Interior Design March 2022

MARCH 2022

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CONTENTS MARCH 2022

VOLUME 93 NUMBER 2

03.22

ON THE COVER At TT Pilates, a studio in Xiamen, China, by Wanmu Gongfang, organically shaped windows are surrounded by a custom mix of fine sand and powdered seashells, the sunlight streaming in casting meditative shadows on oak floor planks.

Photography: 1988 photography studio/a qi.

features 74 BRIDGE TO TOMORROW

by Joshua Zukas

100 HEALTHY LIVING

by Peter Webster

Around the globe, a plethora of new spas, At Sala Bang Pa-In—a pools, gyms, and saunas river-island resort near raises the bar for Ayutthaya, Thailand, everyday wellness.

by Department of Architecture—traditional Thai style connects with 112 MISSION STATEMENT a modern-design future.

by Joseph Giovannini

82 HEALING ELEMENTS

by Edie Cohen

For the Riverside Main Library in California, Johnson Favaro and Diane Lam Design eschew expected Spanish revival style in favor of something more contemporary.

Art, science, and connection to nature are the prescription at the Lawrence J. Ellison Institute for Transformative Medicine of USC in Los Angeles by Rios.

120 FITNESS BRIGADE

by Rebecca Dalzell 92 LIGHTNESS OF BEING

by Rebecca Lo

Wanmu Gongfang carves out a sanctuary for fitness, serenity, and connection at TT Pilates, a studio in Xiamen, China.

At the Brooklyn, New York, headquarters of Crye Precision, a military-gear maker, an employee exercise center by Camber Studio is fit for a general.

EMA PETER

100

03.22

CONTENTS MARCH 2022

VOLUME 93 NUMBER 2

walkthrough 45 THIS WAY TO SMILES

by Georgina McWhirter

departments 19 HEADLINERS 25 DESIGNWIRE

by Annie Block and Lisa Di Venuta 32 BLIPS

by Jen Renzi 35 CREATIVE VOICES Brotherly Love

by Dan Rubinstein

Philadelphia hosts a retrospective of Ronan and Erwan Bouroullec’s dazzling career, just one of many recent triumphs for the French siblings.

40 PINUPS

by Wilson Barlow 49 MARKET

by Rebecca Thienes and Georgina McWhirter 69 CENTERFOLD Full Immersion

by Athena Waligore

An installation on the grounds of a Melbourne, Australia, gallery by James Carey and Taylor Knights invites visitors to wade and wonder.

164 CONTACTS 167 INTERVENTION

by Wilson Barlow

45 27

SANTIAGO MARTÍN AND SIEVERS&CARREGUÍ

162 BOOKS

by Stanley Abercrombie

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e d i t o r ’s welcome

re-emerge There it is: that sublime, tantalizing promise of change. It is wafting in the air all around me, beating spring to the very peak of my being. Yep, it’s that time of the year when I desperately crave the traditional springtime re-start. But this go-round, I need a lot more change…and my step must get much faster and go much farther! Come March 12, two years’ worth of more change, that is. So here we are, finally: r-e-o-p-e-n-i-n-g.

I mouth the word as I write it, ever so gently—sotto voce—as if saying it out loud would jinx the poor damn thing. Yet I was never more ready for it!

A return to a bankable (new) normal, in a way, represents the sum of years of postponements, expectations, plans, and dreams.

We all have them, big and small. The universal need for those of us at Interior Design is to expand on the processes and workflows we crafted during the shutdowns and put them to continued good use, finally joined by the real-life reporting—in-person interviews and investigations—that was the bulk of our coverage pre-COVID. And the other irrepressible desire, of course, is to find tons more projects and products (planetary, duh!) in all shapes, forms, and, most of all, categories.

To that end, I even have an offering to our demiworld powers that be right now: this very special issue. I wanted to celebrate our strides toward some sort of normalcy with a volume dedicated entirely to a category that’s quickly becoming the foundation for every project in the industry, Health+Wellness. This issue was also an opportunity to celebrate the people in healthcare, from designers to doctors and nurses— the heroes of the past two years. And it seemed both a useful recap and a starting block for wellness, the brand of work that will surely occupy many studios and bureaus for years to come.

Check these out. For a manufacturer located in the Brooklyn Navy Yard, an origami-like structure is now an employee exercise center complete with a climbing wall and a tunnel over a bridge! A Pilates studio’s organic sanctuary for mind and body literally looks carved out of an urban building from sand and powdered seashells. A campus for transformative medicine includes wellness programs and nutritional counseling. And we even pulled together a roundup of gyms, spas, and pools—with a saltwater sensory-deprivation pod—that would make anyone wanna get fit and feel well!

After this issue, I certainly feel a whole lot better. So sit back, take it in, and be healthy and well!

Follow me @ thecindygram

MARCH.22

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headliners

Vitale “This Way to Smiles,” page 45 design director: Lucía Chover. design director: Carlos Folch. design director: Santiago Martín. firm site: Castellón de la Plana, Spain. firm size: Three designers. current projects: EFI headquarters and a podiatry clinic in Castellón de la Plana; a medical clinic in Barcelona, Spain. honors: Interior Design Best of Year Award; Living Ceramics Award; CETEM International Furniture Award. feels: Chover loves handmade ceramics and vacationing on the Portuguese coast. heels: Folch’s favorite sport is European handball. wheels: Martín is passionate about motorcycling. vitale.es

“Through design we bring to light what is significant and different” MARCH.22

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Wanmu Gongfang “Lightness of Being,” page 92 design director: Jinshi Hong. firm site: Xiamen, China. firm size: Eight architects and designers. current projects: A showroom, a tearoom, and a gallery, all in Xiamen. trip: New Zealand is on Hong’s bucket list. kismet: He met his design partner while traveling.

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h e a d l i n e rs Camber Studio “Fitness Brigade,” page 120 principal: Wes Rozen. firm site: Brooklyn, New York. firm size: Four architects and designers. current projects: Residences in Brooklyn and Crawford, Colorado. honors: NYCxDesign Award. rural: Rozen grew up in California, Arizona, and Colorado. urban: His firm recently completed Paradise Parados, a permanent installation at the Brooklyn Academy of Music, with artist Teresita Fernández, a frequent collaborator. camber.studio

Diane Lam Design “Mission Statement,” page 112 principal: Diane Lam. firm site: Los Angeles. firm size: One designer. current projects: Chapman University Sandi Simon Center for Dance in Orange; Orange Coast College chemistry building in Costa Mesa; and the SEED School of Los Angeles, all in California. clay: Lam can often be found in a ceramics studio creating objects that explore unusual forms and surface textures. wood: She designed the Raleigh, a rift-sawn white-oak dining table now available at arborexchange.com. dianelamdesign.com

Rios “Healing Elements,” page 82 creative director, partner: Sebastian Salvadó. firm headquarters: Los Angeles. firm size: 250 architects and designers. current projects: A residence in Montecito, California; notNeutral line of drinking cups. honors: IIDA SoCal Calibre Award; Southern California Development Forum Design Award; Los Angeles Business Council Awards. east: Salvadó earned his master’s in architecture from the Graduate School of Architecture, Planning and Preservation at Columbia University in New York. west: A SoCal resident now, his favorite surfing spots include Malibu Colony, Ventura, and Scripps. rios.com 20

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Johnson Favaro “Mission Statement,” page 112 principal: Steve Johnson, AIA. principal: Jim Favaro, AIA. firm site: Culver City, California. firm size: 16 architects and designers. current projects: A Canyon Charter Elementary School building in Los Angeles. The Museum of Redlands and the City of Rancho Palos Verdes Ladera Linda Park, both in California. honors: Interior Design Best of Year Award honoree; Chicago Athenaeum American Architecture Award.

h e a d l i n e rs Department of Architecture “Bridge to Tomorrow,” page 74 principal: Amata Luphaiboon. principal: Twitee Vajrabhaya. firm site: Bangkok. firm size: 18 architects and designers. current projects: Central Chidlom Department Store women’s section in Bangkok; 18 North Observatory in Chiang Mai, Thailand; Vanke Shenzhen commercial complex in Shenzhen, China. honors: Interior Design Best of Year Awards; Architizer A+ Firm Award; Architecture MasterPrize. on the job: Luphaiboon and Vajrabhaya met in 2001 while working at Metric Consulting Engineers & Architects, a leading Bangkok firm. off hours: Luphaiboon is an enthusiastic movie buff, while Vajrabhaya enjoys sketching and traveling. departmentofarchitecture.co.th 22

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italian style: Johnson cannot resist 1960’s and ’70’s furniture by Mario Bellini, Afra and Tobia Scarpa, and Joe Colombo. italian place: Favaro’s favorite city is Florence. johnsonfavaro.com

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just reuse it

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From top: In Belgrade, Serbia, Accept & Proceed designed sneaker collection bins and signage for Nike, for the company’s Grind program, which recycles manufacturing scrap and post-consumer materials for use in other applications.

Utilizing 20,000 upcycled sneakers, Blok 70, a park with a basketball court, gym, and playground, has been recently refurbished by A&P, the color and pattern derived from those historically used in warning signs but reappropriated and recontextualized.

Everyone knows that sneakers are for playing sports. But lesser known is that the materials composing them can be recycled into sport surfacing. Nike Grind, the company’s decades-old program contributing to its zero-waste goal, takes the rubber, foam, leather, textile, and plastic originating from manufacturing scrap, unsellable products, and used athletic shoes and repurposes them—totaling 120 million pounds to date—into running tracks, turf fields, and basketball courts. That’s what happened at Blok 70, a formerly underused, decade-old park in Belgrade, Serbia, that’s been eye-catchingly and sustainably revamped by creative agency Accept & Proceed using sneakers upcycled by Nike, one of many projects the London-based Certified B Corporation has completed for the brand worldwide. A&P’s scope encompassed the graphic design, colorways, and refurbishment of Blok 70’s basketball court and its 13-foot-high chain-link fence, the fitness area, playground, and bleachers, and also extends to sneaker collection bins in the city’s squares and inside Nike stores. “We’re immensely proud,” A&P creative director Matthew Jones says, “to have a role in sowing the seeds for an active future and better tomorrow.”

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painterly style

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INTERIOR DESIGN

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The name often associated with OMA is Rem Koolhaas. But the influential Dutch architecture firm was actually cofounded in 1975 with three other people: illustrator Madelon Vriesendorp (also Koolhaas’s wife from 1971– 2012), architect Elia Zenghelis, and artist Zoe Zenghelis, the latter having her first solo exhibition in the U.S. this spring at Carnegie Museum of Art in Pittsburgh. “Fields, Fragments, Fictions” encompasses 70 Zenghelis paintings and drawings categorized into four areas of practice, including her work in OMA’s early urban projects, such as a ’70’s hotel proposal for Times Square, and Clockwise from top left: Zoe Zenghelis, pictured in 1988 at as cocreator and teacher of the Color Workshop at London’s Architectural Association, presenting her students’ London’s Architectural Association School of Archi­ work, is an artist, educator, OMA cofounder, and the subject tecture, which is where her former husband Elia also of “Fields, Fragments, Fictions,” at Carnegie Museum of Art’s taught and had Koolhaas as a student (the four first Heinz Architectural Center in Pittsburgh, March 26 to July 24. collaborated together on a 1972 architectural com­ Happiness, 2000, is an oil on canvas she made in her inde­pen­ petition submission). Zenghelis employed what she dent art practice. City of Our Choice [I], is a 1994 acrylic on card.

Hotel Sphinx, an acrylic on paper from 1975, was part of OMA’s called a “sun-drenched palette” on her OMA col­ proposal for a Times Square project that’s included in Delirious leagues’ aerial perspectives; similar colors inform New York, the book by her OMA colleague, Rem Koolhaas. the independent art practice she launched in 1985 and continues today, at 84 years old. “My paintings became influenced by my architectural experiences,” she says, “but they work differently as conceptual views of my own world of images.” Her approach to artmaking—abstract geometries, assemblies of forms, eruptive hues—and her cultivation of play, discovery, and spatial imagination has had an integral role in the shaping of architectural representation.

