Interior Design December 2022

DECEMBER 2022

the visionaries

Look Sharp. Seeing Things. Trained Eye. The eyes have it. And the Modern Curator frames it. Long view, side view, rear view, world view. A point of view.

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SEEING THINGSª

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

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CONTENTS DECEMBER 2022

VOLUME 93 NUMBER 15

12.22

ON THE COVER In reception of the Supreme Council for Motherhood & Childhood, a government agency in Abu Dhabi, U.A.E.,

by Roar, arches and breezeblock screens evoke the region’s vernacular architecture, while Lee Broom’s Hanging Hoop chair and the fluffy Hortensia armchair

by Andrés Reisinger and Júlia Esqué for Moooi are rounded and womblike. Photography: Chris Goldstraw.

features 74 A WOMAN’S TOUCH

by Jane Margolies

The female-led studio Roar breaks the government-issue office mold for the Supreme Council for Motherhood & Childhood in Abu Dhabi, U.A.E. 82 GRAND SLAM

by Lindsay Day

A Boston neighborhood known for its baseball field gets 401 Park, a landmarked industrial complex revitalized by Elkus Manfredi Architects into a home run of a community hub.

98 WIDE OPEN SPACES

by Lauren Gallow

The agriculture, authenticity, and trailblazing ethos of the Midwest are captured at the Omaha, Nebraska, office of LinkedIn by Gensler.

106 WINDS OF CHANGE

by Wilson Barlow and Lisa Di Venuta

Amid a sea of global ups and down, the art, architecture, and fashion of 2022 uplifted our horizons.

90 SO MUCH FUN

by Sara Dal Zotto

In Lyon, France, the founder of Claude Cartier Studio turns her apartment into a playground for her exuberant sensibility.

JASON O’REAR

98

CONTENTS DECEMBER 2022

VOLUME 93 NUMBER 15

hall of fame supplement S6 HALL OF FAME MEMBERS S9 WILL MEYER AND GRAY DAVIS

by Jane Margolies S21 MAVIS WIGGINS

by Cheryl Durst S33 YVES BÉHAR

by Edie Cohen S45 CLAUDY JONGSTRA

by Giovanna Dunmall

special hotshots section 31 THE TALENT POOL

by Annie Block, Edie Cohen, Rebecca Dalzell, Michael Lassell, Georgina McWhirter, and Peter Webster

From India and China to France and Ukraine— and all points in between—11 young firms working in multiple sectors show that whether it’s a sleek store, rustic lodge, cool office, or glamorous apartment, contemporary design never looked smarter.

departments 15 HEADLINERS 19 DESIGNWIRE

by Annie Block 24 BLIPS

by Annie Block

31

59 MARKET edited by Rebecca Thienes text by Georgina McWhirter, Jen Renzi, and Rebecca Thienes 69 CENTERFOLD It’s All in the Name

by Athena Waligore

Employing robotic fabrication and a super-strong mix of the material it’s titled after, So Concrete has built a sturdy and sustainable transit stop in Prague.

186 BOOKS

by Stanley Abercrombie 188 CONTACTS 191 INTERVENTION

by Wilson Barlow

SERHII SAVCHENKO

12.22

26 PINUPS

by Lisa Di Venuta

It’s time to take responsibility.

6 Venetian Colors. 12 Sizes.

The Industry’s 1st Carbon Neutral Porcelain Tile.

See the full collection:

milestonetiles.com | 1.877.356.7461

Breeze™ @2022 modularArts, Inc.

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sculptural sound absorbent topographies

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that’s a (design) wrap!

Last issue of the year, folks! And in case you forgot, 2022 marked Interior Design’s 90-year milestone of leadership and operation…wowza! Our march to get here seemed truly inexorable, though. I mean, everything and the proverbial kitchen sink was thrown at us: a pandemic, no paper to print on, inflation, and sundry whatnots, and yet here we are intrepidly—and passionately—soldering on!

Jesting over and done with, 2022 was, truth be told, a challenging beast for all! I’m not, however, assigning any negative value to this statement, nor to the trials and tribulations that resulted. Interior Design and Sandow Design Group are always working on expanding and improving our media, tools, and productivity so we can help you, our design friends and clients, no matter what. That this also happens to be a stringent requirement of our new age is, actually, welcome news…and I bet the house you know exactly what I mean and feel the same. Just as we are adapting and moving forward, so is our industry. From humming studios to factory floors, hurdles are overcome and new achievements recorded every ticking minute. And supreme talents keep on rising to the top! Take a gander at this issue and see for yourself. We break a lance for a new crop of hotshots designing spas, shops, showrooms, and all points in between. Then linger on our yearly photo essay’s global tour mingling architecture, art, design, and fashion. Yep, design of all kinds keeps on flourishing, and the peaks are soaring higher and higher.

And if you thought that was a wrap—not yet! There’s one more morsel. We have all worked extraordinarily hard to realize our dreams in 2022, and now it’s time to celebrate (safely!) those successes, big and small. Our Hall of Fame soiree (#38) is back in full splendor for exactly that reason…and also because I can’t wait a minute longer to see you all (expect hugs aplenty)! Plus, inserted in this very issue is the Hall of Fame supplement honoring the extraordinary achievement of visionaries who, through design, are changing our community and the world. Immediately after the gala, one day later, our Best of Year Awards—a wondrous display of the best projects and products anywhere—continues our end-of-year bash. But most importantly, it will propel you to the new year chock-full of ideas and inspiration. And I, for one, can’t wait to see what’s in store! xoxo,

Follow me on Instagram thecindygram

e d i t o r ’s welcome DEC.22

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headliners

Roar “A Woman’s Touch,” page 74 founder, creative director: Pallavi Dean. firm site: Dubai. firm size: 28 architects and designers. current projects: Oliver Wyman office in Abu Dhabi and Bait Al Meyani event space in Sharjah, both in U.A.E; Cue Hotel in Rabat, Morocco. honors: Interior Design Best of Year Award; CID Awards. u.k.: Early in her career, Dean spent a yearplus in London working at PRP Architects and studying at Central Saint Martins and Architectural Association. u.a.e.: She founded Roar in Dubai in 2013. designbyroar.com

“Our philosophy is simple: 50 percent wild (the artistic flair that gives a space its distinction) and 50 percent tame (evidence-based, data-driven)— the magic happens when these two worlds unite” DEC.22

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Gensler “Wide Open Spaces,” page 98 design director, principal: Janice Cavaliere. design director, principal: Kelly Dubisar, IIDA. firm headquarters: San Francisco. firm size: 5,222 architect and designers. current projects: Offices in San Francisco. honors: Interior Design Best of Year Awards; NYCxDesign Awards. drive-through: A trained graphic designer, Cavaliere counts the Ford Motor Company and McDonald’s as clients. click-through: Dubisar has worked on projects for some of the biggest names in social media, including Meta. gensler.com

h e a d l i n e rs Claude Cartier Studio “So Much Fun,” page 90 founder, interior architect:

Claude Cartier. firm site: Lyon, France. firm size: Five architects

and designers. current projects: An office in

Lyon; residences in Paris, Cour­ chevel, and Morzine, France.

“Grand Slam,” page 82 principal: Elizabeth Lowrey, FIIDA. firm site: Boston. firm size: 250 architects and designers. current projects: Third Rock Ventures office in Boston; White Elephant Nantucket hotel in Massachusetts; One Discovery Way at TMC3 in Houston. honors: Interior Design Best of Year Award; Boston Magazine’s 100 Most Influential Bostonians; Suzanne King Public Service Award. collecting: Lowrey maintains over 50 pieces of Steuben Art Glass, an assem­ blage begun by her paternal grandmother, an Alabama antiques dealer. dealing: She recently took a poker lesson with her daughter. elkus-manfredi.com BOTTOM: TREVOR REID

beginnings: Cartier opened her first decoration shop, Le Vistemboir, four decades ago. developments: In 2018, she launched Inside Gallery, where every few months a furniture maker, a textile producer, and an artist jointly create a pop-up installation. claude-cartier.com

Elkus Manfredi Architects

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INTERIOR DESIGN

DEC.22

T H E U LT I M AT E B L A N K S L AT E Acid-etch it. Backpaint it. Frit it. Digitally print on it.

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design wire edited by Annie Block

From top: One of a twopiece collection, Range Rider is the masculine scent and 7-inch-tall bottle created by artist James Turrell and Lalique, in the brand’s signature crystal. Purple Sage is the feminine scent; each is in a limited edition of 100, comes in a wooden container, and costs approximately $25,000.

An unusual yet exquisite collaboration debuted this fall at Paris+ Art Basel: Lalique x James Turrell.

The luxury French crystal brand and legendary American artist culled their respective expertise to produce a limited-edition collection of perfume and perfume bottles as well as a 15-by-18-inch decorative panel. The project is the brainchild of Lalique Group chairman and CEO Silvio Denz, who, after visiting Turrell’s Roden Crater in Arizona, where the artist lives, then recalled how founder René Lalique was known as the “sculptor of light,” had the aha moment to contact Turrell about working together. Denz invited Turrell to the company’s workshops in Wingen-Sur-Moder, where he witnessed master glass­ makers in action. The experience resulted in two perfume bottles made from Lalique’s purple, sapphire blue, and clear crystal, their prism- and stupalike forms inspired by those Turrell has seen in Egypt, Tibet, and Burma. “Their architectural structure, like that of the pyramids, makes them monuments of high spiritual value in which light plays an essential role,” he says. Each contains a different scent, also developed by Turrell: the feminine, fruity Purple Sage, named for the plant that blooms only in his home state, and the masculine, musky Range Rider, reminiscent of the sun-drenched leather chaps used in western ranching. Turrell has a second project underway with his newfound collaborator: a malt-whiskey decanter for Glenturret, a Scottish distillery recently acquired by Denz.

heaven scent

COURTESY OF LALIQUE

DEC.22

INTERIOR DESIGN

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d e s i g n w ire

road trip

Clockwise from top: “Dream House,” at the Fabric Workshop and Museum in Philadelphia through March 26, 2023, is a multiroom installation

by Rose B. Simpson, this image of the fourth and final room, where visitors are invited to gather. Simpson, at the Clay Studio, a partner in the exhibition, working on a mask to be displayed in one of the rooms. They’re built from reclaimed, locally sourced pine. Papier-mâché baskets on the ceiling of the last room are painted with “+” or “x” signs to represent the four cardinal directions or protection, respectively.

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INTERIOR DESIGN

DEC.22

CARLOS AVENDAÑO

Northcentral New Mexico is a long way from Philadelphia—literally and figuratively. But the latter is where 39-year-old, Santa Clara Pueblo–based artist Rose B. Simpson spent the last two years (albeit often virtually), in a residency at the Fabric Workshop and Museum. And it was a productive two years: A ceramicist, Simpson’s residency enabled her to experiment with other mediums and dimensions, which has resulted in “Dream House,” her quartet of room-size installations at the FWM that combine clay, textile, and video with her ongoing interests in Pueblo architecture, her Indigenous background, and magical realism. “Normally sculpting figures, having the opportunity to invest my practice into an architectural space was so much more intimate and personal,” Simpson recalls.

Indeed, the structures are reminiscent of the simple adobe houses Simpson grew up around, and she filled them with items she made, such as recreated furniture that was originally designed by her grandparents, videos of her footsteps as she traverses ancestral lands, clay masks representing family, and quilts symbolizing strength in comfort, which Simpson learned after becoming a single mother six years ago. The last of the four rooms is the most immersive: It’s where visitors are invited to sit and reflect, once they follow Simpson’s hand-painted sign saying, “shoes off.”

The Nick Cave Collection for Knoll Textiles

“Watch the feet!” Vincent Pocsik warned the crew of some 10 people installing his 1-ton functional sculpture Cabinet Is Me. It arrived moments before his solo exhibition of the same name opened in October at Objective Gallery, a new Manhattan space cofounded by early thirtysomethings Chris Shao and Marc Jebara

to showcase contemporary collections by emerging artists who push the boundaries of craftsmanship and innovative vision (think Charlotte Kingsnorth, Eny Lee Parker, Brecht Wright Gander). Pocsik certainly fits that description: After he earned a master’s from SCI-Arc, he designed homes for five years to support the beginning stages of his Los Angeles studio, where his primary medium is wood—a material he believes "holds truths about the world"—that he carves by hand, CNC, and other digital fabrication methods into pieces that are often anatomical, at once beautiful and grotesque. The 14 works in the Objective exhi­bit have a domestic focus. “I think of each as an experiment in contemplating what is to be a human body in a home,” he says, thus the aforementioned feet on the cabinet and the Yard Playing table and the auricleaccented Ear Blooms sconces, all in black walnut.

“When wood is in tree form, it’s collecting information about the world through its roots,” Pocsik says philoso­ phically. “And since it’s a porous material, as it’s used in the home, it ends up collecting truths about you.”

body of work

Clockwise from center: “Cabinet Is Me” is Vincent Pocsik’s solo exhibition of 14 new pieces at Objective Gallery in New York through December 16. Cabinet Is Me, in carved black walnut, maple, and brass. The 37-year-old artist in his L.A. studio.

Ear Blooms in carved black walnut, epoxy resin, and LEDs. Yard Playing in carved black walnut.

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TOP CENTER: DOMINIC RAWLE; SIMON LEUNG (5)

d e s i g n w ire

S TA N F O R D B A S S B I O LO G Y C A F E 24 INTERIOR DESIGN DEC.22 ROB BATTERSBY/COURTESY OF MOSTYN

bl ips

FROM LEFT: ALI JANKA; ROB BATTERSBY/COURTESY OF MOSTYN

Debra Lehman Smith is a fan…

CERITH WYN EVANS

The Interior Design Hall of Fame member installed the four-column StarStarStar/ Steer (Transphoton) in the Washington office of law firm Paul Hastings, a project by her firm LSM. The group of 60-foot-tall towers is by Cerith Wyn Evans, and a similar sound-infused, kinetic sculpture is on view through February 4, 2023, in “….)(,” his solo exhibition of a dozen new and recent works at Mostyn, a U.K. gallery in Llandudno, Wales, his native country. Evans’s oeuvre, especially his intricate neon pieces, like the 2021 Mostyn Drift, addresses how we interpret space as well as broader systems of spoken, visual, and written language (thus the show’s title), yielding an immersive, sensory exploration of the mind and body, our cognitive system and consciousness. —Annie Block DEC.22

INTERIOR DESIGN

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p i n ups text by Lisa Di Venuta

color coded Malcolm 1, James 1, Angela 1, and Florence 1 lamps, ranging from 6 to 8 feet tall, each with a lacquered, cast-aluminum on poplar base, LED, fan, gold fittings, and ripstop-nylon shade, by Bec Brittain, through Emma Scully Gallery. emmascullygallery.com

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INTERIOR DESIGN

DEC.22

BROOKE HOLM

Inspired by NASA parachutes, Bec Brittain’s Paraciphers collection recalls otherworldly balloons, with messages of equality encrypted in the geometric panels

bebitalia.com

p i n ups

Bulla dimmable sconces in handblown glass in Yellow, Orange, and Pink (Opal Blue and Opal Lilac not shown), LED loop, and 3-D printed fit­ting by Studio Thier & van Daalen. thiervandaalen-webshop.com

magic bubbles

PIM TOP

Iris van Daalen and Ruben Thier meld craft and tech into a family of dynamic wall lights, each one of a kind

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INTERIOR DESIGN

DEC.22

EverySpace

®

A creative framework for the future.

By designing around user needs, EverySpace brings personal, human feeling into highly functional spaces. The power beam application makes it easy to utilize technology for individual work or hybrid situations while the locker storage units offer spatial and acoustical division. EverySpace offers adaptable architecture that can flex and flow as needs change and work styles evolve.

kimball.com

Also shown: Side + Guest Seating: Nate & Natty™ / Stacking + Nesting Seating: Chaddy™ (National®) / Ottoman: Hoopla™ (Etc.™) / Bench: Looper™ (David Edward®)

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+ Antique + Estate + Heritage + Memento by Burch Fabrics

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hot shots

the talent pool

From India and China to France and Ukraine—and all points in between—11 young firms working in multiple sectors show that whether it’s a sleek store, rustic lodge, cool office, or glamorous apartment, contemporary design never looked smarter

See page 32 for DHB Design’s Chengdu, China, showroom for BWT, an Austrian watertreatment company.

