Interior Design April 2022 – 90th Anniversary by Interior Design Magazine

APRIL 2022

90 th anniversary vision imagine / hope / believe / create / innovate / thrive

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CONTENTS APRIL 2022

VOLUME 93 NUMBER 3

YEARS

ON THE COVER In the atrium of the Rock Ventures and the Rock Family of Companies headquarters in Detroit by Pophouse, a spiral staircase rises from a custom bench upholstered in Spinneybeck’s Volo leather and a mosaic-tile installation by Faile, their circularity chosen in part because of research suggesting that such forms spur creativity. Photography: James Haefner.

features 190 COMING AROUND by Jane Margolies

For the Detroit headquarters of Rock Ventures and the Rock Family of Companies, Pophouse captures the collaborative spirit of the client and the revitalizing city. 200 PLAYING THE ANGLES by Joseph Giovannini

Tilted facades, chaotic patterns, and vibrant colors lend a powerful dynamism to the Audrey Irmas Pavilion in Los Angeles by OMA. 210 HORSE SENSE by Rebecca Dalzell

Untrained as an interior designer, Jonathan Haddad of creative studio Sceners relied on his wide-ranging savoir faire for the renovation of an equestrian estate in Retie, Belgium.

100

220 BACK TO THE FUTURE by Annie Block

Modern projects from as early as the 1930’s are still relevant today, proving that form, function, and the pursuit of innovation can endure for nearly a century—just like Interior Design. 232 THE NEXT WAVE by Giovanna Dunmall

A growing congregation in northern Italy is blessed by San Giacomo Apostolo Church, a new complex by Benedetta Tagliabue-EMBT that’s both contemporary and contextual. 240 FLYING HIGH by Rebecca Lo

Echoing its meteoric success, inclusive clothing brand Bosie’s Shanghai flagship by Leaping Creative appears to soar in from outer space.

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CONTENTS APRIL 2022

VOLUME 93 NUMBER 3

YEARS

i. milestones of design 35 See who else is celebrating

a major anniversary in 2022 alongside Interior Design by Annie Block and Nicholas Tamarin

ii. icons of design 55 Renewed, refreshed,

or reconsidered, the work of the greats from the last 90 years continues to inspire and delight

iv. future of design

departments

137 Peer inside our crystal ball

27 HEADLINERS

for a look at what’s to come 139 ON THE OBLIQUE by Peter Webster 142 SHIFT WORK by Georgina McWhirter 144 AHEAD OF THE CURVE by Edie Cohen 146 OUT OF THIS WORLD by Lisa Di Venuta

57 LUDWIG MIES VAN DER ROHE by Laura Fisher Kaiser

148 UNDER THE MICROSCOPE by Wilson Barlow

65 CINI BOERI by Edie Cohen

152 PARTITION PLAY by Georgina McWhirter

71 HERBERT BAYER by Michael Lassell

154 PULP FACT by Wilson Barlow

79 KATE MILLETT by Osman Can Yerebakan

160 MATERIAL UNIVERSE by Dr. Andrew Dent

87 WALTER GROPIUS by Alan Powers

162 SUN WORSHIP by Mairi Beautyman

93 ALGONQUIN HOTEL by Stephen Treffinger

164 RARE BIRD by Edie Cohen

iii. objects of design

168 X FACTORS by Tate Gunnerson

101 These pages toast

significant manufacturer and product anniversaries by Rebecca Dalzell, Georgina McWhirter, Rebecca Thienes, and Stephen Treffinger

170 FROM THE GROUND UP by Georgina McWhirter 174 CLIMATE CONTROL by Nicholas Tamarin

250 BOOKS by Stanley Abercrombie 252 CONTACTS 255 INTERVENTION by Wilson Barlow

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Cheers to 90 more. Happy anniversary, ID!

e d i t o r ’s welcome We are rapidly getting to the point where we will stop measuring Interior Design years in relation to the human life span but instead with tree or tortoise age front and center. For my own account, as a role model of endurance, I am channeling the Vatican right now! I don’t exactly tick off all the boxes as a pope (ha!), starting from trifles such as not identifying as Roman Catholic and being a cheeky chick. Yet I own a huge supply of goodwill and, now as ever, boundless love. Some of it is owed to my family of course, but the balance goes squarely to our design community of readers, editors, colleagues, designers, and manufactures. Without your cohesive support, I couldn’t have successfully skippered this ship for 20 years and counting. Without your unbound vitality, energy, focus, and largerthan-life presence, we wouldn’t have reached this anniversary—and the enthusiastic greeting that follows—together.

Oh,I get by with a little help from my friends! So, without further ado: Welcome, everyone, to Interior Design’s 90th year of service! And add to that our just-as-long coverage of the design industry and our irrepressibly dedicated support for the craft. Most importantly, welcome, everyone, to this celebration of the countless tight relationships we’ve developed with designers, architects, makers, and other intimates over the last 90 years (and counting…). Some of those friends chose to say “Hi and congrats” inside (thanks, and love you all for that!) and others, whose work we feature in this issue, will surely become future partners. To all, however, we owed a unique keepsake volume. And to make it even more special, we cleared the floor of our regular departments and created chapters like a book (remember those?!). We begin with Milestones celebrating others, and guess who is reveling alongside us? Hint: maybe the most famous building block of all time and every young architect’s fave...LEGO! The next chapter is dedicated to Icons of Design, and I’m proud to report there are two women heavyweights included! We show off our manufacturers and their birthdays in Objects of Design, and then we look toward the future with stories on sustainability, community, technology, and boundless inspiration. All in all, this is our shared history of achievements, struggles, successes, and hopes for a brighter tomorrow through design—and you! We are 90 years young, but we don’t look a day over fabulous! xoxo,

Follow me @ thecindygram

APRIL.22

INTERIOR DESIGN

New Directions. Always Iconic.

Great & Grand Congratulations to Interior Design & to Cindy Allen on a combined 110 years of Excellence

headliners

Sceners “Horse Sense,” page 210 creative director: Jonathan Haddad. firm site: Paris. firm size: Three designers. current projects: Residences in Paris and Tel Aviv, Israel; an art gallery in Kronenberg, Netherlands. jamming: Haddad plays jazz guitar and piano. mixing: He also owns a liquor import company in Tel Aviv. sceners.co

“Design offers a corporeal answer to an ethereal process of creation” APRIL.22

INTERIOR DESIGN

Benedetta Tagliabue-EMBT “The Next Wave,” page 232 ceo, head architect:

Benedetta Tagliabue.

firm site: Barcelona,

Spain; Paris; Shanghai.

firm size: 25 architects

and designers.

current projects: Napoli

Centrale metro station in Naples, Italy; ClichyMontfermeil-T4 metro station in Clichy-sousBois, France; Fudan School of Management campus in Shanghai. honors: World Smart City Award; Piranesi Prix de Rome; ARVHA Prix des Femmes Architectes; RIBA Stirling Prize.

OMA “Playing the Angles,” page 200 partner: Shohei Shigematsu. associate: Jake Forster. firm sites: New York; Rotterdam, Netherlands; Hong Kong. firm size: 240 architects and designers. current projects: Tiffany & Co. Fifth Avenue flagship reno vation in New York; AlbrightKnox Art Gallery extension in Buffalo, New York; Toranomon Hills Station Tower mixed use development in Tokyo. honors: Territorio Creativo medal, CDMX World Design Capital; Wired Audi Innovation Award; AIA Honor Award. stateside: Shigematsu has been a visiting critic at the Harvard University Graduate School of Design in Cambridge, Massachusetts.

voter: Tagliabue has been a member of the Pritzker Architecture Prize jury since 2015. teacher: She has been a visiting architecture professor at Harvard and Columbia Universities. mirallestagliabue.com overseas: Forster earned his bachelor’s and master’s in architecture from the University of Cambridge in the U.K. oma.com

“Flying High,” page 240 founder, design director: Zen Zheng. firm site:

Guangzhou, China. firm size: 35 architects

and designers. current projects:

Xiaoxiandun Fresh Stewed Edible Bird’s Nest flagship in Beijing; Heytea Yongning Alley in Xi’an, China; H.E.A.T store in Nanjing, China. honors: Interior Design Best of Year Award; IDA Design Awards Bronze Prize.

Pophouse “Coming Around,” page 190 founder, creative director: Jennifer Gilbert. design director: Chrissy Fehan. firm site: Detroit. firm size: 16 designers. current projects: A space for WRKSHP musicianservices company and Pensole Lewis College of Business & Design student housing, both in Detroit. honors: Detroit Design Award. authority: Gilbert was included in Crain’s Detroit 2021 list of the 100 Most Influential Women.

clear head: Zheng’s new hobby is mountain hiking. clear skies: Aerial photography is another of his passions. leapingcreative.com

h e a d l i n e rs 28

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range: Fehan is an industrial, interior, and shoe designer who taught at College for Creative Studies, her alma mater. pophouse.design

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AT GENSLER, EVERYTHING WE DO IS GUIDED BY OUR MISSION: TO CREATE A BETTER WORLD THROUGH THE POWER OF DESIGN.

WE CELEBRATE INTERIOR DESIGN FOR 90 YEARS OF SERVING AS A BEACON OF LIGHT IN THE DESIGN INDUSTRY.

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BRAVO Interior Design for improving life through design for almost a century and to Cindy Allen, celebrating her twentieth year at the helm. Her talent, vision and hugs make us all our best design selves.

N O V I TÀ TWENTY FIVE YEARS PR · Marketing · Branding · Social Media novitapr.com · @novitapr · @designstandstogether

I.milestones of design See who else is celebrating a major anniversary in 2022 alongside Interior Design

See page 46 for The Mastaba, a project for Abu Dhabi, a concept conceived 45 years ago by Christo and Jeanne-Claude, captured here in February 1982 researching a site in the United Arab Emirates.

by Annie Block and Nicholas Tamarin APRIL.22

INTERIOR DESIGN

1. Founded in 1847 by Louis-François Cartier, the House of Cartier initially specialized in selling jewelry and works of art, but eldest son Louis shifted the 175-year-old brand to what we know today, thanks in part to inspiration he found in Islamic art, his collection of which is being celebrated in the Diller Scofidio + Renfro–designed exhibition, “Cartier and Islamic Art: In Search of Modernity,” that debuted at the Musée des Arts Décoratifs, Paris, and opens at the Dallas Museum of Art May 14 featuring a 1926 Cartier Paris vanity case in platinum, gold, onyx, diamonds, and emeralds. 2. Marking the bicentennial of the birth of Frederick Law Olmsted, perhaps best known for designing New York’s Central Park and Prospect Park and laying the philosophical foundation for the later creation of America’s national and state park systems, “Olmsted 200: Parks for All People” is uniting over 120 organizations in events, concerts, celebrations, and advocacy campaigns unfolding across the country all year. 3. In 1929, seven years after founding The Barnes Foundation, Dr. Albert C. Barnes and his wife Laura (left, in 1933) made their first of many trips to the American Southwest, initiating the couple’s collecting of Native American art; now, to kick off its centennial, the Philadelphia institution is presenting “Water, Wind, Breath: Southwest Native Art in Community,” its first exhibition dedicated to the subject, its myriad Pueblo and Navajo pottery, jewelry, and textiles, including Ramona Sakiestewa’s wool-cotton Basket Dance/11 from 1991, on view through May 15.

INTERIOR DESIGN

APRIL.22

CLOCKWISE FROM TOP LEFT: CHRISTOPHE DELLIÈRES; © MINISTÈRE DE LA CULTURE–MÉDIATHÈQUE DE L’ARCHITECTURE ET DU PATRIMOINE, DIST. RMN-GRAND PALAIS/ATELIER DE NADAR; COURTESY OF NATIONAL ASSOCIATION FOR OLMSTED PARKS (2); © RAMONA SAKIESTEWA/COURTESY OF SAINT LOUIS ART MUSEUM, FUNDS GIVEN ANONYMOUSLY IN HONOR OF THOMAS O. MORRIS; COURTESY OF THE BARNES FOUNDATION, AR.PHO.PEO.1.; NILS HERRMANN, CARTIER COLLECTION © CARTIER

milestones

he had us covered

milestones 38

INTERIOR INTERIOR DESIGN DESIGN APRIL.22 APRIL.22

Jeremiah Goodman would have become a centenarian this October. Although we lost the renowned artist and Interior Design Hall of Fame member in 2017, at age 94, his spirit and talent live on in perpetuity through the dozens of covers he illustrated for the magazine between 1952 and 1967. Among the standouts that would likely fly off newsstands today are his pink-and-white confection from May 1953 and verdant yet minimalist salon from November 1952. In addition to his magazine work, Goodman was invited into the private spaces of such notables as Carolina Herrera, Pablo Picasso, and Diana Vreeland to paint portraits of their rooms, either in gouache or watercolor, as seen in the Paris office of the late head of Fiat, Gianni Agnelli (above). Many of these were chronicled in Jeremiah: Inspired Interiors, his second monograph published by PowerHouse Books, released posthumously in 2018. Today, his illustrations are in the permanent collections of the Cooper-Hewitt, Smithsonian Design Museum and the Metropolitan Museum of Art.

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In 1922, Henry Ford purchased the Lincoln Motor Company from inventor Henry Leland for $8 million. Over the last century, with concepts like the 1955 Futura (top), Lincoln’s craftsmanship has captured the attention of such luminaries as Thomas Edison and Frank Lloyd Wright— and now a new generation, as witnessed in the ArtCenter College of Design Anniversary concept car (below). “As we prepare for an electrified future by 2030, we’ll continue to build on our DNA, thinking about the cabin as a we space, not just a me space,” Lincoln global design director Kemal Curić says. “Imagine a rejuvenate mode that would create a personalized sensory environment through displays, lighting, climate, audio, even scent.”

cruise control

milestones

on fire

FROM TOP: COURTESY OF LINCOLN MOTOR COMPANY (3); COURTESY OF ZIPPO

In the nine decades since George G. Blaisdell founded Zippo, no one has ever spent a cent on the mechanical repair of patent number 2032695. Originally sold for $1.95 and backed by Blaisdell’s lifetime guarantee “It works or we fix it free,” millions of WWII personnel established the lighter as an icon the world over. “The shape and functionality are globally recognizable, but many people say it’s the unmistakable ‘click’ that enhances the status,” associate vice president of global marketing Lucas Johnson says. “In fact, it’s one of the few products in the U.S. to be sound-trademarked.” In 2012, Zippo’s 80th anniversary year, production of the lighter surpassed 500 million.

INTERIOR DESIGN

APRIL.22

Photo Andrea Ferrari | Styling Studiopepe | Ad García Cumini

Portraits of me. Kitchen: Intarsio Design: García Cumini

Milano • New York • Paris

cesar.it

if you build it…

It was August 1932 when the LEGO Group was founded in Billund, Denmark, by Ole Kirk Kristiansen. Among the celebrations for its big 9-0 this year is the summer release of a special anniversary Lego set voted on by the public, the winner yet to be revealed. There have been additional milestones across the decades. One is LEGO House (below), a 130,000-square-foot experience center in Billund designed by fellow Danish entity Bjarke Ingles Group, the building’s composition of 21 staggered blocks resembling LEGO bricks when captured via drone. For International Women’s Day last year, LEGO relaunched one of its 1980’s ad campaigns—“What it is is beautiful.” (top middle)—centered on young female builders and modernized it by allowing parents to upload an image of their daughter and her LEGO creation to the company website to generate a unique poster with such slogans as “What it is is original.” and the hashtag #legofuturebuilders. Collaborations have been stacking up, too. Among the noteworthy are sneakers with Adidas, the Launderette of Dreams installation with Yinka Ilori, and the LEGO Collection x Target (top left). LEGO, by the way, is an abbreviation for leg godt, Danish for play well.

COURTESY OF THE LEGO GROUP

milestones

INTERIOR DESIGN

APRIL.22

f ur n i t u re

lig h t in g

d d cny c . c o m

o utdo o r

a c c e sso r ie s

syste m s

milestones

everlasting style

CLOCKWISE FROM TOP LEFT: © GARY HUME. ALL RIGHTS RESERVED, DACS/ADAGP, PARIS, © CENTRE POMPIDOU, MNAM-CCI/PHILIPPE MIGEAT/DIST. RMN-GP; © YVES SAINT LAURENT AND NICOLAS MATHÉUS (2); © ESTATE OF JEANLOUP SIEFF AND CENTRE POMPIDOU, MNAM-CCI, DIST. RMN- GRAND PALAIS/IMAGE CENTRE POMPIDOU, MNAM-CCI; COURTESY OF THE FONDATION PIERRE BERGÉ–YVES SAINT LAURENT

Six institutions to celebrate 60 years. That’s the innovative approach the Fondation Pierre Bergé–Yves Saint Laurent is taking to mark the anniversary of Saint Laurent’s first runway show, on January 29, 1962, when he was a mere 26 years old. The exhibition, dubbed “Yves Saint Laurent aux Musées,” celebrates both the French clothing designer’s mastery and art in general throughout a half dozen Paris museums: the Centre Pompidou, Musée d’Art Moderne de Paris, Musée du Louvre, Musée d’Orsay, Musée National Picasso-Paris, and Musée Yves Saint Laurent Paris, the latter, which opened in 2017, showcasing the Hommage à Piet Mondrian (bottom right) and Hommage à Tom Wesselmann (far right) dresses from 1965 and 1966, respectively. Five years later was when French photographer Jeanloup Sieff captured the courtier in black and white (bottom left), which appears at the Centre Pompidou. The program runs through May 15.

INTERIOR INTERIOR DESIGN DESIGN APRIL.22 APRIL.22

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milestones

1. Main Event 2022 is the April 30 gala celebrating 50 years of the boundary-pushing creativity of SCI-Arc, the private Los Angeles university focused on architecture— and the intersection of innovation and humanity, which this anniversary branding image illustrates via a playful reference to the creation of Adam—that counts Shigeru Ban and Barbara Bestor among its notable alumni. 2. Air France established Meridien Hotels in 1972, the first in Paris; today, the Marriott International–owned brand is called Le Méridien Hotels & Resorts, has grown to over 100 properties worldwide, including the new Le Meridien Maldives Resort & Spa (top) and the historic Le Méridien Barcelona in Spain (bottom), and, for its 50th anniversary year, looks forward to opening Le Royal Méridien Doha and Le Méridien Hualien Resort.