CLOCKWISE FROM TOP LEFT: COURTESY OF THE ARCHITECTURAL ASSOCIATION ARCHIVES; COURTESY OF ZOE ZENGHELIS AND CARNEGIE MUSEUM OF ART (2); ANDREAS PAPADAKIS COLLECTION, ACADEMY EDITIONS, LONDON

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d e s i g n wire From top: At Pressed Roots in Dallas by Coevál Studio, flooring is acrylic-treated diamond-polished concrete and walls are wash-finished plaster. Custom mirrors hang above the salon’s 23-foot-long hair-blowout island. Dried palms and custom benches furnish the Instagram area.

Like many innovative concepts, Pressed Roots arose to fill a void: offering affordable yet luxurious haircare for women of color. The silk-blowout brand, founded four years ago by Piersten Gaines initially as pop-up salons, caters to those with highly textured tresses. Recently, Gaines opened her first brickand-mortar flagship in Dallas, working with local firm Coevál Studio to craft a visual identity that reflects the Pressed Roots ethos of inclusivity and empowerment—and beauty.

Coevál cofounder John Paul Valverde approached the project holistically, starting by studying the neighborhood demographic to create the optimal experience for all those working at and visiting the shop.

“We strove for a relaxed, playful environment,” Valverde says, “where stylists and clients would thrive.”

That entails incorporating such organic elements as botanicals and soft curves as well as a flattering allover blush palette—from the concrete floor and plaster walls to the mirrors at each of the 10 blowout stations. Those stations line a shared island that bisects the 1,400-square-foot open plan, encouraging interaction among everyone at the salon. “It’s a nontraditional, noninstitutional setting,” Valverde adds, “with no barriers.” —Lisa Di Venuta 28

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MARCH.22

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The op art visionary’s investigation of color and geometry is the subject of a sweeping seven-decade survey that runs March 3 through July 24 at the Yale Center for British Art in New Haven, Connecticut. “Bridget Riley: Perceptual Abstraction” spotlights some 50 paradigm-shifting paintings, plexiglass prints, gouache studies, and more by the Londonborn nonagenarian. The exhibition, overtaking two floors of the Louis Kahn– designed landmark, charts the evolution of Riley’s oeuvre, from black-and-white compositions, such as Blaze 4, a 1964 synthetic emulsion on board, to the tonal modulations and saturated statements of later work, including New Day, a 1988 oil on canvas. In a word: phenomenal. —Jen Renzi

bl ips 32

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MARCH.22 22_0307_Interior_Design_MAR_GoBy Mod: February 10, 2022 10:41 AM Print: 02/10/22 10:45:20 AM page 1 v7

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Philadelphia hosts a retrospective of Ronan and Erwan Bouroullec’s dazzling career, just one of many recent triumphs for the French siblings

brotherly love

FROM TOP: ALEXANDRE TABASTE; STUDIO BOUROULLEC

For more than two decades, the atelier of the Parisbased Studio Bouroullec has played an integral role in defining the culture of product design. Since their first big break with Lit Clos, a cabinet bed for Cappellini in 2000, brothers and co-CEOs Ronan and Erwan Bouroullec have created no-nonsense, quietly revolutionary products for such brands as Kartell, Vitra, Hay, and Magis, as well as collectible works for the revered Galerie kreo. As one of the most sought-after firms anywhere today, their work has diversified over time, taking advantage of Erwan’s technical expertise and Ronan’s artistic hand.

Even during this pandemic period, the Bouroullecs have continued to elevate their simple, colorful, and honest forms with new products, interiors, installations, and honors. This includes creating the public interiors and furnishings for Tadao Ando’s Bourse de Commerce– Pinault Collection contemporary art museum in Paris; a new bench and table for Emeco; vases done for tilemaker Mutina in collaboration with ceramics brand Bitossi; Ronan Bouroullec’s first-ever solo show of 2-D artworks at kreo this fall; a new showroom in Los Angeles, the fourth for longtime client Kvadrat; and “Circus: Bouroullec Designs,” a retrospective of their work that runs through May at the Philadelphia Museum of Art, occasioned by winning the institution’s 2021 Collab Design Excellence Award. Vacationing in the Swiss Alps over the holiday season, Erwan Bouroullec spoke with us about the exhibition, the latest Kvadrat showroom, and how he and his older brother are confronting a new era in design.

c r e at i v e voices From top: Erwan Bouroullec, co-CEO with older brother Ronan of Studio Bouroullec, in Paris. A model of a low barrier, bench, flagpole, and shimmering banner, one of three they designed for the public square at Bourse de Commerce–Pinault Collection, a new contemporary art museum in Paris by Tadao Ando Architect & Associates.

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What spurred the exhibition at the Philadelphia Museum of Art? Erwan Bouroullec: Actually, it was very simple: You get your award, so you have to do an exhibition [laughs]. It had been delayed a few times due to COVID. We wanted to make a kind of show that gives the public a quite broad viewpoint of our work, so we brought in a number of pieces. Some are quite old, some are recent. It’s about showing the diversity of our work. I think that’s something particular to us. We work project by project; we never think about creating a red thread between what we’ve been designing.

The modular Clouds screen for Kvadrat and the weblike Algues for Vitra are standouts in the show. Have you been surprised by the success of these products?

EB: There’s something very particular about Algues: I wouldn’t do this project today because it’s probably one of the worst uses of plastic one could conceive.

Plastic becoming fake algae? There’s a lot of controversial meaning inside it today, which at the time wasn’t the same. A big part of our work is designing things that need to be designed, but in which the typology is well identified. But another part of our job has been to dig into conceptual behavior. Algues and Clouds were a part of that.

Clockwise from top left: Rombini, a 2021 vase for tile-maker Mutina in col­ laboration with ceramics brand Bitossi. A 2008 reinterpretation of an antique rush chair in translucent polycarbonate, Papyrus for Kartell. Algues, a seminal 2004 design for Vitra comprising plastic elements linked into a weblike structure. The grand, double-helix staircase at the Bourse de Commerce, outfitted with Luce Verticale, a custom 39-foot-tall pendant fixture in blown glass and metal manu­ factured by Flos. Abstract forms on Vase Découpage, a 2019 cylindrical cast-clay vessel for Vitra. “Circus: Bouroullec Designs,” a retrospective at the Philadelphia Museum of Art through May 30. Cilos, a 2022 knit polyester for Kvadrat Febrik.

The Danish textile company’s showroom in Copenhagen, completed in 2017. In the Bourse de Commerce, custom versions of benches, tables, and textiles from the 2018 Cotone collection for Cassina, and a rug specially developed and produced with Manufactures Catry.

can clearly identify the materials they’re made from and how they’ve been assembled. I love the fact that some of them are very dreamy while being incredibly raw and hardcore on the making end.

You’ve created spaces for Kvadrat before. What makes the L.A. one unique?

EB: We had a big white cubic volume; inside it we built a kind of house made with timber sourced from Canada and assembled on-site. Something I like is that the neighborhood it’s in, the Arts District, has these very old brick buildings, with spaces that have been transformed multiple times since they were first 36

INTERIOR DESIGN

MARCH.22

FROM TOP: GERHARDT KELLERMANN; CLAIRE LAVABRE/COURTESY OF STUDIO BOUROULLEC; COURTESY OF BOURSE DE COMMERCE– PINAULT COLLECTION; MICHEL GIESBRECHT/COURTESY OF STUDIO BOUROULLEC

What do you want visitors to understand about your work?

EB: Something I especially like about our work is that, on the one hand, there’s a certain fantasy, a vision about spaces that you can live in. But I call nearly all our projects “transparent,” since most of the time you

CLOCKWISE FROM TOP LEFT: PAUL TAHON; TOMMASO SARTORI/COURTESY OF FLOS; COURTESY OF STUDIO BOUROULLEC; JOSEPH HU/ COURTESY OF THE PHILADELPHIA MUSEUM OF ART; COURTESY OF STUDIO BOUROULLEC

built. We were looking to bring a part of the Kvadrat culture to L.A., rather than trying to mimic something that’s considered local. Key to creating a space that’s right for the brand was about showing the textiles well, so that visitors can experience them. To me, that’s an important task. It’s not incredibly fancy if you compare it to a restaurant or something like that.

It’s a raw space that connects to the idea that the textiles are inherently an unfinished product.

Has the pandemic altered the way you work?

EB: It’s changed a lot of things, some for the good.

Everyone has been thinking a little more about how we consume, what things are made of. It makes me think of our Truss collection for Emeco, which is very raw—there’s that word again—and a sign of where I would like to get to in the end. —Dan Rubinstein

MARCH.22

INTERIOR DESIGN

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ENTER BY APRIL 13

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hot desk

bFriends Pen Holders, Stand, Duo Pot, Pen Tray, and Tray in 10 colors, including Navy, Ochre, Light Gray, Wild Sage, Plum, and Terracotta, all in 3-D printed post-consumer PLA produced by ReFlow Amsterdam and Batch.Works for Bene. bene.com

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INTERIOR DESIGN

MAR.22

ALEX SARGINSON/COURTESY OF BENE

Pearson Lloyd dreams up a shapely and sustainable line of desktop accessories made entirely from discarded bioplastic food packaging

p i n ups

infinite loop Part of a gallery exhibition last fall, Laurids Gallée’s modern marquetry centers on the forever connection between art, com­merce, and craft Unfortunate Situation 46-inch-long table in beech, acrylic, and ink for Tableau.

MATHIJS LABADEE

tableau-cph.com

42

INTERIOR DESIGN

MAR.22

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walk through

Vinyl with a subtle terrazzo-style fleck wraps the walls and floor in the corridor leading from reception to treatment rooms at Isabel Cadroy, Dentista Infantil, a pediatric dental practice.

SANTIAGO MARTÍN AND SIEVERS&CARREGUÍ

this way to smiles firm: vitale site: castellón de la plana, spain

There’s nothing fun about cavities, especially for kids. Keeping that in mind, design directors Lucía Chover, Carlos Folch, and Santiago Martín—who founded Vitale in eastern Spain’s Castellón de la Plana in 2006 after meeting at its Universitat Jaume I—envisioned a playful clinic that would actively destress anxious children and parents for Isabel Cadroy, Dentista Infantil, a local pediatric dental office.

MARCH.22

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SANTIAGO MARTÍN AND SIEVERS&CARREGUÍ

Clockwise from top left: Built-in seating plus a Mosaico bench by Yonoh furnish reception. A custom birch-plywood chandelier inspired by mobiles hangs above the stairway leading from the patient-care areas to the basement for staff use. In a restroom, the porcelain tile’s grout is matched to Pantone 1635 EC, one of three colors selected for the clinic’s branding. Patient chairs continue the palette in the treatment rooms, which overlook an artificial vertical garden set below a skylight. EstudiHac’s Magnum chair provides supplemental seating throughout, including in the post-treatment area. Interlocking plywood pieces form a custom arch in reception, part of the project’s learning-based theme (child-centered reading materials are stored beneath the ¿Sabías que…? mural, which translates to Did you know?).

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INTERIOR DESIGN MARCH.22

w a l k through

FROM FRONT SANCAL: SEATING (RECEPTION, TREATMENT ROOM, POSTTREATMENT). SCARABEO CERAMICHE: SINK (RESTROOM).

ROCA: SINK FITTINGS. INESLAM: SCONCES. THROUGHOUT NATUCER: TILE. TARKETT: FLOORING. FONT

SANTIAGO MARTÍN AND SIEVERS&CARREGUÍ

ARQUITECTURA: ARCHITECT OF RECORD. MADENTIA: WOODWORK. AT4 GRUPO: GENERAL CONTRACTOR.

Cheery neo-Memphis colors, simple geometries, and a dash of biophilia suffuse the two-level, 3,760-square-foot space. It’s a stark contrast to Dr. Cadroy’s previous office, which had “no person­ ality and was on an awkward mezzanine level,” Chover explains. To inject creativity into the new city center location, the Vitale team employed wood and tile to draw on tropes of learning, since teaching children about oral health is the fundamental principle of Dr. Cadroy’s work. At the entry, a plywood arch slots together like a construction game. Farther in, doors and paneling are routed with a puzzle design. Walls, columns, and restrooms clad in uniform white square tiles take inspiration from the gridded notebooks children use to learn to write. Birch-plywood chandeliers incorporating minimalist shapes nod to mobiles over a crib yet don’t descend into infantilism. “We focused on the sensations of comfort, warmth, familiarity, and well-being,” Folch notes.

Throughout, rounded shapes and indirect lighting soothe. Additional fear-reducing measures include the waiting area’s capsule-shape seating nooks, which cocoon and foster a sense of protection.

