Interior Design August 2022

AUGUST 2022

in perfect harmony

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CONTENTS AUGUST 2022

VOLUME 93 NUMBER 9

08.

22

ON THE COVER On the Seattle campus of Expedia Group, surrounded by indigenous grasses, a 50-foot cantilevered roof caps the Prow, a new building for both meetings and quiet time by Aidlin Darling Design and Susan Marinello Interiors. Photography: Adam Rouse.

features 70 READY FOR TAKEOFF

by Lauren Gallow

A flight-inspired building on Expedia Group’s Seattle campus by Aidlin Darling Design and Susan Marinello Interiors enables the online travel company’s staff to get away—at work.

78 THE ROAD AHEAD

by Rebecca Dalzell

In-house design director Jennifer Kolstad takes the wheel with Ghafari Associates in devising the forward-looking Ford Experience Center in Dearborn, Michigan.

86 HIDDEN GEM

by Craig Kellogg

In the Mediterranean, Moinard Bétaille polishes up the Hotel Cala di Volpe, an Italian screen legend on Sardinia.

94 GET SMART

by Edie Cohen

Developing leadership skills in public-school educators is the name of the game at the Holdsworth Center in Austin, Texas, by Lake Flato Architects and Looney & Associates.

102 ART AT WORK

by Michael Lassell

Pieces from developer and philanthropist Jorge M. Pérez’s museumready collection fill Related Group’s MKDAdesigned headquarters in Miami.

110 FASHION FORWARD

by Peter Webster

Four futuristic stores from around the globe show that modern clothing retailers are not looking back.

CHUAN HE/HERE SPACE

110

08.22

CONTENTS AUGUST 2022

VOLUME 93 NUMBER 9

walkthrough 33 OVERNIGHT WITH BREUER

by Ted Loos

rising giants 39 RISING UP

by Mike Zimmerman

departments 17 HEADLINERS 21 DESIGNWIRE

by Annie Block 24 PINUPS

by Annie Block 29 CREATIVE VOICES Gimme Shelter

by Ian Phillips

French dealer Clément Cividino specializes in restoring prefabricated houses and lightweight structures from the 20th century, using them as intimate spaces for inventively curated exhibitions.

51 MARKET

by Rebecca Thienes and Georgina McWhirter 65 CENTERFOLD A Tree Grows in Times Square

by Wilson Barlow

CLB Architects combined weathering steel, reclaimed timber, and plant life into an accessible arboreal retreat in New York.

149 BOOKS

by Stanley Abercrombie 151 INTERVENTION

by Athena Waligore 152 CONTACTS

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e d i t o r ’ s welcome

rising up!

These days, there are increasingly rare moments when we manage to complete the myriad tasks we’re so good at inflicting upon ourselves, forget the myriad upcoming ones we’ll soon be burdened with, and completely stop.

Thankfully, it does happen—and when it does, like magic…aaaahhh, bliss! Time almost stands still so we can study our reality and our surroundings with crystalclear perception (really great stuff!). Those brief moments are when I enjoy the best insights that trigger my keenest observations. I was regaled with one of those treasured moments right here, on these pages, via one of the issue’s lead stories. Aidlin Darling Design and Susan Marinello Interiors conceived a brand-new building on Expedia’s Seattle campus to provide…just shelter. How cool is that?! I mean, the space was planned from the ground up (and with a prow that takes us up, up, and away) not to fulfill contractual obligations regarding performance metrics or specific meeting/collaboration needs (with the requisite scattered amenities gilding the lily) but rather as an oasis to find refuge in—with productivity to follow only later. I’ve never seen the 20th-century work lifestyle left so far behind.

And this splendid design endeavor is oh-so-stunning it made the coveted cover! My initial instinct was to spotlight the project’s searing highlights as a means to starkly show our practice adapting so well— actually thriving—through upheavals and challenges. Or, better yet, to position it as an example of how much the industry has led by way of such innovative projects and with an inexhaustible lode of creativity and know-how. And yes, always moving ahead, because that’s what we do best, no matter what!

I wanted to spell that out so you can focus on another feature: our insightful 100 Rising Giants reporting, which is proof positive of our adaptability, leadership, and inexorable forward motion. It’s also a window on a promising future. And that’s what design, for me, is all about! xoxo

Follow me on Instagram

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AUG.22

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Strong Special — collection design Eugeni Quitllet 2022

www.desalto.it

East Cost — Mrs Suzanne Cornell Ph +1 305 793 3342 — suzanne@cornellmunzer.com West Coast — Mrs Hyuna Park Ph +1 323 381 8117 — hyunapark50@icloud.com

headliners

“French luxury is when classical heritage is enriched by a curiosity for all the cultures of the world”

JACQUES PÉPION

Moinard Bétaille “Hidden Gem,” page 86

founder, partner: Bruno Moinard. partner: Claire Bétaille. firm site: Paris. firm size: 50 architects and designers. current projects: Cartier boutique and Hôtel Plaza Athénée guest-room renovation in Paris; a residence in London. honors: Lauréat du French Design 100 Festival; Land Rover Born Award (Architecture Design Prize). artist: Moinard has exhibited his paintings at several galleries in Paris. student: Bétaille has degrees in art history and interior architecture and design. moinard-betaille.com

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Aidlin Darling Design “Ready for Takeoff,” page 70 principal, cofounder: Joshua Aidlin, FAIA. senior associate: Adam Rouse. firm site: San Francisco. firm size: 26 architects and designers. current projects: The Island Club at Yerba Buena Island in San Francisco; Google store in Brooklyn, New York; Contemplative Sciences Center at the University of Virginia in Charlottesville. honors: AIA National Interior Architecture Award. roots: Aidlin and Rouse both grew up in rural Ohio. branches: Aidlin enjoys creating art with his son, while Rouse immerses his daughter in design museums. aidlindarlingdesign.com

Susan Marinello Interiors “Ready for Takeoff,” page 70 president, principal design director, owner: Susan Marinello. senior design associate, architect: Louisa Chang, AIA. firm site: Seattle. firm size: 10 architects and designers. current projects: Residences in Medina, Washington; Santa Clara, California;

Sun Valley, Idaho; and New York. honors: ASID Award of Excellence. abroad: Marinello lived in Milan for two years before beginning her design career, while Chang is traveling to Lake Como this summer. local: After going to high school together, they reunited professionally working on the Four Seasons Seattle hotel and residences. susanmarinello.com

h e a d l i n e rs

Looney & Associates “Get Smart,” page 94 ceo: Jim Looney, AIA. firm sites: Dallas; Chicago; Honolulu. firm size: 15 architects and designers. current projects: Durango Casino & Resort in Las Vegas; Gaylord Chula Vista Resort & Convention Center in California. honors: LIV Hospitality Design Award; AHEAD Awards Finalist. then: Looney was a college cheerleader. now: He is an absolute grearhead. looney-associates.com

Ghafari Associates “The Road Ahead,” page 78 director of design: Andrew Cottrell, AIA. firm headquarters: Dearborn, Michigan. firm size: 500 architects and designers. current projects: Ford Motor Company projects in Kentucky, Tennessee, and China; Semcorp Battery Film manufacturing facility in Sidney, Ohio. honors: AIA Michigan Honor Award; AIA Detroit Honor Award. arid: Cottrell earned his master’s in architecture from Arizona State University. lush: An avid outdoorsman, he enjoys gardening and tending to his orchard. ghafari.com

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AUG.22

Lake Flato Architects “Get Smart,” page 94 principal: David Lake, FAIA. principal: Chris Krajcer, AIA. firm sites: Austin and San Antonio, Texas. firm size: 130 architects and designers. current projects: San Antonio U.S. Federal Courthouse; 1 Hotel Hanalei Bay in Princeville, Hawaii. honors: AIA Committee on the Environment Top Ten Award; AIA Honor Award; O’Neil Ford Medal from the Texas Society of Architects. paw prints: Lake’s dog R-Chee, a beloved Lake Flato mascot, is often referred to as the firm’s “barkitect.” green thumb: Krajcer, who recently relocated with his family to Portland, Oregon, enjoys gardening. lakeflato.com

FROM TOP: JOSH HUSKIN (2); JARAD KLEINBERG

MKDA “Art at Work,” page 102 regional managing principal, southeast, and director of design: Amanda Hertzler. firm headquarters: New York. firm size: 63 architects and designers. current projects: CI Financial and Blockchain.com headquarters in Miami;

FirstService Residential headquarters in Plantation, Florida.

honors: South Florida Business Journal Best Places to Work 2022. family: Hertzler’s co-principal, Brett Hertzler, is her brother. friends: She is the proud owner of four rescue dogs. mkda.com AUG.22

INTERIOR DESIGN

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design wire edited by Annie Block

eternal flame

Shag carpet, Atari, floral wallpaper, West German pottery, sewing.

These are among the varied influences that have shaped Chris Bogia’s mixed-media sculptures, which masterfully meld the approachable and homespun with a Scandinavian-esque sleekness. Bogia, who recently proclaimed, “I love interiors!” and worked for Todd Oldham while an undergrad at NYU, where he currently teaches, is also the cofounder of Fire Island Artist Residency, off Long Island’s southern shore, an experience that may have contributed to his latest installation on another islet—and his first outdoors: Candle on Fishers Island, which is about 5 miles east of the Connecticut coast. Bogia was awarded the annual public-art commission from Lighthouse Works, a nonprofit organization celebrating its 10th anniversary that’s devoted to encouraging artist development and Fishers’s year-round cultural enrichment. “In my research, I thought about mid-Atlantic summer communities and their homes clad in shingles and shutters. A shutter I discovered had a small cutout of a candle,” explains the artist, who’s represented by Mrs. and preparing for an exhibition at Perrotin, Paris. He scaled that motif way up, chose a palette that evokes “the faded colors of well-loved beachwear,” and had it fabricated in aluminum. He then fitted the shaft with an LED so the “flame” is illuminated at night, like a lighthouse.

Candle, a sculptural installation by Chris Bogia, commissioned by Lighthouse Works on New York’s Fishers Island, is 13 feet tall, made of polyurethanecoated aluminum by Versteeg Art Fabricators, lit at night by an internal LED, and on display at Silver Eel Cove through December 15.

COURTESY OF CHRIS BOGIA, LIGHTHOUSE WORKS, AND MRS.

AUG.22

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calling all ye scribes

d e s i g n w ire

KEITH HUNTER

From top: An oak frame clad in concrete panels, The New Scriptorium is a two-year-long installation by Bobby Niven on the grounds of Scotland’s Arbroath Abbey. The one-room interior, which will host writer residencies and workshops, has engineered-oak flooring and 8-foot-long oak wall sculptures derived from historic depictions of scribes at work using both arms.

Bobby Niven is an artist’s artist. A sculptor who’s had solo shows throughout the U.K. and Canada, he also devotes part of his practice to the Bothy Project, a network of simple shelters he’s designed across Scotland, each a unique response to the surrounding landscape and an invitation to creatives to retreat in them off-grid. So, when it came time to commemorate the 700th anniversary of the Declaration of Arbroath, a document listed by UNESCO on the Memory of the World register that essentially called for freedom from English claims of sovereignty over Scotland, with a small building devoted to creativity on the grounds of the 12th-century Arbroath Abbey, Niven was selected for the commission. “The history includes monks who could transcribe and illustrate documents, even bound manuscripts into books, in the abbey’s scriptorium.

The ability to read, write, and convey information and keep track of history was as powerful then as it is today. I sought to reflect that activity in the structure’s interior,” he says.

Prefabricated off-site, the 160-square-foot installation, called The New Scriptorium, was trucked to the 3½-acre grounds, sited so that it’s generous window frames picturesque abbey views.

Mounted on some interior walls are long limblike sculptures in colors inspired by those in medieval manuscripts. Their embrace, the bright of the skylight, and the warmth of a woodburning stove should help to inspire writers during their one-month residency.

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INTERIOR DESIGN

AUG.22

Unity Creates Connections Our Unite II LVT collection celebrates a combination of aesthetics, joining together the look of clean wood with insets of a concrete terrazzo visual, to create a joyful connectivity in your space.

EXPLORE THE UNITE II COLLECTION AT SHAWCONTRACT.COM.

shimmer and shine If a disco ball’s essence could be translated into furniture, it might look like this handwoven collection by Valter Cagna, Nicolò Corigliano, and Matteo Minello Trespade lounge chair, pouf, bench, and side table (not shown) in hand-polished, bent steel

by Testatonda. testa-tonda.com

IVAN CAZZOLA; JACKET COURTESY OF K-WAY

p i n ups text by Annie Block

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INTERIOR DESIGN

AUG.22

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pretty tough Maciej Chmara and Ania Rosinke’s love of brutalist architecture and combining the rough with the refined takes shape in their pedestal table Concrete table in concrete, steel, and 40-inchdiameter, CNC-cut birch plywood painted in a choice of five colors including Sulfur Yellow

by Chmara.Rosinke. Different sizes available.

COURTESY OF CHMARA.ROSINKE

chmararosinke.com

26

INTERIOR DESIGN

AUG.22

Little Haiti - Black Astratta Miami wallcovering collection Elisa Passino x Astek

STONE

T H AT

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Like a diamond’s evolution from raw earth to unique design, every idea becomes a reality that opens your imagination. Eldorado Stone can transform your space nurturing humble materials to create any world within your home.

Extraordinary can begin small and turn into the start of something beautiful.ª

gimme shelter French design dealer Clément Cividino specializes in restoring prefabricated houses and lightweight structures from the 20th century, using them as intimate spaces for inventively curated exhibitions

Clément Cividino, who runs a gallery in a former convent at Perpignan in the south of France, adopts a progressive approach to his profession. “I like to show things that are different,” he acknowledges.

He is, for instance, largely responsible for uncovering the furniture of two French architects, Georges Candilis and Hervé Baley (aka “the French Frank Lloyd Wright”).

Cividino’s great passion is prefabricated housing.

The first such structure he acquired—a Maison Bulle Six Coques (Six-Shell Bubble House), designed by Jean-Benjamin Maneval in the 1960’s—was found on the French equivalent of Craigslist and bought for a song. “It cost me more to transport it,” he recalls.

Things have changed markedly since. In recent years, he has exhibited other small prefabs, including two from the ’70’s shown in collaboration with Louis Vuitton at the Salone del Mobile in Milan: the Hexacube by Georges Candilis and Anja Blomstedt, and, this year, the podlike Chalet Nova, a “bungalow” developed by a company called Rochel.

This summer, Cividino is presenting another prefab, the Marabout House, as his sixth intervention at Terra Remota, a wine estate in Girona, Spain. The 13-sided tentlike aluminum structure was conceived in 1958 by the French engineer Raymond Camus and produced in the workshops of none other than Jean Prouvé. Most were used as temporary housing by the French army and oil companies in Algeria, but Cividino’s version was one of two commissioned by the national energy company EDF-GDF and installed in the Paris suburbs. It’s the only one remaining in Europe and the sole example with a doubleroof structure. “Camus was a pioneer in the field of prefabricated architecture,” Cividino observes. “Its freestanding structure is incredibly ingenious.” We ask him more about it.