4. “Portrait of Nation II: Beyond Narratives” celebrates five decades of visual arts in the United Arab Emirates, a highlight being The Mastaba, a project for Abu Dhabi, the only permanent work by Christo and Jeanne-Claude that consists of 410,000 multicolored steel barrels stacked into a 492-foot-high mosaic echoing Islamic architecture, an idea first conceived by the couple in 1977 and now being carried out, posthumously, in the Liwa desert by Christo’s nephew Vladimir Yavachev and the Christo and Jeanne-Claude Foundation.

INTERIOR DESIGN

APRIL.22

CLOCKWISE FROM TOP LEFT: COURTESY OF PLAYLAB; COURTESY OF LE MÉRIDIEN HOTELS & RESORTS (2); COURTESY OF THE CHRISTO AND JEANNE-CLAUDE FOUNDATION; WOLFGANG VOLZ/COURTESY OF THE CHRISTO AND JEANNE-CLAUDE FOUNDATION; COURTESY OF SMILEY

3. Also created in 1972, by French journalist Franklin Loufrani for the newspaper France Soir, the Smiley trademark has become one of the most recognizable icons in graphic design, not to mention on Smart phones in the form of emojis, thanks to Loufrani’s son Nicolas, who also launched the nonprofit Smiley Movement in 2017.

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1965 1952

1961 1932

1971

1942

1970

That’s the buzzy moniker Cindy Allen coined for the prized top spot of every issue of Interior Design. She should know: As editor in chief, she has selected more than 300 of them in her 20year tenure (see page 50 for more on this). The covers have certainly evolved since the magazine’s inception in 1932, then called the Decorator’s Digest; it became Interior Design and Decoration in 1937, and its current title in 1951. In her letter for the March 2017 issue, celebrating our 85th anniversary, Allen wrote, “The future is rushing in”— an apt observation then and a particularly prescient one for now, as we all pivot eagerly back to normal as the COVID-19 pandemic recedes. But what has never diminished is our dedication to the unequaled talents, unmatched work, and everevolving business of design—and to showcasing the very best visuals.

the covetable cover

INTERIOR DESIGN

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MAY 31 2019

JULY 2019

milestones

what a looker! spring market tabloid

swimmingly

2019 2019 MARCH 2021

DECEMBER 21, 2019

waves of wellness

curve-a-licious

2014 2021 2014 2020 SEPTEMBER 2014

OCTOBER 31 2020

2004 2001 (CINDY ALLEN’S FIRST COVER)

new york nonstop

2019 2022 JANUARY 2019

eye-catching!

FEBRUARY 2022

fall market tabloid

DECEMBER 2008

JULY 2015

bright bold bubbly

ab ig imp res sio n

BestofYear

2008 2015 2009 2020 DECEMBER 2009

FEBRUARY 2020

the stars align

eye on the future

bestofyear

2020 vision

APRIL.22

INTERIOR DESIGN

HARRY ANDERSON SHERMAN EMERY

STANLEY ABERCROMBIE

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“To be one of only five editors is such a treasure,” Cindy Allen says, referring to Mayer Rus, Stanley Abercrombie (still the magazine’s books editor), Sherman Emery, and Harry Anderson, the founder and original publisher of the magazine. Allen is not only the second longest–serving editor (she's actually been at the helm for almost 21 MAYER RUS years) but also the only woman. “September 2001 was my first issue,” she recalls. “Highs and lows come with the territory, but my desire to create community, to support change has remained constant.” Before being named editor, Allen began her term at Interior Design as the marketing director—an experience that makes her uniquely positioned to man today’s digitally disrupted ship, which she has helped morph from a monthly print issue to a multimedia content generator and global design media brand. “I'm dedicated to supporting the industry, whether in print or pixels.”

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

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CINDY, CONGRATULATIONS ON 20 YEARS AS EDITOR IN CHIEF OF INTERIOR DESIGN. 90 NEVER LOOKED SO GOOD, HAPPY ANNIVERSARY INTERIOR DESIGN!

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See page 71 for Herbert Bayer, the Bauhaus-trained resident architect and graphic designer at Colorado’s Aspen Institute, where two of his seminal buildings have recently been renovated.

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Ludwig Mies van der Rohe The only public library the great architect ever designed gets a major overhaul, 50 years after it opened FROM TOP: TRENT BELL; WERNER BLASER

From top: Washington’s Martin Luther King Jr. Memorial Library, designed by German-American architect Ludwig Mies van der Rohe (1886-1969), opened in 1972, and recently renovated by Dutch firm Mecanoo and local studio OTJ Architects. Mies, as he was commonly known, relaxing with an ever-present cigar in 1964.

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CLOCKWISE FROM TOP LEFT: MECANOO; ROBERT BENSON; TRENT BELL

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“God is in the details,” as Ludwig Mies van der Rohe liked to say. That might explain why architect Francine Houben—creative director and founding partner of Mecanoo, which, together with OTJ Architects, modernized the architect’s Martin Luther King Jr. Me morial Library in Washington—often felt like Mies was “watching over one shoulder while over the other was Martin Luther King Jr.” Commissioned in 1966, the city’s flagship public library was the only one Mies ever designed, but neither the ar chitect nor the slain civil rights leader lived to see its completion in 1972. The 39,600squarefoot black box, a rectan gular form with three glazed floors that float above a ground floor recessed be hind a colonnade of black steel columns, suffered from years of delayed mainte nance. The landmarked building had sprouted leaks, mold, and police tape (in places where windows frequently popped out of the expanding and con tracting steel skeleton). Navigating the grim, garishly lit central stairs—actually enclosed behind metal fire doors—was a “terribly scary experience,” Houben says, although she was amused to see that patrons regularly staked out Mies’s coveted Barcelona chairs in the Great Hall lobby. Mecanoo made the forbidding struc ture more inviting starting with the entry, where glazing replaced part of a brick wall to open sightlines onto a new ser pentine stair, which provides vertical circulation all the way up to an entirely new fifth floor. In the Grand Reading Room on the third floor, the firm punched out part of the ceiling and filled the space with colorful spiral mobiles by Black fiber artist Xenobia Bailey to vis ually connect with the room above. The civil rights leader might have ap preciated Houben’s guiding principle “to reduce things to the essence” through “a clear architecture” and “honesty of materials.” With its brighter, more

ROBERT BENSON

Clockwise from top left: The Great Hall lobby, pre-renovation, furnished with Mies’s Barcelona chairs. Xenobia Bailey’s artwork hanging from the Grand Reading Room’s newly raised ceiling. One of two new staircases. The lobby’s freshly installed stadium seating beneath a restored 1986 mural by Don Miller. APRIL.22

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CLOCKWISE FROM TOP LEFT: TRENT BELL (3); ROBERT BENSON

Clockwise from top left: A white-oak slide, descending from the second-floor children’s library. Created by removing a brick wall, a sunken-terrace garden outside the new café. The 291-seat double-height auditorium, made possible by an added fifth floor. The new green roof.

energy-efficient curtain wall and rooftop public garden, the library more than ever embodies King’s dictum that “darkness cannot drive out darkness; only light can do that.” Mecanoo’s thoughtful, sentient reactivation is not only “more Mies than Mies,” Houben says, but also embodies his definition of architecture as “the will of an epoch translated into space: living, changing, new.” —Laura Fisher Kaiser

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Cini Boeri Two houses in Sardinia exemplify the pioneering Italian architect’s ability to combine creativity, functionality, and economy in designs of substance, wit, and verve From top: The sophisticated curved form of Casa Rotonda by Cini Boeri (1924-2020) blending effortlessly into the wild Sardinian landscape. Italy’s first important postwar female architect and designer, photographed in her Milan studio.

FROM TOP: HELENIO BARBETTA/LIVING INSIDE; COURTESY OF CINI BOERI ARCHITETTI

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Clockwise from top left: A built-in sofa, echoing the curve of the living room wall in Casa Rotonda. Access to the house via stairs and a pathway from the shore. Casa Bunker’s teak-board terrace, an open-air extension of the glasswalled living room. An outdoor fireplace built into the sloping wall at the back of the house. Resembling a brutalist tent, the reinforced-concrete structure perched on the rocky shoreline. Partly enclosed by bedroom wings, Casa Rotonda’s circular central patio with stairs to a rooftop terrace.

HELENIO BARBETTA/LIVING INSIDE

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Not so long ago, in Italy, women architects were few and far between. In fact, when Cini Boeri graduated from the Politecnico di Milano in 1951, she was one of only three. Through the course of her career, starting as an intern for Gio Ponti, then collaborating with Marco Zanuso before establishing Cini Boeri Architetti in Milan in 1963, she rose to be Italy’s first prominent postwar female architect and designer. Her furniture was particularly admired, much of it modular or made from a single material, like the allglass Ghost chair, which she created for Fiam in 1987. Boeri received the Compasso d’Oro Lifetime Achievement Award in 2011, the same year she was named a Grand Officer of the Order of Merit of the Italian Republic. Two seminal architectural projects were houses for her family: Casa Rotonda, for her sister-in-law, came first in 1966; Casa Bunker, for her

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own family, in 1967 (and beloved by three generations of progeny ever since). Both vacation properties are located on La Maddalena, an island off Sardinia in the Tyrrhenian Sea. At initial glance, they seem entirely dissimilar. Casa Rotonda is a shell-like curve, the living spaces atop the partly underground lower level’s water reservoir and service areas. Its taupe plaster is infused with crushed local rocks so that it blends with the rugged landscape, especially when viewed from the Gulf of Abbatoggia, which it overlooks. The residence’s sinuous form protects it from strong winds sweeping in from the sea, while its plan is organized around a central circular patio wrapped on one side by a wing for the family, and on the other, one for guests.

As its name suggests, the nearby Casa Bunker is tough and angular, its reinforced-concrete form clad in dark gray plaster, the color of a battleship. Despite these forbidding qualities, the house’s sloping walls give it the semblance of a brutalist tent that sits on the rocky landscape rather than being dug into it. Like its curvaceous sibling, Casa Bunker caters to family life, here accommodated by another central patio—this one a rectangular expanse of teak boards, accessed via the living room’s large, aluminum-framed glass door. Flanked by bedrooms, the sheltered space functions as an open-air living area with matchless views of the sea. Both dwellings exemplify Boeri’s lifelong quest for elegance, functionality, and economy in architecture, design, and life. —Edie Cohen

HELENIO BARBETTA/LIVING INSIDE

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Herbert Bayer Two of the architect’s seminal mid-century buildings at the Aspen Institute in Colorado get sympathetic makeovers From top: The 1964 Aspen Institute music tent, designed by Herbert Bayer (1900-1985) to replace the 1949 original by Eero Saarinen, and itself replaced in 2000. The Austrian-born, Bauhaus-trained architect and graphic designer in his studio at the Dorland advertising agency in Berlin around 1933.

FROM TOP: FERENC BERKO; BAUHAUS-ARCHIV BERLIN

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In 1949, Herbert Bayer—one of the Bauhaus’s most influential students, teachers, and proselytizers, and creator of the school’s hallmark sans-serif typeface—moved from New York to Aspen, Colorado, which Walter Paepcke was reinventing as a world-class ski destination. The industrialist also envisioned a multicultural think tank and asked Bauhaus founder Walter Gropius to design its plan. Gropius declined but recommended Bayer, who became the Aspen Institute’s resident architect and graphic designer for 25 years. Two of Bayer’s signature buildings have now been imaginatively brought into the 21st century. Bayer’s last Aspen project was the 1973 Boettcher Building, a cluster of octagonal seminar rooms arranged around an open courtyard. The task of salvaging the building was assigned to Rowland+Broughton, an Aspen-based firm known for historic preservation as well as new builds. “The open courtyard was just a snow collector in winter, and in summer you really wanted to go Clockwise from top left: Rowland+Broughton’s realization of the Boettcher Building’s Chromatic Gates, designed by Bayer but previously existing only as maquettes. Bayer on staff at the Bauhaus in 1927, photographed by Irene Bayer-Hecht, his first wife. A 1949 ski poster featuring Bayer’s Aspen-leaf logo. A geodesic dome built by R. Buckminster Fuller in the 1950’s as a pool canopy at the Aspen Institute’s Health Center, now used as a meeting space. The renovated Boettcher Building’s skylit central hub, formerly an open courtyard. Its new windows.

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CLOCKWISE FROM TOP LEFT: BRENT MOSS; BAUHAUS-ARCHIV BERLIN; HERBERT BAYER © 2022 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / VG BILD-KUNST, BONN / ASPEN HISTORICAL SOCIETY, BAYER COLLECTION; ASPEN HISTORICAL SOCIETY, DURRANCE COLLECTION; BRENT MOSS (2)

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“Bayer was one of the Bauhaus’s most influential students, teachers, and advocates, and creator of the school’s hallmark sans-serif typeface”

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all the way out into nature,” R+B cofounding principal Sarah Broughton says. “We enclosed the courtyard to function as the nucleus of the building and preserved the building using its own vocabulary in a way that allows for further evolution.” In 1954, Bayer designed three International Style “chalets” for the Institute’s Aspen Meadows Resort. To reinvent the interiors, the institute hired Michael Suomi, who recently founded his own firm, Suomi Design Works, after decades in the hospitality arena, including heading up one of the four firms that transformed Eero Saarinen’s 1962 TWA terminal at JFK airport in Queens, New York, into the Interior Design Best of Year Award–winning TWA Hotel. “The interiors of the resort’s 98 guest suites had been maintained, but they were redesigned in 1990,” he says. “Visually and conceptually, they were disconnected from the rest of the campus.” Suomi used “legacy” pieces of furniture and finishes sympathetic to Bauhaus origins. “I start a project like this by fully understanding its history and the people who came before me, because I’m just building on what they’ve already done. My goal was to have the guests come in and say, ‘Oh, this feels like it belongs here.’” —Michael Lassell

DAVID MITCHELL

Clockwise from top: A guest room in the Aspen Meadows Resort, designed by Bayer in 1954 and renovated this year by Michael Suomi Design. One of the resort’s three International Style buildings. A vibrant new work of art, com missioned for the renovation, combining multiple Bayer motifs. The guest room dining area, featuring American walnut tambour wallcovering, a Harry Bertoia chair, Greta von Nessen pendant fixture, and images by Bauhaus photographer Ferenc Berko.

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FROM TOP: © LINDA WOLF; COURTESY OF KATE MILLET AND SALON 94 DESIGN, NEW YORK, © KATE MILLETT

Kate Millett After more than half a century, an exhibition of surrealistic furniture by the feminist artist gets restaged From top: Kate Millet (1934-2017) in front of her 1977 sculpture, Kitchen Lady. Anthropomorphizing eyes painted on the backrest of Chair (1965).

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Clockwise from top: The seat legs of Piano & Stool (19651966), incorporating found leather boots. “Fantasy Furniture, 1967” at Salon 94 Design in New York, newly renovated by Rafael Viñoly Architects. Bachelor’s Apartment (1967), a fourlegged human body functioning as a cabinet with a toilet and faucet in the rear.

COURTESY OF KATE MILLET AND SALON 94 DESIGN, NEW YORK, © KATE MILLETT

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In the mid 1960’s, Kate Millett was busy creating a series of anthropomorphic pieces of furniture in her New York one-bedroom apartment, which she shared with her then-husband, sculptor Fumio Yoshimura. Fresh from studying sculpture in Japan, the thirtysomething feminist theorist, activist, and artist found herself surrounded by the DIY creativity of downtown Manhattan. The local hardware stores, cabinetries, seamstresses, and cobblers on the Bowery, where Millett lived, provided her with the material resources for carved-wood stools with human legs and leather shoes, a piano with its own pair of hands hovering above the keyboard, and other household items with humanoid appendages. In 1967, the Judson Gallery, one of the era’s most influential avantgarde art spaces, exhibited the witty pieces in an interior-like installa-

tion titled “Furniture Suite.” Millett’s seminal book Sexual Politics, which, like her artwork, critiqued patriarchal domesticity, would come out three years later, establishing its author as an international feminist leader whose fame would carry her to the cover of Time magazine in August of 1970. For more than five decades, the nine objects sat in the Upstate barn Millett shared with her life partner, Sophie Keir. Seeing guests interact with the pieces over the years encouraged the artist to expand Fantasy Furniture, as she came to refer to the collection. But she never made a return to the series. “A woman doing more than one job was quite unusual at the time. As a compartmentalized thinker, Kate felt her scholarly work was being questioned due to her furnituremaker side,” notes Kier, who runs the late artist’s estate.

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Clockwise from top left: Dinner For One (1967), equipped with human limbs, including utensil-holding hands. The interplay of functionality and social critique in Millett’s furniture, mirroring Salon 94’s mission to blur the lines between art and design. Separated physically and emotionally, a sleeping couple in Bed (1965). Striped mattress-ticking upholstery on the piano seat. Uncle Louis Stool with Boots (1967), a signature combination of humor, theatricality, gender theory, and sculptural know-how.

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COURTESY OF KATE MILLET AND SALON 94 DESIGN, NEW YORK, © KATE MILLETT

This winter, however, New York gallery Salon 94 Design restaged the Judson installation as “Fantasy Furniture, 1967.” “I was fascinated by how Millett diffused an element of play to her anger for being stuck with inanimate house objects and a husband,” Salon 94 owner Jeanne Greenberg Rohatyn says. “As a scholar who was so occupied by women’s rights, she had to develop a sense of humor to stay sane,” Keir adds. The show demonstrated that the human-furniture hybrids still hold a punch, playfully tackling the dysfunction of domestic union and codependency. Today, Keir and Greenberg Rohatyn rank Millett the artist alongside her New York contemporaries Marisol Escobar, Yoko Ono, Yayoi Kusama, and others who cemented the period’s boundary-pushing women’s art. “A time capsule of feminist history,” is how the dealer describes the show. As a new generation discovers Millett’s oeuvre on gender liberation, Keir believes her partner’s art furniture will be a significant part of the revival. —Osman Can Yerebakan

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TEXT ADAPTED FROM “BUILDING OF THE MONTH: AUERBACH HOUSE, JENA, GERMANY,” ORIGINALLY PUBLISHED ONLINE BY TWENTIETH CENTURY SOCIETY. FROM TOP: MICHEL FIGUET/LIVING INSIDE; BAUHAUS-ARCHIV BERLIN

Walter Gropius Thanks to a thoroughly researched and documented restoration by its current owners, the architect’s early 20th–century Auerbach house in Jena, Germany, is ready for its Technicolor close-up From top: A Rikizo Fukao painting and a Le Corbusier chair in the Auerbach house, a 1924 villa by Walter Gropius (18831969), in Jena, Germany, restored by Barbara Happe and Martin Fischer. The German-American architect and founder of the Bauhaus, photographed at the school in 1926 by Lucia Moholy, one of the institution’s most important early documenters.