404NF STUDIO

DEC.22

INTERIOR DESIGN

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404NF STUDIO

“Our consulting services are based on painstakingly polishing the concept of pursuing balanced design and building a better quality of life”

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DEC.22

Founded by Mark Sun and Yihan Wang in 2018, DHB Design’s multidiscipline practice, which spans interior, product, and graphic design, architecture, art direction, and brand building, reflects the right-brain-left-brain nature of their collaboration.

Sun is a graduate of Sichuan Fine Arts Institute, where he majored in interior design, while Wang received a business management degree from Sichuan University before studying illustration at Kingston University London. Proponents of what they term “elastic aesthetics,” a concept that encourages “flexibility in finding solutions to new problems of development and growth,” the two are responsible for a dazzling mix of exhibition halls, retail spaces (including a Benjamin Moore & Co. shop), corporate offices, and residences in Chengdu, where their studio is based.

This 1,300-square-foot showroom in the city’s upscale Fusen Mall is a good example of DHB’s thoughtful approach. The client, an Austrian company named BWT—an acronym for best water technology—manufactures water-treatment systems for residential, commercial, hospitality, healthcare, and industrial applications.

Reflecting the company’s single-minded focus on the purification and conservation of the life-giving liquid, DHB sought to integrate “the flexibility and rhythm of water into the space, conveying that everything comes from water and, finally, that everything goes back to water.” To this end, the firm created an experiential environment centered on a freestanding capsule that’s large enough to enter—visitors can sample purified water inside—its distinctive shape inspired by the magnesium ions used in BWT’s patented technology. Made of fiberglass-reinforced plastic, matte stainless steel, and clear acrylic, the sculptural form gives the showroom an imposing focal point while effectively dividing it into two zones in which company products are displayed. The water theme, which extends to the predominantly blue-and-white color palette, finds fullest expression in a pair of floor-to-ceiling screens of milky reinforced-plastic panels polka-dotted with azure acrylic portholes, an effect that evokes the pattern of waves. duheyiheng.com —Edie Cohen

h o t shots

DHB Design project: BWT, Chengdu, China MARK SUN YIHAN WANG

404NF STUDIO

DEC.22

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Joint Studio founder Nimisha Sharma social @thejointstudio project Superkicks, Delhi, India standout Red sandstone flooring reminiscent of Delhi’s forts, terra-cotta hued textured-plaster walls and ceilings, and amphitheater-like terraces under concentric rings of LEDs create a monumental yet sporty look for this 2,200-square-foot, two-level sneaker store. “We took inspiration from our own backyard, our own rich heritage and culture, to give the project a unique identity,” explains Sharma, who has a master’s in interior design from the University of Florence, Italy, and founded her firm in 2016. Giant shoelaces, CNC-carved from wood and painted white, festoon the walls, tying up the concept with a witty flourish. jointstudio.in

h o t shot

NIMISHA SHARMA

“We believe design is not only seen but also felt, that it leaves a mark in your memory and makes you feel certain emotions” 34

INTERIOR DESIGN

DEC.22

CLOCKWISE FROM BOTTOM LEFT: AVESH GAUR (4); COURTESY OF JOINT STUDIO

h o t shots

AB+AC Architects

social: @abacarchitects project: Open Hearts Lisboa, Lisbon, Portugal

h o t shots

“Adaptive reuse is key to achieving net-zero goals, and, as a firm,we’re committed to it” 36

INTERIOR DESIGN

DEC.22

RICARDO OLIVEIRA ALVES

“Adaptive reuse is key to achievin we’re committed to it”

ARIANNA BAVUSO, ANDRE CHEDID

ng net-zero goals, and, as a firm,

FROM TOP: RICARDO OLIVEIRA ALVES; GONÇALO BARRIGA

To the pantheon of architects success­ fully partnered in both life and business, add newcomers Arianna Bavuso and Andre Chedid. Youthful globetrotters born in Milan and Beirut, respectively, they worked for such firms as Büro Ole Scheeren and Vector Architects in Bei­ jing and Gehl Architects in Copenhagen before opening their own Lisbon, Port­ ugal, studio in 2020. The couple’s first major project there—a commission from the nonprofit Open Hearts Lisboa for an experiential center to promote innova­ tion and self-healing through the arts—was truly synergistic. Bavuso teaches neuroachitecture, a budding field that combines neuroscience, psychology, and architecture to explore the inter­ action between the human brain and the built environment. It moves beyond our intuition that pleasant surroundings generate contentment: “In the long term, beautiful spaces are vehicles for stronger immunity, a feeling of well-being, and even longevity,” Bavuso asserts.

The center rose from the metaphorical ashes of a disused commercial unit, “full of sharp corners that wouldn’t have facilitated the free flow of people or energy,” as Chedid puts it, to become a geography of space in which architecture, connectivity to the community, and access to daylight, clean air, and lush vegetation have positive implications for good health. The sequence starts on the street, where frameless glass doors set in the 19th-century building’s limestone arches provide entry to a large flex room used for such activities as yoga classes and writing workshops.

Ecru vegan-leather curtains and bronze-mirror paneling hide storage for demountable tables, floor cushions, and other adaptable equipment. The adjacent birch-clad lounge, glowing under a backlit stretched ceiling, leads to the kitchen and an artist’s residential studio, both with verdant courtyards. The artist’s single white space comprises a sleeping platform facing a soaking tub that sits on a half-moon of handmade terra-cotta floor tiles. It’s a restrained yet sensual mix, deeply imbued with AB+AC’s holistic point of view. abacarchitects.com —Georgina McWhirter

“We believe architecture is not passive: Where you live today can define who you will become tomorrow” DEC.22

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h o t shots

Odami founders Aránzazu González Bernardo and Michael Fohring social @odami.team project Aesop Yorkville, Toronto

ARÁNZAZU GONZÁLEZ BERNARDO, MICHAEL FOHRING

“Our focus is to create projects that are a unique expression of their context, history, and client, born through creative explorations in typology and craft”

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CLOCKWISE FROM TOP: JOHN ALUNAN (4); COURTESY OF ODAMI

standout Spanish architect González Bernado and Canadian designer Fohring founded their Toronto-based studio in 2017 with the belief that the best design responds to the physical and historical aspects of its surroundings. Thus, their new 960-square-foot store for skincare brand Aesop takes inspiration from the Victorian houses, lanes, and squares that populate its Yorkville environs. Wainscotting of tightly packed maple balusters evokes neighboring porches; ruby painted walls and ceiling suggest a deep heritage; and a large open floor space surrounded by smaller enclaves functions like a miniature public plaza. odami.ca

More Comfort. Designed by Clodagh walterswicker.com/more-comfort | info@walterswicker.com

Jannat Vasi Interior Design

“I try to elevate all five senses in a space”

Jannat Vasi denies having a signature style, but certain themes run through the many luxury residential interiors she has designed across India. Since founding her eponymous Mumbai-based firm in 2012, Vasi has created bright, modern spaces that favor inlaid stonework, detailed craftsmanship, and rich layers of materials and textures. Most furnishings are custom; Vasi earned a certificate in furniture design from Pratt Institute in New York and has since built relationships with Indian manufacturers. Beyond that, she and her fiveperson team let clients’ personalities and heritages guide their concepts. “I feel it’s important to study the client and be sensitive to the human experience,” Vasi says.

The owners of this 3,500-square-foot Mumbai apartment are from Rajasthan, a state known for its stone and inlay work.

Given the clients’ background, Vasi says, “They were keen to use marble, not in a traditional Indian design, but by using that craftsmanship in a modern way.” Vasi, who works with Rajasthani karigars, or artisans, on every project, flew a group of them to Mumbai to hand carve the 13 varieties of marble she specified in the apartment. Working from her ideas, they created a foyer floor of gray Versailles marble inlaid with walnut in geometric shapes with brass-and-copper trim, and a bedroom floor and headboard wall of white Indian marble with mother-of-pearl inlay. Vanities of carved peach and pink marble ensure that two smaller bathrooms still feel elegant.

Although the apartment is not a seasonal retreat but the year-round residence of a family of five, Vasi dubbed it Summer Home for its warm, light palette of white oak–veneered walls and ceiling, blush bouclé-covered custom armchairs, sage Nama Home side tables, and ombré Calico wall covering that evokes twilight skies. Brushed-brass paneling and Flos and Paul Matter lighting—plus all that marble—keep the mood airily urbane. jannatvasi.com —Rebecca Dalzell

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SULEIMAN MERCHANT

social: @jannatvasiinteriordesign project: Residence, Mumbai, India

JANNAT VASI

SULEIMAN MERCHANT

DEC.22

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J&Dragon Group founders Jason Chan and Salone project Lonely Noodle Shop, Shanghai

JASON CHAN SALONE

standout Chan and mononym Salone—graduates in fashion design from Raffles College in Singapore and textile design from Istituto Marangoni in Milan, respectively—were already partners in the clothing brand ACO when they founded their Shanghai-based interiors firm in 2020. An early project, this 1,500-square-foot pop-up restaurant, open between 8 p.m. and 2 a.m. only, is aimed at the city’s many young solitary diners who eat comfort food in windowed, one-person booths encircling a performance space offering convivial live entertainment. jasonchan.online

h o t shots

CLOCKWISE FROM TOP LEFT: CREATAR (4); COURTESY J&DRAGON GROUP (2)

“The booths’ healing green color makes customers more comfortable and relaxed, immersing them in a warm atmosphere”

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Introducing Groovy from Franz Viegener.

Renowned for its uncompromising quality, Franz Viegener produces a curated selection of sculptural bath fittings that synthesize architecture, geometric forms and fluidity.

WWW.FRANZVIEGENER.COM

847.244.3837

INFO@FRANZVIEGENER.COM

ANASTASIIA TEMPYNSKA

Temproject founder Anastasiia Tempynska social @temproject_ @tempynska project Mila’s Beauty, Kyiv, Ukraine standout The former competitive ice-skater, now 29-year-old architect believes we are all different, that’s why we are beautiful. It’s a philosophy that dovetailed perfectly with this joint cosmetics store and café, a 750-square-foot project by her 2021-founded firm. Tempynska employed an LED-lit envelope of brushed steel and polished gray concrete, a laboratory-esque backdrop for colored plexiglass, RGB lamps, and fur trims—elements that nod to eyeshadows, blushes, and brushes and inject futuristic-tinted joy in the war-torn city.

FROM TOP: OLEKSANDRA SOLOVIOVA; SERHII SAVCHENKO

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SERHII SAVCHENKO

“I try to capture moments that create eternal comfort” DEC.22

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“With the Softwood Collection, I wanted to explore new ground for what could be achieved in wood. The wood is stretched and twisted to create an aesthetic that offers something warm and comforting, the same characteristics I find in draped and folded fabrics.”

– Lars Beller Fjetland, designer of the Softwood Collection for Spinneybeck

The Softwood Collection by Lars Beller Fjetland, stretches and bends wood to an almost impossible form. Pleat, Quilt, and Twist haven’t forgotten their midcentury roots, but an innovative new process enables wall panels inspired by the subtle folds of textiles. spinneybeck.com/softwood

h o t shots

LOREN DAYE

Love Is Enough founder Loren Daye social @studioloveisenough project Little Cat Lodge, Catamount Mountain, New York standout Daye launched her firm in 2009, took seven years off to work as creative director for Ace Hotel Group, then reopened her studio in 2019. No surprise that hospitality clients seek her out, among them restaurateurs Noah Bernamoff and Matt Kliegman who tapped her to transform their newly acquired Hudson Valley country inn into an Alpine-inspired, 14-room hotel, tavern, and bar. Daye’s subtle makeover includes walls clad in reclaimed mushroom boxes, checkered daybeds, Isamu Noguchi lanterns, and custom maple furniture made by a local woodworker. studioloveisenough.com

CLOCKWISE FROM CENTER: CHRIS MOTTALINI (4); COURTESY OF LOVE IS ENOUGH

“Our thesis, ‘listen to the building,’ is primary to how we offer architectural solutions”

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From the whimsical mind of Swedish designer Mia Cullin, Tuck + Turn acoustic wall tiles create a myriad of dimensional patterns in over ninety colors of pure wool felt. filzfelt.com/tuck-and-turn

social: @toi_toi_toi_studio project: Contentful, Berlin

Toi Toi Toi Creative Studio

STEPHANIE LUND, MELISSA AMARELO

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CLOCKWISE FROM BOTTOM LEFT: GABRIELLA ACHADINHA; KOY+WINKEL (4)

“We look beyond the initial design into the life span of each product, mitigating the environmental impact whenever possible”

KOY+WINKEL

Melissa Amarelo and Stephanie Lund both grew up in Canada and met working at the Toronto studio Ministry of the Interior. But in 2017, despite speaking little German, the duo cofounded Toi Toi Toi Creative Studio in Berlin. “It was a more feasible place to start a business,” Amarelo explains. Both could easily relocate to pre-Brexit Europe: Lund was born in the U.K. and Amarelo’s parents are from Portugal. Their Canadian background has helped set the firm apart there. “We brought a different view that translates into playful, comfortable, and inclusive spaces,” Amarelo says. That spirit is captured in the firm’s name, pronounced “toy toy toy,” a theater idiom meaning “break a leg.” Now a sixperson studio, T3 (as it’s generally dubbed) has completed residences, restaurants, pop-up shops, and film sets across the continent.

An early commission was a temporary Berlin office for Contentful, a software company. Now, T3 has designed them new digs. Flexible, functional, and fun, the 88,000-square-foot, five-story workplace has all the hallmarks of the previous project but on a much larger scale. “We wanted it to feel like a second home for employees and encourage them to come into the office,” Lund says. Designed for 400 mostly hybrid workers, it’s equipped with hot desks organized by department and custom keyless lockers throughout. At its heart is a café with custom wool-upholstered banquettes, vintage GDR industrial wall lights, and a ping-pong area that converts into a meeting room. A multipurpose events space, with starshape Busk+Hertzog seating, is similarly dynamic. Serene calm can be found, however, in a trio of custom nap pods inspired by James Turrell’s Skyspaces. Each has a chromotherapy light system that projects a warm glow onto the white canvas ceiling. They’re a nice perk for jetlagged travelers and anyone who needs a time out or mood boost—or reason to return to the office. toitoitoicreativestudio.com —Rebecca Dalzell DEC.22

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“We approach projects individually and holistically, honoring the surrounding culture and existing landscape with an emphasis on unique materials, skilled crafts­ manship, and collaboration with fellow creatives”

h o t shots LINDSEY CHAN, JEROME BYRON

BC founders Jerome Byron and Lindsey Chan social @officeofbc project Francis Gallery, Los Angeles

FROM TOP: YULIA ZINSHTEIN; RICH STAPLETON (4)

standout Before working at Willo Perron & Associates, where they met, Byron and Chan’s résumés included stints with Kéré Architecture and Anna Karlin, respectively. They launched their interiors- and furniture-focused studio in 2020, soon landing savvy clients like Rosa Park, who wanted a Korean-inflected aesthetic for the L.A. outpost of her British gallery—hence such culturally resonant elements as a terraced courtyard that echoes traditional hanok architecture and a curved partition in­spired by the shape of a moon jar. officeofbc.com

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Valériane Lazard

“The religious setting of my early education inspired a lifelong affinity for serene, contemplative spaces” h o t shots 54

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COURTESY OF POLÈNE

social: @valerianelazard project: Polène, New York

Valériane Lazard has quickly built a reputation for refined interiors in the country that invented chic. The 32-year-old French designer, who is originally from Provence, studied her craft in the Netherlands, where she graduated from Design Academy Eindhoven’s man and well-being program under the tutelage of Ilse Crawford. Lazard later focused her global view while working for such leading innovators as Studio KO, Vincent Van Duysen, and Interior Design Hall of Fame member John Pawson, before opening her Paris-based practice in 2017.