STEPHAN JULLIARD

c r e at i v e voices The French design dealer outside the Marabout House— a 13-sided prefabricated aluminum structure designed in 1958 by Raymond Camus—that he has installed for a summer exhibition running through August 31 at Terra Remota, a wine estate in Girona, Spain.

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voices

How did you discover the Marabout House?

Clément Cividino: I initially found out about it through books on Jean Prouvé. I came across comments its former owner had left on blogs devoted to aluminum architecture and reached out to him about six years ago. It was in the Aveyron region of France, used as a vacation home with two bedrooms, a dining room, kitchen, and bathroom.

What do you know about the designer of

the house, Raymond Camus?

CC: Camus was a real pioneer, one of the first people in France to focus on industrial housing.

One article calls him “The Pope of Prefabrication.” He developed a system of precast concrete panels in which insulation, pipes, and door and window frames were integrated for swift assembly. He helped to build thousands of lodgings in France and worked in both Russia and the U.S. too.

What was the role of Prouvé in the house?

CC: There’s a photo of a prototype at his workshop, with lots of Prouvé’s own houses in the background. What advice or modifications he proposed to the initial design is anybody’s guess, but Prouvé himself was greatly inspired by it. He often promoted it in classes he gave at the Conservatoire national des arts et métiers in Paris and quite obviously referenced the structure in the gas stations he

designed in 1969 for Total, which also had 13 sides.

What can you say about its design?

CC: It’s more functional than purely aesthetic, designed in the postwar period when there was an urgent need for housing.

It had to be light, quick to assemble, and easily transportable. What’s interesting is its ingenuity.

You don’t need any special tools to erect it, and it’s self-supporting.

There are no columns and

nothing but the walls to hold up the roof.

How did you approach its restoration?

CC: It was in relatively good shape. The big question was what to do with the aluminum. Over time, the panels had turned gray-black. We tried about 30 different restoration techniques, including polishing and sanding.

At the same time, we didn’t want it to be shiny like an Airstream trailer.

That’s not how it would have originally looked.

What’s the Holy Grail in terms of pref­ abricated housing?

CC: Everyone would love to find Prouvé’s 1958 House of the Desert. As a kind of plaything, it would be fun to have a Futuro House, which was created

by Matti Suuronen in 1968. More than anything, I’d love to either have a huge building in which to display lots of different ones together or for a collector to create an open-air museum.

That would be really something.

—Ian Phillips STEPHAN JULLIARD

c r e at i v e

Clockwise from top left: Next to the Marabout House bed, a plastic table lamp

by Bruno Munari and a tall aluminum light fixture by Paris-based design collective L’ŒUF. Chalet Nova as Cividino’s winter 20202021 installation at Terra Remota in collaboration with London-based dealer Mélissa Paul, populated with terrazzo eggs

by Elsa Oudshoorn, sculptures by Guy Bareff, and a multisectional ceramic table conceived by both artists. Bareff’s Sculpture emboîtée beneath a grid of portholes added by Cividino. The steel, aluminum, wood, and Lucite prefab—the largest version produced— weighing 4,400 pounds and incorporating a 215-square-foot deck. The spaceshiplike pod installed overlooking the fountain at the Piazza San Babila in Milan.

Opposite, clockwise from top left: The Marabout House interior, outfitted with a Charlotte Perriand table, René Martin chairs, and a unique original storage unit on the right. Marabout, French for large conical tent, at Terra Remota. The 1972 Chalet Nova, shown in collaboration with Louis Vuitton at Salone del Mobile in Milan, hosting the brand’s Nomadic Objects collection including the Campana Brothers’ Bomboca Sofa GM and Zanellato/Bortotto’s Lanterne PM lamps.

NICOLE FRANZENSTEPHAN JULLIARD

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For interiors that support wellbeing, nature works.

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walk through firm: dutch east design site: new haven, connecticut

Overnight With Breuer SEAMUS PAYNE

In the lobby of the Hotel Marcel New Haven, Tapestry Collection by Hilton, a conversion of a 1970 office building by Marcel Breuer, handmade terra-cotta wall tiles in a Bauhaus-inspired relief are arrayed in an alternating pattern.

AUG.22

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w a l k through

Clockwise from top left: Jens Risom armchairs furnish the lobby lounge. Anni Albers–inspired art by Cory Siegler hangs above the custom platform bed and vinyl-upholstered headboard in a guest room. Selma stools by Origins 1971 line the quartz-topped bar at BLDG, the hotel’s restaurant.

Joining Celia Johnson’s painting in the pre-function space is seating, ceiling fixture, console, and rug all custom by Dutch

SEAMUS PAYNE

East Design. The concrete building had been the Armstrong Rubber Company head­quarters and is now listed on the National Register of Historic Places. The pre-function area also features a historic Breuer granite desk, which stands on porcelain floor tile.

34

INTERIOR DESIGN AUG.22

Marcel Breuer’s 1970 Connecticut headquarters for Armstrong Rubber Company has re-emerged as the Hotel Marcel New Haven, Tapestry Collection by Hilton. A skillful reinterpretation of the nine-level, 110,000-squre-foot icon of concrete brutalism by Dutch East Design and architect-developer Bruce Becker of Becker + Becker resulted in 165 rooms for the former IKEA–owned property that’s listed on the National Register of Historic Places. It is now one of fewer than a dozen LEED Platinum–certified hotels in the country.

Dutch East partners Dieter Cartwright, Larah Moravek, and William Oberlin were keen to tap into the Breuer energy—up to a point. “We chose not to be nostalgic,” Cartwright begins. “It was important for us to write a new chapter.” Moravek adds, “We wanted to create a soft underbelly to the strong exoskeleton.” That strategy begins in the lobby, with walls enriched by handmade terra-cotta tiles that warm up the large, column-free space. The palette for the rooms, the restaurant named BLDG,

and the 7,000 square feet of event space is unified by “walnut and maple, concrete grays and caramels,” notes Moravek, for a muted feel.

In BLDG, a quartz-topped bar with wood accents is topped by a perforated canopy powder-coated bronze—subtle shades of the feeling of suspension in the overall structure. Some of the housing for overhead lighting was reclaimed from the original building site and used there, too. “It’s a fun, little detail that ties into the history,” Oberlin says.

In the rooms, headboards are covered in toffeecolored vinyl. The custom metal-framed desks with painted-glass tops all get a Breuer Cesca chair, to hit the heritage note soundly. But Anni Albers–designed patterns in grays and blues introduce a burst of vim.

Like Breuer, the pioneering textile artist was once a Bauhaus teacher, and later lived near New Haven with her Yale University professor husband and artist Josef. “Anni was an inspiration for all the art,” says Moravek of the rooms’ wall hangings by Brooklynbased Cory Siegler and other pieces in the hotel,

SEAMUS PAYNE

AUG.22

INTERIOR DESIGN

35

which are predominantly by female makers and curated by Becker’s wife, artist Kraemer Sims Becker.

That forward spin on the past epitomizes the Dutch East approach. “We weren’t looking to create a museum to Breuer,” Oberlin says. “It was to create a new typology in the original design that was unexpected.” —Ted Loos

(RESTAURANT). MAHARAM: STOOL FABRIC (RESTAURANT), SLEEPER SOFA FABRIC (GUEST ROOM). ELA: CUSTOM CEILING FIXTURE (PREFUNCTION). LIGHT ENGINE: CUSTOM SOFFIT. BURROW: BAR CART (GUEST ROOM). ARTICLE: SIDE TABLE. KNOLL: TASK CHAIR, TASK CHAIR FABRIC (CORNER ROOM). AFM: CUSTOM NIGHTSTAND. POWER SHADES: WINDOW TREATMENTS. THROUGHOUT JAMIE STERN RUGS: CUSTOM RUGS. DURKAN: CUSTOM CARPET. STONE SOURCE: COLUMN TILE, FLOOR TILE. BLADES GOWEN: LANDSCAPE ARCHITECT. FOCUS LIGHTING: LIGHTING CONSULTANT. KRAEMER BECKER: ART CONSULTANT. GNCB CONSULTING ENGINEERS: STRUCTURAL ENGI­

FROM FRONT CLÉ TILE: WALL TILE (LOBBY). THROUGH DESIGN WITHIN

NEER. LN CONSULTING: MEP. MILLWORK ONE; STICKLEY: WOOD­

REACH: BLUE ARMCHAIRS (LOUNGE). RBW: SCONCES. DESIGNTEX: BROWN

WORK. CONSIGLI: GENERAL CONTRACTOR.

CHAIR FABRIC. ORIGINS 1971: BROWN CHAIRS (LOUNGE), STOOLS, CHAIRS (RESTAURANT). LILY JACK: CUSTOM SOFAS (LOUNGE), CUSTOM ARM­CHAIR, CUSTOM OTTOMAN, CUSTOM SLEEPER SOFA (GUEST ROOMS), CUSTOM BANQUETTE (RESTAURANT). ERICA SHAMROCK TEXTILES: SOFA FABRIC (LOUNGE), CHAIR FABRIC (RESTAURANT). CIX: CUSTOM SIDE TABLES (LOUNGE), CUSTOM CONSOLE (PRE-FUNCTION). HB LIGHTING: CUSTOM HEADBOARD SCONCES (GUEST ROOM). KNOLL­TEXTILES: HEADBOARD ARC-COM: OTTOMAN FABRIC, CHAIR FABRIC. REFELT: WALLCOVERING

SEAMUS PAYNE

w a l k through

UPHOLSTERY. TNT: CUSTOM BED, CUSTOM HEADBOARD, CUSTOM CRE­DENZA.

Clockwise from top left: Part of the 165-key hotel property is a separate structure containing 7,000 square feet of event space that had formerly housed mechanicals. Sleeper sofas and ottomans are also custom. A corner room shows off Breuer’s deep window wells, which have been newly wrapped in stained maple, and, behind the bed, his Cesca task chair covered in an Albers fabric.

36

INTERIOR DESIGN AUG.22

Vamizi WSW-VA-01

WOV EN SI L I C A WA L LCOV ER I N G Award-winning innovation

CleanAir technology enhances air quality

MomentumTextilesAndWalls.com Sustainability

Innovation

Naturally made from sand

AMELIA

www.ERGinternational.com/amelia.php

rising giants rising up JG Neukomm Architecture [95] designed the Landon New York, a residential rental building.

SCOTT FRANCES

AUG.22

INTERIORDESIGN.NET

39

r i s i n g giants

Let’s dig a little deeper into the 2021 results to see how much confidence is warranted.

Hosp­itality remains the largest business sector for the Rising Giants, accounting for 34 percent of total fees ($121 million—about even with 2020). Corporate office work rose 26 percent to $88 million and accounts for a quarter of all work in this group. Residential is the third largest moneymaker and was up 22 percent from 2020 to $60 million. Healthcare now accounts for 10 percent of all fees and rose 19 percent to $36 million.

Again, the forecasts for business sectors are all positive, particularly retail (expected to grow 39 percent in 2022), hospitality (23 percent), residential (19 percent) as well as healthcare and corporate (15 percent each).

Furniture and fixtures along with construction products also showed robust recovery, rising from 2020’s $10.2 billion to $15.7 billion.

Venture Global LNG in Houston is by Planning, Design, Research Corporation [1].

That’s not quite 2019’s $18.5 billion, but these Giants are forecasting $17.1 billion for 2022, so mo­men­tum is gaining.

Work volume metrics are up, too. Total square footage rose by 10 million, or 6 percent, to 180 million. The 2022 forecast is just over

200 mil­lion. As for cost per square foot, the roller­coaster rolls again with $109/foot in 2019, down to $77, and now back up to $118.

Total number of jobs has also spiked: 12,039 in 2020 to 15,187, with a forecast of 16,653 in 2022.

The retreat from work outside the U.S.— as seen in our other Giants groups, as well— continues here. In 2019, 16 percent of the Rising Giants did international work. Now that number is just 7 percent. For those who do this work, Canada and Asia/Pacific Rim saw steep declines in the number of firms working there, while the Caribbean warmed up. As a result, it’s no real surprise that these Giants see the most growth potential in the U.S. Southwest, Southeast, and Northwest. Only two firms said they planned on closing an office in 2022, yet a noteworthy 10 percent plan to expand.

Design staff numbers are the only ones not currently rising, and in fact have declined from 2,739 in 2019 to 2,593. Billing rates have remained steady ($130 an hour), while fees per employee have deflated, down 29 percent since 2019—$200,000 to $143,000 in real numbers. Staff salaries, however, have crept up, with designers going from $70,000 per year to $75,000. Project managers remained unchanged at $105,000 a per year, while principles/partners saw their comp jump from $155,000 pear year to $187,000.

As far as the main challenges affecting business, the refrains are pretty much what you hear from businesses everywhere: Re­ cruiting and retaining qualified staff. Design firms will always be concerned, too, with earning appropriate fees and dealing with demanding clients. But here’s one telling data point in the “business challenges” survey: Last year 87 percent of firms were worried about the uncertain economy; this year it’s only 55 percent.

And maybe that’s the watchword right now: optimism. The 2022 forecasts—and the Rising Giants’s growing confidence in their business prospects—show that while, sure, we may not be able to shake off this pandemic once and for all at the moment, firms are still doing great and in-demand work while we figure out all that other stuff. —Mike Zimmerman

PETER MOLICK

If you think of the pandemic as a roller­coaster, then the 2022 business trend data for the Interior Design Rising Giants, the second 100 largest firms, would be a popular one. Like any good coaster, the initial drop was a doozy, with total fees heading down from $521 million in 2019 to $314 million in 2020 as COVID-19 hit the economy. Now, however, it looks like the rollercoaster has troughed and is heading up the next ramp. Total fees for 2021 came in at $354 million, a healthy 13 percent bump. And the Rising Giants forecast the coming year at $416 million, continuing the upward surge.

What’s more notable than the forecast itself is the Rising Giants’s certainty in it. Just over half of the firms surveyed are “confident” in next year’s numbers, and three out of 10 are “very confident.” As far as those coming in as “not confident,” well, that number dropped from 31 percent to 14.

40

INTERIORDESIGN.NET

AUG.22

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r i s i n g giants WORK INSTALLED

RANK 2022

FIRM, headquarters, website

DESIGN FEES

VALUE $

SQ. FT.

