically driven ventilator that costs less than $1,000 to produce?

Sustainability: Think indoor agriculture to safeguard against rising global temps. Community: A retirement home’s newly unearthed subterranean space becomes a center for to­getherness. And ma­ teriality: Paper pulp becomes planters, crushed quartz finds new life as LED table lamps, and discarded face masks transform into “stuffing” for an entire modular seating collection (don’t worry, the masks get disinfected beforehand!).

Spring is in the air, my friends, and we can sense it in the fer­ment and the excitement that is engaging us all to demolish the barriers that have been dividing us. But I am saying too much...much more to come next issue.

See you in the vaccine line! xoxo

Follow me on Instagram thecindygram APRIL.21

INTERIOR DESIGN

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866.398.1530 | VERMONT USA | DESIGN@VTFORGE.COM | HUBBARDTONFORGE.COM

All Designs and Images ©1989 - 2021 Hubbardton Forge, LLC. All Rights Reserved. Hubbardton Forge is the registered trademark of Hubbardton Forge, LLC.

I N T R O D U C I N G : 2 0 21 M O BIUS O R B P E ND A NT B R I LLI AN T NE W S T E RL ING F INIS H

“We’re about the evolution of tradition”

headliners

Peter Pichler Architecture “Full Circle,” page 136 co-founder, co-partner: Peter Pichler. associate: Simona Alù. firm site: Milan. firm size: 13 architects. current projects: Bonfiglioli headquarters in Bologna, Italy; residence in Abu Dhabi, UAE; an off-the-grid hospitality/living concept. honors: Shenzhen Global Design Award; Biennale di Venezia Young Talent Award in Italian Architecture. afar: Pichler would like to visit Brazil. local: Alù earned her architecture de­gree from the Politecnico di Milano. peterpichler.eu

LEFT: GIORGIA BENAZZO

APRIL.21

INTERIOR DESIGN

25

Arrowstreet

Cheng Chung Design

“The Art of Living,” page 144

“One With the Land,” page 120 founder, chairman: Joe Cheng. firm sites: Hong Kong, Beijing, and Shenzhen, China. firm size: 800 architects and designers. current projects: Mandarin Oriental Beijing; Ritz-Carlton Shanghai; Aliyun office in Hangzhou, China. honors: Gold Key Awards for Excellence in Hospitality Design; WIN Gold Award.

director of interior design:

Sallyann Thomas Farnum. firm site: Boston. firm size: 66 architects and designers. current projects: 144 Addison Street

residential building in Boston; Smith College Neilson Library in Northampton, Massachusetts; Rowan residential building in Washington. honors: The Architecture Community Architect of the Year Award. water: Farnum is a sailor and a rower. wag: When on land, she enjoys playing with her bernedoodle, Henry. arrowstreet.com

work: With more than 200 hotels currently in progress, CCD has ranked third on Interior Design’s 100 Hospitality Giants list in recent years. play: Cheng is an avid golfer. ccd.com.hk

h e a d l i n e rs Studio Perspektiv

Vox Architects

“Going for the Win,” page 128

“On the Avenue,” page 112 Boris Voskoboynikov.

architect, co-founder:

head of creative development:

Martin Stára.

Maria Akhremenkova.

firm sites: Prague and Bratislava,

firm site: Moscow. firm size: 25 architects and designers. current projects: World Class sports clubs

Slovakia. firm size: 16 architects and

designers. current projects: AB InBev office

in Prague; Gopay headquarters in Planá, Czech Republic; BASE coworking office in Bratislava, Slovakia. honors: Interior Design Best of Year Award honoree; German Design Award. passport: Antal’s favorite vacation destination is South Africa. homework: Stára’s other full-time job is being father to three children. perspektiv.cz

26

founder, chief architect:

Ján Antal.

INTERIOR DESIGN

APRIL.21

in Moscow; an airport complex with hotel in Kamchatka, Russia. honors: Interior Design Best of Year Award; Architecture MasterPrize Award. role model: Dutch architecture firm MVRDV for its humor and boldness in the use of materials and color. at home: Voskoboynikov finds tranquility learning the Chinese art of gongfu cha, which means making tea with skill. at large: Akhremenkova travels far and wide to see significant pieces of contemporary architecture. vox-architects.com

LEFT: MOJMIR BURES

architect, co-founder:

AD Beatrice Rossetti - Photo Federico Cedrone

h e a d l i n e rs

Perkins Eastman Studios Architecture “The Art of Living,” page 144 associate principal: Myung Jung, IIDA. firm site: Washington. firm size: 250 architects and designers. current projects: Microsoft office and Georgetown University Workplace of the Future, both in Washington. honors: Interior Design Best of Year Award; NYCxDesign Award; IIDA SC Calibre Award; USGBC Los Angeles Sustainable Innovation Award buy: When traveling abroad, Jung stops into supermarkets to learn about the local food culture. cook: She’s been making natural dog treats for her two long-haired Chihuahuas. studios.com

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INTERIOR DESIGN

APRIL.21

“The Art of Living,” page 144 associate principal: Roberto Garcia, AIA. current projects: Pacific Park Brooklyn

residential complex and TSX mixed-use building, both in New York. senior associate: Leo Patterson, AIA. current projects: The Yards mixed-use development in Washington; Revere High School in Massachusetts. firm site: New York. firm size: 1,000 architects and designers. honors: Interior Design Best of Year Award; ULI Northern New Jersey Northern NJ Excellence Award; AIA Brooklyn Institutional Excellence Award. scenery: Garcia visits such national parks as Arches, Zion, and the Grand Canyon to immerse himself in the natural landscape and replenish his spirit with wonder. scene: Patterson worked as a feature films art department assistant prior to earning his master’s in architecture from Boston Architectural College. perkinseastman.com

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design wire edited by Annie Block

team green This fall, vaccinated sports and music fans attending events at a certain Seattle venue will have further reason to cheer from the stands: a small carbon footprint— at least for the duration of their visit to Climate Pledge Arena, set to be the first net zero–certified arena in the world. Part re-build, part new-build, the glass-andaluminum structure by Populous occupies the site that had been the Seattle Center Coliseum, designed by architect Paul Thiry in 1962 for the World’s Fair, alongside the Space Needle, and is capped by the coliseum’s original hyperbolic-paraboloid roof. Inside, the bowl seats up to 17,000 for concerts, 18,000 for basketball games (it’s home to the WNBA’s Storm and the NHL’s Kraken), and features 150,000 square feet of suite and dining spaces by Rockwell Group, which is instilling a warm Pacific Northwest aesthetic via reclaimed and locally sourced Chinkapin oak and Bigleaf maple millwork.

As part of the Climate Pledge, the commitment founded in 2019 by Amazon and Global Optimism for companies to be net-zero carbon by 2040, CPA will use no fossil fuels in its daily operations, be powered entirely by renewable energy, have an expansive waterconservation program including a rainwater-to-ice system, offer no single-use plastics by 2024, and gen­ erate functionally zero waste at its opening.

COURTESY OF CLIMATE PLEDGE ARENA

From top: Made by Jones Sign Company, the 16-foot-tall signage for Seattle’s Climate Pledge Arena, the world’s first International Living Future Institute–certified zero-carbon arena, is composed of alumi­ num and neonlike LEDs and, at 5,800 pounds, had to be helicoptered in. The 740,000-square-foot, renewable energy–powered building is

by Populous, with suites, a brewery, and a food hall by Rockwell Group, and scheduled to open in the fall.

interiordesign.net/cpa for images of the Rockwell Group spaces

APRIL.21

INTERIOR DESIGN

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AI is practically everywhere these days—phones, cars, hospitals, outer space.

Now, with “Ai-Da Self Portraits,” at the Design Museum in London, add arts institutions, and possibly your client’s living room wall, to the list.

Named after Ada Lovelace, the pioneering female scientist and mathematician, the robot is the vision of independent gallerist Aidan Meller and researcher/curator Lucy Seal and made by Engineered Arts and University of Oxford PhD students. Ai-Da stands 5 feet 8 inches tall, took a year to build, and has been programmed to use algorithms to create art that comments on the current and future uses of AI. “She” will be present at the opening of the exhibition, alongside the trio of selfies she produced.

her, but make it art

d e s i g n w ire

34

INTERIOR DESIGN

APRIL.21

COURTESY OF THE STUDIO OF AIDAN MELLER GALLERY

Clockwise from left: Ai-Da, a life-size humanoid robot cloaked in a custom vintage-style dress to highlight her timeless endurance, is the subject of an exhibit at the Design Museum, London, that runs May 17 to June 6. The robot has been programmed with AI to produce art. The show includes three self-portraits by Ai-Da, each an oil on canvas.

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Through the looking glass…

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Snarkitecture draws its name from The Hunting of the Snark, a Lewis Carroll poem.

A recent project, Library Street Collective in Detroit, the firm’s first freestanding gallery, is evidence of that inspo. Situated in the Belt, a downtown alleyway populated with murals and artistic interventions, the ground-floor space occupies 1,600 square feet in the landmarked L.B. King and Company Building from 1911. In its signature reinterpretation of everyday materials, Snarkitecture worked with what was present on-site, namely the facade’s historic brick, to create the key design feature: a portal connecting the alley to the gallery interior that also nods to the notion of a bricked-up window. “The intent is to create a moment of wonder,” co-founder Alex Mustonen says. Carroll would be proud.

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INTERIOR DESIGN

APRIL.21

PD REARICK/COURTESY OF LIBRARY STREET COLLECTIVE

Crush™ PANEL @2011 modularArts, Inc. Photo by Factioned Photo, @factioned

Slater™ Panels ©2015 modularArts, Inc. U.S.

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Rivers and waterways are an intrinsic part of our innate reverence towards nature.

Crossing Current’s biophilic design mimics the natural sediments found below the water’s surface.

This Living Product flooring system features a subtle color wash that pays tribute to the mesmerizing natural palette found in riverbeds.

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p i n ups

text by Wilson Barlow

a perfect pair Partners in life and work, ceramicist Elliot Reynolds and industrial designer Jeff Rubio’s handmade vessel celebrates the human form Butt Vase in glazed ceramic in glossy white by Centerpeak.

ELLIOT REYNOLDS

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INTERIOR DESIGN

APRIL.21

Area Manager North America Shawn Kelly T. +1 917 291 0235 shawn.kelly@livingdivani.it

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prismatic future The dystopian cityscapes of director Fritz Lang’s 1927 film inspired the collection’s name and repetitive geometry Metropolis stool, plus a coordinating corner desk, both in polyester resin

by Laurids Gallée. lauridsgallee.com

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INTERIOR DESIGN

APRIL.21

Leather Shown: Valhalla Antique Gold

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134 Ma d is o n Av e N e w Yo r k d d cny c . c o m

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ELEGANT | MINIMAL | LUMINOUS The Ovalo Chain Cluster Pendant blends form and function to fill double volume spaces. boydlighting.com

special flooring section

market edited by Rebecca Thienes text by Georgina McWhirter and Rebecca Thienes

splash of sunshine Her signature mash-ups of 1980’s-leaning abstractions in offbeat color combinations have been applied to swimming pools, hotel murals, rugs, and wallpaper. Now, with Aurora, from manufacturer Concrete Collaborative, Studio Proba’s Alex Proba can add tile to her ever-expanding portfolio.