In 2020, when Polène, the online luxury handbag and accessories brand, decided to open its first store, the company turned to Lazard, both for a shared aesthetic and a common sympathy for the environment. The Paris boutique was so successful that Polène invited Lazard to create a second location, this one in downtown New York. Opened in September, it occupies 1,900 square feet of ground-floor space at 487 Broadway, a building that began life in 1895 as the Silk Exchange.

Taking cues from the gently rounded shapes and soft textures of Polène’s product lines, Lazard outfitted the gallerylike SoHo store in travertine and walnut—materials chosen, she says, “to build a sense of warmth and wellness.” The first, she notes, “is a calm and earthy stone known for the rich shades of its creamy ivory veins,” which contrasts well with the darker tones of the wood. To complete the look, Lazard commissioned Spanish adaptive-reuse whiz Jorge Penadés to create a large shop table fashioned from compressed leather scraps that would otherwise have been discarded. Wood and leather seating of her own design was fabricated locally by Chateau Brooklyn. Although there is clearly an intellectual, minimalist rigor to her work, Lazard stresses its sensuality and emotion: “to fashion timeless interiors by giving pride of place to the tactility of natural materials”—that, she admits, is always her goal. valerianelazard.com —Michael Lassell VALÉRIANE LAZARD

BOTTOM: COURTESY OF POLÈNE (2)

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SOFANISBA

Pooja Pawaskar learned furniture design at Savannah College of Art and Design and woodworking from her grandfather, a carpenter in her native Mumbai, India. Now based in Ottawa, Canada, Pawaskar crafts unique sculptures and functional objects—in species including beech, oak, and ash—that express ideas like impermanence and imperfection, and that draw on aesthetic philosophies such as wabi-sabi and kintsugi. Her latest series, In the Gaps Left Behind, investigates the compositional possibilities of negative space; the rocking sculptures, such as Sofanisba, in mahogany, posit flaws and holes as growth opportunities that make the objects—and us as viewers— more human. “New things can reside and thrive in the gaps between spaces,” she says. The collection, alongside other recent works, is on view at Gensler’s New York office through Jan 6, 2023. whirlandwhittle.com

AGE OF INDIE

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Vera Meijwaard and Steven Visser of Visser & Meijwaard

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product Ontwerp Onbekend. standout Investigations into corrugated sheet materials by the cofounders of the Dutch studio sparked a colorful series of blown-glass vases, their juicy rippled forms the result of being shaped in modular molds. vissermeijwaard.nl 60

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product Table Basse. standout Mono-materiality and user interaction are the concepts that drove the Paris designer’s elemental table, created from a single scored sheet of anodized aluminum that ships flat for the recipient to bend into 3-D form. manip-edition.com

Anna Aristova and Roza Gazarian of A Space

Guglielmo Giagnotti and Patrizio Gola of Studioutte

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product Shou Sugi Ban. standout An ashtray series by Isamu Noguchi that played with positive and negative space inspired the New York designers’ limited-edition bowls, handcarved from salvaged Lebanese cedar and treated to the titular Japanese charring treatment. aspacestudio.com

product Ert. standout The chair, in gloss-lacquered plywood, by the Milanese talents, is a tribute to the De Stijl movement and produced in a limited edition, its assertive geometric silhouette fabri­ cated from seven conjoined planks. studioutte.com

PRODUCT 1: MASHA BAKKER, MADE POSSIBLE BY STIMULERINGS FONDS CREATIEVE INDUSTRIE; PRODUCT 4: ALESSANDRO MITOLA; PORTRAIT 4: MASSIMILIANO DE VITI

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Paula Terra Bosch of Köllen Design

Jean-Baptiste Anotin of Waiting For Ideas

PRODUCT 7: ERIK LEFVANDER; PORTRAIT 7: JIHOON KANG

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product No Seat Belt Required. standout A rectilinear aluminum base curiously supports a curvaceous chrome-painted seat (that looks machined but is in fact handmade) in the designer’s tribute to the Paris car shop his great-grandfather founded. waiting-for-ideas.com

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product Loop. standout The young Spaniard leveraged a Kickstarter campaign to produce her adjustable floor- or wallmounted coatrack, its rotating wood units and interstitial metal hooks twisting independently of one another. kollen.design

Kwangho Lee for Hem

Adélie Ducasse of Adélie Ducasse Lighting

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product Glyph. standout The South Korean designer joins the brand’s expanding inter­ national lineup, proffering this flexible side table that can stand upright or on its side; originally crafted of bronze, it’s now produced in sturdy powdercoated sheet steel. hem.com

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product Modular Ceramic Lamps. standout Customize color and form to create a one-of-a-kind sculptural light fixture, handmade in Italy to order (in under 6 weeks) or go with the Paris artist’s suggested shapes and pre­ferred primary palette. adelieducasse.com DEC.22

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“My hope is to bridge gaps between designers and collectors”

Jacqueline Sullivan Gallery

CHAIR DRESSINGS

JACQUELINE SULLIVAN

DECIMA TEXTILE

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INTERIOR DESIGN DEC.22

VESSELS FOR LIGHT

QUEEN OF NOBODY

CLOCKWISE FROM TOP: WILLIAM JESS LAIRD (2); DAN MACMAHON (3)

New York’s TriBeCa neighborhood welcomed yet another design destination with the opening of art dealer Jacqueline Sullivan’s namesake gallery in September. The inaug­ ural exhibition, “Substance in a Cushion” (a reference to a 1915 Gertrude Stein poem), merges historical decorative arts with con­ ceptual pieces by modern-day makers. Pre­ sented in a loftlike interior, the collection is a call to take a second look at everyday ob­ jects. Kristin Dickson-Okuda applies adorn­ ments like knitted foot cozies and silk trains to antique seats in her playful “chair dress­ ings.” Waxed paper is the unexpected mate­ rial for Vessels for Light: stitched and stacked columnar lamps by the DanishSingaporean duo Christian + Jade. Other pieces include graphic brushed-wool blan­ kets by Decima’s Grace Atkinson and Gaetano Pesce’s 2002 Queen of Nobody cherry-red resin chair. The mash-up of forms and eras neatly harmonizes heirloom pieces with contemporary works. What comes through is a true dialogue between past and present. jacquelinesullivangallery.com

m a r k e t hotshots ALEX HOLLOWAY, NA LI

“We look to film and TV to tell new stories in design”

Nostalgia for the brash, colorful scenography that dominated TV screens at the turn of the millennium— think the Y2K sets of reality show Big Brother—suffuses the first standalone furniture collection by Holloway Li, the studio founded four years ago in London by interior architects Alex Holloway and Na Li. Their T4 modules, which allow for everything from single seats to corner sofas, are produced by the newly formed furniture-design arm of Polkima, a Turkish manufacturer of complex moldedcomposite parts for the automotive industry like the interior fit-outs of Britain’s double-decker buses. The sweeping curves of the T4 seats are made of fiberglass finished by hand with chenilletextured linen upholstery in Melon Yellow, Blush Pink, Overground Orange, and Cream Soda. As Paris Hilton would have said in the noughties, that’s hot. umaobjects.com UĞUR OLUŞ BEKLEMEZ

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“The series spreads awareness of the perspective of Iranian women, part of an important wider conversation” MIL-GAH KABBADEH-CHIN

The Iranian architect’s debut furniture collection, the Pahlevoon Series, explores Pahlevani, a martial art originally practiced by warriors in ancient Persia.

“One of my cherished childhood memories in Tehran was playing with training equipment belonging to my Agha joon,” Yazdjerdi recalls of her grandfather.

“I didn’t know what they were, nor did I have the strength to move them, but I loved their peculiar look.” The collection reinterprets these shapes as Mil-Stone, a bench in bleached ash and orange onyx; Mil-gah, a floor cushion with conical fiberglass backrests; and Kabbadeh-chin, an archeryinspired welded metal and powder-coated fiberglass sculpture in which the quiver for holding arrows becomes something far gentler: a vase for flowers. Her aim is to give the values of the tradition—things like strength and selflessness—literal and figurative shelter within the contemporary home. sabayazdjerdi.com

Saba Yazdjerdi

SABA YAZDJERDI, MIL-STONE

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m a r k e t hotshots

KIKI GOTI

STEEL STRIPES COLLAGE

Kiki Goti “I try to create visual and tangible feasts that celebrate exuberant domesticity in a feminist, inclusive way”

CLOCKWISE FROM TOP LEFT INSET: VINCENT STAROPOLI; KIKI GOTI; HANNA GRANKVIST; ALINA LEFA; HANNA GRANKVIST

U+II

Standard architectural forms like columns and capitals shape-shift to eyepopping furniture, lighting, and accessories in the hands of the Greek architect and educator. Goti’s hyper-sensorial designs—what she calls “domestic supergraphics”—begin as collages before prototyping refines the construction. “The material and its performance drive the form,” she says. Her U+II collection consists of a mirror, side table, and double-arm lamp, and her newly launched I+UU series includes a floor lamp and sconces. They are all made of hard acrylic laminated to form black-and-white stripes, and squishy foam that’s sealed, then painted with colorful lines. (“The contrast creates a moment of visual and haptic tension,” she explains.) The Steel Stripes chair is similar but applies Goti’s beloved lines to industrial materials: painted steel sheet and U-beams. Crafted in her Brooklyn, New York, studio, all pieces are available within a projectfriendly two- to six-week lead time. kikigoti.com I+UU

STEEL STRIPES

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Woo Even in the midst of war, creativity pours out of Ukraine. Play, a chair by Dmitry Kozinenko for the 6-year-old Ukrainian furniture company, is assembled from geometric elements made of plywood and polyurethane foam. The bagel-shape back is “inspired by a children’s game in which you have to throw a ring accurately to hook it to a barbell,” the designer says.

“It also resembles a puzzle where several circles are connected, and you have to find the right angle to separate them.” Kozinenko’s Drova ottoman is similarly shapely, composed of four or six upholstered blocks stacked on top of each other. “When I visited my parents, who live in a village in Western Ukraine, I noticed how carefully my father placed wood next to the woodstove,” he recalls. “Three sticks along, three sticks across, repeated again and again. It makes a perfect stable construction with a simple, aesthetic rhythm.” woo.furniture

DMITRY KOZINENKO

m a r k e t hotshots

PLAY

“They’re emotional, sincere, and playful objects”

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CLOCKWISE FROM TOP LEFT: NIKITA ZAVILINSKIY; VLAAD KLIMENKO (3)

DROVA

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Meet Hues by Turf

BY GEORGINA MCWHIRTER

“We wanted to give designers sophisticated, desaturated tones that won’t overpower a space” Chicago-based acoustic solutions company Turf explores nuanced color in Hues, a new palette of 32 colors comprising 23 brand-new shades and nine best-sellers. Subtle, desaturated tones and a variety of warm and cool neutrals color the company’s recyclable 9mm-thick PET felt, which is used for products from ceiling baffles to wall tiles.

The subtle, balanced palette explores the interplay between color and sound, redefining how the two work together and contribute to wellbeing.

Longtime collaborator and CMF expert Carolyn Ames Noble served as consultant. “The sensorial harmony between color and sound has been our guidepost for Hues,” she notes. “The palette welcomes a neurodiverse and inclusive population.

We considered how color combined with tactility and acoustics in an eco-conscientious material can foster spaces conducive to living, learning, playing, healing, and working.”

Science played a key role in the creation process, too, with specialized equipment used to accurately measure hue, saturation, and lightness. The result? A well-rounded, intensively researched and practical collection of proprietary hues, from Tonal Taupe to Celadon, that has been developed with specifiers top of mind.

anodetonyc

Explore the heartbeat of New York with NYCxDESIGN’s annual Ode to NYC poster collection, returning December 2022.

View the new collection at nycxdesign.org.

NYCxDESIGN is a non-profit organization. Thanks to the supporters of Ode, we’re able to create more equitable opportunities in design and foster a diverse next generation to become New York City’s designers of tomorrow.

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it’s all in the name Employing robotic fabrication and a super-strong mix of the material it’s titled after, So Concrete has built a sturdy and sustainable transit stop in Prague 1. After being awarded a commission by the city of Prague to design the Výstaviště tram stop from 3-D printed ultra-high-performance concrete, local multi­ disciplinary studio So Concrete enhanced an initial AI rendering with a 1:50 scale model of the structure’s canopy. 2. In conjunction with engineering consultant Stráský, Hustý, a more detailed rendering was made with Rhinoceros. 3. Another rendering examines the three columns supporting the canopy and bench to determine the least amount of steel needed, thereby reducing the project’s energy use. 4. Trajectories of a six-axis robotic arm were mapped out before the 3-D printing process, which resulted in a compression strength five times that of regular concrete. 5. A ma­ terial specialist at So Concrete prepared the UHPC, modified to ensure optimal printing for the canopy and bench, which were both printed in six pieces before being assembled on-site.

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“Pushing the limits of concrete structures not only unlocks new aesthetic capabilities but also reduces their carbon footprint” —Dimitry Nikitin

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engineers, designers, concrete technologists, and robot operators led by robotic engineer Dimitry Nikitin and designer Záviš Unzeitig

COURTESY OF SO CONCRETE

36 TWENTY SIX FIFTEEN COMPARABLE 60% OFMATERIAL SAVED HOURS TO 3-D PRINT THE BASIC STRUCTURE

foot canopy length

days of installation

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1. The base of the tram stop, which is located in the art-centric Prague 7 district, is UHPC that has been robotically milled with graceful arches.

2. Panels of laser-etched Plexiglas form the backrest for the bench and cap the 9-foot-high canopy, both of which are made of tinted, 3-D printed UHPC that’s been robotically cut. 3. Furthering the project’s sustainability, electronic displays showing timetables for the city’s 38 tram routes are solar-powered, all helping to encourage the use of public transportation instead of cars.

c e n t e r fold

TOMÁŠ HEJZLAR

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Pictured: Atmosphera® Adaptive Lotus at W Hotel Philadelphia, PA, a collaboration with Design Studio Ltd.

dec22

Get a new perspective

PIETER KERS

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text: jane margolies photography: chris goldstraw

a woman’s touch The female-led studio Roar breaks the government-issue office mold for the Supreme Council for Motherhood & Childhood in Abu Dhabi, U.A.E. DEC.22

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Previous spread: In reception of the Supreme Council for Motherhood & Childhood, a government-agency office project by Roar in Abu Dhabi, U.A.E., a womblike concept is introduced via the rounded ash-framed Kav armchair

by Alp Nuhoglu and Morph loveseat by Tanju Özelgin, while the breezeblock screens and arches evoke vernacular architecture.

Top, from left: Vertical oak slats partition off a corridor’s work area. Amid a climbing wall, padded flooring, and foam mounds, standing swings hang from the ceiling of the playroom for children of staff and visitors. Bottom: In the training room, a long table by Jonathan Prestwich and GamFratesi chairs are backdropped by a sliding partition covered with acoustical fabric printed with custom graphics.

Opposite: In reception, Lee Broom’s Hanging Hoop chair joins the Hortensia armchair by Andrés Reisinger and Júlia Esqué, which stands on flooring of Volakas marble, the same stone used for the custom desk.

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A huge custom ottoman in the shape of a teddy bear stretched out on its back is not the sort of thing often found in the office of a government agency. Nor is a fluffy armchair the color of a pink flamingo standard bureaucratic furniture. But when the innovative Dubai-based interiors and architecture studio Roar was commissioned for the Abu Dhabi office of the Supreme Council for Motherhood & Childhood—an agency that sets policy in matters concerning the welfare of women and children in the U.A.E.—there was no question that the firm would put its own spin on the workplace. After all, founder and creative director Pallavi Dean and her team’s portfolio spans a pop-up bakery, a state-ofthe-art rental deposit-box facility, hotels, and spas. This project takes cues from residential design and is undeniably stylish, colorful, comfortable, and, above all, fun. “In many ways it’s a community space for moms,” Dean says, herself the mother of two. “It’s kind of like our home.”

This is not the first time an arm of the Emirates government has turned to Dean: Roar recently completed the Office of the Early Childhood Authority (which took home a 2021 Interior Design Best of Year Award), also in Abu Dhabi. Yet that project was a modest 1,800 square feet. The Supreme Council encompasses nearly 38,000 square feet across three floors.