In the main corridor, a series of pitched roof structures provide a homey feeling. One serves as a transition between the waiting area, restrooms, and radiology and post-treatment rooms. Beyond, the second roof structure, or “tunnel,” as Martín refers to it, funnels little patients to the pair of skylit treatment rooms, which both look out to a mood-boosting vertical garden. In fact, green is one of the three main colors in the project’s palette. Pantone 7723 C, a calming fern, Pantone 1635 EC, a warm terracotta, and Pantone 121 C, an optimistic yellow, appear in everything—from the tile grout, vinyl flooring, and logo typography to the waiting-area and treatment-room seating. —Georgina McWhirter

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tap dance edited by Rebecca Thienes text by Georgina McWhirter and Rebecca Thienes

NEW PLAYONE 90

Say buongiorno to the newest bathroom fittings

by Francesco Lucchese for Fir Italia. Matte metallics Gentle Copper, Silky Rose, and Ravishing Gold join monochrome White Chalk, Light Sand, Warm Grey, and Burning Black, all in the brand’s specialist Advanced Superfinish Process on ecofriendly zerolead brass. The mixer design, New Playone 90, evolves Lucchese’s minimalist Playone 85 with subtle tweaks in placement to the thin and elongated lever that stretches out over a now slimmer spout, making a good thing even better. fir-italia.it

headline here In the hands of Kristina Gaidamaka, traditional Ukrainian symbols and flowers decompose into pixels in Island. Drawing on the rich folklore of her homeland, the circular rug, with a unique disintegrating pixel edge, measures 86.5 inches in diameter (with the option to size up to a huge 33 feet) and is devised as an oasis of relaxation, hence the name. The rug was “conceived as a symbol of travel and home at the same time,” the designer says. “Who knew these mini islands would soon become our new reality.” Hand-tufted of New Zealand wool with a touch of viscose, each consists of a kaleidoscopic mosaic of close to 100 colors in either the Golden or Forest colorway. gaidamaka.com

MARCH.22

INTERIOR DESIGN

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Lima De Lezando of Studio De Lezando

Helen Levi for Cerámica Suro

Roberto Innocenti for Zazzeri

Janet Echelman for Kohler Co.

product Balance. standout The 30-something industrial designer based in Cologne, Germany, milled this knockout of a sink that appears to float due to its cantilever from a single piece of Carrara marble.

product Color Field. standout The New York–based photo­ grapher and ceramicist’s painterly approach finds its way to glazed earthenware tile in a collaboration with the Mexico manufacturer that’s sure to enliven any kitchen. ceramicasuro.com

product Z316_SH. standout Following the trend for increasing decoration, the fittings’ handles, simply a cylindrical extension of the faucet bodies, come smooth or chiseled with vertical or horizontal stripes, checkers, or dots. zazzeri.us

product 18.02. standout The artist swaps mediums, fiber for fireclay, patterning the Wisconsin company’s Veil Vessel sink with special metallic pigments that toggle between pleasing champagne and silver.

studiodelezando.com

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INTERIOR DESIGN

MARCH.22

kohler.com

PORTRAIT 2: STEPHAN ALESSI; PORTRAIT 4: TODD ERICKSON

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m a r k e t s c a p e kitchen/bath

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Jean Nouvel for Reform

Bilge, Sibel, and Saime of Kapka

David Rockwell for Formani

Philippe Starck for Duravit

product Reflect. standout The reflective steel cabinet fronts by the Ateliers Jean Nouvel founding architect boast thin vertical ridges that scatter light, lending a kitchen an overall atmospheric hazy glow. reformcph.com

product Mind-Pop. standout The enameled-iron Mezze plates by the Turkish studio founders, who go by first names, sell through the female-founded Darling Spring, which has opened a brick-and-mortar outpost in New York. darlingspring.com

product Eclipse. standout The stainless-steel door handle, here in PVD satin black, by the Interior Design Hall of Famer and Rockwell Group founder is manufactured as one piece: a cylindrical form with a carved channel. formani.com

product White Tulip. standout The fellow Hall of Fame member’s wellness-inflected bathroom suite includes ceramic sinks and tubs that bloom like their namesake, their sloped edges tapered like petals. duravit.us

MARCH.22

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it’s elementary

“It highlights the quality of made in Italy design and production” VERY WOODEN KITCHEN

Very Wooden Kitchen is the first all-timber product from Very Simple Kitchen, the company that is what it says it is. Founder Riccardo Randi designed the chunky freestanding plywood units, handcrafted in Italy’s San Lazzaro di Savena by Luigi Tenebruso and his team of carpenters. They come in natural plywood finished with a waterbased protectant or washed with a dusky mid-blue water-based paint that is colorful but doesn’t obscure the beautiful grain. Terrazzo, concrete, stone, quartz, Fenix laminate, or stainless steel can be specified for tops and backsplashes, or choose none and add your own, such as the La Pietra Compattata tiles shown, designed by VSK with Fangorosa. verysimplekitchen.com

m a r k e t kitchen/bath 52

INTERIOR DESIGN

MARCH.22

Visit our showrooms

Boston Chicago New York San Francisco Toronto Kansas Washington, D.C.

Giro Soft Next Lounge Nuez Table

“Like wine, clay is deeply rooted in its place of origin” m a r k e t kitchen/bath

on the mark In Lombardy, the Italian tradition of marbled terra-cotta dates to the renaissance, when it was used as flooring that mimicked real marble. Back then, red and white clay were mixed. Today, Fangorosa updates the technique with black and white clay, which forms veining that’s prac­ tically psychedelic. The colors result from tapping different strata, and the tile name, Lambro Vissuto Core, is a tribute to the Lambro River that traverses the region and nourishes the earth that bequeaths the clay. The indoor wall and floor tile draws the eye to its center shape, a circle in solid White, Black, or Terracotta. It’s wrapped by rectangles with swirly variegation that give way to the center via half-moon cutouts. Together, the shapes form a beautiful Euclidean puzzle. fangorosa.com

LAMBRO VISSUTO CORE

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INTERIOR DESIGN

MARCH.22

KRYSTA RODRIGUEZ Actress, Stage & Screen Founder, Curated by Krysta Rodriguez DRESS IN: TA M B O U R I N E T R A P S

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Use code INDART5 by June 30, 2022 and 3% of your order will be contributed to help support Americans for the Arts Visit artistictile.com/arts for details

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island time

SIBÀ

On a clear day on Pantelleria, you can spy Tunisia.

The tiny Italian land mass in the Strait of Sicily inspired rising industrial design star Elena Salmistraro’s Pensieri Panteschi, a collection that mines the island’s unique sea-battered cliffs and vine-covered stone dwellings. Sicilian manufacturer Lithea produces the series, the standout of which is Gadir, a 95-inch-square decorative panel, its Bianco Fenice stone face embellished with wavelike engraving and marble and copper appliqués. The Specchio di Venere table, made of CNC-cut marble shapes assembled by hand into a single marquetry top, is joined by matching Sibà stools. Tabletop items, including totemic vases, round out the unusual line. All are imbued with Salmistraro’s characteristic eye for allegory, symmetry, and layering. lithea.it

“The natural features of Pantelleria are transformed into abstract compositions”

NINO BARTUCCIO

GADIR

56

INTERIOR DESIGN

MARCH.22

Handmade in England samuel-heath.com @samuelheathofficial (212) 696 0050 LMK Pure shower in Matt Black Chrome

rest room Beauty and calm can abound in the most functional space

1

1. Andrea Parisio and Giuseppe Pezzano’s Delfo ceramic washbasin

by Ceramica Cielo. ceramicacielo.it 2. Christoffer Joergensen’s Falster shower curtain in heavyweight Panama woven cotton treated with Teflon by Zig Zag Zurich. zigzagzurich.com

3. Eoos’s Save! ceramic toilet with urine-separation system by

Laufen. laufen.com 4. Shift Paragon Cream water-jet cut stone mosaic by Walker

Zanger. walkerzanger.com 5. Gilles & Boissier’s Les Ondes basin mixer in Soft Gold by

THG Paris. thg-paris.com 6. Gesso di Turino waterproof plaster in F43 Bleu Étain by

Ressource. ressourcepaints.us 7. Owen Stone porcelain tile with leathered finish by Crossville. crossvilleinc.com

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INTERIOR DESIGN

MARCH.22

EverySpace™

kimball.com

a creative framework for the future

Learn more at kimball.com/everyspaceinspired

by CSD Studio

out of the blue Ntaiana Charalampous, Antonia Stylianou, and Nayia Vasileiadou are the female cofounders of Dedalèo, the young Cypriot studio that recently took Milan’s Isola Design District by storm. Their Ilo+Milo reimagines the kitchen as modernist tubular-steel modules that, like furniture, can be rearranged and added to at any given time. U- or L-shape or galley configurations are all within reach, but the core of the system revolves around an island composed of seven freestanding elements, including semicircular tables at either end that can be moved to form a round freestanding table (so clever!). Fronts are made of plain, perforated, or corrugated steel or aluminum sheets that can be replaced and recycled with ease. The countertop, which is removable, can be specified as a stainlesssteel sheet or a slab of gray terrazzo flecked with scrap aluminum, glass, and marble. dedaleo.eu

“Design for us is a way of thinking rather than a tool”

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kitchen/bath m a r k e t

MAURO SERRA

ILO+MILO

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1. Amherst storage cabinet in white oak with glass door, quartz top in Ecru, and True Residential low

profile 24-inch indoor/outdoor undercounter refrigerator by Room & Board Business Interiors. roomandboard.com/business-interiors

5

tasteful touches Eclectic finishes spice up the kitchen

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INTERIOR DESIGN

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2. 24-inch integrated wine dispenser in stainless steel with automated dual-temperature control in Graphite by Dacor. dacor.com 3. Vivian Howard’s Lenoir plates in Buttermilk Pink, Fern, Birch, and Burl glazes by Haand. haand.us 4. Kitchen in aluminum and steel with included appliances by Piet Hein Eek. pietheineek.nl 5. Dreamer apron-front sink in white fireclay glazed in real silver by Native Trails. nativetrailshome.com 6. Cosmati Checkerboard Multi mosaic in mixed-finish stones, including Bardiglio Imperiale, Bianco Dolomiti, Ming Green, Calacutta Rosa, Rosa Portogallo, and Lilac, by Artistic Tile. artistictile.com 7. Industrial wall-mounted pot filler in brass or stainless steel in Classic Bronze by Waterstone Faucets. waterstoneco.com

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c enter fold

full immersion An installation on the grounds of a Melbourne, Australia, gallery by James Carey and Taylor Knights invites visitors to wade and wonder

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15 6,000

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landscapers, engineers, and fabricators led by James Carey, Peter Knights, and James Taylor

SQUARE FEET OF RECYCLABLE CEMENT SHEETS

1 MILLION

VISITORS

12,000 GALLONS OF WATER

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4 5

COURTESY OF TAYLOR KNIGHTS

1. For pond[er], winner of the annual NGV Architecture Commission at Australia’s National Gallery of Victoria, Melbourne architecture studio Taylor Knights and Sydney artist James Carey began by installing a sub­ floor of marine-grade plywood panels and ethically sourced pine beams in the museum’s Grollo Equiset Garden. 2. The subfloor forms a platform around Draped Seated Woman, a Henry Moore bronze that’s part of the NGV’s permanent collection. 3. The resulting 49-by-70-foot expanse gets topped by cement sheets and then a waterproof pink cork liner before it’s filled with water pumped from an existing source on the grounds to become a “pond.” 4. Sheets of matching fiberglass-reinforced plastic grating were trucked into the museum’s garden. 5. The plastic forms a pathway to the pond.

“It facilitates an open and inclusive environment to reflect on our current ecological adversities” —Taylor Knights MARCH.22

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TOM ROSS

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c e n t e r fold

A 52-foot-long bench has been made from the same FRP that forms the walkway, the color of it and the cork liner chosen to reference Victoria’s many blushhued salt lakes as well as high­ light the importance of water as a natural resource. Behind the water element, a bed of over 200 species of native wildflowers by Ben Scott Garden Design is part of pond[er], which is on view at the NGV through August 28; after the installation is dismantled, the plants will be distributed to Landcare, Indigenous, and community groups.