The 25-piece collection is made up of 8-inchsquare encaustic tiles, their patterns of organic shapes in vivid colorways such as lilac/golden sparked by Proba’s travels to Morocco. Masses of a single style or mixed combinations make for a lively shower stall, wall, backsplash, or floor. concretelove.com

AURORA

APRIL.21

INTERIOR DESIGN

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m a r k e t s c a p e flooring

Maria Jeglinska-Adamczewska for Trame

1

1

INTERIOR DESIGN

APRIL.21

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4

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Kavita Chaudhary of Jaipur Living

product Entwine Blue. standout A made-to-order rug by the Polish designer pairs a randomized application of shapes and color on a vibrant blue ground hand-knotted in Morocco of natural wool. trameparis.com

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Sylvie Johnson of Merida

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product Mismo 2. standout The company design director’s color-blocked pattern in wool and bamboo-rayon groups blush, gold, blue, and dove-gray geometric forms, all with a luster finish. jaipurliving.com

Serena Confalonieri for Carpet Edition

3

product Carmine. standout From the brand’s artistic director, a tonal mix of garnet-colored thin- and thick-felted wools on a mohair ground creates a dense textural motif. meridastudio.com

4

product Folding. standout The prolific designer of graphics and textiles teams with the Italian com­ pany for a Sol LeWitt–inspired black-andwhite rug in hand-tufted New Zealand wool. carpetedition.com

Thomas Hayes for Art + Loom

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product Spin. standout The Thomas Hayes Studio founder’s 10-piece collection references the mid-century Hard-edge painting movement, including this in wool, silk, and Himalayan nettle. artandloom.com

Claire Vos for Moooi Carpets

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product Carlton Blue. standout The Studio Roderick Vos principal helps the Dutch maker add polyamide carpet tile in a postmodern pattern to its existing broadloom and area-rug offerings. moooicarpets.com

Cean Irminger of New Ravenna

Michael Young for Limited Edition

7

product Parallel Brain. standout For the Belgian brand’s 30th anniversary, the British industrial de­ signer conceived a rug hand-tufted of seaweed fibers, which have exceptional sheen and stain resistance. le.be

8

product Tangier. standout Water-jet cut mosaic tile from the company creative director’s ready-toship Studio Line is comprised of polished dolomite and hand-glazed volcanic stone. newravenna.com

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m a r k e t collection

flooring

gallery worthy Louise Olsen and Stephen Ormandy may be best known for Dinosaur Designs, their popular resin jewelry and homeaccessories brand. But the two LOUISE OLSEN, STEPHEN ORMANDY

DREAM GARDEN

CROWDED ROOM FLAMINGO TWILIGHT

are also exhibited artists; their works are in the permanent collections of galleries across their native Australia—Olsen paints abstractions from nature and Ormandy sculpts and paints organic geometries drawn from the subconscious, “developing chroma relationships that hug or repel,” he notes. Now, partnering with fellow Aussie company Designer Rugs, they’ve transferred some of them into a self-titled collection of six hand-knotted rugs measuring 94.5 inches wide by 118 long. Olsen contributes Dream Garden, Seed Pod, and Springtime, rife with splashes and daubs in Tibetan wool and silk; Ormandy offers up sinuous multicolored forms in Crowded Room, Flamingo, and Twilight, all in Tibetan wool. designerrugs.com.au

ANSON SMART

“It’s interesting to see how our art transposes onto different mediums and materials— it sheds new light on each piece”

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me m osamp les . c o m

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flooring

toe the line Art for the walls is practically de rigueur. But art for the floor? The mathematically precise oils on canvas UNTITLED 01 by rising Danish painter Carsten Beck Nielsen translate to rugs for a second time, via Swedish manufacturer Nordic Knots. The angular shapes in his works are “painted” by adding shaggy, hand-knotted New Zealand wool pile to a flat-woven wool ground “canvas,” visible in the plush geometries of Untitled 01 or Untitled 02, which come in two neutral colorways, contrasting Black/Dusty White or tonal Almond/Cream. nordicknots.com

UNTITLED 02

RAGNAR OMARSSON

“It’s ‘walkable’ art, which adds another dimension to the experience”

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vines

TM

Organically sweeping curves undulate in flowing vine-like configurations on which illuminated glass seedpods extend from the softly intersecting branches. Available in several configurations as well as custom sizes, Vines can be suspended singularly or in clusters to scale into dramatically large sweeping installations of extraordinary sculptural presence. Explore the possibilities at sonnemanawayoflight.com.

SEE THE LIGHT sonnemanawayoflight.com VISIT: SONNEMAN SHOWROOM | THE NEW YORK DESIGN CENTER 200 LEXINGTON AVE NYC 10016 | VISIT IN PERSON OR CONTACT US FOR A VIRTUAL MEETING. U.S. and Foreign Patents Pending

RYAN SAGHIAN

SHAFTESBURY

“My interiors aesthetic is always luxe and sensual —I used that same formula here”

m a r k e t collection flooring STRAND

global appeal Wunderkind Ryan Saghian founded his namesake interiors firm in Los Angeles at age 21, channeling equal parts Hollywood Regency glamour and refined modernism. That was seven years ago. Since then, alongside interior design, he’s dabbled in product design, with furniture, wallpaper, rugs, and dinnerware.

Now, with architectural surfaces supplier DOMVS Surfaces, he broaches floor and wall tile with Sensuale Terrazzo. “I was inspired by the female form as well as the artisan Azulejo tile work of Portugal and Spain, but reinterpreted in blush and earth tones,” Saghian says.

He looked to the U.K., namely London streets, for the names of the shapely patterns, such as Carnaby, Shaftesbury, and the Strand.

CARNABY

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CARNABY

CONNERY SEATING SYSTEM | RODOLFO DORDONI DESIGN TORII ARMCHAIR | NENDO DESIGN BOTECO COFFEE TABLE | MARCIO KOGAN / STUDIO MK27 DESIGN DISCOVER MORE AT MINOTTI.COM/CONNERY

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m a r k e t flooring

GOLDEN ISLAND FOREST ISLAND

ok computer In the hands of Kristina Gaidamaka, traditional Ukrainian symbols and flowers decompose into pixels in Island. Drawing on the rich folklore of her homeland, the circular rug, with a unique disintegrating pixel edge, measures 86.5 inches in diameter (with the option to size up to a huge 33 feet) and is devised as an oasis of relaxation, hence the name. The rug was “conceived as a symbol of travel and home at the same time,” the designer says.

“Who knew these mini islands would soon become our new reality.” Hand-tufted of New Zealand wool with a touch of viscose, each consists of a kaleidoscopic mosaic of close to 100 colors in either the Golden or Forest colorway. gaidamaka.com

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Ultrafabrics + Andreu World We partner with big thinkers Raising the bar on sustainable innovation, the Nuez chair features our first biobased collection Ultraleather® | Volar Bio. Durable, modern and comforting — eco-luxury never looked so good.

ultrafabricsinc.com

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overseas delivery These stoneware styles are fresh from Italy

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1. Giuliano Andrea Dell’Uva’s

Carpet ceramic tiles by Ceramica Francesco De Maio. francescodemaio.com 2. Terra.Art Cubo porcelain wall

and floor tiles by Marca Corona. marcacorona.it 3. Dolmix Light stone-effect por­

celain tiles by Ceramiche Keope. keope.com 4. Metallica Steel (floor), Metalrid-

dle Steel (wall), and Metalbrick Black Lux (behind vanity), all metal-effect porcelain tiles by Viva

by Emilgroup. emilgroup.com 5. Rêves de Rex colored-body porcelain floor and wall slabs in Rêve Noisette by Florim. florim.com 6. Concert colored-body glazed porcelain floor and wall tiles by Edimax Astor Ceramiche. edimaxastor.it 62

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CONVERSATION PIECE | RF1903 |

SIDEWAYS SOFA RIKKE FROST | 2020

The Sideways Sofa reinterprets the traditional sofa with an asymmetrical silhouette, shaped for comfor t and conversation. In keeping with Carl Hansen & Søn’s uncompromising approach to craftsmanship, the distinctive piece blends classic materials such as woven paper cord and wood in a modern and functional design.

Find your nearest dealer at carlhansen.com or contact Carl Hansen & Søn Flagship Store, New York, +1 212 242 6736 Carl Hansen & Søn Flagship Store, San Francisco, +1 628 204 3339

m a r k e t flooring

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look and feel High texture meets supergraphic soft floor coverings

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1. Boho hand-knotted rug in

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wool by Nordic Knots. nordicknots.com 2. Typhoon hand-tufted oval

rug in wool by Rug Artisan. rugartisan.com 3. Terra broadloom Axminster

carpet in New Zealand wool blend in Spice by Tsar Carpets. tsarcarpets.com 4. Black Mazandaran hand-

crafted kilim rug in wool by Ethnicraft, in collaboration with Ashtari. ethnicraft.com 5. Santa Fe Axminster carpet in wool-nylon by Brintons. brintons.net 6. Kumo rug in wool and

marcphillipsrugs.com 8. Cay hand-stitched patch-

work rug in alpaca in Alabaster

by Miksi, through Radnor. radnor.co 64

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3: NOVA VISUALIS

mohair by Tufenkian Artisan Carpets. tufenkian.com 7. Plato sumac flatweave and cut-pile rug in wool in Terracotta by Marc Phillips.

5112 Aterra Blanca

Whitelight Collection

caesarstoneus.com

Bring the earth into your home with our new 2021 white colours

A series of four nature-inspired lighter colours that are washed in white and wrapped in the smoothness of a stone.

It’s a mark of our craftsmanship and care, carefully passing from us to you.

wall+covering

Ghost Concrete™... hauntingly beautiful

A Colour & Design Inc. Company

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Expormim —— (212) 204-8572 usa@expormim.com www.expormim.com

Lapala. Hand-woven dining chair. Lievore Altherr Molina —— Photographer: Meritxell Arjalaguer ©

2

BIGIDEAS Cool concepts span the globe

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community service

PHILIP HECKHAUSEN

While at work on a new senior-living building in Zurich’s city center, Knorr & Pürckhauer Architekten unearthed zoning permissions that dated to the 1930’s. They were found in the courtyard adjacent to the project, which is Alterszentrum St. Peter und Paul, an 80-bed retirement home connected to and run by a Catholic church. That unexpected and rare discovery not only led to the expansion of the project for Knorr but also a renovated center for the community.

“It’s a generous public space surrounded by big trees,” principal Moritz Pürckhauer says of the 5,400-square-foot pavilion, its design partially inspired

by European beer gardens. “The old center was all underground, without any natural daylight,” co-principal Philipp Knorr adds. Now, a spiral stair in powder-coated steel connects the subterranean auditorium to two newly added floors of activity and office areas, all rendered in bright, clean white. The standout, however, is the roof, its mossy hue coming from pre-oxidized copper panels, which are, in turn, embedded with expansive round windows, all nine nearly 7 feet in diameter. Wrapping the ground level are floor-to-ceiling glass panels that, on warm days, pivot open entirely to allow wheelchair access to the leafy courtyard—the perfect spot for reading, visiting with family, or even enjoying a beer. —Mairi Beautyman

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b i g ideas 01 “The center breathes new life into the surrounding neighborhood”

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outside the classroom For nearly a year, because of COVID-19, educators have been grappling with how and when to safely reopen schools. A recent report from Harvard University prescribes continuing to maintain physical distancing by moving classes outdoors, among other procedures. Enter Play Lab, a joint venture between Matter Design and the Grayson School, an independent pre-K through 12 institution in Radnor, Pennsylvania, that focuses on project-based learning.

Play Lab is comprised of two main elements: anchors and glyphs. The larger anchors, in four sizes ranging up to 15 feet tall, are cast from a custom concrete mix made by the global R&D department of project collaborator CEMEX and semipermanent. The smaller 4-foot-long glyphs, each with a unique shape in carved, painted plywood, are considered temporal. Together they serve as a laboratory for an innovative middle-school curriculum that ranges from rope swings to riddle-solving. “Students are to use the infrastructure as a scaffold for their own creations,” Matter Design director Brandon Clifford says.