(millions)

(millions)

(millions)

ID STAFF

RANK 2021

1

Planning, Design, Research Corporation, Houston, pdrcorp.com

8.2

280.0

2.3

60

88*

2

StudioSIX5, Austin, TX, studiosix5.com

7.8

250.0

6.0

49

8

3

DiLeonardo International, Warwick, RI, dileonardo.com

7.8

0.0

0.0

65

new

4

DesignAgency, Toronto, thedesignagency.ca

7.6

0.0

-

72

12

5

Dyer Brown, Boston, dyerbrown.com

7.2

250.0

3.2

28

4

6

Rule Joy Trammell Rubio, Atlanta, rjtrdesign.com

7.1

50.0

-

58

new 6

7

Kenneth Park Architects, New York, kennethpark.com

7.0

10.0

0.5

25

8

Architecture, Incorporated, Reston, VA, archinc.com

6.9

91.5

0.8

12

1

9

Alliance Architecture, Durham, NC, alliancearchitecture.com

6.8

150.0

-

28

new

10

Smallwood, Atlanta, smallwood-us.com

6.7

0.0

-

39

83*

11

Ratio Design, Indianapolis, ratiodesign.com

6.7

84.0

0.7

24

new

12

Anderson Mikos Architects, Oak Brook , IL, andersonmikos.com

6.5

79.5

0.3

17

95*

13

CetraRuddy Architecture, New York, cetraruddy.com

6.3

208.0

-

36

81

14

Figure3, Toronto, figure3.com

6.2

200.0

1.1

59

40

15

Looney & Associates, Dallas, looney-associates.com

6.2

280.0

35.0

38

3

16

Steelman Partners, Las Vegas, steelmanpartners.com

6.2

2400.0

2.5

109

9

17

H .Hendy Associates, Newport Beach, CA, hhendy.com

6.0

2.5

3.1

24

17

18

J. Banks Design Group, Hilton Head Island, SC, jbanksdesign.com

5.6

9.6

-

24

64 25

19

Arris, a Design Studio, Baltimore, arrisdesign.com

5.6

280.0

6.2

31

20

EDG Interior Architecture and Design, Novato,CA, edgdesign.com

5.6

81.3

0.4

43

13

21

Inc Architecture & Design, New York, inc.nyc

5.4

851.9

-

28

new

22

Parisi Portfolio, San Diego, parisiportfolio.com

5.3

2.8

-

15

18

23

CHIL Interior Design, Vancouver, BC, childesign.com

5.3

-

-

-

30

24

Brereton, San Francisco, brereton.com

5.2

226.0

1.1

19

38

25

Beasley & Henley Interior Design, Winter Park, FL, beasleyandhenley.com

5.1

9.3

-

18

7

26

Mojo Stumer Architects, Greenvale, mojostumer.com

5.0

90.0

0.3

12

28

27

Legat Architects, Chicago, legat.com

4.9

449.4

15.7

4

29

28

Shea, Minneapolis, sheadesign.com

4.8

80.0

0.2

25

new

29

Cuningham, Denver, cuningham.com

4.7

963.6

5.7

179

11

30

KKT Architects, Tulsa, OK, kktarchitects.com

4.5

72.3

-

44

new

31

Faulkner Design Group, Dallas, faulknerdesign.com

4.5

15.0

-

29

33

32

HBG Design, Memphis,TN, hbg.design

4.5

0.0

-

57

35

33

KTGY Simeone Deary Design Group, Irvine, CA, ktgy.com

4.4

0.0

-

173

14

34

Studio Dado, Coral Gables, FL, studiodado.com

4.4

0.0

-

20

55

35

Rowland+Broughton, Denver, rowlandbroughton.com

4.4

384.5

0.4

34

36

36

HYL, Washington, hylarchitecture.com

4.3

83.9

0.5

21

27

37

Kamus Keller, Long Beach, CA, kkaia.com

4.2

113.4

1.1

18

53

38

Orsini Design Associates, New York, orsinidesignassociates.com

4.1

40.0

-

7

39 32

39

Abel Design Group, Houston, abeldesigngroup.com

4.0

-

-

-

40

Hendrick, Atlanta, hendrickinc.com

4.0

105.0

-

29

21

41

Bar Napkin Productions, Phoenix, bnp-llc.com

4.0

50.0

1.0

18

37

42

GH2 Architects, Tulsa, OK, gh2.com

4.0

25.0

-

39

22

43

Cushing Terrell, Billings, MT, cushingterrell.com

3.8

618.0

-

80

new

44

Denton House Design Studio, Salt Lake City, dentonhouse.com

3.8

29.7

-

62

62*

45

Ziegler Cooper Architects, Houston, zieglercooper.com

3.8

189.0

2.3

44

31

46

IEI Group, Philadelphia, ieigroup.com

3.7

200.0

0.8

13

24 58

47

C2 Limited Design Associates, Norwalk, CT, c2limited.com

3.7

64.0

-

13

48

api(+), Tampa, FL, apiplus.com

3.6

0.0

-

12

42

49

In Studio Design, Toronto, instudiocreative.com

3.6

90.0

-

45

new

50

BraytonHughes Design Studio, San Francisco, bhdstudios.com

3.5

0.0

-

20

26

*from Top 100 Giants 42

INTERIORDESIGN.NET

AUG.22

©2022 Keilhauer LTD.

THE FORSI COLLECTION

At the height of innovation. The Forsi collection has a unique height that combines the informal and formal for the perfect meeting.

Designed by EOOS. Made by Keilhauer.

r i s i n g giants WORK INSTALLED

RANK 2022

DESIGN FEES

VALUE $

SQ. FT.

FIRM, headquarters, website

(millions)

(millions)

(millions)

RANK 2021

51

//3877, Washington, 3877.design

3.4

12.0

8.0

22

43

52

R.D. Jones & Associates, Baltimore, rdjones.com

3.3

0.0

-

20

23 59

53

Hixson Architecture, Engineering, Interiors, Cincinnati, hixson-inc.com

3.3

40.0

-

15

54

Indidesign, Los Angeles, indidesign.com

3.2

-

-

-

73

55

Klawiter and Associates, Los Angeles, klawiter.com

3.2

106.6

0.5

18

46

56

DAS Architects, Philadelphia, dasarchitects.com

3.1

300.0

0.8

18

52 75

57

DKOR Interiors, North Miami, FL, dkorinteriors.com

3.1

7.2

0.1

21

58

Hatch Design Group, Costa Mesa, hatchdesign.com

3.0

133.4

0.2

26

61

59

Felderman Keatinge + Associate, Culver City, CA, fkastudio.com

3.0

35.0

-

8

69

60

Spacesmith, New York, spacesmith.com

3.0

36.0

-

20

51 new

61

Design Development Company, Agoura Hills, CA, designdevelopment-group.com

2.8

10.0

-

9

62

Parker-Torres Design, Sudbury, MA, parkertorresdesign.com

2.8

0.0

-

20

56

63

BWM Architekten und Partner, Vienna, bwm.at

2.7

87.3

-

-

new

64

Roar, Dubai, UAE, designbyroar.com

2.7

72.0

-

-

new

65

Dawson Design Associates, Seattle, dawsondesignassociates.com

2.5

35.0

-

10

60

66

JRS Architect, Mineola, NY, jrsarchitect.com

2.5

47.0

0.5

12

77

67

Flick Mars, Dallas, flickmars.com

2.5

-

-

-

49

68

HVS Design, Rockville, MD, hvsdesign.com

2.4

50.0

3.5

16

67

69

Rogers, Lovelock & Fritz, Orlando, FL, rlfaei.com

2.4

-

-

-

74

70

Studio 11 Design, Dallas, studio11design.com

2.3

200.0

-

24

44

71

LMN Architects, Seattle, lmnarchitects.com

2.3

746.6

-

50

71

72

Gallun Snow Associates, Denver, gallunsnow.com

2.2

390.7

1.3

14

57

73

McCarthy Nordburg, Phoenix, mccarthynordburg.com

2.2

80.0

1.2

12

63

74

Intec Group, Washington, intecgroup.net

2.2

0.1

-

14

50

75

THW Design, Atlanta, thwdesign.com

2.1

382.9

2.7

19

65

76

Areen Design, London, areen.com

2.1

25.0

-

-

16 79

77

K2M Design, Key West, FL, k2mdesign.com

2.0

45.0

-

20

78

Premier Design Studio, Dallas, premierpm.com

2.0

80.0

-

15

41

79

Design Directions International, Marietta, GA, ddi.cc

2.0

-

-

-

62

80

Philpotts Interiors, Honolulu, philpotts.net

1.9

7.4

-

16

66 84

81

Waldrop+Nichols Studio, Dallas, waldropnichols.com

1.9

53.3

1.0

14

82

Private Label International, Phoenix, privatelabelintl.com

1.7

26.2

2.8

9

82

83

JOI-Design, Hamburg, DE, joi-design.com

1.7

-

-

-

48

84

Crimson Design Group, Columbus, OH, crimsondesigngroup.com

1.4

6.1

-

10

86

85

Testani Design Troupe, Scottsdale, AZ, testanidesigntroupe.com

1.4

-

-

-

new

86

C+TC Design Studio, Atlanta, ctcdesignstudio.com

1.3

-

-

-

78

87

Murphy Cramer Design, Dallas, mcdesign.com

1.3

150.0

-

12

83

88

Tricarico Architecture and Design, Wayne, IN, tricarico.com

1.3

-

-

-

new

89

Thomas Hamilton & Associates, Richmond, VA, thomashamiltonassociates.com

1.2

279.5

-

11

72

90

BKV Group, Minneapolis, bkvgroup.com

1.2

3.9

-

16

new

91

Montgomery Roth Architecture and Interior Design, Houston, montgomeryroth.com

1.2

-

-

-

90

92

Cole Martinez Curtis & Assocs, Culver City, CA, cmcadesign.com

1.2

110.0

-

8

89

93

Klai Juba Wald, Las Vegas, klaijubawald.com

1.0

0.0

-

21

47

94

Lubrano Ciavarra Architects, Brooklyn, NY, lcnyc.com

0.8

8.8

0.0

8

87

95

JG Neukomm Architecture, New York, jgnarch.com

0.7

101.4

1.9

13

85

96

EDI International, Houston, edi-International.com

0.6

5.0

-

9

88 new

97

Kirkpatrick & Associates, Albuquerque, NM, susankirkpatrick.com

0.6

-

-

-

98

Ismael Leyva Architects, New York, ilarch.com

0.5

8.0

2.2

9

93

99

GGLO, Seattle, gglo.com

0.4

0.0

0.0

10

new

The Society, Portland, welcometothesociety.com

0.4

88.5

0.3

5

91

100

44

ID STAFF

INTERIORDESIGN.NET

AUG.22

Illustrations by Patra Jongjitirat Pictured: Rosie Li Showroom

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THANK YOU TO OUR ONGOING SUPPORTERS

“The remainder of the year looks good for us. All our studios (work, live, healthcare, hospitality, education) are busy, and we are still actively hiring new designers and other staff.”

—Janet Whaley, Cuningham

project categories renovation 46.6%

refresh 8.6% new construction 44.8%

domestic 92.6%

Private Label International [82] designed the Bloom 117, Parametric Dome amenity for Wolff Company offices nationwide.

46

INTERIORDESIGN.NET

AUG.22

AARON LOCKE

international 7.4%

firms with most fee growth 2021

firm

understanding design value 47.7%

client willingness to pay what it’s worth 42%

managing client expectation 40.9%

finding new clients 33%

willingness to take design risks 33%

retaining current clients 10.2%

handling micromanaging clients 14.8%

training staff 35.2%

recruiting qualified staff 77.3%

creating new business/diversifying into new services/segments 34.1%

retaining qualified staff 34.1%

recruiting diverse staff 31.8%

marketing capabilities 27.3%

staff pay and benefits 20.5%

practice issues

“Our current project backlog exceeds even what we saw pre-pandemic. We also feel that backlog will help us weather what may be coming.” —Brent Zeigler, Dyer Brown

managing growing need for sustainable design 13%

managing vendors 11.4%

cutting-edge design solutions 11.4%

interference from client consultants 17% client demands 50%

uncertain economy 54.5%

client issues

$1,521,680

$6,250,000

J. Banks Design Group

$2,555,362

$5,602,531

Figure3 $3,748,948

$6,220,000

DesignAgency $6,136,340

$7,560,494

Studio Dado

$3,000,000

$4,398,255

Brereton $3,925,365

$5,213,704

Kamus Keller

$3,000,000

$4,248,802

Arris, a Design Studio

$4,600,000

$5,600,000

Indidesign $2,200,000

$3,200,000

$6,860,000 StudioSix5

$7,800,000

business issues earning appropriate fees 61.4%

tracking profits and expenses 8%

r i s i n g giants

2022

CetraRuddy Architecture

other design staff $100

principal/ partner $250

designer $130

project manager/ job captain $180 median hourly rate

median annual salary

principal/ partner $187,200

project manager/ job captain $105,000

other design staff $60,000 designer $75,000

AUG.22

INTERIORDESIGN.NET 47

fees by project type

2021

2022 (forecast)

$121,542,243

hospitality

$149,574,694

$87,737,260

office

$99,696,554

$59,884,038

residential

$71,358,676

$36,329,517

healthcare

$41,620,977

$15,073,568

retail

$20,945,710

$15,280,034

educational

$16,316,609

$6,249,941

government

$6,868,958

cultural

$3,908,544

$2,176,224 $322,312

$440,656

transportation

$16,449,866

$16,371,660

other

r i s i n g giants

most admired firms

Gensler

AvroKO

Yabu Pushelberg

1,704

730

575

hospitality

healthcare

education

government

2,171

1,603

862

650

1,265

1,758

retail 2,256

other

1,902

residential 2,056

1,146

2,044

office

2022 (forecast

2021

cultural 398 214 351 transportation 202

4,793

project numbers by type

5,160

A beachfront condominium in Fort Lauderdale, Florida, is by DKOR Interiors. [57].

December 31, 2021. The first 100 Giants firm ranking was published in February. Interior design fees include those attributed to: 1. All types of interiors work, including commercial and residential.

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

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

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

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ALEXIA FODERE

methodology The second installment of the two-part annual business survey of Interior Design Giants comprises the second largest firms ranked by interior design fees for the 12-month period ending

AWARDS

honoring the top projects and products this year submit by september 7 | boyawards.com

enter now

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

look closely Back at NeoCon this year with sound-absorbing products that liven up the office proper was acoustic- and partition-systems manufacturer Slalom. In zippy hues, fun shapes, and intricate patterns, the perforated, fluted, grooved, or printed wal­ coverings, panels, baffles, and furniture are made in Italy from wool felt or the company’s fully recyclable, supersustainable PET felt, which is fabricated from 96 percent recycled plastic—with a supply chain rooted in the territory to boot. Not only did Slalom stand out in Chicago but days beforehand it also turned heads at Milan Design Week with Silentscape, an Op Art–influenced multisensory installation.