MARCH.22

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View the entire collection at www.formica.com/livingimpressions

3708-58 Burnished Coin

march 22

Bask in the glow

BOYSPLAYNICE

MARCH.22

INTERIOR DESIGN

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bridge to tomorrow At Sala Bang Pa-In—a river-island resort near Ayutthaya, Thailand, by Department of Architecture— traditional Thai style connects with a modern-design future text: joshua zukas photography: w workspace

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The Chao Phraya, Thailand’s major river, meanders through the center of the country, linking the ruins of the former capital, Ayutthaya, to the current one, Bangkok, about 50 miles to the south. The legendary waterway, which has nurtured Thai civilization for centuries, is what inspires—and flows around—Sala Bang Pa-In, a new island resort by Department of Architecture, the firm’s second project for the Sala Hospitality Group, a regional chain of nine luxury hotels, spas, and boutique properties.

Although the 43,000-square-foot hotel is near the Bang Pa-In Summer Palace, a glittering complex of mostly 19th-century buildings once home to the Thai kings, DoA’s design largely eschews royal references. Instead, the architecture straddles two worlds, using a vocabulary that draws on the vernacular of the surrounding rural river communities while speaking to Thailand’s modern design–led future. “We asked ourselves, How can we best fit within the context of the place?” co-principal Twitee Vajrabhaya reports. “How can we ensure that guests appreciate the uniqueness of the location?” In that respect, “Sala Bang Pa-In is truly site sensitive,” co-principal Amata Luphaiboon adds.

Entering the resort is like beginning a journey. Before accessing the island, guests check in at the verandalike riverside lobby, an open, casual place sheltered beneath an elevated wood structure resembling many of the simple neighborhood houses that cluster around it. Like them, it has a pitched corrugated fiber-cement roof, is painted a vivid color (in this case, red), and is supported on stilts. The last, a venerable flood-evasion technique, is necessary since the upper story serves not only as a multifunctional event space but also to store lobby furniture if the river rises during the rainy season.

The slender columns don’t dominate the landscape the way a conventional raised foundation might. “We weren’t looking for something alien and unfamiliar,” Vajrabhaya notes.

Previous spread: A painted fiber-cement footbridge stretches 180 feet across the Chao Phraya River to connect the mainland lobby to the island hosting Sala Bang Pa-In, a resort near Ayutthaya, Thailand, by Department of Architecture.

Top: The resort’s main swimming pool is 98 feet long.

Opposite: The lobby structure mimics the surrounding houses, with a pitched, corrugated fiber-cement roof and flood-proof stilt supports.

Bottom, from left: Inside the lobby, the staircase leads up to a multipurpose events room. On the island, the arrival deck’s amphitheater-like bleachers surround two preserved rain trees. Teak furniture beneath the main restaurant’s translucent polyester canopy is custom. Its zigzag roofline was inspired by traditional Thai temple architecture.

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After checking in, guests cross a bow-shape fiber-cement footbridge, also painted red, that takes them to the island.

An emblem of the resort, the crimson arc extends the vividness of the lobby without looking out of place. “Thai people love color,” Vajrabhaya observes. “You can see this in the villages, which always have a lot of reds, blues, yellows, greens, and other hues. Yes, the red is bold, but it blends in.” In fact, while today’s Thai villages are kaleidoscopes, historically houses were painted dark brown or red; the color choice here pays homage to that heritage.

A much quieter palette greets guests on the island, where blond woods, creamy paints and fabrics, and leafy greens predominate. This reflects DoA’s determination that the resort have minimal impact on the natural integrity of the island, a program further evidenced at the arrival deck, where a pair of carefully preserved rain trees emerge through holes cut in the fiber-cement planks, which are raised so as not to disturb the roots. A semicircle of terraced seating surrounds the trees, creating a kind of amphitheater where guests can sit and chat or watch scenes of village life across the narrow channel.

The hotel occupies the arrowhead-shape tip of the island, one side facing the near bank, the other overlooking a broad expanse of river and the distant shore beyond. The 24 guest rooms and villas span the two sides of the property, which ensures they all have water views, while a sequestered inner garden runs down its center. The resort’s signature accommodation, an expansive 5,210-square-foot villa, sits at the point of the arrow. Spread across two floors, the structure includes living and dining areas, three bedrooms, and a generous terrace with a private swimming pool that, thanks to its prowlike location, enjoys a 270-degree pano­ rama of the Chao Phraya. Most of the simple, modern furniture here and in the other villas, guest rooms, and public spaces is custom—honey-tone white-ash pieces inside, teak outside, and myriad rattan tables, chairs, sun lounges, and panels that draw on Thailand’s rich tradition of artisanal wickerwork.

Top: A natural rattan ceiling caps the main bathroom in the resort’s largest (and signature) villa. Center: A concrete pathway encircles the sequestered garden at the center of the resort. Bottom: In a pool villa, bathroom walls clad in brick tile evoke the construction method prevalent in nearby ruins at Ayutthaya, the ancient Thai capital.

Opposite: Custom white-ash furniture and rattan wickerwork join a feature wall of draped fabrics in the pool villa’s living area.

“We asked ourselves, How can we best fit within the context of the place?”

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Another Thai classic—the soaring architecture of the country’s traditional Buddhist temples—informs one of Sala Bang Pa-In’s other emblematic elements: the main restaurant’s dramatic, zigzag roof. A series of conjoined, steeply pitched gables, the tentlike structure comprises a light steel framework covered with translucent poly­ ester fabric. “I was thinking about the atmosphere I sought to create,” Vajrabhaya says. “I wanted natural light, but I needed a way to soften it; I wanted an outdoor space, but I needed a way to cool it.” The high ceiling turns even the fiercest sunshine into a gentle, luminous glow overhead while carefully positioned gaps in the canopy allow rising heat to escape the open-wall dining area below. The light and airy space connects seamlessly with a riverside dining terrace, yet another chance for Vajrabhaya and Luphaiboon to let the Chao Phraya nourish and inspire as it has done through the ages.

PROJECT TEAM JIRAPATR JIRASUKPRASERT; WORRAWIT LEANGWEERADECH; TANAPAT PHANLERT; RAMIDA SAKULTEERA; KWANCHANOK PORNCHAIPISUT; FAHLADA ROONNAPHAI; GASINEE CHIEU: DEPARTMENT OF ARCHITECTURE. PITTAYA RUNGBANJERD: LANDSCAPE CONSULTANT. FOS LIGHTING DESIGN STUDIO: LIGHTING CONSULTANT. POST: STRUCTURAL ENGINEER. MITR TECHNICAL CONSULTANT: MEP. P.H.2000 CONSULTANT ENGINEER: CONSTRUCTION MANAGEMENT. NEW MUANGTHONG FURNITECH: CUSTOM FURNITURE WORKSHOP. DOUBLE CLICK CONSTRUCTION; S45 ENGINEERING: GENERAL CONTRACTORS. PRODUCT SOURCES FROM FRONT SHERA: FLOORING, HANDRAIL (BRIDGE). TREECONCEPT: DECK (MAIN POOL). THAI MARBLE CORP.: TILING (POOLS). SUNBRELLA: CUSHION FABRIC (ARRIVAL DECK). DANPAL: SKYLIGHT (LOBBY). SERGE FERRARI: ROOF FABRIC (RESTAURANT). EARTH CRETE COLOR: CONCRETE FLOOR PIGMENT (RESTAURANT, GARDEN). SMILE DESIGN: DRAPE FABRIC (RESTAURANT, POOL VILLA). BEL VEDERE: FLOOR TILE (SIGNATURE VILLA BATHROOM). TRUSOL: SINK (SIGNATURE VILLA BATHROOM), TUBS (BATHROOMS). HI CRAFTSTONE: BRICK TILE (POOL VILLA). SUNITURE: CHAIR, OTTOMAN (SIGNATURE VILLA BEDROOM). THROUGHOUT WOOD DEN: FLOOR PLANKS. TOA PAINT: PAINT.

Top: The signature villa’s private pool occupies the very tip of the island. Bottom, from left: Like all of the resort’s 24 guest rooms, the pool villa has an unobstructed view of the Chao Phraya. Its bedroom looks out to a courtyard with a green wall.

Opposite top: Teak floor planks run throughout the signature villa. Opposite bottom: The footbridge’s brilliant hue echoes Thai villages’ love of color, while the villas on the island reflect a quieter, more nature-based aesthetic.

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healing elements Art, science, and connection to nature are the prescription at the Lawrence J. Ellison Institute for Transformative Medicine of USC in Los Angeles by Rios text: edie cohen photography: art gray MARCH.22

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If ever there were a multilayered hybrid collaboration, it is the Lawrence J. Ellison Institute for Transformative Medicine of USC. A long, narrow new-build oriented on a north-south axis not far from the University of Southern California’s campus, it encompasses 84,000 square feet across five floors, and includes 3,500 square feet of coveted outdoor space. HLW completed the structure’s core and shell architecture. Rios, under the leadership of creative director and partner Sebastian Salvadó, handled the remainder of the project, which took three years to complete, just as COVID-19 hit the scene.

Primarily a cancer research initiative, the institute is led by founding director and CEO David Agus, a physician and researcher, and was spearheaded by Oracle Corporation cofounder and noted billionaire Larry Ellison’s $200 million donation. A place for both labs and clinical services, it is a healthcare facility, but it’s also a workplace requiring offices, conference rooms, lounges, and staff amenities. Adding to the hybrid designation is the project’s educational component, which consists of a gallery celebrating medicine’s history and advances and an event space for symposia, and a repertoire of blue-chip artwork, much of it coming from Ellison’s private collection.

“The program is broken into three types of spaces,” Salvadó begins. Solitary rooms are for focused work. Lounges encouraging collaboration are dubbed transitionary spaces. They adjoin public zones, which include conference rooms and a kitchen. Arriving at the concept was not only Salvadó and the Rios team but also the doctor and the donor. “Sebastian was amazing in figuring out a way to include me in every decision,” Agus enthuses. “He made models so I could understand.” And Larry, who Agus first met while treating his nephew, was “involved in every decision, too.” To which Salvadó adds, “Our goal was to take Agus’s vision and translate it into a built space.”

It’s a holistic vision, including wellness programs and nutrition counseling, that acknowledges nature as a healer, while also integrating AI, physics, biology, math, and engineering.

Labs hold the key to the project’s organization. They are visually open to everyone on all floors and on all sides of the building. It was an expensive move but worth every penny: It not only anchors internal neighborhoods but also guarantees interdependency and that user paths intersect. Circulation is anything but orthogonal and the scheme is quite a departure from standard silo situations. The predominant use of wood—in the white-oak exposed ceiling and beams, thermally modified ash-slat partitions, and brushed oak flooring—is unusual, too. The setting is warm and “reminiscent of old warehouses,” Salvadó notes, and also underscores the project’s nature-centered theme.

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Previous spread: In the atrium lobby of the Lawrence J. Ellison Institute for Transformative Medicine of USC, a ground-up healthcare center in Los Angeles with architecture by HLW and natureinspired interiors by Rios, a Robert Indiana sculpture stands on custom brushed white-oak floor planks. Opposite top: A nearby lounge pairs Thomas Bentzen’s Cover chairs with Bob sofas by Thomas Bernstrand and Stefan Borselius and Tom Dixon Tube tables. Opposite bottom: The library lounge offers access to a print edition of the sequenced human genome along with Hlynur Atlason’s Lína chairs and the hardwood Pilar table. Top, from left: In addition to elevators, stairways incorporating live plants rise through the atrium’s three floors. In a corridor off reception, brass plaques compose the olive branch–designed donor wall. Bottom: The atrium’s wood framing looks less clinical than typical healthcare settings.

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“The predominant use of wood underscores the project’s nature-centered theme”

Set atop a two-story parking garage, the institute centers on a three-story atrium. A pair of stairways lined with live plants (as well as elevators) lead up to reception on the atrium’s second floor, where the gallery is also located. From there, a path proceeds to a lab fronted by a large glass expanse so that even visitors can see in. Nearby is the donor wall, its brass plaques arranged in the form of an olive branch, the ancient symbol of healing. Toward the back of this floor is Agus’s office, a bright aerie complete with a Charles and Ray Eames lounge chair upholstered in indigo corduroy, a slatted wood ceiling, and access to a landscaped terrace. It’s here that, among other work, Agus meets with donors, broadcasts lectures, and writes; his fourth book is a deep dive into nature, which he believes holds all the answers.