Looking forward, he and his team will apply the dynamics behind Play Lab to another educational platform, the selfexplantory Crop Circle Kit, which they hope to distribute on a larger scale. Even post-pandemic, it seems outside learn­ing may be here to stay. —Wilson Barlow

FROM LEFT: BRANDON CLIFFORD; ALLY O’ROURKE-BARRETT; BRANDON CLIFFORD; ALLY O’ROURKE-BARRETT

“The central premise is to merge play and education”

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breath control

In April 2020, a cohort of resident physicians at Massachusetts General Hospital launched CoVent-19. The open eight-week innovation challenge addressed the anticipated ventilator shortages by crowdsourcing ideas for rapidly deployable alternatives. From 200-plus submissions, seven frontrunners ultimately emerged, including a joint effort between Fuseproject, the San Francisco design agency founded by Yves Behar, medical technology start­up Cionic, and several mechanical engineering consultants. The team developed VOX, a pneumatically driven ventilator that costs less than $1,000 to produce, takes under four hours to assemble, and is portable (it can be mounted to a standard IV pole). “We specifically designed VOX for the pandemic setting,” says Fuse­ project senior industrial designer Daniel Zarem, who led the 19-person team. “We interviewed a lot of ICU nurses and respiratory therapists—people from both sides of the country, some in heavily hit, overcrowded ICU units. It was a very collaborative process.” Using a computer or tablet, medical workers can even control up to four machines remotely, an especially novel—and healthful—feature.

—Colleen Curry

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REED GARBER/COURTESY OF FUSEPROJECT

“The ventilator delivers an easily assembled, highprecision form factor that’s adaptable to multiple health­ care settings”

Shower-toilet SensoWash® Starck f.

Iconic design. Maximum comfort.

Duravit and Philippe Starck present SensoWash® Starck f, the latest addition to our new generation of shower-toilets for state of the art, natural toilet hygiene. Maximum comfort is guaranteed thanks to technical finishing touches including a motion sensor for automatic lid opening and a wide range of options for seat settings including heating, water spray and an adjustable warm air dryer. Available in the versions SensoWash®Starck f Plus and SensoWash® Starck f Lite, and as a wall-mounted or one-piece toilet. Combinable with all Duravit design series thanks to its uncompromisingly puristic design. www.duravit.us

G A R D E N I A OA K M AG N O L I A H I C KO RY

O R A N G E B LO S S O M H I C KO RY

O N Y X OA K

G I N G E R L I LY OA K

JUNIPER MAPLE

N E R O L I OA K

AMBER PINE

L E M O N G R A S S OA K

S I LV E R N E E D L E OA K

ORRIS MAPLE J A S M I N E H I C KO RY T R U E G A R D E N I A OA K

NOT YOUR ORDINARY OFFICE FLOOR T H R O U G H CO LO R

CO LO R G O E S A L L T H E WAY TO T H E CO R E

CO LO R S TO P S S H O RT

TRADITIONAL CO LO R A P P L I E D O N LY TO T H E S U R FAC E

When we consider where and how we work, the time spent in the office becomes even more important. A beautiful office encourages creativity and promotes productivity - a stunning hardwood floor from the True Collection will enhance the look of any workspace. What really sets these floors apart is the unique weathered and rich patina of the planks, combined with a penetrating color that goes all through the wood. The beauty and performance of the floors make them perfect for offices. Learn more about the revolutionary True Collection at www.hallmarkfloors.com.

www.hallmarkfloors.com

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Rameau Pendant courtesy of Jonathan Browning Studios

flower power

COURTESY OF 3+2 DESIGNSTUDIO

Some thought leaders are devoted to curbing climate change. Others are engineering ways to live with it. Since 1998, Jin Jhan Greenhouse Project Co.—a Taiwanese company that designs, builds, and equips commercial greenhouses—has pushed innovative indoor agriculture as a safeguard against rising global temperatures, which can be devastating for crops. To help change stereotypical ideas about traditional greenhouses, the company tapped 3+2 Designstudio and A Lentil Design—two Taipei firms that occasionally collaborate—to create a permanent 2,200-square-foot exhibition space at its Chiayi City sales center. Branded JJ Green House—complete with suitably botanical signage and a leafy logo—the new facility comprises two floors of informational displays and installations, including a trio of model greenhouses. These showcase construction methods, plastic films, and cutting-edge technologies that Jin Jhan has successfully used on an international roster of “smart” projects—more than 3,000 of them, according to a wall-size world map that, as the planet warms, doubles as a reminder of just what’s at stake. —Colleen Curry

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CLOCKWISE FROM TOP RIGHT: COURTESY OF JIN JHAN; COURTESY OF 3+2 DESIGNSTUDIO (3)

“Seeds, seedlings, and flowering plants in the spatial environment strengthen the company’s climate-focused image”

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“While each tile is unique, installation requires simple labor repeated, like a mason laying a brick wall”

shell game Sometimes the most sober-minded research leads to the most playful outcomes. Take this beguiling garden pavilion, perched on a London rooftop, by New York’s Schiller Projects in collaboration with local firm Novak Hiles Architects. Comprising a curved oak bench sheltered by a canopy of oak-veneer petals, the little structure appears inspired by the overlapping plates of an armadillo’s shell. But not at all. “The inspiration came from the material itself,” reports principal Aaron Schiller, who rigorously investigated the performative capacities of wood, exploring what shapes it lends itself to that are inherently structural while minimizing the impact of wind and rain. “To paraphrase Louis Kahn, we asked, ‘What does wood want to be?’” This resulted in the pavilion’s self-supporting carapace of individually steam-bent tile panels—an assemblage that combines locally sourced materials with modular production and CNC-machine customization to make it as attractive economically and environmentally as it is aesthetically. “We’re studying how to scale up this approach to a concert venue,” Schiller discloses, “as well as how to borrow its logic to create micro-homes for bees.” That’s honey to any environmentalist’s ear. —Peter Webster

ANDY TYE/FRENCH+TYE

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Nisswa Collection A durable, all-weather, and eco-friendly exclusive from Loll

© 2021 Design Within Reach, Inc.

THE BEST IN MODERN DESIGN TRADE 1.800.944.2233 | WWW.DWR.COM CONTRACT 1.800.591.6965 | DWRCONTRACT.COM

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CooLoo product Emotion. standout Foam modular seating treated with a waterproof base layer is topped by a coating of ground-down postconsumer wine corks or leather from local shoe-industry waste, with denim, linoleum, peach stones, and coffee-bean shells on the list of future recycled contenders. cooloo.nl

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Teun Zwets product Pulp. standout The Design Academy Eindhoven graduate disrupts the planter world by combining watersoaked sawdust or paper pulp with pigment and glue, then applying the mixture to street-found vessels or ones crafted from scrapyard steel.

Through Adorno Design, adorno.design

all new again At the virtual Dutch Design Week, we spied unique furnishings made from repurposed materials

Banne product Bloom. standout This new brand with a mission to make sustainable design work at scale teamed with Peter van de Water for the flower-inspired chair, made mostly from recycled low-density polyethylene, a plastic that can be infinitely melted down and reused and, with an integrated rainwater drain, is suitable for indoors or out. banne.com —Rebecca Thienes

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M75 Chair by jonathan prestwich

|

Prat Table by davis design team

|

Hue Storage by jehs+laub

don’t push it A decade ago, a group of young Singaporean designers, friends who returned to their homeland around the same time after working abroad, decided to go into business together as Stuck Design. The venture, ahem, stuck, and now, the 28-person team led by Tze Lee, Yong Jieyu, and Donn Koh has completed an array of multidisciplinary projects, including pandemicready technologies to mitigate COVID-19. One in particular is Kinetic Touchless, an elevator-button device that automatically depresses when it senses a finger hovering before it. “In contactless interfaces, we often use sound and light for input,” Koh says. “But we tend to forget that physical movement is a satisfying form of haptic feedback.”

And the product isn’t limited to just elevators: A sliding door could follow the move­ment of your hand 2 inches away.

—Georgina McWhirter

“Contactless technology doesn’t have to be static”

COURTESY OF STUCK DESIGN

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PHOTOGRAPHY: GARRETT ROWLAND

CUSTOM LOBBY AND THEATRE WALLS, RECEPTION DESK PROJECT MOTION PICTURE ASSOCIATION, WASHINGTON, DC DESIGN GENSLER // GENERAL CONTRACTOR HITT CONTRACTING LTD. BUILT BY EVENTSCAPE // SEE MORE AT EVENTSCAPE.COM

TORONTO | NEW YORK | DETROIT

3730 US HWY 1 SUITE 2 N. BRUNSWICK, NJ. 08902 (732) 353-6383

Apollo faucet spout in brushed nickel with genuine lapis lazuli sherlewagner.com

living with purpose

Guided by professor and Walzworkinc founder Kevin Walz, Pratt Institute interior-design undergrads reinvent shipping containers as socially minded residential communities

“With all that we’ve been through this past year, my students’ empathy exploded, and this project shows

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Xinxiao Hui focus Foster-care support

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“Architectural tensiles of acrylic- and PVC- “With a roof garden, library, and play areas, the stacked containers yield coated polyester attached with clamp a dynamic, playful, and pride-worthy plates to the containers expand to residence for up to 12 foster-care quickly accommodate people displaced children, ranging from newborns to by disaster, while the material’s trans­ lucency allows the structures to glow, 18-year-olds, and is a lively presence signaling life and refuge.” in any community.”

Xin Yan focus Efficient, affordable luxury

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Hanxin Chen focus Sustainable, cost-effective construction

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“Factory fabrication plus unique but “This adaptation of the shipping con­ repeated details create housing ideal tainer enhances financial efficiency for young families—and suitable to any and integrates a minimalist design climate or community—that maximizes language, utilizing a distinct geometric land use and rooftop living and features form and a limited materials palette open, fluid plans and the strategic place­ to create a dynamic living experience in nature.” ment of windows.”

COURTESY OF PRATT INSTITUTE

Yenna Choi focus Emergency housing

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how far their experiences, skill sets, and commitment have led them to a great understanding of design”

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Yifei Xie focus Veteran housing

1 COURTESY OF PRATT INSTITUTE

“Spaces allocated for communal dining, physical therapy, counseling, medi­ tation, and visiting family, plus an outdoor gym and access to nature create an intimate, supportive com­ munity for veterans to heal from PTSD and other psychological wounds.”

Evan Hryshko focus Off-grid living

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Yasmeen Abdal focus Syrian refugee housing

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“The customizable homes utilize selfsufficient technologies—rainwater collection, recycled and locally sourced materials, family-size greenhouses, passive cooling and heating systems— to reduce reliance on external infra­ structure.”

Emily Canavan focus Child homelessness

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“Modular extensions that mimic the fabric of Arab communities and accommodate extended families cultivate self-adjusting neighborhoods, with facilities including learning and laundry centers as well as a co-op, for producing and selling items.”