BOTTOM: AGNESE MORGANTI, STYLING: ISABELLA DEL GRANDI

slalom-it.com

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Jonathan Levien and Nipa Doshi for Arper

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product Õru. standout The Interior Design Hall of Famer’s chairs influenced by both 1970’s and Japanese aesthetics feature three oarlike feet and upholstery composed of recycled fabric. andreuworld.com 52

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product Shaal. standout A structured yet soft twoor three-seat modular sofa from the Doshi Levien cofounders melds a supportive shell with deep cushioning and removeable upholstery. arper.com

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Henner Jahns for Carolina

Bradley Bowers for Wolf-Gordon

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product Sorta. standout With its playful posture, the mobile stool with armrest by the Gecco Vision founder and design director blurs the lines between education, hospitality, healthcare, and workplace. carolina.ofs.com

product Phantom. standout The Interior Design HiP winner programmed computer algo­ rithms to generate intersecting line work for a Supreen woven-polyester upholstery inspired by moiré. wolfgordon.com

PORTRAIT 2: TONI MENEGUZZO

Patricia Urquiola for Andreu World

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Tristan Lohner for Fermob

Benjamin Hubert for Allsteel

Paul Smith for Maharam

Marc Newson for Knoll

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product O6. standout After two years of develop­ ment, the Layer founder launches the studio’s first design for the leading office brand: a visually soft task chair with a mesh backrest and contoured seat. allsteeloffice.com

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product Aplô. standout The outdoor light with battery-powered LED can be held like a flashlight, attached to a strap for a pendant, clipped to a wall mount as a sconce, or it can stand on its base as a lamp. fermob.com

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product Newson Task. standout The prolific industrial designer’s task chair has an alluring, form-fitting shape resulting from its airy cantilevered seat and back of elastomeric material stretched over a rigid frame. knoll.com

product Pixelate. standout Fashion designer Sir Smith’s latest woven offering for the brand is a painterly grid, the result of fracturing a checkered fabric from one of his womenswear collections. maharam.com AUG.22

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m a r k e t neocon wrapup

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1. Jehs + Laub’s Bonh Tall and Bonh Medium

planters in powder-coated steel by Davis Furniture. davisfurniture.com 2. Steve Chase’s Monterey sofa with LED-illuminated plinth base by Martin Brattrud. martinbrattrud.com 3. Union Design’s Juna

outdoor furniture in steel with 3

satin multilayer finish including e-coat primer and outdoor-grade powder-coat by KFI Studios. kfistudios.com 4. Chris and Jon Panichella’s Kuvi upholstered

armchairs in tubular steel with ash arm caps and optional tablet, under-seat storage, or side shelf

by Encore. encoreseating.com 5. Suzanne Tick’s Wool Fleck upholstery in a re­ cycled wool and recycled acrylic blend by Luum.

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luumtextiles.com 6. CMP Design’s Panarea barstool in woven

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softer surroundings WFH solutions meld comfort with style 54

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polypropylene and dry-feel polyurethane foam

by Pedrali. pedrali.it 7. Casey Keasler’s Half Moon, Wave, Round with Button, and Soft Square with Button pillows from the Casework collection by Hightower. hightoweraccess.com

BUZZIPLEAT EDEL LONG

BUZZICHIP

tone it down No sad desk salads here. Acoustics-product company BuzziSpace introduces BuzziChip, a pendant fixture that takes its shape from the curvature of that popular office snack: a Pringles potato chip. It’s 2½-inch thickness means maximum noise control while the small but powerful LED emits a soft glow. Also new is BuzziPleat Edel Long, a rectangular form of the company’s sartorial Pleat series. It can be wall-mounted or suspended from the ceiling and is particularly attractive staggered at different heights. The handpleated folds trap low and mid tones and help to halt sound waves bouncing around on hard sufaces. buzzi.space

HULA

“These introductions are acoustic powerhouses” AUG.22

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The fluid and weather-resistant Velit armchair by Björn Dahlström for Italian manufacturer Plank—distributed in North America through Bernhardt Design— makes an effortless transition from indoors to out. The sinuous seat, with a 25-degree angled back, is composed of 20 slender steel rods shaped and spaced for maximum comfort, along with a removable polyurethane pad. The frame can be specified in crisp Black or White or hues that will harmonize with both city and country landscapes: Ocean Blue, Moss Green, Olive Green, or Cement Gray.

The chair stacks four high, or 10 on a trolley, allowing transport of many units with minimal effort. Through Bernhardt Design. bernhardtdesignplank.com

get in line

VELIT

“We determined just the right spacing and shape of the rods to make the seat as comfortable as possible” 56

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TAGWALL

Architectural Glass Wall Systems www.tagwall.com

m a r k e t neocon wrapup

“Our background in animation inspired us to give life and movement to rigid materials”

origami as architecture Fold panels by Milanese company Wood-Skin (sold through Carnegie in North America) are 3-D boards with acoustic properties built inside square or rectangular frames. Think of them as akin to pop-up children’s books. Through digital software, a complex surface is tessellated. The surface then ships flat to site, where it is folded back into its rigid 3-D shape and secured to its frame. The designs are inspired by the geometries of origami and there are 10 materials to choose from, including veneered or plain plywood, bamboo, and colored MDF. Due to Fold being the most standardized of all the company’s offerings, installation is usually a DIY project. Through Carnegie. carnegiefabrics.com 58

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FOLD

Stream on-demand video from the authorities on design

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Product LIVE: AURA

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Meet the Maker with Delita Martin

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Product LIVE: THINSCAPE® with Wilsonart

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high wattage Bold hues brighten contract spaces

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1. Simon Legald’s Bit stools in low-

density polyethylene industrial waste by Normann Copenhagen, through Allsteel. allsteeloffice.com 2. AdMix resilient flooring in 100-percent

homogeneous solid resin by Patcraft. patcraft.com 3. Turf Hues color palette for PET felt

acoustic solutions in 32 shades by Turf Design. turf.design 4. Charley Harper’s Beguiled by the Wild wallcovering, in digitally printed mattefinish cellulose-latex-polyester substrate, and upholstery textiles, in performance polyurethane, by Designtex. designtex.com 5. Reveal customizable writing board in 4-mm Fineline glass by Arden Studio. ardenstudio.com 6. Polygon fabric in bleach-cleanable vinyl with polyester backing by C.F. Stinson. cfstinson.com 7. Tangram modular seating in 27 configurable shape and size options by HON. hon.com

m a r k e t neocon wrapup

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STUDIO 7.5

dipped in color “One thing we wanted to pick up from Herman Miller’s mid-century era was the optimistic idea of the future”

A task chair that’s aesthetically pleasing is a must as we settle into working in both home and office environments. Enter juggernaut Herman Miller, part of the MillerKnoll collective, which teamed up with Studio 7.5 for Zeph, a perch that combines a cheery mid-mod aesthetic with research-backed ergonomics. Through 3-D printing prototypes, the one-piece plastic shell, a nod to the classic Eames shell chair, is less rigid than its inspiration. It glides and tilts back with the body’s lean, thanks to a springy under-seat mechanism that uses the sitter’s pivot points to create the right counterbalance. And any hue from a “crayon box” of colors, Studio 7.5 notes, can be applied to the entire frame down to the casters. For homespun charm, a nubby digitally knit seat pad or full shell cover snuggles on like a tea cozy. hermanmiller.com

ZEPH

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IRIS WANG

RENATA

trash to treasure How’s this for clever? The 10-inch vertical repeat of the shapely geometries inspired by the neo-deco trend on Renata, a new chenille

by Brentano founder and artistic director Iris Wang, subtly telegraphs the contours of a plastic water bottle. In turn, that hints at the textile’s composition: an eco-friendly material known as Seaqual Yarn, made of 10 percent upcycled marine plastic retrieved from oceans, beaches, and rivers and 90 percent post-consumer recycled plastic. Part of the Seaqual Initiative, it raises awareness of the problem of marine litter as well as drawing welcome attention to the organizations working to clean up our waterways. Renata comes in seven colorways and is part of the Vida collection that celebrates inspiration from ordinary things. brentanofabrics.com

“The ability to see beauty in our daily lives is necessary for creativity”

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ADVERTISEMENT

Photography courtesy of Benjamin Moore

Klein USA HIP 2022 WINNER NATURE

NATURE is a groundbreaking new sliding door system made entirely out of oak wood that allows architects to introduce organic elements into their designs. The result is warmer, more nature-centric spaces that strengthen the bond between humans and their environment.

Organic and elegant NATURE, puts sustainability at the forefront of design by marrying cutting-edge manufacturing processes with natural materials. NATURE is cradle-to-cradle certified. The product complies with good practices of material reutilization, renewable energy, water stewardship, and social fairness. klein-usa.com facebook.com/KleinUSA pinterest.com/kleinusa instagram: @klein_usa

A Tree Grows in Times Square CLB Architects combined weathering steel, reclaimed timber, and plant life into an accessible arboreal retreat in New York

THOUSAND 30 20 VISITORS 100 THREE HUNDRED

designers, fabricators, and collaborators led by CLB partner Eric Logan

WEATHERING-STEEL FINS

FEET TALL

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FROM TOP: COURTESY OF CLB ARCHITECTS; KEVIN SCOTT (3)

“The transparency of the installation allowed the ever-evolving colors and lights of Times Square to filter through”

3

1. Archicad drawings of FILTER, the temporary in­ stallation that Wyomingbased CLB Architects created for the 2022 edition of NYCxDESIGN’s Design Pavilion, were used to de­ter­ mine how pre-assembled pieces could be easily com­ bined into a self-supporting

structure that resembled the rugged landscape of the firm’s home state. 2. The Times Square billboards provided lighting during building, which began at 11 p.m. due to municipal regulations. 3. Battling torrential rain throughout the 46-hour process, the

c enter fold

construction team built the installation using a tele­ handler and a basket crane.

4. The structure’s ½-inchthick steel plates, hot-rolled to resemble folded paper, will weather to reflect their journey from a Colorado factory to New York (where the salty sea air accelerates

patina), and, once NYCxDesign concluded in May, back west to their permanent site as a public sculpture at the head­ quarters of fabricator EMIT in Sheridan, Wyoming.

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FROM TOP: LEONID FURMANSKY; ANDRES OROZCO (2)

c e n t e r fold

1. FILTER was ADA–approved thanks to its two accessible reclaimed-larch ramps, which were specifically designed so guardrails were not necessary. 2. The centerpiece was a 20-foot-tall, certified organic London planetree, selected for its resilience in urban environments, grown at Raemelton Farm in Adamstown, Maryland, and trucked to the site. 3. The tree sat in a basin of hot-rolled weathering steel at the center of the 24-foot-diameter pavilion, where the floor and built-in benches were made from reclaimed glulam fir and larch.

3

View the entire SurfaceSet® 2022 gallery at www.formica.com/surfaceset

#1198-58 Jadeite

aug22

Magic at every turn

ANDREA GARUTI

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ready for takeoff

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A flight-inspired building on Expedia Group’s Seattle campus by Aidlin Darling Design and Susan Marinello Interiors enables the online travel company’s staff to get away—at work text: lauren gallow photography: adam rouse

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For Expedia Group, travel is a way of life. When the tech company, which includes Expedia.com along with Vrbo, Orbitz, Travelocity, and hundreds more travel aggregator sites, took over a 40-acre waterfront campus along Seattle’s Elliott Bay in 2015, a central aim was to help employees experience the physical and mental benefits of travel, without leaving the office. “With all the acreage in hand, our goal was to create a destination on the grounds—sort of an on-site ‘offsite,’” Expedia’s director of real estate Josh Khanna says. In 2017, Aidlin Darling Design, known for their intimately crafted residences and commercial interiors, won the bid to create a new sheltered on-campus environment for staff to work and gather but also retreat.

Called the Prow, the single-story, 3,700-square-foot building is a deliberate departure from the multistory steel, glass, and concrete structures of the main campus. “Expedia’s leadership group was in tune with creating a full-body, sensorial workplace,” begins Joshua Aidlin, principal and cofounder, with David Darling, of ADD. “The ethos of Seattle is outdoor-focused and athletic, and Expedia embraced that.” The common end for this ancillary structure was a biophilic sanctuary that celebrates the landscape in both form and function.

Nestled into the southernmost edge of campus closest to the waterfront, the Prow is sited several hundred feet from Expedia’s primary work spaces. In contrast to the slick industrial language of those buildings, the volume emphasizes natural materials like stone and wood, helping it knit into the surroundings.

“We didn’t want to block the view of the bay from the offices, so we needed

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Previous spread: A 50-foot cantilevered roof caps the Prow, a new building by Aidlin Darling Design and Susan Marinello Interiors for both meetings and quiet time on the Seattle campus of Expedia Group.

Below: With Mount Rainier in the distance, the roof is planted with indigenous grasses, its shape inspired by the natural and industrial forms visible from Elliott Bay, home to the Port of Seattle, one of the country’s busiest ports.

Opposite top: The building’s riprap-stone walls are an extension of the 800-foot-long landscape walls defining the southwestern edge of the 40-acre campus. Opposite bottom: Anchoring the conference area in between a ceiling and floor of locally sourced Douglas fir is a custom, 12-footlong black-walnut table by George Nakashima Woodworkers that can be extended to 17 feet to accommodate large board meetings.

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Top: The Prow establishes a new entry point for the campus from the south, with a gate framed and topped by geometrically shaped Cor-Ten steel. Center: The building fronts a public waterfront bike path and walking trail, adjacent to the Elliott Bay fishing pier. Bottom: A Playa sectional by Holly Hunt, Thayer Coggin’s shearling-covered Roger lounge chairs, and a table by Dan Pollock, who hand-carves his pieces from wooden stumps found in Southern California, compose the living room–style lounge.

Opposite: The sharply angled roof of aluminum and Douglas fir resembles a floating wing, nodding to Expedia’s emphasis on travel.

to create a structure that was hidden in plain sight,” Aidlin explains. For his team, which was co-led by senior associate Adam Rouse, the solution was a building that is of the landscape in every sense.

Appearing to grow from the earth, the Prow’s stone-formed walls angle down into the ground plane to connect seamlessly with the existing riprap-stone walls delineating the campus border. It gracefully merges into the ziggurat-shape grass terraces defining this portion of the grounds, part of a larger campus master plan by Surfacedesign. Indigenous grasses planted here continue uninterrupted along the roof of the Prow. “It’s meant to be a diamond in the rough—intentionally organic, intentionally hidden,” Aidlin notes. “There’s an element of discovery because it presents as a landscape rather than a building.”