It wasn’t only the size of the space that was challenging, however. The project, which includes a reception area, an auditorium, and a nursery, library, and playroom for the children of staff and visitors on the ground level, and executive offices, a training room, and a boardroom on the upper floors, would not occupy one of the jazzy new towers for which this city is known—and which often provide design firms with a blank slate, along with impressive views—but rather an existing building tucked in a residential neighborhood. The long floor plates had elevator banks on both ends. Dean didn’t want the staff to feel like they were endlessly trudging down long corridors, so the Roar team threw some curves into the layout: a screen of vertical wooden slats, for instance, swoops

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around a space that’s perfect for impromptu confabs or pre-meeting prep; elsewhere, a lounge spreads out beneath a curvaceous ceiling cutout.

For all the spatial ingenuity, the concept is very much rooted in tradition, incorporating familiar “touchpoints,” as Dean puts it. Reception evokes a traditional Emirati outdoor courtyard, with its ombre green–painted walls and contemporary renditions of the breezeblock patterns used in local homes. Its sculpted arches for the doorway and seating niches evoke vernacular architecture. Arches reappear in other parts of the office, too. In the training room, they’re printed on fabric wallcovering in dusty shades of pink, blue, and beige. For the ex­ ecutive suite, they’re in the form of a brushed brass partition system, and throughout the workplace they’re incorporated in the built-in cabinetry.

That curviness extends to the freestanding furniture, which Dean describes as “feminine,” in tune with the Supreme Council of Motherhood & Childhood’s focus on women. But feminine doesn’t mean dainty here. “The furniture has a lot of rounded, rotund forms. That’s intentional,” she says. “A lot of it feels like a hug, like it’s cocooning you.” The aforementioned flamingoreminiscent armchair, called Hortensia, by Andrés Reisinger and Júlia Esqué, is a prime example.

The material palette furthers that sense of comfort. Greek white marble in reception is softly striated. Carpets and rugs in rhythmic patterns are plush underfoot. Natural oak, ash, and maple are used extensively—on floors as well as in the custom furniture and pieces by the likes of Alp Nuhoǧlu. “When you 78

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Opposite top: Patricia Urquiola’s Rift sofa faces Baixa chairs by Busk+Hertzog in the lounge, where the custom LED fixture overhead follows the feminine form of the ceiling cutout. Opposite bottom: Oak-veneered paneling and custom carpet appoint the mezzanine overlooking the auditorium.

Top, from left: In the office of Her Excellency Rym Abdulla Al Falasy, Levitt chairs by Ludovica+ Roberto Palomba pair with Caementum tables by Marco Merendi and Diego Vencato and the Shape Up pendant fixture by Ladies & Gentlemen Studio. A glass-enclosed office allows the executive assistant to monitor the arrival of visitors; the base of PerezOchando’s Idra side table in the waiting area has a similar transparency. Bottom: In another part of Her Excellency’s office, a custom partition system of glass and brushed brass archways surrounds Francesc Rifé’s Ant Lite coffee table and a custom rug in wool and polyester.

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Top, from left: The nursery’s custom teddy-bear ottoman is 5 feet long and upholstered in a commercial fabric, except for its two “paws,” which are covered in a traditional Emirati weaving by Bedouin women. Different shades of oak flooring flow through the nursery’s nap room and foyer, where there’s a bench by Yilmaz Zenger. Below: In the children’s library, an oak-veneered climbable, custom round contains a beanbag and dog-shape Attackle bench, both by Fatboy.

Opposite: The sea-themed children’s restroom features mosaic wall tile, Mattias Ståhlbom’s Fisherman pendant fixtures, and a stainless-steel sink installed at kid-height.

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think of luxury interiors, you think of wenge and dark wood. We were steering clear of that,” Dean explains.

The Secretary General of the Supreme Council for Motherhood & Childhood, Her Excellency Rym Abdulla Al Falasy, was involved in shaping the color scheme and other aspects. And not just for her own domain, which is slightly more formal in feeling, as befits a place where she might greet highlevel officials from her own country as well as delegates from other nations. Here, for instance, one finds paneled walls and an alcove with a raised platform.

But the design pays just as much attention to those who are too young to express their aesthetic preferences. In the children’s restroom, which has a marine-life theme, walls are enlivened with blue-and-white mosaic tile, metal-mesh sea creatures hang from the ceiling, and pendant globes are encased in the same jute netting that fishermen use. In the children’s library, under concentric ceiling circles, a climbable circular enclosure corrals beanbags and a bench resembling one of those balloon dachshunds brought home from kids’ birthday parties. Then there’s that big teddy bear. It rests on an oak base, under a ceiling with a traditional sadu composition of woven palm leaves. Its paws are upholstered in traditional Emirati weaving done by Bedouin women in rural parts of the country.

PROJECT TEAM TAMARA TAAMNEH; ANNA DE FLORIAN; ANA CARRERAS; NADEEM ASHARAF: ROAR. SUMMERTOWN INTERIORS: WOODWORK. PRODUCT SOURCES FROM FRONT B&T DESIGN: WOOD-FRAME CHAIR, LOVESEAT, ROUND COFFEE TABLE (RECEPTION), TAN CHAIRS (TRAINING ROOM), LOVESEATS (WAITING AREA), BENCH (NAP ROOM). KARMAN: PENDANT FIXTURES (RECEPTION). BESTUHL: TASK CHAIR. ARPER: STOOLS, HIGH TABLES (HALL). INCLASS SPAIN: ROUND TABLE, PINK CHAIRS (TRAINING ROOM), TASK CHAIRS (LIBRARY).

LA CHANCE: STOOL (TRAINING ROOM). ESTILUZ: PENDANT FIXTURE. PEDRALI: TABLES (TRAINING ROOM, OFFICE), LOUNGE CHAIRS (LIBRARY). LEE BROOM: HANGING CHAIR (RECEPTION). MOOOI: FURRY ARMCHAIR. MOROSO: SOFA (LOUNGE). VICCARBE: CHAIRS (LOUNGE, OFFICE), TABLES (MEZZANINE). SOFTLINE: GREEN CHAIRS (LOUNGE), CHAIRS (MEZZANINE), TAN CHAIRS (OFFICE).

CARPET CRAFTS: CUSTOM CARPET (MEZZANINE). ROLL & HILL: PENDANT FIXTURE (OFFICE). KENDO MOBILIARIO: TABLES (WAITING AREA, OFFICE). FLOS: PENDANT FIXTURE (NURSEY). CARNEGIE FABRICS: BEAR FABRIC. FATBOY: BENCH, BEANBAG (LIBRARY). SENSI: TILE (RESTROOM). ZERO: PENDANT FIXTURES. THROUGHOUT EGE: CUSTOM CARPET, CUSTOM RUGS.

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grand slam A Boston neighborhood known for its baseball field gets 401 Park, a landmarked industrial complex revitalized by Elkus Manfredi Architects into a home run of a community hub text: lindsay lambert day photography: eric laignel

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Previous spread: 401 Park in Boston is a massive former Sears, Roebuck & Co. warehouse and distribution center transformed

by Elkus Manfredi Architects into mixed-use public space featuring a monumental new stairway, its balustrades composed of letters spelling out the names of city landmarks, neighborhoods, and cultural touchpoints.

Top: The letters have been waterjet cut into chemically blackened iron. Bottom, from left: Treads are cast iron. Original columns, soaring 32 feet high, and brass lettering inset in the concrete floor high­ lighting the building’s initial con­ struction and its reimagining de­ fine the lobby. Right: Custom light fixtures on the second-level con­ course, outfitted with leatherupholstered banquettes and antiqued mirror, reference the pneumatic tubes that ran through the warehouse.

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For decades, Boston’s Fenway neighborhood has been known among outsiders, and even some locals, for precisely one thing: its emerald-green baseball park of the same name. During the season, when the Red Sox play at home, the streets and pubs nearby swell with throngs of fans, the roar of the crowd—and the scent of steaming Fenway Franks—filling the air. But during the off-season, when the park goes dark, area residents—with no central gathering place of a similar scale to go to—are left waiting for another April and the buzz of baseball to return. That’s no longer the case, how­ever, for Bostonians who live in Fenway and beyond, and it’s thanks to a massive three-phase project by Elkus Manfredi Architects. The local firm has reimagined over 1 million square feet of a former Sears, Roebuck & Co. complex into a series of buzzing public spaces for all to enjoy year-round.

Now dubbed 401 Park, the eight-story Sears facility was built in 1928 of limestone and brick in the art deco style and operated for nearly 60 years as a warehouse and distribution center, offering shoppers merchandise at below catalog prices. In 1991, three years after Sears had closed the center, it was placed on the National Register of Historic Places. It stood empty for nearly a decade before being purchased by the Abbey Group; the company hired Bruner/Cott Architects to convert the vast interiors into profitable rental space, which encompassed adding a skylit atrium.

Ownership changed to Alexandria Real Estate Equities, and the developer, Samuels & Associates, set about further transforming the complex into a 21st-century hub for innovation, entertainment, and community—where “work meets play”—turning to Elkus Manfredi to carry out the vision. Led by principal Elizabeth Lowrey, the team repositioned the megaspace as a dynamic social center where food, shopping, and art intersect.

A main objective was preserving the landmarked site’s heritage. Interiors were stripped to their structural bones, reusing elements wherever possible. “It’s such a strong building because it was a DEC.22

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warehouse, so it had to be able to support all that product,” Lowrey begins. “You can’t beat the concrete columns, so we decided, ‘Okay, you can’t hide them, so let’s expose them.’” She’s referring to the immense 32-foot-high square columns in the main entry lobby—part of the project’s 123,000square-foot phase one—where pieces of original rebar are also visible, honoring the building’s industrial past. While getting to those bare bones meant playing up some of the existing features, it also meant removing others. The latter included Miami-style motifs added in the 1980’s and ’90’s that overly emphasized the art deco details. “Our approach was to make it more authentic, to peel away those things and let the building be the building,” Lowrey adds.

Continuing the industrial aesthetic yet through a modern lens is a new three-story staircase that connects the lower level, where the parking-garage entry is, to the second-floor atrium and concourse.

It’s a grand structure rendered in chemically blackened iron. Elkus Manfredi had the balustrades water-jet cut with letters spelling out such entities as Kenmore Square and Berklee College of Music, then installed color-changing LEDs in the risers, yielding a sort of virtual billboard of Boston treasures.

Blackened metal, this time hot-rolled steel, also frames the windows and ground-floor storefronts for such F&B and retail outfits as the Time Out Market Boston food hall and REI. The second-level concourse and atrium are tailored more to employees working in the six stories of offices above. With life-sciences tenants like Boston Children’s Hospital, Third Rock Ventures, and the Harvard School of Public Health, Elkus Manfredi kept an eye toward creating open spaces that serve as incubators for thought and collaboration. Seating options range from built-in banquettes for individual work to lounge-inspired vignettes for group brainstorming. But the history of the building is always present. Enormous ceiling fixtures inspired by the pneumatic tubes that once moved merchandise throughout the former warehouse cast light onto the existing concrete flooring (with new overlay) and exposed mushroom columns, here measuring some 3 feet in diameter. Elsewhere, an antique Linotype and Cranston press reference the early Sears catalog’s typesetting.

Those are just two of the hundreds of vintage items for which Lowrey scoured the country to pepper throughout the project. A concourse corridor is fitted with a wall-length case, its shelves lined with dozens of products from Sears catalogs; across from it are actual early 20th–century catalog pages enlarged to mural size. “We even went to a car rodeo in Texas,” Lowrey mentions of the old car

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Above: The lobby of 201 Brookline, the project’s in-progress phase two, features a 150-foot-long mural by Portuguese artist Alex­ andre Farto, aka Vhils, carved into plaster layered over the 1928 building’s original brick walls of inspirational women in the sciences, including Boston-born Mary Eliza Mahoney, the first African-American nurse in the U.S. Opposite top: Custom ceiling fixtures designed to look like car headlights define the parking garage; photography: Connie Zhou.

Opposite bottom: On the atrium’s second level, which leads to six stories of leased office space, an antique Linotype links to the era of the Sears catalog’s printing; the floor is reclaimed factory maple.

parts appearing in the lower parking lobby. That’s also where antique gas pumps, headlightlike ceiling fixtures, and a mural by a local artist can be seen.

In fact, art is another component of the project about which Lowrey speaks proudly. In the lobby of 201 Brookline, the 500,000-square-foot phase two that’s nearing completion and connected to 401 Park at the pedestrian and fourth levels (421 Park, phase three, another 500K square feet, has an anticipated completion of late 2025), a colossal mural by Portuguese street artist Vhils involved him carving into plaster he layered over the original brick walls images of local landmarks and influential women in science, such as Red Cross founder Clara Barton. “It’s a hand-carved celebration of the neighborhood and these women,” Lowrey concludes. “It’s about success and progress.” It’s also an over the Green Monster home run.

PROJECT TEAM DAVID MANFREDI; MARK SARDEGNA; JOHN MITCHELL; JOHN TAYLOR; TRACY SHRIVER; BRITTANY LOCKE; TOM KINSLOW; JACKIE HIERSTEINER; ULRIKE MANKER; MOEKO HARA; VITTORIA CERQUEIRA; JESSICA BORRI; BILL RYDER: ELKUS MANFREDI ARCHITECTS. HDLC: LIGHTING CONSULTANT. EMILY FINE ART; OUR FRIENDS IN LONDON: ART CONSULTANTS. MC NAMARA SALVIA: STRUCTURAL ENGINEER. THOMAS BURROUGHS; WSP: MEP. VHB: CIVIL ENGINEER. HOPE’S WINDOWS: METALWORK. VALIANT INDUSTRIES: MILLWORK. SUFFOLK: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT O.K. FOUNDRY CO.; SUPERIOR RAIL & IRON WORKS: CUSTOM STAIR (STAIRWAY). CAMPANIA INTERNATIONAL: PLANTERS (LOBBY). DESIGN COMMUNICATIONS: FLOOR LETTERING. MOORE & GILES: BANQUETTE UPHOLSTERY (CONCOURSE).

GALAXY GLASS: ANTIQUED MIRROR. LONGLEAF LUMBER: WOOD FLOORING (ATRIUM). ERIK RUEDA DESIGN LAB: CUSTOM DISPLAY CASES (HALL). ICI ET LÀ HANDMADE DESIGN: CHAIRS (LOWER LOBBY). RESTORATION HARDWARE: TABLE. THROUGHOUT LUMINIS: PENDANT FIXTURES.

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Left: In a corridor, products that had been available through the Sears catalog in the mid 20th century are displayed in custom blackened steel–framed cases opposite actual pages of catalogs from 1908 to 1915 that have been enlarged and printed on matte wallpaper. Right: LEDs embedded in the stair’s risers are colorchanging. Bottom, from left: Antique gas pumps, backed by a mural by Boston artist Timmy Sneaks, further nod to the 20th century near the lower garage entrance. Another mural, this one in the atrium and of vintage Sears Craftsman tools, is by Peter Hale.

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so much fun In Lyon, France, the founder of Claude Cartier Studio turns her apartment into a playground for her exuberant sensibility text: sara dal zotto photography: guillaume grasset/living inside

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For centuries, Lyon, France’s third-largest city, has been famous for the sumptuous silk textiles it produces. Located in the center of the town, near where legions of artisanal looms once hummed, designer Claude Cartier’s apartment evokes the spirit of those fabled fabrics—their luscious colors, bold patterns, and rich textures— but in breezily modern form. Cartier founded her business in 1981, opening a home decorating store that soon led to extensive residential-design commissions and the establishment of her eponymous studio in 2010. Although now a qualified interior designer, Cartier still prefers to define herself as a “decorator,” and the ebullient theatricality of her apartment shows why.

The 1,300-square-foot two-bedroom flat occupies a Haussmannian building in the same historic area as her businesses, a charming district of antiques dealers, galleries, and design shops that she readily admits is “my favorite neighborhood.”

She bought the apartment two years ago and immediately embarked on an extensive renovation in collaboration with her studio’s in-house architect Fabien Louvier.

“We completely modified the layout, the distribution of spaces,” she reports. “I worked on each part as a scenario with necessarily common threads of architectural character, materials, and color.”