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“Providing homeless families with longterm apartments featuring high-quality yet affordable materials, like cork tile and pre-fab stainless-steel kitchen and pine storage units, the residences advocate that access to beautiful design should not be limited by wealth.” —Jen Renzi APRIL.21

INTERIOR DESIGN

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“It’s a cool spot for kids and their parents to enjoy —a place where they can grow in every aspect of their lives”

family planning Housed in a former factory, Big and Tiny Silverlake is an expansive 5,000-square-foot space in Los Angeles that combines co-working and childcare facilities under one roof. To enable adults to work and socialize in a quiet, laid-back setting while their children learn and play close by, the architects and designers at Zooco Estudio used a multifunctional wall to divide the building into two parts. The partition incorporates acoustical insulation and is covered with mirrors “to generate more amplitude in both spaces,” as the team puts it. Each side features an open communal “square,” together with a number of enclosed volumes or “cubes” for specific activities. The parents’ zone, for instance, has a Silence Cube and a Bike Cube, while the children’s domain includes the self-explanatory Tree House and Ball Pit; a large central cube between the two sections is used for kid’s parties. The firm connected the individual structures with slatted wood screens that lightly define open areas and lend the disparate ensemble a sense of cohesion—like, Zooco architect Jorge Alonso notes, giving “form to a little city.” —Carlene Olsen

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ice pack Single-use face masks and majestic icebergs don’t seem to have anything in common. But COUCH-19 by Atelier Tobia Zambotti makes an inspired connection between the two. The piece comprises four modular units that can be configured as a sofa, chaise longue, or other seating arrangement. Flexibility is not its most striking characteristic, however. Thanks to its materials and colors—crystal-clear PVC upholstery stuffed with pale-blue and white face masks—the couch evokes a jagged, frozen Arctic sea­ scape. “Icebergs are symbols of global warming,” notes the Iceland–based studio’s founder Tobia Zambotti, who had environmental issues firmly in mind when conceiving COUCH-19. Discarded masks, which can’t be recycled in conventional facilities, littered Pergine Valsugana, his northern Italian hometown and shelter-in-place base during part of the pandemic. Through a Facebook campaign, he got residents to collect the cast-off coverings, which were thoroughly disinfected with ozone before becoming the stuffing in the recycled-PVC modules, with all fabrication done locally. “The project’s goal is to send a strong message,” Zambotti says: “Even during critical times, we should never forget to protect our environment.” —Peter Webster

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RAFFAELE MERLER

“Absurd COVID-related pollution inspired me to create a provocative design”

NeatTech stores power strips and cables safely off the floor

NeatCharge

NeatHub

provides invisible wireless charging

brings power closer to the user

NeatUp keeps wires concealed even when desk is raised

Meet the Neat Suite Solutions that turn any desk into a smart, connected workspace humanscale.com/TheNeatSuite

light into dark Back in 2015, ACDF Architecture began transforming parts of a longabandoned 19th-century railway station into new Montreal headquarters for Lightspeed, a rapidly growing, point-of-sale software developer. Now, in phase three of the ongoing project, the ACDF team has turned an additional 10,000 square feet of attic storage on the top fifth and sixth floors into characterful, modern work space. Predicated on a moody, chiaroscuro scheme, the lower level is dominated by a training center with a dark ceiling, gray carpeting, exposed brick walls, and soft lighting. It’s flanked by superwhite barrel-vault corridors with gleaming epoxy flooring and drywall arches referencing the original station architecture. Lined with glass-fronted meeting rooms, the corridors lead to open zones with workstations be­neath attic beams. Meanwhile, the sixth-floor rotunda houses the boardroom, its centerpiece a 30-foot-long, quartzite-topped table sitting below a dropped ceiling of fabric-wrapped panels. “We wanted to enhance the historical value of the building with a bold and edgy intervention,” ACDF principal and senior architect Joan Renaud notes. Mission accomplished. —Edie Cohen

CHRISTOPHER MAXIME BROUILLET GRIMES GALLERY

“Contrast was the driver—going from one space to another

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b i g ideas 20 creates energy and an emotional reaction”

CLOCKWISE FROM TOP LEFT: MATIAS RENAUD; CHRISTOPHER MAXIME BROUILLET GRIMES GALLERY (2)

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Due to the pandemic, it is estimated that 40 percent of North American employees are working from home, causing shops in formerly crowded central business districts to struggle. These were the problematic dynamics at the forefront of the minds of Mason Studio founders Ashley Rumsey and Stanley Sun as they ideated Mobile Mercantile. A retail concept inspired by the resurgence of food trucks, it would enable businesses—think clothing and beauty brands, distilleries, hair salons, bridal boutiques—to take their operations almost anywhere. The Toronto-based Mason partners, known for their work with Kimpton Hotels, en­ visioned repurposing trailers or trucks, with the help of their longtime fabricator Juiceworks, into pods that can be stationed on streets or in parking lots. “We believe the future of retail is flexibility and hybridity,” Rumsey says. The smallest option, at 120 square feet with a window display and wall-to-wall cabinetry, starts at $23,000, and features luxe touches like brushed brass accents and pale wood millwork. “The concept,” Sun adds, “offers a new kind of physical space for brands that would benefit from an elevated, intimate customer experience that’s difficult to replicate online.” —Georgina McWhirter

“Innovative design can be used to completely reimagine business models”

b i g ideas 21

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COURTESY OF MASON STUDIO

on the road

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“It celebrates the fusion of art and science”

There’s a growing consumer demand for more ethically and sustainably sourced products. That includes gemstones.

It’s one reason U.K.–based international mining giant DeBeers has invested nearly $100 million in a facility for manufacturing laboratory-grown diamonds under its Lightbox Jewelry brand. Located in Gresham, Oregon, the two-story, 60,000-square-foot site is by Sheehan Nagle Hartray Architects, under principal Neil Sheehan and interiors lead Caterina Hutchinson. The state-of-the-art lab will produce about 200,000 carats of “Grown in the USA” diamonds annually an nually using vacuum chambers that replicate how the gems form in interstellar gas clouds. SNHA’s design balances the requirements of advanced production technology with details that make for an inviting workplace. In reception, a solid-surfacing desk and polished concrete flooring project an uncluttered, seamless look, while brand identity is expressed ex pressed in a custom wall covering, digitally printed with the Lightbox logo, that wraps a drywall partition. Throughout, clean, smooth surfaces are infused with subtle inner warmth—just like a diamond. —Wilson Barlow

star chamber

COURTESY OF LIGHTBOX

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FACE TO FACE CARPET TILE IN CONNECTION, TYPE LVT IN CONVERSE

Let’s Talk Whether it’s a quick ‘hello’ in the hallway, a weekly team check-in, or an engaging live-stream event, dialogue has power. Hard surfaces and texture-rich carpets made to mix and mingle—explore the Dialogue collection at shawcontract.com

Studio Guilty product Gravel Column. standout Eindhoven-based product designer Tijs Gilde blends crushed quartz, a by-product of the mining industry, with epoxy binder to create the strapping and sparkly T-shape table lamp that’s lit by a pair of LEDs and part of a collection that includes a coordinating round side table. studioguilty.com

the dutch touch Cork, stone, and scrap plastic twirl into fine furnishings in the hands of these Netherlands-based designers

b i g ideas 23-25 Enrico Rapella product Harvesting Heat. standout Armed with degrees from the Politecnico di Milano and the Design Academy Eindhoven, the designer’s two-part object warms tushes or toes when the ceramic piece is moved from the radiator and slid on top of the cork stool or bench.

Studio Thier&vanDaalen product Plastic Mine. standout With Iris van Daalen and Ruben Thier, partners in life and work, irregular lumps of polyethylene plastics culled from factory overproduction get sawcut or CNC-milled and remade into one-of-kind shelves, replete with steel mounting kits. thiervandaalen.com —Rebecca Thienes

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TOP: COURTESY OF STUDIO GUILTY (2); CENTER: MOONSEOP SEO/COURTESY OF ENRICO RAPELLA (2)

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april21

Thoughtful design can refresh and restore

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on the avenue World Class Alekseevskaya, a Moscow fitness club by Vox Architects, channels the scale and history of one of the city’s most imposing thoroughfares text: sophia kishkovsky photography: sergey ananiev

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Previous spread: The pool hall is mostly uderground at World Class Alekseevskaya, a Moscow fitness club

by Vox Architects.

Top, from left: Color helps visually separate low-ceilinged areas from the main space.

Natural and artificial light and vivid graphics turn the hall into a work of op art.

Bottom, from left: In reception, the acrylic-stone juice bar morphs into a polyurethane-foam ribbon that rises to flow across the ceiling. English-language motivational slogans adorn concrete walls; photography: Alexey Narodizkiy.

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In 1957, the Sixth World Festival of Youth and Students opened in Moscow, attracting some 34,000 participants from 130 countries. It was the first time such a large influx of disparate foreign nationals was allowed into the Soviet Union and, although not free of Cold War propaganda, the congress proved transformative, injecting feelings of openness and optimism into the post-Stalinist state. One of the city’s great arterial thoroughfares was even renamed Prospekt Mira—or Avenue of Peace—in honor of the festival’s anti-war message.

Located near that broad avenue, World Class Alekseevskaya—a recent addition to a nationwide fitness-club chain— responds to both the scale and history of its imposing neighborhood, which encompasses VDNH, the monumental exhibition complex that hosted key Youth Festival events. Occupying three levels in a new residential development, the 41,000-square-foot facility is big for a Moscow club but appropriately proportioned for its immediate environs. And if the use of color, light, and form in its interiors evokes the energy and hopefulness of the long-past student convention, that was entirely what the design team, Vox Architects, intended.

This was the eighth World Class project completed by Vox, which gives each gym a unique and distinctive architectural identity by channeling its genius loci. “We connect a club to its location,” firm founder and chief architect Boris Voskoboynikov says. “Here at Alekseevskaya, elements like the graphic art on the walls convey the area’s history.” In the locker areas, for instance, custom murals depict athletes “in the style of the Youth Festival, which is reminiscent of drawings by Matisse and Picasso,” modernist artists whose popularity with young Soviets of the time was another sign of the gradual opening up of the closed society.

Right from the ground-floor reception area, visitors are greeted by principles of movement, energy, and buoyancy as embodied in the juice bar, a white sculptural form that transitions seamlessly from acrylic stone to polystyrene foam

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“The masterful use of lighting extends throughout the interior, not least because most of the complex is underground”

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as it rises up in a continuous ribbon to flow across the near 20-foot-high ceiling. “We have a photograph of a worker carrying a very large piece of it,” Vox head of creative development Maria Akhremenkova reports. “It’s that light in weight”—and in the sense of “illuminated,” too, since the sinuous ribbon incorporates a broad strip of LEDs, forming a shining overhead pathway “that pulls you from the lobby area into the club itself,” Voskoboynikov notes.

The masterful use of lighting continues throughout the interior, not least because most of the complex is underground.

There’s an especially clever interplay of natural and artificial illumination in the double-height swimming pool hall— the club’s centerpiece—where bands of clerestory windows flank a large oval dome, “lit with special projectors that give the cupola an airiness and elevate it,” Voskoboynikov explains. Semicircular portions of the sidewalls tilt slightly forward. Outlined in red and lit from behind, these segments form glowing colored arcs that are reflected in the pool to create enormous scarlet rings, expanding the space by turning it into a giant work of op art.

“We paid a great deal of attention to the lighting in the hall,” Voskoboynikov admits, and not just as a matter of underscoring the architecture or generating aesthetic effects. “There are no direct sources—it’s all reflected—so you can comfortably swim on your back without getting glare in your eyes.” Akhremenkova mentions another way they’ve thought in utilitarian terms: Instead of hanging up the regular string of little flags to warn backstrokers not to hit their heads on the end of the pool, the architects installed a single LED tube that’s like a line of brightness drawn directly in the air. “It’s graphic, on the one hand,” she says, “and functional on the other.”

The pool hall is like a stage set in which many elements are carefully choreographed for the most dramatically effective juxtapositions. “Soft, flowing, feminine forms contrast with robust masculine concrete,” Voskoboynikov says.