Expedians who make the open-air trek to the Prow—often braving the ubiquitous Pacific Northwest rain—are rewarded with a cozy hideaway that feels more woodland cabin than workplace. That’s thanks to president and principal design director Susan Marinello and senior design associate Louisa Chang of Susan Marinello Interiors, which evoked a relaxed, residential environment where employees can enjoy a moment of quiet contemplation in softly upholstered furnishings aside a glowing fireplace. “Expedia offers a window to the world, so our concept reflects those collective travel experiences by curating items from across the globe,” Marinello says of the many art-inspired furnishings, crafted by makers from locales as far flung as India and Brazil. The showstopper is the 20-person conference table, which contains no screws and was custom-built from a pair of book-matched black walnut slabs by George Nakashima Woodworkers, the company founded by the famed late Seattle furniture designer. Employees can reserve the table for larger meetings away from the hustle and bustle of the main office.

(The Prow also accommodates events with a catering kitchen tucked into a corner.)

A set of sliding panels in a floor-to-ceiling glass wall opens to the outdoors, allowing those meetings to spill out to an elevated deck with views of Mount Rainier in the distance and bikes and Segways zooming by on the Elliott Bay Trail below. Since the building fronts a city park and is visible from boats in the water, ADD considered its appearance from all directions. “The building takes the landscape and covers itself with it like a blanket, while presenting a crystalline-inspired window to the public,” Rouse says.

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“The structure is meant to inspire the concept of motion and flight”

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Below: Although the tip of the roof, which is illuminated by hidden linear LEDs, rises to 26 feet, the building’s overall profile is low so as not to block the bay views from other campus buildings.

Opposite, from left: The project’s abstraction on geometric forms and angles continues in the all-gender ceramic-tiled restrooms, which feature high-efficiency fixtures. An ipe deck extends off the lounge, its recessed propane firepit encircled by carved wood stools from Washington designer Meyer Wells. Reading and reflection can take place by the gas fireplace, accompanied by a custom flamed black granite hearth, A. Rudin’s 861 wing chair, and Alessandra Delgado’s Rotula floor lamp.

The Prow is a study in contrasts, with the grounded, stone walls and green roof nestling into the earth just as it appears to take flight at the opposite end. There, the sharply pointed roof that cantilevers out 50 feet lifts off above the deck, taking the form of an airplane wing or, as the building’s namesake suggests, a ship’s bow. “The site experiences so many modes of transportation: trains, planes, automobiles, scooters, bikes, boats, so the structure is meant to inspire the concept of motion and flight,” says Aidlin, referencing the travel-centric ethos of Expedia.

Ultimately, this notion of grounded aspiration informs how this unconventional office space shifts the mindset of Expedians, breaking up routines and inspiring new forms of interaction. “They have to go out into nature and experience the elements to access the Prow,” Chang says. “It physically and emotionally transports them.” At a moment when the world is returning to the office, the project signals a new mode of workplace connection that’s taking flight.

PROJECT TEAM DAVID DARLING, FAIA; RYAN HUGHES; LUIS SABATAR MUSA; LAING CHUNG; KENT CHIANG; TONY SCHONHARDT: AIDLIN DARLING DESIGN. DENA MAMMANO: SUSAN MARINELLO INTERIORS. ZGF: CAMPUS ARCHITECT. SURFACEDESIGN: LANDSCAPE ARCHITECT. FISHER MARANTZ STONE: LIGHTING CONSULTANT. KPFF: STRUCTURAL ENGINEER, CIVIL ENGINEER. WSP: MEP. JS PERROTT: WOODWORK, STONEWORK. GLY CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT GEORGE NAKASHIMA WOODWORKERS: CUSTOM TABLE (CONFERENCE AREA). VAUGHAN BENZ: CUSTOM CHAIRS. MAHARAM: CHAIR FABRIC. ADVANCED IRONWORKS: CUSTOM FENCE (ENTRY).

DRISCOLL ROBBINS FINE CARPETS: RUG (LOUNGE). HOLLY HUNT: SECTIONAL. MISIA PARIS; ZAK + FOX: SECTIONAL FABRICS. THAYER COGGIN: CHAIRS. DOUGLASS LEATHER: CHAIR UPHOLSTERY. DEMURO DAS: BENCH. DAN POLLOCK: CUSTOM TABLE. UCHYTIL’S CUSTOM WOODWORKING: CUSTOM CONSOLE. ALESSANDRA DELGADO DESIGN: LAMPS (LOUNGE, READING AREA). DALTILE: TILE (REST­ ROOM). ZURN: TOILET. ROCKWOOD: DOOR PULL. JANUS ET CIE: TABLE (DECK). TRICONFORT: CHAIRS. MEYER WELLS: STOOLS. AK47 DESIGN: FIREPIT. MONTIGO: FIREPLACE (READING AREA). A. RUDIN: CHAIR. BERNHARDT TEXTILES: CHAIR FABRIC. THROUGHOUT CREOWORKS: CUSTOM CEILING SYSTEM. BRANDSEN FLOORS: FLOORING. LUCIFER LIGHTING COMPANY; LUMINII: LIGHTING. ARCADIA: STOREFRONT WINDOWS. PHOENIX PANELS: EXTERIOR METAL PANELING. HARTUNG: GLAZING. COLUMBIA GREEN TECHNOLOGIES: GREEN ROOF SYSTEM. BENJAMIN MOORE & CO.: PAINT.

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In-house design director Jennifer Kolstad takes the wheel with Ghafari Associates in devising the forward-looking Ford Experience Center in Dearborn, Michigan

the road ahead text: rebecca dalzell photography: garrett rowland

Ford Motor Company was founded in 1903 and today is one of the biggest car companies in the world.

Despite its long history, Ford is focused squarely on the future, developing new technologies like smart infrastructure and self-driving vehicles. Yet for over 20 years, the main events facility at its headquarters in Dearborn, Michigan, was a dark and uninviting concrete structure. Company executives sought to reimagine it as a cutting-edge “front door” to the 600-acre campus, which itself is being overhauled under a master plan by Snøhetta. They turned to Jennifer Kolstad, the in-house global design and brand director, and her 20-person team to renovate the 1998 building and transform it into the Ford Experience Center, or FXC. Ford’s leaders envisioned the FXC as a dynamic hospitality-inspired hub for employees, car dealers, and major customers. It would have flexible event spaces, conference rooms, a café, and hot-desking, plus an on-site design lab where employees could work with clients like the City of Los Angeles to customize and prototype police vehicles. The FXC is also meant to reflect a new company-wide emphasis on innovation and collaboration. Positioned across the street from the Henry Ford Museum of American Innovation, the FXC symbolizes “Ford future facing Ford past,” Kolstad notes. Her design encompasses aspects of both.

Kolstad worked on the 95,000-square-foot project with Ghafari Associates, which served as the architect of record but also designed major elements of the interior and helped with the selection of furnishings.

Together, the two teams completely transformed the existing two-story building, keeping only its structure and oval shape. “Even though the space is similar to what it was, an event center, we had to take it to the next level,” architect and Ghafari director of design Andrew Cottrell recalls. The goal was to create an environment that felt open and transparent. “Ford wishes to be the most trusted company in the world, and architecture can help that along,” Kolstad adds.

To start, the concrete walls were out. Ford and Ghafari re-skinned the facade with electrochromic glass that brings ample light to the interior but can also tint for shade. Kolstad, who was a principal at HKS before joining Ford in 2019, brought a focus on wellness and human-centered design to the project. She incorporated two green walls in the café, called the Hive, and ensured that even enclosed rooms have natural light and views of the surrounding lawns. She also integrated the building into the landscape: Terraces allow for events to flow outdoors, and the central corridor aligns with the front door of the Henry Ford Museum.

The FXC showcases the future of automobiles, but it’s grounded in Ford’s history. “The building speaks to the legacy of the company through its use of museum-quality materials,” Kolstad explains. “If the 80

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Previous spread: An electric Mustang Mach E GT 2022 stands on a turntable integrated into the central forum’s terrazzo floor at the Ford Experience Center in Dearborn, Michigan, a renovation project by Ford Environments, the in-house team led by global design and brand director Jennifer Kolstad, and Ghafari Associates.

Opposite: The long Common bench by Naoto Fukasawa and Hlynur Atlason’s swiveling Lina chairs stand on a custom rug patterned with deconstructed ovals derived from Ford’s logo in the welcome lounge.

Top, from left: English-oak veneering backs velvetupholstered banquettes in the Hive café. Ghafari’s custom walnut desk and Quilt Series, a commissioned work by Black interdisciplinary artist Tiff Massey, greet visitors at reception. Also commissioned, sculptor Robert Moreland’s racetrack-inspired piece hangs above an Arc sofa by Hallgeir Homstvedt in a break-out area. Bottom: A green wall adjoins the Hive, also shaped after the Ford logo, as are the custom pendant fixtures above the Ponder stools

by Eoos.

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“An immersive brand

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experience, the space tells the

With white-oak stadium seating and productionready lighting, the double-height forum, also oval in shape, hosts presentations and launch events.

company’s story in a subtle,sophisticated way”

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foundation is solid and well-executed, the brand can breathe and take on its own life.” In the central forum, polished white-terrazzo flooring and oak stadium seating form a timeless backdrop for what is in fact a hightech, production-ready space. At the touch of a button, the lighting can change to suit a cocktail party, presentation, or launch event, and cars rotate on a turntable in the floor. Overhead, a sculpted white ceiling of acoustical plaster conceals lighting and mechanical systems, with cuts that mirror the lines in the terrazzo floor. “We had to coordinate myriad things to make the ceiling look seamless,” Cottrell says.

Like the building, the forum is the shape of the Ford logo: an oval. “You won’t see the logo anywhere, but you’re literally inside the Ford oval,” Kolstad says. “The space tells the company’s story in a subtle, sophisticated way.” Ovals appear in the symbol of the Hive, making the shape of a bee, and in custom lighting fixtures, while velvet in the brand’s deep blue upholsters the café’s banquettes. Covers of retro Ford Life magazines hang in phone booths, and broken ovals appear in the pattern of blue vinyl wallcovering.

Kolstad’s team also deconstructed the oval to make a camouflagelike pattern for blue-and-white area rugs.

All furnishings, materials, and finishes demonstrate a new palette that will be used in Ford showrooms and offices worldwide, including the nearby workplace by Snøhetta now under construction.

Though Kolstad describes the FXC as an “immersive brand experience,” you won’t find a Ford sign at reception. Instead, there’s a mirrored acrylic work by Detroit artist Tiff Massey, one of several in her team’s DEI-focused art program for the project. Inspired by traditional American quilts, it’s composed of seven designs—representing each of Ford’s company truths—laser-cut onto 90 tiles. An asymmetrical solid-walnut desk in front of it, designed by Ghafari, looks like a sculpture that alludes to movement. Elsewhere, three abstract artworks by Los Angeles artist Robert Moreland refer to the 24 Hours of Le Mans, the French car race that Ford won in the late 1960’s. With the FXC, it’s leading again as a cool, tech-savvy company.

PROJECT TEAM JULIA CALABRESE; RACHAEL SMITH; CHRIS SMALL; DON ZVOCH: FORD ENVIRONMENTS. MICHAEL KREBS; BRITTNEE SHAW; ANGELA CWAYNA; JOSEPH KIM; DELBERT DEE; JUSTIN FINKBEINER; STEPHANIE HRIT; JENNIFER HATHEWAY; KATY RUPP; STEVE LIAN; YUQI PAN; BRUCE COBURN; JUSTINE LIM; KARAN PANCHAL; ALI ZORKOT; CHRISTOPHER OLECH; RYAN RAYMOND; CYNTHIA HARMAN-JONES; KRISTINA ALLDER: GHAFARI ASSOCIATES. ILLUMINART: LIGHTING CONSULTANT. FARMBOY: ART CONSULTANT, CUSTOM WALLCOVERING. DENN-CO CONSTRUCTION; GANAS; NAVY ISLAND: WOODWORK. DEVON INDUSTRIAL GROUP: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT TACCHINI: BENCHES (FORUM). VICCARBE: BENCHES (LOUNGE). DWR: CHAIRS. BERNHARDT; DESIGNTEX: BANQUETTE FABRIC (CAFÉ). COALESSE: TABLES (CAFÉ), CHAIR (PHONE BOOTH). GEIGER: CHAIRS (CAFÉ, INNOVATION). STELLAR WORKS: SOFAS (BREAK-OUT, COLLABORATION, GRAND HALL). CARNEGIE: WALLCOVERING (BREAK-OUT). STUA: COFFEE TABLE. ZAUBEN: GREEN WALL (CAFÉ). PRECIOSA: CUSTOM PENDANT FIXTURES. KEILHAUER: STOOLS. TARKETT: CARPET (PHONE BOOTH). HUMANSCALE: LAMP. BLU DOT: TABLES (INNOVATION, GRAND HALL). RESTORATION HARDWARE: LAMP (GRAND HALL). THROUGHOUT MICHIELUTTI BROTHERS: FLOORING. SHAW CONTRACT: CUSTOM RUGS. BENJAMIN MOORE & CO.: PAINT.

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Opposite: The acoustical-plaster ceiling conceals mechan­ ical diffusers, while the glass mezzanine balustrade’s etched vinyl film gets washed with color from LEDs below.

Top, from left: Beverly Fishman artworks enliven a col­lab­ oration room. Archival covers of Ford Life magazine hang on custom vinyl wallcovering in a phone booth. Eoos also designed the Crosshatch chairs in the innovation room.

Bottom: Opposite another Moreland, a custom CNC-cut pattern of fractured ovals forms the 3-D MDF wall of the grand hall stair.

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hidden gem In the Mediterranean, Moinard Bétaille polishes up the Hotel Cala di Volpe, an Italian screen legend on Sardinia text: craig kellogg photography: andrea garuti

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Previous spread: At the Hotel Cala di Volpe in Porto Corvo, Italy, Moinard Bétaille’s ongoing renovation of the Sardinian property includes preserving the lobby’s concrete and plaster wall embedded with stained glass that French architect Jacques Couëlle originally designed in 1963; photography: White Box Studio.

Top, from left: An arched lobby window frames a view of the Med­ iter­ranean Sea’s Costa Smeralda. Lunch guests often arrive at the hotel’s private cove by boat. Bottom: Reception features original flooring of terra-cotta and granite tile and a new stucco desk pat­ terned with patinated copper.

Opposite top: The stained glass reflects in the glazed top of a lavastone cocktail table. Opposite bottom: The lobby bar has been elevated and extended, for better views of the Mediterranean.

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“Nobody does it better,” sings Carly Simon in her 1977 theme from The Spy Who Loved Me. She means the movie’s protagonist James Bond, of course, but let’s extend her compliment to Qatar’s Sovereign Wealth Fund, which, about a decade ago, purchased Hotel Cala di Volpe in Porto Cervo, Italy, the groovy Sardinian beachfront bolt-hole where Bond sheltered in the film. The name translates as Fox Cove Hotel and it remains a hospitality landmark thanks to its cameo, according to Claire Bétaille, copartner with founder Bruno Moinard of Moinard Bétaille. “We believe it is still in everyone’s mind, because generally we conceive architecture as a story, just like a movie.”