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Although Walter Gropius continued his professional architectural practice after founding the Bauhaus—the legendary design school he ran in Weimar, Germany, between 1919 and 1928—there were only six private residences among the projects he completed before leaving the country permanently in the mid ’30’s. One of them, a villa in the nearby university town of Jena, was a 1924 commission from physics professor Felix Auerbach and his wife, suffragist Anna Silbergleit. Art and music lovers—Edvard Munch’s 1906 portrait of Auerbach, a gift from Silbergleit, hung in their new home—they embraced the modular system Gropius was developing, which treated the villa as if it was a threedimensional composition made of interpenetrating volumes or “Baukasten im Grossen” (Big Construction Kit), as he dubbed them.

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Thus, a two-story volume containing the main living areas interlocks with a taller structure housing service functions, with an asymmetrical shift between them. The house reflects another preoccupation of the early Bauhaus: the use of color as an essential element in architecture. One student, Alfred Arndt (1896-1976), who had just completed his journeyman’s exam in wall painting, was hired to design a color palette for the villa’s interiors. Putting theory into practice, Arndt applied color “constructively,” not restricting hues to individual wall or ceiling planes but allowing them to flow across room surfaces so they created an immersive experience of transitions and contrasts within the larger spaces. Arndt’s original scheme, 37 mostly pastel colors in all, was obscured over the years. Fortunately, the house was

MICHEL FIGUET/LIVING INSIDE

Clockwise from top left: A Louis Poulsen pendant fixture hanging before a Peter Halley acrylic on canvas in the dining room. High lighting architectural form, the color scheme by then Bauhaus student, later head of the school’s interior design department, architect Alfred Arndt. In the primary bedroom, a new carpet based on designs by Bauhaus student Gertrud Hantschk, later Arndt’s wife. New linoleum reproducing the house’s original flooring. The villa’s interlocking volumes, an early example of Gropius’s “giant building blocks” approach.

acquired in 1994 by Barbara Happe and Martin Fischer—an academic couple with a commitment to design as strong as the original owners’—and they set about meticulously restoring the dilapidated villa, including reinstating its original rainbow colors. This was possible since Arndt’s detailed plans survive, and the results vividly refute the common misperception that Bauhaus interiors were all gray and white. Fischer and Happe’s 2003 book documenting the project—The Auerbach House by Walter Gropius with Adolf Meyer—has been recently updated and reissued. As they say, “We could not live in white-painted rooms anymore.” —Alan Powers

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MICHEL FIGUET/LIVING INSIDE

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©Nic Lehoux

SEATTLE | NEW YORK

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Algonquin Hotel Stonehill Taylor’s sensitive renovation maintains the spirit of the legendary New York property Clockwise from top left: A photograph of the hotel around its opening in 1902. Lettered bottles resembling inkwells in the Blue Bar. Custom furniture for the new, relocated Algonquin Round Table. Custom ceiling fixtures in the lobby and restaurant referencing fictional New Yorker character Eustace Tilley.

CLOCKWISE FROM TOP LEFT: JOSEPH BYRON; ERIC LAIGNEL (3)

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Clockwise from top: Crushed velvet upholstery on the Blue Bar stools. A 1964 caricature of Carol Channing in Hello, Dolly! by New Yorker cartoonist and Algonquin regular Al Hirschfeld. The hotel’s 1950’s guest brochure. Bill Breck’s Round Table caricature from 1923. A new dining area off reception, where oak paneling has been restored and painted. Custom stanchion-inspired lighting in the restaurant.

How do you take the Algonquin Hotel, a designated New York City landmark that’s over a century old, and make it not only relevant for today but also retain elements of its storied past? It helps that Stonehill Taylor principal Sara Duffy grew up in Manhattan, occasionally dining at the 181-room property with her parents. “We really

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tried to touch every detail of the space while making sure that it still felt sophisticated and appropriate,” Duffy says. She and her team began with copious research into the history of the hotel, built in 1902 by architect Goldwin Starrett, making it one of the oldest continuously functioning in the city. This of course included reading about the storied Algonquin Round Table—a famous group of actors and journalists such as Harpo Marx and Dorothy Parker, her New Yorker office a block away—who gathered there daily at lunchtime for a decade beginning in 1919. Stonehill Taylor reimagined the rope stanchions that once kept prying guest eyes away from the table as light fixtures with curvy bulbs. The designers also unearthed hotel artifacts—vintage Christmas ornaments, books written by Round Table authors, typewriters, an original grandfather clock—and placed them around the space. “We took all these ideas and looked at them in subtle ways, never kitschy,” Duffy notes.

ERIC LAIGNEL

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CLOCKWISE FROM TOP LEFT: COURTESY OF THE AL HIRSCHFELD FOUNDATION; COURTESY OF THE ALGONQUIN HOTEL; COURTESY OF THE AL HIRSCHFELD FOUNDATION; BILL BRECK; ERIC LAIGNEL

“We tried to touch every detail while making sure it still felt appropriate”

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The renovation of the 7,000 square feet on the hotel’s first two floors encompassed larger gestures, too. One was the flow of the entry sequence. The original reception desk faced sideways to the entrance, so guests didn’t always know where to go after checking in; now it’s straight ahead of the front doors. The Blue Bar, which got its name

from colored gels, suggested by actor John Barrymore because he said actors look better in that type of light, was relocated to be more central. And the dark oak paneling in the public spaces has been restored and painted bright white. Some things, however, never change. Such as accommodating the Algonquin lobby cat, of which there have been many over the years, including the original, named Hamlet. Tiny steps and bookshelf nooks have been incorporated. But nearby fabrics are scratch-resistant. —Stephen Treffinger

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CLOCKWISE FROM BOTTOM: ERIC LAIGNEL (2); COURTESY OF THE AL HIRSCHFELD FOUNDATION

Clockwise from top left: A drawing of the Round Table presiding over Jamie Stern armchairs in a seating nook. A 1962 Hirschfeld sketch. Textured amber panels in the restaurant.

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III.objects of design These pages toast significant manufacturer and product anniversaries

guilt-free luxury It was 1972 when B&B Italia introduced Mario Bellini’s Le Bambole, which was revolutionary then for its lack of an obvious support structure and casual informality (as witnessed in this advertising campaign from that year). A 2007 reissue of the sofa had thinner proportions. But, back by popular demand, the 50th anniversary edition, launching this month, returns the seating to its plumper profile—and is environmentally sensitive to boot. A new hollow rotational-molded recycled polyethylene structure requires less foam to achieve its plushness and is assembled with zero adhesive. The soft, almost fleecy acrylic-blend upholstery, a French sablé called Sila, is also new, available in eight calming colors including Bluette. The entirety can be disassembled and recycled. The series includes the Bambola armchair, the Bibambola and Granbambola two- and three-seater sofas, and the Bamboletto double bed. bebitalia.com

FROM TOP: OLIVIERO TOSCANI/COURTESY OF B&B ITALIA;TOMMASO SARTORI

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SYSTEM 1.2.3.

FRITZ HANSEN

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WIRE CONE

“The anniversary designs convey the modern-day relevance of each piece” ARNE JACOBSEN

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EGG SWAN

PK61

nordic nostalgia Cabinetmaker Fritz Hansen began his namesake company in Copenhagen in 1872. Since then, the company’s visionary furniture by the likes of Arne Jacobsen, Poul Kjærholm, Verner Panton, and Hans J. Wegner have redefined the Danish design tradition and indeed modern furniture at large. To toast its 150th anniversary, the brand raises a glass to some of its most famous pieces, reinterpreted with the use of special fabrics, colors, and materials, including new versions of Jacobsen’s Egg and Swan chairs, first made for the SAS Royal Hotel in 1958. (They were initially prototyped in chicken wire and plaster.) There are also never-before-produced pieces by Kjærholm, as well as his renowned PK61 coffee table now fabricated in Norwegian marble. fritzhansen.com

SAS ROYAL HOTEL

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FLORENCE KNOLL

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cover girl

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The 1947 founding of Knoll’s textile division was sparked by the lack of upholstery options available in the post-war period. So, to cover her modernist furnishings, Florence Knoll turned to menswear fabric. Now, to celebrate Knoll Textiles’s 75th, the company launches eight updated archive textiles under the Heritage collection. Evolving the original design, Evelyn Hill’s open-net Filigree drapery from 1965 now comes in flame-resistant Trevira CS polyester and more colorways. 1972’s Rivers by Gretl and Leo Wollner switches from 3-meter cotton panels to a fullwidth repeat in bleach-cleanable polyester. Another standout is the handicraft aesthetic of polyester-blend Homage, which fuses three archival finds, Buster (1947), Jupiter (1967), and Marabu (1972), into an eccentric patchwork with contrast stitching. knoll.com

RIVERS

APR.22

COURTESY OF KNOLL

“We mined the archive for products ripe for revision”

Wallcovering: Santa Barbara | Textiles: Ravi, Felted Circles & Foster

H A N D CR A F T ED WA L LCOV ER I N G

memosamples.com

factory fresh Guido Drocco and Franco Mello’s 1972 Cactus was ahead of the bringing-the-outside-in trend. Standing over 5 ½ feet tall, the coatrack was originally offered in naturalistic green. Since then, it has appeared in myriad hues, even multicolored. But its biggest collaboration is for its half-century birthday. Gufram and the Andy Warhol Foundation for the Visual Arts have paired up to produce three limited editions in colors associated with the pop art icon: Andy’s Blue Cactus, Andy’s Yellow Cactus, and Andy’s Pink Cactus. (There will be 99 of each.) “We started off imagining how Warhol could have depicted the Cactus, then created the 3-D version by working with a trio of typically Warhol colors and highlighting their tips with black, just as in one of his screen prints,” Gufram owner and art director Charley Vezza says. Today’s incarnations are still produced from soft polyurethane using the original 1972 mold and painted with the company’s leather-look Guflac paint. gufram.it

ANDY’S BLUE CACTUS

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ANDY’S YELLOW CACTUS

ANDY’S PINK CACTUS

COURTESY OF GUFRAM

“I imagine Andy entering the Gufram lab in the ’70’s and exiting with a product just like this”

ENDURING BEAUTY.

OCEAN MASTER MAX CRESCENT

TUUCI.COM

o b j e c t s ofdesign

market EXPERIMENT 70

circling back Experimentation has long been central to Poggenpohl, the family business founded in 1892 in Herford, Germany, by Friedemir Poggenpohl. In 1970, industrial designer Luigi Colani created Experiment 70, a spherical blue kitchen intended as a futuristic impression of the year 2000. (If only Y2K had actually brought us such gems.) Echoing the same vibrant blue of that bubble kitchen, this year’s collection includes surfacing in a hue reminiscent of the Mediterranean Sea. That’s made by glazing lava stone with colored glass for a surface reminiscent in shine and craquelure, if not color, of the flowing magma from which the lava rock was formed 11,000 years ago. Pair it with Frame 75 cabinet fronts in black-stained spruce inspired by shou sugi ban and Array 170, a slim anodized-aluminum shelving system that can be suspended from the ceiling. poggenpohl.com

130 ARRAY 170

LAVA, FRAME 75

COURTESY OF POGGENPOHL

“The natural world is a source of endless fascination”

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Cheers to 25 years of iconic design in North America…

White Tulip. Design by Philippe Starck.

...and to 90 years of an industry icon, Interior Design! Best wishes from Duravit. For more information about our products, please visit www.duravit.us

ANDRÉ SARAIVA

“It’s a universal counterculture icon with a message of positivity that has influenced generations” o b j e c t s ofdesign SMILEY 50TH ANNIVERSARY

some good news Everyone knows Smiley, the ideogram turned current-day emoticon that represents a smiling face. This spring, Yellowpop launches a collaboration with SwedishFrench street artist André Saraiva to honor the 50th anniversary of the trademarking of the iconic symbol, which in the ’70’s was printed by French journalist Franklin Loufrani next to newspaper headlines to remind people to stay hopeful in times of global strife. In 2022, that’s a reminder we could all use again. Saraiva’s anniversary-edition dimmable signs are made of LED tubing and feature a clever take on his Mr. A character fused with the sunny cheer of Smiley. They’re super easy to install; even sticky strips do the trick. But get in quick: There are only 350 available. yellowpop.com

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ONSEN Outdoor furniture collection by Francesco Meda & David Quincoces

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65 Gio Ponti regarded his Superleggera for Cassina as one of his three major masterpieces. (The other two are his Pirelli Tower in Milan and Taranto’s Concattedrale Gran Madre di Dio.) Named after the Italian term for super-lightweight (clocking in at just 3.7 pounds), the ash and rattan chair represented an exciting take on the Ligurian region’s traditional chiavarina. Ponti’s first iteration, the Leggera of 1951, distilled into an even more elemental form in 1957 with the lithe Superleggera, which achieves its stability from struts slotted together. To test the design, it was thrown from the fourth floor of an apartment building; the chair bounced on the street but did not break. Ponti was satisfied and the rest, as they say, is history: Superleggera has been produced continually ever since. cassina.com

SUPERLEGGERA

“The more minimal the shape, the more expressive it becomes” o b j e c t s ofdesign

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CLOCKWISE FROM TOP: VALENTINA SOMMARIVA; CASSINA HISTORICAL ARCHIVE (3)

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RALPH SALTZMAN, HARRY PALEY

eye for architecture

o b j e c t s ofdesign

On a park bench in Manhattan in 1961, Ralph Saltzman and Harry Paley founded Designtex as a response to a problem that architects in the city faced at the time. The glass skyscrapers being built were the pinnacles of modernism, but the many different window treatments installed on different floors broke the clean-lined aesthetic. The company’s answering product was a translucent drapery architects could specify during construction of their buildings to unify the appearance. (Ludwig Mies van der Rohe promptly installed it in the Seagram Building.) Myriad collections followed, some accompanied by witty trade-targeted campaigns—“Designtex has a flock of beautiful contract wools” from the ’60’s and “Two can. You and Designtex.” from the ’70’s. Cut to now: 60 years after the launch of its first full-fledge collection, in 1962, the brand revisits the color options of polyester-crepe Senecal, its generous 66-inch width making it ideal for today’s need for large privacy panels. designtex.com

COURTESY OF DESIGNTEX

SENECAL

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Leather Shown: Notting Hill Tomato Location: The Chloe Hotel, New Orleans, LA Designer: Sara Ruffin Costello

Congratulations Cindy Allen and Interior Design Magazine on your Anniversaries! 90 Years of Interior Design magazine! 20 glorious years of Cindy’s illustrious leadership! Together, you have elevated design and creative thinking and raised the bar across the world!

clivewilkinson.com

Lighting Courtesy of Ted Bradley Studio C A M E O R A C E T R A C K TA B L E • M O D E R N A R C H E T Y P E S I N T H E M A K I N G

ARCO

o b j e c t s ofdesign ACHILLE AND PIER GIACOMO CASTIGLIONI

light years ahead

ARCO

In its 60-year history, Flos has served as an ideas lab for some of the world’s brightest designers, both past and present: Michael Anastassiades, Achille and Pier Giacomo Castiglioni, Konstantin Grcic, Afra and Tobia Scarpa, Philippe Starck. The Castiglioni brothers gave the brand an early hit: Arco, which, designed in 1962, is also celebrating its 60th anniversary and has been in continuous production ever since. Inspired by streetlights, they conceived the floor lamp as an overhead one that didn’t require drilling into the ceiling, its spun aluminum reflector extending almost 7 feet from a Carrara marble base, connected by a curved stainless-steel stem high enough to walk under. Their Taccia table lamp from the same year is similarly enduring. The only change to both is the addition of an LED option. usa.flos.com

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TACCIA

APR.22

PORTRAIT: LUCIANO FERRI

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“Two tenets of magic—the illusion of spontaneity and a sense of possibility— can elevate the experience of an object”

sleight of hand When Dakota Jackson launched his studio in 1972, he catered to such creative New York clients as Yoko Ono and Diane von Furstenberg who sought expertly crafted furniture that blurred the line between art and design. Jackson, a former magician and dancer, obliged with the likes of the tempered-glass Self-Winding cocktail table from 1978 and the lime-tinted acrylic DB table from 2000. For his 50th anniversary, Dakota plans to mount a retrospective exhibition of these archival pieces as well as host talks and receptions this spring at his Los Angeles showroom. Then there’s his recent Chess collection, including the Bento vitrine, Chess tables, and the Checkerboard chair. The multitalented Jackson has even more up his sleeve: pianos. Following his recent Lang Lang Black Diamond grand for Steinway & Sons, the designer will launch the Dakota Jackson Piano Company next year. dakotajackson.com

BENTO

DAKOTA JACKSON

o b j e c t s ofdesign

CHECKERBOARD CHESS

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

Lapala hand-woven chair. Lievore Altherr Molina & Atrivm dining table. Manel Molina —— Photographer: Meritxell Arjalaguer ©

ARCIPELAGO

o b j e c t s ofdesign

“ Known as the magician of Venice, Mariano Fortuny created sumptuous fabrics through a closely guarded process”

CANALE CAMO ISOLE

ELSIE LEE GOZZI

history lesson To mark its centennial, Fortuny debuts Serenus, a collection of new textile patterns that takes inspiration from Venice, the city where the company’s production has been headquartered since 1922. Arcipelago is inspired by the connectedness of Venice’s many islands, while Canale evolved from photographs of reflections of the factory on the canal. Renderings set in a mythical garden created during the COVID-19 lockdown depict other Fortuny fabrics on iconic furniture designs like Pierre Paulin’s Pacha chair, upholstered here in Camo Isole cotton. That camouflage pattern depicts daylight reflected on lagoon water, rather than the usual foliage, and was one of the first designs produced by the Riad family, who have managed the company for the past three decades after accepting the reins from Countess Elsie Lee Gozzi, the beloved New York interior designer who succeeded company founder Mariano Fortuny upon his death in 1949.