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Opposite top, from left: Another part of the project’s learning component is the history-ofmedicine gallery. Among staff amenities is the gym and yoga studio, its vinyl floor tile topping rubber. Opposite bottom: Visitors to the gallery have visual access to a research lab.

This page: Another Indiana sculpture is displayed in the atrium, backed by slats of white ash.

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That’s in step with the large, Pacific Ocean–facing terrace off the building’s skylit top floor, half of which is devoted to office areas and staff amenities, including a combined gym and yoga studio and a librarylike lounge with shelves of books holding the entire sequencing of the human genome.

The other half of the floor is dedicated to patient care. Although more clinical and white than the institute’s other areas, forms, such as the check-in desk, are rounded, and vertical surfaces are wrapped in grass cloth-esque wallcovering. A bridge spanning the atrium connects the two sides and adjoins the project’s experiential aspect: a grass and rock garden built on top of one of the labs. “It’s not Japanese but more West L.A,” Salvadó says. “The gravel looks like beach sand and the greenery is bright like what’s found in the Santa Monica Mountain canyons.”

Hope and love, also crucial to healing, are literally spelled out in Robert Indiana’s immense sculptures, both located in the atrium lobby. They’re joined by pieces elsewhere in the hospital by such bold-face names as Jim Dine, Keith Haring, and Ai Weiwei. (See ETC. on page 90 for more about the institute’s art collection.)

Le Corbusier famously said, “A house is a machine for living in.” Agus proffers his version. “Rios made a building that enables us to work. The building is not separate from the work, it’s part of it.”

He hopes it encourages the next generation to enter science and medicine to discover a cure.

PROJECT TEAM CLARISSA LEE; DEVIN MIYASAKI; ERIN WILLIAMS; HAORAN LIU; LAURA KOS; MELANIE FREELAND; MISATO HAMAZAKI; NICOLE ROBINSON; TOM MYERS: RIOS. OCULUS LIGHTING: LIGHTING CONSULTANT. HAROLD JONES LANDSCAPE: LANDSCAPING CONSULTANT. RISHA ENGINEERING: STRUCTURAL ENGINEER. CRB ENGINEERING: MEP. SYSTEMS SOURCE: FURNITURE DEALER. ANDREA FELDMAN FALCIONE: ART CONSULTANT. KBDA: GALLERY CONSULTANT. SIERRA PACIFIC CONSTRUCTORS: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT TOM DIXON: TABLES (LOUNGE). BLA STATION: SOFAS. TECH LIGHTING: PENDANT FIXTURES. MUUTO: CHAIRS (LOUNGE), RUG (LIBRARY). DESIGN WITHIN REACH: CHAIRS (LIBRARY). INDO: TABLE. LUMINII: LINEAR FIXTURES (GYM). REGUPOL: FLOORING. KVADRAT MAHARAM: CURTAIN FABRIC. LOUIS POULSEN: PENDANT FIXTURES (LOUNGE). TACCHINI: WHITE SOFA, OTTOMAN. BERNHARDT DESIGN: LOUNGE CHAIR. HAY: SIDE CHAIR. PIERRE AUGUSTIN ROSE: COFFEE TABLE. GREEN FURN­ ITURE COMPANY: BENCHES. MDC: WALLCOVERING (HALL, CLINIC RECEPTION). MILLER KNOLL: CHAIRS, OTTOMAN (OFFICE). SYSTEMS SOURCE: CUSTOM DESK. ARMSTRONG: CEILING. XAL: RECESSED CEILING FIXTURE. BENTLEY: CARPET. THROUGHOUT AMERLUX; LUCIFER: LIGHTING. ARIANA RUGS: CUSTOM CARPET. THERMORY: WALL SLATS, ASH FLOORING. GALLEHER: CUSTOM OAK FLOOR PLANKS. BENJAMIN MOORE & CO.; DUNN-EDWARDS; FARROW & BALL; SHERWIN-WILLIAMS COMPANY: PAINT.

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Opposite top: A corner lounge is furnished with Louis Poulsen pendant fixtures and modular Nova C benches made of oak. Opposite bottom: Skylights brighten a patient-care corridor in the clinic. Top, from left: A custom live-edge desk, Cradle to Cradle–certified carpet tile, and Charles and Ray Eames’s chair and ottoman outfit the office of founder director and CEO David Agus. Linenlike vinyl wallcovering hung with Bunny Burson artwork and a custom desk define the clinic’s reception. Bottom: Another staff amenity, a rock garden on the building’s top floor, faces west to the Pacific Ocean.

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From top: On a terrace at the Lawrence J. Ellison Institute for Transformative Medicine is Elephant in chromium stainless steel by Jeff Koons. Jaume Plensa’s Carlotta II is granite.

Opposite, clockwise from top: Jacob van der Beugel’s Concrete Cancer appears as paneling on the institute’s top floor. It combines concrete, ceramic, recycled aggregate, steel, rust, and resin. Keith Haring’s Untitled vinyl tarp is nearby. Donald Sultan’s painted aluminum Three Big Red Poppies is in the atrium lobby. Ai Weiwei’s Iron Tree Trunk stands on another terrace.

art therapy At L.A.’s Lawrence J. Ellison Institute for Transformative Medicine of USC, concerns for health and wellness extend beyond research, labs, and treatment clinics. Art plays a part in healing, too—at least it does to the institute’s founder and CEO David Angus and establishing donor Larry Ellison, also known as the cofounder of Oracle. Together they conceived of a plan in which art would pervade—and elevate—the premises. Among the artists featured are Bunny Burson, Jim Dine, Donald Sultan, and Ai Weiwei.

“I had the privilege to work with Steve Jobs,” Angus says. “He implanted in my brain that every detail matters.” Jobs’s fellow tech titan Ellison donated many of the center’s pieces from his collection. So far, they number 35 and encompass a range of mediums, including a granite bust by Jaume Plensa. Some even allude to cancer, the institute’s primary research initiative. One is Jeff Koons’s 12-foot-tall magenta sculpture of an elephant; the animal has genetic mutations precluding it from developing the disease. Another is Jacob van der Bruegel’s mixed medium covering a wall on the building’s top floor. Its components resemble cancerous cells as seen under a microscope while searching for better treatment.

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e t c.

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lightness of being Wanmu Gongfang carves out a sanctuary for fitness, serenity, and connection at TT Pilates, a studio in Xiamen, China

text: rebecca lo photography: 1988 photography studio/a qi

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Previous spread: In a classroom at TT Pilates in Xiamen, China, by Wanmu Gongfang, natural light streams in through organically shaped windows, the surrounding plane made of a custom mix of fine sand and powdered seashells.

Top, from left: Weathered wood resembling river pebbles act as seating in the changing area. The studio is on the 22nd floor of an office tower and has its own terrace. Bottom, from left: A corner of the lounge is furnished with a reclaimedwood table and accesses the terrace. The largest of three classrooms contains Balance Body Pilates Reformer beds and oak floor planks, which are throughout.

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The southeast Chinese province of Fujian was all about quality of life before the term became a thing. While its capital city of Xiamen was a port as early as the Song Dynasty, around the first millennium, its development was more organic compared to the hustle of adjacent Guangzhou. Instead, Xiamen residents prefer to linger over gongfu tea, listen to Fujianese opera, or visit the city’s ubiquitous gardens, temples, and beaches. After the city became one of China’s special economic zones in the late 20th century, manufacturing, logistics, and financial development transformed its appearance and pushed its population to more than 3 million. Skyscrapers began dominating the landscape, so that today, Xiamen resembles many of its emerging Chinese counterparts. Yet its people continue to seek quality of life even if it’s only 1 or 2 hours away from their desks.

Established in 2013, TT Pilates is more than just a studio offering the mind-body exercise. It also strives to be a haven for people to unplug from the digital world and communicate with their bodies—and each other. Founder Zhang Ting, known as Ting Ting, is a Pilates and Gyrotonic Method specialist. She has two other successful Xiamen studios, in which she provides group classes with no more than eight students as well as one-to-one instruction. For her third, she looked to husband Jinshi Hong, design director of Wanmu Gongfang, to create a cocoon where her students can disconnect despite being in an urban skyscraper. “The studio is downtown, on the 22nd floor of an office tower,” Hong notes.

“Most of Ting Ting’s clients are people who work in the building or live nearby, generally women and a few kids.”

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“The entire studio is surrounded in a custom natural material made from fine grains of sand and powdered seashells” The length of the space is oriented westward for students to enjoy the soft glow of twilight as they stretch in the early evening. Those attending morning or lunch-hour classes experience sunlight filtered through organically shaped apertures set within a wall parallel to the glazing. “Pilates requires a quiet, relaxed, and focused atmosphere. But this project is located in the noisy city center, so we created curves,” Hong explains. The entire studio is surrounded in a custom natural material made from fine grains of sand and powdered seashells. Its handcrafted finish resembles the undulations of a cave’s interiors, with openings in the wall and ceiling for light to dance upon the oak floor planks. The membrane further helps to dampen the city’s traffic and evoke a state of tranquility.

Hong subdivided the nearly 8,000-square-foot studio into three classrooms of varying sizes, with the largest in the center. Buffering the rooms are a series of more intimate spaces starting from the entry by the building’s elevator lobby. From there, a shoe-removal area with sculpted wooden seating resembling oversize river pebbles anchors a quartet of private changing rooms. Farther in is a restroom and shower area, a treatment room, and back-of-house offices. The studio’s main social hub is the lounge, where Pilates students can congregate before or after class around a generous central island, on beanbag chairs, or outside on an adjoining small terrace.

Wood-clad columns were created to hide fire-hose reels in another classroom, which is outfitted with Gyrotonic Method machines.

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Top, from left: The lounge’s island fronts a wall with niches for stor­ing tea kettles and other objects. A frangipani tree dominates the micro-cement terrace. Bottom, from left: Toward the back of the studio are showers and restrooms. The largest classroom features a climbing wall.

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The classrooms manifest Hong’s interpretation of Joseph Pilates’s philosophy. Simply put, Pilates is the art of controlled movements to align body and mind. To facilitate its practice, Hong pared down the classrooms for as little distraction as possible. The largest is outfitted with Balance Body Pilates Reformer beds along the floor and Aerial Pilates equipment on the ceiling. At one end of the room is a climbing wall; the other has a mirror for students to check or correct their posture. The next smaller classroom is outfitted with Gyrotonic Method machines, and the smallest is intended for mat-based practice. “Most students use the machines but a few use mats only,” Hong says. Dotting the corridor connecting all the spaces are aged wooden pieces that are part curio and part furnishings. “We were inspired by nature in the design of all the loose furniture,” he notes. His firm’s name, Wanmu Gongfang, by the way, translates to wood fun.

The lounge centers on a long island fronted in oak, topped by white solid-surfacing with waterfall edges, and lined with stools. Behind the island, wall niches in the shape of triangles, circles, and rectangles store teaware and the like while providing visual interest. In a corner, students can gather on beanbag chairs around a low table after working out, or pass through arched openings to the terrace, where a live frangipani tree contributes to fragrant breezes. The only color in the room—and the entire studio—is a lipstick-red refrigerator.

Since TT Pilates opened in 2021, it has experienced relatively minor disruptions due to pandemic-induced lockdowns.

“Aside from the studio being closed for a month, when cases rose in Xiamen, we didn’t experience any other challenges,” Hong says. “But if I could change one thing, I would make the terrace larger.”

PRODUCT SOURCES FROM FRONT SMEG: REFRIGERATOR (LOUNGE).

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healthy living Around the globe, a plethora of new spas, pools, gyms, and saunas raises the bar for everyday wellness text: peter webster See page 108 for the Eichbottbad indoor swimming pool, a new municipal facility in Leingarten, Germany, by Kauffmann Theilig & Partner. Photography: Roland Halbe.

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Bureau project Origin, Geneva. standout Specializing in floatation therapy, the 2,045-square-foot spa is designed as a dreamlike progression through reception, waiting, and relaxation areas—calm but buoyant spaces where blocks of pastel tile or paint on walls and flooring (a palette inspired by Swiss-based Iranian photographer Shirana Shahbazi’s work) play subtly with perspective— to the intimacy of three tank rooms, white volumes bathed in blue light, each with a saltwater sensory-deprivation pod at its center. photography Dylan Perrenoud.