Having worked in the profession for 40 years, Cartier approached the makeover with expected savoir faire. “Of course, my experience as a decorator could only influence this job,” she acknowledges, but adds that the personal nature of the undertaking brought something different to it. “I think I wanted to allow myself even more creative freedom, to consider the project a real playground that would express my personality as closely as possible.”

Two senses of play—as a staged performance and as fun and games—are built into the apartment’s DNA. Cartier created her distinctive mise-en-scène not simply by arranging furnishings and applying finishes in the set of spaces she devised

Previous spread: The living room of the Claude Cartier Studio founder’s apartment in Lyon, France, features an Erwin Olaf photograph, Gianfranco Frattini’s Sesann sofa, and Studiopepe’s Pluto cocktail tables on a rug of her own design, all capped by a Serge Mouille pendant fixture.

Left: A self-portrait by South African artist Zanele Muholi dominates the entry hall. Center: In the dining room, a Pigreco chair by Tobia Scarpa pulls up to a Jupiter table by Studiopepe. Right: The kitchen and entry hall’s checkerboard flooring is Chymia ceramic tile by Laboratorio Avallone.

Opposite: Beneath a silver-leafed soffit, Jonas Wagell’s Julep sofa is upholstered with an abstracted-floral jacquard, and India Mahdavi’s Marbles vase sits on the cocktail table.

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with Louvier but also by inviting a trio of other actors to participate in the production: the Italian furniture maker Tacchini, the French fabric house Métaphores, and the Lyonnaise art consultant Céline Melon Sibille, founder of local gallery Manifesta— all players with strong identities. So, the question for Cartier became how to achieve her own exuberant aesthetic vision through them.

“Inevitably, each piece of furniture was chosen because I had an absolute crush on it,” Cartier begins, “though often it was customized.” A case in point is Jonas Wagell’s Julep sofa, its curving minimalist form dominating one corner of the living room but transformed into some sort of exotic vegetation by Métaphores’s upholstery of abstracted-floral jacquard. The botanical theme is echoed in the opposite corner, which is entirely draped with palegreen velvet curtains that conceal wall shelving and a TV. The fabric’s delicate color is picked up in the dress of the woman in an Erwin Olaf photograph, one of the many striking artworks curated by Sibille; it hangs above Gianfranco Frattini’s iconic Sesann sofa, its voluptuous contours clad in bottle-green velvet.

The living room exemplifies the audacious color palette Cartier uses throughout the apartment: “Dark hues that are a bit dramatic, like the entrance,” she says, referring to the latter’s burnt-saffron and inky-blue ceiling and walls, which set off black-and-white checkerboard tile flooring, “then mint-green pastels with watery shades, earth tones, pearly whites, finished with strong colors underlined with games of stripes.”

Stripes, a recurring motif, are used with maximum impact in the main bedroom and bathroom. In the latter, they run up the walls in the form of yellow and white Opposite: A custom rug runs up a wall in the study, which is outfitted with Pietro Russo’s Parsec desk, Patricia Urquiola’s Getlucky arm­ chair, and Achille and Pier Giacomo Castiglioni’s Snoopy table lamp; the terrazzo flooring is original, the dado tile by Cristina Celestino.

Right: Studiopepe’s Unseen sconces flank a painting by Kevin Ford in the bathroom corridor, where the oak-herringbone flooring is original.

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tiles, joining with a colorful patchwork curtain and striped-cotton toilet skirt to create a space that’s “like a beach cabin,” Cartier suggests. In the bedroom, a sunburst of broad bands of yellow and white paint explodes across the ceiling, an homage to the dazzling effect Gio Ponti created in the Villa Planchart in Caracas, Venezuela. Both rooms have the vivid immediacy associated with interiors in Provence, Andalusia, or the Mezzogiorno, a reference that’s entirely intentional.

“I love the South,” she enthuses. “It was important for me to have Mediterranean accents and influences.”

Not all the furnishings are from Tacchini, of course. A multi-leg white-lacquered cabinet by Jaime Hayón is a glossy presence in the bedroom, while a black marble console from Angelo Mangiarotti’s 1971 Eros interlocking system of tables serves as a glamorous key-drop in the entry. In the second bedroom, which doubles as a study, a showstopping inlaid-oak cabinet by the Swedish studio Front is backed by a dado made of Cristina Celestino’s earth-tone Gonzaga clay tiles, another evocation of the South that Cartier so adores.

In the same room, a desk by Pietro Russo sits on a narrow rug that runs up the wall all the way to the ceiling, its bold colors—terra-cotta, rose, cream, black, white—arranged in an equally bold geometric pattern. The runner is but one in a series of eye-popping rugs that populate the residence, all of them Cartier’s design. The hand-knotted-wool collection’s irrepressible brio encapsulates the apartment’s aesthetic perfectly, as does its name: So Much Fun.

PROJECT TEAM FABIEN LOUVIER: CLAUDE CARTIER STUDIO. MANIFESTA: ART CONSULTANT. PRODUCT SOURCES FROM FRONT SERGE MOUILLE: PENDANT FIXTURE (LIVING ROOM). BISSON BRUNEEL: LAMP SHADE. GUBI: WHITE ARMCHAIR (LIVING ROOM), BENCH (DINING ROOM). INDIA MAHDAVI: VASES, ASHTRAYS (LIVING ROOM, BEDROOM). MUTINA: FLOOR TILE (ENTRY, KITCHEN). COLLECTION PARTICULIÈRE: VASES (DINING ROOM). BAXTER: TABLE (DINING ROOM), DESK (STUDY). GIOPATO & COOMBES: PENDANT FIXTURES (DINING ROOM, BEDROOM). BULTHAUP: CABINETRY (KITCHEN). CERAMICA BARDELLI: WALL TILE. MOROSO: BALL PILLOW (LIVING ROOM), CHAIR (STUDY). FORNACE BRIONI: DADO TILE (STUDY). FLOS: LAMP. PETITE FRITURE: MIRROR (STUDY), SCONCES (CORRIDOR), PENDANT FIXTURE (ENTRY). BERNARD: WALL TILE (BATHROOM). MOUSTACHE: MIRROR. LES CRAFTIES: CURTAIN. OLIVADES: TOILET SKIRT FABRIC. MADE IN GOLD: CUSTOM WALL COVERING (ENTRY). AGAPECASA: CONSOLE. BD BARCELONA DESIGN: CABINET (BEDROOM). STUDIOPEPE: CUSTOM HEADBOARD. THROUGHOUT TACCHINI: FURNITURE. MÉTAPHORES: UPHOLSTERY FABRIC, DRAPERY FABRIC. CC-TAPIS: RUGS. RESSOURCE: PAINT.

Left: Ceramic-tile stripes festoon the bathroom, while a patchwork curtain by Belgian atelier Les Crafties hides a large porthole opening onto the main bedroom. Center: In the entry hall, a wall of storage is covered in a custom finish of polished plaster and silver-leaf squares by Roseyma Marion. Right: The adjacent niche is graced by Angelo Mangiarotti’s Eros console.

Opposite: The main bedroom’s painted ceiling is inspired by Gio Ponti’s Villa Planchart in Venezuela, while Jaime Hayón’s lacquered Showtime cabinet, Martin Eisler’s Reversível chair, the custom headboard and bedcover, and a sunflower print by Françoise Pétrovitch all add to the Mediterranean atmosphere.

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wide open spaces The agriculture, authenticity, and trailblazing ethos of the Midwest are captured at the Omaha, Nebraska, office of LinkedIn by Gensler text: lauren gallow photography: jason o’rear

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Nebraska is not necessarily known as a destination for cutting-edge design and culture. However, the new Omaha office of LinkedIn, the professional networking giant with nearly a billion users, tapped into the deep-seated tradition of innovation and dynamism that has historically

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defined the Midwestern metropolis.

“From the beginning, there was an emphasis on making sure the decisions were an honest reflection of the city,” LinkedIn senior design manager Virginia Alexander recalls. Longtime partner Gensler was a natural choice for the project, as LinkedIn has worked with the firm on interiors and branding for more than a dozen of the company’s offices around the globe.

LinkedIn Omaha had been located in smaller, desperate-need-of-a-refresh quarters for 15 years. This project rep­ resents a major reboot not just for this outpost but also for the company’s larger approach to workplace design.

“The Omaha office was designed with the future in mind,” begins Gensler design director and principal Kelly Dubisar, who led the project’s interiors, along with fellow design director and principal Janice Cavaliere, who took charge of graphics and branding; both are from Gensler’s San Francisco office. “Omaha

actually means to go against the current, according to local indigenous tribes,” Cavaliere chimes in. It’s this pioneering spirit that informed the firm’s strategy across the new LinkedIn Omaha workplace, a pair of adjacent LEED Gold– certified buildings that are five stories each and total 200,000 square feet.

As is becoming a common tale for companies keeping pace with the realities of work today, where flexibility is the new watchword, LinkedIn swapped the traditional assigned-workstation approach for one that’s 100 percent free address. “We had piloted a neighborhoodbased, open office model on single floors in previous properties,” Dubisar explains.

“The pandemic pushed LinkedIn to adopt that model as the starting point for all new sites.” Teams from the Omaha staff of 1,000 are directed to 20- to 30-person neighborhoods containing a range of seating options supporting private individual work as well as small- and large-group collaboration. Instead

Previous spread: At the Omaha, Nebraska, campus of LinkedIn by Gensler, the two-story lobby combines ash-veneered millwork and leather and wool seating upholstery with a wall of whitewashed brick, a building material common in the region.

Opposite top: In reception, a 5-foot-square company logo is set within a textured feature wall patterned with grainlike elements referencing the area’s agricultural history. Opposite bottom: The ash veneer is reclaimed, which contributed to the project’s LEED Gold certification.

Top: Under an acoustics-improving felt-lined canopy, Isaac Piñeiro’s Tortuga lounge chairs populate the lobby’s second-floor coffee bar. Bottom: An elevator lobby’s custom graphics were inspired by what’s called locally “tanking down the Elkhorn,” or floating down the nearby Elkhorn River in retrofitted water tanks.

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of permanent desk space, daily-use lockers, phone booths, and deep-focus nooks help anchor people in their team areas. Typical floor plates, each defined by color, contain four neighborhoods; “rail cars,” Dubisar notes, at junctions funnel employees into their dedicated zones, where custom shelves display

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mementos that express team identities.

Concepting for the hybrid work experience was both a technical and a cultural challenge, so Gensler and LinkedIn conducted research, surveys, and workshops with staffers to understand what made them tick, both professionally and personally. “We were challenged to consider

how our designs and technology could make working more engaging and equi­ table,” Alexander says. Out of the discovery process came a host of amenities including a dynamic tech-ready team space for hybrid collaboration called the Lab, two libraries for heads-down focus work, recreation rooms with a golf simulator and rotating arcade games, music rooms, terraces, and a cafeteria called the Almanac, with revolving food kiosks and LinkedIn’s first all-electric kitchen.

Health, wellness, and resilience emer­ ged as key themes, so in addition to an on-site fitness center and an outdoor roof deck, as well as incorporating no- or low-VOC materials and finishes and only reclaimed or FSC–certified timber, the campus contains four respite rooms sprinkled throughout. Ranging in size and design, the tech-free spaces have ambient light to support a variety of ways to re-energize mind and body. “Everyone resets their brains differently,” Dubisar says. “Some need calming spaces, others something more tactile and hands-on.

Rather than a generic ‘wellness room,’ we have different spaces so people can choose the one that fits them best.” They also should help the project achieve its pending Fitwel 2 Star certification,

“Omaha’s pioneering spirit informed Gensler’s strategy across the LinkedIn campus”

Opposite top: The Max, a longtime LGBTQIA+ nightclub in Omaha, informed a conference room’s graphics. Opposite bottom: In the cafeteria, a LED ceiling fixture continues the river theme.

Top: Experiential branding extends to circulation routes, where wall graphics painted by Omaha nonprofit Make Art Studios Community Foundation and motivational phrases integrated into treads encourage staff to take the stairs, a criteria for the project’s anticipated Fitwel 2 Star certification. Bottom: In another section of the cafeteria, Adrien Rovero’s Parc pendant fixtures hang across from a moon mural that references the Old Farmer’s Almanac, a seminal publication in the region’s agricultural history.

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along with a fire stair surrounded by bold graphics and with motivational phrases integrated into treads to encourage staff to take them instead of the elevator.

The final theme to emerge was expressing Omaha’s particularities of place.

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“We looked to the historical significance of craft in Omaha and the overall notion of going against the current,” Cavaliere says. Civic storytelling begins in the twostory atrium lobby with a stair backed by a double-height wall of whitewashed brick, a traditional building material in Nebraska. Sculptures by Japan-born Omaha artist Jun Kaneko animate the welcome experience on the ground level, as do Gensler’s integrated wall graphics and site-specific art installations that nod to Omaha’s agrarian roots and contemporary culture. Conference-room graphics referencing the Max, a longstanding Omaha LGBTQIA+ nightclub, quickly became a LinkedIn staff favorite.

“It’s incredibly meaningful for people to feel represented not just in their city but also their workplace,” Cavaliere states.

Ultimately, this place-based narrative could be a stronger draw for employees to return to the office than more traditional amenities. “The purpose of the workplace today is to reinforce a sense of community and culture,” Dubisar says.

“The office should make you better and support the whole self. At the same time, it’s a place for people to come together and strengthen relationships.” As Linked­ In’s global real estate portfolio continues to grow, prioritizing personal expression and community connectivity in the workplace seems only fitting for a company that’s staking its claim as the world’s largest professional network.

Top: With a custom communal table in reclaimed ash, built-in banquettes, and Anthony Land’s Yoom sectionals, a secondary canteen doubles as flex work space; flooring throughout is polished concrete. Bottom: Teams are separated into neighborhoods executed in fabric-wrapped panels, carpet, and furniture, like the Norm Architects Harbour stools serving this freeaddress workstation.

Opposite top: Throughout the 200,000-squarefoot, two-building project, Gensler created artful install­ations with reused materials that link to Omaha’s identity, like this one with corn husks.

Opposite bottom: Another neighborhood’s work area mixes a custom communal table, shelving, and graphics with Luca sofas by Luca Nichetto.

PROJECT TEAM RANDY HOWDER; LAURA RICHARDSON; CHAD WYMAN; MARISSA EVERLING; BEN VELA; CHAD SPURLIN; SAMANTHA LEWIS; JEFFREY DING; FANG FANG, ERIC MORTENSEN (INTERIORS); JENNIFER HAMILTON; TIFFANY RICARDO; JARROD HOLT; MARIE ACHTERHOF (BRANDING): GENSLER. TUCCI LIGHTING: LIGHTING CONSULTANT. ACRYLICIZE: SIGNAGE. MORRISSEY ENGINEERING: MEP. URBAN EVOLUTIONS THROUGH IMPERIAL WOODWORKING COMPANY: MILLWORK. LOCKWOOD CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT GLEN-GERY: BRICK (LOBBY). CARL HANSEN & SØN: WHITE CHAIRS. MUUTO: GRAY CHAIRS (LOBBY), SOFA (COFFEE BAR).

DUM: STOOLS (LOBBY, COFFEE BAR). GRAND RAPIDS CHAIR CO.: STOOLS (RECEPTION, CAFETERIA). SANCAL: LOUNGE CHAIRS (COFFEE BAR).

MATTIAZZI: CHAIRS. LINDNER: CEILING MESH (ELEVATOR LOBBY). BARBICAN: CEILING FIXTURES (ELEVATOR LOBBY, CAFETERIA, NEIGH­ BORHOOD). PINNACLE LIGHTING: PENDANT FIXTURES (CONFERERENCE ROOM). ALLERMUIR: CHAIRS. HOLLIS + MORRIS: PENDANT FIXTURES

(CAFETERIA). BLU DOT; DE VORM; HIGHTOWER: CHAIRS. LAMBERT ET FILS: PENDANT FIXTURES. CORRAL: CHAIRS (CANTEEN). STYLEX: SOFAS. MENU: STOOLS (WORKSTATION). ANDLIGHT: DOWNLIGHTS. KVADRAT: PANEL FABRIC. TRETFORD: CARPET. BERNHARDT DESIGN: SOFAS (NEIGH­BORHOOD). PAIR: CUSTOM COMMUNAL TABLE, CUSTOM SHELVING. MOST MODEST: LAMP. THROUGOUT MAHARAM: SEATING FABRIC. MOORE & GILES: SEATING UPHOLSTERY. RAD FURNITURE: CUSTOM TABLES. FILZFELT: FELT. ONE WORKPLACE; TWO FURNISH: FURNITURE SUPPLIERS. ER2: CUSTOM GRAPHICS INSTALLATION. SHERWIN-WILLIAMS COMPANY: PAINT.