HORNBAKE

fortuny.com

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BOTTOM: ENRICO CAPANNI & VALERIO CERRI

100

Tote Lounge

sebastian herkner

party time These brands celebrate decades of style

1. BuzziCee acoustic foam seating, BuzziTube acoustic

ceiling elements, and BuzziJet sound-absorbing pendant fixture by Buzzispace (15th anniversary). buzzi.space 2. Anna Castelli Ferrieri’s Bio Componibili storage modules, first introduced 50 years ago at the 1972 MoMA exhibition in Italy, now available in bioplastic by Kartell. Through MoMA Design Store, store.moma.org 3. Filter Studio’s Rita indoor-outdoor upholstered lounge chairs with powder-coated steel frames, arm caps made of discarded rice hulls, and outdoor-grade foam cushions by Grand Rapids Chair Co (25th anniversary). grandrapidschair.com 4. Francis X. Pavy’s Moon Eyes Gold European linen by Pavy Art + Design (40th anniversary). shop.pavy.com 5. Naoto Fukasawa’s Pao portable lamps in polycarbonate in Red, Cool Grey, and Soft Black by Hay (20th anniversary). us.hay.com 6. Note Design Studio’s Remnant chair in injectedmolded foam by Sancal, through Lepere (15th anniversary). lepereinc.com 7. Paul Smith’s Carnival rug in hand-knotted Tibetan wool, one of 25 iconic rugs in a retrospective by The Rug Company (25th anniversary). therugcompany.com

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ANTHONY MCGILL Principal Clarinet, New York Philharmonic & Artistic Director, Music Advancement Program, The Juilliard School JAC K E T I N : T U X E D O P A R K G I L L E S P I E G R E E N TIE IN: BILLIE OMBRE GREEN

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with myriad new design applications for commercial fabrics. We’re proud to be a small part of your huge journalistic legacy, and we applaud Cindy, Adam and your entire team as you support an industry that’s designing a bright future for us all. crypton.com

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Congratulations on 90 years, from our family to yours.

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CONGRATULATIONS TO MY BELOVED CINDY When you are on stage, your boundless, bright energy can turn an event space into a private sitting room, because you fill it and pack it with joy and laughter and wisdom about design. Everyone feels included. The Clodagh Studio team adore you. When you are off stage, you gather us together, warm and kind and perceptive and the crazy glue of our community. Like your hair, you are uncontrollable, like crazy glue you hold the design community in place. You generously give of yourself, advise and listen, as we trudge or skip through our daily lives. Thank you from the bottom of all of our hearts. Thank you for spreading the joy and sunshine and for being inclusive and philanthropic. And you are consistently glamorous, no matter what. Your team is sensational. Your writing is perfect.

MADE YOU LO OK

See page 158 for architect and computational designer Behnaz Farahi’s Returning the Gaze, a performance piece weighing the fashion industry’s history of complicity with objectification that occurred during the Annakiki autumn/winter runway show at Milan Fashion Week.

COURTESY OF BEHNAZ FARAHI

IV.future of design Peer inside our crystal ball for a look at what’s to come APRIL.22

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Congratulations, Cindy Allen! As Interior Design’s first female Editor in Chief, we are incredibly proud of your influence and contributions to the design industry over the last two decades. Thank you for your leadership, creativity, and endless love for design.

Adam I. Sandow Founder & Chairman, SANDOW

We build businesses driven by innovation and design.

On this 20 year milestone, we celebrate you.

on the oblique No one raised a white flag of surrender in the contentious style wars between modernists and post-modernists in the 1980’s. But in his encyclopedic new volume, Architecture Unbound: A Century of the Disruptive AvantGarde, New York architect, critic, and frequent Interior Design contributor Joseph Giovannini chronicles a stealth movement that settled the dispute when a loosely associated group of architects moved onto the next big thing: deconstructivism. In 1983, as if out of nowhere, a half dozen architects set sail for architecture’s wilder shores. Fragmented, angular, formally complex, idea-driven designs by Zaha Hadid, Frank Gehry, Coop Himmelb(l)au, Thomas Leeser, and the speculative Peter Eisenman shifted architecture’s gears from static to dynamic: The buildings leaned, flowed, and flew. In 1997, the radical ideas gained momentum and wide acceptance when Gehry’s chaotic Bilbao Guggenheim Museum, a storm of titanium splashing on the banks of the River Nervión in Northern Spain, opened to universal acclaim. The design, with swimming, twisting fishlike shapes, detonated the “Bilbao effect.” Culturally ambitious cities around the world soon wanted buildings that answered to nonlinear laws of chaos science instead of platitudes of classicism or solid geometry. Out with bombast, in with energy, charge, and change. This led to a Mardi Gras of formal invention on four continents during the last two decades. Fractured forms, billowing shapes, and delirious spaces in convention centers, museums, and office towers captured headlines,

BOTTOM: COURTESY OF GEHRY PARTNERS

From top: The linen-bound cover of Architecture Unbound: A Century of the Disruptive Avant-Garde by Joseph Giovannini (New York: Rizzoli, $50) has been designed by Pentagram’s J. Abbott Miller and Yoon-Young Chai. The Vitra Design Museum (1989) in Weil am Rhein, Germany, was Frank Gehry’s first use of curvilinear forms.

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a critical void, landing in the field like an event. The cumulative story, based on inperson interviews with architects and visits to buildings as they opened over 35 years, is unusually up close and personal, a living history written intimately from the inside. It cannot now be duplicated: an In Memoriam lists 40 people who died since he started the work. Giovannini embeds the architecture in a larger cultural history in which artists, musicians, and writers like Vito Acconci, Laurie

Anderson, John Cage, and Virginia Woolf mingle across time and disciplines with architects. The shift in architecture from static to dynamic mirrors similar shifts in philosophy and science. First Nietzsche and then Bergson, Heidegger, Derrida, and Foucault lifted the philosophical anchor on reason, releasing certainty into drifts of interpretation. Scientists including Planck, Einstein, Bohr, and Heisenberg introduced relativity, probability, and principled uncertainty into a world that

f u t u r e of d e s i g n Clockwise from top left: The central stairwell in Eric Owen Moss’s Lawson-Westen house (1993) in Los Angeles is like a gyroscopic orrery connecting the main rooms. Lightfall is the torqued atrium at the center of the Herta and Paul Amir Building (2010), an addition to the Tel Aviv Museum of Art in Israel by Preston Scott Cohen. Zaha Hadid’s unbuilt Zollhof Media Park (1989–93) in Düsseldorf, Germany, was captured in a multi-perspective acrylic-on-paper rendering. Another unbuilt Hadid project, a house (2010) in La Jolla, California, was imagined with an asymmetrical, gull-winged roof. Conceived in the late ’70’s but not completed till 2008, Steinhaus was the late architect Günther Domenig’s own private educational retreat near Klagenfurt, Austria. 140

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CLOCKWISE FROM TOP LEFT: © TOM BONNER; PRESTON SCOTT COHEN, INC.; © GERALD ZUGMANN/VIENNA

illustrated stamps, and populated the Internet. Architecture Unbound provides a critical voice for an avant-garde little understood as a group, explaining the “why” of all the agita. In a narrative arc suggested by the book’s subtitle, Transgressive, Oblique, Aberrant, Deconstructed, Digital, Giovannini puts into perspective the renegade buildings that bent the right angle, broke the box, and escaped Euclid. Simultaneously a history, critique, and biography of a period, the 832-page book fills

FROM TOP: © ZAHA HADID FOUNDATION; COURTESY OF ZAHA HADID ARCHITECTS

no longer seemed so solid. Cubism, futurism, suprematism, surrealism, and dada overthrew art’s tradition of perspective and dissolved pictorial realism. Historically, two world wars, the Depression, Hiroshima, and the Holocaust broke the idea of history as a smooth continuum through time. But modernists continued to maintain a belief in functionalism, that architecture was a machine for living in. By the 1960’s, however, a few visionaries questioned such

certainty: French architect Claude Parent and his philosophical partner, Paul Virilio, set buildings on the oblique, loosening the grip of geometry, emphasizing the physical experience of moving through spaces that pushed and tugged the body. Architects began to break up the whole into parts, exploit curves, and abandon geometrical unities. They joined forces with the computer to build extreme architecture of bewildering complexity and even wonders.

That the avant-garde came in from the margins to radicalize architecture and occupy a central role in the profession is the basis of this unlikely story. But over 700 illustrations show how liberated architects initiated a new and growing branch of architectural history. Walking a thin line between order and disorder, equilibrium and disequilibrium, plumbing the mysteries of the irrational, architects invented fresh astonishments whose function was not only to disrupt but also to fascinate. —Peter Webster

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f u t u r e ofdesign Clockwise from top left: Hurley House, a nomadic hotel concept by Moliving opening this summer in New York’s Hudson Valley, has been designed with BenaroshStudio and architect Steven Chen, and fabricated by SG Blocks with thermally modified, sustainable wood paneling. A skylight illuminates the tiled shower. Each 45-foot-long unit has two decks that add 120 square feet of outdoor living space. Featuring furniture from Design Within Reach, France & Son, and Blu Dot, interiors measure approximately 400 square feet.

shift work This luxury nomadic “hospitality solution” may be the world’s first. The gist is this: Moliving prefabricated units—essentially freestanding hotel suites—can be moved via road, sea, or air; installed almost anywhere on or off the grid; and grouped or stand alone. Built on custom chassis, they have the abililty to be removed with no impact to the ground underneath, and then hauled to a new location. “Whereas others have repurposed existing structures like trailers or shipping containers, we created something from scratch that’s not only sustainable but also fully mobile,” Moliving founder and CEO Jordan Bem says. “The premise is producing hotels that operate at peak occupancy at all times by fluctuating the inventory to match the demand.” Moliving partners with property owners to provide the units, plus operations such as management and reservations systems. The contemporary architecture and interiors, with floor-to-ceiling windows and such self-sanitizing technology as air-purifying systems and UVC lighting activated remotely between guest stays, were designed in collaboration with BenaroshStudio and architect Steven Chen. The first incarnation of Moliving, Hurley House—named for the eponymous town in New York’s Hudson Valley—opens this summer with 60 units, a number intended—and able—to fluctuate seasonally.

DAVID MITCHELL

—Georgina McWhirter

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f u t u r e ofdesign

For more than four decades Midwest Modernism was synonymous with Chicago architects Keck & Keck. In 1933, brothers George Fred and William designed America’s first glass house for Chicago’s World’s Fair. Named the House of Tomorrow, it was indeed prescient. Steel-framed glass construction derived from local skyscrapers and a focus on solar power predated Philip Johnson’s Glass House and Ludwig Mies van der Rohe’s Farnsworth House. To celebrate the Kecks and its own 25th anniversary along with the 70-year commemoration of its home in van der Rohe’s McCormick House, Illinois’s Elmhurst Art Museum, 40 minutes west of Chicago, has mounted “Houses of Tomorrow: Solar Homes from Keck to Today.” Running through May 29, the exhibition introduces visitors to the groundbreaking project through Chicago World’s Fair materials, documentary photographs, and blueprints of restoration plans. More of the Kecks’ work is examined through videos, artifacts, and diagrams. All confirm that the House of Tomorrow is very much at home today. —Edie Cohen

From top: Keck & Keck’s 1933 brochure is on display at the Elmhurst Art Museum in Illinois in “Houses of Tomorrow: Solar Homes from Keck to Today,” running through May 29 and part of the museum’s 25th anniversary programming. Builders of the 12-sided steel-framed glass construction included the first GE dishwasher and a personal airplane hangar. An original postcard rendering shows the homes as imagined at their current location in the Indiana Dunes National Lakeshore.

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FROM TOP: COURTESY OF ROBERT BOYCE (2); COURTESY OF INDIANA LANDMARKS AND COLLECTION OF STEVEN R. SHOOK.

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“The prototype envisions a sustainable Martian habitat for humans”

out of this world The Genesis v.2 prototype for a sustainable Martian habitat by architects Burak Celik, Zeynep Ege Odabasi, and Naz Kaplan envisions a modular donut-shape design, constructed in situ, and nestled into a crater for a minimal footprint. The trio, who met while studying design at Bilkent University in Turkey, conceived its foundation as a central circulation tower surrounded by detachable

—Lisa Di Venuta

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ZEYNEP EGE ODABASI

BURAK CELIK

Clockwise from top left: Water from the exterior ice shell of the Genesis v.2 Mars, a proto type by Burak Celik, Zeynep Ege Odabasi, and Naz Kaplan, can be converted into rocket fuel. Part of the interior is designated for robots to perform automated tasks, while the living space is for humans. The exterior shell is reinforced by Martian basal fibers, which protect the colony from the radioactive atmosphere. The library and floating platforms are inspired by the planet’s organic landscape and abstract forms.

COURTESY OF NAZ KAPLAN, ZEYNEP EGE ODABASI, AND BURAK CELIK

NAZ KAPLAN

rings of ice, so the colony can move to another crater and scale to accommodate population growth. The tensile bands comprise Genesis v.2’s manifold interior spaces: a library, private cabins, storage pods, mechanical systems, laboratories, and a greenhouse. And water from the exterior ice shell can be converted to rocket fuel, resulting in a truly self-sufficient habitat. The idea of a Martian colony may seem phantasmagorical, yet its mixed-use building typology references vertical villas throughout the millennia, starting with Trajan’s Market in ancient Rome. The trio embraced this hybrid model, where astronauts and civilians will live and work in harmony. “We believe in the importance of community life,” Celik says, “even for extraterrestrial projects.”

C E LE B R AT I N G

Y E A R S O F S P I L L I N G F E A R L E S S LY

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From top right: The Gensler Research Institute’s science-building concept centers on an exposed structural framework of mass timber, instead of carbonintensive concrete. Natural ventilation was another focus, so floors have outdoor access and operable windows. Imagined in Seattle, with its moderate climate, the building suggests ground-level cultural and culinary venues.

CHAD YOSHINOBU

under the microscope The building material of tomorrow could be one from our past: wood. Take Next: Lab Building of the Future, a Gensler Research Institute concept that envisions the evolution of science workplaces, an exercise undertaken because the demand for such spaces is skyrocketing in many markets. By employing mass timber instead of conventional concrete, the team, led by Gensler principal and global sciences practice leader Chad Yoshinobu, was able to shorten speedto-market time by 30 percent, reduce construction waste by 75 percent, and use a staggering 80 percent less carbon overall. The natural quality of the exposed timber is also a benefit, contributing to a prefabricated interior that’s warm and authentic. “The data was a great outcome but not why we set out to do this,” Yoshinobu says. “It was to change the trajectory of what a science building could be.” There were challenges, however. The flexible grid Gensler imagined was prone to vibration, in particular, what Yoshinobu calls a “bouncy floor,” which is not viable when dealing with lab equipment. But partners Buro Happold and KPFF Consulting Engineers were able to provide stabilization solutions— just as mass timber could be a solution to our climate crisis. —Wilson Barlow

“We want to change the trajectory of what a science building could be”

COURTESY OF GENSLER

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Photography: Veronica Bean on behalf of TPG Architecture

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For 90 years, Interior Design has served as a pillar of leadership and voice of the profession in the interior design industry. On behalf of our 23,000 members, ASID congratulates ID on this important milestone. We also congratulate Cindy Allen on 20 years at the helm. Here’s to many more!

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EMMANUELLE MOUREAUX

“Moureaux’s series investigate ways of dividing space through color”

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FROM TOP: CHARLES EMERSON; DAISUKE SHIMA (3)

f u t u r e ofdesign

partition play French-born, Tokyo-based designer Emmanuelle Moureaux began her long-running 100 colors series of installations in 2013 to investigate ways of dividing space with different shades, a concept she dubs shikiri. The latest iteration, by her namesake firm Emmanuelle Moureaux Architecture + Design, is 100 Colors no.35 for Japanese masking tape manufacturer MT. At the company’s factory in Kurashiki, 6,000 slender strips of washi tape, 17 miles total, are thoughtfully spaced out in rows hung vertically and diagonally, forming a gradated rainbow moiré tunnel through which visitors can stroll and immerse themselves in a joyous setting of hue on hue on hue. Moureaux’s work is inspired by her first moments in Tokyo, where she moved in 1996 and where “store signs, flying electrical cables, and flashes of blue sky framed by various volumes of buildings created threedimensional ‘layers’ in the city, building up a complex depth and intensity in the space,” she says. Now, Moureaux channels that intangible energy into mesmeric site-specific art. —Georgina McWhirter Clockwise from top left: A tunnel takes the shape of a right scalene triangle in Emmanuelle Moureaux Architecture + Design’s 100 Colors no.35 for Japanese masking tape brand MT’s factory in Kurashiki, Japan. Moureaux opted to use the manufacturer’s most familiar washi tape, with a width of less than an inch. The 100 colors are custom. Depending on the viewing angle, the tape lines overlap, producing a delicate moiré effect.

DAISUKE SHIMA

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JO NAGASAKA

pulp fact

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Designers have a natural tendency to imagine their work enduring far into the future. But for a 3,000-square-foot Camper store in Shanghai, Jo Nagasaka took the opposite approach. The Schemata Architects founder acknowledged that someday the shoe shop, which itself is in a redeveloped French settlement from the early 20th century, would be dismantled and replaced with something else. So, Nagasaka envisioned a space that would itself be “recyclable.” It’s Schemata’s second store for Camper, following one in Tokyo in 2017 that used imported cork and urethane rubber. But this three-level location embraces locally available plywood and cardboard made of repurposed Camper shoeboxes originally made with plant-based glue. Nagasaka was struck by the ease of recycling cardboard, which requires simply dissolving it in water and reshaping the pulp. “Something that we take for granted in our daily lives turned out to be an ideal material” he says. Turns out cardboard is anything but boring. —Wilson Barlow

CLOCKWISE FROM TOP RIGHT: BENIK/SCHEMATA ARCHITECTS (4); YURIKO TAKAGI

Clockwise from top right: Boxes of locally sourced plywood form the point-of-sale area at Camper Shanghai by Schemata Architects. The store opens to the street level of Hengshanfang, a former French settlement turned cultural center. Camper shoeboxes were soaked and dissolved into a paste and reshaped using molds. Display shelves are made from locally crafted steel mesh backed with recycled cardboard.

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f u t u r e ofdesign

here’s looking at you

Clockwise from top left: In Returning the Gaze, a model wore an acrylic bubble headpiece fitted with two miniature cameras that captured her eye move ments. Screens enlarged and displayed the model’s eyes. The four screens were mounted on moving arms by Universal Robots. The performance piece, commissioned by Poly Global Advisory, occurred during an Annakiki runway show at Milan Fashion Week with cyborg themed garments from founder Anna Yang’s autumn/winter 2022 collection.