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“Forms, colors, objects, living beings, spaces — all smile playfully at each other gathered in an intimate, subtly erotic, and calm journey”

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“The big windows illuminating the interior refer to the Czech tradition of Sokol sports halls with the optimistic spirit of the interwar period”

OV Architekti project Hala Borky, Kolín, Czech Republic. standout Surrounded by woodlands, and accessed by a riverside bicycle path, the 24,760-squarefoot athletics venue embraces both simplicity—a single-level precast-concrete building with a tall, wood-clad lantern that rises above the ball court, allowing natural light to pour through large windows topped by a laminated-timber beam and wood-slat ceiling—and, thanks to extensive thermal insulation and a small photovoltaic array on the roof, passive energy status, too. photography BoysPlayNice.

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Studio Reaktor project Infinit Sen, Senohraby, Czech Republic. standout Set in a landscaped garden with a small natural pond, the Czech wellness chain’s fifth outpost is a picturesque compound of cabins—15,000 square feet in total— housing a fresh-juice bar, massage facility, cooling zones, and seven individual saunas, the latter clad in larch slats but each featuring a unique interior that riffs on a particular theme, such as honey, herbs, or ceremony. photography BoysPlayNice.

“The playfulness and diversity of the interiors intensify

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the sauna experience with different scents, temperatures, and music”

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Kauffmann Theilig & Partner project Eichbottbad, Leingarten, Germany. standout Flanking an existing outdoor pool, the new 26,000-squarefoot municipal facility comprises adult and children’s pools under a curving canopy of laminated-spruce beams with generous skylights and a backlit textile-membrane ceiling that helps tame acoustics, while internal walls are clad in warm woodgrain laminate. photography Roland Halbe.

“Eichbottbad fits into the existing green space like a new jewel, emphasizing the qualities of the location through orientation and views”

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Leckie Studio Architecture + Design project House Concept, Vancouver, British Columbia. standout Occupying the entire seventh level of a low-rise building in a striking BIG– Bjarke Ingels Group mixed-use devel­op­ ment, the 15,600square-foot facility includes discrete yoga, spin, and boxing studios, two gyms (one for residents only), and support spaces—all displaying a raw but highly experiential aesthetic that leaves structural concrete and ductwork exposed but clads volumes with mirror or hot-rolled steel panels inspired

by Richard Serra installations. photography Ema Peter.

“The base shell was a complex and chaotic space, with services from other parts of the building running through it—an anarchic state the architects embraced as a ‘found condition’”

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mission statement

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For the Riverside Main Library in California, Johnson Favaro and Diane Lam Design eschew expected Spanish revival style in favor of something more contemporary text: joseph giovannini photography: eric laignel

America’s postwar suburbanization has not been kind to its downtowns. But some U.S. city centers are staging a quiet comeback. In a certain Southern California city with a population of 326,000, the new Riverside Main Library by Johnson Favaro is catalyzing the turnaround of a downtown now aimed at more business, greater walkability, and increasing residents in more sustainably designed buildings.

The handsome, sculptural library, its squared mass raised two stories over a public plaza, is the first part of a 2½-acre, mixed-use development with high-rise housing and retail stores, all of which the firm master planned after winning a 2017 competition. At the turn of the last century, the City Beautiful movement used beaux arts buildings to shape dignified public spaces; now Johnson Favaro is using modernist design to create comparably grand structures to dignify the civic environment.

Just down the street, Riverside already boasted the sprawling Mission Inn, an extravaganza of Spanish revival styles built over several decades in the early 20th century. The imaginative building, a designated national historic landmark, elevated expectations for the 38,670-square-foot library. “But the city had seen enough knock-offs, so we emphasized the need for something authentic that would contribute a statement of our time and could match the stature of the buildings they love,” notes principal Steve Johnson, who met co-principal Jim Favaro when they were both students at the Harvard University Graduate School of Design.

The full-block site, occupied by an old police station and parking lots, had deteriorated. “There was no there there,” Johnson observes. “We sought to make a downtown neighborhood.” To integrate the library and mixed-use buildings into the adjacent business and Mission Inn areas, Johnson Favaro proposed a paseo running down the middle of the development, connecting the avenues on either side. A shaded plaza under the elevated library would serve as a general event space for a farmer’s market, book and food fairs, and festivals.

The ensemble would become a destination for the entire town.

The architects maximized the library’s presence by designing the front facade as a bold, declarative block surfaced in porcelain tile printed like marble, all lifted on blocklike concrete cores housing the building systems. They wrapped the blocks with smaller structures—aluminum-and-glass boxes or red metal–clad rectangular prisms containing a friends-ofthe-library bookstore, the city archives, a community room, and other complementary facilities.

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Previous spread: Porcelain tile printed with a marble pattern clads the facade of the Riverside Public Library in California, a collaboration between Johnson Favaro and Diane Lam Design.

Opposite top: The two-story volume is elevated on two-story blocklike concrete cores. Opposite bottom: Elevators to the third-floor entrance are encased in glass-and-aluminum curtain walls.

Top, from left: Jehs + Laub chairs join a Boonzaaijer & Spierenburg modular sofa in the entry, dubbed the “marketplace.” The plaza beneath the library hosts book fairs and a farmer’s market.

Bottom: Hush Low chairs lining the double-height perimeter enjoy views of distant mountains, while the painted rectangles behind refer to Riverside’s diverse cultures.

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The 50-foot-high, 200-foot-long facade acts like an Old West storefront behind which the building transforms into arching prows that scoop out a wide, landscaped terrace and a long balcony overlooking the future paseo. The squared, straight-edged facade, centered on a distorted, parabolic view window, is a foil and datum for the scalloped rear facade, which reads as a monumental piece of public art pedestalized on its base like an elevated Henry Moore sculpture.

A glass-enclosed elevator takes visitors from the plaza to the library entrance on the balcony. The adult reading section occupies the upper floor of the lifted volume, and the children’s and young adult section, the lower. A generous, open interior staircase connects the levels, domesticating the interior as if it were a two-story house. Traditionally, libraries are organized around a large reading room, but Johnson Favaro turned the

interior inside out, like a sock, placing seating and study carrels in the double-height perimeter for viewing the spectacular San Gabriel, San Bernardino, and Box Spring mountains to the north, and Mt. Rubidoux to the west.

Because libraries no longer simply warehouse books but also act as community centers, the firm broke up the stacks into a landscape of neighborhoods devoted to different activities for various age groups. That suggested different approaches for each of the spaces to Diane Lam, principal of her eponymous studio specializing in library design, a frequent collaborator who led the interiors team. “I looked at each room individually,” Lam says. “I placed tangerine Panton chairs at the end of the visual corridor in the children’s area to complement the explosion of orange, yellow, blue, and green in that whimsical space. In the entrance ‘marketplace,’ the white

Below: In the children’s section, a carnival-inspired custom ceiling fixture presides over modular seating, including David Dahl’s colorful Leaflette bench.

Opposite top: Custom carrels populate the wide concrete-floored aisles of the adult stacks. Opposite bottom: Partly sheathed in colorful composite-metal paneling, the city archive wraps one of the concrete support cores.

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“Our goal was to accomplish something as good as those old beaux arts buildings, but in a modern vocabulary”

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shells of the lounge chairs echo the soft curves of the window and the white exterior. Furnishings that picked out architectural details made the spaces feel more complete.”

The handsomely designed stacks are generously scaled with wide corridors, some furnished. The clean detailing of the white, gently vaulted upper-floor ceiling sails over the space, unifying sections. The lower-floor ceiling is painted with rectangles of bright colors that refer to the different cultures of Riverside’s diverse constituencies. The architects and the designer have fused form and program inside and out to coalesce a sense of community and urbanize the library with activity. The programming and physical placement on the site help create a connective social and urban tissue with nearby Market Street and the Mission Inn. “The challenge was to design a building of stature that still adheres to a public budget—to defend things like doubleheight spaces and porcelain tiles against value engineering,” Favaro observes. “Our goal was to accomplish something as good as those old beaux arts buildings, but in a modern vocabulary.”

PROJECT TEAM BRIAN DAVIS; KEVIN GERAGHTY; DEXTER WALCOTT; HONGJIE LI: JOHNSON FAVARO. LINDA DEMMERS: LIBRARY CONSULTANT. EPT DESIGN: LANDSCAPE CONSULTANT. RANDY WALKER: GRAPHICS CONSULTANT. DARKHORSE LIGHT­ WORKS: LIGHTING CONSULTANT. ANTONIO ACOUSTICS: ACOUSTIC CONSULTANT. ENGLEKIRK INSTITUTIONAL: STRUCTURAL ENGINEER. INTERFACE ENGINEER­ ING: MEP. SHERWOOD DESIGN ENGINEERS: CIVIL ENGINEER. CIMA WEST: WOODWORK. YAMADA ENTERPRISES: FURNITURE SUPPLIER. MGAC: CONSTRUC­ TION MANAGER. ICON-WEST: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT DAVIS: SOFA, CHAIRS, LOW TABLES (ENTRY); BLACK CHAIRS (IN­NOVATION). ARPER: WHITE TASK CHAIRS (ENTRY). NAUGHTONE: GRAY LOUNGE CHAIRS (ENTRY, CHILDREN’S). STEELCASE: WHITE SIDE TABLES (ENTRY, CHILDREN’S), FURNITURE (TERRACE), TABLES (CHILDREN’S). BLOOM LIGHTING: CUSTOM CEILING FIXTURE (CHILDREN’S). ARCADIA: MODULAR BENCH. TMC: GRAY OTTOMANS. BENTLEY MILLS: RUG. URBAN ACCESSORIES: TREE GRATES (TERRACE). BEGA: SCONCES, IN-GROUND FLOODLIGHTS. VITRA: SIDE CHAIRS (CHIL­ DREN’S). DELRAY LIGHTING: PENDANT FIXTURES. OCL ARCHITECTURAL LIGHTING: PENDANT FIXTURES (INNOVATION). DESIGNTEX: WALLCOVERING. MANNINGTON COMMERCIAL: FLOOR TILE. BERNHARDT DESIGN: LOUNGE CHAIRS. MOMENTUM TEXTILES: CHAIR

UPHOLSTERY.

HERMAN MILLER: TABLE.

THROUGH­OUT STONEPEAK CERAMICS: EXTERIOR TILE. STO CORP.: EXTERIOR LIMESTONE FINISH. KAWNEER: CURTAIN WALL. ALPOLIC: EXTERIOR PANELS. PYROK: ACOUSTICAL CEILING PLASTER. ESTEY SHELVING: CUSTOM BOOK­ SHELVES. WORDEN CASEGOODS: CUSTOM CARRELS. LUMENWERX; PHILIPS LIGHT­I NG: LIGHTING. VISTA PAINT: PAINT.

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Opposite top: A planted terrace occupies one end of the third floor. Opposite bottom: Verner Panton chairs surround Lievore Altherr Molina tables in the children’s section.

Top, from left: LED ceiling strips enliven the children’s stacks. With its circular Solo pendants, moody vinyl floor tile and wallcovering, 3-D printers, and sound recording booth, the innovation center is aimed at young adults. Bottom: The sculptural rear facade overlooks the development’s future central paseo.

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fitness brigade At the Brooklyn, New York, headquarters of Crye Precision, a military-gear maker, an employee exercise center by Camber Studio is fit for a general text: rebecca dalzell photography: john muggenborg 120

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In 2003, Wes Rozen snuck inside an abandoned shipbuilding facility in the Brooklyn Navy Yard. The longdecommissioned site, along New York’s East River, was transforming into a hub for creative and manufacturing businesses. But some structures were still dilapidated. Rozen, then an architecture student at the Cooper Union, was helping to plan and design a facility in the Yard for Crye Precision, a start-up military-gear manufacturer.

After hours, he slipped into the building through a broken door and saw a 70-foot-high ceiling with shattered clerestory windows and a massive hall filled with old machines. “The place was falling apart and full of holes,” the Camber Studio principal remembers.

Today, that 87,000-square-foot building, since renovated by MN Design Professional Corporation, is Crye’s headquarters.

Recently, executive director Gregg Thompson invited Rozen back to design the workplace’s amenity spaces, including a fitness center, for Crye’s 240 employees. “Wes knew the building better than anyone,” Thompson says. And Rozen certainly understood the difficulty of installing a gym there.

Crye, now a major supplier of body armor and combat apparel for the U.S. Armed Forces, manufactures almost everything on-site; by law, military garb must be made domestically.