Left: Ceramic tile lines the walls and floor of the children’s pool, set in a compact space off the main pool hall. Above left: On the lowest level, resin gym flooring incorporates oversize directional arrows and area-defining geometric figures. Above right: Large LED fixtures float over­ head like luminous clouds; photography: Alexey Narodizkiy.

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This page: Locker areas feature custom murals in the spirit of the 1957 World Festival of Youth and Students, a transformative event that took place in the neighborhood.

Opposite top: Custom furniture made of polystyrene foam upholstered in synthetic leather populates the playroom.

Opposite center: The same materials compose the pool’s custom chaises longues. Opposite bottom: Floor tiles are porcelain stoneware.

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Color’s role is pivotal: The entryway and ancillary spaces, which include a children’s pool, are entirely red—flooring, walls, and low ceilings. The soaring hall is mostly white with graphic details like the wall arcs and trainer’s stations picked out in red, while the pool itself is a welcoming expanse of pure, calming blueness. The use of color, light, and graphics is equally distinctive in the club’s other areas. Motivational English-language slogans, such as “Trust Yourself,” festoon the walls. Bold arrows and geometric figures on the floors act as navigational signs or zone definers. And in the gym on the lowest level, large circular ceiling fixtures are like luminous clouds floating in a moody skyscape.

But perhaps the ground-floor playroom, a glass-walled space overlooking a leafy courtyard, best expresses the spirit of the Youth Festival. The room is a wonderland of brightly colored furniture and whimsical objects, pieces that inspire exploration while defying description. “It’s all custom-made by a Belgian firm that works with our favorite material— polyurethane foam covered in synthetic leather—and now has production here in Russia,” Akhremenkova says of the items, which also encompass the benches in the locker rooms and the chaises longues beside the main pool. International cooperation leading to useful products, fresh ideas, and general joie de vivre: Just what those bright-eyed students were hoping for more than 50 years ago.

PROJECT TEAM ANDREY KOSKOV; SVETLANA GUNINA; ARTEM VYBORNOV; POLINA GALANTSEVA; MAXIM FROLOV; EVGENY NEZAMAYKIN; PAVEL SURSHKOV; OLGA TELPIZ: VOX ARCHITECTS. UTTER DESIGN: GRAPHICS CONSULTANT. BAUFON: LIGHTING CONSULTANT. SIXINCH: FURNITURE WORKSHOP. OLYMP DESIGN GROUP: MEP. T-C-M: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT CERAMICS OF THE FUTURE: FLOORING (RECEPTION). PKT: CUSTOM DESK, LOGO, JUICE COUNTER, CEILING RIBBON (RECEPTION), LOCKERS (LOCKER AREA). ARTURO: FLOORING (GYM). KERAMA MARAZZI: WALL TILE (POOLS). INTERFACE: CARPET TILE (PLAYROOM). THROUGHOUT CERAMICA VOGUE; ESTIMA: FLOOR TILE. KNAUF: PARTITIONS. VENECIANKA.RU: PARGETING. BAUFON; LT-PROJECT; QPRO: LIGHTING. DULUX: PAINT.

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one with the land Cheng Chung Design’s interiors for the 50%Cloud.Artist Lounge in southern China unite with the project’s regionally rooted exteriors by Xu Luo

text: rebecca lo photography: courtesy of cheng chung design

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Previous spread: Dongfengyun, an artist village in southern China’s Mile City, is composed of exhibition spaces and studios, DongFengYun Hotel Mi’Le–MGallery, and 50%Cloud.Artist Lounge, with exteriors by local sculptor Xu Luo and interiors by Cheng Chung Design.

Top, from left: The main entry welcomes diners to the vestibule with a distressed, blackened copper screen shielding the restaurant beyond. All of the village’s structures feature brick facades made from indigenous clay from the surrounding Yunnan Province. Bottom: Inside the restaurant, toward the center, is the bar, its ring of blackened metal shelving displaying locally produced wine. Opposite: French marble flooring appoints the restaurant’s foyer.

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Yunnan may be one of China’s last frontiers. Its remote location and rugged terrain led to sparse settlement over the centuries; today, it’s the country’s fourth least-developed province—drastically different from the megacities up north with their urban bustle. Home to Yi and Hani ethnic minorities, Yunnan is reminiscent of Provence, France, with pas­ toral lavender fields and vineyards, and also shares a border with Vietnam, Laos, and Myanmar, creating a melting pot of Southeast Asian cultures.

It is precisely for this cultural diversity that Yunnan Urban and Rural Construction Investment Co. developed Dongfengyun, an artist village in Mile City, two hours south of Kunming, the provincial capital.

A bucolic counterpoint to Beijing’s urban 798 Art Zone, Dongfengyun is an idyllic hub set in the countryside. Alongside exhibit spaces and studios adjacent to the Hong River, the DongFengYun Hotel Mi’Le–MGallery and the 50%Cloud.Artist Lounge are situated on either end of a causeway. Both the hotel and the lounge interiors are by Cheng Chung Design, but the exteriors, made from bricks of indigenous red clay, are by sculptor Xu Luo. “Luo grew up here and loves his hometown so much that he immediately accepted the commission,” CCD founder Joe Cheng recalls. “Yunnan is a popular destination, and the government wants to build attractions like these cultural towns to help sustain its economy be­yond tourism.”

Luo is perhaps most known for his series depicting female legs. That love of voluptuous forms is evident in the complex’s organic massing. Some

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may see the structures as a collection of wine bottles, others, a progression of clouds, hence the project’s name. Both interpretations nod to the region’s abundant wine production and expansive sky, visible thanks to Mile City’s low-rise architecture. The buildings, totaling 5,920 square feet, were originally an exhibition hall linked to smaller round and rectangular structures. “We made the main space the restaurant, the round building for storage, and the rectangle a kitchen,” Cheng notes. “Then the restaurant was divided into public and private spaces, with a buffer in between that acts as a foyer and houses the restrooms. Each space is independent of each other, which allows for flexibility should they need to be adjusted in the future.”

Skylights are the primary source of natural light for 50%Cloud, although there are pinpricks of illumination coming from tiny triangular apertures scattered along the structures’ cylindrical walls.

To keep their forms as pure as possible, CCD was instructed not to alter anything permanent in the interior. Art, lighting, and furnishings all had to be freestanding.

“We planned and arranged the furniture in a way that would not damage any of the exposed brick, and to coordinate with the daylight streaming through the skylights,” Cheng explains.

The entry to the main restaurant is accessed via a series of steps leading into a partially screened vestibule.

“Originally, there were colonnades lining the entrance, but we swapped them with red brick walls to welcome guests in an inclusive way more sensitive to the architecture,” Cheng says. From the vestibule, the interior opens up dramatically, with the vaulted ceiling slenderly rising way upward. Lower down, the brick is arranged into archways, several of which converge at a central cylindrical column.

“We installed shelves and three counters around it,” Chung says of the element that is clad in black metal and functions as the bar. Scattered throughout the remainder of the restaurant are different seating

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Opposite: Skylights between barrel vaults allow for a play of light.

Top, from left: Birch tabletops resemble waves rippling on a pond. Bamboo trees surround the 400-acre site. Bottom, from left: A Qi Songtao sculpture in the private lobby is made from Manchurian ash and ebony. Ebonyveneered stools and table form the coffee bar in a corner of the restaurant.

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Top, from left: Two sculptures in the restaurant, one in woven blackened metal strips, the other in Manchurian ash and ebony, are also by Songtao. Mario Bellini chairs furnish the private dining room. Bottom: Pendant fixtures in both spaces are rattan.

Opposite: Dongfengyun occupies an existing exhibition hall linked to smaller round and rectangular structures built five years ago, but this staircase to the private dining room is new.

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groups: banquettes under the sheltering privacy of flowering Chinese perfume trees, round tables for more intimate gatherings, and a long communal table for quick coffees.

A discreet opening leads to an anteroom that further connects to the private zone with its own entry. “Inspired by the local terrain, we gave the private entry a new look,” Cheng says. “The main entrance is more low-key with a strong curved steel plate, but the terraced stair­case leads guests into the dreamlike castle structure that gives them a sense of dignity.” To one end of the private dining room is a trio of cooking stations; at the other is a lounge with soft seating and a long table to facilitate long evenings of conversations for corporate or family functions.

Being set within an art village, art is naturally an important component of the project. “The art not only transforms dining into a fantastical, multisensory experience but is also connected to Mile City somehow,” Cheng notes. “A wooden pixel sculpture draws inspiration from Buddha Hand, a nearby tourist attraction.

An abstract cloud sculpture implies infinite possibilities. And an oversize head and face rendered in woven metal strips,” he adds, “symbolizes the wisdom of the local people.”

PROJECT SOURCES FROM FRONT POTOCCO: CHAIRS (RESTAURANT).

FOSHAN ZHONGGAO SPECIAL STEEL TECHNOLOGY: CUSTOM SHELVING (BAR). CASSINA: CHAIRS (PRIVATE DINING). MERCANVEE: LAMPS (EXTERIOR). THROUGH­ OUT MILE CITY SAN DAO QIAO RED BRICK FACTORY: BRICK. JUN MEI STONE: MARBLE FLOORING.

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going for the win

Connection, sustainability, and graphics score big at sport-betting company Fortuna’s Prague headquarters by Studio Perspektiv text: rebecca dalzell photography: studio flusser

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In 2015, Ján Antal and Martin Stára founded Studio Perspektiv with a bold pitch. Aged 24 and 31, respec­ tively, they had no track record or references to speak of when they landed a contract to design the Prague headquarters of the software company STRV. But they did have an idea. “We said, Let’s do a big office like a small city,” Stára recalls, “with a town square of sorts, where people meet and ‘roads’ all around lead to experiences.” Having spent two years as an urban planning strategist for the City of Prague, Stára saw a parallel between offices and public spaces. Both have to accommodate different personalities and consider how people walk, talk, and interact. “They are places for people, but one has a roof,” Stára says. He and Antal employed that same approach for the Prague headquarters of fixed-odds sports-betting operator Fortuna Enter­ tainment Group, Perspektiv’s largest project to date.

The architects, who met when Stára supervised Antal’s undergraduate thesis at the Czech Technical University, found a niche in workplace design at a time when Czech businesses were just starting to invest in it. As the capital became a burgeoning IT hub, there was a new market for well-designed, col­ laborative offices. After completing several tech and co-working spaces, Perspektiv was hired for the 78,500-square-foot project for Fortuna, the largest Central European off- and online betting operator that had been headquartered in the Netherlands and operates in Slovakia, Poland, Romania, and Croatia.

The Prague headquarters consolidates three sepa­ rate offices throughout the city into four floors of an eight-story building by Jakub Cigler Architekti near the Prague train station. The client charged Antal and Stára with creating an agile and youthful

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Previous spread: For the Prague headquarters of sports-betting company Fortuna Entertainment Group, Studio Perspektiv furnished a lounge with Alvar Aalto stools, a Romano Mercato coffee table, and a double-side sofa by Edward Barber & Jay Osgerby and commissioned illustrator Adam Mihalov to create graphics of a fan checking the score on their smart phone, which was printed on adhesive vinyl wall covering.

Opposite top: A staircase of oak and painted steel connects the office’s four floors. Opposite bottom: With few dedicated desks, employees store personal items in custom lockers along corridors on each floor.

Top: An exposed ceiling runs above oak floor planks in a reception lounge, and throughout the 78,500-square-foot project. Bottom: Corian clads the custom desk in reception, with a Lievore Altherr armchair, an Antonio Citterio sofa, tracks of LED spots, and more Mihalov graphics.