Moinard Bétaille is in the process of completely restyling the hotel with a nod to the jet set. The rustic structure recalls an old fishing village from the nearby Costa Smeralda on the Mediterranean Sea in Northern Sardinia, but dates only to 1963. The inspiration came straight from self-taught Jacques Couëlle, a pioneer of the architectural sculpture movement.

Couëlle was hired to build the hotel by His Highness Prince Karim Aga Khan Ismaili—the same real estate developer and boldface spiritual leader who still endows the coveted Aga Khan Award for Architecture.

“The fantasy was to offer the most prestigious guests on the planet a chance to go barefoot and live a simple life in nature,” Bétaille recalls. Couëlle’s late son, self-described “gypsy architect” Savin Couëlle, built a new wing of guest rooms with the same glam-Flintstones vibe during the region’s ’70’s

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celebrity heyday. But even as competitors raised the bar for luxury globally, Cala di Volpe’s standards and maintenance lagged. “Step-by-step modifications had destroyed the original spirit of the hotel,” Moinard adds. Air-conditioning was noisy and poorly integrated, and minibars were “just a fridge in the middle of the room.” Bétaille remembers the old guest rooms as “quite square,” with tile bathrooms she found “super strict and rigid.”

The two won the chance to renovate the 122-room property in a design competition. Following careful study, the firm tackled three prototype rooms in an initial phase, presenting them for approval from the management and treasured repeat guests.

What has become a six-year transformation enters its final phase this winter when the hotel will refresh the final dozen rooms after closing for the season. Taken together, the inter­ ventions extend the lessons of Couëlle’s sculptural interiors.

The redesign loosens up the guest rooms with new radiused stonework, handmade plaster arches, and room dividers composed from kaleidoscopic glass chunks placed by Bétaille personally. New clear-glass shower doors are cut with a curve, limestone floor slabs from a local source have been placed in an eccentric pattern inspired by flagstone versions the interior architects spotted in period snaps of Couëlle houses, and beds have been oriented toward the sea view (previously they had faced wall-mounted TVs). Each monumental headboard is plastered individually in-place, threaded with LEDs and accented using locally woven baskets hung as wall art. Topsyturvy canopies are composed of juniper branches laced with reeds like a rustic Sardinian hut. “There’s no duplication,” Moinard notes. “Come back to stay in another room, and you will find it to be in the same spirit but never exactly the same.”

Construction workers who brought in branches too straight were sent back to the pile to find ones more artfully warped

Opposite top: In a renovated suite, the sculpted headboard has integrated LEDs. Opposite bottom, from left: In a guest bathroom, the granite sinks and vanity are custom. Some bathrooms are divided from bedrooms with new colored glass recalling Couëlle’s lobby wall; photography: Jacques Pépion.

Top: The property’s Olympic-size pool is saltwater; photography: White Box Studio. Bottom: A suite’s custom coffee table is walnut.

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and bristling with eccentricity. This is all wildly removed from the typical modern marble and marquetry aesthetic of Moinard and Bétaille, who have had ongoing projects for such legacy luxury clients as Cartier and the Hôtel Plaza Athénée. (They also created the Veuve Clicquot VIP Guesthouse, which graced the cover of Interior Design in June of 2012.) Understandably, both admit that such endless variations—not to mention the artfully warped branches—were impossible to draw. So, the team was fortunate to travel dozens of times to Sardinia, offering feedback and organizing tweaks.

Film stills show how Bond’s set decorators smothered the hotel lobby with lush climbing houseplants—now long gone— though the architecture remains largely intact. Dingy wax got scrubbed from the tile floors, and walls were repainted. On location, Moinard and Bétaille finalized the paint color: a soft seashell white chosen when Sardinian daylight proved yellower than light in Paris. They also completely reimagined the lobby lighting, installing linear LEDs for energy efficiency and to highlight treasured features. These have emerged enhanced and sometimes enlarged. The lobby also needed taller wooden stools once the bar was elevated, for better visual access to the seascape out the window. Local craftsmen who extended the artisanal patterned copper-and-stucco bar skirt created a completely new check-in desk using the same materials. Quite frankly, they could not have done it better.

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PROJECT TEAM STUDIO SALARIS: ART CONSULTANT. PRODUCT SOURCES FROM FRONT BONACINA THROUGH CALA: CUSTOM CHAIRS (LOBBY).

Opposite top: Restored stucco meets renewed woodwork on a guest-room terrace; photography: Jacques Pépion. Opposite bottom: Bed canopies are handmade from reeds and juniper limbs.

Top, from left: Locally woven baskets also outfit guest rooms. Rugs throughout are custom; photography: Jacques Pépion. Bottom: This bathroom sports new stucco arches.

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text: edie cohen photography: casey dunn

get smart Developing leadership skills in public-school educators is the name of the game at the Holdsworth Center in Austin, Texas, by Lake Flato Architects and Looney & Associates 94

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Previous spread: A boathouse serves as a combination classroom and social hub at the Holdsworth Center, an educational-leadership development organization in Austin, Texas, by Lake Flato Architects and Looney & Associates; photography: Peter Molick.

Top, from left: Art selected by Holds­ worth Center founder Charles Butt’s personal curator over­looks custom banquettes and tables and Patricia Urquiola’s Mathilda chairs in the prefunction area of the main building, aka the Learning Center. Open-sided boardwalks and bridges link the various classrooms. Bottom: Main reception has a custom desk of live-edge pecan and blackened steel with leather inserts backed by a hemlock-slat partition.

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In the 38 years since Interior Design Hall of Fame members David Lake and Ted Flato founded Lake Flato Architects, the practice has tackled every type of project under the Texas sun and beyond. Hotels and restaurants, schools and libraries, museums, a courthouse, wineries, and cool, enviable houses, invariably tied to the land. Yet the Holdsworth Center, a 173,000-square-foot, 15-building compound on 44 acres beside Lake Austin, was like nothing in the studio’s firmament.

“The center is dedicated to developing excellence in leadership for principals and superintendents in the Texas public school system,” explains Lake, who led the project with firm partner Chris Krajcer. It’s part conference center, part hospitality facility, and part educational institution, yet also much more. “There’s nothing like it in the U.S.,” Lake acknowledges. In good part, that’s because there is no one like its benefactor, Charles Butt, CEO of his family-owned H-E-B supermarket chain with some 300 stores throughout the Lone Star State and Mexico. Long passionate about public education, due in good part to his mother, Mary Elizabeth, a teacher and an advocate for social justice, the philanthropist named the center after her.

“It’s complicated,” Krajcer says when asked how Holdsworth works. Representatives from the state’s school districts come to the retreat for a period of time to share ideas and glean knowledge from world-class consultants across business and educational arenas, all in the service of learning about “leadership in anything,” Lake continues. “But we had to figure out what that meant.”

So, challenge number one was that the project had no program. Research in its development included visits to similarly uncorseted organizations, the Aspen Institute among them. “But they were built over time,” Krajcer notes. “This was built in one fell swoop,” including infrastructure for the grounds. The second challenge? Holdsworth, which had been operating in various places throughout Texas since its 2017 founding, had no site. For 2½ years, Lake, together with Butt, combed some 25 potential Austin ocations, until they found the lakeside property.

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The site obtained, the architects embarked on a year of programming and design followed by two of construction, all of which cost roughly $200 million. As for buildings and their typ­ ologies, the team determined the following: four three-level hotel structures with 45 keys each; a trio of casitas, each containing two apartments to house VIP lecturers and families during their sabbaticals; and a two-level boathouse, with a screened alfresco classroom on the bottom and a social-breakout terrace on top. The V-shape main building, aka the Learning Center, has a full roster of function areas spanning two floors. Classrooms and seminar spaces occupy both, while the ground floor houses reception with a cozy library on one side. On the other, a pre-function zone inspired by hospitality design includes a standout bar capped by a wavy hemlock canopy and a servery with seating (there’s a commercial kitchen in the back).

All this is prologue to a vast event-dining space—dynamic, with a shaped ceiling and skylights, it can be divided in two.

Also populating the site are an amphitheater for outdoor classes, an administrative building, and a fitness center. And what campus doesn’t have its own favorite bar? At Holdsworth, it’s Charlies’ Place, another freestanding building. The structures, which are interwoven with groves of heritage pecans and planted courtyards, “turn and tilt to the views,” Krajcer says.

All are linked by open paths and boardwalks—indoor-outdoor connection is key to the campus experience, so there’s nary an enclosed corridor in sight.

As different as the buildings are in terms of purpose, they speak a common vernacular rooted in the Texas Hill Country. The language translates to exposed framing, shady overhangs, long porches, ceiling fans, asymmetrical gables reminiscent of barn structures, and a palette of wood and stone. Douglas fir forms roof decks while beams are cedar. Porch decking is Kebony, sustainably sourced Monterey pine that’s had a bio-based liquid added to make it strong and rot-resistant. The live-edge reception desk is pecan from a tree felled locally.

Local, too, is the limestone, quarried in Sisterdale, about 90 minutes away. “It’s an old stone that doesn’t feel precious,” Lake notes.

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Opposite top: While the 15-building campus encompasses 44 acres, most structures are clustered near Lake Austin’s shoreline, with four hotel-like facilities on far right; photography: Peter Molick. Opposite bottom: The multifunction dining-seminar space has a ceiling and walls of hemlock slats, interspersed with broad swaths of glass.

Top, from left: The amphitheater, outfitted with limestone-block seating and a stage with a steel-pipe and wood canopy, is used for classes and private events; photography: Peter Molick. Matthew Hilton’s Profile barstools pull up to the prefunction bar, which incorporates a flamed-granite countertop, leather face, and blackened-steel base. Bottom, from left: On the second floor of the administration building, staff work at repurposed communal tables beneath clerestory windows.

The building’s atrium features a massive wall of locally sourced limestone topped by a skylight opposite a staircase in painted steel and Douglas fir.

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Although Lake Flato has an interiors studio, Holdsworth’s scope was too extensive for in-house completion. Jim Looney, CEO of his namesake Dallas firm, was the architects’ natural choice for FF&E. “We had just finished the Lodge at Gulf State Park in Gulf Shores, Alabama,” Looney says, referring to the two firms’ first collaborative project. His bailiwick here was social hubs and hotel rooms, the latter being standard size and square, so beds could be oriented to views. “Exterior materials found their way into the rooms,” he continues, “and our colors and tones supported the outdoor vistas.” Inviting as the rooms are, they’re designed to encourage guests to favor lounges with screened-in porches at the end of each floor. The scheme reinforces Holdsworth’s philosophy of constant mixing and mingling. Or, as Looney says, “There’s a higher purpose than just putting heads in beds.”

PROJECT TEAM MATTHEW MORRIS; GRAHAM BEACH; DANIEL MOWERY; JUSTIN GARRISON; MARGAUX PALMER; CASEY NELSON; DANIEL LAZARINE; ANNE HERNDON; COLE MAJOR; CLAY COTTINGHAM; JAECHANG KO; ZEKE JONE: LAKE FLATO ARCHITECTS. MARK CARY; JULIANNE CARY; BRIAN BELCHER; DAVID M. ROGERS; JENNA HIGGINBOTHAM: LOONEY & ASSOCIATES. TEN EYCK LANDSCAPE ARCHITECTS: LANDSCAPE CONSULTANT. ARCHITECTURAL ENGINEERS COLLABORATIVE: STRUCTURAL ENGINEER. ISEC: MILLWORK. THE BECK GROUP: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT ARMTREND: CUSTOM BANQUETTES (PRE-FUNCTION). MOROSO: SIDE CHAIRS. SHAWN AUSTIN: CUSTOM TABLES. COMPOSITION HOSPITALITY: CUSTOM LOUNGE CHAIR. THROUGH DESIGN WITHIN REACH: STOOLS (BAR). EDELMAN: FACE UPHOLSTERY. ZIA TILE: BACKSPLASH TILE. LIGHT ANNEX: CUSTOM SCONCE (GUEST ROOM). BRYAN ASHLEY: CUSTOM HEADBOARD. MONTAGUE: CUSTOM NIGHTSTAND. RICHLOOM: CUSTOM BED THROW. SUTHERLAND: CHAIRS, TABLE (PORCH).

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Top, from left: A trio of casitas, each housing two apartments for visiting lecturers and their families, is set amidst groves of heritage pecans; photography: Peter Molick. Hotel guest rooms have pecan paneling and custom furnishings, light fixtures, and bed throws. Bottom: Porches at the end of each hotel floor host Christophe Delcourt’s teak Spin chairs and Peninsula table surrounded by welded-wire fences, known locally as hog panels.

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art at work Pieces from developer and philanthropist Jorge M. Pérez’s museum-ready collection fill Related Group’s MKDA-designed headquarters in Miami text: michael lassell photography: alexander severin

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If you live in Miami and care about art and architecture, you’ll be familiar with Jorge M. Pérez and Related Group, the development company he founded in 1979. Born in 1949 in Argentina to Cuban parents, and raised in Colombia, Pérez emigrated in 1968 to this country. After earning a master’s degree in urban planning from the University of Michigan, he began his career by constructing affordable housing, graduating to high-rise apartment buildings in both North and South America. Now a billionaire art collector and philanthropist, the “King of the Condo,” as some call him, made such a transformative gift to the former Miami Art Museum that the institution was renamed the Pérez Art Museum Miami when it moved into its new Herzog & de Meuron home in 2013.

In 2021, Related relocated its headquarters to the top two floors of a new LEED-certified concrete-and-glass building in Coconut Grove, Miami’s historically art-minded neighborhood, where Pérez and his wife, Darlene, live—as do Bernardo Fort-Brescia and Laurinda Spear, the founding principals of Arquitectonica, which designed the eight-story gem. To create the building’s interiors, Pérez turned to the Miami studio of MKDA, a multicity firm that made its reputation by revolutionizing the fashion showrooms of Manhattan’s Garment District. Regional managing principal Amanda Hertzler and her team joined the project early on, working most closely with Related senior vice president Nicholas Pérez, Jorge’s son (his brother Jon Paul is the company’s president), but much of the proceedings were driven by the founder and CEO himself.

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Previous spread: MKDA puts a modern spin on a classic coffered ceiling in the art-filled lobby of developer Related Group’s headquarters building in Miami; the colorful statue is by Niki de Saint Phalle.

Opposite top: Porcelain tile flooring and a stretch fabric–like LED ceiling, materials used throughout, outfit the eighth-floor elevator lobby. Opposite bottom: An elongated version of Mies van der Rohe’s classic Barcelona daybed, rendered in bronze-painted fiberglass by Judy Niedermaier, faces reception’s custom desk in Champagne-finished stainless steel and marble backed by a rosewood-clad wall.