Previous spread: Black-birch paneling and stainless-steel doors channel Russian constructivism in the first dining zone at Moscow’s Cafe Polet by Asthetíque.

Above: Based on classic science fiction movies, Sergei Sudakov’s sculpture brings a human dimension to the restaurant’s aeronautical theme.

Opposite top: In reception, table numbers in the form of stainless-steel aircraft silhouettes stand under a glass-dome porthole. Opposite bottom: Beneath the custom stainless-steel reception desk, striped concrete flooring evokes the markings painted on an airport runway.

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winds of change Amid a sea of global ups and downs, the art, architecture, and fashion of 2022 uplifted our horizons text: wilson barlow and lisa di venuta

HOSPER VisKringloop, an earthwork collaboration between the landscape architecture firm, artist Pé Okx, and ecologist Cor ten Haaf in Wieringermeer, Netherlands, celebrates marine ecology, where fish swim through meandering circular paths across the 40-acre site and visitors can climb a paintedsteel staircase for a birds-eye view. Photography: Pieter Kers.

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MARIO CUCINELLA Santa Maria Goretti, a concrete church in Mormanno, Italy, by the sustainability-minded architect, features a cross-shape incision at the entrance that is lit at night. Photography: Duccio Malagamba.

GUO PEI “Guo Pei: Couture Fantasy,” the prolific couturier’s summer exhibition at San Francisco’s Legion of Honor museum, showcased two decades worth of her influence, from Olympic athletes to singer Rihanna, with such highlights as silkembroidered and gold-foil dresses. Photography: Lian Xu/courtesy of Guo Pei and the Fine Arts Museums of San Francisco.

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STEVE MESSAM The British environmental artist’s three-part exhibition, “These Passing Things,” spanned Fountains Abbey and Studley Royal Park, an 800-acre UNESCO World Heritage Site amidst the ruins of a medieval monastery in Northern England, and included the starburst yellow nylon Spiked and the scarlet polyester Bridged. Photography: James Brittain.

SKULL STUDIO The fall iteration of Concéntrico, the annual international festival of architecture, design, and urbanism in Logroño, Spain, featured this playground instal­lation made from painted MDF boards and steel beams to convey optic and haptic sensations to visitors via stimulating colors arranged in an irregular rhythm. Photo­graphy: Bet Orten.

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STUDIO ODILE DECQ At Antares Barcelona, a luxe, wellness-focused residential tower in Spain, the subterranean swimming pool occupies a grottolike room with a mirror-polished stainless-steel ceiling that’s the underside of the building’s parking-garage ramp. Photography: Fernando Guerra/FG + SG Fotografia de Arquitectura.

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BALENCIAGA For the fall-winter 2022 presentation at the Parc des Expositions Paris le Bourget, models marched through a life-size snow globe filled with homages to war-torn Ukraine, where creative director Demna once spent time as a child refugee from his native Georgia. Photography: Thyago Sainte.

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VITALE Geometric archways and neo-Memphis colors create a playful, anxiety-reducing environment for young patients at Isabel Cadroy, Dentista Infantil, a pediatric dental office in Castellón de la Plana, Spain. Photography: Santiago Martín and Sievers & Carreguí.

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CRAIG GREEN Elemental and multifunctional fashion constructions reminiscent of insectlike exoskeletons and circus tents presented at the sixth edition of the annual Moncler Genius campaign harmonized with the alpine brand’s adventurous aesthetic. Photography: courtesy of Moncler.

BIG-BJARKE INGELS GROUP Although LEGO House, a 130,000-square-foot experience center in Billund, Denmark, comprised of 21 staggered blocks that recall the toy company’s plastic bricks, was completed in 2017, LEGO Group celebrated its 90th anniversary in 2022. Photography: courtesy of LEGO Group.

YUKO NISHIKAWA The ceramicist and industrial designer stood amid Memory Function, her temporary installation of over 200 mobiles crafted from paper-pulp waste, commissioned by the Brooklyn Home Company for a model apartment at Butler Collection, a residential complex in Park Slope, New York. Photography: Matthew Williams.

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PIET MONDRIAN The 1916 oil landscape Farm Near Duivendrecht was part of “Mondrian Evolution,” a summer exhibition at Fondation Beyeler in Basel, Switzerland, that marked the 150th anniversary of the Dutch painter’s birth by tracing the development of his style, from early fig­ur­a tive works to the abstract color studies for which he would become best known. Photography: BPK/Art Institute of Chicago/Art Resource, NY

VIRGINIA SAN FRATELLO The architect and Emerging Objects cofounder’s 1-foot-tall Sexy Beast vessel is covered in a “shag” of earthenware extruded from a 3-D printer, then cut and blown dry. Photography: courtesy of Cristina Grajales.

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FIELD CONFORMING STUDIO Laser-cut plates of Cor-Ten steel form the Vanished House, a permanent installation in China’s Wuhan Shimenfeng Memorial Park conceived as a memorial to home, life, and loss. Photography: courtesy of Field Conforming Studio.

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KATE MILLETT Piano & Stool, in­corp­orating found leather boots, and the Bachelor’s Apartment cabinet were part of “Fantasy Furniture, 1967,” a retrospective at Salon 94 Design gallery in New York. Photography: courtesy of Kate Millet and Salon 94 Design, New York.

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CONSEQUENCE FORMA The 9,700-square-foot gymnasium at Czechia’s Nový Hrozenkov Primary School Sports Hall, which is also open to the public, has a James Turrell–style skylight that visitors can reach toward as they ascend its colorful climbing wall. Photography: BoysPlayNice.

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AULÍK FIŠER ARCHITEKTI Aerial, a concrete installation by Federico Díaz weighing 125,000 pounds and standing 25 feet tall, towers above a piazzetta at the firm’s Bořislavka Center, an office and retail complex in Prague. Photography: BoysPlayNice.

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CECILIA VICUÑA The Chilean artist’s nearly 90-foot Brain Forest Quipu, a mixed-media installation in sculpture, sound, and video, hangs until April 16 in the Turbine Hall at London’s Tate Modern, the interwoven, skeletal forms suggesting the delicate forces of our ecosystem. Photography: Sonal Bakrania.

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38TH ANNUAL

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S6 HALL OF FAME MEMBERS S9 WILL MEYER AND GRAY DAVIS

by Jane Margolies S21 MAVIS WIGGINS

by Cheryl Durst S33 YVES BÉHAR

by Edie Cohen S45 CLAUDY JONGSTRA

by Giovanna Dunmall s2

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FROM LEFT: CHRISTOPHER STURMAN; COURTESY OF TPG ARCHITECTURE

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FROM LEFT: PHILIP SINDEN; MONIQUE SHAW

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members Marvin B. Affrime Kalef Alaton Verda Alexander Davis Allen Anda Andrei Nada Andric Stephen Apking Pamela Babey Benjamin Baldwin Shigeru Ban Barbara Barry Florence Knoll Bassett Harry Bates Louis M.S. Beal Hagy Belzberg Ward Bennett Maria Bergson Deborah Berke Bruce Bierman Peter Q. Bohlin Laura Bohn Joseph Braswell Robert Bray Don Brinkmann Tom Britt R. Scott Bromley Denise Scott Brown Mario Buatta Collin Burry Richard Carlson Arthur Casas Francois Catroux John Cetra Alexandra Champalimaud Steve Chase Tony Chi Antonio Citterio Clodagh Celeste Cooper Robert Currie Carl D’Aquino Barbara D’Arcy Joseph D’Urso Todd DeGarmo Neil Denari

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Thierry W. Despont Orlando Diaz-Azcuy Angelo Donghia Jamie Drake Jack Dunbar Tony Duquette Melvin Dwork David Easton Rand Elliott Henry End Mica Ertegun Ted Flato Gunter Fleitz Dag Folger Bernardo Fort-Brescia Billy W. Francis Neil Frankel Michael Gabellini Frank Gehry Arthur Gensler Richard Gluckman Mariette Himes Gomez Jacques Grange Michael Graves Bruce Gregga Charles Gwathmey Albert Hadley Victoria Hagan Anthony Hail Mel Hamilton Mark Hampton Antony Harbour Hugh Hardy Gisue Hariri Mojgan Hariri Steven Harris Kitty Hawks David Hicks Edith Mansfield Hills Richard Himmel Howard Hirsch William Hodgins Malcolm Holzman Rossana Hu Peter Ippolito Franklin D. Israel Carolyn Iu Lisa Iwamoto Eva Jiricna Jed Johnson Patrick Jouin Rick Joy Vladimir Kagan Melanie Kahane Ronette King

David Kleinberg Robert Kleinschmidt Ronald Krueck Kengo Kuma Tom Kundig David Lake Gary Lee Sarah Tomerlin Lee Naomi Leff Debra Lehman-Smith Joseph Lembo Lawrence Lerner David Lewis Neville Lewis Paul Lewis Sally Sirkin Lewis Christian Liaigre Piero Lissoni Nick Luzietti Eva Maddox India Mahdavi Stephen Mallory Peter Marino Leo Marmol Paul Masi Ingo Maurer Patrick McConnell Margaret McCurry Zack McKown Kevin McNamara Richard Meier Robert Metzger Lee Mindel Francine Monaco Juan Montoya Paola Navone Lyndon Neri Frank Nicholson James Northcutt Jim Olson Primo Orpilla Mrs. Henry Parish, II John Pawson Gaetano Pesce Norman Pfeiffer Charles Pfister Warren Platner Donald D. Powell Gwynne Pugh William Pulgram Glenn Pushelberg Andrée Putman Ron Radziner Karim Rashid Chessy Rayner

Lucien Rees-Roberts David Rockwell Lauren Rottet Nancy J. Ruddy Rita St. Clair John F. Saladino Lawrence Scarpa Michael Schaible Craig Scott Annabelle Selldorf Peter Shelton Betty Sherrill Robert Siegel Paul Siskin Ethel Smith William Sofield Laurinda Spear Jay Spectre Andre Staffelbach Philippe Starck Robert A.M. Stern Rysia Suchecka Takashi Sugimoto Lou Switzer Rose Tarlow Michael Taylor Roger P. Thomas Matteo Thun Stanley Tigerman Patrick Tighe Adam Tihany Calvin Tsao Billie Tsien Marc Tsurumaki Patricia Urquiola Michael Vanderbyl Carleton Varney Robert Venturi Lella Vignelli Massimo Vignelli Kenneth H. Walker Margo Grant Walsh Sally Walsh Kevin Walz Marcel Wanders Isay Weinfeld Gary Wheeler Clive Wilkinson Bunny Williams Tod Williams Trisha Wilson Vicente Wolf George Yabu Mark Zeff Brad Zizmor

special honorees Robert O. Anderson Jaime Ardiles-Arce Robin Klehr Avia Stanley Barrows George Beylerian Howard Brandston Adele Chatfield-Taylor John L. Dowling Lester Dundes Cheryl S. Durst Lidewij Edelkoort Sherman R. Emery Edward A. Feiner Karen Fisher Arnold Friedmann Alberto Paolo Gavasci Gensler Jeremiah Goodman Louis Oliver Gropp Olga Gueft Erwin Hauer Jack Hedrich Benjamin D. Holloway Philip E. Kelley Kips Bay Decorator Show House Jack Lenor Larsen Santo Loquasto Ruth K. Lynford Gene Moore Murray Moss Diantha Nype Sergio Palleroni I.M.Pei Dianne Pilgrim Paige Rense Ian Schrager Julius Shulman Barry Sternlicht Paula Wallace Tony Walton Kenneth Wampler Winterthur Museum and Gardens Andrea Woodner

WILL MEYER

GRAY DAVIS

Will Meyer and Gray Davis The co-principals of Meyer Davis in the lobby of the firm’s New York hotel project, Arlo Midtown; photography: Christopher Sturman.

text: jane margolies

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Left, from top: The Hoist Bare, a 2020 William Gray pendant fixture for Rich Brilliant Willing; photography: courtesy of William Gray. Four Seasons Astir Palace Hotel Athens in Greece, com­ pleted 2019; photography: courtesy of Four Seasons Hotels.

Etéreo, an Auberge resort on the Riviera Maya, Mexico, 2021; photography: courtesy of Auberge Resorts Collection. Right: Gray Davis and Will Meyer in 2018; photography: Michel Arnaud.

Opposite: The lobby of One Park Grove, a 2020 residential tower in Miami done with OMA; photography: Eric Laignel.

In hindsight, it appears practically preordained that Will Meyer and Gray Davis would found a firm together.

Both men grew up in Tennessee dreaming of becoming architects, and both earned their degrees at the Auburn University College of Architecture, Design and Construction in Alabama. Upon graduating, the two headed to New York where they landed jobs with legends in the design world—Meyer for Charles Gwathmey of Gwathmey Siegel & Associates and Davis for John Saladino, then Thomas O’Brien and Bill Sofield of then Aero Studios. They were both moonlighting while employed—and helping each other out with their side hustles in the evenings and on weekends—when a former professor of theirs, who made a point of meeting Meyer and Davis for dinner on visits to New York, sensed how much the young men were enjoying their off-hours collaborations and stated the obvious: “Have you two ever thought of starting a firm together?”

In 1999, they did just that, founding Meyer Davis in New York, each of them a co-principal. Today, rising young designers might well seek them out when looking for employment and mentoring. The designers have brought their warm, luxurious modernism to an impressive range of projects, from single-family homes to hotels, restaurants, and high-rise residential towers accommodating hundreds of people. “One of the things about being from the South is your hospitality,” Davis begins. “We love creating environ­ments that are welcoming.”

That passion has brought him and Meyer work in an ever-evolving range of categories. The firm’s very first projects were a house in Upstate New York and a nightclub in Las Vegas; this was when they had a

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Opposite top, from left: Finn nesting tables in soaped walnut and the Enzo bar in Volakas marble and oak, both William Gray for Stellar Works, 2020; photography: courtesy of William Gray. Opposite bottom: The lobby of Miami Beach’s 1 Hotel South Beach, 2015; photography: Eric Laignel.

Above left: The moss mural of a swimmer at 1 Hotel South Beach, which graced the July 2015 cover of Interior Design. Above right: The Gym, a 2004 New York project and the first by Meyer Davis published in Interior Design. Photography: Eric Laignel.

tiny studio in SoHo and one employee. More homes and restaurants followed, as did the Gym, an eyecatching, primary-colored fitness space in New York, the first of more than a dozen Meyer Davis projects published in Interior Design. A turning point came in 2005 when Meyer and Davis were commissioned to design a freestanding boutique for Oscar de la Renta, in Los Angeles. Eventually they completed 20 shops for the label around the world, including a London outpost in 2018—and grew accustomed to traveling to distant locales and adapting to different cultural and business environments.

That came in handy when they broke into the hotel business. Meyer Davis got into the sector after auditioning for a project in 2008 that didn’t pan out: A Hong Kong developer asked the firm for ideas for a hotel he was planning, and the team, then numbering 10, threw themselves into conjuring up a soup-tonuts vision for the place. Ultimately, the developer decided to build offices instead, but the exercise left Meyer and Davis with presentation drawings that they added to their portfolio to show prospective clients what they were capable of. Soon hoteliers began to bite. The hospitality work—the studio has done properties for such brands as Auberge, Four Seasons, W, and Rosewood, all over the world, from Nashville, New York, and Kamuela, Hawaii, to Kuwait City, Rome, and Sydney—caught the attention of such developers of apartment buildings and office towers as Related Group founder, chairman, and CEO Jorge Pérez seeking to add hotel-like amenities to their sites. “We have a residential sensibility about our work,” Meyer explains. “We bring that to the hospitality and commercial worlds, and it helps set us apart.”