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“We believe accidental meetings can create huge value for a company”

environment that encourages connection between the staffers, of which there are 700 of 28 nationalities. Returning to ur­ banistic principles, they conceived of what Stára calls a “vertical city” and unified it with a graphic sports theme, which ties into Fortuna’s business.

They began with space-planning, center­ ing the headquarters around a new oak-andpainted-steel staircase that functions like an urban square. Shared desks ring the pe­ rimeter because Czech workplace guide­ lines require permanent workstations to have daylight and be within 15 feet of win­ dows. Lockers for staff belongings, meeting rooms, and phone booths occupy the inte­ rior. The plan forces people to take the stairs: Reception is on the top floor and amenities—café, gym, help desk, terrace, game room—are located on the levels be­ low. Employees can get water at any of eight kitchenettes peppered throughout the floors, but coffee is only in the café on the third level, exerting a gravitational pull.

Like a walkable city, the layout facilities chance encounters. Since employees were coming from three different locations, it was important that they get to know each other, to feel part of the team. “We think accidental meetings can create huge value for a company,” Stára says. “So we tried to bring a mix of people to the staircase.” Its switchback construction is asymmetrical: Going down, it’s narrow at first, but then widens as it approaches each landing, re­ sembling stadium seating. Fortuna col­ leagues can perch on the wide treads to watch a soccer game on TV, like neighbors gathering on a stoop.

Lounges cluster around the staircase, ready to host impromptu catchups. Colorful armchairs by Jeannette Altherr and Alberto Lievore, Hella Jongerius, and Antonio Citterio brighten these common areas, while Konstantin Grcic’s chunky red stools bring a bit of fun to a training room.

Focused on sustainability, the client invested in durable furnishings that will withstand years of use. The archi­ tects selected items made from recycled materials whenever possible, like nylon carpet tiles, acoustic PET felt paneling, and recycled-steel chairs by Laurens van Wieringen. Sensors activate lights and HVAC systems to reduce energy use.

“The trouble with creating a responsible, sustainable workplace is that it’s a quick business,” Antal notes.

“The lease is usually for only five or 10 years. But we try to design offices that encourage the client to stay longer, by employing flexible plans and quality ma­ terials.” Mindful of waste, he and Stára kept the aes­ thetic simple, avoiding anything too trendy. Much of the interior has the crisp palette of a gymnasium, with oak flooring and white walls, and most ceilings are exposed for a tough, industrial contrast.

Opposite: Live plants accompany Hella Jongerius armchairs and Alessandro Busana tables in another lounge.

Top: Recycled and recyclable PET acoustic felt panels a meeting room with Konstantin Grcic stools. Center: Glass walls separate the gym from a common area. Bottom: Antonio Citterio task chairs serve Arik Levy workstations, placed along the windows per Czech workplace regulations.

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But the sports theme adds color and team spirit.

Wide stripes on walls and carpeting gesture to lines on athletic fields. Oversize graphics, digitally printed on adhesive wall coverings, depict scores and games available on Fortuna’s betting platforms, such as soccer, volleyball, and baseball. Perspektiv, which often works with illustrators, collaborated with Brno-based artist Adam Mihalov to create the 20 unique images. “He had a vision for how to make the graphics dynamic,” Antal says. “They bring another layer to the design.”

Of course, like a city, it takes people to truly animate a workplace. The Fortuna headquarters, which Perspektiv had nearly completed last March before the site shut down because of COVID-19, has yet to re-open. But it seems to anticipate the post-pandemic office, offering the human interaction we crave and the flexibility we need. Antal and Stára, meanwhile, have come full circle: They spent lockdown entering a competition to restore an actual public square, Jiřího z Lobkovic Square in Prague—and they won.

PROJECT TEAM EVA SCHILHART FABEROVÁ; BARBORA SZÖLLÖSI BABOCKÁ; BARBORA JANÍKOVÁ; LUCIE FELDOVÁ; PETRA MALOVANÁ; ANNA DOMÁNKOVÁ: STUDIO PERSPEKTIV. ATELIER ŠTEFLOVI: GREENERY CONSULTANT. BRICK: WOODWORK. STOPRO: GENERAL ENGINEER. PRODUCT SOURCES FROM FRONT LAPALMA: BLACK COFFEE TABLE (LOUNGE). ARTEK: STOOLS (LOUNGE), TABLES (KITCHENETTE). ARPER: YELLOW ARM­ CHAIR (RECEPTION). THE GREENEST COMPANY: PLANT DIVIDER. PEDRALI: BLACK ROUND TABLES (LOUNGE). SILENTLAB: PANELING (MEETING ROOM). 3D FITNESS: EQUIPMENT (GYM). OFFIM: TABLE (TRAINING ROOM). FRANKE: SINK, SINK FITTINGS (KITCHENETTE).

DEVORM: STOOLS, CHAIRS. THROUGHOUT VITRA: FURNITURE SUP­ PLIER. EMPATE: CUSTOM STAIR. LINSTRAM: STOREFRONT SYSTEMS. ESCO PODLAHY: FLOOR PLANKS. INTERFACE: CARPET TILE. HORMEN: LEDS. OPTIMAL INTERIOR DESIGN: CURTAINS. FUGU: WALL STICKERS.

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Opposite top: Stackable poly­ propylene stools by Grcic brighten a training room with views of Prague Castle. Opposite bottom: Stripes in the carpet tile, composed of post-consumer nylon, reference sports fields.

Top: Oak tops the counter in the kitchenette, of which there are eight across the office’s four floors. Bottom: Stools and armchairs, both in PET felt and recycled steel, are by Laurens van Wieringen.

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full circle

Peter Pichler Architecture’s namesake founder returns to Italy’s South Tyrol, designing the Hotel Milla Montis to reflect the vernacular of his birthplace

text: edie cohen photography: daniel zangerl

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Born in Bolzano, Peter Pichler knows Italy’s South Tyrolean region well. Here is where else the globe-trotting architect knows: Vienna, where he studied at the University of Applied Arts; Los Angeles, for a year at UCLA; London, interning for Zaha Hadid Architects; the Netherlands, working at OMA; and finally Hamburg, Germany, where he spent nearly four years as a project architect back at ZHA. When, in 2015, Pichler had to decide where to launch his own practice, he chose his native Italy, in Milan specifically, setting up shop in the desirable Navigli district. The decision, by the way, was made on a beach in Mallorca, Spain, where he’d met his soon-to-be wife, Silvana Ordinas, who co-founded and now manages the studio of Peter Pichler Architecture. Today, they have a staff of 15. Together, they won a competition resulting in the commission to design the Hotel Milla Montis in the village of Maranza, bringing Pichler even closer to his roots.

High in the Dolomites, the region is famed for skiing but holds equal charm for its hiking routes. Thus, it was—and we assume will be, post-pandemic— a popular year-round tourist destination. “My first walk-through showed the site to be a sloped hill,” Pichler recalls of the start of the 38,000-square-foot, three-story project he co-led with associate Simona Alù. Ergo his initial and natural decision to “integrate the building within the landscape, so visitors would enter through the back at ground level.” There lie the public spaces— the lobby, bar, and restaurant, which has a lively open kitchen, since Milla Montis owner Roland Oberhofer is a chef and locavore, in addition to a hotelier.

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Most of the 30 guest accommodations, rooms and suites both, as well as the spa/fitness center would descend the hill for two levels and face south for knockout mountain views.

Modernists in heritage, Pichler and Alù nevertheless felt strong ties to the zone’s agricultural conditions in general, its buildings in particular. Melding Previous spread: At the Hotel Milla Montis in Maranza, Italy, by Peter Pichler Architecture, the custom stainless-steel infinity pool seemingly penetrates the glass wall to become part of the indoor spa/fitness center while affording vistas of the Dolomites. Photography: Gustav Willeit.

Top: The spa’s gym overlooks the pool, surrounded by a ceramic tile deck. Bottom: With its stained larch cladding and barnlike geometry, the three-story structure references the agricultural buildings of the surrounding South Tyrol region.

Opposite top: Both the reception desk and adjacent seating nook are paneled in ash and lit

by Lichtstudio pendant fixtures. Opposite bottom: The restaurant high tables are custom, but Helge Sibast designed the No 7 stools and chairs in 1953; photography: Jörgen Camrath.

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the two to conceive a contemporary structure at home in this setting was their overriding driver. “We were looking to play with the scale of the volumes as they related to the scale of the neighboring houses and agricultural buildings instead of having the hotel be one big volume,” Pichler says. “Thus, the struc­ ture is fragmented into four shifted volumes.” Alù adds: “Every one of our proj­ ects is different and implies new challenges we address with real architecture.”

“It’s a contemporary reinvention of the classic wooden barn,” Pichler con­ tinues. That’s one reference to the vernacular architecture. Then comes the distinctive geometry of the exoskeleton’s facade. A showstopper, its curva­ ceous forms allude to those of a pitchfork, another symbol of the agrarian area. And, in keeping with the cultural typology, the structure is clad in larch; here, however, it’s been darkened with semitransparent paint, suggesting the weathered look that occurs over time. Furthermore, the dark shade “hides the building in the landscape and reduces its scale,” Pichler notes.

Although appearing as separate volumes, the hotel’s interiors are com­ pletely connected. Once inside, the palette shifts from dark to light. In typical Alpine style, millwork is primarily pale ash, forming the reception desk, the paneling in an adjacent seating niche, the bar, and the restaurant’s tables and ceiling ribs. In guest rooms, which are spare but not severe, flooring is also ash but furnishings, including the custom beds, are larch. “We went for a clean selection of materials,” Pichler explains. Sparks of forest-green upholstery

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“We went for a clean selection of materials” Opposite top: The form of the facade’s exoskeleton is derived from pitchforks; photography: Gustav Willeit. Opposite bottom: Harald Guggenbichler armchairs and a Studio Fermob table furnish a suite’s terrace.

This page: One of the hotel’s two spa suites has its own pine-clad Finnish sauna; photo­ graphy: Gustav Willeit.

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here and throughout add warmth and further tie project to place. “The hotel aroused a lot of interest from fabricators and manufacturers who wanted to be part of it, which led to a collaborative environment that allowed us to achieve our objectives on time,” Alù says.

Ranging from 323 square feet to more than 400, the rooms are generous.

They vary in configuration: There are standard doubles, suites with living rooms suitable for vacationing families, and a pair of spa suites, one featuring a Finnish sauna. In addition to all of them facing the Dolomites, those on the hotel’s upper two floors also boast private terraces. Quarters on the lowest level, meanwhile, open straight onto the property’s gardens. Another perk of the lowest level is the spa/fitness center. It offers the traditional assets—gym, sauna, steam and treatment rooms—but also a stunning stainless-steel infinity pool. It’s swim-in, swim-out, affording a unique indoor/outdoor aqueous experience, and overlooked by a run of inviting chaise longues.

Then, there’s the hay room. “We needed it to be honest,” Pichler says of the authenticity of what’s officially called the relaxation room. Built-in pine seating is surrounded by a floor-to-ceiling open framework filled with the aromatic herbage. The scent coupled with far-reaching views of the scenic surroundings provide a multisensory, perhaps even transformative, experience. We imagine, once the Hotel Milla Montis’s abbreviated holiday season opening gives way to permanent welcome, it will be quite the draw.

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Top: Ceramic tile surrounds the custom chaise longues and side tables overlooking the pool.

Bottom: A pine framework encloses bales of hay in the spa’s relaxation room.

Opposite top: A suite’s custom armchair stands near a Sanikal solid-surfacing tub, on ash floor planks. Opposite bottom: Set into a hillside, the 38,000-square-foot hotel is composed of four connected volumes.