Top, from left: Untitled #1 by John Castles dominates the ground-floor elevator lobby. Nearby, sandblasted, scored limestone adds texture to the lobby reception desk. Bottom: Italian marble forms the grand staircase, which also functions as a platform for a rotating display of artworks, such as Donna Huanca’s sculpture Cliona Chilenis on the left.

“In addition to the building lobby and the Related offices, we also designed the elevator lobbies, the elevator cabs, restrooms, and a law firm on the fourth floor,” Hertzler reports. “Because we were going to install a lot of art, we kept the materials muted and neutral.” In the ground-floor lobby, for instance, she covered walls with slabs of matte porcelain that resemble marble but used scored, sandblasted gray limestone on the reception desk and other surfaces to create a softening contrast. She then added flashes of Champagne-finished stainless steel for some inimitable Miami elan.

Even more playful is the lobby’s coffered ceiling, a modernized nod to the carved-wood versions found in Coconut Grove’s historic Mediterranean-style mansions. “We changed the shapes of the coffers, so they’re all different,” notes Hertzler, who backed each recess with a sheet of LumaFilm—a flexible, paper-thin membrane incorporating tiny LEDs—to provide soft, ambient light overhead. The building’s mechanical systems are hidden above the glowing fabric, but the lobby’s rotating display of artworks is accommodated with visible gallery-style track lights that can be refocused remotely.

Related’s main reception area—its massive stainless-steel and marble desk set off by a wall of backlit rosewood panels—and executive offices occupy the top floor, while employee work spaces and facilities, including a collaborative area and a lounge, fill the floor below. “The building has an offset core,” Hertzler observes, “which would tend to make the interior of each floor quite dark.” On the other hand, it allowed Arquitectonica to sink a two-story glass-enclosed atrium at the center of the headquarters. “Related has a traditional corporate culture,” continues Hertzler, “so we installed the usual per­ imeter offices, but the atrium floods the interiors with light. The transparency comes with a connectivity, because you can see people working on the other side.” On both floors, she created communal spaces that take full advantage of the atrium’s natural light.

There is art everywhere, some 300 pieces that range in form from the traditional oil on canvas to every imaginable “alternative” medium, including an Ai Weiwei “painting” composed of Lego bricks. A 16-foot-long bench in reception that appears to be a cast-bronze version of a Mies van der Rohe Barcelona daybed is, in fact, a metallic-painted fiberglass-and-steel piece created by Judy Niedermaier in the 1990’s for the lobby of the Mies-designed IBM building

Top: A glass-walled atrium provides natural light for the eighth floor’s collaboration space, outfitted with acousticfelt ceiling baffles and Lievore Altherr Molina stools.

Center: Booths in the employee lounge have velvetupholstered seating, terrazzo paneling, and LED sconces.

Bottom: CEO Jorge M. Pérez specifically asked that the conference room’s custom old-growth redwood table have a live-edge.

Opposite: The Well, a 13-foot-tall bronze sculpture by Enrique Martínez Celaya, sits in the rooftop garden overlooking the two-story atrium.

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“The atrium’s transparency comes with a connectivity, because you can see people working on the other side”

Top, from left: Artworks near the base of the stair­ case include Robb Pruitt’s Untitled, a sculpture com­ prising a stack of four painted tires and, on the left, Ai Weiwei’s Dropping a Han Dynasty Urn (LEGO), a “painting” composed of the interlocking plastic bricks.

David Geckeler chairs supplement a wall of built-in banquettes in the employee lounge. Bottom: Arqui­ tectonica designed the eight-story, concrete-andglass building, the top two floors of which house Related’s headquarters.

Opposite top: Hans Wegner lounge chairs and Piero Lissoni’s Mex glass coffee table join a Sanford Biggers marble bust and a Friedel Dzubas painting in Pérez’s office. Opposite bottom: The lounge outside the executive offices includes a Sol LeWitt folding screen, vintage Emiel Veranneman armchairs, a Robert Kuo coffee table, and Nocturnal Plaza, a dark bronze sculpture by Jorge Méndez Blake.

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in Chicago. The bench had to be craned into place because it wouldn’t fit in the freight elevator.

The bench sits next to the grand Calacatta Toscana marble staircase that connects the floors and also acts as a platform for artworks, which undergo a monthly rotation. “That doesn’t mean every piece is changed every month,” Hertzler explains, “but a lot of the art travels and needs to be swapped out.” Pérez has promised his collection to the museum that now bears his name. “One of the nicest things about the art installation is how approachable it is, even in the common areas.”

Along with their own lounge, employees get two outdoor spaces in which to relax: a courtyard terrace at the base of the atrium and an expansive Arquitectonica-designed roof garden, which includes a covered area and open zones with enviable views of Biscayne Bay. “The roof is lush and eclectic, with beautiful, old, exterior-grade furniture,” Hertzler concludes. “At Related, even the seating is art.”

PROJECT TEAM KAMILAH BERMUDEZ; TONYA WATTS; ERIN LONDON: MKDA. JALRW ENGINEERING GROUP: MEP. RHYTON ENGINEERING: CIVIL ENGINEER. ADVANCED MILLWORK: WOODWORK. CITY CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT KNOLL: CHAIRS, DAYBED (LOBBY). RIMEX METALS: RECEPTION DESK (LOBBY), PANELING (ELEVATOR LOBBY). GALAXY GLASS: GLASS PANELS (ELE­ VATOR LOBBY). THROUGH 1STDIBS: CUSTOM BENCH (RECEPTION). EXOTIC HARDWOODS + VENEERS: PANELING. COALESSE: STOOLS (COLLABORATION). MAHARAM: STOOL FABRIC. CF STINSON: LOUNGE CHAIR FABRIC. ACOUFELT: CEILING BAFFLES. OFS: LOUNGE CHAIRS, HIGH TABLES (COLLABORATION), DESKS (OFFICES). BESA LIGHTING: SCONCES (EMPLOYEE LOUNGE). PERENNIALS FABRICS: BOOTH FABRIC. WOODTECH: CUSTOM TABLE (CONFERENCE ROOM), CUSTOM DESK (CEO OFFICE).

STYLEX SEATING: TASK CHAIRS. MUUTO: CHAIRS (EMPLOYEE LOUNGE). DESIGNTEX: BANQUETTE FABRIC. BEN SOLEIMANI: SOFA (CEO OFFICE). CARL HANSEN & SØN: LOUNGE CHAIRS. PIERO LISSONI: COFFEE TABLE. ROBERT KUO: RED TABLE (LOUNGE). THROUGHOUT EMPIRE OFFICE: FURNITURE SUPPLIER. MURAFLEX: STOREFRONT SYSTEMS. FLORIM: FLOOR TILE, WALL SLABS. ARCHITILE: MARBLE, QUARTZ, TERRAZZO SUPPLIER. UNIVERSAL TILE & MARBLE ENTERPRISES: LIME­ STONE SUPPLIER. HEILUX: STRETCH FABRIC LIGHTING. FINELITE; LIGHTHEADED; LITON LIGHTING: LIGHTING. BENTLEY: CARPET. BENJAMIN MOORE & CO.: PAINT.

See page 114 for KIKS Beijing, a sneaker and streetwear store where the retailer’s signature “X” appears in marble wall paneling, by Rooi Design & Research. Photography: Weiqi Jin.

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text: peter webster

fashion forward Four futuristic stores from around the globe show that modern clothing retailers are not looking back

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David Chipperfield Architects project Akris, Washington. standout The prototype of the Swiss fashion brand’s new store concept, this 2,300-square-foot boutique references Bruno Munari’s tensile spatial structures to reduce all display elements to the minimum. Ergo, a system of taut cables supports shelves and hangers so that the clothing and accessories appear to be magically suspended within a neutral architectural box of maple paneling and limestone flooring. photography Alberto Parise.

“We developed a refined and functional system for display and partition that allows the project to feel coherent and simple, reflecting the integrity of the maison”

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Rooi Design & Research project KIKS Beijing. standout For the redesign of the 1,300-square-foot multibrand streetwear store, physical and conceptual coherence was introduced with a solar system–like layout that emphasizes the retailer’s gravitational pull on producers and consumers alike. A central architectural element comprising monolithic curved walls clad in green marble or stainless steel is encircled by hanging clothes racks, shoe display cases, and moveable partitions like planets orbiting the KIKS sun. photography Weiqi Jin.

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“Movable partitions are not only a part of the whole display system but also a flexible shading mechanism that solves the problem of sun exposure in the west”

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“The 16-foot-high ceiling adorned by an ample dome provides light and accentuates the reflections on the curves of the clothing racks in brushed brass”

Carolina Maluhy + Partners project Cris Barros, Belo Horizonte, Brazil. standout Marking a 15-year-plus relationship between the Brazilian fashion brand and the London and São Paulo–based designer, the 4,300-square-foot boutique features sinuous curves, natural materials, a creamy palette, and such handmade pieces as the wooden totems on which Frida Não Late’s ceramic sculptures display jewelry. Generously scaled portals connect the four rooms, which include a soaring space with a pebble-lined pool and a luminous cupola ceiling. photography Ruy Teixeira.

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Atmosphere Architects project Hug concept store, Chengdu, China. standout For this fashion retailer, which offers a curated collection of independent designers from around the world, an avant-garde yet neutral environment illuminated by shadowless backlit ceilings—think 2001: A Space Odyssey —puts focus on the clothing. Curved elements, geometric grids overhead, and pops of fluorescent color, including the brand’s trademark blue, offset the extensive use of shiny chrome and silver surfaces. photography Chuan He/Here Space.

“The space is interested in not only the modern sense of Western pop culture but also the contemporary consciousness from the East”

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aluminum with polycarbonate diffuser rods connect and rotate on their own axis affix to ceiling , wall , or floor

VIBIA Sticks 2

by arik levy

vibia.com

INTERIORDESIGN LAUNCH

AUG.22

EDITORS’PICKS GEORG JENSEN

STANDOUTS VASES DOUBLE AS JUGS

Nendo, a collection of organically shaped vases

by Japanese design star Oki Sato, now comes in stainless steel (in addition to the original silver) and as a coordinating candleholder. georgjensen.com

BY AND NAMED FOR OKI SATO ’ S FIRM

AUG.22

INTERIORDESIGN LAUNCH

123

LAUNCH EDITORS' PICKS

NOMON STANDOUTS WALNUT , OAK , OR WALNUT / OAK COMBO POLISHED BRASS DETAILS

20.4" ACROSS

124

INTERIORDESIGN LAUNCH

AUG.22

Strips of wood veneer looped and assembled into an abstract flower shape forms Andrés Martínez’s Brisa clock, whose dial marks are sweetly meant to symbolize pollen. nomon.es

LAUNCH EDITORS' PICKS

standouts eco - friendly topeka wallpaper , mylar , or type II vinyl scalable custom colors available

standouts in other materials upon request collection includes napkin holder , tray , ice bucket , serving stands , butter dish , candleholder , and more

ANTOLINI

Interior designer Alessandro La Spada conceived a capsule collection of jewelrylike, architectonic tabletop items—a first for the maker—pairing sultry Irish Green marble with rose-gold-finished metal. antolini.com/en

AUG.22

INTERIORDESIGN LAUNCH

125

LAUNCH EDITORS' PICKS

STANDOUTS DESIGNED BY KIKI VAN EIJK AND JOOST VAN BLEISWIJK GOLD VERSION ALSO AVAILABLE COLLECTION INCLUDES COFFEE TABLE AND MIRROR

OMNIDECOR

Like a 3D collage, the Pebbles candlestick by Kiki & Joost slots together semitransparent frosted glass shapes in pleasing harmony. omnidecor.it/en

126

INTERIORDESIGN LAUNCH

AUG.22

LAUNCH EDITORS' PICKS

STANDOUTS CUSTOMIZABLE VASES , BOWLS , PLATES , AND MORE CELEBRATES THE HANDMADE

KRYSTAL OSMAN DESIGNS

The Baltimore artist’s ceramics are handcrafted—intended as a creative response to her background in manufacturing and the uniformity of factory-made items. krystalosmandesigns.com

AUG.22

INTERIORDESIGN LAUNCH

127

LAUNCH EDITORS' PICKS

ALINEA DESIGN OBJECTS

The minimalist bearing of the Angelo O. cake/treat stand—a scaled-down version of Leo Aerts’s same-shaped dining table—is the byproduct of high-tech stone cutting and exquisite hand-finishing. alineadesignobjects.com

standouts eco - friendly topeka wallpaper , mylar , or type II vinyl scalable custom colors available

3 sizes 9 marble types each piece is signed

DANIYEL LOWDEN

standouts

LAUNCH EDITORS' PICKS

RUBINACCI NAPOLI

STANDOUTS CRAFTED OF ASH WOOD

Marta Laudani’s Woodland collection for the hardwood furniture specialist includes nature-inspired accoutrements like Petal, a set of nesting trays suggestive of a stylized bloom. rubinaccinapoli.com

LARGEST IS 451 X 482 MM COLLECTION IN CLUDES VASES AND VESSELS

AUG.22

INTERIORDESIGN LAUNCH

129

LAUNCH EDITORS' PICKS

KELLY WEARSTLER

The trio behind Dutch art collective Rotganzen designed Quelle Fête, a new version of their slumped disco balls for the California design doyenne and Proper Hotels mogul’s online platform. kellywearstler.com

standouts designed by erik schilp , robin stam , and joeri horstink limited edition

PRODUCT: TREVOR TONDRO

hand - sculpted

130

INTERIORDESIGN LAUNCH

AUG.22

LAUNCH EDITORS' PICKS

STANDOUTS MARBLEIZED ACRYLIC DOUBLE - TUBE , CONE , AND CYLINDER VASES COORDINATING PLATTER AND SERVERWARE

JONATHAN ADLER

The luminescence and levity of the Caribbean isles sparked Mustique, a retro-inflected collection of candy-colored accessories—disc and pedestal bowls, assorted vases, etc.—in hand-poured, polished acrylic. jonathanadler.com

AUG.22

INTERIORDESIGN LAUNCH

131

LAUNCH EDITORS' PICKS

standouts designed by paolo ulian pioneering use of water - jet cutting knurled effect

BUFALINI

Drap vases, bowls, and trays resemble delicately draped fabric but are ingeniously carved out of solid blocks of Carrara marble via high-pressure water jets. bufalini.com

132

INTERIORDESIGN LAUNCH

AUG.22

LAUNCH EDITORS' PICKS

SHANTELL MARTIN

The artist embellished a 44-ounce white-porcelain Pitcher with her renowned linework, helping Amref Health Africa raise awareness and funds for World Water Day in the process. amrefbenefitpitchers.com