Two floors of offices and sewing rooms line the sides of the building, and the 470-foot-long hall is used for storage. The best space for the gym was on top of two rooms in the center of the hall, which connect to the site’s mezzanine via a bridge.

“It’s unusual to have a gym in the middle of an industrial space,” Rozen notes. “The challenge was making it private, while designing something with scale that would hold the spotlight.” It made an intriguing first commission for Camber, a design and fabrication workshop in nearby Red Hook. A co-founding partner of SITU, which coincidentally is also located in the Brooklyn Navy Yard, Rozen left after 13 years to launch Camber in 2018. His new firm focuses on unique projects at the intersection of art and architecture, and is named after the term for to arch slightly. At Crye, the two rooftops act as plinths for a sculptural, origamilike structure of black prefinished plywood. “Since this was an interior buildout, we didn’t have to worry about outdoor elements, so we could have fun,” Rozen says.

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Previous spread: At the Brooklyn, New York, headquarters of Crye Precision, a military-gear maker, panels of prefinished plywood embedded with LED strips form a tunnel connecting two sides of an employee exercise center, an addition by Camber Studio, the diamond motif alluding to the stitches on the garments manufactured on-site.

Opposite top: Monstera, ferns, and ivy grow inside custom steel planters, which are encased in prefinished Baltic birch plywood. Opposite bottom: Cutouts in the plywood bring light inside the tunnel and create a pattern like a mineral vein in rock.

Top: The excercise center volume sits atop Crye’s shipping-and-receiving rooms in the middle of an early 20th–century, former shipbuilding facility in the Brooklyn Navy Yard. Bottom: For the tunnel, which incorporates a climbing wall, 1-inch-deep slots were milled in the plywood and plastic hinges inserted so the material could fold.

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Top, from left: Plywood bleachers line the exercise center. For privacy, employees can adjust shutters in the same wood, which open to boxes of garments in Crye’s central hall.

A window in the yoga studio looks into the tunnel. Bottom: The tunnel, with a steel and aluminum structure, was inspired by a mountainous landscape and folds of fabric.

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It helped to have a supportive client: Thompson requested a gym, but was otherwise open to ideas. Early on, the architect suggested adding flex spaces to five empty balconies once used for unloading cranes; one is now a small kitchen and the others are informal work and meeting nooks. After surveying employees, Rozen fleshed out the program for the gym: a yoga studio on one side, a fitness center with a climbing wall on the other, and a tunnel over the bridge in between. All told, the amenities add 5,000 square feet.

The Camber team members started by thinking about visibility and camouflage, like an army would. They identified viewpoints throughout the hall that form a network of sight lines, then placed windows accordingly. Shaped like a cone, the openings privilege the viewer on the inside, much like those in a castle or a bunker wall. “When you’re inside the amenity space and close to the window, the cone matches your line of sight and the view feels expansive,” Rozen explains. Camber also created shutters that gym users can close or open for more or less privacy.

The plywood cladding references the garment manufacturing happening within the building. A repeating diamond motif, engraved with a CNC router, gestures to stitches, measurements, and sewing patterns. “People actually make things here, so it speaks to that craftsmanship,” Rozen says. The walls, bolted to a steel parapet, are

about 1 foot off the main gym structure and hang like clothes on a body. “We considered how to make plywood as fabriclike as possible,” he says. For the tunnel, Camber added hinges so the material can fold and drape over a steel-and-aluminum armature as well as, on one side, myriad colorful holds for the climbing wall.

With an undulating roof, the tunnel also takes inspiration from something farther afield: the mesas and moun­ tains of the American West, where Rozen grew up. Camber envisioned it as a contrast to the urban surroundings that nods to landscapes where soldiers spend much of their time. The shell is flat by the yoga studio and rises toward the climbing wall, its geometry derived from a spot on the rim of the Grand Canyon where the desert meets a rocky valley. Inside, the space feels both futuristic and cavelike, creating what Rozen conceived as a moment of compression within the expansive hall. Cutouts bring in light but blur people within.

Camber prefabricated most of the plywood components in its workshop and assembled them at Crye. Starting with large mockups, the team worked out the geometry for the folds with the help of structural engineers and a Grasshopper CAD programmer. “The computation for the tunnel is super heavy and complex,” Rozen admits. For Thompson, the equations add up to a deconstructed form that “changes and breaks apart visually,” as if alluding to the site’s formerly ruined state. “It’s abstract, dramatic, and works well,” he says. Most importantly, the amenities are heavily used—busy with tai chi classes and breakout sessions.

PROJECT TEAM ZACH MULITAUAOPELE; SEAN MILLER; JULIA DIPIETRO; JAMES COLEMAN; BEN MOSCA; CHRISTOPHER WHITE: CAMBER STUDIO. LAUFS ENGINEERING DESIGN: STRUCTURAL ENGINEER. KAMMETAL: METALWORK. SITU FABRICATION; TRI-LOX: WOODWORK. VERDANT: LANDSCAPE DESIGN. PRODUCT SOURCES THROUGHOUT NORTH AMERICAN PLYWOOD: PREFINISHED PLYWOOD. METOLIUS: CLIMBING WALL HOLDS. TRX: BATTLE ROPES. ROGUE FITNESS: FITNESS EQUIPMENT.

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Opposite top: The exercise center was programmed with input from Crye-sponsored athletes, such as skydiver Jeff Provenzano, a member of the Red Bull Air Force team. Opposite bottom: Storage drawers are tucked inside the bleachers, and the studio’s 10-foot-high mirror fronts a closet; flooring is natural ash planks. Top: The commission also entailed transforming five empty balconies into semi-enclosed flex spaces for small meetings or lunch. Bottom: Cone-shape windows privilege the view of those inside.

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BU I LT TO OU TCOMFORT & OVE R L AST

WO O DAR D-F U R NITU R E .COM

™

ROYAL BOTANIA Styletto tables in numerous formats and heights stackable chair with removable seat pad expansive materials palette tapered conical legs

royalbotania.com 130

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EDITORS’PICKS

LAUNCH EDITORS' PICKS

ATRIS

Influenced by Kazimir Malevich’s revolutionary art, the Russian studio’s Radius pendant plays with planes and dimensionality, juxtaposing a flat steel ring with a glass orb. atris.design

SET DESIGN: MAKSIM ARBUZOV; RENDER: DMITRY SAVELIEV, ANTON VOLODIN

standouts brushed steel or brass designed by dimi litz and dmitry beznosov

12.6” or 15.3” across MARCH.22

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LAUNCH EDITORS' PICKS

STUDIO SOLUM LIGNUM

Swallow nests near the French studio’s Sologne forest workshop informed 86, a sensual coffee table crafted of oak scraps—86, to be precise. solumlignum.fr

standouts designed by anaïs mroz and simon boullier

156 x 60 x 39 cm

MARIO SIMON LAFLEUR

88 lbs

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LAUNCH EDITORS' PICKS

LUJO

The Kiwi company’s scaled-down Kyoto Mini version of its quilted bean bag is sized for kids, and covered with commercial-grade fabric to ensure upkeep’s a cinch. lujoliving.com

standouts colorfast polyester back support and high seat base for ease of getting in and out safety zips made in new zealand

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LAUNCH EDITORS' PICKS

standouts nero st . laurent marble dalmatian and marconi jasper inlay routed pattern surrealism meets the american southwest

DEMURO DAS

Congratulations are in order! RISD student Virginia Gordon’s competitionwinning stone marquetry table, Vision, is being producted at the DeMuro Das factory in New Delhi. demurodas.com

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LAUNCH EDITORS' PICKS

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

BRETT DESIGN

Brett Beldock’s Piero mural is part of a wide-ranging collection inspired by such disparate influences as Valentino’s Spring 2022 runway show, tie-dye, and even Amazon boxes. brettdesigninc.com

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LAUNCH EDITORS' PICKS

LE BERRE VEVAUD

The interior design duo’s sculptural Peonia chair, on glosslacquered round legs, forges unexpected connections between the modernist movements of the 1930s and today. leberrevevaud.com

standouts designed by raphaël le berre and thomas vevaud

65 x 51 x 85 cm

STEPHAN JULLIARD

in bisson bruneel ' s bergamo 2 wool - cotton in crème

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LAUNCH EDITORS' PICKS

UTOPIA GOODS

Native Threads, a collection of performance jacquards woven in the U.S., honors Australia’s natural landscape with eye-catching patterns based on indigenous flora. usa.utopiagoods.com

standouts incorporates postconsumer - recycled yarn designed by bruce slorach and sophie tatlow uv resistant for outdoor use

MARCUS ENO

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LAUNCH EDITORS' PICKS

standouts

4 styles in wider collection hand - knotted inspired by steve m c queen and once upon a time in hollywood

REVIVAL

A flatwoven ground is punctuated by raised cut-pile wool squares in Grier, an earth-tone rug suffused with the folk mystique of Laurel Canyon in the seventies. revivalrugs.com

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LAUNCH EDITORS' PICKS

SHORE

Chroma Square, a soft and sturdy indoor-outdoor stool in a lavender-to-rust gradient, stretches spongy silicone cord over marine-grade foam. shorerugs.com

standouts shown in desert sky colorway

20” x 20” x 16” designed by louie rigano and gil muller

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LAUNCH EDITORS' PICKS

STUDIO M LIGHTING

In Stratum, clear slabs of half-inch-thick glass are pressed between discs with agedbrass finish, the entirety of the pretty sconce lit by LEDs that distribute light evenly in all directions. studiomlighting.com

standouts designed by nina magon

10” x 10” x 2.25” pendants also available

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LAUNCH EDITORS' PICKS

FLOKK

Equally suited to WFH and the office proper, HÅG Tion moves with your body throughout the day—courtesy of its free-flowing tilt function—to aid good posture. flokk.com

standouts

75% recycled and renewable content HUNTING & NARUD

universal castors for hard and soft flooring optional armrests

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LAUNCH PARTNERS // FABRIC & WALLCOVERING

standouts free of antimicrobial additives and flame retardants greenguard gold healthier hospitals initiative compliant disinfectible

STANDARD TEXTILE

Astrid is one of six cosmic-inspired patterns in the Voyage Collection, all powered

by Crypton’s C-Zero Plus fluorine-free fabric technology with moisture barrier to repel liquid and water-based stains—and thwart odor, too. interiors.standardtextile.com 142

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LIGHTING

// LAUNCH PARTNERS

standouts flat black finish led lighting

60” long

CRAFTMADE

Like a calligraphic flourish in midair, the striking curlicued black frame of the Pulse linear fixture is illuminated by state-of-the-art dimmable LEDs. craftmade.com MARCH.22

INTERIORDESIGN LAUNCH

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LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

standouts natural gas and propane gas stainless - steel engine birch , driftwood , or traditional logs zero clearance and reduced clearance backing plate options

VALOR FIREPLACES

Courtesy of its superslim engine, the H3 fireplace is ideal for both residential new-construction installs and replacing existing wood or gas models, providing efficient, radiant warmth—and a relaxing ambience. valorfireplaces.com

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LIGHTING

// LAUNCH PARTNERS

FRY REGLET

The LED Lighting System suits any application—from drywall to wallcovering to millwork—and is eminently customizable, offered in a menu of wattage options and various aluminum profiles and finishes.

rgb , rgbw , white , or variable white leds

fryreglet.com

from 2700 k - 6500 k

standouts in clear or color anodized finish ; select profiles in powder - coat

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LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

standouts class a per flame spread & smoke index seamlessly installed by gotw team published hpd & cphd voc compliance highest visual & longevity standards

The brand’s custom, turnkey, awardwinning Garden on the Wall elements are designed and crafted with maintenancefree preserved plants that keep their vibrant look for up to 10 years, transforming interior spaces into oases. gardenonthewall.com 146

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CONNIE ZHOU

GARDEN ON THE WALL

ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

standouts for residential and commercial wall applications

2.5” x 16” format 5 colors

ROCA TILE USA

The elongated format, irregular edges, and glossy surface of Zellige ceramic wall tile captures the look, feel, and historic character of its namesake Moroccan modules. rocatileusa.com

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LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

standouts

9 colors collection offered in varia , chroma , and 3form glass various gauges

3FORM

The 2022 Color Collection offers designers a palette of grounding, desaturated hues—from moss green and deep blue to cool gray— inspired by the California coastline through the seasons.