That may be one reason William Gray, Davis and Meyer’s 2-year-old line of furniture, lighting, wall­ paper, and bath products, is finding an enthusiastic reception. When they first thought of doing a collection, they figured they would pluck a handful of custom designs from their archives. But then they shifted gears and came up with a narrative, the way they do with their interiors projects: They envisioned a character named William Gray, who DEC.22

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“We have a residential sensibility about our work, which we bring to the hospitality and commercial worlds” Top: The bar-lounge at the W Rome, 2022, featuring all custom furnishings and flooring composed of three Italian marbles; photography: Eric Laignel. Bottom: A suite in 2020’s Mauna Lani in Waimea, Hawaii, another Auberge resort; photography: Nicole Franzen.

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PH OTO: M A RCUS AT BA H A M A R I N N A S SAU, BA H A M A S

New York

Los Angeles

London

Miami

Dubai

C ONG R AT U L AT ION S T O A L L I N DUC T E E S! WE ARE DELIGHTED BY THE WARM WELCOME INTO THE HALL OF FAME. THANK YOU FROM THE MEYER DAVIS TEAM!

www.meyerdavis.com

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Top, from left: Oscar de la Renta in London, 2018; photography: Paul Massey. Crown Sydney hotel, 2020; photography: Brent Winstone. Bottom: A 2016 town house on New York’s Upper East Side with Nika Zupanc’s gold-finished Cherry pendant fixture; photography: Eric Laignel.

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Left: William Gray’s Eclipse table in Nero Marquina marble and oak for Stellar Works and Hoist sconce for Rich Brilliant Willing, both 2020; photography: courtesy of William Gray. Right, from top: Rosewood Little Dix Bay on Virgin Gorda, British Virgin Islands, 2020; photography: Ken Hayden. Stellar Work’s New York showroom in 2021 with William Gray’s Varick sofa, Teddy Fold lounge chairs, and Ephemera wallcovering produced by Calico Wallpaper; photography: Jonathan Hokklo. Arlo Midtown in New York, 2021; photography: Chase Daniel.

embodies and emits the same relaxed luxury as Meyer Davis homes, hotels, and restaurants do, and conceived a suite of items, manufactured by the likes of Stellar Works and Rich Brilliant Willing, around “his” taste, thus giving the line an internal logic and visual coherence. “It became less of a greatest hits album and more of a collection,” Meyer notes.

Now he and Davis have embarked on another adventure they’ve long dreamed of: a yacht interior.

Their client, the Italian builder Rossinavi, commissioned the late Zaha Hadid to do its first architect-

“William Gray pieces embody the same relaxed luxury as Meyer Davis projects” designed vessel. Its next collaboration, this time with Meyer Davis, involves kitting out a 45-meter all-electric boat with sustainable materials.

What comes next? Meyer and Davis aren’t sure but whatever it is they appear to be up for it. In addition to the firm’s headquarters in New York, they have opened offices in Miami, Los Angeles, and London.

There are 85 employees, including some who worked in their offices and then relocated but stayed with the firm, doing their jobs remotely long before the pandemic made that a trend. This has given Meyer Davis a global network of talent from Spain to Dubai.

Even so, Meyer and Davis travel constantly for jobs around the world and are both intimately involved in every project, from the brainstorming beginnings on.

At some point, one of them might take the lead on a project but the other remains engaged. Given how much they have in common, they are almost invariably on the same page.

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The Feeling of Home Our design partnership with West Elm embraces the warmth and comfort of home in today’s workplace. The West Elm + Shaw Contract collection brings to life inspiring West Elm designs paired with Shaw Contract performance.

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Product Design Consultant: Gensler

www.ioc.it

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Mavis Wiggins text: cheryl s. durst The TPG Architecture managing executive and studio creative director; photography: courtesy of TPG Architecture.

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Ceaselessly generous, effortlessly elegant, and indelibly humane, Mavis Wiggins thrives in the “and”: that beautiful landscape between nuance and subtlety, art and design, the said and the unsaid. Her colleagues at TPG Architecture, where she serves as managing executive and studio creative director, consider her something of a client whisperer for entities from DZ Bank to Irving Place Capital, who tend to emerge from their collaboration as design evangelists in their own right. “Mavis’s clients know every design decision is important to the success of the project,” TPG managing executive and studio creative director Suzette Subance Ferrier explains. “That is because she includes them in the process and educates them, so that they become an advocate for the design scheme.” Adds TPG managing associate and creative director Ricardo Nabholz, “Mavis understands clients better than they understand themselves. She shows them a vision of their future that fulfills their every aspiration and responds to needs that have yet to be articulated and offers them the opportunity to build that vision.”

The “Mavis mantra” equates the design process to a revelatory and bottom line–affirming journey that requires seeing the arc between what is needed and what can be achieved. “I first determine how I can best help a client, really help them, and therefore improve their business acumen by guiding them through a remarkable journey together,” the workplace specialist says. “My mission is to help them see what is possible.” Her vision is truly multidimensional and peripheral, allowing her to look, see, and interpret from a multiplicity of stances. “What sets Mavis apart is her understanding of both space and occupants,”

h a l l of fa m e Opposite top: The hospitality-inflected lobby lounge of DZ Bank, located on the 49th floor of New York’s One Vanderbilt, 2021; photography: Eric Laignel.

Opposite bottom: A feature staircase with filigree-metal balustrade in the 2017 lobby of a global reinsurance company’s New York headquarters; photography: Eric Laignel.

Top: Wiggins visiting the TWA Hotel at New York’s JFK Airport, where TPG recently completed the premiere lounge for Alaska Airlines. Bottom: A colorblocked corridor at a New York workplace, 2018; photography: Eric Laignel.

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h a l l of fa m e Top: The café of a private equity firm’s New York office, 2014; photography: Peter Aaron/Esto. Center: Outdoor lounge/work space at Irving Place Capital in New York, 2012; photography: Eric Laignel. Bottom: A glass-wrapped staircase floating in the lobby of Rothschild & Co in New York, 2015; photography: Peter Margonelli.

Opposite: Neon lighting in a hallway at HBO in New York, 2012; photography: Adrian Wilson.

says Howard Albert, chief risk officer of insurance company Assured Guaranty, its New York workplace TPG completed in 2016. “She spent the time to understand exactly how we work and collaborate in the office, finding a way to be true to her aesthetic while really hearing what we were saying.”

“Seeing the possible” is Wiggins’s guiding principle, in life as in design. Her clear and coherent vision was honed by an early interest in photography and fine art. Growing up in Berkeley, California, in the 1960’s, Wiggins was deeply influenced and affected by the multicultural mix of that time and place—one that saw peace and turbulence, youthful uprising and middle-aged malaise, civil rights and social unrest. The era’s musical culture left a lasting impression, too: Wiggins still finds joy in the wall of sound that surrounded her then. “Sly Stone was a radio DJ at the time and played a crazy range of artists in the morning as we got dressed for school,” she recalls. “Led Zeppelin, Jimi Hendrix, James Brown, Janis Joplin, Smokey Robinson—my personal sound­ track then is my playlist now.”

Wiggins took her love of the visual arts with her to Brooklyn, New York, where she moved to attend Pratt Institute. She claims the design profession “found” her. “At Pratt, I realized I could shape space and continue to enjoy the fruits of what fine art offers, and even apply some of those principals to interior architecture,” the discipline in which she received her BFA and connected with mentors like Joseph D’Urso and Stanley Felderman.

That desire to shape space in combination with her keen photographer’s eye for composition and framing—and her deep intuition to see place from both a designer’s and the end-users’ perspective— has resulted in a definable signature. During her three-decade career working at a roster of top-tier commercial-design firms (Gensler and HLW among them), Wiggins has become known for interiors that are elegant, serene, rational, and always tethered to place. “Mavis’s work is deeply contextual,” Nabholz says. “There are geographical, architectural, cultural, and organizational touchstones in each project.

These come together to create spaces that are as timeless as they are specific to their place and purpose.” Ferrier concurs: “There is a level of clarity to her work that echoes great modernist design but with today’s level of sensitivity.”

Those characteristics are on ample display at two projects Wiggins cites as most influential on her practice: the Rockefeller Foundation headquarters in New York, completed while working at Kohn Pedersen Fox Conway Associates in the mid-90’s, and the HBO headquarters in Los Angeles, dating from s24

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“I learned so much about how to be resilient, stick to my vision and articulate it clearly, and just believe in myself”

h a l l of fa m e Top: A glass-and-marble staircase interconnecting the three floors of a merchant banking office in Chicago, 2019; photography: Tom Sibley. Bottom: Assured Guaranty in New York, 2016; photo­graphy: Eric Laignel. s26

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TPG Architecture congratulates our Managing Executive, Studio Creative Director

Mavis Wiggins and all other honorees on their induction into Interior Design’s 2022 Hall of Fame

TPGARCHITECTURE.COM

Top, from left: A gallery-esque vibe at a New York investment management firm, 2019; photography: Tom Sibley. A handpainted mural anchoring a breakout space at a global reinsurance headquarters in New York, 2017; photography: Eric Laignel.

Bottom, from left: Wiggins visiting the Arper-furnished Palladium Room at the 2022 “Jean-Michel Basquiat: King Pleasure” exhibit in New York; photography: Bonnie Hoch. HBO L.A. on the February 2005 cover of Interior Design.

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2004. What made the former a seminal experience, she says, was “working alongside scientists, researchers, and intellectuals that were dedicated to getting in front of issues like global warming, crop biotechnology, global sustainability, and the arts.”

The client relationship was also a distinguishing aspect of the entertainment company project, too. “It was really tough working directly with the most creative folks at HBO who were making these amazing, out-of-the-box programs,” she says. “But I learned so much about how to be resilient, stick to my vision and articulate it clearly, and just believe in myself.”

Thomas Giannetti, partner and CFO of Lexington Partners, recalls teaming with Wiggins on the firm’s Manhattan headquarters, a project for which TPG was retained just before the pandemic. “Because of

Left: A newly exposed diagonal truss beam and granite feature wall in the reimagined lobby of 525 West Van Buren, an office building in Chicago, 2019; photography: Tom Sibley. Right: A model of Baruch College in New York, 2000. Bottom: Executive search company Heidrick & Struggles in New York, 2012; photography: Mike Van Tassell.

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COVID, there were more challenges in the build-out than I ever thought possible,” he says. “Mavis’s determination to solve all the issues was tremendous given that we never knew what to expect with the pandemic,” from labor and supply chain issues to health and safety protocols, and even the dissatis­ faction of not being able to cross the usual benchmarks and hurdles in the typical order. “Mavis was steadfast,” he continues. “She was determined to finish the project, without compromise, in a way that was seamless to our team.”

Wiggins is equally dogged when it comes to fostering inclusion. Though personally quiet, she speaks up loudly for others as an activist instrumental in increasing diversity in the A&D community, through her thought leadership and her support of fellow BIPOC practitioners. As this author’s personal aside, I stand proudly beside Wiggins as the only two Black women thus far inducted into the Interior Design Hall of Fame.

When asked what our joint selection means in the context of time, she responded, “It means we all have more work to do. And we will.” There it is again: that word. There is beauty in the and—in the elegance and optimism that Mavis Wiggins embodies.

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Path

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Yves Béhar text: edie cohen

The founder and CEO of Fuseproject at his San Francisco headquarters; photography: Philip Sinden.

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Yves Béhar is a global citizen. Born in Lausanne, Switzerland, he decided, at age 14, to “jump into the adventure of industrial design,” Béhar recalls.

It began with studies at the Art Center College of Design’s satellite campus in Vevey, about 20 minutes from his family home. He then came to the U.S. to finish up at the school’s primary campus in Pasadena, California. “I could also take film and photography classes there, and that led me to discover that design is essentially a wide range of practices.” Next came San Francisco. “It was one big, innovative center where people were thinking about the future and welcomed a 22 year old. It was empowering.”

In 1999, Béhar founded Fuseproject, the studio’s name alluding to “bringing together various disciplines in support of the big idea,” he explains. In the world according to Yves, design should be allencompassing, “and not so specialized.” It entails a humanistic vision knowing no borders. His projects do good for people everywhere.

Launched in 2007, One Laptop Per Child, for instance, has provided more than 3 million free XO tablet educational devices to children around the world, including poverty-stricken Afghanistan and Cambodia. See Better to Learn has distributed some 6 million eyeglasses to school children in Mexico.

“A designer’s role,” Béhar continues, “is to be really close to people, understand the idiosyncrasies of modern life, and be the glue among parties”—the tech, science, and entrepreneurial interests inevitably and inextricably tied to his creations. These run the gamut from furnishings—highlights include the Sayl chair, inspired by suspension bridges, and the Public Office Landscape, both for Herman Miller—to consumer products, interiors, branding, robotics, and new-build construction. “The best thing we can do is to make people feel smart and adapt to change.”

That is his basis for conceiving products people never dreamed of existing but soon discover they cannot live without. That is truly Béhar’s superpower.

One such product is the game-changing Soda­Stream, launched in 2011. In addition to allowing users to carbonate their own water at home with an appliance handsome enough to keep out on the kitchen counter, it reflects Béhar’s focus on sustainability, reducing packaging as well as the carbon footprint of transporting carbonated water thousands of miles. More recent projects in that eco-minded vein include the Ocean Cleanup sunglasses he designed for Safilo made of plastic collected from the Pacific and the Vine 3D Wood collection of bowls and platters for Forust crafted from wood waste. Currently, his team is exploring branding and sustainable packaging for a plant-based fish product.

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“One of the designer’s roles is to understand the idiosyncrasies of modern life”

Opposite: The Sayl chair for Herman Miller, 2010, in glassreinforced nylon with a die-cast aluminum frame; photography: courtesy of Herman Miller.

Top: Canopy Jackson Square, the flagship of four coworking offices in San Francisco, 2018; photography: Joe Fletcher.

Bottom: The magnetic August Smart Lock in etched aluminum, 2013; photography: courtesy of Fuseproject.

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Top: MultipliCity, a 2014 collection of outdoor furniture elements for Landscape Forms that integrates mass production and custom materials for a global market, addresses multiple scales, and ships flat; photography: courtesy of Landscape Forms. Center: Sayl chairs with seat fabric of 100-percent recycled polyester; photography: courtesy of Herman Miller. Bottom: The Frame, an artwork-inspired TV for Samsung with a thin, customizable bezel, 2017; photography: courtesy of Fuseproject.

Opposite: Herman Miller’s Public Office Landscape collection in the Fuseproject office, 2013; photography: courtesy of Herman Miller.

On the technology front, there’s the Snoo bassinet, introduced in 2016. Developed with renowned ped­ iatrician and author Harvey Karp, the smart baby sleeper soothes not only fretting infants but also anxious and oft exhausted parents. The Snoo is prescribed for clinical care, too, currently in some 100 NICUs across the country.

Béhar was prescient with Forme-Life, the home fitness unit that blends hardware and software in an elegant mirror, initiated just before the pandemic hit. When COVID did come, Fuseproject took a deeper dive into the medical arena. The result, Vox, is “a lowcost, fast-assembly ventilator that’s easy to use,” Béhar says. Further, he and his studio partnered with California governor Gavin Newsom in creating the state’s vaccination campaign, “Immunity Together,” which was translated into five languages.

Speaking of deep dives, Fuseproject is doing so with Proteus, a 4,000-square-foot underwater research lab and habitat in development off the coast of Curaçao, a UNESCO World Heritage site.

Accommodating up to 12 people and conceived with renowned ocean explorer and conservationist Fabien Cousteau as the aquatic version of the International Space Station, the hybrid live-lab environment addresses the isolation common among scientists removed from terra firma. That’s where Canopy, another workplace project, exists. Cofounded in 2016 with Amir Mortazavi and Steve Mohebi in San Francisco’s Pacific Heights neighborhood, the coworking space was a pioneer in offering a large, heated terrace, allowing members to work outside on large sofas or at communal tables year-round— there’s that prescience again. There are four so far throughout the city with a fifth underway, and the project marks another foray into interiors for Béhar.