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CLOCKWISE FROM TOP RIGHT: RUDOLF BEKKER/FRAME; COURTESY OF BEHNAZ FARAHI (4)

The concept of the male gaze, not simply as a look but as an internalized cultural point of view, has been a crucial topic in feminist film theory from John Berger’s 1972 book Ways of Seeing to Laura Mulvey’s seminal article Visual Pleasure three years later. It’s particularly applicable to fashion, too: The audience stares at the catwalk, while the model herself is typically required to avert her gaze. Architect and computational designer Behnaz Farah mulled on that dichotomy. “I keep thinking whether it might be possible for women to be truly liberated from the objectification. Could we use technology to ‘return the gaze’?” Farahi, who last month gave a talk on her work creating highly technical, intelligent, and responsive materials at Interior Design’s three-day Giants of Design event in Palm Springs, California, subverts the audience in her Return the Gaze performance piece that foregrounds a model returning her own challenging stare. Tiny cameras on a model’s space-age helmet captures her eyes in extreme close-up video, imagery that is then beamed to monitors mounted on moving robotic arms. The result is a clever investigation of the fashion industry’s history of complicity with objectification. —Georgina McWhirter

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material universe Dr. Andrew Dent, executive vice president of Material Bank and Material Connexion, details the matters that will matter

material: Infinited Fiber composition: Cellulosic viscose yarns from paper waste. standout: Cottonlike textiles offer the processability of synthetic yarns with the renewable raw materials and the great hand of a natural. This version uses cleaner chemistry and does not deplete our wood resources, using both pre- and post-consumer recycled paper instead. 160

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material: NORR from OSM Shield composition: Fluoropolymer-free coating. standout: Offering stain and water resistance while still enabling good breathability, this PFOAfree, PFOS-free coating for fabrics is part of a next generation of clean chemistry protection.

manufacturer: Opt Industries composition: Customer’s own material. standout: The digital manufacturing system can make featherlike structures to order on flexible, fabriclike surfaces by taking 3-D printing to the next level of complexity and versatility, creating large-format fabrics, furs, feathers, and foams on a micro scale.

f u t u r e ofdesign

material: Conturax Tough from Schott composition: Borosilicate glass with a polymer inner coating. standout: Strong, structural, and with a toughening inner coating that allows it to withstand Semtex explosives, these crystal-clear profiles are challenging our ideas of what’s possible in glass.

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“The wellness retreat is entirely solar-powered and made from and by local materials and artisans”

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FABIAN MARTINEZ

Clockwise from top left: At Hotel Terrestre, a solar-powered property in Oaxaca, Mexico, by Taller de Arquitectura X, each of the 14 suites has a private pool. Suite doors of local tzalam, or Mayan walnut, fold open entirely for natural cross-ventilation. A tower containing showers serves the hammam. Sun-bleached artisanal bricks, hand-cast in Puebla, compose exteriors.

sun worship Hotel Terrestre not only restores visitors but also has a minimal carbon footprint. The Oaxacan wellness retreat is entirely solar-powered and made from and by local materials and artisans—a trend in vacation properties throughout Mexico, this one from Grupo Habita and designed by Taller de Arquitectura X, based in Mexico City. “We didn’t want to disturb the landscape,” TAX founder and architect Alberto Kalach says of the 10-building complex, which features 14 suites and a hammam. Kalach and designers Diana Backal and Fernanda Romandia, who oversaw interiors, conceived savvy angles and openings that tease in cross breezes and avoid direct sun. Built from brick and concrete with a brutalist sparsity, the project blends into the surrounding native flora and fauna. Roof-mounted solar panels are just visible from above, while batteries disappear within concrete columns. “Only the office has air-conditioning,” Backal comments. The two-story suites, each with a private pool, are separated by stepped walls that nod to ancient Mesoamerican architecture. Inside, furnishings, either custom or by Mexican architect Oscar Hagerman, are crafted from such natural materials as jute and tzalam, a native hardwood. Bedrooms, on the lower level to stay cool, “have a little bit of shade all the time,” Backal says. The hammam is spread across five chimneylike structures containing shower, steam, and cold-plunge chambers. To cross between them, guests enter a plant labyrinth, which “allows them to get a little lost,” Backal notes. Escapism in its truest—and most environmentally responsible—form. —Mairi Beautyman

FABIAN MARTINEZ

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MAYA BIRD-MURPHY

“The conversation is changing so building equitably with community engagement is factoring into the process.”

Clockwise from top center: The mural at Mobile Makers Chicago’s stationary headquarters is by Emmy Star Brown. A pop-up workshop on Chicago’s South Side introduces kids to design. The MMC truck’s graphics are by Jacob Goble. Interior birch-plywood cabinetry is custom.

Architect, educator, maker, community advocate, activist: Maya Bird-Murphy is all that. In other words, the 29-year-old futurist walks the walk so many talk about as design’s vital issues. With Mobile Makers Chicago and her UPS truck repurposed as a traveling lab, she ventures into the city’s primarily underserved communities proffering workshops sponsored by local schools or organizations that introduce kids age 8 to 18 to design thinking, programming, and construction for hypothetical and real projects. “I’m excited mostly about two things,” Bird-Murphy says. Come summer the fleet expands with another truck in Boston, donated by Interior Design Hall of Fame member and Studio O+A cofounder Verda Alexander. Back home, thanks to a grant from Chicago Bulls Charities, she has stationary space: 2,000 square feet in Humboldt Park’s Kimball Arts Center. Speaking of parks, a West Side venue is about to receive a concrete sculpture designed by kids through a collaboration between MMC, Studio Gang, and Goldin Institute. “The conversation is changing so building equitably with community engagement is factoring into the process,” Bird-Murphy notes. Five years into the future? “I’ll be watching young people who grew up through our program and see if they end up in architecture or design programs.” Call if proof of concept. —Edie Cohen

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CLOCKWISE FROM TOP CENTER: COURTESY OF MOBILE MAKERS CHICAGO (2); TOM HARRIS; NOLIS (2)

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Clockwise from top: One of many custom artworks throughout 800 Fulton Market, a multi-tenant office building in Chicago by Skidmore, Owings & Merrill, is a Kate Lynn Lewis mural, which creates a focal point in the employee-only amenities area. Cantilevered over the terrazzo-floored lobby, the concrete mezzanine level’s glass railing juxtaposes with exposed concrete and brick structural elements. A nylon-rope wall installation is a subtle nod to the rope-bound barrels in the property’s former incarnation as a fish market. Exposed structural steel braces balance the elevator core on the opposite side of the building. A custom marble floor inlay defines a lobby lounge.

JULIE MICHIELS

BRIAN LEE

f u t u r e ofdesign

Offering amenities galore, Skidmore, Owings & Merrill’s 800 Fulton Market in Chicago is gaining traction with pandemic-weary companies, including John Deere, that are returning to the office. Originally conceived as a point of differentiation in a competitive market, the 500,000-squarefoot tower’s laser-sharp focus on health and wellness took on even more relevance when it became one of the first new mixed-use buildings to open in the Windy City amidst the pandemic. In addition to offering a fitness center, bike storage, and cutting-edge technologies that monitor air quality and occupancy, the 19-story brick, glass, and steel structure boasts large, light-filled spaces with tall exposed concrete ceilings, operable windows, and access to landscaped terraces. “There’s a stronger connection to nature, and the air quality is great,” SOM consulting partner Brian Lee says. In deference to the neighborhood’s low-key character, the building’s upper floors gradually step back from a brick-clad three-story base, creating tiered elevations not visible from the sidewalk. There’s nothing modest, however, about the series of exposed structural steel X-bracing crisscrossing a soaring bank of windows on the south-facing elevation. Designed to expand and contract with changes in temperature, “It’s a beautiful piece of engineering,” Lee says. The firm’s engineers proved equally invaluable in realizing the steelsupported mezzanine that cantilevers over the three-story lobby. A spot to mingle, it also fosters a sense of intimacy in the lounge below it, where tailored furnishings are grouped in various configurations atop a graphic white marble inlay in the dark terrazzo flooring, all bordered by greeneryfilled steel planters. “It’s like an urban living room,” SOM senior associate principal Julie Michiels says. “Collaboration has always been our secret sauce and these elements are a testament to that.” —Tate Gunnerson

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CLOCKWISE FROM TOP LEFT: COURTESY OF SKIDMORE, OWINGS & MERRILL; DAVE BURK/ SKIDMORE, OWINGS & MERRILL (4)

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“The 500,000-square-foot office tower has a laser-sharp focus on health and wellness”

DAVE BURK/SKIDMORE, OWINGS & MERRILL

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MARC THORPE

from the ground up According to the Uganda Bureau of Statistics, the African nation has a deficit of over two million dwellings. To help, Marc Thorpe Design has teamed up with affordable housing NGO Échale International and franchise expert Stage Six to design and build 10 houses just outside of Kampala, the capital. The homes will be constructed from Echale’s re cyclable EcoBlock, a compressed earth brick made of local soil bound with a mixture of cement, lime, sand, and water. “We believe in an architecture of responsibility,” Marc Thorpe says. Using earth directly from the site reduces imported materials, thereby drastically reducing the build’s carbon footprint. In addition, each house will harvest solar power and rainwater, driving selfsufficiency. —Georgina McWhirter Clockwise from top left: Each Kampala House by Marc Thorpe Design for Uganda will have its own water tower to store rain siphoned off the roof for communal sharing during droughts. The dwellings will be made of compressed-earth brick. A shaded terrace will wrap the front and side of each home. The first houses are due to be completed in Uganda this summer, with more to come.

CLOWKWISE FROM TOP LEFT: ANDRES HERNANDEZ; TRUETOPIA (3)

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From top: Airstream’s eStream concept incorporates three methods for charging battery systems that are compatible with much of the U.S. electric vehicle infrastructure, and a separate input for existing RV campground hookups. The solar panels on the rooftop will also charge the high-voltage batteries while camping or on the road to operate everything from the air-conditioning to the all-electric appliances and drive-assist motors in the wheels.

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COURTESY OF AIRSTREAM

The riveted aluminum Airstream, originally designed in the 1930’s by Hawley Bowlus, creator of Charles Lindbergh’s Spirit of St. Louis, was famously used by NASA to house Apollo 11 astronauts Neil Armstrong and Buzz Aldrin. Now it’s is charging into the next frontier: a solar-powered electric travel trailer. It’s eStream concept is tricked out with aerodynamic improvements and a high-voltage chassis featuring battery-powered electric drivetrain and control systems. Remote-controlled mobility features will allow owners to operate and park Silver Bullets from their Smart phone. But most importantly, a roof covered in solar panels and a bank of high-voltage lithium batteries provide users with enough power to go off-grid with many of the comforts of home for up to two weeks. “Airstreams have achieved iconic status because they’re the ultimate expression of form follows function,” Airstream CEO Bob Wheeler explains. “Luckily, the demands of our EV-towed future align perfectly with what we’re best at: lightweight and aerodynamic travel trailers.” —Nicholas Tamarin

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Design makes a statement June 13–15, 2022 theMART, Chicago neocon.com NeoCon® is a registered trademark of Merchandise Mart Properties, Inc.

NeoCon June 13-15

Design makes a statement this June at NeoCon From product launches to inspirational programming and industry unifying events, NeoCon will once again serve as the commercial design industry’s leading platform and annual gathering place. See a glimpse of what NeoCon 2022 has to offer. Visit neocon.com for full show details. June 13—15 theMART, Chicago Register online neocon.com

The NeoCon Hub NeoCon registrants will be automatically registered for the "NeoCon Hub," which will provide an online connection to NeoCon 2022 with virtual access to exhibitors, ﬂoor plans, CEUs, keynote livestreams and in-platform networking with the NeoCon community.

Visit NeoCon.com to register and ﬁnd details on exhibitors, programming, special features, health and safety measures and hotels.

Danish Design Makers Danish Design Makers (DDM), an alliance of designers with different backgrounds, but all with strong ties to the Danish Design culture, will be debuting the exhibition IN UNION at NeoCon in June. IN UNION will showcase DDM’s approach to Danish design solutions in a postpandemic world, focusing on their belief in openness, collaboration and community.

Metropolis Sustainability Lab Visit the Metropolis Sustainability, an exhibit and destination to help you take the next step towards making a positive impact on people and planet. Learn about the most innovative products and dive into new initiatives and resources to help advance your work—including a toolkit to help designers address climate change.

River Park Connect with colleagues over lunch or drinks at theMART’s River Park, presented by Haworth.

Inspiration and Knowledge Sharing In today’s rapidly changing world, there is certainly much to discuss, evaluate and learn. We are thrilled to offer the NeoCon community a compelling series of highly topical and educational programs. Daily Keynotes and Special Presentations will be presented onsite and also available via livestream.

Between Art and Design with Nick Cave & Bob Faust Monday, June 13, 11am

Bruce Mau on Design Tuesday, June 14, 11am

Design: Sustain-Ability Shashi Caan Wednesday, June 15, 11am

Internationally renowned artist Nick Cave works at the intersection of sculpture, installation, sound, performance, and ﬁlm to address pressing societal issues related to race, gender, sexuality, and class. Nick’s partner and design collaborator Bob Faust has been described as “part artist, part designer and part mediator.” Together they launched Facility—a multidisciplinary collaborative space where art and design can foster peace, build power and create change. IIDA Executive Vice President and CEO Cheryl S. Durst will moderate a dynamic conversation with Nick and Bob about the art of collaboration, hybrid practice, and the design of life.

Designer, author, educator and artist Bruce Mau is a brilliantly creative optimist whose love of thorny problems led him to create a methodology for life-centered design. Across thirty years of design innovation, he’s collaborated with global brands and companies, leading organizations, heads of state, renowned artists and fellow optimists. His work and life story are the subject of the new feature-length documentary, “MAU.” In these times of complex, interrelated challenges, Bruce believes life-centered design offers a clear path towards identifying the full context of our problems and developing innovative, sustainable, and holistic solutions.

Multicultural designer, educator and author Shashi Caan’s leadership roles with a roster of global clients, institutions, and ﬁrms, have focused on meaningful improvement of life quality as shaped by design. Often described as a futurist and visionary, Shashi has a keen interest in the foundational development for the design discipline to address current societal challenges. She is the recipient of numerous awards and has been conferred international, regional, and national professional fellowships from the IFI-the International Federation of Interior Architects/Designers, Latin America, Australia, the UK, and the US.

Presented by

CEU Education This year’s CEUs will be running virtually during show dates and will also be available on demand for 30 days after. Registrants will choose from 47 sessions running across 8 tracks: Workplace, Healthcare, Education, Facilities, Wellness, Sustainability, Design Skills and Industry Directions.

Full programming details and registration will be available on neocon.com starting April 12.

NeoCon June 13-15

The Forefront of Design 123 2/90 Sign Systems 2020 3M 9to5 Seating A A. Rudin Access Product Incorporated AHF Products Aircharge AIS Allermuir | Senator Allsteel ALUR Amazing Magnets American Biltrite AMQ Amtico Anacara Company Andreu World Ann Sacks Antoniolupi and Ernestomeda Chicago APCO Signs Arcadia Arc-Com Armstrong Flooring Arpa USA - FENIX Arper Artisan Electronics Group Artistic Tile Artome Oy Aspecta ASSA ABLOY AVA by Novalis Innovative Flooring B Baker Furniture Barlow Tyrie BauTeam German Kitchen Tailors Beaufurn LLC Behr Paint Company Benjamin Moore Benjamin Moore & Co. Bentwood of Chicago Bernhardt Design Bestuhl BIFMA BIMsmith BiSemA Corporation Bobrick Washroom Equipment Borgo Contract Seating Boss Design Boss Ofﬁce Products Inc. Bouckaert Industrial Textiles Bradley Corporation Brentano Bright Group, The Brizo and Delta Chicago Brown Jordan Buechel Stone Burgeree BuzziSpace C C.A.I. Designs Cabot Wrenn Calligarisgroup, contract Camira Fabrics Carlisle Wide Plank Floors Carnegie

Carolina CARVART Castelle by Tropitone Century Furniture CF Stinson CFGroup / Falcon / Thonet / Shelby Williams Chairish Changzhou Tianan Nikoda Electric Company, LTD Chen-Source Inc. Christopher Peacock Cixi Mingye Communicating & Electronic Co., Ltd Claridge Products Clarus CMS Electracom Coalesse Concertex Configura Inc. Construction Specialties Inc Cooper Lighting Solutions Cowtan & Tout Crossville, Inc. Cumberland Furniture D Dacor Kitchen Theater DARRAN Furniture Dauphin David Sutherland Showroom Davis Furniture Dawon Chairs Co., Ltd. deAurora Decca Contract DEDON Design Pool LLC Designers FREE, Inc. Designers Linen Source Designtex DewertOkin Technology Group Co., Ltd. Digilock Divine Flooring Division Twelve DOM Interiors E Ebanista Ebel, Inc. ECi Software Solutions ECONYL x Aquafil Edelman Leather EF Contract Egan Visual Egoe North America Elaine Smith Emeco emuamericas, llc Encore Enwork ERG International ERGOBOND Ergotech Solutions Inc. ESI Ethnicraft Eureka Leather Inc. Eureka Smart Office Furniture Co., Ltd. Everform Molded Products Evolve Furniture Group

Exquisite Surfaces Extremis F Fabricut Fermob USA Ferrell Mittman / Avery Boardman Fi Interiors Floortex USA LLC Formaspace Formica Corporation Forward Space : Studio Framery FreeAxez, LLC Frovi North America FSR Inc. Fuego Furniture FUNC G Gaggenau, Thermador, Bosch Experience & Design Center GALLEY, THE GANTNER George Smith Ghent Global Furniture Group Gloster Furniture GMi GRAFF - art of bath design center Great Openings Green Hides Leather Studio Greenmood Gressco Ltd. Gross Stabil Corp. Groupe Lacasse Gunlocke H HALCON Hanamint | Alu-Mont Harvest Link International Pte Ltd. HAT Collective Haworth HBF & HBF Textiles Hickory Chair Hightower Hirsh Industries LLC HMTX Industries HNI Holland & Sherry Hollman Inc. HOLLY HUNT Homecrest Outdoor Living HON Company, The House of Rohl Studio HOWE Hushofﬁce I ILLA Co., Ltd. Indiana Furniture Innovant Innovations In Wallcoverings InPro Integra Intensa Interface Interior Crafts Italcer ITOKI Corporation

J J. Marshall Design J+J Flooring James Burleigh Ltd JANUS et Cie Jean de Merry Jensen Outdoor Jiecang Linear Motion Technology Co., Ltd. John Rosselli & Associates JSI K K & B Galleries, Ltd. Kadeya Enterprise Co., Ltd Kaidi LLC Kannoa Katonah Architectural Hardware Katonah Architectural Hardware Lighting Furniture KEHONG Keilhauer Kettal Kettler USA KFI Studios KI Kingsley Bate Klein USA Koncept Technologies Inc. Kravet, Inc. Krug Kwalu L Lane Venture Lapchi Rug Design Studio Legend Ofﬁce Co., Ltd. Legrand Lesro Industries LEVOLOR LINAK Lloyd Flanders, Inc. Loctek, Inc. Loftwall LOGICDATA Luna Textiles M m.a.d. FURNITURE DESIGN Magnuson Group Mallin MAMAGREEN Mannington Commercial Mantra Inspired Furniture MAPEI Corporation Marshall Furniture, Inc. Martin Brattrud Mayer Fabrics Merkt GmbH Merryfair Chair System Sdn Bhd. Metro Light & Power LLC Metwall Michael - Cleary Middleby Residential | Viking Range | La Cornue Miele Experience Center Mizetto MOCKETT Modernsolid Industrial Co., Ltd. Modular Millwork, LLC Moen Design Center Mohawk Group

With nearly 1 million square feet of exhibition space, NeoCon will feature game-changing products and services from more than 400 leading companies and emerging brands—providing unparalleled access to the latest and most innovative solutions in commercial design. Visit neocon.com for exhibitor details and updates.