STANDOUTS LIMITED EDITION OF

150 PURCHASES FUND CLEAN WATER AND PROPER SANITATION ADDITIONAL DESIGNS

BY AMY AMALIA , PAT RICK MARTINEZ , AND HUGO M C CLOUD

JOSEPH KRAUSS

AUG.22

INTERIORDESIGN LAUNCH

133

LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

ZINC PATINA ZINC PATINA

standouts

4' x 8' sheets ( select colors in 4' x 10') solid aluminum

35+ colors in collection

FORMICA CORPORATION

Two new offerings, Zinc Patina and Oxidized Silver Patina, join the DecoMetal Laminates collection Patina Series, recreating the warm, dappled, variegated effect of naturally weathered, exposed-to-the-elements metals. formica.com 134

INTERIORDESIGN LAUNCH

AUG.22

FABRIC & WALLCOVERING

// LAUNCH PARTNERS

standouts

8 archive - inspired products

upholstery , drapery , and wallcovering high - performance offerings

KNOLLTEXTILES

The brand celebrates its 75th anniversary with Heritage Collection, using next-gen technology to update archival highlights—including Rivers, a 1972 drapery panel now reintroduced as a large-scale upholstery. knolltextiles.com AUG.22

INTERIORDESIGN LAUNCH

135

LAUNCH PARTNERS // FLOORING

ONEFLOR USA

standouts

Foundations collection tiles feature SetaGrip, a patented cushioned backing that uses micro-suction cups to securely grip to any smooth, flat, nonporous substrate— without the need for flooring adhesive. oneflorcontract.com

136

INTERIORDESIGN LAUNCH

AUG.22

2 sizes , 24 skus mix - and - match able colorways and patterns made from virgin vinyl with zero phthalates

LIGHTING

// LAUNCH PARTNERS

STANDOUTS HAND - CAST ART GRADE SOLID BRONZE

12 FINISH OPTIONS UL - LISTED FOR DAMP LOCATIONS U . S . MADE

ROCKY MOUNTAIN HARDWARE

Two pillars of handblown glass cinched by a bronze collar distinguish the Double Charlie sconce, which mounts vertically or horizontally and can be paired with your choice of four backplates. rockymountainhardware.com

AUG.22

INTERIORDESIGN LAUNCH

137

LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

standouts

4 sizes up to 120 cm x 120 cm natural , silk , or antislip surface perfect for large spaces or poolside

CERAMICHE PIEMME

The Northern European landscape inspired the Journey collection of body-colored porcelain tile, offered in light, airy neutrals and manufactured via a technology that reproduces the tactile characteristics of natural stone. ceramiche-piemme.com 138

INTERIORDESIGN LAUNCH

AUG.22

LIGHTING

// LAUNCH PARTNERS

STANDOUTS FLAT BLACK FINISH

5 OR 10 LIGHTS 16.5” OR 25.25” ACROSS

CRAFTMADE

The Tranquil suspension fixture is the definition of quiet elegance, distinguished by a sleek black spiraling armature—and available with 6 feet of chain to accommodate higher ceilings. craftmade.com AUG.22

INTERIORDESIGN LAUNCH

139

LAUNCH PARTNERS // FLOORING

140

MOHAWK GROUP

STANDOUTS

The brand unveils its most sustainable modular carpet to date: the carbon-neutral, net-positive Lichen Community, whose patterns mimic how plantlike forms grow atop bark and rock formations. mohawkgroup.com

LOW EMBODIED CARBON

INTERIORDESIGN LAUNCH

AUG.22

LIVING PRODUCT CERTI FIED , NSF 140 PLATINUM ECOFLEX ONE CUSHION BACKING OF RECYCLED PET

ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

standouts

3.2 to 19 mm thick stocked regionally cradle to cradle certified low - iron glass

VITRO ARCHITECTURAL GLASS

Starphire Ultra-Clear glass offers unparalleled color transmission and can be drilled, heat-treated, fritted, acid-etched, digitally printed, and much more, making it ideal for applications ranging from to doors to ceilings. starphireglass.com

AUG.22

INTERIORDESIGN LAUNCH

141

LAUNCH PARTNERS // SEATING

STANDOUTS BLEACHED OR STAINED ASH WOOD POLYURETHANE - FOAM SEAT SUPPORTED BY ELASTIC BELTS IDEAL FOR HOSPITAL ITY AND RESIDENTIAL

PEDRALI

With its clean-lined frame and enveloping back, both crafted of solid ash wood, the Patrick Jouin–designed Héra lounge embodies lightness, comfort, and elegance in equal measure. pedrali.com/en-us

ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

RULON INTERNATIONAL

Available in more than 100 wood veneers, 40-plus finishes, and seven styles from grooved to perforated to routed, Aluratone offers the ultimate in design flexibility—and superior acoustic performance, too. rulonco.com

standouts panel sizes up to 4' x 10' veneer applied to mdf water - based , uv - cured finish u . s . made

AUG.22

INTERIORDESIGN LAUNCH

143

LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

standouts u . s . made for commercial and resi dential walls and floors interior and exterior versions

CROSSVILLE, INC.

The durable Stone Fiction porcelain tile series artfully emulates the swirling graphics, neutral tonality, and pitted surface texture of natural cross-cut travertine. crossvilleinc.com

144

INTERIORDESIGN LAUNCH

AUG.22

ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

standouts black - anodized aluminum , matte black laminate for space dividing , storage , merchan dising , etc . easy to install and reconfigure

B+N

A broad array of available accessories can be micro-adjusted along Sorbetti 2.0’s floor-to-ceiling uprights, the brand’s popular and versatile shelving system now available with integrated LED lighting and internal power. bnind.com AUG.22

INTERIORDESIGN LAUNCH

145

LAUNCH PARTNERS // LIGHTING

STANDOUTS DESIGNED BY GRACE DENNISTON BRUSHED CHAM PAGNE GOLD FINISH PENDANT , ISLAND LIGHT , AND WALL SCONCE VERSIONS

ALLEGRI CRYSTAL BY KALCO LIGHTING

Delicately layered strands of octagonal Firenze crystals, accentuated by curvaceous cast-brass accents, imbue Vezzo with bohemian élan— as do the canopy's crystal adornments. allegricrystal.com 146

INTERIORDESIGN LAUNCH

AUG.22

MIX

// LAUNCH PARTNERS

SPARK MODERN FIRES

INFINITY DRAIN

An intriguing focal point, the Fire Ribbon 6ft Direct Vent offers a warm glow and cool style, courtesy of a supersleek (and easy-install) body of high-grade steel that frames the elongated flame. sparkfires.com

A competitively priced model that’s available in four styles, five finishes, and for all waterproofing methods, the Center Drain Pro-Series offers superior performance backed by the company’s stellar engineering. infinitydrain.com

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Bernhardt Design Bombom

AUG.22

INTERIORDESIGN LAUNCH

3

MILLIKEN FLOORS Coastline inspired by natural transitions of land and water subtle gradients create organic flow carbon neutral in econyl nylon with wellbac cushion backing

floors.milliken.com

4

INTERIORDESIGN LAUNCH

AUG.22

b o o k s edited by Stanley Abercrombie

KHA/Kerry Hill Architects

by Geoffrey London New York: Thames & Hudson, $95 440 pages, 642 color photographs

Kerry Hill Architects just might be the most important and skillful practice Americans have never heard of. If so, it’s only because the firm was founded in Singapore in 1979 by the late Kerry Hill and almost all its work since then has been in Japan, China, and a dozen other countries in the Far East and Africa.

That seems about to change with ongoing projects in Australia, where KHA now has an office, and the U.S., where it is designing a resort hotel in California’s Napa Valley.

This generous book shows 59 of the firm’s built designs, all handsome and all strictly clean-cut modern, but with appropriate acknowledgment of local tastes and cultures. Most prominent among them are hotels, including a dozen for the Aman chain and one for Ritz-Carlton. There are also office and public buildings, libraries, theaters, schools, half a dozen houses, and a zoo.

These impressive works are accompanied by an 18-page illustrated chronology; a portfolio of scale models (vital to this firm’s design methods); and lists of exhibitions, more than 100 design awards, and books and mag­ azines (including this one) that have published them. A big book indeed, but not a page more than KHA deserves.

Jean Liu principal of Jean Liu Design

The Draper Touch: The High Life and High Style of Dorothy Draper

by Carleton Varney West Palm Beach, Florida: Shannongrove Press, $100 368 pages, 104 illustrations (45 color)

Dorothy Draper (1889-1969) became one of the best-known talents of the design world soon after she opened her studio in New York in 1925.

Its specialty was apartment-building lobbies, which soon broadened to include hotels and restaurants. Her reputation was firmly secured with the 1947 design of the Greenbrier Hotel in White Sulphur Springs, West Virginia. In New York alone her touch was found in the Plaza, Waldorf-Astoria Tower, Hampshire House, and the Carlyle (where she had an apartment). She also designed the Metro­ politan Museum of Art’s no-longer-extant restaurant, nicknamed the Dorotheum, which featured birdcage chandeliers and a large pool dotted with Carl Milles sculptures.

Her color palette was surprisingly forceful for its day: strong reds, blues, and pinks, often in wide vertical stripes and often accompanied by floors of large black and white squares. Other favorites included chintzes and wallpapers with clusters of oversize cabbage roses. An earlier version of this book was published in 1988, but this one is “fully revised” and generously illustrated.

Both are by Carleton Varney, who was a member of the Draper office and has for decades been the firm’s owner and president. There could be no better or more thorough authority, though it is a pity the book has no index.

Draper’s importance lies in not only her design skills but also her early professionalism, summarized in the book’s closing sentence: “In the process of pursuing her vision, she invented the business of interior design.”

What They’re Reading...

BOTTOM LEFT: NATHAN SHRODER

“My husband and a few of his college classmates formed a book club during the lockdown, and they have kept it going. I’ve long been a fan of Sedaris and his wicked sense of humor, so when I heard them refer to this book as 'wildly hysterical,' I thought that’s just what I need right now; getting Sedaris’s witty, unexpected, and even thrilling observations on life during the pandemic seemed Happy-Go-Lucky undeniably appealing and cathartic. Additionally, his ability to describe encounters with his neighbors,

by David Sedaris sisters, and Barneys salespeople with such honesty and self-deprecation is a reminder to approach our New York: Little, Brown and Company, $18 design work and personal lives with a similar sense of humor. Sedaris’s genius is his ability to describe 259 pages his encounters in such rich detail—you feel like you’re right there with him. In similar fashion, for our first restaurant, Sassetta, located in the Joule Dallas Hotel, we sought to feature so many details in the project—from a mural, chandeliers, and terrazzo wall tile to the fluted bar detail—that they would keep guests coming back time and time again.

Another proud moment of our work at Sassetta is the winged goddess decanters we sourced that are used for cocktails. They inject unexpected humor, à la Sedaris.”

AUG.22

INTERIOR DESIGN

149

HIP HIP HOORAY! thank you to our sponsors

thank you to our select sponsors

and a special thank you to our award sponsor

stairway to heaven

Hiking the High Peaks region in New York’s Adirondack Mountains during the pandemic lockdown, Randi Renate was struck by the enveloping cerulean sky. It inspired the artist to create blue is the atmospheric refraction I see you through, a permanent installation now on the grounds of the Adirondack History Museum in Elizabethtown. Among the other influences on the 14-foot-tall, spherical structure are Renate’s studies in biology and oceanography, her myriad readings on distance, subjectivity, and connection, and Bluets, Maggie Nelson’s book-length ode to the color.

Renate began the sculpture by crafting a ceramic model, and then visiting the museum to pitch it to director Aurora McCaffrey, who not only agreed to host the independent project but also helped the artist successfully apply for a community grant from the New York State Council on the Arts. Those funds were supplemented by private donations, plus an estimated 1,500 hours’ worth of work contributed by several of Renate’s artist friends.

The wood rowboats found on the region’s lakes informed the work’s plank-onframe construction, which is built from locally sourced Adirondack white cedar.

Thin strips of the same timber were stack-laminated to make handrails for a pair of curving staircases cut deep into either half of the sphere, which is finished in celestialblue casein paint. Visitors climb the steps in unison to meet at the top of the piece. “They're encompassed by the walls, slowly disappearing within the sculpture on the sixth or seventh step,” Renate explains. And when they reach the summit, Hurricane Mountain, the closest peak, appears on the horizon. —Athena Waligore

MEQO SAM CECIL

i n t er vention AUG.22

INTERIOR DESIGN

151

c o n ta c t s

DESIGNERS IN SPECIAL FEATURE David Chipperfield Architects (“Fashion Forward,” page 110), davidchipperfield.com.

Carolina Maluhy + Partners (“Fashion Forward,” page 110), carolinamaluhy.com.

Rooi Design & Research (“Fashion Forward,” page 110), rooidesign.com.

PHOTOGRAPHERS IN FEATURES Casey Dunn (“Get Smart,” page 94), caseydunn.net.

Andrea Garuti (“Hidden Gem,” page 86), andreagaruti.it.

Peter Molick (“Get Smart,” page 94), petermolick.com.

Jacques Pépion (“Hidden Gem,” page 86), jacquespepion.com.

Garrett Rowland (“The Road Ahead,” page 78), garrettrowland.com.

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AUG.22

Alexander Severin (“Art at Work,” page 102), alexanderseverin.com.

DESIGNER IN CREATIVE VOICES Clément Cividino (“Gimme Shelter,” page 29), clementcividino.com.

DESIGNER IN WALKTHROUGH Dutch East Design (“Overnight With Breuer,” page 33), dutcheastdesign.com.

PHOTOGRAPHER IN WALKTHROUGH Seamus Payne (“Overnight With Breuer,” page 33), seamuspayne.com.

DESIGNER IN CENTERFOLD CLB Architects (“A Tree Grows in Times Square,” page 65), clbarchitects.com.

GARRETT ROWLAND

Interior Design (USPS#520210, 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 Fau Boulevard, Boca Raton, FL 33431. Periodicals postage paid at New York, NY, and additional mailing offices. Subscriptions: U.S., 1 Year: $69.95; Canada and Mexico, 1 year: $99.99; all other countries: $199.99 U.S. funds. Single copies (prepaid in U.S. funds): $8.95 shipped within U.S. ADDRESS ALL SUBSCRIPTION RE­QUESTS AND CORRESPONDENCE TO: Interior Design, P.O. Box 16479, North Hollywood, CA 91615-6479.

TELEPHONE TOLL-FREE: 800900-0804 (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.

The Future Of Work Must Be Sustainable

6.2 pounds Ocean Reclaimed Fishing Nets

3.3 pounds Ocean Bound Plastic

1.4 pounds Plastic Bottles

4.6 pounds Post-Industrial Recycled Plastic

1.4 pounds Post-Consumer & Post-Industrial Mixed Metals

Free of Red List Toxins

Certified Climate Positive

Learn more at humanscale.com/Path

Work from Anywhere Haworth Collection GranTorino by Poltrona Frau haworth.com/id/work-from-anywhere