“They are an expression,” he says. “What does the place communicate and stand for?”

Entrepreneurship is another word in Béhar’s de­ sign vocabulary. Over the past 18 years, Fuseproject has partnered with 200 cutting-edge companies— Issey Miyake, Landscape Forms, Mission Motors,

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Top: The XO tablet for One Laptop Per Child, 2007. Bottom: A 2020 rendering of Proteus, a submarine research center and habitat accommodating up to 12 people being developed with Fabien Cousteau. Photography: courtesy of Fuseproject.

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Top: A battery-powered, electric motorcycle for Mission Motors, 2007; photography: Lupine Hammack. Bottom: Ocean Cleanup sunglasses for Safilo, made of plastic collected from the Pacific, 2020; photography: courtesy of Fuseproject.

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De si gn fo r Huma nki nd. Beyond the Pledge

REVELATION

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Left, from top: Vue, a watch in stainless steel and glass for Issey Miyake, 2010. The Vine 3D Wood collection for Forust made from wood waste, 2021. Photography: courtesy of Fuseproject. Right, from top: Yves Béhar sitting on bleachers of sustainably sourced plywood at Fuseproject; photography: Philip Sinden. Vision Voyage, a chandelier for Swarovski combining 50,000 crystals and motionsensing LEDs, 2004; photography: courtesy of Fuseproject. Snoo’s Happiest Baby robotic bassinet in organic cotton, 2016; photography: courtesy of Fuseproject.

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Samsung, and Swarovski among them—and cofounded another four under the aegis of Design Venture. The latter includes August, the revolutionary smart lock allowing keyless home access— more than 5 billion sold testify to its success.

Expansion is on the brain, too. In November, Fuseproject opened a branch in Lisbon, Portugal, bringing its combined U.S. and international staff to 65, who are focusing on such future endeavors as a transportation system, electric cars for startups, and a solar-powered boat. Speaking of the future, one can’t help but wonder if Béhar’s progeny, aged 6, 8, 12, and 15, have inherited his design DNA. “It is such a part of their lives, it’s just there.” That’s lucky for us.

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Claudy Jongstra

h a l l of fa m e The founder of Studio Claudy Jongstra in front of her monumental sculptural installation Woven Skin, 2017, at the Museum De Lakenhal in Leiden, Netherlands; photography: Monique Shaw.

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Dissatisfaction with working in the fashion industry was a major career catalyst for Dutch textile designer and artist Claudy Jongstra. “We had to produce eight collections a year so there was no time for refinement or aesthetics, it was just machinery, production,” she recalls. The endless turnover in fabrics made her unhappy, too. What she had loved about fashion as a little girl, whose mother made the family’s wardrobe out of “beautiful fabrics,” and as a young woman studying fashion design at the Utrecht School of the Arts, was the freedom it provided.

“By making your own clothes, you develop your own identity and individuality, and it gives you a feeling of independence.”

Visiting a 1994 exhibition at the TextielMuseum in Tilburg, Jongstra was bowled over by a traditional nomadic yurt. “It was literally a house made of felted wool,” she says, still sounding excited so many years later. She quit her fashion job, got work cleaning offices in the evenings and, locked up in her Amsterdam atelier, devoted herself “to finding out everything possible about this material.” Two years later she showed the results of her labors to the curator of that exhibition. “She immediately purchased four pieces for the museum collection,” Jongstra says.

“That’s when I thought, Okay then, this is really the path I have to go down.” So Jongstra spent the rest of the decade creating innovative felted materials that spanned the categories of art, craft, and fashion.

John Galliano, Donna Karan, and Christian Lacroix used them in their clothing designs, and the Jedi knights in Star Wars: Episode 1—The Phantom Menace wore coats made of her felt.

In 2001, wanting to work on large-scale pieces and control all stages of the production process, including growing her own wool, cultivating plants for natural dyes, and following sustainable artisanal practices, Jongstra moved her business to rural Friesland in the northern Netherlands. There, she not only set up a design studio and atelier—and began earning

Top: Fields of Transformation, a 2017 installation in the Moelis Family Grand Reading Room, a Gensler commission for the Van Pelt-Dietrich Library Center at the University of Pennsylvania; photography: Feinknopf Photography. Bottom, from left: Halve Maen, 2019, in the lobby of Convene, an events venue in New York; photography: Frankie Alduino. In Jongstra’s studio, a palette of carded, naturally dyed fibers, ready for use in an art­ work; photography: courtesy of Studio Claudy Jongstra. Drenthe Heath sheep, part of a 250-strong flock Jongstra keeps in the northern Netherlands; photography: Jeroen Musch.

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Top, from left: Handspun, naturally dyed silk yarns; photography: courtesy of Studio Claudy Jongstra. A coat from Viktor & Rolf’s 2019 Spiritual Glamour collection, featuring Burgundian black–dyed felted wool by Jongstra; photography: courtesy of Viktor & Rolf. Bottom: An un­ titled 2011 work, part of a temporary exhibition at the United Nations in New York; photo­ graphy: Christian Richter.

Opposite top: A 97-foot-long installation in the David Rubinstein Atrium at New York’s Lincoln Center, a 2010 collaboration with Tod Williams Billie Tsien Architects; photography: Nic Lehoux.

Opposite bottom: A detail of the work, which is made of felted wool and silk dyed with colors derived from weld and onion; photography: Nic Lehoux.

public commissions from such heavyweight firms as Deborah Berke Partners, Gensler, Reddymade, and Tod Williams Billie Tsien Architects—but also established a flock of Drenthe Heath sheep, an ancient breed that lives on heathland, “maintaining it in a very natural way,” she explains. “Their quiet life is reflected in the quality of the wool—it’s shiny and has long fibers, you can see it’s healthy and vital.”

The same could be said for the plants Jongstra and her team grow for dyeing the wool and other fibers she then felts. Frustrated by the toxic pesticides and chemicals used in commercial vegetable-based pigments, which also cause variations in color quality, she created her own biodynamic botanical garden to propagate heritage plants. Over the years she has recreated ancient recipes for many hues, including centuries-old Burgundian black—a warm, complex shade incorporating walnut, indigo, woad, and madder root dyes—which was showcased in Viktor & Rolf’s 2019 haute-couture felted-wool collection.

She has also revived a distinctive red Rembrandt used, which is made from madder root. “It takes three years to grow and two to dry before it’s ready,” she says. “But it’s worth the wait because you get a top-quality product.”

Today, Jongstra’s enterprise spreads across two sites, not far from one another. The first centers on agriculture, with a farm, bakery, garden, and greenhouse; it’s here that the dye plants are grown. The other location, where the emphasis is on craftsmaking and research, is a compound of mostly cottagelike buildings housing the atelier, design studio, dye workshop, accommodations for four interns, and Jongstra’s own home. The newest addition is a modern building acquired from the neighboring carpenter.

It has been renovated with recycled materials as a place of learning, sharing, and experimentation that Jongstra calls Loads, in the sense of filling up or enriching. While not a school, per se, Loads is dedicated to “transferring ancient knowledge to the younger

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“Mahdavi believes purpose is fundamental to good design, beauty impossible without it”

“The time aspect is important in what I do—it’s about slow processes, not speeding up”

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Top: The 39-foot-long Nunc Stans, a 2021 installation at the Gensler-designed Washington law firm Mintz; photography: Devon Banks. Bottom, from left: Six panels from Diversity of Thought, a seven-piece series of site-specific felted works commissioned in 2021 by Deborah Berke Partners for the Wallace Foundation’s New York offices; photography: Chris Cooper. Rooted, 2018, in the dining area of a New York residence by 2Michaels; photography: Jeroen Musch.

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Open Range Blake

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Jongstra in her studio in Spannum, Netherlands, composing an artwork with wool from her Drenthe Heath sheep; photography: courtesy of Studio Claudy Jongstra.

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“We’re not a factory: Everything is handmade, tailored to the location, related to the purpose of the building, and connected to the environment”

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TRANSCEND Digital Mural Wallcovering PHILLIPJEFFRIES.COM

generations,” she notes, the art and craft of “weaving, spinning, making, slowness, all related to wool, of course.” It runs a four-day workshop tantalizingly named Farm to Fiber to Fashion.

In the same knowledge-sharing vein, Jongstra has started to collaborate with farmers in Spain who want to transition to alternative crops such as flax, hemp, and plants for natural dyes. “The traditional farm is not the farm it was,” she observes. “It is a place where people can meet—scientists, designers, artists, co-creators—and that the farmer can diversify and have an impact on biodiversity.” This is more than savvy agricultural management. “Understanding the cycles of nature and developing holistic processes helps you feel less alienated,” Jongstra believes, so this ethos becomes an antidote to a world that she regards as having become too complex.

Does wool still hold surprises for Jongstra? “It’s a lifelong journey, with lots of side roads,” she says with a smile. One such byway has led her to explore what can be done with all the waste produced by the wool industry. “In the Netherlands alone some 1.5 million kilos of wool are burned annually because we don’t value it and because shipping to Asia is too expensive,” she says. Over the past three years, she has developed an industrial woven textile made from wool waste—incidentally her first foray into weaving—which is produced in the northern Netherlands from yarns spun in Donegal, Ireland, because there are no Dutch spinning factories anymore. Jongstra and Stefan Koper have established an initiative called Weved, which collaborates with designers on creating products using the textile. It has already partnered with the social design brand Re-gained and Studio Floris Schoonderbeek, both of which launched new pieces of furniture incorporating the fabric at this year’s Salone del Mobile in Milan. And to think the journey started with a humble yurt.

Top: A 52-foot-long installation in “A Space for Being,” a collaborative exhibition with Google Design Studio, the International Arts + Mind Lab at Johns Hopkins University, Muuto, and Reddymade at Milan’s Salone del Mobile, 2019; photography: Jeroen Musch. Center, from left: A detail of Priona Blossom, 2016, for De Tuinkamer, a restaurant in Schuinesloot, Netherlands; photography: courtesy of Studio Claudy Jongstra. Mother of Pearl, 15 large-scale wool-and-silk panels at the Barnes Foundation in Philadelphia, a 2012 collaboration with Tod Williams Billie Tsien Architects; photography: Michael Moran/Otto. Bottom: Embroidering the wool, silk, and mohair wall hanging for De Tuinkamer; photography: courtesy of Studio Claudy Jongstra.

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books

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by Duncan Clarke, Vanessa Drake Moraga, and Sara Fee New York: Abbeville Press, $150 448 pages, 259 illustrations (220 color)

An American Renaissance: Beaux-Arts Architecture in New York City

by Phillip James Dodd New York, Images Publishing Group, $135 412 pages, 330 color illustrations

Visually stunning page after large page (10 by 13 inches), this album presents color images of more than 300 textiles from the traditions of Western, Central, and Eastern Africa, along with Madagascar. Employing a wide range of weaves and dyes, the fabrics were frequently of high value, passed down for gener­ ations, and, in some cases, intended for royalty or wealthy noblemen.

Abstract geometries and bright colors dominate the patterns, although some tell stories or refer to popular proverbs, and there are different design characteristics from different locations, such ass the kente cloths of Ghana, the Congo's raffia skirts, and the beaded barkcloths in Uganda.

The book is not only a fascinating record of African artistry but also a plea for its protection. As the foreword by MabatNgoup Ly Dumas, “one of the queen mothers of Western Cameroon,” puts it: “For those who share, live on this earth, and those who love it, preserving, passing on, and keeping alive this textile legacy is crucial.”

This bountiful, handsomely illustrated book shows 20 exemplary buildings and interiors built in New York between 1870 and 1930— a time of great growth and, for some, great fortunes—now known as the American Renaissance or the Gilded Age. The École des Beaux-Arts in Paris, where many of the era’s architects studied, offered a variety of styles to emulate, several of which are repre­ sented throughout the pages.

George B. Post’s 1875 Williamsburgh Savings Bank is Florentine Renaissance; the 1899 University Club by Charles Follen McKim is a larger version of an Italian palazzo; Cass Gilbert’s 1907 Alexander Hamilton U.S. Custom House is inspired by the Palais Garnier, Paris’s opera house; the 1913 Grand Central Terminal by Reed & Stem with Warren & Wetmore is modeled on Rome’s Baths of Caracalla; the Woolworth building of 1919 by Gilbert and, for a time, the world’s tallest building, is Gothic Revival. Together they give New York a sense of history and pride while creating a cultured background for the modernism that follows.

A dark cloud above it all, however, is the ghost of McKim’s Pennsylvania Station, built in 1910 and destroyed in 1968. Its loss, however, led to the formation of the New York Landmarks Preservation Commission, without which many of these classical buildings would also have been lost.

What They’re Reading...

Alicia Cheung Principal and cofounder of StudioHeimat

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The Chiffon Trenches

by André Leon Talley New York: Ballantine Books, $18 304 pages, 30 illustrations (11 color) “I’ve always loved fashion, so hearing stories from someone with power in that world during the 1990’s and aughts, a time that really shaped me, was too exciting to not read. André always did his homework: He knew the players and situations he was step­ ping into, as well as the history and influences of the various designers he was interviewing or working with—and he looked fabulous while doing it all. He and the book were a great motivator.

We recently completed a San Francisco tasting room for Eco Terreno winery, and the finishing touches were informed by this book. For decades, André was very close to Karl Lagerfeld, who, in addition to being a renowned fashion designer, was a prolific collector and student of history. Furthermore, André worked at Andy Warhol’s Factory early in his career. So our goal with the winery was for the space to achieve a ‘collected’ feel, which includes six prints from a 1961 Warhol-illustrated cookbook.”

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African Textiles

Award-winning documentaries Award-winning network

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c o n ta c t s PHOTOGRAPHERS IN FEATURES Chris Goldstraw (“A Woman’s Touch,” page 74), chrisgoldstraw.com.

Guillaume Grasset (“So Much Fun,” page 90), Living Inside, livinginside.it.

Eric Laignel Photography (“Grand Slam,” page 82), ericlaignel.com.

Jason O’Rear Photography (“Wide Open Spaces,” page 98), jasonorear.com.

DESIGNER IN CENTERFOLD

Interior Design (USPS#520-210, ISSN 0020-5508) is published 16 times a year, monthly except semi­ monthly 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: 800-900-0804 (continental U.S. only), 818-487-2014 (all others), or email: subscriptions@interiordesign.net. POSTMASTER: Send address changes to INTERIOR DESIGN, P.O. Box 16479, North Hollywood, CA 91615-6479. Publications Mail Agreement No. 40624074.

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A new podcast from SANDOW Design Group THE PEOPLE AND STORIES BEHIND THE SPACES WE INHABIT. Unravel what it takes to bring projects to fruition—from the designer’s inspiration to the setbacks, surprises, and serendipitous events along the way.

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the tin man

Urban rail transit has long been a key part of China’s strategy to support its exploding population and economy, with nine of the world’s biggest metro stations now within its borders. Currently, the southeastern city of Hangzhou is expanding its train system in anticipation of the 19th Asian Games, an Olympics-like event set for September 2023. By then, the city hopes to have 383 miles of track (for reference, the New York subway system, one of the largest globally, has 665 miles).

Wuchang station, on Metro Line 5, is included in the expansion. Above it, a massive transit-oriented site dubbed Wonderland comprises more than 14 million square feet of residential, commercial, office, and cultural space. Developer Vanke tapped Shenzhen-based Tomo Design to create a grand 21,500-square-foot underground plaza connecting the complex to the subway. “It’s the place where visitors to this community arrive,” firm founder Uno Chan says. “So, we get to make the first impression.”

Tomo sought for the space to integrate nature, technology, and the future. The first is introduced via a wood-look ceiling featuring a large steel-trimmed oculus that brings in sunlight, plus views of the trees and sky above. As for the latter two, what embodies those ideas better than a robot? Chan's version, a sort of guardian of the metro entrance, is 18 feet tall, shiny stainless steel, and accompanied by what appears to be some sort of streetlamp. Both are encircled by a low bench, an invitation for visitors to sit and gaze at the installation. Those curious enough to touch either piece get a surprise: They'll activate a sound-and-light show. — —

i n t e r vention

—Wilson Barlow

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