Momentum Textiles & Wallcoverings Monarch Ergo Monogram Design Center Chicago Moss Muraﬂex My Resource Library & the NAIRC N NappaTile Narbutas USA, Inc. Nardi (S.I.T.) National Lighting Corp. naughtone New Style Cabinets Nienkämper Nightingale Corp. Nook Pod Noure’s Oriental Rug, Inc. NovaLink Limited Novus- More Space System Nucraft Furniture O OE Electrics OFFICES TO GO OfﬁceSource OFS OJMAR Okamura OM Seating OneFlor USA Orangebox Osborne & Little OW Lee P Pallas Textiles Paris Ceramics Patcraft Patio Renaissance by Sunlord Leisure Products Patra Paul Ferrante Pavilion Pedrali Peter Pepper Products Phillip Jeffries Pindler Poggenpohl Polyvision POLYWOOD Porcelanosa Tile / Kitchen / Bath / Hardwood Portica by Sunvilla Potocco USA Prismatique Designs Ltd. PS Furniture Q Qidong Vision Mounts Manufacturing Co., Ltd Qingdao Richmat Intelligence Technology Inc. Quadrille Wallpapers and Fabrics, Inc. R Rakks Architectural Shelving and Hardware RATANA International Regal Castors Regency, Inc Reseat Richard Norton Gallery

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april 22

The shape of things to come

BERNADETTE GRIMMENSTEIN/ARTUR

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text: jane margolies photography: john d’angelo

coming around For the Detroit headquarters of Rock Ventures and the Rock Family of Companies, Pophouse captures the collaborative spirit of the client and the revitalizing city

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The infill of an office building in a downtown Detroit complex had just been completed when Pophouse decided to blast an enormous hole through two floors of it. The firm was planning the new headquarters of Rock Ventures and the Rock Family of Companies, and the designers envisioned a monumental spiral staircase at the point where angled sides of the complex meet. The staircase, the central feature of the project, would not only connect the lower and upper levels of the 50,000square-foot office but also unite the multiple teams housed there, creating serendipitous opportunities for employees who don’t normally work together to come into contact while going up and down the stairs, fostering a sense of being part of a larger enterprise. But, of course, demolishing brandnew construction would be expensive and disruptive. Another client would almost certainly have said no. But Jennifer Gilbert, the founder and creative director of Pophouse, had the ear of her client, Dan Gilbert, founder and chairman of Rock Ventures, Rock FOC, and Rocket Companies, to whom she has long been married. And as his wife and partner in many ventures, she is part boss, too, and was thus able to call the shots much more than is usually the case on the commercial projects the studio works on—with stunning results. “Wearing the creative director hat and some of the owner hat was great,” she recalls. Not that she was doing the work alone. Just as her husband’s business has grown—it began with his founding of what would become Quicken Loans in 1985, and the Rock Family of Companies now includes a portfolio of more than 100 diverse entities including Rocket Companies, 100 Thieves, Stock X, Dictionary.com, and the NBA’s Cleveland Cavaliers—so, too, has Pophouse. The firm, which is also part of the Rock FOC, prides itself on a data-driven approach to design that incorporates the latest findings

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Previous spread: In the atrium of the Rock Ventures and the Rock Family of Companies headquarters in Detroit by Pophouse, a spiral staircase rises from a mosaic-tile installation by Faile that incorporates words important to the ethos of the companies and the city itself. Left: Rift-cut white oak forms the stair’s handrails, treads, and risers and clads columns, while leather covers the custom modular bench. Top, from left: Karim Rashid’s Kloud sofa and a Pierre Paulin Anda chair stand before a Daniel Arsham wall artwork in the gallery. Draft tables by Massproductions and Kateryna Sokolova’s Gropious CS1 chairs join a custom banquette and a painting by local artist Jason Revok in a lounge. Bottom: In reception, more Paulin chairs and the custom desk stand on terrazzo laid out in Detroit’s city grid.

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Opposite top: A triptych by late local painter Charles McGee over looks the 18footlong modular Isla sofa by Koz Susani Design, Khodi Feiz’s Niloo chairs, and Saragosse tables by Alain Gilles in a lounge outside the boardroom. Opposite bottom: In founder and chairman Dan Gilbert’s office, Tyrrell Winston’s sitespecific assemblage of 168 deflated basketballs includes some from the Cleveland Cavaliers, which Gilbert owns. Top, from left: In a phone room, the light from a Jonah Takagi lamp highlights the threedimensionality of the acoustical wallcovering. In the philanthropy gallery, boards laserengraved with stories about the local causes Dan and Jennifer Gilbert support slide out of a wall of preserved moss. Bottom: Outside an office, a Josh Sperling canvas enlivens the corridor, where flooring is LVT and engineered oak.

on things like biophilia. So when Rock Ventures and the Rock FOC were ready to move from cramped former quarters elsewhere in the complex to a roomier, more sophisticated space, Pophouse was up to the job. Chrissy Fehan, the firm’s design director, and her colleagues fleshed out a scheme that incorporates multiple circular spaces, not the least being the spiral stair in its airy atrium, based in part on research suggesting that such spaces spur creativity. The first is in reception, on the lower floor. Here, under backlit stretched fabric, a terrazzo floor is modeled on Detroit’s hub-and-spoke street grid. The waitingarea gallery just beyond is circular, too. Where circles were not possible, Pophouse rounded the corners of private offices and installed curvy furniture throughout, notably plump Pierre Paulin chairs in reception, a long and winding sofa by Koz Susani Design in a lounge, and an impressive 16-foot-diameter conference table in the boardroom, which itself is round in shape. Also key to the office’s concept is lively artwork, on which Pophouse collaborated with Library Street Collective, a downtown Detroit gallery that focuses on artists, both local and not, who push boundaries. One standout piece, by Faile, anchors the grand staircase: It spirals down to a colorful round of inlaid mosaic tile incorporating such words as “heart,” “hope,” and “dream.” “It embodies all the great work happening in our city,” says Fehan, who came to Detroit for college and then stayed. Pophouse surrounded the installation with a C-shape bench made of modular sections that can be removed so the area can be used for events. The inclusion of works by local artists Jason Revok and the late Charles McGee underscore the Detroitproud theme. Then there are the basketball-related installations. A wall in Dan Gilbert’s office is devoted to a Tyrrell Winston assemblage comprised of dozens of deflated basketballs, including, of course, a couple from the Cavaliers. Outside his office, a room-size walk-in closet has a shelf with autographed balls plus, hanging from clothing rods, various team jerseys from which a lucky visitor might get to make a selection to take home. “We used to have all the Cavs things stuffed in a storage closet,” Jennifer Gilbert says. “Why not celebrate it?” She and her team also paid homage to her husband’s “isms”—sayings such as “yes before no” and “simplicity is genius”—in the auditorium, where Cody Hudson rendered them on acoustical wall panels; rift-cut white-oak millwork here and throughout the headquarters further dampen sound. For the auditorium’s seating, the designers used sleight of hand: a benching system that incorporates Eames Molded Plywood Dining Chairs, minus their chrome legs.

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“The project incorporates multiple circular spaces, based in part on research suggesting that such spaces spur creativity” Leather-covered molded plywood chairs by Charles and Ray Eames have been mounted, without legs, on benches in the auditorium and backed by a Cody Hudson mural printed on acoustic panels.

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Top, from left: Engineered whiteoak flooring lines the Cavs Corridor and leads toward a digital screen showing highlights from recent games. Sam Durant’s neon artwork caps another corridor. Bottom: A breakout space in the open office area features Mitt chairs by Claudia & Harry Washington, Leo Su’s Tour ottomans, and Jephson Robb’s Quiet table on carpet tile. Opposite top: Tom Dixon’s Void surface-mount fixtures and recessed linear LEDs illuminate the walk-in closet filled with Cavaliers gear. Opposite bottom: Textured glass doors open onto the boardroom, where the backlit stretched ceiling shines light on a 16-foot-diameter version of Joey Ruiter’s Flow table and JeanMarie Massaud conference chairs.

Equally inventive is a wall of preserved moss near a part of the office devoted to the Rocket Community Fund and the Gilbert Family Foundation, the philanthropic organizations the couple run that are devoted to growing opportunity and equity in Detroit as well as other national and international causes. The moss maps out Detroit’s municipal districts in varying shades of yellow and green. Small wooden boards that slide in and out of sleeves embedded in the plant matter are laser-engraved with stories about the work being done by their organizations. If it’s not already clear, Dan Gilbert is a Detroit native, his wife grew up in one of its suburbs, and together they are dedicated to revitalizing the Motor City. A dozen years ago, Dan Gilbert relocated Rock Ventures and the Rock FOC to the then-languishing downtown, and, in the years since, Bedrock, a real estate company he controls, has been redeveloping properties in the area. Last year, the couple announced a $500 million pledge to build opportunity and equity for all Detroit residents who have faced systemic barriers to economic and social mobility. The city’s comeback and the Gilberts appear to be inextricably entwined. PROJECT TEAM JORDAN WILLS; SARAH DAVIS; ALLEN LARGIN; MONICA PACE; LAUREN BURNHEIMER; NICOLE PELTON; BRANDON BARTEL; MAKYLE WELKE; ALESSANDRO PAGURA: POPHOUSE. GHAFARI ASSOCIATES: ARCHITECT OF RECORD. LIBRARY STREET COLLECTIVE: ART CONSULTANT. ABD ENGINEERING & DESIGN: ACOUSTICIAN. BLUEWATER TECHNOLOGIES GROUP: AUDIOVISUAL. MOD INTERIORS: WOODWORK. WHITINGTURNER: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT M COHEN AND SONS: STAIR FABRICATION (ATRIUM). NIENKAMPER: SOFA (GALLERY). MAHARAM: SOFA UPHOLSTERY. LIGNE ROSET: CHAIRS (GALLERY, RECEPTION), TABLES (BOARDROOM LOUNGE). MASSPRODUCTIONS: TABLES (LOUNGE). NOOM HOME: CHAIRS. KVADRAT: CHAIR FABRIC. URBAN ELECTRIC CO.: SCONCES. AXIS LIGHTING: LINEAR FIXTURES. VOGUE FURNITURE: CUSTOM DESK (RECEPTION). ARTISAN TILE INC.: CUSTOM TERRAZZO. BERNHARDT DESIGN: OTTOMAN (RECEPTION), GUEST CHAIRS, TABLE (OFFICE), CHAIRS, OTTOMANS, TABLE (BREAKOUT). HERMAN MILLER: TASK CHAIR (RECEPTION), WORKSTATIONS (WORK AREA). CUMBERLAND FURNITURE: SOFA (BOARDROOM LOUNGE). ARTIFORT: CHAIRS. GRAND RAPIDS CHAIR COMPANY: CHAIR (PHONE ROOM). MATTER MADE: LAMP. ARTE: WALLCOVERING. PLANTERRA CONSERVATORY: MOSS WALL (PHILANTHROPY GALLERY). HALCON FURNITURE: CASEGOODS (OFFICE). FIANDRE: FLOOR TILE (AUDITORIUM, BOARDROOM). ACOUFELT: ACOUSTICAL BAFFLES (OFFICE AREA). TOM DIXON: CEILING FIXTURES (CLOSET). COALESSE: CHAIRS (BOARDROOM). NUCRAFT: CUSTOM TABLE. PULP STUDIO INC.: STOREFRONT GLASS. THROUGHOUT SHAWCONTRACT: CARPET TILE, LVT. CARLISLE WIDE PLANK FLOORS: ENGINEERED FLOORING. FUSION LIGHTING; LUMINII; PRUDENTIAL LIGHTING COMPANY; USAI LIGHTING: LIGHTING. BARRISOL: STRETCHED CEILING. ARMSTRONG: ACOUSTICAL CEILING. CERTAINTEED; NAVY ISLAND: ACOUSTICAL PANELING. SHERWIN-WILLIAMS COMPANY: PAINT.

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Tilted facades, chaotic patterns, and vibrant colors lend a powerful dynamism to the Audrey Irmas Pavilion in Los Angeles by OMA

playing the angles text: joseph giovannini photography: jason o’rear

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Previous spread: A large trapezoidal aperture accommodates a covered terrace off the second-floor chapel in the Audrey Irmas Pavilion, a ground-up, five-story building by OMA on the Los Angeles campus of the early 20th–century Wilshire Boulevard Temple. Top, from left: An airy atrium occupies one side of the pavilion. Book-matched sassandra-veneer acoustic paneling lines the barrel-vault event hall. Bottom: The color of the terrace’s laminated-glass walls and metal-mesh ceiling panels harmonizes with the temple’s stained-glass windows; the glass skylight looks down onto the event hall. Opposite: The temple campus occupies a full city block.

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Designed by architect Abram M. Edelman and built by Hollywood moguls in 1929, Los Angeles’s Wilshire Boulevard Temple—a monumental composite of Roman, Romanesque, and Byzantine styles—is pure Cecil B. DeMille, a cameraready, domed architectural extravaganza waiting for a cast of 1,000 congregants. Still impressive today, the historic structure expresses a time, place, and attitude nearly a century old. But by the second decade of the new millennium, the synagogue was looking to present a more appealing and open public face for a more inclusive mission. Korean and Latino residents now occupy the neighborhoods surrounding the full-block campus, and the starched architectural formality of the 1920’s no longer suited today’s more casual L.A.

In 2015, the congregation held a competition for an ecumenical “gathering space” to be built on the temple’s parking lot. Called the Audrey Irmas Pavilion after the Angeleno philanthropist and art collector who donated $30 million to the campaign, the facility would not only serve the synagogue but also welcome events held by members of other communities. The brief was simple: rooms— small, medium, large. OMA was one of four finalists, and the project was right up the firm’s alley. In the 1970’s, cofounder Rem Koolhaas had helped rediscover the Russian constructivists, whose postrevolutionary buildings incorporated “social condensers,” shared spaces that precipitated collective activities and fostered a sense of community. Such programmatic thinking was in OMA’s DNA. The architectural

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“Inspired by the ceiling coffers lining the temple’s dome, OMA wrapped the volume in a grid of hexagonal GFRC panels”

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Opposite: Custom benches outfit the atrium’s pre-function balconies, where flooring is terrazzo. This page: GFRC panels, inspired by ceiling coffers in the temple, clad all the pavilion facades.

issue was how to design a building that neither cowered from nor competed with the synagogue next door. Led by partner Shohei Shigematsu with associate Jake Forster, OMA won the competition. As though signing a noncompete clause with the domed temple, Shigematsu changed the architectural subject, abandoning a historicist narrative in favor of an abstract language of geometric form and chaotic pattern. “It couldn’t be too pretentious,” he says, “so we started from an efficient box.” With three tilted sides, this box was not, however, simple. Two of the facades—one facing the temple, the other the synagogue school—slope backward, providing light and openness for a new plaza and an existing courtyard, respectively; the Wilshire facade slopes forward, reaching out to the urban corridor while sheltering a planted terrace at its foot. The architects basically created a five-story, 54,600-square-foot objectbuilding that, from some angles, looks like a truncated pyramid warped in a distortional field. “We were aware of the temple as an icon, and didn’t want to interfere with its landmark quality,” Forster notes. “So we imagined something contemporary.” Inspired by ceiling coffers lining the temple’s dome, they wrapped the volume in a grid of hexagonal GFRC panels, most of them inset with variously angled rectangular windows that create a jitterbug pattern on all sides. The oblique

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Top, from left: Windows in the center of most panels admit daylight while creating a dynamic, jitterbug pattern. Maarten van Severen chairs furnish a conference room. Bottom, from left: A circular opening in the roof and third floor is surrounded by laminated glass and plaster panels. Terrace furniture is by Renzo Piano Building Workshop while precast-concrete pavers are subtly tinted to reflect the project’s overall color palette. In a restroom, penny tiles evoke the geometry of the facade.

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facades set off the pavilion against the otherwise orthogonal context of the surrounding buildings, giving the structure a sculptural identity. Each facade centers on a monumental aperture looking into one of the two main congregational spaces. On the Wilshire elevation, a wide arch offers a telescoping view down a long barrel-vault event hall all the way to the adjacent school. Directly opposite the temple, an enormous trapezoidal opening on the second floor accommodates a covered terrace fronting a chapel that, like the hall, extends to the far facade. The laminated-glass walls wrapping the terrace and chapel are green, harmonizing with the blues of the stained-glass windows in the adjoining synagogue. “Our goal was to create a contextual and targeted porosity to the building, so we punctured the facades from different directions,” Shigematsu explains. “The pavilion opens to the wider community, while complementing and engaging the existing temple,” Forster adds. The interior organization is straightforward to the point of being diagrammatic. In a biaxial plan, the ground-floor hall and second-floor chapel are stacked perpendicular to each other. Lobbies, conference rooms, bar areas, reception spaces, and service facilities flank either side of the hall and chapel in simple, orthogonal layouts. On the roof, the architects cut a circle that opens to a glassenclosed sunken garden one floor below, alluding to the temple’s Byzantine

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Top, from left: A corridor snakes around the sunken garden. Its precast-concrete pavers are tinted a different color from those on the planted rooftop. Custom benches and an upholstered banquette niche turn a corridor into a hangout space. Bottom: The terrace flows seamlessly into the chapel, where flooring is cork.