3-form.com/2022-color-collection

FABRIC & WALLCOVERING

// LAUNCH PARTNERS

standouts

4 patterns ; 5 colorways each textile wallcovering ; nonwoven backing proprietary 3-D production technology

ARTE

With a 3-D surface texture and suede-like finish that help soften acoustics, the Objet wallcovering collection puts a modern spin on classical decorative moldings such as cornices and wainscoting. arte-international.com

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LAUNCH PARTNERS // FLOORING

standouts free of pvc , plasticizers , and phthalates water resistant to 24 hours patented top surface in em bossed abrasion - resistant polypropylene

PARADOR MODULAR ONE

A high-performance resilient flooring with the warmth and color variation of natural wood or stone, Parador Modular ONE was designed with wellness and sustainability in mind. mattersurfaces.com/parador-modular-one 150

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OFFICE

// LAUNCH PARTNERS

SITONIT SEATING

From soft-close flip-tops that nest easily to daisychain power/data that keeps users connected, the Parallon table collection was designed to create unparalleled training solutions for any (and every) space. info.sitonit.net/parallon

standouts bifma compliant standalone , daisy chain , and 4 - circuit power easy - access power training , café and occasional models

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LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

standouts greenguard certified for residential and commercial applications ideal for tabletops and furniture

FORMICA CORPORATION

The variegated coloration and porous visual texture of Patine Concrete laminate mimics natural concrete—but one-ups it in durability and versatility. formica.com

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LIGHTING

// LAUNCH PARTNERS

standouts from the ilumine collection made of cast brass historic brass or pewter finish fully customizable

ALLEGRI BY KALCO LIGHTING

Embodying designer Vanessa DeLeon’s minimalist-glam mashup of modern and classical styles, the Venere pendants, sconces, and chandeliers can be specified with or without the brand’s signature Firenze Crystals. allegricrystal.com

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LAUNCH PARTNERS // SEATING

standouts

5 colors optional upholstery or leather dining and armchair versions ; stool avail able soon

LEMA

Ombra embodies the bold, experimental approach of the brand’s longtime art director, Piero Lissoni, via a sleek painted-metal structure supporting a slender shell in printed rigid polypropylene. lemamobili.com

KITCHEN & BATH

// LAUNCH PARTNERS

standouts washbasins , bath tubs , and furniture

12 finishes soft - closing , push to - open drawers freestanding basins can be plumbed to wall or floor

DURAVIT USA, INC.

The Philippe Starck–designed White Tulip collection is inspired by a flower in full bloom, the graceful, delicate silhouettes of the washbasin and the tub enhancing ergonomics and wellness in the bath. duravit.us MARCH.22

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LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

standouts in multiple configurations stand free or anchor to ceiling or floor anodized aluminum or black powder coat frame

CORONA GROUP INC.

Pair Intersection’s sleek frame with numerous materials—glass, porcelainsteel markerboard, fabric, Acousticor, etc.—to create a single- or double-sided presentation/divider system that needn’t anchor to the wall. coronagroupinc.com

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ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

standouts rocker and toggle styles ; 5 standard finishes free customizable laser engraving easily removable ships in 1-2 weeks

TEDSTUFF

Replace new and existing light switch and electrical socket cover plates with the more modern-minded CleanPlate, a retrofit module that affixes screwlessly by way of high-powered rare earth magnets. tedstuff.net

MARCH.22

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LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

standouts fabricated and stocked in the u . s . several patterns offered in ⅜” - plus thickness

BENDHEIM

With Linear Privacy Glass, the company expands its product line to include several new textured, etched, and carved designs, available in low-iron (i.e. ultraclear) and colored glass. bendheim.com

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EASTLAKE STUDIO; PHOTO: KENDALL MCCAUGHERTY © HALL+MERRICK PHOTOGRAPHERS

fully customizable

MIX

// LAUNCH PARTNERS

VIBIA

BROWN JORDAN

Illuminate gardens and pathways with the intense yet warm LED glow of Lievore Altherr Molina’s Brisa, which features slender, adjustable stems inspired by the forest blue bellflower. vibia.com

Celebrating its heritage, the brand builds on the iconic Walter Lamb Collection with a timeless, luxurious rocking chair guaranteed to elevate any outdoor space. brownjordan.com

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

Bernhardt Design Bombom

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MILLIKEN FLOORS Lowdown retro - modern look available in myriad hues quick ship available recycled content printworks technology offers ultimate pattern flexibility

millikenfloors.com

160

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CHOOSE HANDMADE LUXURY

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Lake Flato Houses: Respecting the Land

Santa Fe Modern: Contemporary Design in the High Desert

by Helen Thompson New York: Rizzoli International Publications, $85 272 pages, 237 illustrations (200 color)

by Helen Thompson New York: Monacelli, $50 240 pages, 220 color photographs

This attractive book is a generous survey of 16 houses completed by the widely admired Texas firm Lake Flato since 2014 (the year, coincidentally, cofounders David Lake and Ted Flato entered into the Interior Design Hall of Fame).

Naturally, most of the projects are near the architects’ offices in San Antonio and Austin but one is in Las Vegas and two in New York State. All share the firm’s zealous penchant and ability for re­lating to nature. This is done partly with natural materials—walls of rammed earth or rough-hewn limestone blocks, sod roofs, various woods in a plethora of ap­ plications—and with floor plans that accom­modate courtyards, terraces, and other outdoor living areas. One house in the artsy outpost of Marfa, for example, consists of a cluster of eight separate pavilions.

But rough and natural as the house materials may be, they are never handled roughly but impeccably detailed and expertly joined to one another. As Lake and Flato write, “We love the chisel marks in soft Texas limestone and the wavy grain of the slender Douglas fir.” This rare intimacy with nature has been apparent since the firm’s founding in 1984. But in today’s world, when the ecosystem about us is increasingly threatened, the work of Lake Flato seems increasingly valuable. This book is a monument to that value.

New Mexico’s capital of Santa Fe has long been known for its stunning views, skies, and light. This new book shows that it should now be equally well-known for its modern houses. Here are 20 of them, some adobe, some Cor-Ten steel, some wood, many with timber-beam ceilings and white plaster walls, all with great expanses of glass focused on those views, and all handsomely photographed by Casey Dunn and written about by the prolific Helen Thompson, who also authored the other book reviewed in this section.

Architects and designers include Stephen Beili, Norman Foster, David Lake and Ted Flato, Scott Specht, Larry Speck, and Mark Wellen. Furniture is consistently and appropriately modern (spiced here and there with a characterful antique), including pieces by Alvar Aalto, Gae Aulenti, Eileen Gray, Charles and Ray Eames, Frank Gehry, Le Corbusier, Bruno Mathsson, George Nakashima, Richard Neutra, Eero Saarinen, and Hans Wegner.

Surrounded by Santa Fe’s active art scene, almost all the fortunate residents in these houses seem to be collectors, too; there are artworks by Richard Avedon, Olafur Eliasson, Andy Goldsworthy, Jasper Johns, Donald Judd, Sol LeWitt, Ellsworth Kelly, Richard Serra, Gerhard Richter, and Ed Ruscha, among others.

As an extra treat, the center of the book comprises a 16-page caption-free portfolio of black-and-white photographs of the splendid natural environment that enfolds these splendid houses. What’s not to like?

b o o k s edited by Stanley Abercrombie

Julia Gamolina

Baseline Shift: Untold Stories of Women in Graphic Design History

Associate principal at Ennead Architects and founder and editor in chief of Madame Architect

edited by Briar Levit New York: Princeton Architectural Press, $20 192 pages, 85 illustrations (69 color)

“Baseline Shift is certainly invigorating me for the year ahead. There is an unlimited supply of stories that have been under-told, or not told at all—in the book as well as in history and our current reality.

Having recently joined Ennead Architects to focus on business develop­ment, I'm discovering that there is a lot of ambition and creative thinking on how to evolve the practice further. I look forward to diving deeply into these efforts, alongside continuing to tell the narratives of women in the design world on my website, madamearchitect.org, and through all kinds of media. I would love nothing more than to stay engaged with our audience and, in my combined roles, see what’s on the top of minds in the industry right now.”

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BOTTOM LEFT: SYLVIE ROSOKOFF

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c o n ta c t s DESIGNERS IN SPECIAL FEATURE Bureau (“Healthy Living,” page 100), bureau.ac.

Kauffmann Theilig & Partner (“Healthy Living,” page 100), ktp-architekten.de.

Leckie Studio Architecture + Design (“Healthy Living,” page 100), leckiestudio.com.

OV Architekti (“Healthy Living,” page 100), ov-a.cz.

Studio Reaktor (“Healthy Living,” page 100), studio-reaktor.com.

PHOTOGRAPHERS IN FEATURES Art Gray (“Healing Elements,” page 82), artgrayphoto.com.

Eric Laignel Photography (“Mission Statement,” page 112), ericlaignel.com.

John Muggenborg (“Fitness Brigade,” page 120), johnmuggenborg.com.

W Workspace (“Bridge to Tomorrow,” page 74), facebook.com/wworkspace.

DESIGNER IN CREATIVE VOICES Studio Bouroullec (“Brotherly Love,” page 35), bouroullec.com.

PHOTOGRAPHER IN WALKTHROUGH Sievers&Carreguí (“This Way to Smiles,” page 45), sieverscarregui.com.

DESIGNER IN CENTERFOLD Taylor Knights (“Full Immersion,” page 69), taylorknights.com.au.

Interior Design (USPS#520-210, ISSN 0020-5508) is published 16 times a year, monthly except semi­monthly in April, May, August, and October by the SANDOW Design Group. SANDOW Design Group is a division of SANDOW, 3651 NW 8th Avenue, Boca Raton, FL 33431. Periodicals postage paid at New York, NY, and additional mailing offices. Subscriptions: U.S., 1 Year: $69.95; Canada and Mexico, 1 year: $99.99; all other countries: $199.99 U.S. funds. Single copies (pre­paid in U.S. funds): $8.95 shipped within U.S. ADDRESS ALL SUBSCRIPTION RE­QUESTS AND COR­-RESPONDENCE TO: Interior Design, P.O. Box 16479, North Hollywood, CA 91615-6479.

TELEPHONE TOLL-FREE: 800-900-0804 (continental U.S. only), 818-487-2014 (all others), or email: subscriptions@interiordesign. net. POSTMASTER: Send address changes to INTERIOR DESIGN, P.O. Box 16479, North Hollywood, CA 91615-6479. Publications Mail Agreement No. 40624074.

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10YEARS CELEBRATING

MAY 10–20, 2022

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ice palace China’s coastal cities such as Shanghai and Hong Kong are popular destinations for international travelers. But it’s the landlocked province of Henan that holds the distinction of being the birthplace of Chinese culture; its 3,200-year history includes Buddhist temples from the 1st century and several UNESCO World Heritage Sites. Yet it’s a 21st-century building, the Xinxiang Cultural Tourism Center, that anchors a new winter sports district in one of the region’s most ancient and important cities.

The firms responsible for the 304,000-square-foot complex—Paris-based architecture studios Zone of Utopia and Mathieu Forest Architecte, along with the more local WUZ Design—drew inspiration from a smash-hit animated feature film beloved worldwide and especially in China, Frozen. Comprising a stack of 10 steel-and-glass cubes, each 55 feet square, the center looks like a massive sculpture made from blocks of ice.

The effect starts with the facades’ glass panels: Suspended by stainless-steel cables, they're digitally printed with a light-diffusing tangle of ice crystals, giving the structure a frosted look during the day. At night, an internal and external lighting system by PROL casts a slowly changing nimbus of brilliant blues, whites, and purples— colors found in the movie—turning the building into a glowing, fairytale castle. Adding to the magic, a water terrace on the plaza features rows of splashing fountains that create a rising mist while also suggesting that the cubes may be melting. —Wilson Barlow

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MARCH.22

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Crypton Fabrics Crypton Fabric

Moooi Carpets Trichroic Collection

Design Within Reach Contract Bollo Collection FilzFelt Hive

Pedrali Blume

Clarus TherMobile

Tuuci Ocean Master Max

Bernhardt Design Queue

TileBar Bond Indio

Eskayel Portico Wallpaper

DESIGNERS: Bloom – Sebastian Herkner; MIAMI - Isabelle Gilles and Yann Poncelet; Portico - Shanan Campanaro;

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