PROJECT TEAM GIOVANNI PATERLINI; CEM OZBASARAN: PETER PICHLER ARCHITECTURE. IPM: STRUCTURAL ENGINEER. REICHHALTER–ENERGYPRO: MEP. HOTEX HOTEL & HOME: FURNITURE AND UPHOLSTERY WORKSHOP. FLATZ & WINDISCH; HOLZRING: WOODWORK. MICHAELER & PARTNER: PROJECT MANAGEMENT. PRODUCT SOURCES FROM FRONT PIKON: CUSTOM POOL (SPA). MÖBEL LADINIA: CUSTOM CHAISE LONGUES, CUSTOM SIDE TABLES (POOL AREA). HAY: TABLES (NOOK). LICHTSTUDIO EISENKEIL: PENDANT FIXTURES (NOOK, RE­CEPTION), LAMPS (RESTAURANT, POOL AREA), HEADBOARD SCONCE (SUITE). SIBAST: CHAIRS, STOOLS (RESTAURANT). FERMOB: CHAIRS, TABLE (TERRACE). PROWELLNESS: SAUNA FITTINGS (SPA SUITE).

SANIKAL: TUB (SUITE). THROUGHOUT LEA CERAMICHE: TILE. SIMONAZZI: FLOOR PLANKS. METEK: CUSTOM GLAZING. TIP TOP FENSTER: CUSTOM WINDOWS. BRIDA: FACADE WOOD SUPPLIER.

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the art of living VYV, a residential complex in Jersey City, New Jersey, by Perkins Eastman, with interiors by Studios and Arrowstreet, reflects the area’s cultural renaissance text: jen renzi photography: eric laignel

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Imagine this scenario: Your urban apartment is your refuge, an airy twobedroom with abundant daylight spilling in through floor-to-ceiling windows, a chef-style island kitchen, and ooh-la-la harbor views. You just loooove hanging out there and can’t believe your good luck in scoring a lease at this sanctuary-like property. But sometimes you need to get away from being away from it all: You crave a bit more social interaction on a Saturday afternoon than solo living provides; you need to Zoom your colleagues and then nail a deadline. . .but your roommate’s having a rap-fueled Peloton marathon; your tween’s incessant TikTok-ing in the living room is driving you mad.

Wouldn’t it be nice if a coworking pod or putting green, an outdoor gaming lounge or hammock grove, were just an elevator ride away?

If you live at VYV (rhymes with jive) in Jersey City, New Jersey, this amenityrich dream is your reality. The 853-unit residential complex is the first complete block of Hudson Exchange West, an ambitious 18-acre development by Brookfield Properties and G&S Investors that aims to reinvent the area’s riverfront. A veritable micro-neighborhood under one roof (well, make that two),

Previous spread: Pavilion, an interactive, 11-foot-tall sculpture by Maximilian Pelzmann, stands on the amenity deck’s concrete pavers at VYV, a two-tower residential development in Jersey City, New Jersey, with architecture by Perkins Eastman and interiors by Studios Architecture and Arrowstreet.

Left, from top: Another sculpture by Pelzmann, Totem, and built-in seating of FSCcertified ipe anchor the northeast corner of the amenity deck, near the south tower. An oak screen separates the south tower lobby from the coffee bar. Right: A birds-eye view of the ¾-acre deck reveals a lap pool at its center; photography: Andrew Rugge/ courtesy of Perkins Eastman.

Opposite top: In the resident dining room, a cluster of LED pendant fixtures is corralled within the ceiling’s canted planes while Jessie Morgan’s Elements 1429-30 diptych, in mixed media on aluminum, accents the sidewall. Opposite bottom: A printed Chromalux artwork graces the south tower lobby.

VYV is “an integration of all aspects of living,” says Roberto Garcia, associate principal at Perkins Eastman, the architecture firm behind the two-tower compound, with interiors by Studios Architecture and Arrowstreet.

The project kickstarted about five years ago with the northern tower; midway through construction, the team was given the go-ahead to design phase two, an adjacent edifice to the south (conceived as its sibling rather than its twin), plus an interstitial parking garage with a nearly 1-acre rooftop serving as a landscaped extension of the amenity space that occupies level eight of both 35-story spires. Over the course of the multiyear build-out there was a change in ownership—Brookfield Properties acquired the initial co-developer, Forest City—and in the target demographic, as young families proved a more dominant force in the local rental market than first thought. That presented an opportunity to fine-tune the branding and the public spaces as well as to diversify the amenity programming during phase-two expansion. “The client saw the direction Jersey City was headed and responded to it with the design of the second tower,” Perkins Eastman senior associate Leo Patterson says.

Key was creating cohesion between the interior public spaces and the exterior architecture, which Perkins Eastman had labored to make both contextual to the waterfront’s industrial warehouse vernacular and inviting to the neighborhood, introducing strategic angles and cutaways that break down the massing to a more human scale. That sensibility repeats inside, in the form of elements like the canted oak-slat screen separating the south tower lobby and coffee bar; the fitness center’s ribbons of LEDs; and faceted ceiling planes that capitalize on the loftlike volume of the public spaces. “We took our cues from the building’s unusual shape,” Studios associate principal Myung Jung affirms.

“In the north tower, for instance, the hearth room ceiling is angled like the roof of a house, while, in the south tower dining room, we did the inverse form, which is more sculptural.”

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A play of similarity and difference distinguishes the two towers. “The north one is moodier and more refined, with darker wood finishes; the south one is lighter and more energetic,” Jung continues. Millwork, for instance, shifts from fumed eucalyptus paneling to paler Nordic-inspired white oak. Arrowstreet, which oversaw FF&E of the south tower and led the art program, ran with the peppier vibe. “The developer wanted to elevate the branding a bit and really create a lifestyle for the project,” director of interior design Sallyann Thomas Farnum reports. “We conceived the interiors so the residents get the VYV experience from the moment they walk in the lobby all the way through to arriving at their apartment.” Palette and motifs draw from and modernize the brand’s “prismatic” aesthetic, Thomas Farnum adds. The art program is most emblematic of that directive, with color-saturated abstractions by Stanley Casselman, Eric Freeman, J. Margulis, Jessie Morgan, and others.

Sophisticated jewel tones work well in the daylight-strewn spaces. Patterning throughout is replete with crisp geometrics. Furniture is elegantly minimalist and appropriately multipurpose. Trickiest was nailing seating in the coworking

area. “It was critical to get it right in terms of chair backs and such, making sure that someone could sit comfortably for an hour and work or take a phone call,” Thomas Farnum explains. “We also needed to specify furniture that felt residential rather than officelike but that had embedded technology.” A sign of the times on many levels, she and her Arrowstreet team made sure that even seating in the alfresco barbecue and lounge areas was suitable for work sessions.

An exception, perhaps, is Pavilion, a habitable interactive sculpture by Irish-born local artist Maximilian Pelzmann. It anchors the deck’s southeast corner and has become a favorite hangout spot of residents, young and old, who are wont to drape themselves on its inviting orange curves, a perfect spot for gathering—or for getting away from it all.

PROJECT TEAM LIZ MENDELSOHN: ARROWSTREET. YI-JEN HUANG; JOHN PEARS; MEGAN MC CRARY: PERKINS EASTMAN. BRIAN PILOT; GRAHAM CLEGG; JYUTIKA BAHETI; HIROSHI JACOBS; JENNIFER HICKS; THOMAS ZAPOTICZNY; MIRANDA KONTNER; KATHRYN VERGEYLE: STUDIOS ARCHITECTURE. DRESDNER ROBIN:

Left, from top: The north and south towers, completed two years apart, are connected by an LED-illuminated ribbon that extends from the plaza level to the eighth-floor amenity podium and contain 853 units; photography: Andrew Rugge/courtesy of Perkins Eastman. Flooring of wood-look LVT and rubber anchors the gym, illuminated by linear LED pendants. Right: A view from the communal kitchen shows an untitled acrylic on linen by James Miller and the adjacent lounge.

Opposite top: The terrace room in the north tower features fumed eucalyptus paneling and Patricia Urquiola chairs. Opposite bottom: Her Tufty Time sectional sofa and Bette Klegon Halby’s site-specific ,shaped and molded acrylic on canvas outfit the nearby hearth room.

LANDSCAPE CONSULTANT. LAM PARTNERS ARCHITECTURAL LIGHTING DESIGN: LIGHTING CONSULTANT. GREEN VILLAIN: ART CONSULTANT. MC NAMARA SALVIA; WSP: STRUCTURAL ENGINEERS. COSENTINI; MGENGINEERING: MEP. SUFFOLK CONSTRUCTION COMPANY: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT BONALDO: COMMUNAL TABLE (LOBBY). STILLFRIED: CHAIRS, STOOLS. THE RUG COM­ PANY: RUG (DINING ROOM). PORCELANOSA: FLOOR TILE. CATTELAN ITALIA: TABLE. PRATO SETTE: CHAIRS. LINDSLEY: PENDANT FIXTURES. MAHARAM: WALL COVERING. INTERFACE; PLITEQ: FLOOR­ ING (GYM). CORONET: LIGHTING. KEMBER LAM: PANELING. FLOR: CARPET TILE (LOUNGE). LA CIVI­ DINA: TABLES. TABU: PANELING. ANDREU WORLD: SOFA (LOUNGE), CHAIRS, TABLE (TERRACE ROOM).

BERNHARDT TEXTILES: BENCH FABRIC (TERRACE ROOM). ARCHITECTURAL VENEERS: PANELING. NOW EDIZIONI: WALL COVERING. RESTORATION HARDWARE: RUG (TERRACE ROOM), TABLE (HEARTH ROOM).

STONE SOURCE: FLOOR TILE (TERRACE ROOM, HEARTH ROOM). B&B ITALIA: SOFA (HEARTH ROOM).

TIBETANO: RUG. SPARK MODERN FIRES: FIREPLACE. THROUGHOUT HANOVER: CONCRETE PAVERS. SYNLAWN: SYNTHETIC LAWN. JUNCKERS: WOOD FLOORING. BAMCO METALS: EXTERIOR PANELS.

See page 150 for more on VYV’s art program.

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CARDINAL; PEERLESS PRODUCTS: WINDOWS. KAWNEER: CURTAIN WALLS.

“A play of similarity and difference distinguishes the two towers”

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e t c.

This page, from bottom: Maximilian Pelzmann sanding his ma­quette for Pavilion at VYV. The Jersey City–based artist’s Cloud Form, in Hydrocal-coated high-density recycled foam core. Harmony of Sound, a trio of sculptures in lost wax–cast bronze with high-polish patina, also at VYV; photography: Eric Laignel. His second studio in San Sebastian, Spain.

Photography: courtesy of Maximilian Pelzmann.

Opposite, from top: Stanley Casselman forcing acrylic through a polyester screen with custom spreaders; photography: courtesy of Stanley Casselman. His Liquid (Z8M1), in chrome over synthetic polymer on polyscreen, in VYV’s south tower lobby; photography: Eric Kieley.

His atelier at Mana Contemporary; photography: Eric Laignel.

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With paintings and sculptures threaded through the public spaces, artwork is fully integrated into the VYV experience. The program both reinforces the development’s energetic yet sophisticated brand identity and also celebrates Jersey City’s strong local arts scene, which is anchored by a renowned institution: Mana Contemporary, a studio and ex­hibition center located in a converted tobacco warehouse nearby.

Two internationally exhibited artists with ateliers at Mana feature prominently at the VYV buildings.

Maximilian Pelzmann, who has a second studio in Northern Spain and is known for small and large sculptures in such mediums as glass, bronze, and foam core, contributed the large-scale Totem and Pavilion to the project’s amenity deck (see pages 145 and 146). Then, in one of the lobbies, are compositions by painter Stanley Casselman. For his Liquid Series, he creates intriguing abstractions by pushing acrylic paint or synthetic polymer through the backside of polyester screens and then manipulating them medium further with custom spreaders; the pieces are then surfaced with a layer of silver nitrate.