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dome and establishing a vertical z-axis to the sky. A symmetrical set of stairs zigzags through an airy atrium, connecting the plaza entry to the chapel and the planted rooftop above, “like an Indian stepwell that climbs up,” Forster suggests. “We aimed to build a gathering machine, both formal and informal, at different scales,” Shigematsu says in conclusion, “not just a commercial or conventional event space.” For all its helter-skelter window patterns and leaning facades, the complexity of the Audrey Irmas Pavilion is more apparent than real. Basically, it’s a box pierced on two levels by double-height voids with ancillary functions fitted between them and the perimeter walls. OMA achieves the maximum impact with a few big moves. The building distinguishes itself from its neighbor both by geometry and attitude: The temple is serious and institutional, bound by tradition and anchored by gravitas; the pavilion is fresh, spirited, and brashly colorful. With a jolting change in visual mode, the contrast in eras jumpstarts the campus into the new millennium. Architectural grandeur and sobriety meets contemporary cool, bringing this stretch of Wilshire into the hip and now.

PROJECT TEAM JESSE CATALANO; DAVID CHACON; CAROLINE CORBETT; NILS SANDERSON; ANDREA ZALEWSKI; NATASHA TRICE; MARIE CLAUDE FARES; WESLEY L E FORCE; SANDY YUM; JADE KWONG; SHARY TAWIL; JOANNE CHEN: OMA. GRUEN ASSOCIATES: ARCHITECT OF RECORD. STUDIO-MLA: LANDSCAPING CON SUL TANT. SPACEAGENCY: GRAPHICS CONSULTANT. L’OBSERVATOIRE INTERNATIONAL: LIGHTING CONSULTANT. ARUP: STRUCTURAL ENGINEER; MEP. RHYTON ENGINEERING: CIVIL ENGINEER. MILLWORKS BY DESIGN: WOODWORK. MATT CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT SDC LAB: FURNITURE (TERRACE). LINDNER: METALMESH CEILING (TERRACE, CHAPEL). NAVY ISLAND: ACOUSTIC PANELING (HALL). EUROCRAFT ARCHITECTURAL METAL: CUSTOM FENCE (EXTERIOR). WEST COAST INDUSTRIES: CUSTOM BENCHES (ATRIUM). VITRA: CHAIRS (CONFERENCE ROOM). AMERICAN STANDARD: SINKS, SINK FITTINGS (RESTROOM). CEPAC TILE: PENNY TILE. FIGUERAS: CHAIRS (CHAPEL). DURODESIGN: FLOORING. THROUGHOUT STROMBERG: FACADE PANELS. QCP: CONCRETE PAVERS, PLANTERS. STEEL CITY GLASS: CURTAINWALL FABRICATION. OLDCASTLE: GLASS. GOLDRAY: GLASS LAMINATION. SEFAR: MESH INTERLAYERS. VANCEVA: COLOR INTERLAYERS. CORRADINI CORP.: TERRAZZO FLOORING. TRADEMARK CONCRETE SYSTEMS: CONCRETE FLOORING.

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horse sense With no official design training, Jonathan Haddad of creative studio Sceners relied on his wide-ranging savoir faire for the renovation of an equestrian estate in Retie, Belgium text: rebecca dalzell photography: jan liégois

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Jonathan Haddad, the cofounder and design director of creative studio Sceners, has an eclectic resume. Born in Paris and raised in Tel Aviv, Israel, he has studied jazz, launched a clothing label, restored vintage furniture, and created sculptures out of found objects. But Haddad had no official training in interior design when a friend, Kai Zeevi, asked if he’d be interested in renovating a family property near Antwerp, Belgium. Ever open to new experiences, Haddad admitted he lacked professional credentials but was confident he could pull it off. He had, after all, designed fashion shows and fixed up an old building for a pop-up gallery, and he knew how to make a 3-D model. Zeevi’s family took a chance and offered Sceners the job. It was a remarkable first commission. The multigenerational clan breeds horses and had recently bought a 40-acre equestrian facility, located in the town of Retie, with poorly maintained stables and living quarters. Zeevi, a champion show jumper, regularly trains there, and his family hoped to restore it and create comfortable accommodations for themselves. “The clients were looking for a chaletlike feel, a place where they could do these professional activities, but still feel at home and experience the daily stable life,” Haddad says. He got a taste of it himself: The job required him to stay on-site for a year to manage the project, since the Zeevis live in Israel. It may be one reason why he got hired: “They knew I was young and that it would be an amazing opportunity for me,” Haddad wagers. “I could be this guy on-site doing everything.” They also liked Haddad’s aesthetic, which is informed by his Moroccan mother, Tunisian father, and their collection of tribal art and mid-century furniture. “We had a maximalist home that combined Senufo masks, Naga chairs, and a Serpentine sofa by Vladimir Kagan,” he explains. “Having pieces from different periods and places creates a kind of harmony.” His style resonated with Zeevi’s family, who lived in Africa for a decade and appreciates its indigenous cultures. “We knew Jonathan’s vision and trusted his point of view,” Zeevi says. “We mostly gave him a free hand.” Haddad’s challenge was to pair sophisticated interiors with a working stable. He began by researching similar complexes nearby but found most too conservative for his taste. But Cuadra San Cristóbal, a fabled equestrian estate in Mexico City that Luis Barragán completed in 1968,

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Previous spread: A custom chandelier made of local tree branches and a 19th-century Indonesian door repurposed as a mirror furnish the main entry to a stable and a private residence in Retie, Belgium, renovated by Sceners. Opposite: The firm also landscaped the property and added pathways of Belgian bluestone. Top, from left: A custom bench of wood reclaimed from the stable stands in the foyer of the residence. The base of the entry’s low table is made from an old horse-food grinder, also found in the stable. An antique Asian rosewood stool and a fiber-concrete chair by Kristian Sofus Hansen and Tommy Hyldahl meet a 280-year-old Japanese azalea bonsai on other side of the foyer. Bottom: In the living room, a pair of vintage Shin and Tomoko Azumi sofas reupholstered in suede joins Charles and Ray Eames chairs, an Ingo Maurer chandelier, and wooden Senufo sculptures.

“Having pieces from different periods and places creates a kind of harmony”

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Opposite top: A vintage Pierre Jeanneret bench and an antique Asian display cabinet outfit the primary bedroom. Opposite bottom: The indoor riding arena, completed in 2012 by Architectenbureau Kristel Caes, occupies the same structure as the living quarters. Top: Discarded lumber from the stable has been formed into an outdoor chair. Bottom: Seating in the den includes custom live-edge oak chairs and a vintage Eames lounge chair and ottoman. APRIL.22

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showed what a more abstract approach could look like. “Barragán got me thinking outside the box,” Haddad notes. While he wasn’t going to create anything so colorful or modern, Barragán’s stables made him consider how to heighten the connection with nature, such as landscaping the property and incorporating organic elements in the interiors. Surrounded by forest, the 43,000-square-foot compound comprises a mid 20th–century brick stable and a 2012 building by Architectenbureau Kristel Caes that incorporates an indoor training arena and a two-story private residence. Haddad started with improvements like reinforcing and sanding the terra-cotta bricks, painting the roof, and installing window shutters and new stalls in the stable. Inside, he opened up the relationship between the horse facilities and living areas, replacing walls with windows; a dining room, for example, now looks directly into the arena. “I created transparency so the sport didn’t feel like a professional activity, but something desirable that anyone could do,” Haddad says. (He himself learned how to ride during his stay.) Haddad mined the stable for raw materials, bringing historic elements into the living quarters of the newer building. He turned a grinder once used for milling horse food into the base of a low table. Aluminum from a stable door became the legs of a coffee table. Another door, broken and whitewashed, hangs as abstract artwork in the living room. Other custom pieces are made with wood from the surroundings, such as a chandelier composed of branches that Haddad cut down, sanded, and fashioned into a sculptural pendant fixture. His firm Sceners not only designs these pieces but also fabricates them, and operates as a vintage furniture dealer, too. While the home relates to its rural context, it’s no rustic retreat. Haddad scoured secondhand stores and flea markets in the region to source an array

Top: A new window wall in the dining room connects the residence with the arena; the 1980’s aluminum and leather chairs are Italian. Center: The mid 20th–century stable has 40 stalls with new aluminum and teak gates. Bottom: The stable’s shutters, also teak, were recently added. Opposite: Naga chairs dating to the 19th century appear throughout the 43,000-square-foot interiors.

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Top, from left: The teak pedestal and MDF bookshelf in the upstairs sitting room are custom. The indoor arena is 20,000 square feet. A vintage stone horse sculpture and 19th-century Senufo mask decorate the den. Bottom: Marcel Breuer chairs, a Michel Ducaroy sofa, and a Le Corbusier and Charlotte Perriand chaise circle an Isamu Noguchi coffee table—all vintage—in the sitting room. Opposite: The newly landscaped private courtyard between the stable and the residence centers on an existing fountain.

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of mid-century designer furnishings. In the upstairs sitting room, Marcel Breuer chairs face a chaise by Le Corbusier and Charlotte Perriand. An Ingo Maurer chandelier meets Shin and Tomoko Azumi sofas and Charles and Ray Eames chairs in the living room. Antique Asian stools, Naga chairs, and Senufo masks and sculptures populate other rooms throughout. For Zeevi, the result creates a Zenlike feeling well suited to the quiet setting. “It calms me down,” he says, “and is unique and feels authentic. We took a bit of a risk on Jonathan at the beginning, but he did an unbelievable job.” The family has even signed up Sceners to design an extension to the stable with four more bedrooms. It seems safe to bet that Haddad will have no shortage of ideas. PROJECT TEAM ARCHITECTENBUREAU KRISTEL CAES: ARCHITECT OF RECORD. PETER STRUCTURES BV: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT MAGAZYN: CONCRETE PEDESTALS (ENTRY, FOYER). 101 COPENHAGEN: CONCRETE CHAIR (FOYER), VASES (BEDROOM, DINING ROOM, SITTING ROOM), CONCRETE SIDE TABLE (SITTING ROOM). THROUGH PAGODA: BLACK STOOLS (FOYER, DINING ROOM), CABINET (BEDROOM), SHELF UNIT (STABLE). HITCH MYLIUS: SOFAS (LIVING ROOM). INGO MAURER: CHANDELIER. NV GALLERY: HEADBOARD (BEDROOM). MOGG: LAMP. THROUGH EMPIRE: COFFEE TABLE, METAL PEDESTAL, MASK (DEN). THROUGH ADC EINDHOVEN: VINTAGE PENDANT FIXTURES (STABLE). THROUGH MASS MODERN DESIGN: ARMCHAIRS (SITTING ROOM). THROUGHOUT BATO: BRICK, STONE, WOOD SUPPLIER. THROUGH LOADS 040: VINTAGE ACCESSORIES.

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back to the future Modern projects from as early as the 1930’s are still relevant today, proving that form, function, and the pursuit of innovation can endure for nearly a century—just like Interior Design text: annie block See page 230 for Casa Orgánica, a 1985 house in Mexico City by Arquitectura Orgánica. Photography: Natalie Krag/Living Inside; production: Tami Christiansen.

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City of Tresigallo site Italy. year 1939. standout Masterminded by Tresigallo native Edmondo Rossoni, then minister of agriculture and forestry, the city’s “refounding” began around 1930, when Rossoni ordered a road connecting it to Ferrara be built, to improve trade, and enlisted young professionals—engineer Carlo Frighi, sculptor Enzo Nenci, and landscape architect Pietro Porcinai, among others—to design a rationalist urban plan, with pastel-colored buildings and clean, essential lines, resulting in a tenfold increase in population then and a must-see destination for architects of today. photography Laura Fantacuzzi and Maxime Galati Fourcade/Living Inside.

30’s

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La Fondation Maeght site Saint-Paul de Vence, France. year 1964. firm Sert, Jackson and Associate. standout Led by architect Josep Lluís Sert, a former Harvard GSD dean (1953– 1969) and friend of fellow Spaniard Joan Miró, the institution founded by art-dealer couple Aimé and Marguerite Maeght is France’s first devoted to art, the in situ modern works by the likes of Miró, Alexander Calder, Marc Chagall, and Diego Giacometti, as well as the temporary exhibitions it currently hosts, in harmony with the natural surroundings and the building’s architecture, done in a welcoming Mediterranean village style of white pouredconcrete impluviums, earthy brick, and myriad patios. photography Roland Halbe.

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60’s

“Sert literally integrated nature into the construction of the building, yielding spatial layouts conducive to contemplation”

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Spiegel Gruppe site Hamburg, Germany. year 1969. architect Verner Panton. standout The publishing company perhaps most known for its news outlet Der Spiegel enlisted the Danish architect, who cut his teeth at Arne Jacobsen’s studio, for its then new headquarters, his purview encompassing the lobby, lounges, and conference rooms, palette and furniture selection, including the Harry Bertoia chairs in the canteen (which graced the cover of our 75th anniversary issue), and the design of all textiles and lighting; today, the Spiegel sconce has been reissued by Verpan and the canteen is under heritage protection. photography Bernadette Grimmenstein/Artur.

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“In the late 60’s, Panton experimented with entire environments: radical interiors that were an ensemble of his curved furniture, textiles, and lighting”

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Cartiera Burgo site Turin, Italy. year 1981. architect Oscar Niemeyer. standout The headquarters of the paper-manufacturing company now called Burgo Group was designed by the venerable Brazilian architect during his exile years, about a decade after he’d completed the company’s editorial offices in Milan, and one of only two buildings he built in Turin, appointing this one with furniture by Eero Saarinen and him and his daughter Anna Maria; the building stands today unoccupied but there have been recent proposals for its adaptive reuse. photography Barbara Corsico/Living Inside.

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80’s

“Its circular floor plan is characteristic of Niemeyer’s use of simple, organic shapes to astounding effect”

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80’s

“Continuous, wide spaces, integrated furniture, liberating lights, and changing shapes follow the natural rhythm of human movement”

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Casa Orgánica site Mexico City. year 1985. firm Arquitectura Orgánica. standout Founder Javier Senosian, now 73, is an early practitioner of organic architecture, this house reflective of the movement, its ferro-cement, or reinforced cast concrete, formwork sprayed with polyurethane and then partially covered

with soil for grass to grow directly on the facade, and interior conceived to evoke a mother’s embrace or the sensation of entering the earth, the latter emphasized by an all-over sand-colored palette; first designed with a single bedroom, when the house was expanded, workers dubbed it “the shark” for its appearance and a fin was added. photography Natalie Krag/Living Inside; production: Tami Christiansen.

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the next wave

A growing congregation in northern Italy is blessed by San Giacomo Apostolo Church, a new complex by Benedetta Tagliabue-EMBT that’s both contemporary and contextual text: giovanna dunmall photography: roland halbe

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Sinuous and sculptural, San Giacomo Apostolo Church is capped by deconstructed planes of thin copper panels. Topping the ground-up parish complex in the northern Italian city of Ferrara, the roofscape was inspired by a hot-air balloon after it falls flat to the ground. “When we were coming up with ideas, we found this image of a balloon festival in the skies of Ferrara, struck by what impressive, colorful, and light structures they were,” architect Benedetta Tagliabue recalls. “At the same time, we were looking at the beautiful city, its brick and monochromatic hues, medieval and Renaissance architecture, and thinking Why should we go back to history and mimic it? Let’s be inspired by something else.” Inspired she was. The unique roof is just one of several contemporary standouts in the decade-long project masterminded by Benedetta Tagliabue-EMBT, the Spanish studio Tagliabue cofounded with her late husband Enric Miralles and of which she is now CEO and head architect. Commissioned in 2011 by the Conferenza Episcopale Italiana, Italy’s official assembly of bishops, San Giacomo Apostolo is part of a pilot program to erect three new Catholic parishes throughout the country where growing congregations made new facilities necessary. Composed of a 7,600-square-foot church and rectory, plus a 9,000-square-foot annex with meeting and classroom spaces, it shares a plot with the former church, now a nursery and kindergarten. Beneath the wavy roof, a striped undulating exterior of red brick and white concrete underscores the church’s modern expression. “Using two materials was partly about not wanting to be overly assertive with one,” Tagliabue explains, “but it was about giving the building visibility, too.” The materials also contribute to the project being contextual: The brickwork, a three-point pattern in some sections, nods to the carved marble “diamond” exteriors of the 15th-century Palazzo dei Diamanti nearby.

Inside the church is equally impressive and unexpected. Light, both natural and artificial, is a defining characteristic. It pours in through a central oculus and surrounding clerestories, encouraging congregants to look ever heavenwards, and is supplemented by Tagliabue’s domelike beech pendant fixtures. Also in abundance is concrete. She and her team had wanted to build the church out of wood but couldn’t because of budget constraints. When they settled on concrete, they’d planned to treat it but realized, despite initial client opposition, that it was more beautiful in its raw form, particularly as a backdrop to site-specific artwork. Collaborating with sculptor and painter Enzo Cucchi is one of the reasons the project endured for so long. The works of Cucchi, who’s part of the Transvanguardia, a neo-Espressionist movement, gave pause to the CEI’s more conservative members. “They were afraid of what he would do, so it got stuck for a while,” Tagliabue reports. But the artist kept his impulse for the

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Previous spread: The sawtooth brickwork cladding San Giacomo Apostolo Church, a ground-up Catholic parish complex in Ferrara, Italy, by Benedetta Tagliabue-EMBT, nods to the carved facade of a 15th-century palazzo nearby, for an appearance that’s both modern and historic. Opposite: Inside, beneath 500-year-old nonstructural beams, the altar, carved from a single block of Italian limestone, is backed by a site-specific cross sculpture by Enzo Cucchi. Top, from left: Raw concrete and cement composite form the interior envelope. Custom pulpit furniture was milled from beech and mahogany laminates. A corridor, its fir ceiling vault and window frames referencing the site’s surrounding poplar trees, leads from the church to the annex containing a parish hall and classrooms. Bottom: Copper roof panels top the church and annex.

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“Found, centuries-old beams lend a sense of gravitas, of passing time, in the new interior” In the nave, a pine-slat vault backdrops the beams, which were salvaged from Ferrara’s recently restored town hall and installed in a cross formation.

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provocative at bay, choosing instead to adorn eight walls of the church with large crosses in pietra serena, a noble gray sandstone, installed either vertically, slanted, or along a curve so that “you see the sculpture going around the edge,” Tagliabue notes. Each cross has a black ceramic base carved in bas-relief with verses from the Old and New Testaments. Behind the altar, a dramatic monolith carved from a single block of unpolished white limestone, is another, even larger cross devised by Cucchi. Its cues come from the early Christian and medieval tradition of the crux gemmata, Latin for jeweled cross, Cucchi studding the sculpture not only with golden ceramic elements but also surrounding it with glazed ceramic “gems” in colors that represent “the stars, saints, and angels in the sky,” Tagliabue enthuses. “I love that Enzo saw that, by enhancing the walls with a simple cross, they would become something else entirely. It’s a fantastic integration between art and architecture—the art ties right into the materiality of the project.” EMBT was keen to use timber where it could, so the firm created a vaulted ceiling of thin pine slats that encompasses a suspended metaphorical baldachin. The vault, which was fabricated on-site with intended and poetic gaps that “let something of the original structure emerge,” was about creating this “idea of being in a humble cabin that keeps the community together,” Tagliabue says. Wood, along with stripes, reappear in the furniture, for the pulpit, the chairs for the priests and acolytes, and the plinths, all made by the studio from alternating sections of mahogany and beech laminates. One of the studio’s concerns was not having the building look too new. “It’s terrible if a church looks as if it’s just landed there,” Tagliabue states. The plan was to break some of the points on the exterior bricks so the facade looked older, but

that was deemed too complicated and, Cucchi thought, “manneristic.” However, the copper roof will help provide that desired patina, morphing from orange brown to matte green over time. For a sense of gravitas inside, the team inserted found objects with previous, preferably religious, lives: a baptismal fount Tagliabue’s father sourced in an antiques shop, a Virgin Mary from a derelict church in Ferrara, an old monstrance and reliquary. In the concrete flooring, rectangular stone slabs with patterns reminiscent of old tombs have been inlaid to recall the floors of grand, centuries-old cathedrals. Floating above the entire nave is a flat horizontal cross of fir beams salvaged from Ferrara’s town hall. Since they’re at least 500 years old and dilapidated, they couldn’t be used structurally. Instead they’re joined together on metal beams to create a crowning crucifix that doesn’t overawe or oppress, but rather imbues San Giacomo Apostolo with history and presence.

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Opposite: The roof’s form was inspired by Ferrara’s annual hot-air balloon festival. Photography: Marcela Grassi. Top, from left: The floor is inlaid with dozens of rectangles of patterned Italian stone representing the tombs found in the floors of old cathedrals. Beech-veneer pendant fixtures by Benedetta Tagliabue hang before additional crucifix wall sculptures by Cucchi. Beneath the central skylight, an emblematic baldachin in the shape of a scallop shell, symbolizing San Giacomo and baptism, is suspended. Bottom: At night, light shining through the clerestory windows outlines the undulating roof. PROJECT TEAM JOAN CALLIS; VALENTINA NICOL NORIS; NAZARET BUSTO RODRÍGUEZ; JULIA DE ORY MALLAVIA; DANIEL HERNÁN GARCÍA; CAMILLA PERSI: BENEDETTA TAGLIABUE-EMBT. ARTEC3 STUDIO: LIGHTING CONSULTANT. STUDIO IORIO: STRUCTURAL ENGINEER. FALEGNAMERIA LORO: CUSTOM FURNITURE WORKSHOP. IDEALWORK: CONCRETE WORK. CONCORDIA SAS: PROJECT MANAGER. COSTRUZIONI TIZIANO GEOM. CORRADO: GENERAL CONTRACTOR. PRODUCT SOURCES THROUGHOUT BOVER: PENDANT FIXTURES. IGUZZINI ILLUMINAZIONE; STINGERS ILLUMINOTECNICA: LIGHTING. IDEALSTILE: PAINT, PLASTERBOARD. IDEAL WORK: FLOORING. FALEGNAMERIA LUCIETTI: WINDOWS, DOORS. GELA: COPPER SUPPLIER. SAN MARCO TERREAL: BRICK SUPPLIER.

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flying high Echoing its meteoric success, inclusive clothing brand Bosie’s Shanghai flagship by Leaping Creative appears to soar in from outer space text: rebecca lo photography: yuuuun studio

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Home to the former Shanghai French Concession, Huaihai Road has been synonymous with high culture and fashion since the mid 19th century. The wide boulevard with manors off its leafy lanes is one of the world’s premier shopping addresses, home to such luxury brands as Hermès and Louis Vuitton. It’s no coincidence, then, that Bosie, an online fashion retailer aimed at the Gen Z set, selected 627 Huaihai Road for its brick-and-mortar flagship in Shanghai and Leaping Creative to design it. Bosie is the brainchild of a small group of twentysomethings led by Guangyao Liu. Founded in 2018, it’s a design-driven label imbued with the team’s take on relaxed, genderless apparel available to anyone with an Internet connection. Bosie’s online success—the company raked in 1 million yuan, approximately $200K, in revenue the month it launched—precipitated the 2019 opening of its first store in Hangzhou Kerry Centre. Today, it operates 26 shops across China. The Huaihai Road outpost is the fifth by Leaping Creative, following ones in Beijing, Tianjin, Changsha, and Guangzhou. “Bosie is more than clothing,” Leaping Creative founder and design director Zen Zheng begins. “It provides the younger generations with a means for showing the philosophies they believe in. Unisex fashion is not only a concept that joins the conversation for gender equality but also gives a new selfexpression for this demographic.” The rise in the desire for cozycore garments during the pandemic gave Bosie an additional boost. On its website, Bosie states that “through retro, childlike fun and unique products, we can break boundaries and show the innocence, seriousness, freedom, and romance of adults.” Based on research of the target customer as well as inspiration from the product collections, Leaping Creative developed that retro notion into a project narrative in which Bosie is an intrepid extraterrestrial life form that roams the

Previous spread: Upstairs at the two-story Shanghai flagship of Bosie by Leaping Creative is a 17-foot-long, stainless-steel and fiberglass version of the clothing label’s goose mascot. Top: The café on the ground floor has a retro-inspired photo booth. Center: Powder-coated aluminum rods form a nonfunctioning conveyor belt inspired by space-exploration equipment. Bottom: The animal-friendly store offers a capsule-shape pet hotel for customers. Opposite top: Above the conveyor belt, stainless steel is shaped into apparel-display racks. Opposite bottom: The narrative of the 21,500-square-foot interior centers on the brand being an intelligent species landed in Shanghai, the spiraling escalator platform recalling a spaceship’s base.

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An installation resembling a rocket engine can be seen through a window on the ground level, where flooring is terrazzo.

Below: A pilot helmet installation on the second floor reinforces the outer-space theme. Opposite top, from left: One of 12 fitting rooms. A storage room is located within a capsule on the second floor. Inside the photo booth. Opposite center, from left: Displays built into a wall of upholstered high-density foam. A fitting room with Little Prince graphics. Another, inspired by a radio station. Opposite bottom, from left: The ground floor’s water dispenser and vending machine. An exterior light fixture indicating a fitting room’s availability. Custom steel plates indicating the number garments for try-on.

galaxies and has landed in Shanghai, resulting in a Jetsons-esque experience containing not only clothing and accessories but also amenities in step with the Gen Z way of life. The 21,500-square-foot store spans the ground and second floors of a mixed-use building with WeWork as the auspicious anchor tenant. The futuristic journey begins at the entrance, where the facade incorporates reflective stainless-steel sheets above extensive glazing. Flanking the entry door are semicircular glass elevator shafts that Zheng updated with what he calls a “space-age installation”: floor-to-ceiling LCD screens looping Bosie lifestyle videos. “The facade responds to Shanghai’s strict building regulations, which do not allow us to change the architecture. But we were able to cover the original elevator shafts with the screens, which in turn attract passersby into Bosie.” If the videos don’t draw them in, then the enormous 10-foot-wide sculpture resembling a rocket engine that’s clearly visible through the windows ought to do it. Similarly, on a column, a pilot helmet is jacked into a control board. “We used the engine and helmet to hint at the alien story,” Zheng notes. “The helmet sends a continuous feed back to base.” That base could very well be found on the ground floor, where a short spiral stair is sheathed in steel panels. The UFOlike form anchors the central set of escalators and divides the floor’s areas. On one side is apparel, including the laboratory-themed Purple collection. Following the space-exploration storyline, garments are displayed on racetrack-shape rails above a nonfunctioning conveyor belt, its aluminum rods powder-coated sage green. The pleasing shade reappears on columns, paneling, and upholstery, particularly on the lunar-looking sofas in the waiting area outside the capsule-shape fitting rooms. A major Zoomer perk is on the other side of the ground floor: the café. It features an old-school photo booth and a self-serve machine dispensing

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ice cream, vegan of course. “The ice cream reinforces the sustainability of Bosie’s Blue collection, which is made from eco-friendly, raw materials,” Zheng explains. The second floor furthers Bosie’s pro-nature, allinclusive sensibility. A 17-foot-long white fiberglass goose greets customers stepping off the escalators. “It’s the brand mascot,” Zheng says, “and satisfies netizens’ need for Instagram moments.” Beyond, in a corner, is a pet hotel for shoppers to drop off or play with furry friends. “Based on the latest customer research, 40 percent of young people in China have pets,” Zheng says. “We offered a place where they can bring them as well as meet other pet owners. All these extras encourage customers to stay longer.” As do various interactive installations. AR tech forms the basis for fanciful real-time videos that can be captured by customers. “The store’s facial recognition feature corresponds to Bosie’s Black collection, which is based on sci-fi films,” Zheng says. “By capturing images of passersby, artistic Bosie plants will grow from the face depicted on the screen. The customer can then download the animation clip and share on social.” The store’s Tomorrowland aesthetic merges discshape motifs and curving corners with polished and brushed metals, glowing panels, and gentle sky blues, beiges, and grays for an overall setting that’s inviting and optimistic. The numbers confirm the sentiment. States Zheng: “Daily revenue of the flagship broke the record for previous Bosie stores.”

PROJECT TEAM CHANG CHEN; XIAOWEN CHEN; QIONGWEI ZHOU; SHENGYUE XIA; MINDONG ZENG; MINGHAO LIANG; ZIJUN LUO; ZHUJI LI; JIARONG FENG; ZHEMING JI; JIAYI HUANG; JIACHUN WU; LIWEI CHEN; TIANWEI LUO; DONGZHI YOU; ZIXIN HUANG; YANJUN HE; BOQUAN YU: LEAPING CREATIVE. SEENVISION: INTERACTIVE INSTALLATION CONSULTANT.

Top: Unisex restrooms feature stainless-steel fixtures, ceramic tile flooring, and a central engineered-stone sink. Center: The space-age aesthetic extends to the exterior via panels of stainless-steel panels and floor-to-ceiling Bosie video screens flanking the entry. Bottom: The mirror in a fitting room hangs on a track and can be moved by customers trying on clothing. Opposite top: Displays in acrylic and polished stainless steel serve the second-floor accessories area. Opposite bottom: The sofas outside the fitting rooms are custom.

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edited by Stanley Abercrombie

books

The Other Modern Movement: Architecture, 1920-1970 by Kenneth Frampton New Haven, Connecticut: Yale University Press, $50 344 pages, 580 duotone illustrations

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Kenneth Frampton, the great historian of modernist architecture, has authored books on Tadao Ando, Charles Correa, Steven Holl, and Harry Seidler. He considers the International Style, as identified by HenryRussell Hitchcock and Philip Johnson in their highly influential 1932 MoMA exhibition, to be only part of the modern movement’s story and, with Le Corbusier and Ludwig Mies van der Rohe as its chief heroes, one “more concerned with appearance than with substance.” This new book is its antidote, with 19 additional talents who have made their own respectable contributions. Some of these are best known by single works, such as Eileen Gray’s 1929 House E-1027 in Roquebrune-CapMartin, France, and Pierre Chareau’s 1932 Maison de Verre in Paris. Many others are represented by projects that are virtually unknown (at least by this reviewer): Antonin Raymond’s 1932 Golf Club in Asaka, Japan; Evan Owen Williams’s 1939 Daily Express building in Manchester, U.K.; and Alejandro de la Sota’s 1961 Gobierno Civil in Tarragona, Spain. Frampton, a professor at Columbia University’s Graduate School of Architecture, Planning and Preservation, leads us to conclude that modernism had a broader foundation, a more varied character, and— perhaps—a more durable future than previously acknowledged, all welcome insights. Happily, he has also provided bibliographies for all 19 of his chosen architects.

What They’re Reading... James and Hayes Slade

tune in The Stormlight Archive

designtvbysandow.com

by Brian Sanderson New York: Tor Books, $40

BOTTOM LEFT: COURTESY OF SLADE ARCHITECTURE

Founders of Slade Architecture

An American Renaissance: Beaux-Arts Architecture in New York City by Phillip James Dodd New York: Images Publishing Group, $135 412 pages, 330 color illustrations

Here is a big (11 by 14 inches), bountiful, handsomely ill ustrated book showing 20 exemplary New York buildings and interiors completed be tween 1870 and 1930—an era of great growth and, for some, great fortunes, known now as the American Renaissance or the Gilded Age. The Ecole des BeauxArts in Paris, where a lot of the included architects studied, offered a variety of styles to emulate, many of which are represented here. George B. Post’s 1875 Williamsburgh Savings Bank is Florentine Renaissance; the 1899 University Club by Charles Follen McKim is a larger version of an Italian palazzo; Cass Gilbert’s 1907 Alexander Hamilton U.S. Custom House is inspired by the Palais Garnier opera house in Paris; the 1913 Grand Central Terminal by Reed & Stern with Warren & Wetmore is modeled on Rome’s Baths of Caracalla; the Woolworth building of 1913, also by Gilbert, is Gothic Revival (and was, for a time, the world’s tallest skyscraper). Together they give New York a sense of history and pride while creating a cultured background for the modernism that followed. A dark cloud above it all, however, is the ghost of McKim’s Penn sylvania Station, built to glorious result in 1910 and destroyed in 1968. Its demise, however, led to the formation of the New York Landmarks Preservation Commission, without which many of these classical buildings would have been lost.

“Our entire family has been enjoying The Stormlight Archive, Brian Sanderson’s epic futuristic fantasy series that’s at four novels so far. It has been a very interesting and engrossing escape for us all that we can also discuss together, so it’s great fun. More apropos of our design work, however, we listen to Smartless, the podcast hosted by Will Arnett, Jason Bateman, and Sean Hayes. They typically interview people involved in film and TV, including writers, actors, and directors. We find the discussions of a creative field outside architecture and design enriching, and the inter pretation of their work for our own arena is highly rewarding. For example, we especially enjoyed the Ken Burns interview. His process sounded tremendously disciplined while at the same time offering points of looseness and spontaneity. There is incredible attention to every aspect of his documentaries and how each element intertwines to form the final product. Many of his thoughts about his work had analogous insights for our own. We aim to make our spaces multisensory and have taken inspiration from the podcast for several of our current branded retail projects, which are confidential at the moment. But we can say that they tell a narrative across the senses and deliver experiential spaces that are also replicable for different locations. Listening to these interviews forces a reinter pretation, rather than just treading the same, familiar paths, as we celebrate our firm’s 20th anniversary.”

For those with a finer appreciation of the classics. Classic Metals from Chemetal are an impressive collection of beautiful, bestselling classic metal designs in HPL and anodized aluminum. Here: #901 Polished Aluminum “Fountain” at the National Building Museum.

chemetal.com

c o n ta c t s PHOTOGRAPHERS IN FEATURES John D’Angelo (“Coming Around,” page 190), johndangelophoto.com. Marcela Grassi (“The Next Wave,” page 232), marcelagrassi.com. Roland Halbe (“The Next Wave,” page 232), rolandhalbe.eu. Jan Liégois (“Horse Sense,” page 210), janliegeois.be. Jason O’Rear (“Playing the Angles,” page 200), jasonorear.com. Yuuuun Studio (“Flying High,” page 240), @yuuuunstudiooo.

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 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 COR-RESPONDENCE 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. Publications Mail Agreement No. 40624074.

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10YEARS CELEBRATING

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Dubai has a reputation as a futuristic metropolis. Though it was a small UAE fishing community along the Persian Gulf only a century ago, today it offers the world’s tallest building, man-made islands in the shape of palm trees, and skiing in the middle of the Arabian Desert. Now the Museum of the Future, a collaboration between local firm Killa Design and British structural engineer Buro Happold, celebrates what’s still to come.

spaceship earth

i n t er vention

FROM TOP: GIOVANNI EMILIO GALANELLO; COURTESY OF THE MUSEUM OF THE FUTURE

Opened on February 22, 2022, a date selected for its palindromic nature, the 250-foot-tall, 323,000-square-foot structure—a highly complex ovoid form with a hole in the middle, wrapped in a skin of curved stainless-steel and GFRP panels—looks something like a spacecraft dropped into the city’s financial district. The building’s surface is covered with Arabic calligraphy (actually window openings CNC-cut into the cladding) that spells out poetry by the emirate’s ruler. Sample line: “The future can be designed and built today.” The permanent exhibitions, designed by German firm Atelier Brückner, include “Journey of the Pioneers,” which leaps forward to 2071 for an expedition on the spaceship OSS Hope. It’s filled with 3-D printed elements that could have been crafted en voyage, while black terrazzo flooring suggests something mined from moonrocks and asteroids. Back on Earth, the building itself is good for our planet’s future: It’s the first LEED Platinum–certified museum in the Middle East. —Wilson Barlow

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thank you to our 2022 Giants of Design conference partners for helping us celebrate at the Parker Palm Springs

Visit interiordesign.net to see more event coverage

May 15-17 2022 at New York City’s Javits Center

Trade professionals: Use code INTERIOR22 and your pass is complimentary. Produced by Emerald X, LLC.

Work from Anywhere with Compose Echo haworth.com/id/echo

Interior Design April 2022 – 90th Anniversary

Articles inside

INTERVENTION

CONTACTS

FLYING HIGH

BOOKS

THE NEXT WAVE

BACK TO THE FUTURE

HORSE SENSE

PLAYING THE ANGLES

COMING AROUND

RARE BIRD

FROM THE GROUND UP

SUN WORSHIP

X FACTORS

MATERIAL UNIVERSE

PULP FACT

PARTITION PLAY

SHIFT WORK

OUT OF THIS WORLD

UNDER THE MICROSCOPE

AHEAD OF THE CURVE

ON THE OBLIQUE

See who else is celebrating a major anniversary in 2022

WALTER GROPIUS

KATE MILLETT

CINI BOERI

HEADLINERS

ALGONQUIN HOTEL

HERBERT BAYER

LUDWIG MIES