Though the VYV collection, which also includes works by Bette Klegon Halby, J. Margulis, and Jessie Morgan, is museum-quality, the goal ultimately was to create a homey vibe. “The art is there,” explains Sallyann Thomas Farnum, director of interior design at Arrowstreet, which led the program, “to make sure the spaces feel residential.”

artists in residence

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history in the making Modern building technologies combine with ancient references in a mix of centuries-old and new projects around the globe text: annie block

See page 160 for the Kadokawa Culture Museum and Musashino Reiwa Shrine in Saitama, Japan, by Kengo Kuma and Associates. Photography: Jimmy Cohrssen.

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David Chipperfield Architects Berlin project Jacoby Studios, Paderborn, Germany. standout What had been a late 1600’s monastery turned hospital is now the headquarters of DIY-craft market business group Tap Holding and its 100-plus staffers, with the former chapel’s sacristy converted into a skylit main reception, the cloister remains planted with gardens by Wirtz International, new Tudorfer Pflaster cobblestone and repaired brick throughout, and a neutral envelope of screed and oiled white oak. photography Simon Menges.

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“We created a new urbanistic whole—and a stimulating workplace—out of fragments”

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“Historic and modern architecture can go hand in hand, truthfully and without imitations or compromise”

Atelier-R project Helfštýn Castle, Czech Republic. standout The restoration and reconstruction of the site’s 16thcentury palace began with a 3-D model based on thousands of drone photographs, which enabled the mapping of all necessary plaster and Moravian droba stonework modifications as well as the insertion of new elements, such as Corten footbridges, polished concrete flooring, steel-beamed glass roofs topping five chambers, and long oak benches placed outside them. photography BoysPlayNice.

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“The white purity highlights and contrasts the original structural concrete, while the playful yellow delineates the museology”

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Kanva with Neuf Architect(e)s project Montreal Biodome. standout Occupying the 160,000square-foot former velodrome built for the 1976 Olympic Games, the science museum that’s now home to thousands of plant and animal species—penguins, macaws, Canadian lynx—retains its architectural heritage with the insertion of a biophilic skin made from Batyline and Precontraint that reaches 37 feet, plus other freestanding elements, and is capped with massive skylight panels. photography clockwise from top left: James Brittain (4); Marc Cramer.

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Kengo Kuma and Associates project Kadokawa Culture Museum, Saitama, Japan. standout Part of the new Tokorozawa Sakura Town development, for which the Interior Design Hall of Fame member also conceived a reinforced-concrete shrine, the five-story granite structure, its form representing magma rising from the cracks in the colliding tectonic plates that created the region’s Musashino Plateau, is a hub for all genres of art—anime, natural history, books—the centerpiece being a 26-foot-tall library that accommodates 50,000 volumes and, with the activation of projection mapping, functions as a bookshelf theater. photography Jimmy Cohrssen.

“We incorporated the strength of nature into architecture, as if the earth had risen as it was, an expression of stones as if they were a real mass of lava”

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books Designing Paradise: Tropical Interiors by Juan Montoya

by Jorge Arango New York: Rizzoli International Publications, $65 256 pages, 178 color illustrations

In 1988, Juan Montoya became one of the first and youngest designers to be inducted into the Interior Design Hall of Fame. The Bogotá, Colombia, native creates elegant interiors for city apart­ ments and country estates, for hotels and motion-picture studios. He delights clients with surprising but perceptive juxtapositions of furnishings and accessories based on an encyclopedic knowledge of decor from many places and times.

This new book focuses on seven commissions for paradisiacal sites in Florida, Mexico, and the Dominican Republic. The projects are ap­ pro­p­riately relaxed and informal, but they all continue the Montoya magic of imagination and wit. Palm thatch roofs shield contemporary sofas; a Fortuny silk chandelier lights an art deco games table; a 17thcentury Mexican candelabra is flanked by Aztec warrior prints; bronze Moro­ccan lanterns glow on a terrace in a palm grove; a freeform Savoy vase by Alvar Aalto is reflected in a black marble counter­ top; Mexican mer­cury-glass lamps sit on a pair of nightstands by Frank Lloyd Wright. It all works.

“As much as these homes are escapist fantasies, they are also rooted to their geographic locations,” Arango writes. “While their sense of lux­ury is palpable, so is their lack of pretension.” What more could one wish for, even in paradise?

The Essential Louis Kahn

by Cemal Emden New York: Prestel Publishing, $50 320 pages, 206 illustrations (140 color)

There are a few architects of whose work we can never get enough.

Andrea Palladio was one, Frank Lloyd Wright another, and, closer to us in time, so was Louis Kahn. The most complete authority on his oeuvre remains Louis I. Kahn: In the Realm of Architecture, David B. Brownlee and David G. De Long’s 450-page book from 1991, which accompanied a retrospective exhibition tour­ ing museums in the U.S., Japan, and France.

Other notable books on Kahn have been written by John Lobell (reviewed here last August), Carter Wiseman, Romaldo Giurgola and Jaimini Mehta, and Vincent Scully.

This latest entry—credited to photographer Cemal Emden, with chapter openers by Caroline Maniaque (another author of an earlier Kahn book), an introduction from Jale Erzen, and an illustrated chronology of Kahn’s complete work compiled by Ayşe Zekiye Abali—not only includes fine color photographs that display our favorite designs from new angles but also has the great asset of being able to include the Franklin D. Roosevelt Memorial Four Freedoms Park in New York, designed by Kahn in 1973 but completed in 2012, almost 40 years after his death. It stands as one of his simplest and strongest—and perhaps most profoundly moving—projects.

What They’re Reading...

Against Nature

by Joris-Karl Huysmans New York: Penguin Classics, $16 228 pages

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Marc Ange Founder of Studio Ange BOTTOM RIGHT: HANANE EL MOUTII

“This is the second time I’ve read this translated French novel that dates to 1884. I picked it back up because I was seeking aesthetic inspiration during this period of visual emptiness. The beauty lies in the lascivious rhythm of its narrative and the almost maniacal precision in its descriptions. It conceals an infinity of visual creative inputs and is an endless source of design stimulus. In fact, it’s been a source of inspiration in my concept for a new high-end restaurant in L.A. I can’t give more details yet, but I can say that the first step of the process was done with help from Huysmans.”

IMAGINE | RENEW | DISCOVER 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 | M-F 9-5 | ADBUILDING.COM

DESIGNERS IN SPECIAL FEATURE Atelier-R (“History in the Making,” page 152), atelier-r.cz.

c o n ta c t s

David Chipperfield Architects (“History in the Making,” page 152), davidchipperfield.com.

Kanva (“History in the Making,” page 152), kanva.ca.

Kengo Kuma and Associates (“History in the Making,” page 152), kkaa.co.jp.

Neuf Architect(e)s (“History in the Making,” page 152), neufarchitectes.com.

PHOTOGRAPHERS IN FEATURES Sergey Ananiev (“On the Avenue,” page 112), sergeyananiev.ru.

Jörgen Camrath (“Full Circle,” page 136), oca.me/ich/.

Studio Flusser (“Going for the Win,” page 128), studioflusser.com.

Eric Laignel Photography (“The Art of Living,” page 144), ericlaignel.com.

Alexey Narodizkiy (“On the Avenue,” page 112), narodizkiy.com.

Gustav Willeit (“Full Circle,” page 136), guworld.com.

Daniel Zangerl (“Full Circle,” page 136), danielzangerl.com.

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DANIEL ZANGERL

Interior Design (USPS#520-210, ISSN 0020-5508) is published 16 times a year, monthly except semimonthly in April, May, August, and October by the SANDOW Design Group. SANDOW Design Group, 101 Park Avenue, 4th Floor, New York, NY 10178, is a division of SANDOW, 3651 NW 8th Avenue, Boca Raton, FL 33431. Periodicals postage paid at New York, NY, and additional mailing offices. Subscriptions: U.S., 1 Year: $69.95; Canada and Mexico, 1 year: $99.99; all other countries: $199.99 U.S. funds. Single copies (prepaid in U.S. funds): $8.95 shipped within U.S. ADDRESS ALL SUBSCRIPTION RE­QUESTS AND CORRESPONDENCE TO: Interior Design, P.O. Box 16479, North Hollywood, CA 91615-6479. TELEPHONE TOLL-FREE: 800-900-0804 (continental U.S. only), 818-487-2014 (all others), or email: subscriptions@interiordesign.net. POSTMASTER: Send address changes to INTERIOR DESIGN, P.O. Box 16479, North Hollywood, CA 91615-6479.

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INTERIOR DESIGN

APRIL.21

design

annex Kaswell Flooring Systems Wide Slat Edge Grain, shown here in a fumed oak ladder pattern, is a modern yet classic way to make any interior come to life. Available in several species and patterns, each panel comes in 6.25” width and length can vary from 12”-24”. FSC certified upon request. Please visit our website to request samples or more information. t. 508.881.1520 kaswell.com

Infinity Drain Next Day Custom Next Day Custom by Infinity Drain offers a perfectly aligned solution for exactly wall-to-wall, flush against the wall™ linear drain installation – without the wait. Two finishes, three grate styles and for all waterproofing methods. infinitydrain.com

PCS82B/U1 Pop-Up Power Grommet Put convenient power and USB charging options within reach! Press to pop up, press down to close. Mounts into work desks or any other type of furniture – at home or in the office, wherever convenient access to power is needed. t. 800.523.1269 mockett.com

Sonoma Forge Designer Faucets The Brut Kitchen faucet with Pull-Out Hand-Spray makes a strong design statement in country farmhouses to urban lofts. Matching prep faucets and accessories.

Choice of finish. Also see our bath Collections, including the iconic WaterBridge exposed shower. Forged in America. t. 800.330.5553 sonomaforge.com

APRIL.21 INTERIOR DESIGN

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West Thames Bridge by WXY Architecture + Urban Design Photography by Albert Vecerka / ESTO

May 13-18 2021 May 13 Architecture

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May 14 Graphics + Branding May 15 Outdoors May 16 Interior Design May 17 Product Design May 18 Digital + Technology Brought to You By Material Bank

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animal kingdom Although the U.S. ranks highest in pet-care spending per person, the Czech Republic is among the top 20 countries of dog and cat populations. At Hunting Grounds, a templelike crematorium in Žižice by Petr Hájek Architekti, man’s best friends can not only get a special sendoff but their owners may also experience what the great beyond might look like for them.

The site itself is unique: a 3,000-square-foot decommissioned military bunker. It’s one of several at the Drnov Air Defense Site, the Cold War fortification turned museum and tourist destination situated approximately 25 miles northwest of Prague.

The underground concrete structure remains mostly in its original form, except for an ethereal transformation near the building’s entrance. Running perpendicular to a pair of concrete-block walls, Petr Hájek installed a monumental panel finished with a reflective mirrorlike surface that channels the works of Anish Kapoor and Richard Serra.

“It’s like moving toward a liquid wall,” Hájek says of the 20-by-36-foot expanse onto which he and his team glued 6,000 pieces of aluminum-coated polycarbonate by hand, so that each has a slightly different tilt and angle. The resulting image is a mosaic abstraction of the surrounding landscape that seems to shimmer and flicker as visitors walk by. “It’s like a gate to another dimension,” the architect notes, “and adds a mystical feeling.” —Wilson Barlow

RADEK ÚLEHLA/COATMEN

i n t er vention APRIL.21

INTERIOR DESIGN

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